Carl Jung: Imagination and Spiritual Sight, Pt 2

and the focus this week is carl jung and um his take on the imagination i wanted to say as sort of another almost kind of way into this evening um just to talk about another kind of case really um and it's the case of einstein albert einstein um i don't know if i mentioned him last week but he's quite well known for this quote of his which is imagination is more important than knowledge knowledge is limited imagination encircles the world so that's imagination is more important than knowledge knowledge is limited imagination encircles the world and he's saying in a way i think there that you know the imagination a bit like andrew marvel's image of um the imagination taking flight um that's what the imagination can do and then it's from that that you might as it were derive some knowledge i don't know pull down or articulate some knowledge um but it's the imagination that's prior and this idea that encircles the world it's actually a very old idea you can read in ancient philosophers about how they traversed the cosmos in their imaginations but what's really interesting about einstein is that his imagination was hugely productive in fact it changed modern physics he's well known for having imagined what it might be like to travel on a light beam and from that he derived the special theory of relativity because his imagination prompted some ideas about what would happen to time and space as he was traveling on a light beam and it led to for example his famous realization that light nothing travels faster than the speed of light which is and one of the premises from which um social relativity is derived and walter isaacson and his very brilliant biography of einstein spends quite a lot of time asking you know what was it that einstein had that enabled him to use his imagination in that way and it's not dissimilar from what jung decided as well um isaac's um isaacson says that um uh einstein said look he said he had no special talents and but he was passionately curious um and that combination of not just idle curiosity but a kind of passionate curiosity it has a bit of energy to drive it um a bit of kind of eros in the broadest sense um that drives that sense of wanting to peer in and to go further to discover something elsewhere um and isaacson said he thought that probably that curiosity of einstein was relatively unusual um he said also that einstein had a kind of playfulness and his playfulness was unashamed you know he wasn't ashamed to imagine what it might be like to ride on a light beam i don't know many physicists but you can imagine that many professionals in their field wouldn't want to do something that you might think a child would do um or maybe you'd read about in their sci-fi book but wouldn't want to bring into your work and but it seems that that was the launch pad for einstein in this way so that playfulness um free from embarrassment or shame or a place where you know you think you ought them to do or want to go um there's a kind of a freedom a liberty in einstein's imagination as well um he could marvel and wander um was another of isaacson's conclusions and this is more than just um you know gate gorping if you like or gazing this is um the sense that wander actually opens up new worlds to us that it's like a kind of threshold or a gateway so when we are wandering when we marvel we're not just having a kind of peak experience and we're being invited to consider this might be the entry point into something further um i think this was reflected in aristotle's thought that in philosophy in wonder or philosophy begins and in wonder it ends and that's not just saying that philosophy by which he meant very generally the study of the world um is a wonderful thing to do although it certainly is um it's to say that wander and marveling are part of that investigation and the reason why it begins and ends with wanda is that um you start off with the wonder and then you discover things you articulate things you find out things um but you find it ends in wonder too because the journey um could continue add infinitum into reality um so wonder is a key notion to hold in mind too um there's another kind of freedom that einstein had which was a freedom from received wisdom and dogma isaacson concludes um and now this is not to say that he just dismissed received wisdom and dogma he actually knew it when in the case of physics you know extraordinarily well and but he didn't use it to tie him down he used it to maybe inform or discern his imagination but was free to move beyond it as well and i know you see this quite a lot actually i'm i'm working through dante's divine comedy at the minute um and and posting um a a youtube or a blog on each of the cantos and one things which i'm realizing is that dante knew his medieval theology hugely well um he knew his aristotle very well for that matter as well but he presents them as kind of starting points almost those kind of dogmas and insights those bits of received wisdom and they're really helpful they're definitely pointers and indicators and help you discern what you're experiencing what you're encountering but they you need to be free with them as well and to be able to move beyond them and then fifthly isaacson said that um einstein was sure that imagination has a purpose so he was convinced that imagination is part of the toolkit that human beings have it is a really crucial capacity that we have for exploring ourselves the world other worlds and it has a purpose um and he committed to it um and this is i think is quite unusual in the modern world where there's plenty of imagination around you know you only have to flick through netflix or um go to an online art gallery or whatever it might be and realize that there's plenty of imagination around um but it's often treated as fantasy this distinction i made last week with coleridge the idea that fantasy puts things together in fun ways in imaginative ways in playful ways and it can be entertaining it can be amusing it can be distracting but there's a deeper kind of imagination which produces things which have are generative and are lasting are creative they take us into new worlds because they expand our sense of this world and that purpose seems to have been what einstein got onto as well and it's certainly core to jung's ideas the imagination runs right through his whole psychology in a way it's the kind of vehicle for his psychology it definitely has a purpose so the sense of being passionately curious um playful taking marvel and wonder seriously as thresholds knowing but being free with received wisdom and dogma and then believing that imagination has a purpose um they certainly were the elements that walter isaacson concludes albert einstein took to the imagination um with all the productivity that ensued in his case so there's a couple of sort of entrees um into the subject for this evening now let's turn explicitly too young um i'm i'll sort of assume that everyone's heard of jung but uh i would assume uh you know just sort of basic sense of the man and what he stood for um born in 1875 he died in 1961 um and he spent the earliest part of his life as a psychologist um working in a large hospital um and for 10 years was working with what we would now call broadly psychotic patients in this hospital and during that time he got very interested in what was going on in the psychotic mind um he was in the hospital actually where they first defined um schizophrenia um and uh jung was unusual there because he felt that the kinds of things that people with these very troubled conditions you know you don't want to romanticize it at all this is genuine suffering very often but nonetheless he tried to take seriously what people were experiencing in these states they're no doubt troubled but nonetheless their imagination was trying to communicate something and it led him to get interested in the work of freud who was already kind of established by this stage and freud's um big book on dreams um came out in 1901 and became a sort of hit um quite quickly and jung got onto it and started corresponding with freud and felt that freud's ideas in psychoanalysis um might help jung to develop his sense of what goes on in the mind and they collaborated um quite closely for a few years before having their famous split and thereafter um they became much more antagonistic towards one another um actually jung was quite um sort of reconciled i think to um their split after he got over it it was um it was a terrible shock to him i mean it seems to have prompted what he came to call his encounter with the unconscious um in the in the years roughly around the first world war but he became reconciled to afterwards and when freud died he actually wrote quite conciliatory obituaries to freud and so on but they definitely split and um in a way you could say that they split over how seriously they took the imagination you can discuss this in various ways but for freud broadly speaking you can say that the imagination was fantastical um it didn't really explore reality rather it served to what he called sublimate our difficult and tricky inner life experiences our fears our anxieties particularly those arriving in early life and the imagination converts those troubled experiences into um fantasies that we can relate to more easily in order to try to negotiate the difficulties of our inner life so a classic case for freud would be the religions that think of god as father and making it a bit simpler than freud put it he's always a very nuanced actually and subtle writer and but nonetheless he broadly thought that the reason why imagery of god as father is so prevalent in the world is that everyone has fathers and the relationship that a child has with his father is always ambivalent it's always got at least two sides say on the one side is protector but on the other side um maybe he's in competition for affection from the mother and so on and the way that we all or many people i should say many people um try to um live with this tension inside remember this happens very early in your life when you're very vulnerable um so these are often very troubled feelings freud assumed um is by projecting a father figure into the sky whom you can try and pray to or make sacrifices to or um give kind of powers to powers of creation and intervention and control but is a figure that you can kind of relate to as well um so it's an effort to try to live in your adult life with experiences that bedded down in your early life and have become inaccessible because they come from early life so that's a very imaginative act i mean it's even a collective imaginative act but it doesn't tell you anything about reality freud famously was an atheist now jung disagreed with that um and he disagreed with it in a number of ways um one was he thought that there's a lot more going on in our imaginative life than just the sublimation of particularly these broadly erotic instincts um to do with care and desire and wanting and pleasure um that freud majored on in early life there could be all sorts of other dynamics and powers at work freud thought even within our own psyches and so he moved beyond just these erotic um causes of things but he also thought that we must inherit what he called the collective unconscious this idea that our minds aren't blank slates when we're born but much as we have five fingers on each hand because fish have five bones in each of their four fins and we our evolutionary inheritors of that evolved into hands so to our minds sharing that long long evolution and so part of the contents of our minds part of the contents of our imagination is shaped by that young thought um now one of the things that can be confusing with jung is that sometimes he seems to be speaking often quite reductively just as a psychologist you know brilliant and interesting in its own way but as if all the things that we imagine are still the product of our psychology even if it's a shared psychology and a collective psychology and he can seem a bit ambivalent about whether it's really telling or anything about reality beyond that of our minds or our shared minds but then other times it's very clear that the imagination does do that and it has a life of its own it's sometimes referred to as the imaginal after henry corbyn's phrase now um and um that this inside of the whole world and this mental reality can combine with the idealist philosophy that i think i mentioned last week which makes the assumption that the mental is prior to the material anyway so it would seem for example the brain as a kind of antenna that tapped into the mental world tuned it focused it selected from it a bit like eyes tap into the visual world um tune focus and select what we see and other times jung can seem quite like that particularly towards the end of his life i think as he became more established he became more expansive in his sense of what his psychology was really about but that certainly takes him way beyond jung and then the third area um in which jung really just distinctly moved on from freud was actually in the therapeutic technique where he puts the active imagination um as a central um activity for anyone in therapy um and active imagination i'll say a little bit more about it later on but but for him active imagination is much more guided it's much more directed it really is going on a journey following images engaging with images asking images to speak to you now these images may be derived in all sorts of ways they may come from dreams they may come from hypnagogic states they may come from trance states they may come from poetry and art but treating them as living entities that you engage with um when you can i mean it can it's a bit of a knack to be able to do it in such a fulsome way um but for that's different from freud because freud did think that the imagination matters but he called it excuse me he called it free associating where um it's just a kind of random production of images and the function of the analyst in traditional psychoanalysis anyway um is to try and make some sense of this random production of the mind um and so it's much less guided um it's sort of the detritus of the the unconscious if you like um rather than a sense of um organized maybe if not actual intelligent um living entities that the imagination might encounter which at its best um jung thought the active imagination um can produce this has become much clearer in recent years since jung's so-called red book was published and this was a document that he worked on throughout his life and he didn't want published actually but it's a very elaborate um encounter with his own unconscious mind through this product through this process of active imagination um where he he encountered um entities repeatedly and they told him all sorts of things um some were relatively straightforward some were very nomic and he produced this book which is both the text of these encounters but also very beautiful illuminated drawings that accompany it as well it looks like a medieval manuscript and people have studied this since it was published i think about 10-15 years ago um and um it's very clear that this was became this was the sort of resource activity for jung from which all his psychology came you can think of his psychology in a way as various attempts to try to communicate what he felt he discovered through this extraordinary or five years of deep imaginative engagement with his own unconscious with the his confront confrontation with the unconscious so why is the imagination so important um jung said that it's it's it's it's really important because it sets you free and it sets you free in a particular way um it's not axiomatic um and this is paralleling einstein's ability to take dogma and receive wisdom seriously but not to be constrained by it similarly the imagination's not axiomatic it makes all sorts of leaps and associations that can be bizarre and odd and very hard to make sense of um young argued it's not discursive as well so it's not like reason it doesn't build up arguments and it doesn't work on a kind of logic and that frees the mind to move into less rational parts as well that's part of its liberty um and what it is a hearty thought is perceptive um this comes you know from the earlier sense of the imagination um when it's the receipt of the imago if the image if you remember um the ancient greeks and would have thought when they said to imagine they would have said it was receiving the imago receiving the image and something of that um stays very central to jung's idea um not imagos from the external world necessarily uh sort of theory of optics but the imago from the inner world and so it's perceptive um and it can help you see what you don't yet see um it's a bit like you know a new dawn or the lights coming up um or being in a sort of darkened room and wondering what's there um our conscious minds our egos tend to work on the assumption that we're seeing all that's important and jung became very very clear that we're not remotely seeing all that's important in our lives at all our lives are far more powerfully shaped by what is broadly unconscious to us and these various imaginative exercises enable us to perceive more and more of those often unconscious dynamics he also thought the imagination is freeing because um it goes beyond established reactions again the ones that we're familiar with if we pay any attention to ourselves in the waking state of mind um and it also goes beyond sort of settled collective habits of behavior the kind of assumptions of our times or culture or religion and that freedom which can often be quite disturbing and if you pay any attention to your dreams you'll realize that you dream all sorts of things that you would never dream of doing in waking life and but that in itself is is freeing young thought and it's crucial to understanding and discovering new worlds again and it's why it's so important in therapy because whatever else a dream or a fantasy um or a projection onto a therapist or whatever else it might be about um it's very likely to be about your own personal story and those parts of yourself which for one reason or another you're not hugely conscious of and so this freedom of the imagination is why it's so central to therapy because it provides clues and hints and nudges as to what's going on in this broader part of yourself that is so powerful so let me expand that a little more by just thinking about one key source of our own certainly our own personal imaginative lives um you may well have many more yourself but it's one that we all do um and this is dreaming um not everyone remembers their dreams although you can i think always work to remember dreams and just by putting a pen and a piece of paper by your bed and uh sort of having the intention to remember them many many people find they do start remembering dreams when they do that even if they didn't before but you'll know that your dreams are quite extraordinary um you know you can you can dream things every night that if you sat down in broad daylight and you think you could never conjure out of your your mind um certainly if you're me anyway um the imagination is quite extraordinary in dreams um and again this is one of the ways that freud differed young differed from freud because freud thought that dreams are actually um an attempt to stay asleep um that what our dreams are doing when they work is actually um screening us from our anxieties um and it's when the dream fails that we wake up and remember it which is why often you know when you wake up you feel a bit troubled by it or you um feel you're dreaming something you really really want um as it were the dream has sort of failed in that moment to actually keep you asleep um the best dreams i don't know might be of an antagonist who you defeat um and you defeat easily in the dream and so it helps you stay asleep and it's when you get into a scrap with the antagonist and you're not sure whether you're going to defeat them that you wake up with some sort of nightmare perhaps so freud thought that dreams are there to keep us asleep um and for the most part they very often work because we don't wake up with dreams we have many many more dreams than we remember upon waking up um but jung thought they're different um jung thought that um dreams are an attempt of the unconscious to rebalance our psyches um he was very influenced um not just by charles darwin with the evolutionary element that i mentioned earlier on but also by the idea that in nature um nature tries to achieve homeostasis it tries to achieve balance you know whether that be balance of temperature and balance in population size in all sorts of ways um homeostasis seems to be operative in nature and um young thought the same must be therefore true in our minds as well and he thought that dreams come up when we need to balance a waking um assumption or experience um you know so you may hate someone during the day and then you dream that you're best friends and the dream is inviting you to see in your waking life the side of the person that will enable you to have a better relationship for example and that might be one dream just a sort of small example of how that can work now dreams can be very complicated um and in fact jung also thought that the best way to work with dreams is not to try and interpret them too quickly but to stay with the dream imagery as much as possible so when you wake up to as it were half stay in the dream or when you remember it later to try and go back into that slightly trance state where the dream starts to take on a life of its own again and just see where it runs and this has two advantages according to jung because on the one hand the dream may more have to show you and so if you let it run you might see more of it but also and the dream is doing its own work in its own way and in a way that's the most important thing um and if the wakimai tries to sort of grab it and interpret it too quickly it actually reduces the the power of the dream um and it's one of the reasons why jung was so influential in things like art therapy and sandpits and play and so on is that um that's a way of staying in this imaginative state through the production of art images through playing um and that in a way is the most important thing in this jungian sense of things um young thought that we're dreaming all the time actually um and the when we're awake it's just that our dreams tend to get concealed by the daylight of our conscious minds a bit like the stars are still in the sky even when the sun's shining but we just don't see them um and you know but we can daydream and and every so often maybe when we get shocked um a dream will actually come up um and that's why part of the reason why and we can fear and be shocked um because we lose touch with reality with what's actually going on directly and it gets overlaid with um products of the imagination and then of course if uh people have um periods of madness of one sort or another um that's when the dream life gets too um confused with waking life and so that's one of the ways of trying to understand madness in young's conception um that people lose the boundary the capacity to discern between the conscious and the unconscious life so you know it is important to be able to do so but it's also important to be able to be free enough to ease to rigid a boundary between the two as well um and he thought though that um dreams um well i don't know what i'm going to do now actually i'm just going to read um show you i think a passage from um a bit of jung and that that maybe shows you how he um used dreams in his waking life um he he thought this play in song was very very powerful and he remembers that um when he was a child he did it quite spontaneously in fact um if you have read his book memories dreams and reflections um his broadly it's autobiographical um but it's often not a lot about what happened it's much more about what was going on inside um and he gives some examples of how his dreams are very very important to him in early life and their waking dreams um waking states of imagination as much as when he was asleep um and so if i share a screen again i've got a bit of text it's always good to have a bit of text from the people we're talking about if not their actual images and because and then and we get something of their direct spirit as well so i hope you can see that text this is a clip from memories dreams and reflections and what jung is describing here i'll read it out in a moment but what young is describing here is a game that he played when he was a child and he came to reflect on later and he said that when he was a child he was often very troubled actually in life he had quite a disturbed childhood for various reasons and he realized that his dream play enabled him to cope with that disturbance and so i'll just read this out he said my disunion with myself and uncertainty in the world at large led me to an action which at the time was incomprehensible to me i had in those days a yellow varnish pencil case of the kind commonly used by primary school pupils with a little lock and the customary ruler at the end of this ruler i now carved a little mannequin about two inches long with frock coat top hat and shiny black boots i colored him black with ink sawed him off the ruler and put him in the pencil case which made him a little bed i even made a coat for him out of a bit of wool in the case i also placed a smooth oblong blackish stone from the rhine which i painted with watercolors to look as though it were divided into an upper and lower half and had long carriage around in my trouser pocket this was his stone the mannequin stone that went in the box in the bed with him all this was a great secret secretly i took the case to the forbidden attic at the top of the house forbidden because the floorboards were worn were warm were worm eaten and rotten and hid it with great satisfaction on one of the beams under the roof for no one must ever see it i knew that not a soul would ever find it there no one could discover my secret and destroy it i felt safe and the tormenting sense of being at odds with myself was gone in all difficult situations whenever i had done something wrong or my feelings had been hurt or when my father's irritability or my mother's invalid invalidism oppressed me i thought of my carefully bedded down and wrapped up mannequin and his smooth prettily colored stone and from time to time often intervals of weak i secretly stole up to the attic when i could be certain that no one would see me then i clambered upon the beam opened the case and looked at my mannequin and his stone so there's a brilliant bit of kind of cell therapy um which jung because he was free with his imagination you might say you know lots of children might do something a bit like that but that does seem to be um you know really quite extensive um and it really helped him and because i think you could say that um it enabled him to manage his inner life by this imaginative relationship with the mannequin and the stone in the bed care you know um it felt safe that feels a key moment in the description there um it was secret um that was absolutely crucial um i think because um and maybe he needs to feel that he could control it he could manage it um but he could act um in relation to his disunion with himself um you know donald winnecock who's the english psychotherapist who i think in many ways is quite jungian actually um he would look to what he called transitional objects in describing this um if you know you've had a child or maybe yourself if you sucked your thumb or you had a bit of a rag or you had a special toy um you'll know that it's really really important to children that you don't disturb the rag you know you as a parent you don't say oh it's a bit dirty i'll just wash it and that's deeply upsetting to the child because it too is imaginatively loading something into the rag often it is a sense of safety um but if jung you know could do that as a child then clearly um as a therapist um the use of the imagination um is very you know very suggestive um and um you know that worked for him but if it didn't work for him and he came to therapy later in life then you might talk to him about it and how it did work how it didn't work and discover something about um what he called his disunion with himself jung also thought that um the um our imagination our unconscious is inhabited by these entities which aren't just our own though as it were you know you in that case jung created the mannequin um he painted the stone he put it into its bed um they were contents of what you might call the pers personal unconscious or conscious for him his personal imaginative life and but young also realized um this goes back to his days in the psychiatric hospital and the people experience things in their imaginative lives that couldn't have come just from them um either they couldn't have directly experienced them at all or um they are shared images um that many people have um so it seems it's not just the product of one mind but um reaches across a lot of minds i mean that the the sort of sense of god the father might be part of that um and i wanted to read another section where he describes the power of that and begins to introduce us to his notion of archetypes um which is how he describes this part of our imaginative lives so this is from a paper um called um the transcendent function just a few sentences but again to get some sense of how jung could talk about this um so he's talking about archetypes here and i'll say a little bit more about what archetypes are but let me just read this passage first he said um many of them appear spontaneously in dreams and so on and more many more can be made conscious through active imagination in this way we find the thoughts feelings and affects are alive in us which we never have believed possible naturally possibilities of this seems sort this sort seem utterly fantastic to anyone who has not experienced them himself for a normal person who knows what he thinks such a childish attitude on the part of the normal person is simply the rule so that no one without experience in this field can be expected to understand the real nature of archetypes with these reflections one gets into an entirely new world of psychological experience provided of course that one succeeds in realizing it in practice those who do succeed can hardly fail to be impressed by all that the ego does not know and never has known this increase in self-knowledge is still very rare nowadays and is usually paid for in advance with a neurosis if not something worse so here he's moving us on a bit um and suggesting that there are kind of dynamics and forces at work inside our psyche um that we may personally be unrelated to in sense of being the creators of them and yet they have very powerful effects on our lives now in a way this isn't so surprising um because archetypes for him for young included for example the ability of a bird to build a nest even when it's never been taught or seen a nest being built um that for young is one kind of archetype i think some birds do learn how to build nests from watching um but many don't i understand um another archetype would be those that are often explored in mathematics so you might say there's an archetype of a triangle it seems to have a kind of existence that maths discovers rather than creates and many mathematicians do have this experience of exploring a kind of archetypal world um so that sense that there's more going on in the inner life of things um than we often assume certainly these days actually makes quite immediate sense um but he thought that um there are archetypes in our own psyches too um and a common one that's discussed nowadays is the archetype of the shadow and this is parts of ourselves that we don't like for one reason or another we try to keep at bay but that very act of keeping it at bay sort of forms it into what young called a complex which is a kind of entity that has meaning and affect attached to it by us often in this case anyway um affect of fear and it has a kind of autonomous life of its own and we may often not know about our shadow um it just pops up every so often when we meet someone and for some reason we don't really understand can't bear to be in their presence say um and one possibility there is that this person is too close to the shadow inside you um and so when you see them you are also unconsciously seeing your shadow and want to get out of their presence and then he also thought that um what can happen is that at the collective level some individuals or maybe some saints embody collective archetypes as well and that's why they become so impressive and so important i mean you might wonder why some politicians for example um we seem to relate to them as more or less successful politicians whereas other politicians we seem to relate to them in a much um more sort of strange and bigger in a way more powerful way um and that jung would say is because they are embodying or personifying archetypes for us all um and you know figures like say trump or figures maybe even like boris johnson here in the uk um people don't really relate to them rationally um they relate to them in a more visceral or primitive way and you know certainly in trump's case it's one way of understanding how he can so divide america um that one group of people see him as one kind of archetype and maybe the trickster savior something like that whereas others look at him and see him in a completely different light and see him as um you know maybe mad or maybe devilish or whatever it might be um some public figures do seem to take on this bigger role and young would say that's because they embody an archetype and then of course in in religions in spiritual traditions um saints and gurus and um wise figures you know they may in part be very wise um but when they um take on a life of their own um and um the devotion to them say becomes somewhat excessive um or when after they die um they're remembered through icons and stories and myths and so on um young would say that's because they become personifications or embody an archetype that it's important for us to relate to so we're coming to 20 past nine already um there's more that could be said about this um i hope this is nudging us towards how jung would understand the imagination helps us to see the divine which he became clearer and clearer about towards the end of his life um you know the imagination in this area is kind of the intermediary zone um where our own individual life in a life um if you know it well enough then you start to be able to discern what's your stuff and what is wider stuff and stuff that you can relate to as independent of your own psyche even if it's received through your psyche and the great spiritual adepts for example are the ones who don't project onto god um but do start to see something of the divine as the divine reveals itself to them through this powerful imagination through this sense of wonder through the sense of curiosity that is the purpose of the imagination um that einstein pointed to and used so well in science but in the spiritual the religious sphere um but it's you know it takes a lot of work um and um i guess many of us most of the time in our spiritual religious lives are dealing with a sort of strange amalgam of our personal stuff and more objective stuff and maybe that's why we need organized religions that if we're lucky have done some of the sorting out for us and so help with that discernment um but also you know spiritual practice in one way or another can be thought of as first of all becoming familiar with our imaginative lives inside in the union sense in order that we can start to discern what is what you know where it's coming from our own energy and to do with our own immediate pasts where it's perhaps coming from the culture in which we live that aspect and there may be even a sense that something has a genuinely transcendent life of its own as well

Channel: Mark Vernon

Views: 4,087

Rating: 4.9183674 out of 5

Keywords: Carl Jung, Jung, Depth psychology, Analytical psychology, Jungian, imagination, active imagination, dreams, archetypes, Mark Vernon, Einstein, psychotherapy

Id: jjJctjhav_s

Length: 44min 22sec (2662 seconds)

Published: Thu Jul 30 2020