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@sillymickel.bsky.socialOct 16, 2026, 1:07 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022)
Ch 46, p. 21

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The movie Jumanji with Robin Williams employed this idea labori- ously and dramatically, with people going through walls into other times and places. That film also included perinatal elements such as stampedes of gigantic jungle animals and even floods. Hence, the movie depicts that going back into the womb can be quite negative, as we will see in the next few chapters. In Jumanji we see beasts that can devour or crush one, but also enveloping waters; these are all womb and birth symbols. In fact, when the flooding waters came through the wall, to accompany this element there was even the “mandatory” fight with a toothy beast! “Mandatory” because battles or fights in film always reflect our first “fight” and struggle — that is, to be born. The prevalence of battles, wars, and fights in film only highlights the importance of birth in the psychic “economy” of our societies and cultures. We have, also, the Stargate series of movies and TV programs. They all depict a round, membrane-like portal through which one goes to another faraway world where dangers are faced and adventures are to be had. In the initial Stargate movie, one plot element that stands out is the trepidation and dread that the journeyers express about going through the membrane barrier for the first time. Much is made of this in the film. For there is no way of knowing what exactly lies beyond that doorway. It is all… 46. HEAVEN Page 21
@sillymickel.bsky.socialOct 15, 2026, 7:16 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxxiii

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Whatever it is, it would necessarily be Truth, or truths, far beyond what we come up with enslaved as we are within the boundaries of concepts formed from our early, our profoundly influential, experiences. An example? What is the reality we experience before we have the one of duality when we come into Form as cells, as sperm and ovum? When we experience not just separation, from father and mother, but then duality in the coming together of the two at conception? At that point we have laid — through the experiences we have had there of duality — a foundation for seeing all the rest of the Reality we will experience in life in terms of male and female, separation and union, struggle and peace, pleasure and pain, satisfaction and discontent, inner and outer, and all the rest. But what was Reality before we stamped that particular cookie cutter on Reality? What was the bigger “game” or the larger reality outside the game before those rules of consensual reality, involving dualism, were initiated? At this point we are metaphorically looking for what the “room” looks like that we are sitting in when we are playing the board or virtual reality game of life. What is the “setting” like? What are we like? Who else… PREFACE. A DANCE OF THE SEVEN VEILS Page xxxiii
@sillymickel.bsky.socialOct 14, 2026, 10:02 PM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self*

Ch 46, p. 21

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46. HEAVEN Page 21 …adventures and scenes, like some kind of animated version of Sliders, the 1990s television series. The evidence does appear to be that — much like in the Tardis of Doctor Who — we have access to the world outside and indeed the entire Universe and all time from our time-capsule wombular state. Through the Looking Glass And of course these are only the tip of the iceberg of works of literature, film, and TV that could be given: the magic mirror, often an antique one (of course), which opens up to another horrible or wonderful place or to a time in the past; or the secret passageway in a wall that opens, by means of some magical or technical maneuver and takes one into secret places — both wondrous and hideous. The hearth that spins around is particularly telling in that the hearth may be considered the “heart” or center of the maternal in the house, the prime source of heat and nourishment — as when in previous times it was the place in which the food was actually cooked. There are many other examples.
@sillymickel.bsky.socialOct 14, 2026, 6:30 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxxiIi

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PREFACE. A DANCE OF THE SEVEN VEILS Page xxxiii …species makeup, our biologically constituted realities; as opposed to the bioculturally constituted realities, which are more variable and that come in with the influences of culture in later womb life and at birth. The result and aim of looking at our perceptual prejudices, from birth, womb, and conception, as will be done in the two books — Womb with a View and Cells with a View — is to arrive at something astounding. As I said in The Secret Life of Stones, the way to get a peek outside our biologically-constituted realities, the way to go ec-static, is to drop our vanity and self-congratulation at all levels. But now more. A Dance of the Seven Veils For, in these five books — Dance of the Seven Veils I, II, and III; Womb with a View; and Cells with a View — I will show how we can view even beyond that into what is the Nature of Reality. How? By peeling away not just the Veils of Ego and vanity — especially as manifest in our universal and utterly intractable anthropocentrism, as I showed in The Secret Life of Stones — but the Veils also of even more fundamental primal pain and early experience. Our earliest experiences form, they create, our prejudices about Reality. So what would we see, what Reality would reveal itself, with those constraints lifted from our eyes?
@sillymickel.bsky.socialOct 13, 2026, 10:10 PM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by Michael Adzema.

Ch 46, p. 20

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It is often the place of beginnings, of stories, the “once upon a times” that bookend the “happily ever afters” occurring at the end of stories. Snow White’s early life, living with the dwarves and in harmony with the planetmates of Nature is a depiction of this heavenly BPM I. So also, as I mentioned earlier, is the representation of the planet Pandora, which is the setting of the movie, Avatar. For it is a depiction, just like in the Garden of Eden, where things are wonderfully harmonious, peaceful, and significantly, events unfold in close proximity to a World Tree, which represents the mother, and more specifically the all-nurturing placenta. Notice in all these that the peace is disrupted. Which points to the painful aspects of birth arising over time. In the case of Avatar, a fight ensues, which is the most common representation of the end of the harmonious time and is the most accurate in reflecting what happens to us in the womb, with the onset of the birth struggle. In this category of film and literature we also have Alice going through a looking glass to enter Wonderland; Dorothy and Toto in The Wizard of Oz being transported — in their house, naturally, for all enclosures are womb symbols — to another realm, the Emerald City; and the back of the wardrobe opening up into the other land of Narnia in the classic children’s series by C. S. Lewis titled, The Lion, The Witch, and the Wardrobe. In another prenatal depiction, Howl’s Moving Castle, a floating, traveling house takes the occupants to different places and into various… PERINATAL SHOCK ... BIRTH TRAUMA Page 20
@sillymickel.bsky.socialOct 13, 2026, 7:40 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxxiI

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This is where — at the peri-conceptional experiences — we are looking more at the biologically constituted as opposed to the biocul- turally constituted realities. For, while our experiences in the womb and at birth are much influenced by the mother’s experience in her culture and thus the way those events are construed in her culture, there is not a lot of influence from culture on the way conception experiences unfold. Not a lot, but some. Certainly the health of the father and the mother go into the configuration of these primal events, somewhat, and that is affected by culture. Without doubt, the emotional and psychological characteristics of the parents, which are influenced by culture, influence their very cells, including their sperm and ova. And astonishingly, with test-tube babies and other high-tech, modern interventions into the processes of fertilization and conception going on, suddenly there are huge influences on its processes emanating from culture. We can only wonder, at this point, what kinds of beliefs and notions about the Universe will be had by those who come from such laboratory origins. However, that to the side, there is a great deal of uniformity in our experiences at and around conception. Whereas there is far more variability and cultural input with each advance of time in gestation. Thus it is that we live in pretty similar physical worlds because we have rather the same experiences, peri-conceptionally. These events are part of our… DANCE OF THE SEVEN VEILS II Page 32
@sillymickel.bsky.socialOct 13, 2026, 12:20 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by Michael Adzema.

Ch 46, p. 20

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PERINATAL SHOCK ... BIRTH TRAUMA Page 20 “There’s No Place Like Home.” Many are the movies and artistic creations that point to this time in the womb — this time of sojourn in a magical world, bringing with it its possibilities for some noxious elements and unpleasant experiences. We have this memory of another life — where we lived in a completely different state, the womb — showing itself every time there is some kind of crossing of a barrier into another realm. We see how going through a membrane into another realm can take one into another place where one has adventures and rediscovers important understandings or is trans- formed or matured in some way. Remember, in the womb we existed in liquid, not air, and we received oxygen through an umbilical cord — much like a deep-sea diver through her or his air hose — not through breathing. Our umbilical cord was part of us, like another limb, and through it we were attached to a placenta, which was also felt to be a part of us; as well as it was felt to be an interface with the Benevolent Mother, the Goddess. So, our womb state was most definitely a different realm, and the closest thing to another dimension we ever experience in life ... with some very rare exceptions only. It is often the place of beginnings, of stories, the “once upon a times” that bookend the “happily ever afters” occurring at the end of stories. Snow White’s early life, living with the dwarves and in harmony with the planetmates of Nature is a depiction of this heavenly BPM I.
@sillymickel.bsky.socialOct 12, 2026, 7:07 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p xxxiI

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DANCE OF THE SEVEN VEILS II Page 32 Book Six, Cells with a View The book following Womb with a View in The Path of Ecstasy Series of books is to be Cells with a View. In it I will show how the events around conception, this time — the peri-conceptional experiences — configure even more of our biocultural matrix even prior to our “beliefs” about things outside the natural. It is my view that our very perception of Form reality is created here. You might say this is where we not just read the rules of the game we will be playing in life, we imprint them on all of what we will perceive ever after in life. The Cellular-Formular Veil So, prior to religious and spiritual beliefs we have seemingly indisputable assumptions impressed on us related to the existence of duality in the world and the existence of space as well as time. If we accept a mystical position that both of those are illusions, then it is my contention that we can look to our pre- and peri-conceptional experiences and events as to why we have such deep-rooted assumptions about reality, such “illusions” as to the existence of space and time. This is where — at the peri-conceptional experiences — we are looking more at the biologically constituted as opposed to the bioculturally constituted realities.
@sillymickel.bsky.socialOct 12, 2026, 1:30 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by Michael Adzema.

Ch 46, p. 19

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“A Womb With a View” — showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life. This plot idea was also an amazing, perhaps synchronistic, mirror image of a short story I wrote in 1979 titled “Birthing, Forgetting.” 7 Indeed, my first title for that piece actually was “A Womb with a View.” This, remember, was in 1979, long before the television episode. Incidentally, because the short story presents the information of this part of the book in a literary form, I reproduce it in the next chapter of this book. It is an excellent place for you to read it. The reader can get a vision of all these elements working together and a better sense of the experiences we undergo in the womb In any case, I point out the personal synchronicities because they speak of a “morphic resonance” phenomenon indicating ideas whose time has come. For, we can look to art to see what is coming next in our cultural evolution. Be that as it may, the episode of Moonlighting is further proof of the growing belief in womb consciousness and interest in perinatal events. 46. HEAVEN Page 19
@sillymickel.bsky.socialOct 11, 2026, 7:30 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxxi

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In doing this clearing away of fear- and pain-laden prompts to our perception and interpretations of it, we might approach that view ec-static, that cosmic overstanding that is normally denied us out of the fact that we have such powerful determinants on our perception at the beginnings of our lives as the traumas prenatally and perinatally. So it is that in Book Five, Womb with a View, I continue the explo- ration of the Veils across our perception of clear Reality begun in The Secret Life of Stones and continued in these volumes, Dance of the Seven Veils I, II, III. Specifically, I do this regarding the perceptional configurations arising from our experience in the womb. I touch as well upon some of those emanating from our experience of birth and the events around conception. However, the elements of mythology surrounding birth are addressed already with thoroughness by Stanislav Grof, so I leave that to him, and I bring his insights forward with appropriate credit. And the elements of mythology peri-conceptionally, that is to say, emanating from the events around conception, while introduced in Dance of the Seven Veils III, and touched upon in Womb with a View, are taken up in greater detail in the book following, which is Book 6 in the Series. Book Six, Cells with a View PREFACE. A DANCE OF THE SEVEN VEILS Page xxxi
@sillymickel.bsky.socialOct 11, 2026, 1:31 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self*

Ch 46, p. 19

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46. HEAVEN Page 19 …sperm, who will unite within this blissful womb and in league with the World Tree, the placenta, create everything anew. So new beginnings often have this kind of BPM I imagery. There is the famous ending of the movie, 2001, just mentioned, of the bright fetus within a silvery sphere floating in the perfect peace of space. Bowman, the astronaut, is alone in space at the end of a long journey that gradually got out of control, helped along by a computer, called Hal, which had gone rogue and become sinister. That plot development represents humans at the finale of our trajectory of technological progress, having gone as far as we can with machines alone. However, where death should come, instead Bowman transforms into a giant fetus, surrounded by a transparent orb of light, looking like a new-born star. It is a fetus appearing as the contented and aware one of a BPM I state — wide-eyed, receptive, and glowing ... and obviously at peace with its state in the Universe ... with unknown yet magnificent new beingness before him. Along the lines of us having greater awareness during our fetal state, there was a very interesting episode of the Moonlighting series in the late Eighties which — coincidentally employing an article and book title of mine, “A Womb With a View” — showed Bruce Willis in a womb-like enclosure as a fetus viewing, with the help of a higher spiritual ally, the upcoming events of his life.
@sillymickel.bsky.socialOct 10, 2026, 7:38 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxxi

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PREFACE. A DANCE OF THE SEVEN VEILS Page xxxi …to conception, way before birth. So it is that in Womb with a View I bring out the mythological, psychological, and archetypal elements and relate them to underlying womb, and to some extent birth, events. Yet, in the book following this one in the Series, Cells with a View (expected publication, 2025), I do the same regarding cellular events, our experi- ences around conception, that is, peri-conceptionally. In both cases, wombular and cellular events, my view is that they overlay and configure the way we will view what might be considered truly non-Formular events or entities. What I will say is consistent with what I have laid out in The Secret Life of Stones related to biologically-constituted realities, in particular the bioculturally-constituted realities. Consistent with what I said there, my aim will be to show how by wiping away the distortive effects of biocultural experiences at birth, in the womb, and around conception, we might come closer to purer perception. This is how, indeed, we cleanse the doors of perception; that is, by clearing away the personal pain and pre- and perinatal trauma imbuing and slanting them, if not out and out creating them. In doing this clearing away of fear- and pain-laden prompts to our perception and interpretations of it, we might approach that view ec-static, that cosmic overstanding that is normally denied us out of the fact that we have such powerful determinants on our perception at the beginnings of our lives as the traumas prenatally and perinatally.
@sillymickel.bsky.socialOct 10, 2026, 4:09 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self*

Ch 46, p 18

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The movie plays on the element of weightlessness. It even provides a pivotal scene where Dr. Ryan Stone, played by Sandra Bullock, is seen floating peacefully in fetal position, slowly turning within bright light, surrounded by a circle. The scene was acknowledged to be a nod to the scene in Stanley Kubrick’s 20001, by the way, of the fetal, new star, floating in space; so that’s significant. Some of the floating scenes in Gravity were filmed underwater, to achieve that effect of complete weightlessness, peace, and balance. Everywhere you look in film and art, you see the prenatal and perinatal matrices. Just tonight I was watching, again, the 2009 movie with Nicholas Cage, Knowing. In it, our world comes to an end, in a cataclysm that kills everything and everyone. That is not the significant part. What is, is that two children, a boy and girl, are saved and taken to another planet to begin human life again. And what is that planet like? Well, it is beautiful, bright, and perfect ... completely natural with golden fields of grass ... and in the center of it, what the children are shown running toward at the end of the movie, is this magnificent, solitary, silvery shiny tree, another World Tree, much like the one in Avatar. Placenta again, you see. This scene is a rather clear depiction of a BPM I state beginning the world all over again, with two children, symbolizing the ovum and the… VEIL FOUR. PERINATAL SHOCK ... BIRTH TRAUMA Page 18
@sillymickel.bsky.socialOct 9, 2026, 8:01 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxx

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— it is curious to think what it might mean for these events, specifically resonating with our unique birth experiences, to have an existence independent of humans. While this might mean that they are rooted in a kind of collective unconscious that exists prior to and independent of any individual’s experience, still, that collective unconscious is humanly derived; it is distinctly and only human. In which case, we might wonder about the components of any Reality separate from the human: That is to say, what it is that might be true for humans as well as all other beings in existence, the other planetmates, any life forms on other planets or in other dimensions. In that light, in my endeavor here, in peeling back the pre- and perinatal overlays on human experience — even if they are rooted in some overarching reality, independent of any individual events ... like a collective unconscious — I am still aiming for a peek at the reality that exists outside them. It seems to me there is a huge amount to be gained by an attempt at revealing what is Real, what exists, outside the peculiar human perspective on everything that is so taken up, for humans, with our births and prenatal experiences. The second aspect of my difference with the Grofians’ view lies in that those events that configure our species worldview go all the way back… DANCE OF THE SEVEN VEILS II Page xxx
@sillymickel.bsky.socialOct 9, 2026, 7:25 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by Michael Adzema.

Ch 46, p. 18

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VEIL FOUR. PERINATAL SHOCK ... BIRTH TRAUMA Page 18 …are imagined rising in the air, as if floating up, or my own depiction of transcendence via a Jacob’s Ladder style of transformation of human consciousness. I describe a metaphorical “coming together of heaven and earth” in our near future, using the analogy of people and angels rising to and returning from the sky.6 In Modern Media That our early life is felt as weightless is also the reason we are enamored of the gravity-less experience in space. Not only does our media replay depictions of space walks and astronauts in floating zero-gravity environ- ments, but we are attracted to and seek to re-experience this. I remember two different reality shows where the participants were rewarded with a weightless experience caused by an aircraft descending from high in the stratosphere at such a speed as to create it. I am aware that the movie, Gravity, received the Academy Award for best picture in 2013. It was a huge hit that year, capturing our collective imagination for quite a while. Practically the entire movie is set in space in such a gravity-less environment. The movie plays on the element of weightlessness. It even provides a pivotal scene where Dr. Ryan Stone, played by Sandra Bullock, is seen floating peacefully in fetal position, slowly turning within bright light, surrounded by a circle.
@sillymickel.bsky.socialOct 8, 2026, 9:52 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxx

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DANCE OF THE SEVEN VEILS II Page xxx …saying that they would not occur except for the birth traumas, and to that they do not agree. The Mythological-Archetypal Veil I have a different take on it, however. I do not dispute that some of their view is true. I really do not know the ontological status of these birth-like mythological and archetypal symbols. Nonetheless, I view the actual events of one’s life as having strong determination on the way one views and interprets everything that comes after them. That would include these transpersonal and archetypal realities as being at least shaped, if not caused, by our early experiences. My difference lies in two things: One, that these events shape or they configure our religious and spiritual understandings, especially our re- ligious ones, is what I elaborate upon, especially in this book and the three following it. However, I do not know the extent to which these events create or originate these transpersonal realities. Yet, in view of the findings brought out in my works, Planetmates (2014) and Prodigal Human (2016) — which detail the way humans evolved (devolved) the peculiar kind of birth we suffer from, which is radically distinct from all of Nature — it is curious to think what it might mean for these events, specifically resonating with our unique birth experiences, to have an existence independent of humans.
@sillymickel.bsky.socialOct 8, 2026, 12:29 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by Michael Adzema.

Ch 46, p. 17

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No doubt, activities such as gymnastics, flying, and skydiving are reactions to these uncomfortable feelings. Such pastimes are attempts to run away from the discomfort of entrapment and no-exit — which feelings continue to plague us as adults, as we ever re-create that which we did not integrate and “process” at the time of initially experiencing it — which claustrophobic-like feelings superseded and overlaid the earlier bliss state. Thus, we seek to re-create and re-stimulate those earlier blissful feelings in us through adult experiences of weightlessness, swimming, dancing, surfing, hot tubbing. I need to add loving sexuality to that — particularly in its re-stimulating blissful memories of re-union with an Other who is all-accepting, all-embracing, and eminently kind. I need to include also the seduction of the experience of being religiously reborn.5 I cannot leave the topic of floating without pointing to the most obvious and frequent activity of humans to re-create the weightless experience of BPM I — swimming. Being in water simulates the gravity- free state of our earliest life. It is one of the commonest activities of humans. Naturally, in that same category would be bathing. Even our depictions of release from the constraints of physical existence are viewed through this BPM I veil of blissful weightlessness — whether it is the evangelical Christian idea of “the rapture,” where people… 46. HEAVEN Page 17
@sillymickel.bsky.socialOct 7, 2026, 5:38 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxix

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Seen Grof’s way, mythological events have an a priori standing; a priori meaning they are not reducible to life events such as the traumas of birth. They arise “of themselves” and have an independent or self-contained quality, not a derived one. According to Grof, transpersonal events are not a posteriori events; they do not “come after.” They are not derived from earlier experience. Which is to say, their existence is not dependent upon — let alone, caused by — the early pre- and perinatal experiences they so express. While some might say we have the mythologies we do because we all have these early experiences and that is why myths are so similar across different individuals and cultures, proponents of Grof’s view would say that our mythologies are not attributable to our early events and that they exist independently of human life. They are seen as archetypes in the Jungian sense of being outside of and prior to human events. Much like Plato’s Forms, or iconic Ideas, they have a kind of prior and greater reality than the realities that emanate from our events as humans. In fact, the term biological materialism has been used by those in Grof’s camp to describe the idea that birth-like mythological and archetypal symbolism and experiences are derived from birth events. Saying they are derived is… PREFACE. A DANCE OF THE SEVEN VEILS Page xxix
@sillymickel.bsky.socialOct 7, 2026, 12:48 AM

*DANCE OF THE SEVEN VEILS II: Prenatal/Perinatal Psychology, Mythology, & Your Divine Self* (2022) by M. Adzema

Ch 46, p. 17

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46. HEAVEN Page 17 Indeed, that kind of precise and perfect unity with others is what dancers seek and re-create in the choreographed dance routines they do with others. Perfectly synchronized marching routines, as band or military members train to do, fit also into this category. These are all, at base, attempted re-creations of that perfect synergy of one’s actions with a mother’s biological processes and emotional states, which characterizes some of the best of our times in the womb. It is even better if it defies gravity, as our experience in the womb seemed to do. Gymnastics and break-dancing are perfect re-creations of blissful womb experience. We can move euphorically in three-dimensional space, overcoming the constraints of gravity. This was precisely our experience in early womb life. We both do these activities as well as are fascinated by others performing them because of early memories of perfection and weightlessness. Plus, we sky-dive. And if we do not, we view with awe and appreciation via the media the videos of the most acrobatic and gravity defying stunts performed in descent by skydivers. We have created machines where we on the ground can force air up strongly enough so we can experience floating in the air above it similar to skydiving.
@sillymickel.bsky.socialOct 6, 2026, 6:54 PM

*DANCE OF THE SEVEN VEILS II* PREFACE, p. xxix

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PREFACE. A DANCE OF THE SEVEN VEILS Page xxix …influential Veils, distorting our perceptions of reality, still earlier experiences are even more influential. For what happens first lays down the foundation upon which all later prejudices will be constructed. To this end, several theorists in particular — beginning with Otto Rank as long ago as 1929, with his book The Trauma of Birth, and including Nandor Fodor (1949), Frances Mott (1960, 1964), and Michael Irving (1988), but especially coming out in expansive detail with Stanislav Grof (1970, 1979, 1980, 1985, 1988a, 1993, 1998) — have noted the cross-over of birth experiences and traumas with religious and mythological beliefs and symbols. Of special relevance is that in Grof’s view they are distinct. That is, pre- and perinatal events are distinct from transpersonal events according to him. Transpersonal in this sense, in line with transpersonal psychology, refers to the spiritual, archetypal, mythological, supernatural, and religious components of experience. Grof’s perspective is that birth events represent a kind of junction spot between the transpersonal and the personal; thus, between the spiritual and the individual aspects of experience, or between the collective unconscious and the personal unconscious, to use Carl Jung’s terminology.
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