I'm at a festival, it's setup like a carnival, there are rides and people camping. I see a group of men dressed in all black (hoodies & stocking caps), with sunglasses & backpacks with walkie talkies. I see them and quickly sneak behind cover, i go into my backpack and pull out a black hoodie and sunglasses. I walk back up to the men & I see a round object about the size of my hand, but it slightly flat on the top and bottom, It has etchings on it with a neon green light glowing through them. I get a signal from the one man to come and pick up the object. I grab it and start running, all of the men scatter and I can hear what sounds like loud voices coming out of a megaphone. I come up to this huge pool but it doesn't have water in it, It is build like one of those things you throw coins in at the mall and they ride in a spiral motion until they fall into the center (edit: I new realize that these are called "wishing wells") I threw the object into this large construction & when it hit the center there was a flash & I was transported back to the place where I picked up the object from originally. There was an older man speaking to me intensely, He said " Tell everyone what you just did, tell them the truth of the technology!"
The symbolism of objects varies with the kind of object in question.
But, broadly speaking, every object consists of a material structure with certain
unconscious elements adhering to it (31). The fact that these forgotten or repressed constituents should reappear in a new medium—the object—enables the
spirit to accept them in a form different from the original. Utensils in particular
are possessed of a mystic force which helps to strengthen the intensity and the
rhythm of human volition. Thus, Schneider maintains that such instruments fulfil
a triple rôle: they are cultural instruments, instruments of labour and finally
reflections of the harmonious soul of the universe. The drinking-vessel, for instance, is a sacrificial vessel and also a drum. The blow-pipe is both a flute and a
magic whistle, etc. (50). Such ideas as these, concerned with the primitive notion
of an object, have lately been resuscitated by artistic movements such as Dadaism
and surrealism. By depicting objects in common use as if they were works of art,
Marcel Duchamp removed them from the context of their merely utilitarian function (their only function according to Western ways of thinking) and showed
them in the light of their true essence, since that essence is revealed only in their
uselessness (freed from the necessity to serve some useful purpose). He showed
that it was possible to see in a bottle-stand, for instance, the very mystic structure that governed the Gothic spires rising in the form of a cage, or the lamps in
Islamic mosques with their multiple, descending hoops; and that all the foregoing
are related to the hollow pyramid of the Primitives (a symbol of the ‘conjunction’
of earth—or the mother—with fire—or the spirit), and also to the artificial mountain and the geometric temple. The form of the object, then, fulfils an essential
rôle in determining the symbolism; thus, all those symbols which take the form of
a twin bell, with the upper bell placed upside down on the lower—for example,
the twin drum or the hour-glass—are closely related to the corresponding graphic
symbol: the letter X, or the cross of St. Andrew (symbolic of the intercommunication between the Upper and the Lower Worlds). Objects that are simple in form
and function usually correspond either to the active or to the passive groups; in
other words, they represent either the contents or the receptacle. For instance:
the lance (which is made to pierce) and the cup or chalice (whose sole function is
to contain). The parallel between this classification and the division of the sexes
is self-evident; but to limit the symbolic relevance of a given object to this sexual
implication is to mutilate seriously its true symbolism. The ‘conjunction’ of the
feminine and masculine principles within a complex object, specially if this object
is—as in the case of a machine—endowed with movement, enables us to carry the sexual parallel a stage further and to characterize it as a kind of secularized lingam.
The ‘objects of symbolic function’ of the surrealists were nothing but the practical illustration of this allusive reality, strengthened by the fetishistic character of
the objects illustrated in their compositions. It was Lautréamont in Les Chants de
Maldoror who best described this shifting of the symbolic significance of objects
towards their generic grouping in his remark: ‘beautiful as the chance-finding of an
umbrella and a sewing-machine on a dissecting table’. As always, a symbol of
integration such as this can be taken either on the cosmic plane or at the existential
and sexual level. In the latter case, the umbrella would be a merely phallic representation, the machine would stand for the cteis, and the dissection-table would
be an illustration of the bed. On the cosmic plane, the umbrella is the cosmic
serpent, the machine is the jaguar, and the table is the universe. At the same time,
objects owe part of their significance to their origins: objects fallen from heaven,
such as aerolites and meteorites for example, partake of the sacred character of
Uranus and constitute a symbol of the power of the celestial deities (17). Submarine objects, on the other hand, possess a viscous and abysmal quality betokening
their irrational nature and their aptness for the expression of all that is base and
unconscious. Sacred objects are so by virtue of their associations—as in the case
of attributes or emblems for instance, or their origins—such as the legendary
palladium of Troy, the Salian shields of Rome, the Hebrew Ark of the Covenant,
etc. (28). To come back now to the broadest of generalizations, alongside their
specific symbolism deriving from their form, function, character, origin, colour
and so on, objects in themselves are always symbols of the world: that is, they are
particular expressions of a material order which expounds both the blind irrational force of continuity and the structural pattern defining the object as opposed
to the subject. Finally we would mention that an elaborate application of the
theory of correspondences would demonstrate the serial structure of objects and
suggest a way of reconciling their ‘character’ with the principles governing the
two essential prototypes of the serial arrangement of the universe: that based
upon the number seven, or the planetary prototype; and twelve, or the zodiacal
model. The incomplete character of such forms of symbolic expression has been
apparent to man since the earliest times, and for this reason the attempt was made
to discover objects which could be invested with great symbolic power by means
of the combination and juxtaposition of various ingredients, which were usually
‘noble’ in character, but were occasionally bizarre or even base—as was the case,
for example, with the alchemic preparation known as ‘prime matter’. The aim
was to endow the object with all the powers inherent in the several planes of
cosmic reality. An example of a ‘complete object’ of this kind is the sword in the Grail legend: its pommel was a precious stone of many colours, each colour
representing a particular virtue; its haft was composed of the bones of strange
To see men in your dream, represent an authoritative figure or a father figure. If you are a woman and dream that you are in a room full of men, then it highlights the masculine aspect of yourself. The dream forces you to acknowledge your authoritative and aggressive side. Consider also how the men are dressed as this will provide a clue as to what area in your life you need to assert more power.
Light, traditionally, is equated with the spirit (9). Ely Star asserts that
the superiority of the spirit is immediately recognizable by its luminous intensity. Light is the manifestation of morality, of the intellect and the seven virtues
(54). Its whiteness alludes to just such a synthesis of the All. Light of any given
colour possesses a symbolism corresponding to that colour, plus the significance
of emanation from the ‘Centre’, for light is also the creative force, cosmic energy irradiation (57). Symbolically, illumination comes from the East. Psychologically
speaking, to become illuminated is to become aware of a source of light, and, in
consequence, of spiritual strength (32).
To see light in your dream, represents illumination, clarity, guidance, plain understanding, and insight. Light is being shed on a once cloudy situation or problem. You have found the truth to a situation or an answer to a problem. Also consider the color of the light for additional significance.
If the light is particularly bright, then it indicates that you need to move toward a higher level of awareness and feeling. Bright light dreams are sometimes common for those who are near death.
To see soft or shadowy lighting in your dreams, indicates feelings and thoughts from the primal aspects and less developed parts of your unconscious.
To dream that you cannot turn on the light, indicates a lack of insight and perspective on a situation.
If you dream of light, success will attend you. To dream of weird light, or if the light goes out, you will be disagreeably surprised by some undertaking resulting in nothing.
To see a dim light, indicates partial success.
To dream of lights is very good. It denotes riches and honour.
Seeing light in your dream indicates a clear mind, plain understanding, and insight. Light has been shed on a once cloudy situation or problem. You have found the truth to a situation or an answer to a problem. Seeing a bright light in your dream indicates that you need to move toward a higher level of awareness and feeling. Bright light dreams are sometimes common for those who are near death.
To teleport in your dream, represents your desires to escape your current situation or to move more faster and easier through it. You may be expressing some frustrations with how your waking life is proceeding and the slow speed that it is moving at.
As the Sun is the light of the spirit, so shadow is the negative
‘double’ of the body, or the image of its evil and base side. Among primitive
peoples, the notion that the shadow is the àlter ego or soul is firmly established;
it is also reflected in the folklore and literature of some advanced cultures (35). As
Frazer has noted, the primitive often regards his shadow, or his reflection in water or in a mirror, as his soul or as a vital part of himself (21). ‘Shadow’ is the term
given by Jung to the primitive and instinctive side of the individual.
To dream that you are wearing sunglasses, indicates your poor perception of some issue. You tend to be pessimistic and see the dark or negative side of things. Perhaps you don't want to see or be seen.
Dreaming that you are wearing sunglasses indicates your poor perception. You tend to see the dark or negative side of things. Perhaps you don't want to see or be seen.
Man comes to see himself as a symbol in so far as he is conscious of his
being. Hallstatt art, in Austria, shows fine examples of animal-heads with human
figures appearing above them. In India, in New Guinea, in the West as well, the
bull’s or ox’s head with a human form drawn between the horns is a very common
motif. Since the bull is a symbol for the father-heaven, man comes to be seen as
both his and the earth’s son (22), also, as a third possibility, the son of the sun and
the moon (49). The implications of Origen’s remark: ‘Understand that you are
another world in miniature and that in you are the sun, the moon and also the
stars’, are to be found in all symbolic traditions. In Moslem esoteric thought, man
is the symbol of universal existence (29), an idea which has found its way into
contemporary philosophy in the definition of man as ‘the messenger of being’;
however, in symbolic theory, man is not defined by function alone (that of
appropriating the consciousness of the cosmos), but rather by analogy, whereby
he is seen as an image of the universe. This analogical relationship is sometimes
expressed explicitly, as in some of the more ancient sections of the Upanishads—
the Brihadaranyaka and the Chandogya for instance—where the analogy between the human organism and the macrocosmos is drawn step by step by means
of correspondences with the organs of the body and the senses (7). So, for
example, the components of the nervous system are derived from fiery substance, and blood from watery substance (26). These oriental concepts first
appear in the West during the Romanesque period: Honorius of Autun, in his Elucidarium (12th century) states that the flesh (and the bones) of man are
derived from the earth, blood from water, his breath from air, and body-heat from
fire. Each part of the body relates to a corresponding part of the universe: the
head corresponds to the heavens, the breath to air, the belly to the sea, the lower
extremities to earth. The five senses were given analogies in accordance with a
system which came to Europe, perhaps, from the Hebrews and the Greeks (14).
Thus, Hildegard of Bingen, living in the same period, states that man is disposed
according to the number five: he is of five equal parts in height and five in girth; he
has five senses, and five members, echoed in the hand as five fingers. Hence the
pentagram is a sign of the microcosmos. Agrippa of Nettesheim represented this graphically, after Valeriano, who drew the analogy between the five-pointed star
and the five wounds of Christ. There is a relationship, too, between the organic
laws of Man and the Cistercian temple (14). Fabre d’Olivet, following the Cabala,
maintains that another number closely associated with the human being is nine—
the triple ternary. He divides human potentialities into three planes: those of the
body, of the soul or life and of the spirit. Each of these planes is characterized by
three modes: the active, the passive and the neutral (43). In the Far East, also,
speculation about the symbolism of man began very early. The same kind of
triple ternary organization is to be seen in the ancient teachings of the Taoists
(13). It is also interesting to note that there is a relationship between the human
being and the essential or archetypal animals (the turtle, the phoenix, the dragon
and the unicorn) who appear to bear the same relation to man—who is central—
as the tetramorphs do to the Pantokrator. Now, between man as a concrete
individual and the universe there is a medial term—a mesocosmos. And this
mesocosmos is the ‘Universal Man’, the King (Wang) in Far Eastern tradition,
and the Adam Kadmon of the Cabala. He symbolizes the whole pattern of the
world of manifestation, that is, the complete range of possibilities open to mankind. In a way, the concept corresponds to Jung’s ‘collective unconscious’. According to Guénon, Leibniz—perhaps influenced by Raymond Lull—conceded
that every ‘individual substance’ must contain within itself an integral reproduction of the universe, even if only as an image, just as the seed contains the totality
of the being into which it will develop (25). In Indian symbolism, Vaishvânara, or
the ‘Universal Man’, is divided into seven principal sections: (1) The superior,
luminous spheres as a whole, or the supreme states of being; (2) the sun and the
moon—or rather, the principles to which they pertain—as expressed in the right
and the left eye respectively; (3) the fire-principle—the mouth; (4) the directions
of space—the ears; (5) the atmosphere—the lungs; (6) the intermediary zone
between earth and heaven—the stomach; (7) the earth—the natural functions or
the lower part of the body. The heart is not mentioned, because, being the ‘centre’
or dwelling-place of Brahma, it is regarded as being beyond the ‘wheel’ of things
(26). Now, this concept of the ‘Universal Man’ implies hermaphroditism, though
never specifically. For the concrete, existential human being, in so far as he is
either a man or a woman, represents the dissected ‘human’ whole, not only in the
physical sense but also spiritually. Thus, to quote the Upanishads: ‘He was, in
truth, as big as a man and a woman embracing. He divided this atman into two
parts; from them sprang husband and wife.’ In Western iconography one sometimes finds images which would seem to be echoes of this concept (32). A human
couple, by their very nature, must always symbolize the urge to unite what is in
fact discrete. Figures which are shown embracing one another, or joining hands, or growing out of roots which bind them together, and so on, symbolize ‘conjunction’, that is, coincidentia oppositorum. There is a Hindu image representing the
‘joining of the unjoinable’ (analogous to the marriage of fire and water) by the
interlinking of Man and Woman, which may be taken to symbolize the joining of
all opposites: good and bad, high and low, cold and hot, wet and dry, and so on
(32). In alchemy, Man and Woman symbolize sulphur and mercury (the metal).
In psychology, level-symbolism is often brought to bear upon the members of the
body, so that the right side corresponds to the conscious level and the left to the
unconscious. The shapes of the parts of the body, depending upon whether they
are positive or negative—whether they are protuberances or cavities—should be
seen not only as sex-symbols but also in the light of the symbolism of levels. The
head is almost universally regarded as a symbol of virility (56). The attitudes
which the body may take up are of great symbolic importance, because they are
both the instrument and the expression of the human tendency towards ascendence
and evolution. A position with the arms wide open pertains to the symbolism of
the cross. And a posture in the form of the letter ‘X’ refers to the union of the two
worlds, a symbol which is related to the hour-glass, the ‘X’ and all other symbols
of intersection (50). Another important posture is that of Buddha in the traditional iconography of the Orient, a posture characteristic also of some Celtic gods
such as the so-called ‘Bouray god’ or the famous Roquepertuse figure. This
squatting position expresses the renunciation of the ‘baser part’ and of ambulatory movement and symbolizes identification with the mystic centre.
To see a man in your dream, denotes the aspect of yourself that is assertive, rational, aggressive, and/or competitive. Perhaps you need to incorporate these aspects into your own character. If the man is known to you, then the dream may reflect you feelings and concerns you have about him.
If you are a woman and dream that you are in the arms of a man, then it suggests that you are accepting and welcoming your stronger assertive personality. It may also highlight your desires to be in a relationship and your image of the ideal man.
To see an old man in your dream, represents wisdom or forgiveness. The old man may be a archetypal figure who is offering guidance to some daily problem.
To dream of a man, if handsome, well formed and supple, denotes that you will enjoy life vastly and come into rich possessions. If he is misshapen and sour-visaged, you will meet disappointments and many perplexities will involve you.
For a woman to dream of a handsome man, she is likely to have distinction offered her. If he is ugly, she will experience trouble through some one whom she considers a friend.
Seeing a man in your dream indicates the masculine aspect of yourself - the side that is assertive, rational, aggressive, and/or competitive. If the man is known to you, then the dream may reflect you feelings and concerns you have about him. If you are a woman and dream that you are in the arms of a man, suggests that you are accepting and welcoming your stronger assertive personality . It may also highlight your desires to be in a relationship and your image of the ideal man. Seeing an old man in your dream, represents wisdom or forgiveness.
All different kinds of people clutter our dream landscape. The men in your dream may include family members or total strangers. You may dream about your father, son, husband, or friend and should interpret the dream according to its details. A man, particularly the father figure, may represent collective consciousness and the traditional human spirit. He is the Yang and his energy, when mobilised, creates the earthly realities. Depending on the details of the dream, the masculine figure could be interpreted as the Creator or Destroyer. At times, women dream about men that are strangers to them. These men may represent the women's unconscious psychic energy. At times, a strange and ominous man in men's dreams could represent their "shadow" or their negativity and darker sides of personality.
To dream that you are at the center of something, represents your belief that everything revolves around you. The dream may also be a metaphor that you are in the middle of some situation that you cannot get out of. If you are off centered, then it indicates that something in your life is out of balance.
To hear your name called in a dream by strange voices, denotes that your business will fall into a precarious state, and that strangers may lend you assistance, or you may fail to meet your obligations.
To hear the voice of a friend or relative, denotes the desperate illness of some one of them, and may be death; in the latter case you may be called upon to stand as guardian over some one, in governing whom you should use much discretion.
Lovers hearing the voice of their affianced should heed the warning.
If they have been negligent in attention they should make amends.
Otherwise they may suffer separation from misunderstanding.
To hear the voice of the dead may be a warning of your own serious illness or some business worry from bad judgment may ensue. The voice is an echo thrown back from the future on the subjective mind, taking the sound of your ancestor's voice from coming in contact with that part of your ancestor which remains with you. A certain portion of mind matter remains the same in lines of family descent.