w w w . a t y p i . o r g
w w w . r e v e r i e . c o m
S u b - C O N S C I O U S M I N D A N D I N -N E R C R E A T I V I T Y
T h e r e a l p o w e r o f c r e a t i v i t y
l i e s i n t h e s u b c o n s c i o u s .
Y o u r c r e a t i v i t y c o m e s
o u t o f a l l t h e t h i n g s y o u a r e n o t a w a r e o f
- m e m o r i e s y o u d o n ’ t r e m e m b e r ,
t h i n g s y o u h a v e s e e n
b u t h a v e n o t n o t i c e d ,
a n d f e e l i n g s w i t h i n y o u
t h a t n a t u r a l l y o c c u r .
A l l o f y o u r n e w g r e a t i d e a s a r e l y i n g
i n s i d e o f y o u r s u b c o n s c i o u s .
I n t h e m o r e
p u r e l y a r t i s t i c r e a l m ,
a r t i s t s o f a l l t y p e s
r e c e i v e i n s p i r a t i o n i n d r e a m s .
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with
a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle.
But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The only time you can safely get away with justifying text is if
your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with a word stretching all the way
across the column, or a little word on either side of the column
with a big gap in the middle. But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle.
But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
T h e r e a l p o w e r o f c r e a t i v i t y
l i e s i n t h e s u b c o n s c i o u s .
Y o u r c r e a t i v i t y c o m e s
o u t o f a l l t h e t h i n g s y o u a r e n o t a w a r e o f
- m e m o r i e s y o u d o n ’ t r e m e m b e r ,
t h i n g s y o u h a v e s e e n
b u t h a v e n o t n o t i c e d ,
a n d f e e l i n g s w i t h i n y o u
t h a t n a t u r a l l y o c c u r .
A l l o f y o u r n e w g r e a t i d e a s a r e l y i n g
i n s i d e o f y o u r s u b c o n s c i o u s .
I n t h e m o r e
p u r e l y a r t i s t i c r e a l m ,
a r t i s t s o f a l l t y p e s
r e c e i v e i n s p i r a t i o n i n d r e a m s .
8
2
5
77 3
9
46
6
0
The unconscious is that part of
the psyche that is normally beyond
the reach of consciousness. The
basic notion of an unconscious, as
well as the idea that our behavior
in influenced by unconscious
motivations, is very old. However,
it was Sigmund Freud who first put
forward a general theory of the
unconscious and its interaction
with the conscious mind. Freud’s
concept of the relationship
between the conscious and the
unconscious has been compared to
that of an “iceberg”— meaning
that only a relatively tiny
part (the conscious)is usually
visible, while ninety percent (the
unconscious) is below the surface.
The only time you can safely get away with justifying text is if
your type is small enough and your line is long enough. If your line is shorter or if you
don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It
usually looks awkward. You’ve seen newspaper columns where all
text is justified, often with a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle. But that’s what can happen with
justified type. When you do it, the effect might not be as radical
as the newspaper column, but if your lines are relatively short,
you will inevitably end up with uncomfortable gaps in some lines,
while other lines will be all squashed together
The only time you can safely get away with justifying text is if
your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns
to the margins the words space themselves to accommodate it. It
usually looks awkward. You’ve seen newspaper columns where all
text is justified, often with a word stretching all the way
across the column, or a little word on either side of the column
with a big gap in the middle. But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle.
But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The unconscious is that part of
the psyche that is normally beyond
the reach of consciousness. The
basic notion of an unconscious, as
well as the idea that our behavior
in influenced by unconscious
motivations, is very old. However,
it was Sigmund Freud who first put
forward a general theory of the
unconscious and its interaction
with the conscious mind. Freud’s
concept of the relationship
between the conscious and the
unconscious has been compared to
that of an “iceberg”— meaning
that only a relatively tiny
part (the conscious)is usually
visible, while ninety percent (the
unconscious) is below the surface.
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d .
A n y c h a n g e o f e n v i r o n m e n t c a n
g e t y o u r b r a i n o u t o f i t ' s r u t s .
A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e
l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e
o f t h e m e a n i n g o f d r e a m s t h a t
w e h a v e w e m u s t s t a y c o n s c i o u s
o f t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . "
D o t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l
a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e o f
t h e m e a n i n g o f d r e a m s
t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T
h
e
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
e
n
d
s
t
o
g
i
v
e
y
o
u
m
o
r
e
o
f
w
h
a
t
y
o
u
p
a
y
a
t
t
e
n
t
i
o
n
t
o
.
I
g
n
o
r
e
t
h
e
c
r
e
a
t
i
v
e
a
s
p
e
c
t
s
o
f
y
o
u
r
l
i
f
e
,
a
n
d
y
o
u
'
r
e
t
e
l
l
i
n
g
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
h
e
y
a
r
e
u
n
i
m
p
o
r
t
a
n
t
.
C
o
n
s
c
i
o
u
s
l
y
n
o
t
e
w
h
e
n
y
o
u
a
r
e
c
r
e
a
t
i
v
e
,
a
n
d
l
o
o
k
f
o
r
o
p
p
o
r
t
u
n
i
t
i
e
s
t
o
b
e
c
r
e
a
t
i
v
e
,
a
n
d
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
w
i
l
l
s
t
a
r
t
f
e
e
d
i
n
g
y
o
u
m
o
r
e
c
r
e
a
t
i
v
e
i
d
e
a
s
.
W
r
i
t
i
n
g
d
o
w
n
y
o
u
r
i
d
e
a
s
i
s
a
g
o
o
d
w
a
y
t
o
e
n
c
o
u
r
a
g
e
a
n
d
i
n
c
r
e
a
s
e
c
r
e
a
t
i
v
i
t
y
.
Y
o
u
c
a
n
k
e
e
p
a
n
"
i
d
e
a
j
o
u
r
n
a
l
.
"
D
o
t
h
i
s
r
e
g
u
l
a
r
l
y
,
a
n
d
y
o
u
'
l
l
n
o
t
i
c
e
t
h
a
t
y
o
u
o
f
t
e
n
s
t
a
r
t
h
a
v
i
n
g
m
o
r
e
i
d
e
a
s
w
h
i
l
e
y
o
u
a
r
e
w
r
i
t
i
n
g
.
M
e
d
i
o
c
r
e
i
d
e
a
s
m
a
y
n
o
r
m
a
l
l
y
b
e
f
o
r
g
o
t
t
e
n
,
b
u
t
b
y
w
r
i
t
i
n
g
t
h
e
m
d
o
w
n
,
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
a
y
w
o
r
k
o
n
t
h
e
m
,
a
n
d
t
r
a
n
s
f
o
r
m
t
h
e
m
i
n
t
o
s
o
m
e
t
h
i
n
g
v
e
r
y
c
r
e
a
t
i
v
e
.
Y
o
u
c
a
n
a
l
s
o
e
n
c
o
u
r
a
g
e
g
r
e
a
t
e
r
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
s
e
l
f
b
y
p
u
t
t
i
n
g
c
r
e
a
t
i
v
e
i
d
e
a
s
i
n
t
o
p
r
a
c
t
i
c
e
.
I
f
y
o
u
p
a
i
n
t
o
r
w
r
i
t
e
,
f
o
r
e
x
a
m
p
l
e
,
t
r
y
a
n
y
t
h
i
n
g
n
e
w
.
E
v
e
n
j
u
s
t
d
r
i
v
i
n
g
a
d
i
f
f
e
r
e
n
t
r
o
u
t
e
t
o
w
o
r
k
t
o
s
e
e
i
f
i
t
i
s
q
u
i
c
k
e
r
c
a
n
h
e
l
p
.
T
h
e
p
o
i
n
t
i
s
t
o
g
e
t
y
o
u
m
i
n
d
w
o
r
k
i
n
g
o
u
t
s
i
d
e
o
f
i
t
s
r
e
g
u
l
a
r
p
a
t
t
e
r
n
s
.
C
h
a
n
g
i
n
g
y
o
u
r
s
u
r
r
o
u
n
d
i
n
g
s
c
a
n
e
n
c
o
u
r
a
g
e
c
r
e
a
t
i
v
i
t
y
.
W
a
n
t
m
o
r
e
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
l
o
v
e
l
i
f
e
?
H
i
k
e
u
p
a
m
o
u
n
t
a
i
n
w
i
t
h
y
o
u
r
p
a
r
t
n
e
r
.
N
e
e
d
s
t
o
r
y
i
d
e
a
s
?
T
r
y
s
i
t
t
i
n
g
o
n
a
r
o
o
f
t
o
w
r
i
t
e
.
F
o
r
n
e
w
i
d
e
a
s
f
o
r
y
o
u
r
b
u
s
i
n
e
s
s
,
t
a
k
e
a
n
o
t
e
b
o
o
k
t
o
t
h
e
p
a
r
k
a
n
d
s
i
t
b
y
t
h
e
d
u
c
k
p
o
n
d
.
A
n
y
c
h
a
n
g
e
o
f
e
n
v
i
r
o
n
m
e
n
t
c
a
n
g
e
t
y
o
u
r
b
r
a
i
n
o
u
t
o
f
i
t
'
s
r
u
t
s
.
A
v
i
t
a
l
r
e
a
s
o
n
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
i
s
b
e
c
a
u
s
e
t
h
e
y
a
l
s
o
c
a
n
t
e
l
l
y
o
u
a
b
o
u
t
y
o
u
r
q
u
a
l
i
t
i
e
s
o
f
s
e
l
f
.
A
t
o
n
e
l
e
v
e
l
a
l
l
a
s
p
e
c
t
s
o
f
a
d
r
e
a
m
a
r
e
q
u
a
l
i
t
i
e
s
o
f
o
u
r
s
e
l
f
.
E
a
c
h
p
e
r
s
o
n
,
e
a
c
h
e
l
e
m
e
n
t
o
f
t
h
e
d
r
e
a
m
i
s
y
o
u
.
W
e
a
r
e
m
e
e
t
i
n
g
p
a
r
t
s
o
f
y
o
u
r
s
e
l
f
i
n
e
a
c
h
p
e
r
s
o
n
a
n
d
o
b
j
e
c
t
i
n
y
o
u
r
d
r
e
a
m
.
T
o
b
e
t
t
e
r
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
w
e
m
u
s
t
l
e
a
r
n
s
y
m
b
o
l
l
a
n
g
u
a
g
e
,
i
n
o
r
d
e
r
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
s
s
a
g
e
y
o
u
n
e
e
d
t
o
r
e
a
d
t
h
e
l
a
n
g
u
a
g
e
.
W
h
i
l
e
w
e
a
t
t
e
m
p
t
t
o
b
e
c
o
m
e
m
o
r
e
a
w
a
r
e
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
t
h
a
t
w
e
h
a
v
e
w
e
m
u
s
t
s
t
a
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
p
o
i
n
t
t
h
a
t
N
u
m
b
e
r
s
,
c
o
l
o
r
s
,
d
i
r
e
c
t
i
o
n
s
a
l
l
h
a
v
e
m
e
a
n
i
n
g
s
.
W
o
r
d
s
i
n
t
h
e
d
r
e
a
m
o
f
t
e
n
h
a
v
e
a
d
o
u
b
l
e
m
e
a
n
i
n
g
,
a
s
h
o
m
o
p
h
o
n
e
s
d
o
.
T
o
i
m
p
r
o
v
e
y
o
u
r
a
b
i
l
i
t
y
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
h
a
v
e
s
t
r
o
n
g
,
p
u
r
p
o
s
e
f
u
l
,
p
o
s
i
t
i
v
e
,
a
n
d
e
m
p
o
w
e
r
i
n
g
d
r
e
a
m
s
w
e
m
u
s
t
d
e
v
e
l
o
p
t
h
e
a
b
i
l
i
t
y
t
o
t
r
a
n
s
f
o
r
m
o
u
r
w
a
y
o
f
t
h
i
n
k
i
n
g
a
n
d
t
o
b
e
c
o
m
e
v
e
r
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
w
h
a
t
w
e
f
e
e
d
i
n
t
o
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
.
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e
o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e
a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g
y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n
y o u a r e c r e a t i v e , a n d
l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d
y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r
i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e
c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n
s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n ,
b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k
o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f
b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r
e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a
d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r
c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y
i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r
p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a
r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s ,
t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e
d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t y o u r b r a i n o u t o f i t ' s
r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u
a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f .
E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u .
W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n
a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e
m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e , i n
o r d e r t o u n d e r s t a n d t h e m e s s a g e y o u n e e d t o r e a d
t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e
a w a r e o f t h e m e a n i n g o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l
h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o
i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f
d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d
e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e a b i l i t y
t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e
v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d
w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle.
But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space
themselves to accommodate it. It usually looks awkward. You’ve
seen newspaper columns where all text is justified, often with
a word stretching all the way across the column, or a little
word on either side of the column with a big gap in the middle.
But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The only time you can safely get away with justifying text is if
your type is small enough and your line is long enough. If
your line is shorter or if you don’t have many worlds on the line, then as the type aligns
to the margins the words space themselves to accommodate it. It
usually looks awkward. You’ve seen newspaper columns where all
text is justified, often with a word stretching all the way
across the column, or a little word on either side of the column
with a big gap in the middle. But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if
your lines are relatively short, you will inevitably end up with
uncomfortable gaps in some lines, while other lines will be all
squashed together
The role of dreams in promoting creativity is, like many other issues in this area, unclear. Does paying attention to one’s dreams actually stimulate one’s creativity, or does dream material simply provide inspiration for creative work? Is there a meaningful distinction between creativity in dreams and problem solving in dreams?
With respect to the last question, consider for instance, the experience of the nineteenth-century chemist F.A. Kekule, who was attempting to determine the structure of the benzene molecule. Dozing off in front of his fireplace one evening, he dreamed of snakelike benzene molecules dancing in the fire. At one point one of the snakes latched onto its own tail and began spinning.
In this surreal hypnagogic experience Kekule discovered the key to his problem—that the benzene molecule was arranged in a ring pattern. Here it seems that this scientist’s dreamlike experience embodied creative problem solving.
In the more purely artistic realm, artists of all types receive nninspiration in dreams. One of the better-known examples in the experience of the eighteenth-century violinist Giuseppi Tartini, who had a dream in which the devil played a tune that so enchanted him that he immediately awoke and attempted to capture as much of it as he could remember. The resulting piece, the Devil’s Trill, because his most famous composition.
Finally, in traditional societies creative inspiration from dreams cannot be meaningfully separated from spirit guidance through dreams. In a study of the Mistassini Cree, for example, Adrian Taner remarks that “Power...is sometimes thought to arrive in dreams, in the form of formulae for songs, or shamanistic techniques, or ideas for the decoration of clothing or other objects.” Thus, for the Cree, as for other traditional peoples, religious revelation and artistic inspiration blend together in an indistinguishable whole.
To understand and develop inner creativity we first need to understand the psyche. We are more than meets the eye. The depth of our full psychological potential is beyond the reach of the personality ego. Beneath the conscious ego’s veneer is the essential Self which guides and directs the body through the subconscious mind. We all know that something keeps our heart pumping, blood flowing, lungs breathing, etc. all without conscious intent. This has been dubbed the subconscious. This mysterious, yet ever reliable, subconscious also houses the fullest potential of the psyche. When we can tap this inner realm, raise the subconscious intent to conscious awareness, we get in touch with and utilize our inner creativity. There are many ways to reach this inner creative potential. First we need to put the ego to rest temporarily. The chattering personality needs to be set aside for a time so that the fullness of the entire psyche can see the light of mind. Creative insight always feels like a momentary gap has been opened and a burst of light has surfaced. Intuitive thought is a sudden complete understanding that issues forth, as if out of the blue. The veil of presumption and doubt is lifted. Creative psyche opens up and releases the gem of wisdom we were waiting for. A few good methods of enhancing this mindful gap to access inner creativity are meditation, self-awareness, soft focus and a light-hearted attitude. A word on each method:Meditation: There are many forms of meditation and they don’t all involve sitting alone in some quiet place. Though this is helpful if you can accomplish it, you can also learn to meditate in the midst of a crowded shopping mall. Fruitful meditation is closing the eyes, still the chattering mind, and focus on one specific thought, sound (via mantra) or enter complete stillness in the Void. If meditation appeals to you there are many varied methods, you can seek out which works best for you. Meditation puts your brain into an alpha or, when you become proficient a waking theta state. In this altered state the gap will open and creative mind emerge. Meditation is also recommended by a prominent hospital in Boston for recovering cancer and heart disease patients. It has been scientifically shown to calm the body, reduce blood pressure and enhance the immune system. The benefits of daily meditation are becoming more accepted by the medical and scientific communities. Enhanced inner creativity is an additional by product. Self-Awareness: The practice of self-awareness runs through all the great religious and philosophical disciplines. Buddhism, Zen, Sufi Mystics, Christian Mystics, Hindu Yogis, and Taoists practice the art of mindful self-awareness. This is a non-judgmental form of watching one’s daily actions and thoughts in the present moment in a detached frame of mind. When learned and applied, this can create the necessary gap between the ego and the Self and great clarity of mind unfolds. Soft-Focus: This is an excellent way to stop the thinking process in an immediate and busy environment. Just allow the eyes to maintain a soft focus on a neutral surface and be aware of everything around you without focusing on any one thing. You will notice immediately that your peripheral vision is increased and your sensitivity to your entire environment is enhanced, while your mind is calmed. This is the focus of martial artists, dancers and well-trained athletes. When you create a soft-focus the ego is temporarily set aside and the subconscious mind where inner creativity abounds can come to the surface. Light-Heartedness: This is an excellent frame of mind to keep the personality ego from getting a rigid hold on the psyche and stifling creative thought. When we see the humor in everything, we perceive the intuitive and original moments that otherwise go unnoticed when we act from habitual behavior patterns. Humor embellishes the absurd and unusual, and this is where creativity springs from.If any one of these methods is practiced daily they too can become creative behavior patterns. When a fluidity of mind, expressing from the present moment with calm clarity becomes a habit, creative mind is always available. In this way the experience of inner creativity will become a living presence in your life Ego detachment is the perfect attitude for creating a gap in your present
Give yourself a motive.
Make a date with your subconscious mind.
Write every idea down.
When stymied, stop for a while.
subconscious to conscious
CONSCIOUSSub-
Dreams have ling exercised
a fascination over the human
imagination. We spend approxi-
mately one-third of our lives
in a state of sleep, much of the
night filled with dreams.Pecu-
liarly vivid or disturbing dreams
leave behind impressions that are
hard to dismiss. But what are
dreams? And what significance, if
any, do they have for the dreamer?
T h e s u b c o n s c i o u s m i n d t e n d s t o
g i v e y o u m o r e o f w h a t y o u
p a y a t t e n t i o n t o . I g n o r e
t h e c r e a t i v e a s p e c t s o f
y o u r l i f e , a n d y o u ' r e
t e l l i n g y o u r s u b c o n s c i o u s
m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e ,
a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e ,
a n d y o u r s u b c o n s c i o u s
m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g
d o w n y o u r i d e a s i s a
g o o d w a y t o e n c o u r a g e
a n d i n c r e a s e c r e a t i v i t y .
Y o u c a n k e e p a n " i d e a j o u r n a l . "
D o t h i s r e g u l a r l y , a n d
y o u ' l l n o t i c e t h a t y o u o f t e n
s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y
b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s
m a y w o r k o n t h e m , a n d
t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o
e n c o u r a g e g r e a t e r
c r e a t i v i t y i n y o u r s e l f b y
p u t t i n g c r e a t i v e i d e a s i n t o
p r a c t i c e . I f y o u p a i n t o r w r i t e ,
f o r e x a m p l e , t r y a n y t h i n g
n e w . E v e n j u s t d r i v i n g
a d i f f e r e n t r o u t e t o w o r k
t o s e e i f i t i s q u i c k e r c a n
h e l p . T h e p o i n t i s t o g e t y o u
m i n d w o r k i n g o u t s i d e o f
i t s r e g u l a r p a t t e r n s .
C h a n g i n g y o u r s u r r o u n d i n g s
c a n e n c o u r a g e c r e a t i v i t y . W a n t
m o r e c r e a t i v i t y i n y o u r l o v e
l i f e ? H i k e u p a m o u n t a i n
w i t h y o u r p a r t n e r . N e e d
s t o r y i d e a s ? T r y s i t t i n g
o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r
b u s i n e s s , t a k e a n o t e b o o k t o
t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s i s b e c a u s e t h e y
a l s o c a n t e l l y o u a b o u t
y o u r q u a l i t i e s o f s e l f . A t
o n e l e v e l a l l a s p e c t s o f
a d r e a m a r e q u a l i t i e s o f
o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m
i s y o u . W e a r e m e e t i n g p a r t s
o f y o u r s e l f i n e a c h p e r s o n
a n d o b j e c t i n y o u r d r e a m .
T o b e t t e r u n d e r s t a n d t h e
m e a n i n g o f d r e a m s w e m u s t
l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e
l a n g u a g e . W h i l e w e a t t e m p t
t o b e c o m e m o r e a w a r e o f
t h e m e a n i n g o f d r e a m s
t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s ,
d i r e c t i o n s a l l h a v e m e a n i n g s .
W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s
h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d
t h e m e a n i n g o f d r e a m s a n d
h a v e s t r o n g , p u r p o s e f u l ,
p o s i t i v e , a n d e m p o w e r i n g
d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r
w a y o f t h i n k i n g a n d t o b e c o m e
v e r y c o n s c i o u s o f t h e m e a n i n g
o f d r e a m s a n d w h a t w e
f e e d i n t o o u r s u b c o n s c i o u s
m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o
g i v e y o u m o r e o f w h a t y o u
p a y a t t e n t i o n t o . I g n o r e
t h e c r e a t i v e a s p e c t s o f
y o u r l i f e , a n d y o u ' r e
t e l l i n g y o u r s u b c o n s c i o u s
m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e ,
a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e ,
a n d y o u r s u b c o n s c i o u s
m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g
d o w n y o u r i d e a s i s a g o o d w a y
t o e n c o u r a g e a n d i n c r e a s e
c r e a t i v i t y . Y o u c a n k e e p a n
" i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e
t h a t y o u o f t e n s t a r t h a v i n g
m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y
b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s
m a y w o r k o n t h e m , a n d
t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o
e n c o u r a g e g r e a t e r
c r e a t i v i t y i n y o u r s e l f b y
p u t t i n g c r e a t i v e i d e a s i n t o
p r a c t i c e . I f y o u p a i n t o r w r i t e ,
f o r e x a m p l e , t r y a n y t h i n g
n e w . E v e n j u s t d r i v i n g a
d i f f e r e n t r o u t e t o w o r k t o s e e
i f i t i s q u i c k e r c a n h e l p . T h e
p o i n t i s t o g e t y o u m i n d
w o r k i n g o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r
s u r r o u n d i n g s c a n e n c o u r a g e
c r e a t i v i t y . W a n t m o r e c r e a t i v i t y
i n y o u r l o v e l i f e ? H i k e u p
a m o u n t a i n w i t h y o u r
p a r t n e r . N e e d s t o r y i d e a s ?
T r y s i t t i n g o n a r o o f t o
w r i t e . F o r n e w i d e a s f o r y o u r
b u s i n e s s , t a k e a n o t e b o o k t o
t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d
t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y
a l s o c a n t e l l y o u a b o u t
y o u r q u a l i t i e s o f s e l f . A t
o n e l e v e l a l l a s p e c t s o f
a d r e a m a r e q u a l i t i e s o f
o u r s e l f . E a c h p e r s o n , e a c h
e l e m e n t o f t h e d r e a m i s
y o u . W e a r e m e e t i n g p a r t s
o f y o u r s e l f i n e a c h p e r s o n a n d
o b j e c t i n y o u r d r e a m . T o b e t t e r
u n d e r s t a n d t h e m e a n i n g o f
d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e .
W h i l e w e a t t e m p t t o b e c o m e
m o r e a w a r e o f t h e m e a n i n g
o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s ,
d i r e c t i o n s a l l h a v e m e a n i n g s .
W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s
h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y
t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s a n d h a v e s t r o n g ,
p u r p o s e f u l , p o s i t i v e , a n d
e m p o w e r i n g d r e a m s w e m u s t
d e v e l o p t h e a b i l i t y t o
t r a n s f o r m o u r w a y o f t h i n k i n g
a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g
o f d r e a m s a n d w h a t w e
f e e d i n t o o u r s u b c o n s c i o u s
m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a
j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m
d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g
o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l
a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e
a w a r e o f t h e m e a n i n g o f
d r e a m s t h a t w e h a v e w e m u s t
s t a y c o n s c i o u s o f t h e p o i n t
t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p
t h e a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o
g i v e y o u m o r e o f w h a t y o u
p a y a t t e n t i o n t o . I g n o r e
t h e c r e a t i v e a s p e c t s o f
y o u r l i f e , a n d y o u ' r e
t e l l i n g y o u r s u b c o n s c i o u s
m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e ,
a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e ,
a n d y o u r s u b c o n s c i o u s
m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g
d o w n y o u r i d e a s i s a
g o o d w a y t o e n c o u r a g e
a n d i n c r e a s e c r e a t i v i t y .
Y o u c a n k e e p a n " i d e a j o u r n a l . "
D o t h i s r e g u l a r l y , a n d
y o u ' l l n o t i c e t h a t y o u o f t e n
s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y
b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s
m a y w o r k o n t h e m , a n d
t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o
e n c o u r a g e g r e a t e r
c r e a t i v i t y i n y o u r s e l f b y
p u t t i n g c r e a t i v e i d e a s i n t o
p r a c t i c e . I f y o u p a i n t o r w r i t e ,
f o r e x a m p l e , t r y a n y t h i n g
n e w . E v e n j u s t d r i v i n g
a d i f f e r e n t r o u t e t o w o r k
t o s e e i f i t i s q u i c k e r c a n
h e l p . T h e p o i n t i s t o g e t y o u
m i n d w o r k i n g o u t s i d e o f
i t s r e g u l a r p a t t e r n s .
C h a n g i n g y o u r s u r r o u n d i n g s
c a n e n c o u r a g e c r e a t i v i t y . W a n t
m o r e c r e a t i v i t y i n y o u r l o v e
l i f e ? H i k e u p a m o u n t a i n
w i t h y o u r p a r t n e r . N e e d
s t o r y i d e a s ? T r y s i t t i n g
o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r
b u s i n e s s , t a k e a n o t e b o o k t o
t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s i s b e c a u s e t h e y
a l s o c a n t e l l y o u a b o u t
y o u r q u a l i t i e s o f s e l f . A t
o n e l e v e l a l l a s p e c t s o f
a d r e a m a r e q u a l i t i e s o f
o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m
i s y o u . W e a r e m e e t i n g p a r t s
o f y o u r s e l f i n e a c h p e r s o n
a n d o b j e c t i n y o u r d r e a m .
T o b e t t e r u n d e r s t a n d t h e
m e a n i n g o f d r e a m s w e m u s t
l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e
l a n g u a g e . W h i l e w e a t t e m p t
t o b e c o m e m o r e a w a r e o f
t h e m e a n i n g o f d r e a m s
t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s ,
d i r e c t i o n s a l l h a v e m e a n i n g s .
W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s
h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d
t h e m e a n i n g o f d r e a m s a n d
h a v e s t r o n g , p u r p o s e f u l ,
p o s i t i v e , a n d e m p o w e r i n g
d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r
w a y o f t h i n k i n g a n d t o b e c o m e
v e r y c o n s c i o u s o f t h e m e a n i n g
o f d r e a m s a n d w h a t w e
f e e d i n t o o u r s u b c o n s c i o u s
m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d .
A n y c h a n g e o f e n v i r o n m e n t c a n
g e t y o u r b r a i n o u t o f i t ' s r u t s .
A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e
l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e
o f t h e m e a n i n g o f d r e a m s t h a t
w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o
g i v e y o u m o r e o f w h a t y o u
p a y a t t e n t i o n t o . I g n o r e
t h e c r e a t i v e a s p e c t s o f
y o u r l i f e , a n d y o u ' r e
t e l l i n g y o u r s u b c o n s c i o u s
m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e ,
a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e ,
a n d y o u r s u b c o n s c i o u s
m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g
d o w n y o u r i d e a s i s a g o o d w a y
t o e n c o u r a g e a n d i n c r e a s e
c r e a t i v i t y . Y o u c a n k e e p a n
" i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e
t h a t y o u o f t e n s t a r t h a v i n g
m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y
b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s
m a y w o r k o n t h e m , a n d
t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o
e n c o u r a g e g r e a t e r
c r e a t i v i t y i n y o u r s e l f b y
p u t t i n g c r e a t i v e i d e a s i n t o
p r a c t i c e . I f y o u p a i n t o r w r i t e ,
f o r e x a m p l e , t r y a n y t h i n g
n e w . E v e n j u s t d r i v i n g a
d i f f e r e n t r o u t e t o w o r k t o s e e
i f i t i s q u i c k e r c a n h e l p . T h e
p o i n t i s t o g e t y o u m i n d
w o r k i n g o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r
s u r r o u n d i n g s c a n e n c o u r a g e
c r e a t i v i t y . W a n t m o r e c r e a t i v i t y
i n y o u r l o v e l i f e ? H i k e u p
a m o u n t a i n w i t h y o u r
p a r t n e r . N e e d s t o r y i d e a s ?
T r y s i t t i n g o n a r o o f t o
w r i t e . F o r n e w i d e a s f o r y o u r
b u s i n e s s , t a k e a n o t e b o o k t o
t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d
t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y
a l s o c a n t e l l y o u a b o u t
y o u r q u a l i t i e s o f s e l f . A t
o n e l e v e l a l l a s p e c t s o f
a d r e a m a r e q u a l i t i e s o f
o u r s e l f . E a c h p e r s o n , e a c h
e l e m e n t o f t h e d r e a m i s
y o u . W e a r e m e e t i n g p a r t s
o f y o u r s e l f i n e a c h p e r s o n a n d
o b j e c t i n y o u r d r e a m . T o b e t t e r
u n d e r s t a n d t h e m e a n i n g o f
d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e .
W h i l e w e a t t e m p t t o b e c o m e
m o r e a w a r e o f t h e m e a n i n g
o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s ,
d i r e c t i o n s a l l h a v e m e a n i n g s .
W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s
h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y
t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s a n d h a v e s t r o n g ,
p u r p o s e f u l , p o s i t i v e , a n d
e m p o w e r i n g d r e a m s w e m u s t
d e v e l o p t h e a b i l i t y t o
t r a n s f o r m o u r w a y o f t h i n k i n g
a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g
o f d r e a m s a n d w h a t w e
f e e d i n t o o u r s u b c o n s c i o u s
m i n d .
To
understand
and
develop
inner
creativity we first need to understand
the psyche. We are more than meets the
eye. The depth of our full psychological
potential is beyond the reach of the
personality ego. Beneath the conscious
ego’s veneer is the essential Self which
guides and directs the body through the
subconscious
mind.
We
all
know
that
something keeps our heart pumping, blood
flowing, lungs breathing, etc. all without
conscious intent. This has been dubbed
the subconscious. This mysterious, yet
ever reliable, subconscious also houses
the fullest potential of the psyche.
When we can tap this inner realm, raise
the
subconscious
intent
to
conscious
awareness, we get in touch with and
utilize our inner creativity. There are
many ways to reach this inner creative
potential. First we need to put the ego
to
rest
temporarily.
The
chattering
personality needs to be set aside for a
time so that the fullness of the entire
psyche can see the light of mind. Creative
insight always feels like a momentary
gap has been opened and a burst of light
has surfaced. Intuitive thought is a
sudden complete understanding that issues
forth, as if out of the blue. The veil of
presumption and doubt is lifted. Creative
psyche opens up and releases the gem of
wisdom we were waiting for. A few good
methods of enhancing this mindful gap to
access inner creativity are meditation,
self-awareness,
soft
focus
and
a
light-hearted attitude. A word on each
method:Meditation: There are many forms
of meditation and they don’t all involve
sitting alone in some quiet place. Though
this is helpful if you can accomplish
it, you can also learn to meditate in
the midst of a crowded shopping mall.
Fruitful meditation is closing the eyes,
still the chattering mind, and focus on
one specific thought, sound (via mantra)
or enter complete stillness in the Void.
If meditation appeals to you there are
many varied methods, you can seek out
which works best for you. Meditation puts
your brain into an alpha or, when you
become proficient a waking theta state.
In this altered state the gap will open
and creative mind emerge. Meditation is
also recommended by a prominent hospital
in
Boston
for
recovering
cancer
and
heart
disease
patients.
It
has
been
scientifically shown to calm the body,
reduce blood pressure and enhance the
immune
system.
The
benefits
of
daily
meditation are becoming more accepted by
the Enhanced medical and scientific
communities. Enhanced inner creativity
is an additional by product. Self-
Awareness: The practice of self-awareness
runs through all the great religious and
philosophical
disciplines.
Buddhism,
Zen,
Sufi
Mystics,
Christian
Mystics,
Hindu Yogis, and Taoists practice the
art of mindful self-awareness. This is
a non-judgmental form of watching one’s
daily actions and thoughts in the present
moment in a detached frame of mind. When
learned and applied, this can create the
necessary gap between the ego and the
Self and great clarity of mind unfolds.
Soft-Focus: This is an excellent way to
stop the thinking process in an immediate
and busy environment. Just allow the eyes
to maintain a soft focus on a neutral
surface and be aware of everything around
you without focusing on any one thing.
You will notice immediately that your
peripheral vision is increased and your
sensitivity to your entire environment
is enhanced, while your mind is calmed.
This is the focus of martial artists,
dancers and well-trained athletes. When
you
create
a
soft-focus
the
ego
is
temporarily set aside and the subconscious
mind where inner creativity abounds can
come to the surface. Light-Heartedness:
This is an excellent frame of mind to
keep the personality ego from getting
a rigid hold on the psyche and stifling
creative thought. When we see the humor
in everything, we perceive the intuitive
and original moments that otherwise go
unnoticed
when
we
act
from
habitual
behavior patterns. Humor embellishes the
absurd and unusual, and this is where
creativity springs from.If any one of
these methods is practiced daily they too
can become creative behavior patterns.
When a fluidity of mind, expressing from
the present moment with calm clarity
becomes a habit, creative mind is always
available. In this way the experience of
inner creativity will become a living
presence in your life Ego detachment is
the perfect attitude for creating a gap in
your present personality programming. We
all have behavioral programs that we have
accepted through social, parental, genetic
and educational conditioning. These seem
necessary for mutual coordination and
cooperation in society. Yet, the need to
be perpetually conditioned is what keeps
us from being spontaneously creative.
This is why children are more creative,
they haven’t accepted or been molded by a
lot of conditioning yet. When you enter
this creative gap certain things will
immediately happen. Paradoxes will become
resolved.
Clarity
will
be
pervasive.
Duality will cease and a 360 degree focus
of comprehension will suddenly pervade
the mind. From personal experience I can
truly say that once the gap is entered,
whatever you want to know is there for
the taking.
To
understand
and
develop
inner
creativity we first need to understand
the psyche. We are more than meets the
eye. The depth of our full psychological
potential is beyond the reach of the
personality ego. Beneath the conscious
ego’s veneer is the essential Self which
guides and directs the body through the
subconscious
mind.
We
all
know
that
something keeps our heart pumping, blood
flowing, lungs breathing, etc. all without
conscious intent. This has been dubbed
the subconscious. This mysterious, yet
ever reliable, subconscious also houses
the fullest potential of the psyche.
When we can tap this inner realm, raise
the
subconscious
intent
to
conscious
awareness, we get in touch with and
utilize our inner creativity. There are
many ways to reach this inner creative
potential. First we need to put the ego
to
rest
temporarily.
The
chattering
personality needs to be set aside for a
time so that the fullness of the entire
psyche can see the light of mind. Creative
insight always feels like a momentary
gap has been opened and a burst of light
has surfaced. Intuitive thought is a
sudden complete understanding that issues
forth, as if out of the blue. The veil of
presumption and doubt is lifted. Creative
psyche opens up and releases the gem of
wisdom we were waiting for. A few good
methods of enhancing this mindful gap to
access inner creativity are meditation,
self-awareness,
soft
focus
and
a
light-hearted attitude. A word on each
method:Meditation: There are many forms
of meditation and they don’t all involve
sitting alone in some quiet place. Though
this is helpful if you can accomplish
it, you can also learn to meditate in
the midst of a crowded shopping mall.
Fruitful meditation is closing the eyes,
still the chattering mind, and focus on
one specific thought, sound (via mantra)
or enter complete stillness in the Void.
If meditation appeals to you there are
many varied methods, you can seek out
which works best for you. Meditation puts
your brain into an alpha or, when you
become proficient a waking theta state.
In this altered state the gap will open
and creative mind emerge. Meditation is
also recommended by a prominent hospital
in
Boston
for
recovering
cancer
and
heart
disease
patients.
It
has
been
scientifically shown to calm the body,
reduce blood pressure and enhance the
immune
system.
The
benefits
of
daily
meditation are becoming more accepted by
the Enhanced medical and scientific
communities. Enhanced inner creativity
is an additional by product. Self-
Awareness: The practice of self-awareness
runs through all the great religious and
philosophical
disciplines.
Buddhism,
Zen,
Sufi
Mystics,
Christian
Mystics,
Hindu Yogis, and Taoists practice the
art of mindful self-awareness. This is
a non-judgmental form of watching one’s
daily actions and thoughts in the present
moment in a detached frame of mind. When
learned and applied, this can create the
necessary gap between the ego and the
Self and great clarity of mind unfolds.
Soft-Focus: This is an excellent way to
stop the thinking process in an immediate
and busy environment. Just allow the eyes
to maintain a soft focus on a neutral
surface and be aware of everything around
you without focusing on any one thing.
You will notice immediately that your
peripheral vision is increased and your
sensitivity to your entire environment
is enhanced, while your mind is calmed.
This is the focus of martial artists,
dancers and well-trained athletes. When
you
create
a
soft-focus
the
ego
is
temporarily set aside and the subconscious
mind where inner creativity abounds can
come to the surface. Light-Heartedness:
This is an excellent frame of mind to
keep the personality ego from getting
a rigid hold on the psyche and stifling
creative thought. When we see the humor
in everything, we perceive the intuitive
and original moments that otherwise go
unnoticed
when
we
act
from
habitual
behavior patterns. Humor embellishes the
absurd and unusual, and this is where
creativity springs from.If any one of
these methods is practiced daily they too
can become creative behavior patterns.
When a fluidity of mind, expressing from
the present moment with calm clarity
becomes a habit, creative mind is always
available. In this way the experience of
inner creativity will become a living
presence in your life Ego detachment is
the perfect attitude for creating a gap in
your present personality programming. We
all have behavioral programs that we have
accepted through social, parental, genetic
and educational conditioning. These seem
necessary for mutual coordination and
cooperation in society. Yet, the need to
be perpetually conditioned is what keeps
us from being spontaneously creative.
This is why children are more creative,
they haven’t accepted or been molded by a
lot of conditioning yet. When you enter
this creative gap certain things will
immediately happen. Paradoxes will become
resolved.
Clarity
will
be
pervasive.
Duality will cease and a 360 degree focus
of comprehension will suddenly pervade
the mind. From personal experience I can
truly say that once the gap is entered,
whatever you want to know is there for
the taking.
Meditation has the reputation of being mystical and religious.
For our purposes, meditation is just sitting in silence. This
sounds simple, but it is very difficult. In our society we
are constantly bombarded with input - TV, radio, the Internet,
other people, etc.
As a result, we never sit in silence with ourselves. When you first
meditate, you
r mind will race. These thoughts are
what’s in your conscious mind, and as long as they
are there you are not getting in touch with your subconscious.
The key here is to relax and let those thoughts go.
This will seem impossible at first, but practice it. Start small,
with 5 minutes a day,
and work your way up.
Journaling is similar to meditating in
that you are trying to get past conscious thoughts.
Journaling is simply writing your
thoughts down. Unlike keeping a diary,
though,
the kind of Journaling we are talking about it
is free flow writing where your pen never
stops moving and you don’t care about
what you write. When you start, it is ok to write
‘I have nothing to write’
over and over until something comes up.
Don’t censor yourself, and don’t let your pen stop.
It is best to journal in the morning, before your
conscious mind
has been filled with events of the day. Journaling
should be done by hand, not on the computer. When you write,
try to fill three pages.
The first pageor two will be basic conscious stuff you need
to get out of your mind. Filling three pages helps get past all
that.For a good deal more on Journaling, read ‘The Artist’s Way’ by
Julia Cameron.If you want to start tapping into
your creativity, start clearing out your gunk.
Start doing some meditating (sitting in silence) or morning
journaling everyday.
It won’t have an immediate effect, but over time
it will make you immensely powerful.
The difficult part is unlearning
the conditioning you have accepted all your life.
For each individual this will be different. There is no set of conditions
that you must give up, just the acceptance of
a conditioned response to everything you do.
Allow yourself to engender the wonder of a child.
Challenge habitual responses.
Be completely present. Allow yourself to become detached from
what you’ve always assumed was “real” and see what happens.
This is almost too simple for those who enjoy complexity
and intellectual stimulation.
That intellectual mindset is itself a conditioned response to life.
Most approaches to creativity
are to look outside of ourselves for something
that is novel or stimulating. Novelty is not necessarily creative.
Stimulation doesn’t resolve problems.
Truly creative people can stop at any moment,
view what they are doing and see a sincerely original
and resolute answer to whatever question they ask.
This is because they don’t live for other people’s opinions,
nor do they have to look outside of themselves
for answers to difficult questions. They know instinctively
that within themselves, hidden within the creative mind,
that momentary pause of detached reflection,
the answer lies waiting to be discovered.
Creative mind is always present in that interval
or gap between a conditioned ego response and
a spontaneous self-aware intuitive moment. It can be learned.
It has always been within you it just grows dimmer
as we get used to not allowing it as we did when we were children.
Dive into the gap head first,
allow your heart to follow.
In typography, a column is one or more vertical blocks of content positioned on a page, separated by margins and/or rules. Columns are most commonly used to break up large bodies of text that cannot fit in a single block of text on a page. Additionally, columns are used to improve page composition and readability. Newspapers very frequently use complex multi-column layouts to break up different stories and longer bodies of texts within a story. Column can also more generally refer to the vertical delineations created by a typographic grid system which type and image may be positioned.
The unconscious is that part of the psyche that is normally beyond the reach of consciousness. The basic notion of an unconscious, as well as the idea that our behavior in influenced by unconscious motivations, is very old. However, it was Sigmund Freud who first put forward a general theory of the unconscious and its interaction with the conscious mind. Freud’s concept of the relationship between the conscious and the unconscious has been compared to that of an “iceberg”— meaning that only a relatively tiny part (the conscious)is usually visible, while ninety percent (the unconscious) is below the surface.
Freud formulated his view partially as a result of his training in hypnosis under the French neurologist J. Martin Charoct. Freud witnessed numerous demonstrations of what today we would call posthypnotic suggestion. Charcot hypnotized subjects and requested that they perform certain tasks following their emergence from hypnotic trance. The subjects carried out the tasks, but were unable to recall why they did so. These demonstrations in combination with clinical experiences suggested to Freud that a large part of what we do is based on unconscious motivations.
Carl Jung divided the unconscious mind into two subdivisions, the personal unconscious and the collective unconscious. While the personal unconscious is shaped by our personal experiences, the collective unconscious represents our inheritance of the collective experience of humankind. This storehouse of humanity’s experiences exists in the form of archetypes, which sometimes determine specific dream images. Both Freudian and Jungian psychology are sometimes referred to as depth psychologies, meaning that they focus on the processes of the unconscious mind.
Carl Jung divided the unconscious
mind into two subdivisions, the
personal unconscious and the
collective unconscious. While the
personal unconscious is shaped
by our personal experiences,
the collective unconscious
represents our inheritance of
the collective experience of
humankind. This storehouse of
humanity’s experiences exists in
the form of archetypes, which
sometimes determine specific dream
images. Both Freudian and Jungian
psychology are sometimes referred
to as depth psychologies, meaning
that they focus on the processes
of the unconscious mind.
The unconscious is that part of
the psyche that is normally beyond
the reach of consciousness. The
basic notion of an unconscious, as
well as the idea that our behavior
in influenced by unconscious
motivations, is very old. However,
it was Sigmund Freud who first put
forward a general theory of the
unconscious and its interaction
with the conscious mind. Freud’s
concept of the relationship
between the conscious and the
unconscious has been compared to
that of an “iceberg”— meaning
that only a relatively tiny
part (the conscious)is usually
visible, while ninety percent (the
unconscious) is below the surface.
Freud’s view of human nature is that we are fundamentally selfish animals driven by aggressive urges and the desire for pleasure. People learn, however, how to repress their cruder impulses into the unconscious region of the mind as they grow up. At the core of conflicts that lead to mental illness is often a denial of urges that people regard as unacceptable and do not with to admit are a part of themselves. Mental illness occurs when such urges become too strong to deal with through the normal coping process. Freudian therapy involves discovery of the repressed urges causing the dysfunction. Freud analyzed dreams to gain insights into his patients’ repressed desires, and referred to dreams as “the royal road” to the unconscious.
ANCEBal-paragraph balance between columns & leading explorations
In typography, a column is one or more vertical blocks of content positioned on a page, separated by margins and/or rules. Columns are most commonly used to break up large bodies of text that cannot fit in a single block of text on a page. Additionally, columns are used to improve page composition and readability. Newspapers very frequently use complex multi-column layouts to break up different stories and longer bodies of texts within a story. Column can also more generally refer to the vertical delineations created by a typographic grid system which type and image may be positioned.
Freud formulated his view partially as a result of his training in hypnosis under the French neurologist J. Martin Charoct. Freud witnessed numerous demonstrations of what today we would call posthypnotic suggestion. Charcot hypnotized subjects and requested that they perform certain tasks following their emergence from hypnotic trance. The subjects carried out the tasks, but were unable to recall why they did so. These demonstrations in combination with clinical experiences suggested to Freud that a large part of what we do is based on unconscious motivations.
Freud’s view of human nature is that we are fundamentally selfish animals driven by aggressive urges and the desire for pleasure. People learn, however, how to repress their cruder impulses into the unconscious region of the mind as they grow up. At the core of conflicts that lead to mental illness is often a denial of urges that people regard as unacceptable and do not with to admit are a part of themselves. Mental illness occurs when such urges become too strong to deal with through the normal coping process. Freudian therapy involves discovery of the repressed urges causing the dysfunction. Freud analyzed dreams to gain insights into his patients’ repressed desires, and referred to dreams as “the royal road” to the unconscious.
In Freud’s view, the purpose of dreams is to allow us to satisfy in fantasies the instinctual urges that we have repressed into the unconscious. So that we do not awaken as a result of the strong emotions that would be evoked if we were to dream about the literal fulfillment of such desires, the part of the mind that Freud called the censor transforms the dream content so as to disguise its true meaning. The process of psychoanalytic dream interpretation involves a “decoding” of the censored surface dream in order to discover its real meaning.
Carl Jung divided the unconscious mind into two subdivisions, the personal unconscious and the collective unconscious. While the personal unconscious is shaped by our personal experiences, the collective unconscious represents our inheritance of the collective experience of humankind. This storehouse of humanity’s experiences exists in the form of archetypes, which sometimes determine specific dream images. Both Freudian and Jungian psychology are sometimes referred to as depth psychologies, meaning that they focus on the processes of the unconscious mind.
Freud’s view of human nature is that we are fundamentally selfish animals driven by aggressive urges and the desire for pleasure. People learn, however, how to repress their cruder impulses into the unconscious region of the mind as they grow up. At the core of conflicts that lead to mental illness is often a denial of urges that people regard as unacceptable and do not with to admit are a part of themselves. Mental illness occurs when such urges become too strong to deal with through the normal coping process. Freudian therapy involves discovery of the repressed urges causing the dysfunction. Freud analyzed dreams to gain insights into his patients’ repressed desires, and referred to dreams as “the royal road” to the unconscious.
In Freud’s view, the purpose of dreams is to allow us to satisfy in fantasies the instinctual urges that we have repressed into the unconscious. So that we do not awaken as a result of the strong emotions that would be evoked if we were to dream about the literal fulfillment of such desires, the part of the mind that Freud called the censor transforms the dream content so as to disguise its true meaning. The process of psychoanalytic dream interpretation involves a “decoding” of the censored surface dream in order to discover its real meaning.
Carl Jung divided the unconscious
mind into two subdivisions, the
personal unconscious and the
collective unconscious. While the
personal unconscious is shaped
by our personal experiences,
the collective unconscious
represents our inheritance of
the collective experience of
humankind. This storehouse of
humanity’s experiences exists in
the form of archetypes, which
sometimes determine specific dream
images. Both Freudian and Jungian
psychology are sometimes referred
to as depth psychologies, meaning
that they focus on the processes
of the unconscious mind.
Freud’s view of human nature is
that we are fundamentally selfish
animals driven by aggressive
urges and the desire for pleasure.
People learn, however, how to
repress their cruder impulses
into the unconscious region of the
mind as they grow up. At the core
of conflicts that lead to mental
illness is often a denial of urges
that people regard as unacceptable
and do not with to admit are a
part of themselves. Mental illness
occurs when such urges become too
strong to deal with through the
normal coping process. Freudian
therapy involves discovery of
the repressed urges causing the
dysfunction. Freud analyzed
dreams to gain insights into his
patients’ repressed desires, and
referred to dreams as “the royal
road” to the unconscious.
8/19.6 pt
8/9.6 pt
In typography, a column is one or more vertical blocks of content positioned on a page, separated by margins and/or rules. Columns are most commonly used to break up large bodies of text that cannot fit in a single block of text on a page. Additionally, columns are used to improve page composition and readability. Newspapers very frequently use complex multi-column layouts to break up differ-ent stories and longer bodies of texts within a story. Column can also more generally refer to the vertical delineations created by a typographic grid system which type and image may be positioned.
Carl Jung divided the unconscious mind into two subdivisions, the personal unconscious and the collective unconscious. While the personal unconscious is shaped by our personal experiences, the collective unconscious represents our inheritance of the collective experience of humankind. This storehouse of humanity’s experiences exists in the form of archetypes, which sometimes determine specific dream images. Both Freudian and Jungian psychology are sometimes referred to as depth psychologies, meaning that they focus on the processes of the unconscious mind.
Carl Jung divided the unconscious
mind into two subdivisions, the
personal unconscious and the
collective unconscious. While the
personal unconscious is shaped
by our personal experiences,
the collective unconscious
represents our inheritance of
the collective experience of
humankind. This storehouse of
humanity’s experiences exists in
the form of archetypes, which
sometimes determine specific dream
images. Both Freudian and Jungian
psychology are sometimes referred
to as depth psychologies, meaning
that they focus on the processes
of the unconscious mind.
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d .
A n y c h a n g e o f e n v i r o n m e n t c a n
g e t y o u r b r a i n o u t o f i t ' s r u t s .
A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e
l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e
o f t h e m e a n i n g o f d r e a m s t h a t
w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e
o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e
a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g
y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n
y o u a r e c r e a t i v e , a n d
l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d
y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r
i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e
c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o
t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n
s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n ,
b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k
o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f
b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r
e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a
d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r
c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y
i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r
p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a
r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s ,
t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e
d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t
y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u
a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f .
E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u .
W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n
a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e
m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e , i n
o r d e r t o u n d e r s t a n d t h e m e s s a g e y o u n e e d t o r e a d
t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e
a w a r e o f t h e m e a n i n g o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l
h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o
i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f
d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d
e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e a b i l i t y
t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e
v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d
w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . "
D o t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k
p o n d . A n y c h a n g e o f e n v i r o n m e n t
c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l
a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e o f
t h e m e a n i n g o f d r e a m s
t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T
h
e
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
e
n
d
s
t
o
g
i
v
e
y
o
u
m
o
r
e
o
f
w
h
a
t
y
o
u
p
a
y
a
t
t
e
n
t
i
o
n
t
o
.
I
g
n
o
r
e
t
h
e
c
r
e
a
t
i
v
e
a
s
p
e
c
t
s
o
f
y
o
u
r
l
i
f
e
,
a
n
d
y
o
u
'
r
e
t
e
l
l
i
n
g
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
h
e
y
a
r
e
u
n
i
m
p
o
r
t
a
n
t
.
C
o
n
s
c
i
o
u
s
l
y
n
o
t
e
w
h
e
n
y
o
u
a
r
e
c
r
e
a
t
i
v
e
,
a
n
d
l
o
o
k
f
o
r
o
p
p
o
r
t
u
n
i
t
i
e
s
t
o
b
e
c
r
e
a
t
i
v
e
,
a
n
d
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
w
i
l
l
s
t
a
r
t
f
e
e
d
i
n
g
y
o
u
m
o
r
e
c
r
e
a
t
i
v
e
i
d
e
a
s
.
W
r
i
t
i
n
g
d
o
w
n
y
o
u
r
i
d
e
a
s
i
s
a
g
o
o
d
w
a
y
t
o
e
n
c
o
u
r
a
g
e
a
n
d
i
n
c
r
e
a
s
e
c
r
e
a
t
i
v
i
t
y
.
Y
o
u
c
a
n
k
e
e
p
a
n
"
i
d
e
a
j
o
u
r
n
a
l
.
"
D
o
t
h
i
s
r
e
g
u
l
a
r
l
y
,
a
n
d
y
o
u
'
l
l
n
o
t
i
c
e
t
h
a
t
y
o
u
o
f
t
e
n
s
t
a
r
t
h
a
v
i
n
g
m
o
r
e
i
d
e
a
s
w
h
i
l
e
y
o
u
a
r
e
w
r
i
t
i
n
g
.
M
e
d
i
o
c
r
e
i
d
e
a
s
m
a
y
n
o
r
m
a
l
l
y
b
e
f
o
r
g
o
t
t
e
n
,
b
u
t
b
y
w
r
i
t
i
n
g
t
h
e
m
d
o
w
n
,
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
a
y
w
o
r
k
o
n
t
h
e
m
,
a
n
d
t
r
a
n
s
f
o
r
m
t
h
e
m
i
n
t
o
s
o
m
e
t
h
i
n
g
v
e
r
y
c
r
e
a
t
i
v
e
.
Y
o
u
c
a
n
a
l
s
o
e
n
c
o
u
r
a
g
e
g
r
e
a
t
e
r
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
s
e
l
f
b
y
p
u
t
t
i
n
g
c
r
e
a
t
i
v
e
i
d
e
a
s
i
n
t
o
p
r
a
c
t
i
c
e
.
I
f
y
o
u
p
a
i
n
t
o
r
w
r
i
t
e
,
f
o
r
e
x
a
m
p
l
e
,
t
r
y
a
n
y
t
h
i
n
g
n
e
w
.
E
v
e
n
j
u
s
t
d
r
i
v
i
n
g
a
d
i
f
f
e
r
e
n
t
r
o
u
t
e
t
o
w
o
r
k
t
o
s
e
e
i
f
i
t
i
s
q
u
i
c
k
e
r
c
a
n
h
e
l
p
.
T
h
e
p
o
i
n
t
i
s
t
o
g
e
t
y
o
u
m
i
n
d
w
o
r
k
i
n
g
o
u
t
s
i
d
e
o
f
i
t
s
r
e
g
u
l
a
r
p
a
t
t
e
r
n
s
.
C
h
a
n
g
i
n
g
y
o
u
r
s
u
r
r
o
u
n
d
i
n
g
s
c
a
n
e
n
c
o
u
r
a
g
e
c
r
e
a
t
i
v
i
t
y
.
W
a
n
t
m
o
r
e
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
l
o
v
e
l
i
f
e
?
H
i
k
e
u
p
a
m
o
u
n
t
a
i
n
w
i
t
h
y
o
u
r
p
a
r
t
n
e
r
.
N
e
e
d
s
t
o
r
y
i
d
e
a
s
?
T
r
y
s
i
t
t
i
n
g
o
n
a
r
o
o
f
t
o
w
r
i
t
e
.
F
o
r
n
e
w
i
d
e
a
s
f
o
r
y
o
u
r
b
u
s
i
n
e
s
s
,
t
a
k
e
a
n
o
t
e
b
o
o
k
t
o
t
h
e
p
a
r
k
a
n
d
s
i
t
b
y
t
h
e
d
u
c
k
p
o
n
d
.
A
n
y
c
h
a
n
g
e
o
f
e
n
v
i
r
o
n
m
e
n
t
c
a
n
g
e
t
y
o
u
r
b
r
a
i
n
o
u
t
o
f
i
t
'
s
r
u
t
s
.
A
v
i
t
a
l
r
e
a
s
o
n
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
i
s
b
e
c
a
u
s
e
t
h
e
y
a
l
s
o
c
a
n
t
e
l
l
y
o
u
a
b
o
u
t
y
o
u
r
q
u
a
l
i
t
i
e
s
o
f
s
e
l
f
.
A
t
o
n
e
l
e
v
e
l
a
l
l
a
s
p
e
c
t
s
o
f
a
d
r
e
a
m
a
r
e
q
u
a
l
i
t
i
e
s
o
f
o
u
r
s
e
l
f
.
E
a
c
h
p
e
r
s
o
n
,
e
a
c
h
e
l
e
m
e
n
t
o
f
t
h
e
d
r
e
a
m
i
s
y
o
u
.
W
e
a
r
e
m
e
e
t
i
n
g
p
a
r
t
s
o
f
y
o
u
r
s
e
l
f
i
n
e
a
c
h
p
e
r
s
o
n
a
n
d
o
b
j
e
c
t
i
n
y
o
u
r
d
r
e
a
m
.
T
o
b
e
t
t
e
r
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
w
e
m
u
s
t
l
e
a
r
n
s
y
m
b
o
l
l
a
n
g
u
a
g
e
,
i
n
o
r
d
e
r
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
s
s
a
g
e
y
o
u
n
e
e
d
t
o
r
e
a
d
t
h
e
l
a
n
g
u
a
g
e
.
W
h
i
l
e
w
e
a
t
t
e
m
p
t
t
o
b
e
c
o
m
e
m
o
r
e
a
w
a
r
e
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
t
h
a
t
w
e
h
a
v
e
w
e
m
u
s
t
s
t
a
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
p
o
i
n
t
t
h
a
t
N
u
m
b
e
r
s
,
c
o
l
o
r
s
,
d
i
r
e
c
t
i
o
n
s
a
l
l
h
a
v
e
m
e
a
n
i
n
g
s
.
W
o
r
d
s
i
n
t
h
e
d
r
e
a
m
o
f
t
e
n
h
a
v
e
a
d
o
u
b
l
e
m
e
a
n
i
n
g
,
a
s
h
o
m
o
p
h
o
n
e
s
d
o
.
T
o
i
m
p
r
o
v
e
y
o
u
r
a
b
i
l
i
t
y
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
h
a
v
e
s
t
r
o
n
g
,
p
u
r
p
o
s
e
f
u
l
,
p
o
s
i
t
i
v
e
,
a
n
d
e
m
p
o
w
e
r
i
n
g
d
r
e
a
m
s
w
e
m
u
s
t
d
e
v
e
l
o
p
t
h
e
a
b
i
l
i
t
y
t
o
t
r
a
n
s
f
o
r
m
o
u
r
w
a
y
o
f
t
h
i
n
k
i
n
g
a
n
d
t
o
b
e
c
o
m
e
v
e
r
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
w
h
a
t
w
e
f
e
e
d
i
n
t
o
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
.
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e
o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e
a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g
y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t .
C o n s c i o u s l y n o t e w h e n
y o u a r e c r e a t i v e , a n d
l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d
y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u
m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r
i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e
c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o
t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n
s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g .
M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n ,
b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k
o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g
v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f
b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r
e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a
d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r
c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y
i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r
p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a
r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s ,
t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e
d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t
y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g
o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u
a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f .
E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u .
W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n
a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e
m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e , i n
o r d e r t o u n d e r s t a n d t h e m e s s a g e y o u n e e d t o r e a d
t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e
a w a r e o f t h e m e a n i n g o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l
h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o
i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f
d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d
e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e a b i l i t y
t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e
v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d
w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T
h
e
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
e
n
d
s
t
o
g
i
v
e
y
o
u
m
o
r
e
o
f
w
h
a
t
y
o
u
p
a
y
a
t
t
e
n
t
i
o
n
t
o
.
I
g
n
o
r
e
t
h
e
c
r
e
a
t
i
v
e
a
s
p
e
c
t
s
o
f
y
o
u
r
l
i
f
e
,
a
n
d
y
o
u
'
r
e
t
e
l
l
i
n
g
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
t
h
e
y
a
r
e
u
n
i
m
p
o
r
t
a
n
t
.
C
o
n
s
c
i
o
u
s
l
y
n
o
t
e
w
h
e
n
y
o
u
a
r
e
c
r
e
a
t
i
v
e
,
a
n
d
l
o
o
k
f
o
r
o
p
p
o
r
t
u
n
i
t
i
e
s
t
o
b
e
c
r
e
a
t
i
v
e
,
a
n
d
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
w
i
l
l
s
t
a
r
t
f
e
e
d
i
n
g
y
o
u
m
o
r
e
c
r
e
a
t
i
v
e
i
d
e
a
s
.
W
r
i
t
i
n
g
d
o
w
n
y
o
u
r
i
d
e
a
s
i
s
a
g
o
o
d
w
a
y
t
o
e
n
c
o
u
r
a
g
e
a
n
d
i
n
c
r
e
a
s
e
c
r
e
a
t
i
v
i
t
y
.
Y
o
u
c
a
n
k
e
e
p
a
n
"
i
d
e
a
j
o
u
r
n
a
l
.
"
D
o
t
h
i
s
r
e
g
u
l
a
r
l
y
,
a
n
d
y
o
u
'
l
l
n
o
t
i
c
e
t
h
a
t
y
o
u
o
f
t
e
n
s
t
a
r
t
h
a
v
i
n
g
m
o
r
e
i
d
e
a
s
w
h
i
l
e
y
o
u
a
r
e
w
r
i
t
i
n
g
.
M
e
d
i
o
c
r
e
i
d
e
a
s
m
a
y
n
o
r
m
a
l
l
y
b
e
f
o
r
g
o
t
t
e
n
,
b
u
t
b
y
w
r
i
t
i
n
g
t
h
e
m
d
o
w
n
,
y
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
a
y
w
o
r
k
o
n
t
h
e
m
,
a
n
d
t
r
a
n
s
f
o
r
m
t
h
e
m
i
n
t
o
s
o
m
e
t
h
i
n
g
v
e
r
y
c
r
e
a
t
i
v
e
.
Y
o
u
c
a
n
a
l
s
o
e
n
c
o
u
r
a
g
e
g
r
e
a
t
e
r
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
s
e
l
f
b
y
p
u
t
t
i
n
g
c
r
e
a
t
i
v
e
i
d
e
a
s
i
n
t
o
p
r
a
c
t
i
c
e
.
I
f
y
o
u
p
a
i
n
t
o
r
w
r
i
t
e
,
f
o
r
e
x
a
m
p
l
e
,
t
r
y
a
n
y
t
h
i
n
g
n
e
w
.
E
v
e
n
j
u
s
t
d
r
i
v
i
n
g
a
d
i
f
f
e
r
e
n
t
r
o
u
t
e
t
o
w
o
r
k
t
o
s
e
e
i
f
i
t
i
s
q
u
i
c
k
e
r
c
a
n
h
e
l
p
.
T
h
e
p
o
i
n
t
i
s
t
o
g
e
t
y
o
u
m
i
n
d
w
o
r
k
i
n
g
o
u
t
s
i
d
e
o
f
i
t
s
r
e
g
u
l
a
r
p
a
t
t
e
r
n
s
.
C
h
a
n
g
i
n
g
y
o
u
r
s
u
r
r
o
u
n
d
i
n
g
s
c
a
n
e
n
c
o
u
r
a
g
e
c
r
e
a
t
i
v
i
t
y
.
W
a
n
t
m
o
r
e
c
r
e
a
t
i
v
i
t
y
i
n
y
o
u
r
l
o
v
e
l
i
f
e
?
H
i
k
e
u
p
a
m
o
u
n
t
a
i
n
w
i
t
h
y
o
u
r
p
a
r
t
n
e
r
.
N
e
e
d
s
t
o
r
y
i
d
e
a
s
?
T
r
y
s
i
t
t
i
n
g
o
n
a
r
o
o
f
t
o
w
r
i
t
e
.
F
o
r
n
e
w
i
d
e
a
s
f
o
r
y
o
u
r
b
u
s
i
n
e
s
s
,
t
a
k
e
a
n
o
t
e
b
o
o
k
t
o
t
h
e
p
a
r
k
a
n
d
s
i
t
b
y
t
h
e
d
u
c
k
p
o
n
d
.
A
n
y
c
h
a
n
g
e
o
f
e
n
v
i
r
o
n
m
e
n
t
c
a
n
g
e
t
y
o
u
r
b
r
a
i
n
o
u
t
o
f
i
t
'
s
r
u
t
s
.
A
v
i
t
a
l
r
e
a
s
o
n
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
i
s
b
e
c
a
u
s
e
t
h
e
y
a
l
s
o
c
a
n
t
e
l
l
y
o
u
a
b
o
u
t
y
o
u
r
q
u
a
l
i
t
i
e
s
o
f
s
e
l
f
.
A
t
o
n
e
l
e
v
e
l
a
l
l
a
s
p
e
c
t
s
o
f
a
d
r
e
a
m
a
r
e
q
u
a
l
i
t
i
e
s
o
f
o
u
r
s
e
l
f
.
E
a
c
h
p
e
r
s
o
n
,
e
a
c
h
e
l
e
m
e
n
t
o
f
t
h
e
d
r
e
a
m
i
s
y
o
u
.
W
e
a
r
e
m
e
e
t
i
n
g
p
a
r
t
s
o
f
y
o
u
r
s
e
l
f
i
n
e
a
c
h
p
e
r
s
o
n
a
n
d
o
b
j
e
c
t
i
n
y
o
u
r
d
r
e
a
m
.
T
o
b
e
t
t
e
r
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
w
e
m
u
s
t
l
e
a
r
n
s
y
m
b
o
l
l
a
n
g
u
a
g
e
,
i
n
o
r
d
e
r
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
s
s
a
g
e
y
o
u
n
e
e
d
t
o
r
e
a
d
t
h
e
l
a
n
g
u
a
g
e
.
W
h
i
l
e
w
e
a
t
t
e
m
p
t
t
o
b
e
c
o
m
e
m
o
r
e
a
w
a
r
e
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
t
h
a
t
w
e
h
a
v
e
w
e
m
u
s
t
s
t
a
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
p
o
i
n
t
t
h
a
t
N
u
m
b
e
r
s
,
c
o
l
o
r
s
,
d
i
r
e
c
t
i
o
n
s
a
l
l
h
a
v
e
m
e
a
n
i
n
g
s
.
W
o
r
d
s
i
n
t
h
e
d
r
e
a
m
o
f
t
e
n
h
a
v
e
a
d
o
u
b
l
e
m
e
a
n
i
n
g
,
a
s
h
o
m
o
p
h
o
n
e
s
d
o
.
T
o
i
m
p
r
o
v
e
y
o
u
r
a
b
i
l
i
t
y
t
o
u
n
d
e
r
s
t
a
n
d
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
h
a
v
e
s
t
r
o
n
g
,
p
u
r
p
o
s
e
f
u
l
,
p
o
s
i
t
i
v
e
,
a
n
d
e
m
p
o
w
e
r
i
n
g
d
r
e
a
m
s
w
e
m
u
s
t
d
e
v
e
l
o
p
t
h
e
a
b
i
l
i
t
y
t
o
t
r
a
n
s
f
o
r
m
o
u
r
w
a
y
o
f
t
h
i
n
k
i
n
g
a
n
d
t
o
b
e
c
o
m
e
v
e
r
y
c
o
n
s
c
i
o
u
s
o
f
t
h
e
m
e
a
n
i
n
g
o
f
d
r
e
a
m
s
a
n
d
w
h
a
t
w
e
f
e
e
d
i
n
t
o
o
u
r
s
u
b
c
o
n
s
c
i
o
u
s
m
i
n
d
.
According
to
the
theory
of
emotional selection
by Richard Coutts,
dreaming is a way to modify
one’s mental schema.
The
theory
of
emotional
selection
is about a process of
executing
a
set
of
dreams
during the non-REM sleep.
A second set of dreams is
executed during
the following REM sleep
in the form of test scenarios.
It defines
an accommodation as the
process
of
reframing
one’s
mental representation of
the external world to fit new
experiences. If the
accommodations
performed
during the preceding According
to the theory of emotional
selection by Richard Coutts,
dreaming is
a way to modify one’s mental
schema.
The theory of emotional
selection
is about a process of executing
a set of dreams during the
non-REM sleep. A second set
of dreams is executed during
the following REM sleep in
the form of test scenarios.
It defines an accommodation
as the process of reframing
one’s mental representation
of
the
external
world
to
fit new experiences. If
the
accommodations
performed
during the preceding According
to
the
theory
of
emotional
selection by Richard Coutts,
dreaming is a way to modify
one’s mental schema. The
theory of emotional selection
is about a process of executing
a set of dreams during the non-
REM sleep. A second set of
dreams is executed during the
following REM sleep in the form
of test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the theory
of emotional selection by Richard
Coutts, dreaming is a way to
modify one’s mental schema. The
theory of emotional selection is
about a process of executing
a set of dreams during the
non-REM sleep. A second set of
dreams is executed during the
following REM sleep in the form
of test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the theory
of emotional selection by Richard
Coutts, dreaming is a way to
modify one’s mental schema. The
theory of emotional selection is
about a process of executing a
set of dreams during the non-
REM sleep. A second set of dreams
is executed during the follow-
ing REM sleep in the form of
test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the
theory of emotional selection
by Richard Coutts, dreaming is
a way to modify one’s mental
schema. The theory of emotional
selection is about a process
of executing a set of dreams
during the non-REM sleep. Second
set of dreams is executed during
the following REM sleep in the
form of test scenarios. It defines
an accommodation as the process
of reframing one’s mental repre-
According
to
the
theory
of
emotional selection
by Richard Coutts,
dreaming is a way to modify
one’s mental schema.
The
theory
of
emotional
selection
is about a process of
executing
a
set
of
dreams
during the non-REM sleep.
A second set of dreams is
executed during
the following REM sleep
in the form of test scenarios.
It defines
an accommodation as the
process
of
reframing
one’s
mental representation of
the external world to fit new
experiences. If the
accommodations
performed
during the preceding According
to the theory of emotional
selection by Richard Coutts,
dreaming is
a way to modify one’s mental
schema.
The theory of emotional
selection
is about a process of executing
a set of dreams during the
non-REM sleep. A second set
of dreams is executed during
the following REM sleep in
the form of test scenarios.
It defines an accommodation
as the process of reframing
one’s mental representation
of
the
external
world
to
fit new experiences. If
the
accommodations
performed
during the preceding According
to
the
theory
of
emotional
selection by Richard Coutts,
dreaming is a way to modify
one’s mental schema. The
theory of emotional selection
is about a process of executing
a set of dreams during the non-
REM sleep. A second set of
dreams is executed during the
following REM sleep in the form
of test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the theory
of emotional selection by Richard
Coutts, dreaming is a way to
modify one’s mental schema. The
theory of emotional selection is
about a process of executing
a set of dreams during the
non-REM sleep. A second set of
dreams is executed during the
following REM sleep in the form
of test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the theory
of emotional selection by Richard
Coutts, dreaming is a way to
modify one’s mental schema. The
theory of emotional selection is
about a process of executing a
set of dreams during the non-
REM sleep. A second set of dreams
is executed during the follow-
ing REM sleep in the form of
test scenarios. It defines an
accommodation as the process of
reframing one’s mental represen-
tation of the external world to
fit new experiences. If the accom-
modations performed during the
preceding According to the
theory of emotional selection
by Richard Coutts, dreaming is
a way to modify one’s mental
schema. The theory of emotional
selection is about a process
of executing a set of dreams
during the non-REM sleep. Second
set of dreams is executed during
the following REM sleep in the
form of test scenarios. It defines
an accommodation as the process
of reframing one’s mental repre-
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e , i n o r d e r t o u n d e r s t a n d t h e m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e o f t h e m e a n i n g o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d . T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ’ r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n “ i d e a j o u r n a l . ” D o t h i s r e g u l a r l y , a n d y o u ’ l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a
j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m
d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g
o u t s i d e o f i t s r e g u l a r
p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A
v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l
a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l
l a n g u a g e , i n o r d e r t o
u n d e r s t a n d t h e m e s s a g e y o u
n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e
a w a r e o f t h e m e a n i n g o f
d r e a m s t h a t w e h a v e w e m u s t
s t a y c o n s c i o u s o f t h e p o i n t
t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n
h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p
t h e a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r
o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s
r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g
t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e
o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d .
A n y c h a n g e o f e n v i r o n m e n t c a n
g e t y o u r b r a i n o u t o f i t ' s r u t s .
A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e
l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e ,
i n o r d e r t o u n d e r s t a n d t h e
m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e
o f t h e m e a n i n g o f d r e a m s t h a t
w e h a v e w e m u s t s t a y c o n s c i o u s o f
t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e
y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e
a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d .
T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ' r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n " i d e a j o u r n a l . " D o t h i s r e g u l a r l y , a n d y o u ' l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t y o u r b r a i n o u t o f i t ' s r u t s . A v i t a l r e a s o n t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s i s b e c a u s e t h e y a l s o c a n t e l l y o u a b o u t y o u r q u a l i t i e s o f s e l f . A t o n e l e v e l a l l a s p e c t s o f a d r e a m a r e q u a l i t i e s o f o u r s e l f . E a c h p e r s o n , e a c h e l e m e n t o f t h e d r e a m i s y o u . W e a r e m e e t i n g p a r t s o f y o u r s e l f i n e a c h p e r s o n a n d o b j e c t i n y o u r d r e a m . T o b e t t e r u n d e r s t a n d t h e m e a n i n g o f d r e a m s w e m u s t l e a r n s y m b o l l a n g u a g e , i n o r d e r t o u n d e r s t a n d t h e m e s s a g e y o u n e e d t o r e a d t h e l a n g u a g e . W h i l e w e a t t e m p t t o b e c o m e m o r e a w a r e o f t h e m e a n i n g o f d r e a m s t h a t w e h a v e w e m u s t s t a y c o n s c i o u s o f t h e p o i n t t h a t N u m b e r s , c o l o r s , d i r e c t i o n s a l l h a v e m e a n i n g s . W o r d s i n t h e d r e a m o f t e n h a v e a d o u b l e m e a n i n g , a s h o m o p h o n e s d o . T o i m p r o v e y o u r a b i l i t y t o u n d e r s t a n d t h e m e a n i n g o f d r e a m s a n d h a v e s t r o n g , p u r p o s e f u l , p o s i t i v e , a n d e m p o w e r i n g d r e a m s w e m u s t d e v e l o p t h e a b i l i t y t o t r a n s f o r m o u r w a y o f t h i n k i n g a n d t o b e c o m e v e r y c o n s c i o u s o f t h e m e a n i n g o f d r e a m s a n d w h a t w e f e e d i n t o o u r s u b c o n s c i o u s m i n d . T h e s u b c o n s c i o u s m i n d t e n d s t o g i v e y o u m o r e o f w h a t y o u p a y a t t e n t i o n t o . I g n o r e t h e c r e a t i v e a s p e c t s o f y o u r l i f e , a n d y o u ’ r e t e l l i n g y o u r s u b c o n s c i o u s m i n d t h e y a r e u n i m p o r t a n t . C o n s c i o u s l y n o t e w h e n y o u a r e c r e a t i v e , a n d l o o k f o r o p p o r t u n i t i e s t o b e c r e a t i v e , a n d y o u r s u b c o n s c i o u s m i n d w i l l s t a r t f e e d i n g y o u m o r e c r e a t i v e i d e a s . W r i t i n g d o w n y o u r i d e a s i s a g o o d w a y t o e n c o u r a g e a n d i n c r e a s e c r e a t i v i t y . Y o u c a n k e e p a n “ i d e a j o u r n a l . ” D o t h i s r e g u l a r l y , a n d y o u ’ l l n o t i c e t h a t y o u o f t e n s t a r t h a v i n g m o r e i d e a s w h i l e y o u a r e w r i t i n g . M e d i o c r e i d e a s m a y n o r m a l l y b e f o r g o t t e n , b u t b y w r i t i n g t h e m d o w n , y o u r s u b c o n s c i o u s m a y w o r k o n t h e m , a n d t r a n s f o r m t h e m i n t o s o m e t h i n g v e r y c r e a t i v e . Y o u c a n a l s o e n c o u r a g e g r e a t e r c r e a t i v i t y i n y o u r s e l f b y p u t t i n g c r e a t i v e i d e a s i n t o p r a c t i c e . I f y o u p a i n t o r w r i t e , f o r e x a m p l e , t r y a n y t h i n g n e w . E v e n j u s t d r i v i n g a d i f f e r e n t r o u t e t o w o r k t o s e e i f i t i s q u i c k e r c a n h e l p . T h e p o i n t i s t o g e t y o u m i n d w o r k i n g o u t s i d e o f i t s r e g u l a r p a t t e r n s . C h a n g i n g y o u r s u r r o u n d i n g s c a n e n c o u r a g e c r e a t i v i t y . W a n t m o r e c r e a t i v i t y i n y o u r l o v e l i f e ? H i k e u p a m o u n t a i n w i t h y o u r p a r t n e r . N e e d s t o r y i d e a s ? T r y s i t t i n g o n a r o o f t o w r i t e . F o r n e w i d e a s f o r y o u r b u s i n e s s , t a k e a n o t e b o o k t o t h e p a r k a n d s i t b y t h e d u c k p o n d . A n y c h a n g e o f e n v i r o n m e n t c a n g e t
The subconscious mind tends to give you more of what you pay attention to. Ignore the creative aspects of your life, and you're telling your subconscious mind they are unimportant. Consciously note when you are creative, and look for opportunities to be creative, and your subconscious mind will start feeding you more creative ideas. Writing down your ideas is a good way to encourage and increase creativity. You can keep an "idea journal." Do this regularly, and you'll notice that you often start having more ideas while you are writing. Mediocre ideas may normally be forgotten, but by writing them down, your subconscious may work on them, and transform them into something very creative. You can also encourage greater creativity in yourself by putting creative ideas into practice. If you paint or write, for example, try anything new. Even just driving a different route to work to see if it is quicker can help. The point is to get you mind working outside of its regular patterns. Changing your surroundings can encourage creativity. Want more creativity in your love life? Hike up a mountain with your partner. Need story ideas? Try sitting on a roof to write. For new ideas for your business, take a notebook to the park and sit by the duck pond. Any change of environment can get your brain out of it's ruts. A vital reason to understand the meaning of dreams is because they also can tell you about your qualities of self. At one level all aspects of a dream are qualities of ourself. Each person, each element of the dream is you. We are meeting parts of yourself in each person and object in your dream. To better understand the meaning of dreams we must learn symbol language, in order to understand the message you need to read the language. While we attempt to become more aware of the meaning of dreams that we have we must stay conscious of the point that Numbers, colors, directions all have meanings. Words in the dream often have a double meaning, as homophones do. To improve your ability to understand the meaning of dreams and have strong, purposeful, positive, and empowering dreams we must develop the ability to transform our way of thinking and to become very conscious of the meaning of dreams and what we feed into our subconscious mind. The subconscious mind tends to give you more of what you pay attention to. Ignore the creative aspects of your life, and you’re telling your subconscious mind they are unimportant. Consciously note when you are creative, and look for opportunities to be creative, and your subconscious mind will start feeding you more creative ideas. Writing down your ideas is a good way to encourage and increase creativity. You can keep an “idea journal.” Do this regularly, and you’ll notice that you often start having more ideas while you are writing. Mediocre ideas may normally be forgotten, but by writing them down, your subconscious may work on them, and transform them into something very creative. You can also encourage greater creativity in yourself by putting creative ideas into practice. If you paint or write, for example, try anything new. Even just driving a different route to work to see if it is quicker can help. The point is to get you mind working outside of its regular patterns. Changing your surroundings can encourage creativity. Want more creativity in your love life? Hike up a mountain with your partner. Need story ideas? Try sitting on a roof to write. For new ideas for your business, take a notebook to the park and sit by the duck pond. Any change of environment can get
The subconscious mind tends to give you more of what you pay attention to. Ignore the creative aspects of your life, and you're telling your subconscious mind they are unimportant. Consciously note when you are creative, and look for opportunities to be creative, and your subconscious mind will start feeding you more creative ideas. Writing down your ideas is a good way to encourage and increase creativity. You can keep an "idea journal." Do this regularly, and you'll notice that you often start having more ideas while you are writing. Mediocre ideas may normally be forgotten, but by writing them down, your subconscious may work on them, and transform them into something very creative. You can also encourage greater creativity in yourself by putting creative ideas into practice. If you paint or write, for example, try anything new. Even just driving a different route to work to see if it is quicker can help. The point is to get you mind working outside of its regular patterns. Changing your surroundings can encourage creativity. Want more creativity in your love life? Hike up a mountain with your partner. Need story ideas? Try sitting on a roof to write. For new ideas for your business, take a notebook to the park and sit by the duck pond. Any change of environment can get your brain out of it's ruts. A vital reason to understand the meaning of dreams is because they also can tell you about your qualities of self. At one level all aspects of a dream are qualities of ourself. Each person, each element of the dream is you. We are meeting parts of yourself in each person and object in your dream. To better understand the meaning of dreams we must learn symbol language, in order to understand the message you need to read the language. While we attempt to become more aware of the meaning of dreams that we have we must stay conscious of the point that Numbers, colors, directions all have meanings. Words in the dream often have a double meaning, as homophones do. To improve your ability to understand the meaning of dreams and have strong, purposeful, positive, and empowering dreams we must develop the ability to transform our way of thinking and to become very conscious of the meaning of dreams and what we feed into our subconscious mind. The subconscious mind tends to give you more of what you pay attention to. Ignore the creative aspects of your life, and you’re telling your subconscious mind they are unimportant. Consciously note when you are creative, and look for opportunities to be creative, and your subconscious mind will start feeding you more creative ideas. Writing down your ideas is a good way to encourage and increase creativity. You can keep an “idea journal.” Do this regularly, and you’ll notice that you often start having more ideas while you are writing. Mediocre ideas may normally be forgotten, but by writing them down, your subconscious may work on them, and transform them into something very creative. You can also encourage greater creativity in yourself by putting creative ideas into practice. If you paint or write, for example, try anything new. Even just driving a different route to work to see if it is quicker can help. The point is to get you mind working outside of its regular patterns. Changing your surroundings can encourage creativity. Want more creativity in your love life? Hike up a mountain with your partner. Need story ideas? Try sitting on a roof to write. For new ideas for your business, take a notebook to the park and sit by the duck pond. Any change of environment can get
The
subconscious
is
confusing
because it is used inconsistently.
In some discussions
this word is
used
interchangeably
with
the
unconscious.
The
unconscious
is
that
part
of
the
psyche
that
is
normally
beyond
the
reach
of
consciousness—although
psychoanalysis
and
certain
other
forms
of psychotherapy
can
reputedly
access certain
parts
of the
unconscious
through
such
techniques as dream interpretation.
In other discussions, the term is
used to represent
what Sigmund
Freud
termed the
preconscious,
namely,
those
contents of the
mind which, while
not
within the
immediate spotlight of awareness,
can be quickly accessed simply by
turning
one’s
attention
to them.
We are
normally unaware
of,
for
example, such background noises as
the sound of the wind in the trees
or the
soft hum
of a
heating
and
cooling system. However, it would
not
be difficult to bring
these
sounds to our consciousness if we
so wished.
The
subconscious
is
confusing
because it is used inconsistently.
In some discussions
this word is
used
interchangeably
with
the
unconscious.
The
unconscious
is
that
part
of
the
psyche
that
is
normally
beyond
the
reach
of
consciousness—although
psychoanalysis
and
certain
other
forms
of psychotherapy
can
reputedly
access certain
parts
of the
unconscious
through
such
techniques as dream interpretation.
In other discussions, the term is
used to represent
what Sigmund
Freud
termed the
preconscious,
namely,
those
contents of the
mind which, while
not
within the
immediate spotlight of awareness,
can be quickly accessed simply by
turning
one’s
attention
to them.
We are
normally unaware
of,
for
example, such background noises as
the sound of the wind in the trees
or the
soft hum
of a
heating
and
cooling system. However, it would
not
be difficult to bring
these
sounds to our consciousness if we
so wished.
With respect to the last
question,
consider, for instance, the experience
of the nineteenth-century chemist
F.A. Kekule, who was attempting to
determine
the structure of the benzene
molecule.
Dozing off in front of
his fireplace one evening, he
dreamed of snakelike benzene molecules
dancing in the fire. At one point
one of the snakes latched onto its
own tail
and began spinning.
In this surreal hypnagogic experience
Kekule discovered the key to his
problem—that
the benzene molecule was arranged in
a ring pattern. Here it seems that
this scientist’s
dreamlike experience
embodied creative problem
solving.
With respect to the last
question,
consider, for instance, the experience
of the nineteenth-century chemist
F.A. Kekule, who was attempting to
determine
the structure of the benzene
molecule.
Dozing off in front of
his fireplace one evening, he
dreamed of snakelike benzene molecules
dancing in the fire. At one point
one of the snakes latched onto its
own tail
and began spinning.
In this surreal hypnagogic experience
Kekule discovered the key to his
problem—that
the benzene molecule was arranged in
a ring pattern. Here it seems that
this scientist’s
dreamlike experience
embodied creative problem solving.
In the more purely artistic realm, artists
of all types receive nninspiration in
dreams. One of the better-known examples
in the experience of the eighteenth-
century
violinist
Giuseppi
Tartini,
who had a dream in which the devil
played a tune that so enchanted him
that he immediately awoke and attempted
to capture as much of it as he could
remember.
The
resulting
piece,
the
Devil’s Trill, because his most famous
composition.
Finally,
in
traditional
societies
creative
inspiration
from
dreams cannot be meaningfully separated
from
spirit
guidance
through
dreams.
In
a
study
of
the
Mistassini
Cree,
for example, Adrian Taner remarks that
“Power...is sometimes thought to arrive
in dreams, in the form of formulae for
songs,
or
shamanistic
techniques,
or
ideas for the decoration of clothing or
other objects.” Thus, for the Cree, as
for other traditional peoples, religious
revelation and artistic inspiration blend
together in an indistinguishable whole.
6/96/11
Extra Space
S u b - C O N S C I O U S M I N D A N D I N N E R C R E A T I V I -T Y
C r e -A T I V I T Y
A T I V I T Y
A N D D R E A M I N G
A N D D R E A M I N G
With respect to the last
question,
consider, for instance, the experience
of the nineteenth-century chemist
F.A. Kekule, who was attempting to
determine
the structure of the benzene
molecule.
Dozing off in front of
his fireplace one evening, he
dreamed of snakelike benzene molecules
dancing in the fire. At one point
one of the snakes latched onto its
own tail
and began spinning.
In this surreal hypnagogic experience
Kekule discovered the key to his
problem—that
the benzene molecule was arranged in
a ring pattern. Here it seems that
this scientist’s
dreamlike experience
embodied creative problem
solving.
With respect to the last
question,
consider, for instance, the experience
of the nineteenth-century chemist
F.A. Kekule, who was attempting to
determine
the structure of the benzene
molecule.
Dozing off in front of
his fireplace one evening, he
dreamed of snakelike benzene molecules
dancing in the fire. At one point
one of the snakes latched onto its
own tail
and began spinning.
In this surreal hypnagogic experience
Kekule discovered the key to his
problem—that
the benzene molecule was arranged in
a ring pattern. Here it seems that
this scientist’s
dreamlike experience
embodied creative problem solving.
In the more purely artistic realm, artists
of all types receive nninspiration in
dreams. One of the better-known examples
in the experience of the eighteenth-
century
violinist
Giuseppi
Tartini,
who had a dream in which the devil
played a tune that so enchanted him
that he immediately awoke and attempted
to capture as much of it as he could
remember.
The
resulting
piece,
the
Devil’s Trill, because his most famous
composition.
Finally,
in
traditional
societies
creative
inspiration
from
dreams cannot be meaningfully separated
from
spirit
guidance
through
dreams.
In
a
study
of
the
Mistassini
Cree,
for example, Adrian Taner remarks that
“Power...is sometimes thought to arrive
in dreams, in the form of formulae for
songs,
or
shamanistic
techniques,
or
ideas for the decoration of clothing or
other objects.” Thus, for the Cree, as
for other traditional peoples, religious
revelation and artistic inspiration blend
together in an indistinguishable whole.
6/1
The unconscious is that part
of the psyche that
is normally beyond the reach of consciousness.
The basic notion of an unconscious,
as well as the idea that our behavior
in influenced by unconscious motivations,
is very old. However, it was Sigmund Freud who
first put forward
a general theory of the unconscious and
its interaction with
the conscious mind. Freud’s concept
of the relationship between the conscious
and the unconscious has been compared
to that of an “iceberg”
— meaning that only
a relatively tiny part (the conscious)
is usually visible, while ninety percent
(the unconscious) is below the surface.
Freud formulated his view partially
as a result of his training in hypnosis under
the French neurologist J.
Martin Charoct.
Freud witnessed numerous demonstrations
of what today we would call posthypnotic
suggestion.
Charcot
hypnotized subjects
and requested that they perform certain tasks
following their emergence from hypnotic trance.
The subjects carried out the tasks,
but were unable to
recall why they did so.
These demonstrations in combination
with clinical experiences suggested to Freud
that a large part of
what we do
is based on unconscious motivations.
Freud’s view of human nature is that
we are fundamentally selfish animals driven by
aggressive urges and
the desire for pleasure.
People learn,
however, how to repress their cruder impulses
into the unconscious region of
the mind as they grow up.
At the core of conflicts that lead to mental
illness is often a denial of urges that people
regard as unacceptable and do not with
to admit are a part of themselves.
Mental illness occurs when such urges become too
strong to deal with through
the normal coping process.
Freudian therapy involves discovery of the
repressed urges causing the dysfunction.
Freud analyzed dreams
to gain insights
into his patients’ repressed desires, and
referred to dreams as “the royal road”
to the unconscious.
In Freud’s view, the purpose of dreams
is to allow us to satisfy in fantasies the
instinctual urges that
we have repressed into the unconscious.
So that we do not awaken as a result of the
strong emotions that would be evoked
if we were to dream about the literal fulfillment
of such desires, the part of the mind
that Freud called the censor transforms
the dream content so as to disguise
its true meaning.
The process of psychoanalytic dream
interpretation involves a “decoding”
of the censored surface dream in order to
discover
its real meaning.
Carl Jung divided the unconscious mind
into two subdivisions,
the personal unconscious
and the collective unconscious. While
the personal unconscious is shaped
by our personal experiences, the collective
unconscious represents our inheritance
of the collective experience
of humankind.
This storehouse of humanity’s experiences exists
in the form of archetypes,
which sometimes determine specific dream images.
Both Freudian and Jungian psychology are
sometimes referred to
as depth psychologies, meaning that
they focus on
the processes of
the unconscious mind.
The unconscious is that part
of the psyche that
is normally beyond the reach of consciousness.
The basic notion of an unconscious,
as well as the idea that our behavior
in influenced by unconscious motivations,
is very old. However, it was Sigmund Freud who
first put forward
a general theory of the unconscious and
its interaction with
the conscious mind. Freud’s concept
of the relationship between the conscious
and the unconscious has been compared
to that of an “iceberg”
— meaning that only
a relatively tiny part (the conscious)
is usually visible, while ninety percent
(the unconscious) is below the surface.
Freud formulated his view partially
as a result of his training in hypnosis under
the French neurologist J.
Martin Charoct.
Freud witnessed numerous demonstrations
of what today we would call posthypnotic
suggestion.
Charcot
hypnotized subjects
and requested that they perform certain tasks
following their emergence from hypnotic trance.
The subjects carried out the tasks,
but were unable to
recall why they did so.
These demonstrations in combination
with clinical experiences suggested to Freud
that a large part of
what we do
is based on unconscious motivations.
Freud’s view of human nature is that
we are fundamentally selfish animals driven by
aggressive urges and
the desire for pleasure.
People learn,
however, how to repress their cruder impulses
into the unconscious region of
the mind as they grow up.
At the core of conflicts that lead to mental
illness is often a denial of urges that people
regard as unacceptable and do not with
to admit are a part of themselves.
Mental illness occurs when such urges become too
strong to deal with through
the normal coping process.
Freudian therapy involves discovery of the
repressed urges causing the dysfunction.
Freud analyzed dreams
to gain insights
into his patients’ repressed desires, and
referred to dreams as “the royal road”
to the unconscious.
In Freud’s view, the purpose of dreams
is to allow us to satisfy in fantasies the
instinctual urges that
we have repressed into the unconscious.
So that we do not awaken as a result of the
strong emotions that would be evoked
if we were to dream about the literal fulfillment
of such desires, the part of the mind
that Freud called the censor transforms
the dream content so as to disguise
its true meaning.
The process of psychoanalytic dream
interpretation involves a “decoding”
of the censored surface dream in order to
discover
its real meaning.
Carl Jung divided the unconscious mind
into two subdivisions,
the personal unconscious
and the collective unconscious. While
the personal unconscious is shaped
by our personal experiences, the collective
unconscious represents our inheritance
of the collective experience
of humankind.
This storehouse of humanity’s experiences exists
in the form of archetypes,
which sometimes determine specific dream images.
Both Freudian and Jungian psychology are
sometimes referred to
as depth psychologies, meaning that
they focus on
the processes of
the unconscious mind.
The unconscious is that part
of the psyche that
is normally beyond the reach of consciousness.
The basic notion of an unconscious,
as well as the idea that our behavior
in influenced by unconscious motivations,
is very old. However, it was Sigmund Freud who
first put forward
a general theory of the unconscious and
its interaction with
the conscious mind. Freud’s concept
of the relationship between the conscious
and the unconscious has been compared
to that of an “iceberg”
— meaning that only
a relatively tiny part (the conscious)
is usually visible, while ninety percent
(the unconscious) is below the surface.
Freud formulated his view partially
as a result of his training in hypnosis under
the French neurologist J.
Martin Charoct.
Freud witnessed numerous demonstrations
of what today we would call posthypnotic
suggestion.
Charcot
hypnotized subjects
and requested that they perform certain tasks
following their emergence from hypnotic trance.
The subjects carried out the tasks,
but were unable to
recall why they did so.
These demonstrations in combination
with clinical experiences suggested to Freud
that a large part of
what we do
is based on unconscious motivations.
Freud’s view of human nature is that
we are fundamentally selfish animals driven by
aggressive urges and
the desire for pleasure.
People learn,
however, how to repress their cruder impulses
into the unconscious region of
the mind as they grow up.
At the core of conflicts that lead to mental
illness is often a denial of urges that people
regard as unacceptable and do not with
to admit are a part of themselves.
Mental illness occurs when such urges become too
strong to deal with through
the normal coping process.
Freudian therapy involves discovery of the
repressed urges causing the dysfunction.
Freud analyzed dreams
to gain insights
into his patients’ repressed desires, and
referred to dreams as “the royal road”
to the unconscious.
In Freud’s view, the purpose of dreams
is to allow us to satisfy in fantasies the
instinctual urges that
we have repressed into the unconscious.
So that we do not awaken as a result of the
strong emotions that would be evoked
if we were to dream about the literal fulfillment
of such desires, the part of the mind
that Freud called the censor transforms
the dream content so as to disguise
its true meaning.
The process of psychoanalytic dream
interpretation involves a “decoding”
of the censored surface dream in order to
discover
its real meaning.
Carl Jung divided the unconscious mind
into two subdivisions,
the personal unconscious
and the collective unconscious. While
the personal unconscious is shaped
by our personal experiences, the collective
unconscious represents our inheritance
of the collective experience
of humankind.
This storehouse of humanity’s experiences exists
in the form of archetypes,
which sometimes determine specific dream images.
Both Freudian and Jungian psychology are
sometimes referred to
as depth psychologies, meaning that
they focus on
the processes of
the unconscious mind.
The unconscious is that part
of the psyche that
is normally beyond the reach of consciousness.
The basic notion of an unconscious,
as well as the idea that our behavior
in influenced by unconscious motivations,
is very old. However, it was Sigmund Freud who
first put forward
a general theory of the unconscious and
its interaction with
the conscious mind. Freud’s concept
of the relationship between the conscious
and the unconscious has been compared
to that of an “iceberg”
— meaning that only
a relatively tiny part (the conscious)
is usually visible, while ninety percent
(the unconscious) is below the surface.
Freud formulated his view partially
as a result of his training in hypnosis under
the French neurologist J.
Martin Charoct.
Freud witnessed numerous demonstrations
of what today we would call posthypnotic
suggestion.
Charcot
hypnotized subjects
and requested that they perform certain tasks
following their emergence from hypnotic trance.
The subjects carried out the tasks,
but were unable to
recall why they did so.
These demonstrations in combination
with clinical experiences suggested to Freud
that a large part of
what we do
is based on unconscious motivations.
Freud’s view of human nature is that
we are fundamentally selfish animals driven by
aggressive urges and
the desire for pleasure.
People learn,
however, how to repress their cruder impulses
into the unconscious region of
the mind as they grow up.
At the core of conflicts that lead to mental
illness is often a denial of urges that people
regard as unacceptable and do not with
to admit are a part of themselves.
Mental illness occurs when such urges become too
strong to deal with through
the normal coping process.
Freudian therapy involves discovery of the
repressed urges causing the dysfunction.
Freud analyzed dreams
to gain insights
into his patients’ repressed desires, and
referred to dreams as “the royal road”
to the unconscious.
In Freud’s view, the purpose of dreams
is to allow us to satisfy in fantasies the
instinctual urges that
we have repressed into the unconscious.
So that we do not awaken as a result of the
strong emotions that would be evoked
if we were to dream about the literal fulfillment
of such desires, the part of the mind
that Freud called the censor transforms
the dream content so as to disguise
its true meaning.
The process of psychoanalytic dream
interpretation involves a “decoding”
of the censored surface dream in order to
discover
its real meaning.
Carl Jung divided the unconscious mind
into two subdivisions,
the personal unconscious
and the collective unconscious. While
the personal unconscious is shaped
by our personal experiences, the collective
unconscious represents our inheritance
of the collective experience
of humankind.
This storehouse of humanity’s experiences exists
in the form of archetypes,
which sometimes determine specific dream images.
Both Freudian and Jungian psychology are
sometimes referred to
as depth psychologies, meaning that
they focus on
the processes of
the unconscious mind.
Su
b-
co
ns
ci
ou
s
mi
nd
a
nd
c
re
at
iv
it
y
Ta
bl
e
of
C
on
tn
en
t
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
e-
me
nt
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
e-
me
nt
Align Left Align right Align Centered
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
e-
me
nt
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together
The only time you can safely get away with justifying text is if your type is small enough and your line is long enough. If your line is shorter or if you don’t have many worlds on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squashed together.
TIFIEDJusJustified text & Paragraph styles
Justify text only if the line is long enough to prevent awkward and inconsistent word spacing
-
There are many ways to reach this inner creative potential. First we need to put the ego to rest temporarily. The chattering personality needs to be set aside for a time so that the fullness of the entire psyche can see the light of mind. Creative insight always feels like a momentary gap has been opened and a burst of light has surfaced. Intuitive thought is a sudden complete understanding that issues forth, as if out of the blue. The veil of presumption and doubt is lifted. Creative psyche opens up and releases the gem of wisdom we were waiting for. To understand and develop inner creativity we first need to understand the psyche. We are more than meets the eye. The depth of our full psychological potential is beyond the reach of the personal-ity ego. Beneath the conscious ego’s veneer is the essential Self which guides and directs the body through the subconscious mind. We all know that something keeps our heart pumping, blood flowing, lungs breathing, etc. all without conscious intent. This has been dubbed the subconscious. This mysterious, yet ever reliable, sub-conscious also houses the fullest potential of the psyche. When we can tap this inner realm, raise the sub-conscious intent to conscious aware-ness, we get in touch with and utilize our inner creativity.
AT
IV
IT
Y
AN
D
DR
EA
MI
NG
CREATIVITYInner
Su
b-
CO
NS
CI
OU
S
MI
ND
A
ND
I
NN
ER
CR
EA
TI
VI
TY
AT
IV
IT
Y
AT
IV
IT
Y
tg Ae vkcross stroke
the horizontal part of a letterform that intersects the vertical part
descender
the portion of a lowercase letterform that descends below the baseline in
ear
the small decorative projection from the upper right side a lowercase g
apex
the peak of an uppercase A
crossbar
the horizontal part of a letterform that connects, for example, a stem to a hairline
t
g
A
Hgypq
t
AHv gTqhairline
the thinnest line of a typeface made of varying line weights
leg
the lower, angled stroke of a k
link
the part of a lowercase g that connects loop to the bowl
arm
a horizontal portion of a letterform, one or both ends of which are unattached to the erical portions
v
kg
T
The grid system in graphic design is a way of organizing content on a page, using any combination of margins, guides, rows and columns. It is commonly seen in newspaper and magazine layout with columns of text and images. One grid, or a collection of grids, may be used across an entire project to achieve a consistent look and feel. In a finished product, the grid is invisible, but following it helps in creating successful print and web layouts.
CONSCIOUSSub
creative grid system & Breaking Out of the Grid
Once the grid is established, it is up to the designer when and how to break out of it. This doesn’t mean the grid system in graphic design will be completely ignored. Instead, elements may cross over from column to column, extend to the end of the page, or extend onto adjacent pages. Breaking out of the grid can lead to the most interesting page designs.
Su
b-
co
ns
ci
ou
s
mi
nd
a
nd
c
re
at
iv
it
y
Ta
bl
e
of
C
on
tn
en
t
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
e-
me
nt
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
e-
me
nt
-
8/7
8/23
Justified
Align Left
1 1/4 inches
Extra inside margin 1 inch
1 3/8 inches
The mission of the unconscious mind that produces your dreams is exactly to protect you from your wild side and help you overcome the absurdity you are born with. However, since you have precious information about all the crucial points of your life, this protection gives you a secret power. Only by translating the meaning of your own dreams, you have objective information about other people and especially about yourself, and your life, being able to prepare the future results you desire. I simplified Jung’s method of dream interpretation, transforming it into a practical method of dream translation that everyone easily learns, and starts immediately seeing positive results with allthe notions they have.
You’ll invest a small
amount and a short
period of time in
order to study the
dream language, and
then have access
to the wisdom and
the guidance of the
unconscious mind in
your dreams for the
rest of your life.
creative grid system & Breaking Out of the Grid
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
e-
me
nt
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
Ta
bl
e
of
C
on
tn
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t
ac
kn
ow
le
dg
em
en
t