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 .

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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 .

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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 .

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y o u a r e c r e a t i v e , a n d

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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

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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

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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

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executing

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during the non-REM sleep.

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executed during

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in the form of test scenarios.

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an accommodation as the

process

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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.

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Align Left Align right Align Centered

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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

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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.

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CREATIVITYInner

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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

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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

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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.

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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

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