« September 2006 | Main | November 2006 »

October 2006 Archives

October 7, 2006

Which Will Make Your Laundry Whiter: Ernesto "The Hitman" Hartmann VS "House of the Risin'" J. Allan Hobson?

It's funny (or, perhaps, planned) that the Hartmann versus Hobson thing is similar to Jung versus Freud because of the similiarities between the people involved; Hartmann is like a practical Carl Jung and Hobson is like a contemporary Freud.

How similiar is Jung's idea of compensation to Hartmann's idea of dreams dealing with conscious concerns? (I think I brought it up at least three times in class). Also, there's a similiarity to be explored between Jung's archetypes and Hartmann's metaphor.

Hobson and Freud are similiar because they're both jerks. They both take potshots at their contemporaries. They both march through and argument for their own purposes, as if they were stomping grapes for wine.

And now, for the real debate in question: Hartmann versus Hobson, which will make your laundry whiter? Complication ensues because there's a lot to like about both of these guys.

Hartmann is a realistic version of C. Gustav Jung. His ideas are practical and applicable.

Hobson is the first biologist we've worked with extensively (not counting a guest apperance by Susan Croll). His ideas on sensory imput are very interesting, but his take on dreams is certainly unliterary.

So, I suggest we chug them down like Tide and see which one comes up better, in a case by case scenario.

"The Play's The Thing..."

In class, we noticed that there tends to be very little reading in dreams, so I thought this dream was particularely noteworthy for having some.

I was visiting my old highschool, St. Francis Prep. I was there to see a play and I was, apparently, very early. I was in the theatre, which wasn't the auditorium from highschool but a blackbox theatre I'd visited in my freshman year of college. The place is dark and dingy, and looks like it was inked by pen and colored in grey and brown.

Suddenly my highschool director, Mrs. Mejia, runs up to me and says something along the lines of

- John, I need you to do something for me.
- Sure, what is it?
- My lead actor is sick, so I need you to play the lead role for me.
- Holy crap, I said, I guess I can do it. Show me the script.

She leads me to the stage to do a reading. Somewhere along the way she explains that I can just read from the book for tonight's performance, provided I still do a passionate performance. I stand in the middle of the stage. I notice that she's gathered the supporting cast (which looks like more that necessary) in the chairs around the stage like a class. (It feels like it is also the acting class I took in my second year of Queens College). I am dressed like a hip dude, in a sweater and my leather blazer. I feel like I've been brought back to teach these actors of my experience, as if I'd experienced some large form of success outside of highschool.

I open the book the play is in. I can see the letters on the page (very clearly; if I had woken up I could have written them down). It's a very antiquated serif font printed in black, but highly distressed. The paper is strange. Even though it's a very old copy of the play the paper is all white, untouched by time, and glows. I feel in my mind like I'm looking into some sort of ancient book of evil, like the words held some kind of power to conjure something. However, it's in another language.

- What is this, French? I ask.

I remember the first line of the play being two three-letter words, something starting with an a. I sound it out with a French accent, and after a while, (talking like Maurice Chevalier or Marcel Marceau) give a riveting performance to the class. They applaud ravidly.




Later, I am standing in the hall right next to the stage right wing and, once again, it doesn't look like the one back in Prep, but instead it looks like the one from my grammar school, St. Fidelis, but everything is painted glowing white, but it's a lot more skanky than St. Fidelis-- there are pipes lining the ceiling dripping black stuff, there's black stuff smudged on the walls, and there's garbage on the floor. It looks like an alley behind a building. All of the sudden I see my friend from highschool, Dan, is there. He's not wearing his glasses and he looks like a heroin-addict- very strung out, with red bags under his eyes. He offers to let me come with him and his two friends to come get high. I accept, for some reason, wanting to be friendly to an old compadre I hadn't seen in years and not wanting to be rude. His two friends come. I don't see them clearly, although one of them looks like this girl Lucy I had a class with once. We walk up the hall, up a flight of stairs and through a door, into another darker hallway I don't recognize. We climb another flight of stairs into a loft.

They start up and I excuse myself

- I don't feel comfortable doing this.

I leave the way I came, get on stage, and give a great dramatic performance.

October 11, 2006

A Vicky Dream

You know, those Victorian dream theorists weren't so horribly off, considering what they had to work with. With just observation and inference, those dudes where able to develope some sort of ancestoral dream theory that would evolve into the different stances we have today. Still, my favorite part were the things that didn't add up. Like when Robert Macnish attributes nightmares to poorly. Indeed, he says, "there are particular kinds of food, which pretty constantly lead to the same result, such as cheese, cucumbers, almonds, and whatever is hard to be digested" (105). I mean, what? I don't know about you guys, but I've never had a problem with cucumbers. Man, if only they knew about deep-fried Snickers bars-- this guy would go demented with the nightmares he'd have!

But no matter how silly we view them as today, these cats were highly influential. Just take that same idea about food and nightmares. Doesn't it come up in Charles Dickens' A Christmas Carol? When Scrooge, upon seeing Marely's ghost, says, something like, 'Bah! You're nothing more than a crumb of cheese, a blot of mustard, a hunk of underdone potatoe-- there's more gravy than grave in you.' (paraphrased from my memory of Alaister Stair's A Christmas Carol, which is the best of all the Christmas Carols. If you have not seen it, I highly recomend you watch it this Christmas).

"Do fries come with that?" -- A McDonald's Dream

There was a time when I worked in a McDonald's. I was very young and needed money for books and Metrocards.

It was a God-forsaken place.

My first week there I had this awful dream.

I was in the back of that greasy-floored McDonald's working the fryers. It was incredibly busy. That small station where I worked became a tornado of actions. Orders were buzzing on the monitors like mad. The other employees, fraternal brothers of the grill-monkey, were there too. Their requests were frequent and overwhelming.

- John, we need more quarter meats, my boss, Gustavo, yelled at me.

I was moving without thinking. Doing five or six things at a time. Terror overwhelmed my mind but I could not stop my body. My perception was shaking like the inside of a washing machine. I could actually feel the grease building up on my face and clothes. I could feel the latex gloves melted onto my hands. I tried to peel them off but I couldn't beat the feeling out of my unconscious mind. I began to feel secondary revision before I came out of the dream- I knew that I was really in bed scratching at my palms and twitching like someone having a seizure.

October 15, 2006

A Sleep-talkin' Update

Hey there, dreamers. My first entry on sleepwalking, including my brother talking in his sleep, proved to be so popular I thought I'd share another hilarious antectdote at his expense.

It was around three-thirty in the morning. My brother had a cold and was just now breathing quietly enough for me to sleep. I was curled up in my blankets, facing away from him.

- Hey, John?
- Yeah?
- Did you make sure the TV got it's vitamins?

I turned towards him. He was sitting up in bed stretching himself upwards, like he was trying to make himself taller.

- What?
- The TV.
- What about it?
- It needs it's own little TV.
- What are you talking about?
- It needs a little TV to watch.
- No, it doesn't.
- Yes, it does.
- No, it doesn't.
- Yes--
- It's a TV, it doesn't need anything.
- Are you sure?
- Yes.
- Alright then.

And with that he laid back down and slept like he hadn't woken. I, too, went to bed, a little freaked out.

October 21, 2006

A Midsummer Night's Painting


midsummer_landseer.jpg

Hey there dream-cats,
Here's the stat's for this painting.

Scene From A Midsummer Night's Dream: Titania and Bottom.
Sir Edwin Landseer.
1848- 1851
Oil on canvas.
National Gallery of Victoria: Melbourne, Australia.

as seen on:
Artcyclopedia
http://www.abcgallery.com/L/landseer/landseer25.html

October 23, 2006

Fembots

When having to discuss Jane Eyre versus Wide Sargasso Sea in terms of a critical lens I choose the most obvious shot to take: Feminist criticism. You gotta look at how the gender roles are portrayed. Jane Eyre is a troublesome book in terms of gender roles, but better (in my opinion) than Wide Sargasso Sea. Jane Eyre isn't quite up to our modern ideas of gender I like it better because it is progressive for its time, and it's certainly less harsh than Wide Sargasso Sea is on its (reactionary) villanizing of Rochester.

Sure, Bertha's treatment in Jane Eyre is not up to gender standards, but there weren't a lot of options back then (mental asylums where pigsties and treated as museums on the weekends)-- the ideaology of the time limits Rochester to this action; he's not neccesarily the bastard Wide Sargasso Sea makes him out to be. Bertha's entrapment brings to light a lot of the gender issues of the times. Hell, Femenists see Bertha as a martyr for Femenist rights (because her only real problem is having radically different views on topics, particularely sex, than Victorians).

And Jane Eyre is certainly a gender progressive character, considering the ideaology of the time. Janey's able to procure free will in the book, through hard work and not defaulting on her personal morals.

So keep those bras aburnin'!

October 27, 2006

Milkdud

As I've mentioned in previous posts, I have a cat named Milkdud. It was a routine between the two of us for me to leave for school and for her to try to follow me to the bus. I'd always stop her and put her back in the yard, but it was always a fear of mine that after I'd left she'd run across the street and try to follow me to school.

This is the dream I had:

I'm leaving Queens College carrying two large buckets of paint (which were from a painting class I was taking at the time). I'm wearing my navy blue fleece zip-up hoody from Old Navy with the black elbow patches. I'm walking to the bus stop, which (in the dream), was not on Kissena Blvd where the Q25 normally is, but instead I was waiting further down the service road for the LIE (Is that called Horace Harding? But by Colden auditorium).

Suddenly I see Milkdud running down the sidewalk to me. She meows to me as she approaches; (she's a very vocal cat). I think to myself how amazing it was she was able to follow me all this way, and how glad I am that she's not hurt. But I'm presented with a choice: I have to get Milkdud home, but I'm supposed to bring these two cans of paint home for class. I choose to sacrifice my own concerns and take my cat home. I leave the paint on the curb and zip the cat up in my jacket so her head sticks out. I hop on the bus, which looks a lot like the Q76 at 2:00 in the afternoon instead of the Q25 at 4:00. The few people that are on the bus smile at me because of what I'm doing. We sit down. Milkdud is very happy to be with me and I am happy to be able to save her, as we ride the bus home.

Renaissance Dreams = Crazy Sex Orgy?

I wasn't sure what to write for this blog entry, because we didn't really go over the Renaissance dream in class (at least I don't recall doing so). So I thought I'd launch my theory on what the Renaissance dream is.

Based on the information given to us in A Midsummer Night's Dream one can only conclude that Renaissance dreams are mostly crazy sex. Swapping Lovers, animals-- anything goes! Gotta love 'em.

Next step: how to have these dreams in our current lives...

October 28, 2006

Another Funky Dream Tree

(I did some color correction on this; I think I was able to bring out the richness of the inks while keeping the browning of the paper)

ART38727.jpg

Daniel's Dream of the Tree
(Dan.4). Commentary on Daniel by Beatus de Liebana.
Spain (Leon), c.950 CE. MS. M.644, f.252v.
Location :The Pierpont Morgan Library, New York, NY, U.S.A.
Photo Credit : The Pierpont Morgan Library / Art Resource, NY

as seen on:
Art Resource
http://www.artres.com/c/htm/CSearchZ.aspx?o=&Total=411&FP=458214&E=22SIJMYLLU3PY&SID=JMGEJNTWM6DXT&Pic=38&SubE=2UNTWA2M9VD

About October 2006

This page contains all entries posted to The Amazing Dr. Funkenstein and the Mind-altering burrito in October 2006. They are listed from oldest to newest.

September 2006 is the previous archive.

November 2006 is the next archive.

Many more can be found on the main index page or by looking through the archives.

Powered by
Movable Type 1.02