用两个梦的意象看有什么事情发生

在工作之前，我会解释一下：所有工作来自于催眠。希腊的睡神，导向睡眠。这个过程我们处于快要睡着的状态，

我们处于对外在世界后退的状态，我们聚焦于我们内在的信号，从某种程度上，β波的出现，是一个来回的过程，我们要让脑波一点一点的慢下来，通过放松，倒数数，我们这样工作时，会感觉到很舒服，感觉到我们不是做为主宰而存在，感觉到很吓人。

；

认同，就是要像所认同的对象。

意象體現與創造性心靈

strong intention, important, provide energy for the search;

进入了积极想象，这个戏已经经过了彩排女演员了解这个角色。

20到10， 10到0，女演员进入到了酒店房间，自己想象的房间，而不是彩排舞台的房间，让她找到房间里自己感觉安全的地点。

女演员马上去到了床上，是一张大床，对她来说这里最安全。

1. 日落时，她盖着毯子，床的柔软，房间的味道（非常重要，陈旧、新鲜？）。我们锚定了在床上这个位置的感觉，cuddled, being safe in the bed.
2. 然后我们环顾四周，细致的观察房间，我们工作了房间的氛围，old room, *elled up old, it is brownish, darker in colors, 这个房间在过去这些年接待了许多人，有许多的故事，我们锚定了房间的这种氛围。
3. 从在床上的角度，在右手边，是个大窗户，有窗帘，外面是个小阳台，房间外面是一条繁忙的街道，人和车子都非常多。我们跟着想象走到了街上，许多车子开得很快，人们在横穿马路上，或待在路上，马路上非常吵闹；
4. 过了一会儿，发生了一件事情，一个男人正在过马路，一辆车几乎撞到他；男人叫喊生气和司机起了冲突；锚定了男人的愤怒和几乎被车子撞到的恐惧；

这是孵化梦的过程。

然后她就做了个梦，这不是一个思维头脑层面的理解，是具身的、直觉的。

案例二：意图：帮助画家了解红色和白色之间的关系，怎么去尊重这样的关系；

1. 让画家站在房间里的画布面前，拿着颜料和刷子，准备绘画；
2. 问画家当下的感觉：curious and nervous, 在身体里锚定了这个感觉；
3. 白色颜料已经在画布上，画家的刷子上沾着红色的油画颜料，让她具身颜料感受红色的颜料想要什么（desire\intention\need）
4. 红色颜料想要包裹画布上的白色颜料；锚定包裹了白色颜料的红色颜料的感受；
5. 然后感受已经在画布上被红色包裹了的白色的干颜料的感受；然后锚定白色被围住后的nervousness；
6. 然后我们工作在想象的画布上的红色和白色的关系；锚定这个感受；
7. 画家锚定了这四种感受；

到一个记忆离去工作，会使这个记忆产生改变。

I'm here to tell you and teach you about Embodied Imagination which is a method that I have been developing over the last 50 years. Let me give you a little brief introduction of this work.

This method is, of course, based on the work of Jung, but it's not Jung from his time, but it is two generations after Jung.  We have to remember that Jung did some of his major work 100 years ago, so the field of psychology has changed in the mean time. Between myself and Jung, there was a development of the work of James Hillman.

James Hillman changed the way that we looked Jung in psychology in a very profound way. He put his emphasis on that many states and consciousnesses are going at the same time. It is not one story but there are many other stories that are happening at the same time in our lives. Jung was very interesting in many stories. His main story is the hero myth, and Hillman undid that and said that, there are many stories going on at the same time. And it is what was his interested in how are we as humans when we are not just one story but many stories.

James Hillman was my training analyst, so that's where I began. I began with already been in one generation removed from Jung. So when I started at Jungian student in Newzert in 1971, I was already one generation removed. And my work starting with Hillman changed the work of Hillman by bringing it into the body. That's why I am saying Embodied Imagination is Jungian Psychology two generations after Jung.

And by involving the body, of course, we are also involving the whole field of neuroscience which was not much existing while Jung was working. And Freud tried to create Neuroscience, but had to give that up. We now have the chance to include the Neuroscience into our work because we are now in 21st century. As you known Freud was a Neurologist, he was very interested in Neuroscience, but Neuroscience was not advanced far enough for him to include that in psychoanalyst. But now we can.

I want to do is to start where Embodied Imagination began and Embodied Imagination began with Jung and it actually has a date when it began. Let me take you back to 1912. In 1912, the major separation between Freud and Jung happened. The separation was for many many personal reasons, but there was also a scientific reason and the scientific reason was a difference in an opinion about the nature of the Oedipus complex. As you know the Oedipus complex is the desire of the child for the mother and trying to eliminate the father. That is the notion of Oedipus complex, the desire for the mother and the desire to eliminate the father. Freud said, this is a literal desire of the child for the mother, everything is symbolic, but sexuality is literal. It is the literal sexual desire of the son for the mother.

Jung disagreed that. He agreed with Freud that it is happening, but "that's not the only thing." Jung said. The desire for mother is also symbolic for the desire to return to the beginning of all creative process. It is the desire to return to creativity, to what Jung called matrix of being that from which all creativity emergence, so it is the desire for the creative process.

We said that the Oedipus myth is not the central myth, it is that myth is central to psychology. That imagination constantly creates new myth and we are in a constant myth-making world. That created the big break between Freud and Jung which left Jung in a very isolated position. At first, he felt alone because he was no longer part of International Psychoanalytical Association which has been his community because he was taking out of his community. That was very difficult for him, at the same time, as he acknowledged that images for central to psychology and not just one myth but many many images were central to psychology, the world of imaginary opened up to him. And he became overwhelmed by images. The images had started come over him and he had no defence.

He has completely overwhelmed, and at the same time, he was teaching at the most important technical university in Europe. It is very difficult to keep for him to keep his balance in this moment of being overwhelmed by images. So he was afraid that he was going crazy.

So, he did something really brave. It was in December 1913, when the images became overwhelmingly strong, he decided to let him drop into the world of images. You can read all this in Jung's Red Book and in Jung's Memories, Dreams and Reflections. That's why I say that December 1913 was the beginning of Embodied Imagination.

1st Element: Negative Capability

Let me first describe what happened to Jung on that night in December 1913. He said when he decided to let himself drop into that world. He was dropping and falling down along a long rock-face cliff, he could see all kinds of caves and all kinds of shapes on the stone, everything is fully present and fully embodied. It presented itself as a physical world and he was falling in a physical world while he knew at the same time that he was falling to the imagination.

He was in the state of what we called dual-consciousness, he was both in the world that surrounded him that was entirely real and physical like a dream, and he knew he was in the imagination. This is different from hallucination because in the hallucination, you do not know that you are in the hallucination, you take it as literally the physical world. He knew that he was not in the physical world so he was not in the hallucination, he was in the world by the images had become very strong the way they are in dreams. As he reached the bottom, at the bottom of the cliff, he found himself with his feet up to his ankles in the mud. Jung's first experience of this world of imagination was not with his mind, but it was with his body, with his feet. That gives us several elements of Embodied Imagination. Namely that is the experience with the body likes for Jung with his feet. That is the world presents itself as entirely embodied the rock-face that he was falling next to presented itself is fully physical, so it is the world that present itself as physical and real. And at the same time, Jung knows that he is in imagination. He doesn't think he is in the physically world, he knows he is in another world, in the world of imagination. So those three elements make it Embodied Imagination.  

We have to realized that Jung had a mother who was a visionary and could see visions. And Jung has the same ability. Most of us do not have this same strength about imagination as he had. All of us experience what Jung was experiencing in our dreams. That's why I take dreams as my primary material of imagination because in dreaming, anything that surrounds us is imagination.

So take a very ordinary dream, the dream you are walking down the street. Your physical body is lying in bed, so the street is fully imagined. But you are convinced that you are actually walking down the street, so you are in reality, you are in a real world that presents itself as physical, and then you wake up.

2nd Element: Phenomenology

And now I want to go to the second element of Embodied Imagination and that is phenomenology. Phenomenology is the study of experience. I am interested in what people experience. I'm not so much interested in metaphysics or believe-system. I'm not interested in what people believe to be true. I am interested in what people experience.

So Let's go to the experience of dreaming.

I was very interested in that because I have been trying to find a definition of dreaming that holds true everywhere that I got to go. Because people say their dreams usually is not about the dreams but it says something about their culture.

When the scientist says that dreams are there to clean the brain or organize learning, those are the statement of the culture where this person comes from, it doesn't say anything about dreaming.

Another people say that dreams are about the ancestors or dreams are about spirits. All the statements are the statements about culture.From what I have seen in China, I think that is the strongest culture believe in China is that the dream is about the future.Every culture has their own ideas about dreams.

But I am after the experience of dreaming. When I asked a person how you experience your dream, tell me about your dream, everybody in all cultures give me one particular answer: "I was somewhere, something happened and then I woke up." When you ask further, they will tell you "I thought that I was awake, and the world around me felt entirely real." There are a few times when they are exception to that, because sometimes people have dreams in which they know that they are dreaming. But that is very very small minority of dream. The ordinary dream is while you think you're awake and the world around you feels entirely real and looks physical.

My definition of dreaming which is the basis of Embodied Imagination is "a place where something happens and then I wake up, where I feel  that I am awake and everything completely real to me.  " This world present itself physical, but then you wake up, so you know the world is not physical but it presents itself physical, and that's why I call that world a quasi-physical world, the world behave as if it was real.

I have never been in any culture where this definition of dreaming, the experience of dreaming does not work. It works everywhere in the world. You can see from this definition that the dream is not the story, the dream is the event that takes place and you are a part of that event.

Over the last 100 years, we have focused the way too much that the dreams are stories. Dreams are not stories. Dreams are experiences in time and space. If we go by that definition, it gives us several problems in trying to explore dreaming.

If, for instance, in my dream, a woman walks into my dream, I interpret that as that is an anima figure coming in, I am making a mistake because that is a particular woman is walking in, a particular presence, and I can relate to the particular presence, I can not interpret her because the moment I start interpreting her, I am not with her, but with the interpretion.

On the base on this, you can see that interpretion, like Jung does, or Freud does, or anybody does, that kind of interpretion puts a screen between us and the experience of dream.

For instance, when I first came to China in 2000 to visit Shen Heyong, we started our conversations and he introduced me to Chinese society, I had no idea where I was, I had no idea what's going on, I didn't understand anything, I didn't understand the language, the culture. I was just there and had encounter. I could only open myself up to encounter. I encountered the Chinese culture, and it affected me deeply. If I would have gone into China, try to understand it, I would not encounter it.

That is how I approach dreaming. You are encountering a dream. You do not understand the dream, just as little as I understand the Chinese culture. I didn't grow up in Chinese culture, I didn't live in Chinese culture, and I can understand very little of Chinese culture, and I have to let myself be taking over by and I slowly absorb it. The same thing is true with dreaming.

How do we open ourselves up to dreaming so that we don't interpret dream, but see the dream as an alien country that we are entering.

First, you have to be able to experience that you understand nothing about it that you are completely in the dark, you are completely unconscious, you know nothing about this world, nothing. And that is the experience that in its nature is frightening, because you have nothing to hold on to.  That's the moment that you start to interpreting so that you can hold on to something.  But that is what we are trying NOT to do. We are falling like Jung into another world that we know nothing about. And the ability to be fully open to the unknown and let yourself be overwhelmed by the unknown, that ability is called negative capability.

Negative capability is the ability to well overwhelmed by the unknown, do not be paralyzed but continue to explore. That is the attitude of Embodied Imagination, is negative capability, the ability to keep on exploring while you are frighten by the fact that you know nothing about this world.

People who are very good at that are poets, that's why this word "negative capability" came from one of the greatest poets in the English language, John Keats. He only use it once in the letter to his brother, became one of the most important words in the English language, as far as poetry is concerned, as far as psychology is concerned, and especially as far as Embodied Imagination is concerned.

What I hope we will develop in you in this coming two years of study, is that you will develop the greater ability for negative capability, that you can stand the unknown of dreaming without suddenly having to try and interpret it. You can just stay in the unknown.

The meaning of the world "Unconscious", is "I don't know." This negative capability goes against anything you have been trained. You have been trained to know things, You have been trained to understand things. But in here, the experience of dreaming, you don't know anything and you understand nothing. It's very different world you are going into, so you have to go into it with very different attitude. You have to go into it with the attitude of not knowing and not understanding. The longer you are able to stay in not knowing or not understanding, the more you give the dream chance to review itself.

One of the things we have found, if you stay in the state of not knowing, deeply in this world of dreaming, it will start reviewing itself. As it reviews itself, it becomes a meaningful process even though what it actually means, it is a meaning process that the process of the dream reviewing itself to you.

This is about the ability. The attitude is the negative capability.

3rd Element: you can only work on the memory of dreams.

The third element is that you don't know anything about it, it is fully embodied, and you can never actually work on a dream. It's impossible to work on the dream because the dream is gone. You can only work on the memory of the dream because the dream is in the past.

We know there are different kinds of memories use different parts of brain, those memories are very different. I make distinction between two kinds of memories the way of Neuroscience makes distinction.

The first is called explicit memory. The explicit memory is the memory that you can recall at will, for instance, before this class, how you start your computer, you remember it explicitly. You will remember it as a story, it's the story is of  you entering into your room,turning on your computer, sitting down, clicking in the link, and then in this Zoom room. That is all explicit memory.

And now, there is an entirely different memory that is call implicit memory. Implicit is like to do when you ride your bicycle. The memory of riding a bicycle is spread out, throughout your body, it's fully embodied memory because your body knows how to keep balance, your body knows how to use the pedals, your body knows how to use the steering, everything that you doing in riding a bicycle, your body knows. That is called implicit memory because it is implicit in your whole body.

In Embodied Imagination, we are interested in implicit memory, in the memory that is fully throughout the body like riding a bicycle. In that system in the brain of implicit memory, we are interested in one particular kind of implicit memory which is called flashback memory.

A flashback we know from the study of trauma. Just imagine that a soldier returned from the battle field, and then she is walking down the street and a very loud noise comes up. Suddenly, she feels as if she is on the battle field again. She can hear the explosion, she can smell the burning, she can hear the scream of her comrades, she's fully back in the battlefield, that is flashback. And a veterans who have been war all report these. They all report that they have flashbacks. Our mind or our brain is capable to flashback to a previous event and makes it feel as it is happening right now. In our technique of Embodied Imagination, we have developed the ways to artificially flashback into dreams.

I have to remind you that I have used dreams as my example of the Embodied Imagination. But there are also other memories, childhood memories, the things happened to you yesterday or this morning, that can also be used in the same way as we are using dreams. I will just use dreams as a perfect example of Embodied Imagination, but Embodied Imagination is all kinds of images. Keep in mind that I am using dreaming as an example of imagination. You can do this on all kinds of memories, not just dream memories. This is really important because up until the beginning of 1990s, my work is called Embodied Dream-work. But then I changed the name into Embodied Imagination because we found that you can do the work also with other memories, not just with the dreams. We became interested in how it worked with all kinds of memories, not just dreaming, and then it became called Embodied Imagination that happened somewhere in mid 90s.

Now, we have talked about negative capability, the attitude of Embodied Imagination; we have talked about different ways of memory, and we have talked about the fact about the dream is a place where something happens and then you wake up. Those are the three elements we have talked about and now we go to the fourth element.

4th Element: Dreams as Eco-systems

Now we go to the fourth element of Embodied Imagination which is about dreams as Eco-systems. In Eco-system, everything is related to everything else. We don't know exactly how it's related but we know it's related, it's like one family, it's one environment, it is everything in the environment related to everything else. The dream is an Eco-system, we are identify as one part of the Eco-system, and a part of the Eco-system, we call "I". That is our identification with the particular part of the Eco-system.

In Embodied Imagination, we have learned how to remove away from that identification with "I" into identification with non-self states. For instance, in the dream where I am standing next to a tree, the tree and I are part of the Eco-system. The "I" that is standing next to the tree, I call it habitual consciousness. Another form of psychology call "ego", I call habitual consciousness, habits of consciousness. We have the habit of consciousness to identify with our body. That is “I”. So it is habit of consciousness to identify with our body. To me, identify as a man, that is habit of consciousness. I have told and I have been taught I am a man. That is the instance of habit of consciousness.

When I dream that I am standing next to a tree, I understand I am standing next to a tree is my habitual consciousness. In Embodied Imagination, the technique, we develop a way to move awareness a wave from habitual consciousness into non-habitual states. We have to learn for instance how to experience the dream from the perspective of the tree, so to move out of the perspective of self and to move into the perspective of other, in this case, into the tree.

These techniques are based on theatre, they are based on acting. Therefore, during your training in Embodied Imagination, one of your teachers is a director of theatre, and a professor of theatre from Sweden. He will teach you more about these acting techniques because the acting techniques are essential to the Embodied Imagination. An actor has to embody in character. The way a good actor does that is to open themselves up to the character and let the character take over the body of actor. So the actor becomes infuse by the character and we as audience then no longer see the actor, but we see the actor as character and the character taken over the actor, and the audience can see the character not the actor.

We are using the same techniques by letting the character, in this case, the tree, take position of us. That is we begin to feel as tree, we begin to participate in the presence of the tree. As we participate the presence of the tree, the experience is very different from the experience we had we were identify with our own body, and with our habitual consciousness. The tree experience is very different one, now we have two perspectives going on at the same time.

You will remember from where I start this talk that I am interested because I was trained by Hillman. I am interested in multiplicity, I am interested in multiple states. And dreaming gives us the access to multiple states. We will teach you how to experience and participate in multiple states and we will help you to feel multiple states in your body at the same time. As the multiple states begin to act upon your body, changes in consciousness begin to happen.

I can say much more, but let’s start with this because it is a good beginning. Any questions that you have about this, I will be interested to here. After that, I will be working on a dream of one of yours so that you can see how this works practically. We move out of the theory into the practise.

我对跟随或是引导的理解：是感受同一无意识氛围，却让来访者自己来做融合。

花一个时刻，有一个回顾感觉：身体同时感受不同部分。身体要同时感受不同的状态。

若不用身体经验梦，则对梦的解读都是文化的反应。梦是一个事件，而梦者参与了这个事件，而非一个故事。梦是在时空的体验。

当我们试图解读，我们就离开梦而与解读在一起，这就在我们和梦之间放了一个屏障。

要认识文化必须要去经历文化。梦也如同去到国外，需要经历，全然未知。不要试图依靠，而是什么都抓不住，避免解读。阴性能力，开阔地面对未知，又能在未知中前行。这是一种基本态度，带着对未知的恐惧，去探索梦。

永远保持阴性能力，永远保持未知的态度。无意识就是不知道。

越久保持未知态度，梦所展现的内容就越多。所展现的过程就是梦展现自我意义的过程。这就是意象体现的基本态度，阴性态度。

第三要素：对梦是全然未知，我们可以感知梦，回忆梦，但不能工作梦，我们可以工作梦的记忆。有不同的记忆，两种不同的记忆在闹区的作用。

显性记忆，如同一个故事，叙述性的故事，explicit 

隐形记忆：你骑单车的记忆，记忆是在身体里，身体知道如何骑单车。意象体现关注隐形记忆，implicit

又称闪回记忆，flashback memories,闪回记忆，又称创伤。脱离战场的士兵仍然体验到战场上所发生的一切。闪回记忆在梦中，让我们真实体验到之前的事件。

任何的记忆和感受，可以像梦一样，使用在意象体现中。

阴性能力，不同记忆形式，梦是真实鲜活的。现象学，4th，意象体现的eco system生态系统。事物间相互联系。在这个系统里，我们需要认同这个生态系统。从 i 进入non self, 状态。

我与树的关系，是意识的栖息地，意识习惯，认同自己是男人，意象体现把我们从习惯认同的自我，转向新的认知。我站在树下，树是怎么看我？这个方式来自戏剧表演。我们同时就有了两个角度的体验。

多重状态（量子叠加），梦给我们提供了这种方式。

总是要在双重（多重）意识状态。

小组：聚在一起，一个人报梦present the dream, and then help the dreamer to go to the dream, ask question to go back feel what is happening, for 10-15min, feel others feeling, don’t interpret the dream. 仅仅是进入梦里。然后呈报问题，如果有。仅仅是帮助梦者进入梦，其它不做任何事。