My Ideal. V1

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Explanation of this Guided Experience

This experience proposes a review of one’s romantic relationships that allows one to understand how one’s romantic searches, encounters, and fantasies are all linked to one’s own nucleus of the ideal mate. This nucleus is difficult to notice in daily life, but nevertheless it acts upon us, and it orients us in a very definite direction, sometimes producing tremendous disillusionment when it does not coincide with reality.

Guided Experience

I’m walking through a fairground filled with exhibition halls and displays, and I see many children playing on high-tech mechanical rides.

I come upon a giant figure made of some solid material. It stands upright, and its large head is painted in bright colors. There is a ladder extending up to its mouth, which the little ones climb to reach the enormous opening. Whenever one enters, the mouth gently closes, and soon the child pops out the back of the giant, coming down a slide and landing in the sand below. One by one the children go in and come out as a song flows from the giant:

See Gargantua gobble up the children,

With great care, not harming a hair,

Tra la la, tra la la,

With great care, not harming a hair!

I decide to climb up the short ladder. As I enter the huge mouth, I meet an attendant who tells me, “Children go down the slide, but grownups use the elevator.”

The attendant continues the explanation as our elevator descends through a transparent tube. Soon I say that I think we’re probably at ground level by now.

“That’s right,” replies the attendant, “although we’re still only passing through the esophagus. The rest of the giant’s body is below ground, unlike the children’s giant, which is completely on the surface. You see,” my guide informs me, “there are actually two Gargantuas in one—one for children, and another one for grownups.”

After a while the attendant announces, “Now we’re well below ground. We’ve already passed the diaphragm, and soon we’ll stop at a very pleasant place—look, the elevator door is opening and I can show you the stomach. Would you like to get out here? As you can see, this modern restaurant serves delicious foods from all over the world.” But I tell the attendant that I’m curious about the rest of the body, so we continue going down.

“Now we’ve reached the lowest part of the abdomen,” announces my guide as the elevator door opens. “The decor here is quite unique, and the walls of changing colors form delicately lined caverns. In the middle of the lounge is the central fire, the generator that provides energy to the whole giant. There are seats for visitors to rest, and the columns scattered here and there are great for playing hide-and-seek—it’s easy to hide and then suddenly reappear. And the more visitors who play, the more fun it is. Now I’ll leave you here if you wish. To return to the surface, all you need do is approach the elevator and the door will open and take you back up. Everything is automatic—amazing, isn’t it?”

The elevator door closes and I’m left alone in the lounge.

At first it seems as though I’m under the ocean. Then a large fish swims right through me, and I realize that the coral, the seaweed, and all the different species of living things are incredibly realistic three-dimensional projections. I sit down to watch this relaxing spectacle at my leisure.

Suddenly I see emerging from the central fire a human figure, its face covered. Approaching me slowly, the figure stops nearby and says, “Hello there, I’m a hologram. Everyone tries to find in me that special someone, their ideal match. I’m programmed to take on any appearance you wish. So tell me, what does your ideal look like?

“Before I can begin to look like your ideal, it will take just a little effort on your part. If you try this, your brain waves will be deciphered. Then they’ll be amplified, transmitted, and recoded again in the main computer, and as the computer rearranges the hologram, you’ll see my identity take shape.”

“What should I do?” I ask.

“I suggest that you follow these steps,” the figure says. “First, begin to think of the different people you’ve been emotionally involved with, and recall which features they’ve had in common. I don’t mean only their bodies or faces, but also their characters. For example, were they protective, or did they inspire you to be protective of them? (*)

“Were they brave or timid? Were they dreamers? Were they ambitious, deceitful, or perhaps cruel? (*)

“And now, what unpleasant or negative trait did they have in common? (*)

“What were their positive qualities? (*)

“How were the beginnings of all these relationships similar? (*)

“How were the endings similar? (*)

“Try to remember the people you’ve wanted to have relationships with, but things didn’t work out—and why didn’t they work out? (*)

“Now, give me your attention, and I’ll begin to take on the appearance you most desire. Just say the word and I’ll become the person who is, for you, perfect. I’m ready, so go ahead and let yourself imagine. How should I walk? How am I dressed? Just what am I doing? How do I speak? Where are we, and what are we doing?

“Look into my face, just as it is! (*)

“Look deeply into my eyes, for now I’m no longer just a hologram, I’ve become real. Gaze deeply into my eyes, and tell me tenderly what you see in them.” (*)

I stand up to touch the figure, but it eludes me, disappearing behind a column. When I reach the spot, I find that the figure has vanished. But then I feel a hand resting softly on my shoulder as a voice says, “Do not look behind you. It should be enough for you just to know we’ve been so close to one another, and this experience can bring you greater clarity in searching for your ideal.”

As the voice finishes speaking, I turn to see who is behind me, but glimpse only a fleeting shadow. At the same time, the central fire roars and flares brightly, dazzling me.

I know that this setting and the hologram have created a favorable atmosphere for my ideal to appear. But through an impatience I do not understand, my ideal, which is within me and has softly brushed against me, my ideal has slipped through my fingers only to disappear. Still I know that we’ve been near each other and this is enough for me—I realize that the main computer could never have projected a tactile sensation like the touch I felt on my shoulder.

I approach the elevator, and as the door opens, I hear a children’s song:

See Gargantua gobble down the grownups,

With great care, not harming a hair,

Tra la la, tra la la,

With great care, not harming a hair!


Try to recognize in daily life the points mentioned in the experience.

Soundmanager2 © 2007 Scott Schiller -

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