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UR2 Section 5: Session 720 November 13, 1974 5/42 (12%) shadows hallucinations oak cast camera
– The "Unknown" Reality: Volume Two
– © 2012 Laurel Davies-Butts
– Section 5: How to Journey into the “Unknown” Reality: Tiny Steps and Giant Steps. Glimpses and Direct Encounters
– Session 720: Discovering the History of Your Psyche. Exploring the Dream World Yourself. Fears and Stormy Dream Landscapes
– Session 720 November 13, 1974 9:55 P.M. Wednesday

[... 4 paragraphs ...]

Dictation (whispering). Now, if you take a physical camera with you today and snap pictures as you go about your chores, walk, or talk with friends, then you will have preserved scenes from the day’s activities.

[... 1 paragraph ...]

In waking life you experience certain events as real, and generally these are the only ones that can be captured by an ordinary photographer. The dream world,1 however, presents a much larger category of events. Many [events] may later appear as physical ones, while others just as valid will not. The dream camera, therefore, will capture probable events also.

When you awaken with a dream photograph in mind, it may appear meaningless because it does not seem to correlate with the official order of activities you recognize. You may make one particular decision in physical and waking consciousness, and that decision may bring forth certain events. Using your dream camera, you can with practice discover the history of your own psyche, and find the many probable decisions experienced in dreams. These served as a basis from which you made your physical decision. There is some finesse required as you learn to interpret the individual pictures within your dream album. This should be easy to grasp, for if you tried to understand physical life having only a group of snapshots taken at different places and in different times, then it would be rather difficult to form a clear idea of the nature of the physical world.

[... 1 paragraph ...]

Give us a moment … When you take a physical photograph you have to know how your camera works. You must learn how to focus, how to emphasize those particular qualities you want to record, and how to cut out distracting influences. You know the difference between shadows, for example, and solid objects. Sometimes shadows themselves make fascinating photographic studies. You might utilize them in the background, but as a photographer you would not confuse the shadows with, say, the solid objects. No one would deny that shadows are real, however.

[... 3 paragraphs ...]

When you, a dream tourist, wander about the inner landscape with your mental camera, however, it may take a while before you are able to tell the difference between dream events and their shadows or hallucinations. So you may take pictures of the shadows instead of the trees, and end up with a fine composition indeed — but one that would give you somewhat of a distorted version of inner reality. So you must learn how to aim and focus your dream camera.

[... 27 paragraphs ...]

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