It was about opening portals by manipulating elements which are constantly present in all space/time. by forming his hands in a sphere, he "popped" these orbs of light and differing textures into existance from thin air. Once he even popped one larger one around the smaller one. I wish I remembered more!
Of the four Elements, air and fire are regarded as active and male; water
and earth as passive and female. In some elemental cosmogonies, fire is given
pride of place and considered the origin of all things, but the more general belief is
that air is the primary element. Compression or concentration of air creates heat
or fire, from which all forms of life are then derived. Air is essentially related to
three sets of ideas: the creative breath of life, and, hence, speech; the stormy
wind, connected in many mythologies with the idea of creation; and, finally,
space as a medium for movement and for the emergence of life-processes. Light,
flight, lightness, as well as scent and smell, are all related to the general symbolism
of air (3). Gaston Bachelard says that for one of its eminent worshippers,
Nietzsche, air was a kind of higher, subtler matter, the very stuff of human
freedom. And he adds that the distinguishing characteristic of aerial nature is that
it is based on the dynamics of dematerialization. Thoughts, feelings and memories
concerning heat and cold, dryness and humidity and, in general, all aspects of
climate and atmosphere, are also closely related to the concept of air. According to
Nietzsche, air should be cold and aggressive like the air of mountain tops. Bachelard
relates scent to memory, and by way of example points to Shelley’s characteristic
lingering over reminiscences of smell.
To dream about the air, symbolizes creativity and intelligence. If the air is foggy or polluted, then it suggests that your thought process or mind is clouded.
To feel cold air in your dream, signifies discordance in your domestic relations and setbacks in your business affairs. You may be in danger of losing touch with reality.
To dream that you are breathing hot air, signifies the influence of evil around you.
This dream denotes a withering state of things, and bodes no good to the dreamer.
To dream of breathing hot air suggests that you will be influenced to evil by oppression.
To feel cold air, denotes discrepancies in your business, and incompatibility in domestic relations.
To feel oppressed with humidity, some curse will fall on you that will prostrate and close down on your optimistical views of the future.
Dreaming of inhaling unpleasant hot air might point to bad influences and bad forces at work against you, and cold air indicates some degree of failure professionally and emotionally.
To dream that something or someone is thin, represents a lacking strength and integrity. You feel that you are unable to hold your own or stand up for yourself. Alternatively, the dream indicates flexibility and agility. You are able to adapt to any situation.
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.
Your hands are used to do things, without them we can do very little. When your hands are metaphorically tied it means you cannot complete a task. If your hands are being affected in a negative way in your dreams it may mean that you feel you are not able to complete certain tasks in your waking life, or that you doubt your ability to complete them. If you see clenched hands, fists, it could signify a greater frustration concerning a given task that you feel should be easier to complete.
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
Seeing or dreaming that you are in space, represents exploration. You are an independent thinker.