The Mysterious Woman and the Portal
By Eugene Raphael · Encounter Report · Liminal Light Lab
Technique: a series of awakenings, with hand rubbing for cohesion. Outcome: two dream scenes, one I believe I made and one I believe I didn't.
At the mirror
In a series of awakenings, I found myself at a mirror, in a female body. A voice said, "Yes, it is possible, because you are dreaming."
I rubbed my hands. I saw old, sun-bleached stairs in great detail, then an alley where both paths washed out into a flat white screen.
The hallway and the door
Then I was in a dark hallway, still female, feeling light. A powerful female presence said, "Since you are back so soon, you might as well get used to it now. Go through the door."
The door was a swirling black and purple portal. I jumped through.
The bar not on Earth
I landed in an impossibly realistic bar or restaurant that wasn't on Earth: dark wood tables and stools, and all men, with dark hair and jet-black eyes. The room went silent. One man, in a hat, with a mustache and goatee, glared at me with malice. I woke myself up to leave.
Reflection
At first I offered no interpretation; my interpretation system is sort of fried. But a few things stood out.
Being female was felt, not just seen. It was enjoyable, not sexual, and unintended, and it persisted after the scene changed. Outside voices are rare for me.
I believe we intend our dream scenes, and rubbing my hands added cohesion. My guess is that the first scene was a product of my intending, a phantasmagorical projection.
The second felt energy-generating. I believed the voice in the hallway was Clara, or an echo of her intent in the second attention. That scene was stable and intricate from the start, with no washing out, which suggests it existed outside my intent. My first attention rendered it as something mundane and knowable; with more uniformity and cohesion, I might have perceived energy or energetic constructs instead.
We are charged, exhilarated, and robust in the face of the unknown.
Credit: Clara is the teacher in Taisha Abelar's The Sorcerers' Crossing.
Related
Community: How do you tell a scene you're projecting from one that seems to exist on its own?
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