Kluwer Academic/Human Sciences Press, Inc., New York City

Dreaming Volume 13, Number 1, March 2003
 
 

CONTENTS

Special Issue: Dreaming and the Arts
Guest Editor: Richard A. Russo, M.A.

Introduction
Richard A. Russo
Page 1
Available online

Dreams, Art and Virtual Worldmaking
Bert O. States
Page 3
Available online

Dream Poetry as Dream Work
Richard A. Russo
Page 13

Lucid Art and Hyperspace Lucidity
Fariba Bogzaran
Page 29

Filmed Dreams: Cinematographic and Story Line Characteristics of the Cinematic Dreamscapes of John Sayles
James F. Pagel, Dennis Crow, and John Sayles
Page 43

Dreaming and the Cinema of David Lynch
Kelly Bulkeley
Page 49

 

Dreams, Art and Virtual Worldmaking

Bert O. States

Dreaming: Journal of the Association for the Study of Dreams. Vol 13(1) 3-12, March 2003.

Abstract

This paper examines the possible role of dreams and other forms of virtual worldmaking (chiefly fictions) in forming and maintaining our adaptive systems. I posit no exclusive function for the dream. Rather, I treat it as an extension of fiction’s preoccupation with our daily concerns, desires and fears. I suggest that narratives help us to enlarge and revise our perceptual and response systems, not by offering us moral or ethical propositions to live by but by increasing certain skills in our mental organization. Departing from John Paulos’ idea that fictions and mathematics (narratives and numbers) work in similar ways, I further examine the role that probability ratios might play in dreams, despite the seeming bizarreness of many dreams. The overall idea is that narratives of all sorts are one cognitive means, among many, by which we accumulate “sums” of knowledge and expectation, and maintain and revise our notions of what goes with what in human experience. I also look briefly at fictional archetypes (Oedipus, Orestes/Hamlet, etc.) and universal dreams (falling, being lost or attacked, etc.) as master plots in our probability systems.

KEY WORDS: narrative; probability ratios; adaptive structures; archetypes; universal dreams.

Dream Poetry as Dream Work

Richard A. Russo

Dreaming: Journal of the Association for the Study of Dreams. Vol 13(1) 13-27, March 2003.

Abstract:

This paper explores the relationship between dream poetry and dream work by presenting a representative dream poem, along with the text of the dream that inspired it; examining some of its poetic qualities and showing how these figured in the writing of the poem; and comparing the dream writing process to dream interpretation and to Jungian active imagination work. The formal demands of poetry introduce a unique type of critical thought into the creative process that develops the dream material in ways different from other forms of dream work. Writing dream poetry differs from both dream interpretation and active imagination in important ways, but can be viewed as a form of non-interpretative dream work. These observations are probably generalizable to all forms of dream writing and dream art.

KEY WORDS: dreams; poetry; dream poetry; dream writing; non-interpretive dream work; dream interpretation; active imagination.

Lucid Art and Hyperspace Lucidity

Fariba Bogzaran

Dreaming: Journal of the Association for the Study of Dreams. Vol 13(1) 29-42, March 2003.

Abstract:

This article explores nonrepresentational, multidimensional lucid dreaming and its parallel imagery in modern art paintings. Developed from a series of successive qualitative experiments on art and lucid dreaming, the study brings together phenomenological and narrative approaches to reveal a relationship between imagery in a particular lucid dream experience (Hyperspace Lucidity) and a particular type of modern art painting (Lucid Art). This article attempts to open new dialogues for investigation of the interconnection between the dreaming mind and art.

KEY WORDS: lucid dream; modern art; spirituality; hyperspace.

Filmed Dreams: Cinematographic and Story Line Characteristics of the Cinematic Dreamscapes Of John Sayles

James F. Pagel, Dennis Crow, and John Sayles

Dreaming: Journal of the Association for the Study of Dreams. Vol 13(1) 43-48, March 2003.

Abstract:

The authors characterize the filmed dreamscapes of John Sayles though a structured interview with the screenwriter/director and an analysis of cinematographic and story line techniques utilized in creating dreamscapes in two of his films. The filmmaker uses complex techniques to produce believable dreams in otherwise naturalistic films by isolating the dream sequence and altering sound, color, cinematography, story, time, visual perspective and physical properties of the perceived external reality of the dream. This perceptual and orienting framework required to produce a believable dream on film may reflect innate characteristics of the dream state.

KEY WORDS: film; dreams; cinematography; John Sayles.

Dreaming and the Cinema of David Lynch

Kelly Bulkeley

Dreaming: Journal of the Association for the Study of Dreams. Vol 13(1) 49-60, March 2003.

Abstract:

This essay explores the influence of dreams and dreaming on the filmmaking of David Lynch. Focusing particular attention on Mulholland Drive (2001), Lost Highway (1997), Blue Velvet (1986), and the television series Twin Peaks (1990-91), the essay will discuss the multiple dream elements in Lynch's work and how they have contributed to the broad cultural influence of his films. Lynch's filmmaking offers an excellent case study of the powerful connection between dreaming and movies in contemporary American society.

KEY WORDS: dreams; film; David Lynch.