Early afternoon. You sent Doug a copy of yesterday's blog. He returned
with a comment, and you just sent him a reply. Drop these in here and we can
continue with what you suggested in general where you think you are going with
this. - Amorella
** **
Hi, Doug,
If you have a few
moments I would like your opinion of the concepts towards the conclusion of
today's posting. Thank you.
Dick
Sent:
Sat, May 27, 2017 10:59 pm
**
Dick,
Very interesting concepts. Keep up the good work.
Doug
Sent: Sun, May 28, 2017 5:25
am
**
Thank
you for the encouragement here, Doug. I very much appreciate it. This material
is basically for Soki's Choice. The concepts are helping me solidify a fence in
which I can mold a sense of how consciousness is (at least in a fiction). At
the same time it might spark some imagination in the reader. I remember Crick
and Watson working on the DNA and how it helped them produce a 'model' of the
double helix. Now in fiction this should be easier as long as it is plausible
as a concept -- an eleven part string-like point in which consciousness exists
-- confined as egg-like, if you will, within a non-shell or as a spark-like
place where consciousness can grow from. Does this continue to make
sense? Right now, I'm just working on the preliminaries. :-)
The reason for this is
that my two machinery characters feel they have heartansoulanmind too and as
such may be immortal (that is exist consciously outside a physical form).
Anyway, this is where I am. I love thinking on these things.
Trust you and Nancy are
having a good day.
Your old friend,
Dick
Sent: Sun, May 28, 2017
1230 pm
** **
You are uneasy with this because you didn't think out what you were
writing to Doug, that is, you wrote it to a friend from your heart because you
trust him with it - Amorella
1308 hours. I agree Amorella. I did not consider
dropping this in the posting when writing. In fact, I was waiting to see if he
has a response.
This is why I would like you to include it here. Post. - Amorella
You had scrambled eggs with two kinds of
melted cheese. Carol can't taste but you thought it was a quite good
combination. While eating you watched ABC News and set the trash out by the
street. At least half the recycle can was full of papers, shredded in bags and
otherwise. - Amorella
1908
hours. Doug did not reply and actually I did not ask him to do so. We have five
dimensions so far:
1. Amorella, the Betweener
2. The
Conscious Dead
3. The
Conscious Living
4. A
Sense of Space in Consciousness
5. A
Sense of Time in Consciousness
This
leaves dimensions six through eleven. (1923)
You are wondering if 'dreamtime' can related
to consciousness in its own right. Let's see what Wikipedia has to say. -
Amorella
** **
Dreamtime
From Wikipedia, the free encyclopedia
Dreamtime (also dream time, dream-time) is a term devised
by early anthropologists to refer to a religio-cultural worldview attributed to
Australian Aboriginal beliefs. It was originally used by Francis Gillen,
quickly adopted by his colleague Baldwin Spencer and thereafter popularised by A. P.
Elkin, who, however, later revised his views. The Dreaming is used to represent
many Aboriginal concepts of "time out of time," or
"everywhen," when the land was inhabited by ancestral figures, often
of heroic proportions or with supernatural abilities. They were often distinct
from "gods" as they did not control the material world and were not
worshipped, but only revered.
The term is based on a rendition of the
indigenous (Arandic) word alcheringa, used by the Aranda (Arunta, Arrernete) people of
Central Australia, although it
appears that it is based on a misunderstanding or mistranslation. William
Stanner remarked: "why the blackfellow thinks of 'dreaming' as the nearest
equivalent in English is a puzzle". It
has been argued that the word's meaning is closer to "eternal,
uncreated". "
By the 1980s, "Dreamtime" and
"the Dreaming" had acquired their own currency in popular culture,
based on idealised or fictionalised conceptions of Australian mythology. Since
the 1970s, "Dreaming" and "Dream time" have also returned
from academic usage via popular culture and tourism and are now ubiquitous in the English
vocabulary of indigenous Australians in a kind of "self-fulfilling
academic prophecy".
Origin of the term
The station-master, magistrate and amateur
ethnographer Francis Gillen first used the terms in an ethnographical report in
1896. With Baldwin Spencer Gillen, he published in 1899 a major work, Native Tribes of Central Australia. In that work, they spoke of the Alcheringa as "the name applied to the far
distant past with which the earliest traditions of the tribe deal". Five years later, in their Northern tribes of central
Australia, they gloss the far distant age as "the dream times",
link it to the word alcheri meaning "dream", and affirm
that the term is current also among the Kaitish and Unmatjera.
Early doubts about the precision of this
English gloss were expressed by the German Lutheran pastor and missionary Carl Strehlow,
who noted that his native informants explained altjira, whose etymology was unknown, as an eternal being who had
no beginning. In the Arrernte tongue, the proper verb for "to dream"
was altjirerama, i.e.,
"to see god". The noun is the somewhat rare word altjirrinja, of which Spencer
and Gillen gave a corrupted transcription and a false etymology. "The
native," they concluded, "knows nothing of 'dreamtime' as a
designation of a certain period of their history."
Aboriginal beliefs and culture
"Dreaming" is now also used as a
term for a system of totemistic symbols, so that an indigenous Australian may
"own" a specific "Dreaming", such as Kangaroo Dreaming, or
Shark Dreaming, or Honey Ant Dreaming, or Badger dreaming or any combination of
Dreamings pertinent to their country. This is because in
"Dreamtime" an individual's entire ancestry exists as one,
culminating in the idea that all worldly knowledge is accumulated through one's
ancestors. Many Indigenous Australians also refer to the Creation time as
"The Dreaming". The Dreamtime laid down the patterns of life for the
Aboriginal people.
Creation is believed to be the
work of culture heroes who traveled across a formless land, creating sacred
sites and significant places of interest in their travels.
In this way,
"songlines" (or Yiri in the Warlpiri language) were
established, some of which could travel right across Australia, through as many
as six to ten different language groupings. The dreaming and travelling trails
of the Spirit Beings are the songlines. The signs of the Spirit Beings may be
of spiritual essence, physical remains such as petrosomatoglyphs of body
impressions or footprints, among natural and elemental simulacra.
"Dreaming" existed
before the life of the individual begins, and continues to exist when the life
of the individual ends. Both before and after life, it is believed that this
spirit-child exists in the Dreaming and is only initiated into life by being
born through a mother. The spirit of the child is culturally understood to
enter the developing fetus during the fifth month of pregnancy.
When the mother felt the child
move in the womb for the first time, it was thought that this was the work of
the spirit of the land in which the mother then stood. Upon birth, the child is
considered to be a special custodian of that part of their country and is
taught the stories and songlines of that place. As Wolf (1994: p. 14)
states: "A black 'fella' may regard his totem or the place from which his
spirit came as his Dreaming. He may also regard tribal law as his
Dreaming."
In the Wangga genre, the songs
and dances express themes related to death and regeneration. They are performed
publicly with the singer composing from their daily lives or while Dreaming of
a nyuidj (dead spirit).
Dreaming stories vary throughout Australia, with variations on
the same theme. The meaning and significance of particular places and creatures
is wedded to their origin in the Dreaming, and certain places have a particular
potency or "dreaming." For example,
the story of how the sun was made is different in New South Wales and in
Western Australia. Stories cover many themes and topics, as there are stories
about creation of sacred places, land, people, animals and plants, law and
custom. In Perth, the Noongar believe
that the Darling Scarp is the body of the Wagyl
– a serpent being that meandered over the land creating rivers, waterways and
lakes and who created the Swan River. In another example, the Gagudju people of Arnhemland, for which Kakadu National Park is
named, believe that the sandstone escarpment that dominates the park's
landscape was created in the Dreamtime when Ginga (the crocodile-man)
was badly burned during a ceremony and jumped into the water to save himself.
Selected and edited from Wikipedia - Dreamtime
[The underlining is for my reference - a reminder of how a story
is multidimensional in its reading or telling.]
** **
2027
hours. I find the article interesting and I have read other accounts of
dreamtime in terms of definition and significance to the culture. We add to
facts as well as stories in our voice as well as reading. The story is changed.
Film aspects change it more because each time it is told in a different
context. It seems to me that I do the same each time I change a story by
setting it in a different narration. I either add and delete a dimension along
the way. We all do this. We do this with a story, personal perhaps, which
changes with one's age and recollection. This movement of a story through
different mental dimensions (insights) may not be a dimension itself but it is
a shift of realties, no matter how slight. I do not have the words or
background to study this; it is obvious when one sees two, three or four or
more versions of the play Antigone for instance or Our Town.
Alas, I am sure I have considered these things or similar in my student days of
long ago, and as such I should not give it much worth. (2040)
Post. - Amorella
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