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In our blog, you’ll find information about metaphysics and spirituality from Lazaris and Jach, excerpts from Lazaris recordings and interviews, and travelogues from Jach’s adventures around the world.


Empowering Your Imagination

Sunday, May 08, 2016

Blog: Empowering Your Imagination

By Lazaris

A Four-Week Process from the Connecting with Lazaris series "Empowering Your Imagination" (excerpts)

It is a pleasure to be connecting with you once again this month. We want to welcome you, for it is a pleasure to connect with you, to be with you. And over the next twenty-eight days we want to work with empowering your imagination.

Now previously, we have worked with improving and enhancing your visualization. If you haven't worked with this process, we would strongly encourage working with it simultaneously with this, or to set this aside for a bit, and work with improving and enhancing your visualization. Or you can continue with us at this time. It's all right. It's your process, and whatever works for you, certainly so ...

This time, we want to work with you to help you improve the quality, the intensity, and the value of what it is that you are seeing so that you can work with it. We want to help you enhance that capacity, to empower your imagination so that you can work with what you find more vividly, more powerfully.

There is so much to be gained, not from the fantasy, though that can sometimes be fun, but from the fantasia -- from the truth that is revealed from the Unknown. Indeed, visualization is important so as to visualize what you see from the Unknown, from the invisible. But you also need to enhance, strengthen, and empower your own imagination so that those fantasias, those wonderful truths and realizations, can be as vivid and as vital and as powerful and as empowering as your own imagination is becoming.

And so, as we look to working over these next 28 days, it's important to understand several things about why it is so vitally important to work with empowering your imagination. Why not just improve your visualization, leave it at that, and leave your imagination alone? Who needs it anyway?

Well, there are several reasons why your imagination needs to be there and why you need to empower it.

First, and perhaps most obviously, is that there are three tools with which you work with reality. Oh, we have talked of this so very frequently, we know: There are the raw materials that you use, three tools, only three. No one has any more. Some people's tools are sharper, some people's tools are forged more powerfully. Some people's tools are used more frequently and with more adroitness and more adeptness, that is true. But nobody has any more tools than anybody else. And as you want to look at those people who are so successful, and assume they know some secret, know that they do not. They have the same tools that you have: desire, expectation, and imagination.

And the greatest of these is imagination, for it is what sparks your desire and expectation. It is through the imagination that you intensify and deepen and stretch and expand your desires and your expectations.

If, indeed, you had no imagination -- and you can't really imagine what that would be like -- then you would desire nothing. There would be nothing that you would ever desire or ever expect.

You know, you run into some people sometimes, out there in the consensus or within your reality, who seem to have no desire. And they seem to have no particular expectation. "Whatever happens, whatever comes, I don't expect, I don't know." And it's not because they have no imagination. Indeed, you have to have enough to create a reality around you, certainly so. But because their imagination has no power, it is not being empowered, it has no authority, it has no permission to function. And therefore, the desire and expectation have waned.

Well, to that end, without imagination, you would have no desire, no expectation. And if you will empower your imagination, so you will empower your desire, and so you will empower your expectation.

And in this most monumental decade, it is so important that you have an empowered desire, an empowered expectation, so as to chisel, to carve, to tool your reality out of all those raw materials -- with the sustaining and generating energies -- in order to produce the reality you want. And therefore, that reason (even if there were no other) would be significant enough for you to empower your imagination -- so as to empower the desire and expectation within you as well.

And we would suggest beyond that, of course, dreams do spark your imagination. When you dream at night, you spark your imagination. Even if you don't remember those dreams, even if you wake up in the morning sure that you didn't dream anything, you absolutely did dream. And those dreams absolutely did spark the imagination. Indeed, they did empower your imagination to some degree -- sparked it perhaps, sharpened it, titillated it, woke it up in some capacity. Night dreams, whether remembered or not, do spark your imagination. They do feed that imagination.

You see, the body doesn't need to sleep. The body needs to rest, admittedly so. Your heart, your liver, your lungs, the digestive process, the entire homeostatic process in the body, everything that keeps you alive and healthy -- none of it needs to sleep. None of it does sleep. All of it rests.

But, we would suggest here that you need to sleep, you see? You're the one who needs to sleep so that you can dream, because your brain needs that energy. When you dream, the energy that sparks, the electricity that goes off, the chemistry that happens is so vital. You can hook up to mechanisms, and they can measure it all, absolutely. They don't always know what it means, but they can measure it, certainly so. All of that is essential to you, because that's what sparks your imagination, which then further feeds you and gives you the tools so that you can have a reality. That's why you sleep: You sleep so that you can dream.

Well, we would suggest that as you can consciously work with it, you can spark that imagination even more, because, you see, the dreaming just keeps it functioning. It sparks it, but it doesn't empower it. You need to empower it. You can consciously empower it and then that empowered imagination, similarly, sparks and empowers all your dreams, not just the night dreams, but it sparks and empowers the day dreams, the conscious dreams, the meditations that you have, the gestalts that you are aware of, the intuitions that you work with, the visions that you create.

And we would suggest here that it works with your reality dreams, yes, absolutely so. In other words, you dream at night, and that sparks your imagination. A sparked imagination, that is further empowered consciously, will turn right around and engage all the other kinds of dreams. It will engage your conscious dreams, the futures that you're creating. It will engage your meditations, to empower them, to make them more and more of what they are, and what they can be.... one of the most powerful and most positive motivations in your life is to explore the multidimensionality of the illusion.

It will engage your intuition, to make it sharper, more attuned. It will engage the gestalts of awareness, those "ah- ha" realizations that are so eagerly sought, those peak experiences as they are called. And similarly, your vision for a future will also make your night dreams perhaps more vivid.

But even short of that, all the other dreams will benefit. And that's why it's so important not just to spark your imagination, which you do at night, but to empower it, and to empower it consciously so that all the daytime facets of dreaming -- the conscious dreaming, the meditations, the gestalts, the intuitions, the peak experiences -- can also be empowered.

Another reason why it's so important to enliven your imagination by empowering it is that one of the most powerful and most positive motivations in your life is to explore the multidimensionality of the illusion.

Now, when we talked most recently of longevity and immortality, we spoke of why. Why do you want to live forever? Why do you want to have longevity and immortality? And among the many reasons we gave, we spoke of that multiplicity of dimension.

You have a three-dimensional reality: length, width, breadth. And you work with that. But the idea is to work with it fully, to do so with panache, to do so with a grandness -- to experience all the length of life, thus to live a long time. To experience all the width of life -- to experience success in as many arenas and as many areas as possible and to impart yourself in as many parts of your life, as widely as you possibly can. And with the depth to reach the intensity, the power, the beauty of what life can hold, absolutely so.

And yet, there is a fourth dimension that your science already tells you about. That fourth dimension is space-time.

Space-time: where you take length, width, and depth and stretch it and work with it to curve it into a circle -- to make a torus, a mathematical word that describes something that looks, perhaps for all intents and purposes, like a doughnut, yes? A doughnut with a hole in the middle, a doughnut that is therefore round and spherical at the same time. This is a torus, and we would suggest here, it's a term that implies something that is shaped such that you can get into it and never get out of it, going around and around and around, seeming to go on forever. It is something of a Mobius strip, we would suppose, in the topographical understanding of that word.

Well, the fourth dimension of space-time is like a torus. It is a circle, and it is more than a circle. It is a sphere that is a three-dimensional bending of time-space. It is a bending of length, width and breadth that produces space-time. That is the fourth dimension.

But you know something? There is another dimension out there. Oh, there's more than one, but the dimension after the fourth dimension is the fifth dimension (we're not talking about some singing group out of the Sixties) -- and the fifth dimension is imagination.

Now you know imagination as a tool. You know imagination as flights of fancy. You can't imagine imagination as a dimension. But, in fact, it is a whole dimension of reality that has the same kind of power, the same kind of force that length, width, and depth have. It has the same sort of intensity. And you know how much you believe in three dimensions in your illusion. Your three dimensions can scare you, can terrify you, can glorify you, can celebrate within you, absolutely! And imagination is that intense, that powerful, that strong. But you can't possibly begin to understand that, or grok that, or hang onto that in any capacity, unless you empower the imagination you have now as a tool, a powerful tool, the most powerful tool you've got.

And that's how you set yourself up, line yourself up, engage yourself so that someday, somewhere down that line, you can slip through -- not getting caught in space-time as everybody seems to do. You can slip through that fourth dimension to touch, to tap, to glimpse, to glimmer, and eventually to immerse yourself in a dimension of reality called imagination.

Now, for some of you, as we speak this, it may mean nothing at all. That's OK. But we must speak it anyway, because there are those among you who can understand, who feel a tingle in the backs of their necks, who can feel the goose bumps beginning to rise. You can feel that "yeah" sort of sensation at the very thought of it, and you don't even know why.

But we would suggest that the fifth dimension of imagination is connected to those with a stellar connection to the Pleaides or certainly to Sirius. And we would suggest it is a connection to those of you who are reaching and stretching and wanting the growth and evolution in your spirituality to be even more of reality. For those of you who are not there yet, that's all right: You will be, you will be. And in time, when you re-understand and re-work with this, it'll make all the sense in the world. But nonetheless, that's the third reason we suggest.

Another reason (though certainly not the last) is that there is a future out there: There is a future out there that is a brand new future that has never been dreamed before. The great mystics and the great sages of the past never could have picked it up, never could have even had an inkling of it, because it simply wasn't there.

The great Enlightened and Exceptional Ones of the past who truly did choose for themselves a totally positive, absolutely positive, future, couldn't have chosen this future because it literally wasn't there. It did not exist even twenty years ago in the early 1970s. It didn't even exist. It has only been in the last decade, in the 1980s, that this future has been conceived. There has been the conception of a future that never existed and is embryonic, and now is in its perhaps fetal stages.

And you, as Mapmakers, are the midwives of this future, and you will practice your midwifery. And one of the most important keys to the midwifery of giving birth to a Virgin Future is empowering your imagination. One of the most important keys to a miraculous future that has never yet even been fully understood, and certainly not conceived before now -- a miraculous future that you can't even yet believe -- is to empower your imagination.

For these various reasons -- and certainly, you can imagine a whole bunch of them for yourselves -- we want to work with you to empower your imagination.

Well, we're ready to begin this twenty-eight day exploration to empower your imagination.

Now, you can work with this a week at a time, or some of you may want to take a longer time and therefore rather than spending seven days with each cycle, you may want to spend 14 days or 21 days with each cycle. And that's fine. Let us begin.

Week #1: Pictures

What we want you to do the first week is to find a picture in a magazine, in whatever source. We would recommend a magazine so there can be a really colorful picture. It can be National Geographic or any kind of magazine for that matter. It doesn't have to be a photograph, however. It can be a painting. It could be an illustration, a Monet painting or something of this sort.

We want you to find a picture of something in nature, an outside scene of some sort. It doesn't have to be a forest necessarily. It could be similar to your Safe Place, but it doesn't have to be. We want you to find some kind of picture of something that's outside in nature that delights you, that intrigues you, that you find really beautiful or somehow stunning. It is somehow very wonderful, intriguing, mystical, magical. Something about it that really draws you to it, and you just really want to stare at it.

We want you also during this first week to find a picture of something -- again from outside, from out in nature -- that either frightens you or disturbs you or that is unpleasant, something that you don't like very well at all. It isn't grossly ugly or grotesque in any capacity. It is not sickening, no. But it is just disturbing or unpleasant, or even frightening, in that way. Maybe it's a scene at night of a city street, in that particular sensing, and "Ooooh, I can imagine the terror that could occur here." Or a back alley. Or maybe it's a daytime shot of some skid row area, in that sensing. It's just really an unpleasant sort of picture.

And we want you to cut both of them out. You don't have to frame them or mat them or anything like that, but just cut them out. And what we want you to do with each of these is stare at them. Stare at them and imagine what's behind the things you can't see. What's around the corner of that building? behind that tree? on the other side of that rock? It could be a pathway that turns and leads out of the picture.

What's beyond that? What's on the other side of that? What's in that boat? What's in that building? What's on the other side of that shadow? Just imagine, just imagine all kinds of things. Just let your imagination run wild.

Similarly, then, we want you to now look at the second picture, the ugly or frightening picture. And we want you to do the same thing. Stare at it and stare at it. You're not meditating this week, you're just staring at the image and imagining what's beyond sight, what's out of view, what is happening that you're not seeing. Then we want you to go back to the beautiful picture again. Go to the delightful, intriguing image, and once again look at it.

Now, you find the picture you really want to work with -- and you need to work with it over the whole period of time -- so make sure it's the right picture. Don't just pick something haphazardly. Really take your time to find it. And then REALLY stare at it. REALLY look at it. Lose yourself in it. Imagine, both with the intriguing one and the frightening one. And then to end on a positive note conclude by going back to the delightful image and looking at it again, and imagining maybe a little further, picking up where you left off and going a little further -- or look at a different part of the picture and go a little further.

And that's the activity. Now, you may want to record what you experience, or you may just want to live with it, holding it in your head. Either way, this is the first week's activity -- whether it takes you one week, or two, or three, or four. This is the first phase and how to work with it.

Week #2: The Music and the Shoebox

Now that you're ready to move on, we want you to pick some music, instrumental music, that you particularly like. Many of you have a library of New Age music, or have other kinds of instrumental music. It doesn't have to be that you're going to go deeply into meditation, you see. Just instrumental music. And maybe as you understand, that'll help you make your choice.

What you're going to do is play this music, and you're going to play it maybe with earphones, or just into the room, etc. And you're going to close your eyes, and you're going to let the music take you, carry you. And you're going to visualize a shoebox. Yes, a shoebox. If you're a woman they look maybe pink, or purple, or blue, or whatever. If you're a man, they're often white, or grey, or black. But in that sensing, you imagine a shoebox, an ordinary shoebox.

And we want you to visualize it as best you can. Use the visualization abilities that you've already enhanced. And we would suggest here then, in that particular regard, we want you to open the box and discover what's inside. Discover what's in there. And let it be wild and woolly in your imagination. Discover what's in there.

Now as you work with it, in that particular capacity, you open yourself up to it in that way. Again, you don't have to use just meditative music. You might like something very jazzy, something very uplifting. You might like certain stirring, rising music from your favorite movies -- like some of John Williams' music or whatever. It's not so much to create the meditative state as it is to create an imaginative state. So the music may be very loud, very fast, very up-tempo, very slow, very classical, whatever you want. Perhaps you go to your safe place, perhaps not, but visualize a shoebox while you play the music.

Then every day, each of the seven days that you work with this (or over a week or two or more) we want you to open the shoebox and see what's inside.

Now, let your imagination be wild. It may be something that would fit inside a shoebox. You know, is it smaller than a shoebox? Let it fit inside a shoebox. It may be a trinket, it may be an ornament, it may be a wonderful gift, it may be a very strange gift. It may be that you open it up and suddenly there's a huge automobile. Or there's a huge tiger, or there's a huge forest that just sort of pops up, you know, sort of like one of those greeting cards that when you open it, the inside sort of stands up. Who knows what'll be there? That's the idea: to find out what's there.

And use the music, for it will flavor and color the tempo and the temperature of your imagination. So work with that. That is the second phase, the second week. A little meditative work indeed.

Week #3: The Seven Treasure Chests

And now you're ready to move on to the third week of activity.

In week number three, what we want you to do is to put together a different kind of imagery altogether. We want you to go into meditation (if you want to tack this onto another meditation, that's fine) and visualize that there are seven treasure chests.

Now, visualization is important here. Let yourself get very involved with the visualization. Open all of your senses. Go into that meditation visualize these seven chests, all of them. Maybe they'll all look exactly alike. Maybe they're exact replicas of one another. Maybe each of them is subtly different, or each of them is grandly different.

But we want you to see one, and then two, and then three, and then four, and then five, and then six, all seven of them. Not one at a time, but eventually you see all seven of them sitting there in front of you.

And each day, then, we want you to open one.

So once you've visualized all seven of them, touch them. Open your eyes, your senses -- your sight and your hearing. What do they sound like? What do they smell like? What do they feel like to the touch? What are they made of, etc.?

Then we want you to open one and see what's inside. See what's inside. Now a treasure chest is going to be different than a shoebox, so it may be more magical. It may be less magical. It may be a wild and woolly adventure. There may be any number of activities in there. Let's find out. Each day you open one.

The second day when you come there, one box is already opened. And there are now six, and you open the second one. Or a second one, let's say, because you don't have to go in order from left to right, or right to left. You can use your imagination. Maybe this is the one you open now and work with.

The third day you enter the scene, there are two boxes open and five of them left. And now you open that third one, whichever one you want.

And you work your way along. And with this phase we would encourage you to record what you find. You may have done that during the second week (or second phase), but for sure record the third phase in your notebook. Keep track of the wild and wonderful, the enchanting, the frightening, and the glorious things that you find within each of those treasure chests for each of the seven days in which you work with it -- whether it takes a week or two or three or four weeks to get through the "seven days." Work with it in that capacity.

And then you will be ready for week number four.

Week #4: Problem, Resolution ... Imagination

This week's activity is a little more intricate so we'll go slowly in describing it so that you don't wonder and concern yourself about whether you're doing it correctly.

What we want you to do is to retrieve that picture that you used during the first phase -- the particular delightful, intriguing picture -- the wonderful picture that you worked with, imagining what was behind this and behind that. Retrieve that picture.

And in the first day of this phase four, what we want you to do is to imagine that somewhere within that intriguing picture is a particular problem that you're trying to solve.

Now it's a problem that you have, and it can be physical, mental, emotional, spiritual, esoteric -- any nature of problem that you're trying to work with. You may want to develop a deeper relationship with your Higher Self or cure a particular malady, solve what's going on in your relationship, improve work conditions, find an answer to this or to that. Whatever the problem is, it doesn't matter what it is.

Pretend. Imagine. Use your imagination, eyes open, without meditating, knowing that somewhere within that picture is contained the problem and the answer. Meaning: Somewhere within that picture is contained the clarity of what the issue is really about, what's really going on -- and the answer of how to solve it, how to find resolution.

Maybe it's behind that tree. Maybe it's over there behind that rock. Maybe it's along that pathway that twists and ultimately leaves the picture altogether. Maybe it's buried underneath that rock. Maybe it's up in this tree. Maybe it's in that building, in that shed, behind that .... Maybe it's lost in those shadows over there in that hollow tree trunk. Or maybe it lies down that paved road, or in that little village over there, or on that hillside. Whatever the picture contains. Just imagine.

When we say imagine, we mean imagining, "Hmmm, I wonder if it's there?" and letting your mind work with that, let your imagination begin to sort of play with the idea. Maybe the problem is tucked away over here. What would that be? How would you go about finding it, discovering it? How might it show itself to you? Or what if it's over there?

The first day and the second day we want you just to imagine where it is. Place the problem somewhere in the picture, know it's there, and know its resolution is there. Just think about it. Just imagine with your eyes open. What would it be like? Maybe for 5 minutes, maybe for 10 or fifteen, and then set it aside.

On the third day what we want you to do is now retrieve that picture and the second week's activity, the music. We want you to play the music as you go into meditation and then go into the scene.

Find yourself in the midst of the scene. And on the third, fourth and fifth days (or the third, fourth, and fifth times you do the meditation) we want you to explore the scene. 

You'll be looking for the problem, but not finding it. Maybe make your way across the terrain to where you thought it might be, only to discover it's not there. "Ok, I thought it might be over there, also." So you might trudge on over there and find it. "Nope, it's not there, either." Maybe you'll look in the third place today and that's all, because you're taking your time to open your senses, to use your visualization ability, but also to expand and then stretch your imagination by searching the third day, and the fourth day, and the fifth day.

All the while, the music is playing gently in the background. All the while you are looking in the various places that you anticipated that you would find the problem and solution. Only you come up empty-handed.

The sixth time: Again with the music playing, you go searching. This time you are going to find either shoeboxes or treasures chests that will give you further clues, further insight, further analysis, further understanding.

You don't know what they'll give you, but you'll find out as you open the various shoeboxes you happen to come across -- shoeboxes that may be indigenous or not at all indigenous to the scene that you've created. Or you may find treasure chests which, again, may or may not be indigenous. But you will find clues.

And you will jot these clues down and try to do whatever ciphering and whatever sleuthing work you can do, certainly so.

On the last day, you will go into meditation. Again, with the music, with the picture, finding not the treasure chests and shoeboxes this time, but rather finding the clarity on the issue you want to solve and finding resolution -- finding solution.

And as you do that, as you work with that, not only will you solve a particular problem that has been at hand, but you will also be empowering your imagination beautifully and incredibly -- not just your visualization capacity, but the very strength and power of your imagination.

So work with it in this way in this period of time, and you will have a delightfully wonderful time.

And with that we do close, and to each of you we close with love -- and know that as long as there is Light, we shall love you -- and peace.

Lazaris


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