Q: As you progress in your trance meditation you may find that you have more and more difficulty "controlling" your visualizations, and that they're happening without your ability to stop them. Let this happen. This is a sign that you've moved deep enough to find a guide for your investigations. This is channeling.  Different traditions think about this state of being in different ways: if you want to refer to this as "going clear" or "entering the spirit world," you're right on all counts. You don't have to put a name on it, necessarily, but feel free to call it what you want. After you've fallen from the ladder of yourself or otherwise descended deeper into your consciousness via trance meditation, settle yourself in some comfortable location. Spend time exploring it. See as many of the tactile details as possible in this waking dream. Focus your energy on inhabiting that space and really "being" there.  In some New Age traditions, it's suggested that you fill your location with all manner of esoteric crystals and golden cushions, while other traditions may suggest you imagine a mossy wood straight out of Tolkien. Go for it. There's no right place. Visualize a person you know and watch their behavior as they come into your place. Let them be and observe them and their behavior. If your subconscious suggests people that you don't know, or don't recognize, be especially conscious of them and remember their faces and their movements. You know you're knocking on the door of channeling when you can start interacting with people you don't know.   Pay particularly close attention to movements that people make, things they may say, or other imagery. When you emerge from your trance, write these details down immediately. Things that may not "make sense" to you in the moment will probably be often and will require analysis and consideration later. That's channeling. Again, if you want to think of these figures as "dimensional archetypes" or "angels" or the "voice of your DNA," that's fine. Pick the symbolic representation that makes the most sense to you, and listen to what the figures have to say for themselves. It's not a matter of right or wrong when you're dealing with the subconscious and the unseen. Increasingly, you may notice the figures in your channeling approach you. It may happen right away, or it may take a very long time. Let them approach you and interact with them. Speak with them.    Come clean with your intentions. Tell the figure why you're here and what you're looking for. Ask the figure if they've got your best interest at heart, and if they're willing to guide you in your investigation. If they cannot, ask the figure to leave and continue your practice.  Establish a mutual agreement. Ask them the question or central issue that you've been meditating on, or allow them to show you what they wish to show you. Together, decide how you'll communicate. Let the guide do their job: guiding you. Don't do anything you're uncomfortable with, but let the guide take charge of showing you what you want to learn. Your questions may already be answered, and it's your job to pay attention to what you're being shown. The more time you spend investigating common symbols of the occult and learning what you can about archetypal representation, the more significant your subconscious observations and communications will become. It may be largely visual. If your location is suddenly filled with scuttling lobsters and lions with their heads on backward, unbidden, you may come out of your trance and think, "Whoa, trippy!" But don't let it drop just there. Lobsters appear on the Tarot card for the Moon, signifying lunar energy and the subconscious, while the lion appears on the card for Strength. Significant? You decide.
A: Stop controlling your visualizations. Visualize a location. Let people come into the location. Find a figure that's willing to speak with you. Look for symbols and archetypes to interpret.

Article: Do not turn the blender on until it is completely submerged. Watch carefully so that you puree your soup to the correct texture.
Question: What is a summary of what this article is about?
Remove your soup from the heat. Assemble your immersion blender and insert it deep into the soup. Start the blender on low speed and puree a little bit of soup at a time. Turn the blender off before you pull it out of your soup. Remove the blender from the soup when it has came to a stop and set it aside for cleaning.

Q: Pour a line of emulsion along a side of the screen and use the squeegee to spread a thin line along the entire screen.  Photo emulsion reacts to light, hardening when exposed, so anything not covered by your stencil will turn into a barrier preventing ink from getting through.  Apply emulsion to the flat side of the frame, not the side surrounded by wood. Do this in as dark a room as possible to prevent the emulsion from hardening before you're ready. Expose it to as little light as you can. A closet or bathroom will work well, as long as you can close some curtains You'll need to expose the emulsion to a direct, strong light to prepare it. Following the specification on the photo emulsion bottle, set up a light above your flat black surface. Each emulsion has different times, watts, and distances needed for proper hardening, so be sure to read the bottle before beginning. The lamp should always be 1-2 feet above the emulsion. If the emulsion calls for 30 minutes at 200 watts, set up a lamp with a 200W bulb 1-2 feet above a table. The screen goes under the light. As you're moving the screen, cover it with a towel so it does not react to incidental light. Place it under the lamp in your station, leaving the towel on for now. The screen should be emulsion side up. The mesh will be lifted a few inches off the table and resting on the frame. Place your stencil in the middle of the screen with 4-5 inches of space between the design and the edge of the frame.  You must place your stencil down in reverse to get the right image. Look at your stencil the way you want it, then flip it over before you put it down. Otherwise, you will get a mirror image when you start printing. If there is a breeze, or your stencil is very light, place a clear piece of glass on top of it to keep it from moving. Do not push, prod, or move your screen, light, or stencil once it is placed and set. Simply follow the instructions on your emulsion bottle and remove the screen when it is done. When it is done, remove the stencil and set it aside for later. If you smell anything burning during this process, turn off the light immediately. If you prepared the emulsion correctly, you should see the faint outline of your stencil in the emulsion when the design is removed. Take any high-powered water source (shower, faucet, hose) and wash off the screen, focusing on your image.  The water will wash away the unhardened emulsion around your design. You should see the outline of your stencil appear. Keep on spraying until you can see your image well.  Let the screen dry before moving on to the next step. The mesh should be touching whatever you're printing on, like paper or a shirt. If you're using a shirt, slide some cardboard between the layers of the shirt to prevent the ink from bleeding through. Put a thin line of ink just above your design. Then drag the squeegee over your design firmly, coating the entire stencil in ink. The harder you press the darker your image will be. Pull the screen off the t-shirt/paper with even pressure, then hang the shirt up to dry. Your design will be printed. You can use your silkscreen again with another t-shirt if you want, adding more ink as necessary. Simply wipe down the backside after every shirt and reapply ink. If you're using the same print for multiple days in a row, rinse and dry it at the end of each day.
A:
Coat your silk screen with a thin layer of photo emulsion. Let the emulsion dry in a dark space. Set up an "exposure area" while waiting for the emulsion to dry. Place your screen under the light in the exposure area. Put your stencil backwards on the middle of the screen. Turn on the light for the recommended time. Blast off the emulsion with cold water. Line up your screen above the object you're printing on. Squeegee some ink over your design. Slowly pull off your silkscreen. Repeat with as many shirts as you want, cleaning the screen occasionally.