Library » Arts & Literature » Dream-Art Science Handbook, Vol. 7 - The Cat's Meow
Compiled by Miss Blake
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Index:
- The Seth Material Quotes - The Waking State
- The Seth Material - Hallucinations
- Extract - Chronicle: Realm of Shadows by Michael Vaughan
- D.A.S. Artist - Alissa Goldring
- D.A.S. Academic - Dreams, Art and Virtual Worldmaking
- Reality Change - Mary Barton
- Notes from the interior: Where X tells me that most historians are bumbling idiots
- Hallucinations
- SethArt - Jasper and Co.
Finally after hours of restless thoughts I slip into the warm arms of sleep, and almost immediately begin to dream. I dream I am lying in bed asleep. Someone knocks twice on my door and wakes me. Moaning since the floor is freezing cold, I get up and open my bedroom door. Instead of opening out onto the landing as my door normally does, the door in my dream opens out into an disused warehouse. I smile as I wonder what spiritual significance some of my more modern colleagues would place on this. In my doorway are standing a man and a woman. The man is dressed in clothes which suggest taste and high income, and although he is only physically middle-aged he projects the attitude of a bored geriatric. The woman's eyes are framed in wrap-around sunglasses. Her young frame sparkles with strength and energy.
The woman speaks first.
Excuse us, but we have a mutual friend..."M
The man finishes the sentence.
"...and he'd like to see you."
Chronicle: Realm of Shadows by Michael Vaughan
"....The waking state as you think of it is a specialised extension of the dream state and emerges from it to the surface of your awareness, just as your physical locations are specified extensions of locations that exist first with the realm of the mind.
"The waking state then has its source in the dream state and all of the objects, environment and experience that are familiar to you in the waking state also originate in that inner dimension. When you examine the state of dreams however you do it as a rule from the frame work of waking reality .You try to measure the dimension of dream experience by applying the rules of reality that are your usual criteria for judging event. There fore you are not able to perceive the true characteristic of the dreaming state except on those few occasions when you come awake with your dreams, a matter we will discuss later later on in this book ..."
Session 898
"You know you can have more than one dream at a time."
Session 903
Dreams, 'Evolution'and Value Fulfilment
The Dream-Art Scientist By Mary Barton
I came to the Seth material, as many of you probably did, skeptical, disillusioned, and feeling powerless. Seth changed those emotions by gently opening my eyes to reality and how it is formed. One key component to reality creation, surprisingly, was dream recall and learning to function consciously in the dream state. Once I overcame my reluctance to accept that unique, practically sacrilegious concept, I began recording my dreams to see if Seth really knew what he was talking about. I discovered that he did.
Seth describes a Dream-Art Scientist as a person
- who learns how to become conscious in the sleep
state
- who can distinguish the different stages of dream
events
- who familiarizes herself with dream symbols and how
they correlate to physical symbols
- who can recognize interior meeting places where
communications between various forms of consciousness
occur
- who learns to separate the various types of dream
realities and the laws which govern them.
But why are dreams important? Why did Seth place such emphasis on the benefits of remembering dreams and learning to manipulate them? As many of you know, one reason Seth recommended we become Dream-Art Scientists was because the dream state is the state in which man fully experiences all of the unique characteristics of consciousness. Because we have been literally blinded by our beliefs of what constitutes reality and have been erroneously taught the origin of life is based either on Darwin's theory of evolution or some vengeful creator-God, we have not realized the true nature of consciousness. Dream reality is one place we can discover what we truly are. This is where consciousness and its abilities are so unmistakably apparent. This is where we learn how mobile, creative, and powerful man is.
Seth tells us that the dream state is one of the focuses of consciousness from which probabilities are consciously chosen for manifestation as physical reality. As you know, conscious creation is also a direct consequence of our thoughts, beliefs, and intentions; but dream/OOB reality openly demonstrates the truth of these concepts. We learn it is the source of physical reality as we know it. Once you become conscious in the dream state, there is no doubt that you create your own reality. When idle thoughts or emotions spring into form around you while out-of-body, you discover how powerful consciousness is. You discover how powerful you are and how unique, wonderful, and special life is.
Another important reason for becoming a Dream-Art Scientist is that Seth tells us it is in the dream/OOB state that we can encounter our ideal blueprints for physical manifestation. He said our blueprints lie beneath electron activity and are the actual seeds from which physical reality is created. Blueprints cannot be found in the exterior universe but only in the "withinness" of consciousness. These inner patterns are converted into mental images which are meant to give us conscious direction to meet our earthly goals. Blueprints serve as stimulators of development and show us our potentials and how they can best be fulfilled in physical reality.
Seth was a Dream-Art Scientist. He gave us some evocative hints on communicating and reality creation when he said that in order to visit us, he moves through psychic and mental events which we would interpret as space and time. In order to communicate with us, he translated himself into an event we could understand. For us to develop such abilities, we need to learn some "ancient arts" which our society for the most part has deemed useless or non-existent. But as we each learn to manipulate in dream reality, we learn that these tools are not useless or mere fantasies but are some of the most beneficial abilities we may ever possess. Through our dreams we can easily reach other focuses of consciousness. We can reach founts of wisdom and creativity and use that knowledge to make our physical world a happier place. We can learn to heal and travel through space and time. Furthermore, Seth says we can change and influence our history. It appears to me that we can all benefit from becoming Dream-Art Scientists.
[Slightly edited..full text http://tinyurl.com/ysrmp ]
Dream of the Hidden Child
Bert O. States
I see a child hidden behind a mask, her tiny hands reaching out form under heavy robes weighing her down as she feebly seeks help. The image reminded me of a Noh play where stylized characters gesture in infinitesimally slow motion and a gong echoes an eternity of timeless silence.
When I painted this dream, I understood that this was a baby part of myself Long buried under layers of roles, expectations and fears, feebly seeking help. The dream was a cry to myself to shake off oppressive conditioning and be free. As you picture this dream in your mind's eye you may sense that you too were once such a child whom you still carry within yourself in ways unique to you. You might imagine "if this were my dream"....
The Dream of the Evil Sorcerer
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.
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.
Alissa Goldring
"...When you find yourself as alert responsive and intellectual in the dream state as you are in waking life it becomes impossible to operate within the old framework.
"This does not mean that in all dreams that particular type of awareness is achieved but it is often accomplished _within_ the suggested wake-sleep pattern...."
The Nature of Personal Reality, Sessions 651, 652.
D.A.S. Academic - Dreams, Art and Virtual Worldmaking
Bert O. States
This paper examines the possible role of dreams and other forms of virtual worldmaking (chiefly fictions) in forming and maintaining our adaptive systems. I posit no exclusive function for the dream. Rather, I treat it as an extension of fiction's preoccupation with our daily concerns, desires and fears. I suggest that narratives help us to enlarge and revise our perceptual and response systems, not by offering us moral or ethical propositions to live by but by increasing certain skills in our mental organization. Departing from John Paulos'idea that fictions and mathematics (narratives and numbers) work in similar ways, I further examine the role that probability ratios might play in dreams, despite the seeming bizarreness of many dreams. The overall idea is that narratives of all sorts are one cognitive means, among many, by which we accumulate "sums" of knowledge and expectation, and maintain and revise our notions of what goes with what in human experience. I also look briefly at fictional archetypes (Oedipus, Orestes/Hamlet, etc.) and universal dreams (falling, being lost or attacked, etc.) as master plots in our probability systems.
Full abstract
Last Paragraphs
Perhaps we could make a similar claim for waking forms of creativity like fiction, art, daydreaming, storytelling, gossip, doing mathematics, and so on. Unfortunately, this amounts to saying that new experience of any sort teaches you what goes with what. But at the bottom of the thought process this surely must be the case: we learn by doing, and re-doing, and when necessary revising what we have learned to do. Dreaming and fiction, all forms of virtual worldmaking, may (among other things) be highly intensified forms of circuit maintenance: a sort of dry run of the neurons which allows us to have an experience in a safe place, as Ernest Hartmann puts it, rather than in a dangerous one. In other words, in the virtual world of dreams and fictions we get to drive off a cliff into the sea many times in a lifetime, whereas in the actual world we can do it only once. Precisely how this is useful to us, as I've said, is still an open question.
My concern here has been to suggest that whatever function dreaming may have it is not necessarily different from the function of other mind activities. Or at least we shouldn't put dreaming and other forms of cognition apart before we understand what they have in common.
The members of some ancient civilisations including the Egyptians knew how to be the conscious directors of dream activity, how to delve into various levels of dream reality to the _fonts of creativity_ and they were able to _use_ that _source material_ in their physical world.'....
The "Unknown" Reality, Session 698
Notes from the Interior
......If I knew then what I know now I would have focused more on the directorial nature of the DAS. I spent a fair while on dream recall, and dream interpretation studies, building up my own lexicon of symbols. A at least this morning I think I would have done it differently...likely as not there is probable self that did and `we'are at an intersection.
These are not appropriate terms, but here is a fleshiness to the dream plane a thickness that is multilayered.
This passage about the Egyptians (The Atlantans also had eminent DAS-trained for their calling from early on...If it were thought that the manner in which say the pyramids were build was just one fruit of their endeavours in the dream plane would more people find the prospect of devoting part of their time to study and practise...maybe, maybe not. But the fonts of creativity which can be consciously accessed to me is a lure. Never underestimate the drive that springs form self interest. aka value fulfilment. The material and methods are not lost . But it does take commitimemt and intense desire to access it.
It surprised me initially when (*)said he had been a `great dreamer'but now looking through one of the many catalogues of his work it seems self evident
"Dear Blake," he said, "how else did you think I did it ?!" Art historians are bumbling idiots! They look for meanings where there are none and make progressional links between my early works and subsequent ones and think they know my method, that they can track my developement. While some of the conclusions surrounding my work have a truth to them. The greater truth is hidden. Many paintings were worked on and out in the dream plane and arrived in my conscious mind fully formed in the morning.The only reason that so few artists have been able to duplicate my achievement is that they do not know what source I accessed or how I did so. Beyond that there is no mystery. The greatest error that historians have made is assuming that the numerous women were my muses.If you had known these women as I knew them you would understand how infantile such an idea is. They were a reflection of my force and as I changed I changed the women in my life. As you know,historians see the changed woman and attribute her to the change in my work...............The reason the painting (*) exerts such power still, is that I encoded within it many themes 'energectically', this goes beyond the nature of symbolism as taught by art historian. 'Colors' also have `sounds'( this is not the same use of the term `sounds'that we are familiar with in FW1).... similar attributes to the way sound was used by the Egyptians, try 'listening'to the painting with your inner auditory senses ".." People are impacted at levels of themselves by the painting they are not consciously aware of, but understand this I did it deliberately. Do not be fooled by the portrait history paints of me" ............... MB ]
The Seth Material - Hallucinations
....When you look into a mirror you see your reflection, but it does not talk back to you .In the dream state you are looking into the mirror of the psyche, so to speak [I prefer operating within the landscape that is called psyche] and seeiing the reflections of your own thoughts fears and desires.
Here however the `reflections'do indeed speak and take their own form. In a certain sense they are free wheeling, in that they have their own kind of reality. In the dream state, your joys and fears talk back to you, perform and act out the role in which you have cast them...'
The "Unknown" Reality, Vol. 2 page 59
"...Hallucinations are in a sense, conscious and display abilities of their own as if the shadow of the tree once cast, was free to pursue its own imperatives. A creative exchange exists between the thought and its hallucination.
"If we were as conversant with our dreams as we are with our physical world,we would have no difficulty distinguishing between a hallucination and its source. But we are not and it takes some experience to learn this .Until we do, the hallucinations may distort our dreams and make them confusing,chaotic, meaningless or even frightening..."
Bridging Science and Spirit, Norman Friedman, page 157.
SethArt - Jasper and Co
`......Jasper Johns couldn't find his unique artistic vision until he dreamt it in the form of a large American flag. Salvador Dali and his colleagues built surrealism out of dreams. Today Lucy Davis chief architect at a major firm `dreams her extraordinary designs into life .In film "Twice I have transferred dreams to film exactly as I had dreamt them" confides director Ingmar Bergman; so have Federico Fellini, Orson Welles, Akira Kurosawa, Robert Altman and John Sayles. From Mary Shelley's terrible nightmare that became Frankenstein, to Stephen Kings haunting dream as a little boy, which lead to his first best seller, countless writers have consulted the Committee. Musicians from Beethoven to Billy Joel and Paul McCartney have whistled the Committee's tunes.
In science many dream of winning a Nobel prize, but physiologist Otto Loewi worked with the Committee on the medical experiment that earned him the real prize….'
Born in South Carolina during the Depression Jasper John's artistic aspirations led him to New York where he painted for several years without finding a unique voice.
In 1954 he resolved to "stop becoming and be an artist". His inspiration was a dream in which he saw himself painting a large American flag and the next day he began exactly that project later entitled flag. A lengthy series of flag paintings followed which established Johns as a major artist…Johns later told an interview "I have not dreamt of any other painting. I must be grateful for such a dream......"
The Committee of Sleep, D. Barrett, page 1
P.S… And have you ever thought about what it would be like to have a continuous awareness of [the Dream plane] reality in the same way you do in your waking state'
Dreaming Realities, Silverthorn & Overdruft, page 43
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