Sleeping in flow space loft, Oakland. Feb 12.10
Joshua and i are thrift shopping and we find a treasure trove of pairs of Columbian medicine boots in our sizes. also little kids ones... I also find a great bouquet of headpiece material. people gather around to watch me gather them. then i cant find the boots, and monkey had stowed in a cart outside where some portuguese dude was trying to work.
~~~ I wake up in flow space kitchen (not really) joshua has gone to find a phone. Spiral is training and playing all over the place and i groggily tried to approach her and apologize for waking her up last night. The aerial space is filled with a huge aerial trampoline, and i run out onto it, but she was running laps on it, and i could feel how i was making it bounce. . . anyhow, we make friends. but back in the kitchen space, Sarah (h) had turned into some hot boy? and katy and marika are there. Spiral comes to eat breakfast with us, and somehow during the night, grains set up on temporary altar have spilled all over the place, so now spiral was pissed again. "sarah" and i get to cleaning it up. "she" is holding the broom i am holding from behind me. it looks somehow presumptuous, some Mexican guy (random) commented how this is disrespectful to my man, and i am like "but its a girl! she's my best friend!"... then joshua shows up and got pissed. .
~~~
I am on a river bank somewhere in south america where it should not be cold, but it is cold and icy. Thousands of people are marching in the frozen river and river banks, in protest of something to do with the United States, or just America. They are HardCore. I see bizness people in their suits and heels tromping thru the icy water. Very emotional. A New Zealander is sitting beside me commenting on the whole thing like a newscaster. Eventually the police are coming,, everyone flees and these girls tell me to hop in their car. We are driving really fast along the river bank to get to the road. it is sketchy and icy and we flip over a cliff. The seat i am in is sideways and open to the air,, i manage to maneuver out of my seat belt to eject from the crashing vehicle in mid-air, landing in an awkward position. . .
~~~~
i am with/am michael/jon from lost.. we go down a man hole.. he/we have done this (died) before, and so know how to get there (to the underworld). There is a glowy thing waiting for us to grab and swing from, onto a mining cart. it starts to move along the tracks... very creepy... bang thru into new space.. mummies line the walls,,, step out into cavern,,, hear movement,, weird colony of clowns live under here in the dark. I flash my light onto them and they surround us.
In a manner of speaking, space is an intermediate zone between the
cosmos and chaos. Taken as the realm of all that is possible, it is chaotic; regarded
as the region in which all forms and structures have their existence, it is cosmic.
Space soon came to be associated with time, and this association proved one of
the ways of coming to grips with the recalcitrant nature of space. Another—and
the most important—was the concept of space as a three-part organization based
upon its three dimensions. Each dimension has two possible directions of movement, implying the possibility of two poles or two contexts. To the six points
achieved in this way, there was added a seventh: the centre; and space thus
became a logical structure. The symbolisms of level and of orientation were
finally brought to bear in order to complete the exegesis. The three dimensions of
space are illustrated by means of a three-dimensional cross, whose arms are oriented along these six spatial directions, made up of the four points of the
compass plus the two points of the zenith and the nadir. According to René
Guénon, this symbolism—because of its structural character—is identical with
that of the Sacred Palace (or the inner palace) of the Cabala, located at the centrepoint from which the six directions radiate. In the three-dimensional cross, the
zenith and the nadir correspond to the top and the bottom, the front and back to
East and West, the right and left to the South and North. The upright axis is the
polar axis, the North-South axis is the solstitial line, the East-West the equinoctial. The significance of the vertical or level-symbolism concerns the analogy
between the high and the good, the low and the inferior. The Hindu doctrine of the
three gunas—sattva (height, superiority), rajas (intermediate zone of the world
of appearances, or ambivalence) and tamas (inferiority, or darkness)—is in itself
sufficient to explain the meaning of the symbolism of level up and down the
vertical axis. It is, in consequence, the intermediate plane of the four-directional
cross (that which incorporates the cardinal points and which implies the square)
which represents the world of appearances. Taking next the East-West axis,
traditional orientation-symbolism associates the East—being the point of sunrise—with spiritual illumination; and the West—the point where the sun sets—
with death and darkness. Passing next to the North-South axis, there is no one
definite interpretation. In many oriental cultures, the zenith coincides with the
mystic ‘Hole’ through which transition and transcendence are effected, that is,
the path from the world of manifestation (spatial and temporal) to that of eternity. But it has also been identified with the centre of the three-dimensional cross,
taken as the heart of space. Reduced to two dimensions—those of the contrasting
horizontal and vertical arms—the cross comes to represent harmony between
extension (associated with width) and exaltation (with height). The horizontal
arm concerns the implications of a given gradation or moment in an individual’s
existence, and the vertical pertains to moral elevation (25). William of SaintThierry, describing the seven gradations of the soul, observes that it ascends these
steps in order to reach the celestial life (14). If we seek an interpretation which
will justify the four points of the horizontal plane’s being reduced to two (the left
and right), we can find a basis for it in Jung’s assertion that the rear part coincides
with the unconscious and the front with the manifest or consciousness; and since
the left also can be equated with the unconscious and the right with consciousness, the rear then becomes equivalent to the left and the front to the right (32).
Other equivalents are: left side with the past, the sinister, the repressed, involution, the abnormal and the illegitimate; the right side with the future, the felicitous, openness, evolution, the normal and the legitimate (42). In all this, there is an apparent contradiction with the corresponding number-symbolisms: Paneth
observes that, in most cultures, the uneven numbers are considered to be masculine and the even numbers to be feminine. Since the left side is the zone of origin
and the right that of the outcome, the corresponding number-symbolisms would
seem to be one (the uneven or masculine number) for the left side (that is, the
past) and two (the even or feminine number) for the right side (the subsequent or
outcome). The solution is to be found in the fact that the number one (unity)
never corresponds to the plane of the manifest world or to spatial reality: it is the
symbol of the centre, but not in the sense of occupying any situation in space
which might imply a sequel. Hence we must conclude that two is the number
corresponding to the left side and three is that related to the right. Guénon
explains the way in which the cosmic order conforms with all this in a lucid
exposition of the relevant Hindu doctrines to the effect that the right hand zone is
the solar region; the left-hand the lunar. ‘In the aspect of this symbolism which
refers to the temporal condition, the Sun and the right eye correspond to the
future, the Moon and the left eye to the past; the frontal eye corresponds to the
present which, from the point of view of the manifested, is but an imperceptible
moment, comparable to the geometrical point without dimensions in the spatial
order; that is why a single look from the third eye destroys all manifestation
(which is expressed symbolically by saying that it reduces everything to ashes),
and that is also why it is not represented by any bodily organ; but when one rises
above this contingent point of view, the present is seen to contain all reality (just
as the point carries within itself all the possibilities of space), and when succession is transmuted into simultaneity, all things abide in the “eternal present”, so
that the apparent destruction is truly a “transformation” ‘ (26). Now, the seven
aspects that define space have been regarded as the origin of all septenary groups,
and in particular of the seven planets, the seven colours and the seven kinds of
landscape (50). Hence Luc Benoist can assert that the Christian Church, by
building on earth a mighty, three-dimensional cross of stone, has created for the
entire world the co-ordinate lines of a supernatural geometry. Benoist then quotes
Clement of Alexandria as saying that the six directions of space symbolize—or
are equivalent to—the simultaneous and eternal presence of the six days of the
Creation, and that the seventh day (of rest) signifies the return to the centre and
the beginning (6). Once the cosmic sense of spatial symbolism has been demonstrated, it is simple to deduce its psychological applications. And once the static
laws have been determined, it is easy to grasp the dynamic-implications, always
bearing in mind the symbolism of orientation. Here, we must point out that the
swastika—a solar and polar symbol—implies a movement from right to left, like the apparent movement of the sun; and that Clotho—one of the Parcae—spins
her ‘wheel of destiny’ in the same direction, that is, the opposite way to existence, so destroying it. Right-handedness is characteristic of all symbols of natural
life (28); hence, in the Egyptian system of hieroglyphs, to enter is to go towards
the right and to go out is to go towards the left (19); orienting these hieroglyphs,
we have the right corresponding with the rise and the left with the setting of the
sun. Similarly, the right side takes on an extra implication of birth and life, while
the left side acquires an association with death (17). Another consequence, apparent in allegories and emblems, is that the right side corresponds to the higher
virtues—if one may put it that way—such as compassion, and the left side to
justice. All of the above conclusions are logical deductions drawn from the study
of oriental tradition, supported by the findings of experimental psychology. But
they are conclusions which have also been verified by anthropologists and sociologists in their studies of the habits of diverse peoples. Ania Teillard, for example, has collated a mass of facts; she quotes J. J. Bachofen as asserting (in his
Mutterrecht und Urreligion und Grabersymbolik der Alten) that, in the important
and very common equation ‘right hand=masculinity’, the left hand harbours
magic powers and the right hand the force of reason, and also that in matriarchal
societies one always finds the idea of superiority attributed to the left side, and
conversely. To turn to the left is to look back upon the past, the unconscious,
implying introversion; to turn to the right is to look upon the outside world,
implying action and extraversion. At the same time, ethnologists are agreed that
during the first stage of any period of sun-worship, the right side becomes preeminent, whereas in lunar cults it is the left side which prevails (56). In paintings,
reliefs and other artistic creations of man, the left side is characterized by a more
vivid projection of the self (that is, by identification) and the right side is more
extravert.
Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.
An ambivalent symbol since it corresponds to the creative power both
of nature and of time. On the one hand it signifies fertility and the progressive
irrigation of the soil; and on the other hand it stands for the irreversible passage of
time and, in consequence, for a sense of loss and oblivion (8, 60).
Rapid and flowing muddy river indicates great troubles and difficulties. But a river
with calm glassy surface foretells happiness and love.
To see a clear and calm river in your dream, indicates that you are just going with the flow. You are allowing your life to float away. It is time to take a more decisive role in directing your life. Alternatively, a river symbolizes joyful pleasures, peace, prosperity and fertility. If you are crossing a river in your dream, then it represents an obstacle or issue that you need to deal with in order to move closer toward your goal. It is also reflective of a new stage in your life. If the river is muddy, then it indicates that you are in turmoil.
To see a raging river in your dream, signifies that your life is feeling out of control. You are feeling emotionally unsettled. Alternatively, a river means you are ready to confront life's challenges and life's twists and turns.
To dream that a river is comprised of flowing red chili, refers to the raw emotion, and intense passion or anger that is flowing through you and yearning to be expressed. meanings by DreamMoods.com
To dream that you are bathing in a river, represents purification and cleansing.
If you see a clear, smooth, flowing river in your dream, you will soon succeed to the enjoyment of delightful pleasures, and prosperity will bear flattering promises.
If the waters are muddy or tumultuous, there will be disagreeable and jealous contentions in your life.
If you are water-bound by the overflowing of a river, there will be temporary embarrassments in your business, or you will suffer uneasiness lest some private escapade will reach public notice and cause your reputation harsh criticisms.
If while sailing upon a clear river you see corpses in the bottom, you will find that trouble and gloom will follow swiftly upon present pleasures and fortune.
To see empty rivers, denotes sickness and unusual ill-luck.
Seeing a clear, calm-flowing river in your dream means that you are allowing your life to float away and it is time that you take a more decisive hand in directing your life. A river also symbolizes joyful pleasures, peace and prosperity. Seeing a raging river means that your life is feeling out of control. Seeing a muddy and/or raging river means tumultuous times and jealousy in your life. Seeing empty rivers in your dream, forewarns of sickness and unexpected bad luck.
Water sustains life and is the most abundant compound in all living things. It may represent the flow of your energies, the path of your life, or the passage of time. It also may be symbolic of your emotional happiness. Examine the details of your dream. Is the water clear or murky? Is it rapid, turbulent, or stagnant? Are you just floating along its currents or actively controlling your movements? Consider these factors and see how they can be associated with daily life.
To dream that you find something, suggests that you are coming into contact with some aspect of your psyche or unconscious. You are recognizing a part of yourself that was previously repressed or undeveloped. Alternatively, it represents change.
To dream that you find someone, indicates that you are identifying new facets of a relationship. You may be taking the relationship to a new level and/or direction.
Dreaming that you find something, suggests that you are coming into contact with some aspect of your psyche or unconscious. You are recognizing a part of yourself that was previously repressed or undeveloped. Alternatively, it represents change. Dreaming that you find someone indicates that you are identifying new facets of a relationship. You may be taking the relationship to a new level and/or direction.
A schematic image of the evolution of the universe. It is also a classical
form symbolizing the orbit of the moon (50), and a symbol for growth, related to
the Golden Number (32), arising (so Housay maintains) out of the concept of the
rotation of the earth. In the Egyptian system of hieroglyphs the spiral—corresponding to the Hebrew vau—denotes cosmic forms in motion, or the relationship between unity and multiplicity. Of especial importance in relation to the
spiral are bonds and serpents. The spiral is essentially macrocosmic (19). The
above ideas have been expressed in mythic form as follows: ‘From out of the
unfathomable deeps there arose a circle shaped in spirals. . . . Coiled up within the
spirals, lies a snake, a symbol of wisdom and eternity’ (9). Now, the spiral can be
found in three main forms: expanding (as in the nebula), contracting (like the
whirlwind or whirlpool) or ossified (like the snail’s shell). In the first case it is an
active sun-symbol, in the second and third cases it is a negative moon-symbol
(17). Nevertheless, most theorists, including Eliade, are agreed that the symbolism of the spiral is fairly complex and of doubtful origin. Its relationship with
lunar animals and with water has been provisionally admitted (18). Going right
back to the most ancient traditions, we find the distinction being made between
the creative spiral (rising in a clockwise direction, and attributed to Pallas Athene)
and the destructive spiral like a whirlwind (which twirls round to the left, and is
an attribute of Poseidon) (51). As we have seen, the spiral (like the snake or
serpent and the Kundalini force of Tantrist doctrine) can also represent the potential centre as in the example of the spider’s web. Be that as it may, the spiral is
certainly one of the essential motifs of the symbolism of ornamental art all over
the world, either in the simple form of a curve curling up from a given point, or in
the shape of scrolls, or sigmas, etc. Parkin observes in his Prehistoric Art that ‘no
ornamental motif seems to have been more attractive than the spiral’. Ortiz (41)
suggests that, from a semantic point of view, the spiral is an emblem of atmo- spheric phenomena and of the hurricane in particular; but the fact is that the
hurricane in its turn is a symbol of secession from the creative (as well as destructive) functions of the universe, that is, of the suspension of the provisional but
pacific order of the universe. He also points to the connexion between breathing
and the creative breath of life. He goes on to suggest that the volute in ancient
cultures was a spiral form symbolizing the breath and the spirit. It is for this
reason that the Egyptian god Thoth is represented with a large spiral on his head.
Finally, by virtue of its significance in connexion with creation, with movement
and progressive development, the spiral is an attribute of power, found in the
sceptre of the Egyptian pharaoh, in the lituus of Roman augurs and in the presentday walking-stick. In addition to the above, it is also possible that the spiral may
symbolize the relationship between the circle and the centre. For the spiral is
associated with the idea of the dance, and especially with primitive dances of
healing and incantation, when the pattern of movement develops as a spiral curve.
Such spiral movements (closely related to the pattern of the mandala and to the
spiral form that appears so frequently in art from the Mesolithic Age onwards—
particularly in France, Ireland and England) may be regarded as figures intended
to induce a state of ecstasy and to enable man to escape from the material world
and to enter the beyond, through the ‘hole’ symbolized by the mystic Centre.
Striking examples of such spirals are those of Gravinias (Morbihan), New Grange
(Leinster), Carnwath (Scotland) and Castle Archdall (Ulster).
Seeing a spiral in your dream indicates that some situation in your waking life is spilling out of control with end. Alternatively, it may mean your creative power and new ideas.
Night is related to the passive principle, the feminine and the unconscious. Hesiod gave it the name of ‘mother of the gods’, for the Greeks believed
that night and darkness preceded the creation of all things (8). Hence, night—like
water—is expressive of fertility, potentiality and germination (17); for it is an
anticipatory state in that, though not yet day, it is the promise of daylight. Within
the tradition of symbology it has the same significance as death and the colour
black.
To have a dream that takes place at night, represents some major setbacks and obstacles in achieving your goals. You are being faced with an issue that is not so clear cut. Perhaps, you should put the issues aside so you can clear your head and come back to it later. Alternatively, night may be synonymous with death, rebirth, reflection, and new beginnings.
If you are surrounded by night in your dreams, you may expect unusual oppression and hardships in business. If the night seems to be vanishing, conditions which hitherto seemed unfavorable will now grow bright, and affairs will assume prosperous phases.
Dreaming of night means some major setbacks and obstacles in achieving your goals. You may find that some issues you are facing are not all that clear and you need to put them to rest for awhile before a decision is made.
To dream of riding in a cart, ill luck and constant work will employ your time if you would keep supplies for your family.
To see a cart, denotes bad news from kindred or friends.
To dream of driving a cart, you will meet with merited success in business and other aspirations.
For lovers to ride together in a cart, they will be true in spite of the machinations of rivals.
To see a kitchen in your dream, signifies your need for warmth, spiritual nourishment and healing. It may also be symbolic of the nurturing mother or the way that you are for your loved ones. Alternatively the kitchen, represents a transformation. Or perhaps the dream could be telling you that if "you can't stand the heat, then you need to get out of the kitchen". You need to abort your plans.
To dream of a kitchen, denotes you will be forced to meet emergencies which will depress your spirits. For a woman to dream that her kitchen is clear. and orderly, foretells she will become the mistress of interesting fortunes.
Seeing a kitchen in your dream means your need for spiritual nourishment. It also forewarns that you will be met with some depressing news.
Houses in dreams generally represent the dreamer. The kitchen is the heart of the house. For most families, the kitchen is a place of warmth and nourishment (emotional as well as physical). Examine the conditions of your dream kitchen and you may become aware of some emotional needs and feelings toward yourself and others.