Library » Arts & Literature » Dream-Art Science Handbook, Vol. 12 - Orange
Compiled by Miss Blake
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Index:
- D.A.S. Exercise - Making Dreamcraft Practical
- D.A.S. Exercise - Astral Maneuvers
- Video - The Power of Dreams: The Creative Spark (1997)
- Cain - Strange to Know...
- Featured Artist - Terje Adler Mork
- Book Review - Dreaming Realities
- The Dream of the Evil Sorcerer - A. Goldring
- The Seth Material - Various
Every morning the world is created. Under the orange sticks of the sun the heaped ashes of the night turn into leaves again
and fasten themselves to the high branches -- and the ponds appear like black cloth on which are painted islands.....
Mary Oliver
Morning Poem
From Dream Work (1986)
Orange
http://tinyurl.com/3pld6
"Do you trust yourself with your dreams 2003"
http://tinyurl.com/6wdrm
D.A.S. Exercise: Practical Dreamcraft
"You have a dream memory, of course, though you are not aware of it as a rule. There is a craft involved in the formation of events. You perform this craft well when dreaming. Event making begins before your birth, and the dreams of unborn children and their mothers often merge. The dreams of those about to die often involve dream structures that already prepare them for future existence. In fact, towards death great dream acceleration is involved as new probabilities are considered - a dream acceleration that provides psychic impetus for new birth.
"Some of this is most difficult to explain, yet it is true to say that no event has a beginning or ending.
"This is true of a life. It is true of a dream. The information is not practical in your terms, because it denies your direct experience. Upon request, however, and with some practice, you can suggest in the middle of a dream that it expand to its larger proportions. You would then experience one dream wrapped in another, or several occurring at one time - all involving aspects of a particular theme or probability, with each connected to the others, although to you the connections might not be apparent.
"Each event of your life is contained within each other event. In the same way, each lifetime is contained in each other lifetime. The feeling of reality is 'truer' then in the dream state. You can become consciously aware of your dreams to some extent - that is, consciously aware of your own dreaming. You can also allow your 'dream self' greater expression in the waking state. This can be done through techniques that are largely connected with creativity."
The Nature of the Psyche, session 786, page 139
"The eye movements noted in the beginning of REM sleep are only indications of dream activity that is closely connected to the physical layers of the self. These periods mark not the onset of dreams, but the return of the personality from deeper layers of dream awareness to more surface areas."
The Early Sessions, Book 4, session 194
"An art which isn't based on feeling isn't an art at all ... feeling is the principle, the beginning and the end; craft, objective, technique -- all these are in the middle."
~ Paul Cezanne
Apple
http://tinyurl.com/6kb7o
"You are in control as long as you realize you are in control. There are indeed portions of dream reality that you yourself may not have constructed, but that are constructed by others. You recall that in physical reality you can only perceive your own constructions, as a rule. Now, my dear friends, this does not apply to dream reality."
The Early Sessions, Book 6, session 295
D.A.S. Astral Maneuvers
"Sometime as you walk down a street, pretend that you are seeing the same scene from the sky in an airplane, yourself included. On another occasion, as you sit inside your house imagine that you are outside on the lawn or street. All of these exercises should be followed by a return to the present: You focus your attention outward in the present moment as clearly as possible, letting the sounds and sights of the physical situation come into your attention.
"The other exercises, in fact, will result in a clearer picture of the world, for they will facilitate the very motion of your perceptions, allowing you to perceive nuances in the physical situation that before would have escaped your notice. We will be dealing with practical direct experience. It will do you no good if you are simply intellectually aware of what I say, but practically ignorant. Therefore the exercises will be important because they will offer you evidence of your own greater perceptive abilities.
"Continue to rely upon known channels of information, but implement these and begin to explore the unrecognized ones also available. What information do you have, for example, presently unknown to yourself Try your hand at predicting future events. In the beginning, it does not matter whether or not your predictions are 'true.' You will be stretching your consciousness into areas usually unused. Do not put any great stake in your predictions, for if you do you will be very disappointed if they do not work out, and end the entire procedure.
"If you continue, you will indeed discover that you are aware of some future events, when such knowledge is not available in usual terms. If you persist, then over a period of time you will discover that you do very well in certain areas, while in others you may fail miserably. There will be associative patterns that you follow successfully, leading toward 'correct' precognitions. You will also discover that the emotions are highly involved in such procedures: You will perceive information that is significant to you for some reason. That significance will act like a magnet, attracting those data to you."
The Nature of the Psyche, session 764, page 48
Astral Projection
Astral Travel is very different to normal dreaming. It is an extraordinary experience. All who have experienced it can testify to its lucidity and magical quality.
It is interesting that conscious Astral Travel is experienced as clearly as we experience our daily life. In fact, it is even experienced more clearly at times: our senses seem sharper and the environment somehow more real.
It is often considered that Astral Travel (Out-of-Body Experiences) is only encountered by people that have had a near death experience after an accident or on the operating table. But Astral Travel is a natural possibility that anyone can develop through practice.
The Gnostic Movement teaches how to Astral Project (to pass consciously from the Physical Plane to the Astral Plane) with very successful results. One such practice of Astral Projection simply allows us to become aware of the natural process of going to sleep. If we manage to be aware of this, then we consequently become aware of our departure into the Astral Plane as well.
So when we are Astral Travelling, we are aware of the fact that we are physically asleep and that our physical body is at home in bed. We know we are actually in this other plane, as opposed to the dreamer who only realises they were not in the physical plane upon waking the next morning. While Astral Travelling we make conscious decisions - like where to go, what to do, or who to meet.
http://www.mysticweb.org/phps/topics/1_astral/
Power of Dreams: The Creative Spark (1997)
(Available on Amazon)
THE POWER OF DREAMS, Part I: THE SEARCH FOR MEANING.
(1994)
This segment compares Freud and Jung's views on
dreams with contemporary approaches to interpretation.
It features Ernest Hartmann visiting Vienna and
reminiscing about his childhood meeting with Freud,
and shows a Jungian dream group lead by Robert Bosnak.
Modern trauma-related approaches are illustrated by
Milton Kramer counseling Vietnam veterans with
nightmares and Rosalind Cartwright's research on using
dreamwork to aid divorce recovery. William Dement is
interviewed about the discovery of Rapid Eye Movement
sleep. Allan Hobson demonstrates his "Nightcap" device
for home monitoring of REM sleep and propounds his
view that searching for meaning in dreams is "a fool's
errand."
THE POWER OF DREAMS, Part I: THE SEARCH FOR MEANING.
(1994)
(1997). Power of Dreams: The Search for Meaning.
BMG Video
THE POWER OF DREAMS PART II: THE CREATIVE SPIRIT
(1994) This segment features creative artists Billy
Joel describing all of his musical compositions coming
from dreams, William Styron about the title character
of Sophie's Choice appearing in a dream and Isabelle
Allende on dreaming the scene at the end of House of
the Spirits. It includes beautiful footage of the
ruins of the Greek dream incubation temple of
Asklepios, scenes from Robert Bosnak and John Lipsky's
play Dreaming with an AIDS Patient, and Alan Siegel
leading dream groups for survivors of the Oakland
Firestorm. Kelly Bulkeley discusses the role of dreams
in ancient literature and Stephen Laberge [resents his
work on lucid dreaming, including a demonstration of
his device, the "Dreamlight."
THE POWER OF DREAMS PART II: THE CREATIVE SPIRIT
(1994)
(1997). Power of Dreams: Creative Spark. BMG Video
THE POWER OF DREAMS, Part III; SACRED SLEEP (1994)
Edwin Stronglegs Richardson describes Native American
traditions about dreams and Kelly Bulkeley is shown
teaching nursery school children about dream catchers.
Dreams as preparation of death is discussed as a
concept in diverse cultures from the Australian
concept death as return to the Dreamtime to Rev.
Jeremy Taylor leading a dream group for elderly
Californians to the Dali Lama discussing dreams in
relationship to the Bardo state of the Tibetans. Alan
Siegel discusses "turning point' dreams and leads a
group for expectant fathers. June Singer discusses
Jung's anthropological studies and historical footage
is shown of these as well as some dramatic
re-enactments of Jung's dream accounts.
THE POWER OF DREAMS, Part III: SACRED SLEEP (1994)
(1997). Power of Dreams: The Spirit of Dreams (Sacred
Sleep). BMG Video
Cain
Strange to know that you are me, and I am you. Two authors, two characters, with narratives that connect like snakes trying to digest each other for the perfect skin.
Of course, I would much prefer myself in the I that you see me as, defined and interpreted. Beautifully chosen. Whatever character you dream me as. For some, the dreaming of the self comes before the self can dream. The beginning of delusion. Did I/ do we cheat by seeing you/the other as the person who saw/sees me, and so never saw/see you at all?
Then, you opened the blinds, rolling up the stars in a blanket. Stranger to know that the world is me, and I am the world. You are larger than the person I can not meet, for you are everything I already see and do not know you as. And so I kiss a foreign thistle on an abstract hill, in the honour that it is your body.
When we were born, before the mirror began, isn't that what we first thought in our innocence? Us: the world. An endless dream, a bottomless well of adventure, that somehow was fenced in and shut down with the responsibility of self. The Foucault face in the sand, to be washed away. Once I dreamt I bathed in a pool of silver and red petals, endlessly remerging in new forms. Now, dreaming is the bath tub of my reality, misting over the mirror with re(dis) tortions.
If I open enough doors, in the vault around me, will I find myself in the summation of the wealth that stands behind them? Or will the last door reveal the person who will open another in my heart, and release the glory of the loved who understands, finally, that there is only one love and just too many expressions to kiss its sensuous stream, flowing out until the bath is empty and us all again.
Cain
"In order to examine the reality of dreams it is necessary to change the focus of the inner self to those directions in which the inner self moves, when the ego does not limit its scope to camouflage reality only."
The Early Sessions, Book 3, session 94
Dreaming Realities - Silverthorn and Overdurf
This book might come across as technical but I found it an easy read after a while. The intro -- Tips for getting the most from Dreaming realities -- outlines the book, saying that
"the chapters are less content oriented and are more 'how to'."
They also say "Generally it is preferable that you carry out the processes in the order presented. Because they are progressive"
And that is the general thrust of the book doing the exercises. This in turn implies that progress and commitment go hand in hand. It is a DAS_The Seth Material (Dream-art science_The Seth Material compatible) with only minor conceptual editing.
Excerpts
Chapter 3
- We observe things into being
- Thought gives birth to matter through measurement
- When we identify with out thoughts they behave like
particles
- Both our dreaming reality and our waking reality
come from the same place
- Reality is holographic
- We dream to create
- Each night we dream we are creating multiple
realities
They also follow with an `unconscious' review -- unconscious is used to mean below or beyond everyday consciousness. Seth readers know that `everyday' consciousness is a far wider deeper complex foci of consciousness than is thought. This aspect (the Unconscious review) of the end of the chapters presents an opportunity to use ones inner senses
Chapter 3 Unconscious Review Section
"As you eventually fall asleep, your conscious mind recedes enfolded within the covers of sleep -- sleep deeply, and prepares to create new realities that you call your dreams. Dreams of Creation built only of thought, thought pulled from nowhere.
"knowhere you are -- knowhere you have been."
Chapter 4 -- Incubation - Growing Intention in the Quantum Field
I have nothing against the invocation for a True Dream from the Gates of Horn, though I rarely use it . This chapter is the best I have read anywhere for 'getting' the dream you want. The technique is based on formulating purpose, affirmation, positive internal representations (visualisations) which are both vivid and compelling, using peripheral vision and also doing this technique several times during the day and before sleep.
My experience is that one does not need to be asleep or to be 'going to sleep' before the dream plane imagery begins thrusting forth into ones waking mind, so if you are comfortable with simultaneous or bi-located experiences and you can hold the focus of both, this is one for you.
Chapter 6 Lucidity -- The Dream that Wakes You Up & Chapter 7 Beyond Lucidity -- Finding the "I" in Light
Both excellent, both give intimation to those new to dream-art science, what Seth might have meant when he speaks of taking waking consciousness into the dream plane, the authors also indicate that lucidity within the dream plane is the begining of a different type of understand of what 'I' is.
The second half of the book deals with `Dreamtime interludes', which thankfully are not rambling narratives of their dreams. These chapters are all technical approaches to
-Reality testing: Is this a dream
-Getting to know your unconscious mind
- Unconscious review and integration for dream practices
- Using unconscious interviewing for clearing the way
to your dreaming practices
- Getting to know your higher conscious mind
- Dreaming meditation technique
- Moe Uhane - The Hawaiian Dreamtime Chant
These are all chapter headings.
"Dreaming realities" suits the logical technical scientific part of me. I particularly enjoyed the references to the latest development in studies of the quantum and the holographic universes. It has a well thought out glossary of terms at the back...MB.
The Dream of the Evil Sorcerer
~ Allisa Goldring
An evil sorcerer wounds my finger, which bleeds. He has two wild animals with sharp teeth that terrify me.
When I painted this, the dark fierce demons, dominated the image, embodying those ferociously negative parts of myself through which my ego held me helpless captive. I knew how Pauli felt; I had been there. So much of my energy had gone into powering those angry demons that little was left for me.
[The painting]
In time I would feel safe enough to discard the ersatz stand-in and grow up as myself, not needing to "minsk" myself into a clone of someone else's expectations of "good", "Success", "the right way". Many dreams and paintings led me to free my inner child and guide her into the real world. Instead of being an escape, dreams and art became a door to awareness, and to life.
P.S.
"I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water."
~ Eughne Ionesco (born 1912), French dramatist
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