Sleep perchance to dream...

St John's Wort in the rain - a herb reputed to be useful for those with insomnia - though not one that worked for me...

One of the difficulties I've found in HK is doing corrections that will work on states that are not readily accessible from the conscious. I've particularly wanted to improve my ability to dream lucidly - by which I mean to dream vividly and with awareness that I am dreaming - sufficient awareness that, if I want, I am able to say in the dream - "I'm dreaming so lets do this instead." and then pick somewhere to go or someone to see and have that happen.

I've had quite a lot of lucid dreams compared to the average person who claims that they don't dream, or at least that they don't recall any dreams, but still not that many compared to proficeint lucid dreamers. And as someone who has recorded their dreams on and off for over 30 years that's disappointing!

I've experimented with crystals, various practices whilst awake and followed the advice from different books on Lucid Dreaming...

For instance, one thing is to stop during the day and ask yourself if you are dreaming - the idea being that this practise will continue on into the night and you'll catch yourself dreaming. One thing to do is to attempt to press your hand through a wall - this doesn't normally work in non-dream but often does work in dream.

Most of these things do indeed work for me once or twice but then some mechanism or other cuts in and that's the end of it...

For a while what happened was that as soon as I became lucid the dream itself stopped and there I was lucid in total darkness. I would stay totally conscious, though a little bored, in this between dream darkness and then go consciously into the next dream... once there I usually lost all awareness that I was dreaming and got swept up in the dream drama... struggling to maintain awareness but always losing it...


Right now I'm going through a period where I'm tending to recall a lot of dreams but haven't had the slightest trace of lucidity in ages... however at least the dreams I am having seem to be very productive and are helping me to understand things better and often lead to issues to work on using HK.

Last night I had two dreams about something I've never dreamt about before, so far as I recall, exorcism. In the first someone I know was conducting a Zen Buddhist exorcism (I've no idea if Zen Buddhism actually supports the idea of exorcism - this was just in my dream...) and in the second I was flying around a most unusual place watched by lots of non-flyers and being guided to do an exorcism by one of them. When I returned to the ground he asked me if I'd put "the blood on the tea-pot" - I hadn't, though I still had the little squirty paint pot with red ink in it - and I pointed out to him that he'd never suggested that I should and I was only doing what he said... we then went to look for the tea-pot but it had gone.

I really have no idea what this tea-pot is about!

Afterimages

Ever since doing BSE corrections on my (previously unsuspected) beliefs around EFBs I've had lots more EFBs come up, in particular, lots for Vision.

In this post I'm going to concentrate on afterimages.

These are not specifically on the manual's list but are a natural variation to work on.

To see an afterimage pick up a piece of coloured card stare at it for a minute or so then look at a white surface.

If you see a floating ghostly colour-reversed version of the object you were staring at this is the afterimage.

Sometimes they are hard to spot - try changing focus, or look for longer at the original image being sure to keep your eyes as steady as possible whilst staring at it.

People tend to describe the colour of the afterimage as the opposite or negative of the colour of the original.

On the wikipedia page it mentions the possibility of positive afterimages too. But it didn't explain them. I think its the phenomenon that comes after resting the eyes then exposing them briefly to light.

To see these keep the eyes closed for a while. Then open them very briefly to look at something bright then close the eyes again. In this case you may retain the image of what you've just seen rather than its inverse.

Variables to consider:

• Colour(s)

• Shapes

• Patterns

• Distance from eye(s) - are both eyes open?

• White is the normal surface to look at for an afterimage - is it what's needed here?

• If used does the distance of the white surface matter?

• On wikipedia's afterimages page it mentions a different method that after staring at the original object involves closing the eyes and then looking up. It also provides an animation that can produce a motion aftereffect.

• How long to stare at the original before looking for the afterimage.

• Do you need an EFB for looking at the object before doing an afterimage correction?

It needn't involve colour. It is the basis for several well-known optical illusions. This one comes from wikipedia.



Can this idea of afterimages be used in other senses?

What about when one presses something for a while then releases it - there is a sort of "aftertouch" effect.

And the ringing in ones ears after a loud disco might be another...

Placing Cos Batts, Dream Work & Hidden Fears

The night before last I had loads and loads of dreams - what's more many of them meaningful. I was woken up from the first one at around midnight when Jim got back from band practice. Having recalled the dream I realised I needed to get up and do some HK immediately!

There were other vivid dreams during the remains of the night the last of which led to yet more HK to do on myself (more on that later). When I came to look in my Cos Batt box in the morning I found that there was one missing (the one pictured above - Planetary 9, Sn Jupiter). Then I recalled taking it off after doing a correction in the dining room and realised I must have left it on the table over night.

Yesterday the last piece of HK to come up was an Adjunctive - I needed to place a Cos Batt and an essence in the dining room over night. This had come up under what I'd thought was a cryptic title of "A change is as good as a rest". It made me aware that the previous nights dreams might well have had something to do with the Cos Batt I'd accidentally left out over night on the table; a table that just happens to be vertically beneath the bed...


The dreams

The first dream that I woke up with around midnight:

Armed Robbers in Amnesty Bookshop

I'm driving through a village I don't know. I spot an Amnesty bookshop - the kind which sells second hand books that have been donated. I stop and go inside.

Two men are in the shop - they both have guns!

Somehow I manage to get out and am off in search of help. I realise that my mobile phone is probably in my car. I don't see my car.

I look for a public telephone.

I notice a sign for a shop that takes me down a narrow alleyway. I go down it.

In the shop there's a man and woman both serving behind the counter. There are people in front of me. I queue. As soon as I get to the front of the queue I ask if they have a phone I can use. The woman points out their phone and launches into a complicated description of how to use it. I explain that I want to make a 999 call. I ask where it is that I am. She says the Village shop... I ask which village. She says Orwell.

Finally I get to the phone and ring 999. There are the usual preliminaries where the operator mentions that this is a public phone etc. But this exchange between the operators goes on and on. I never get to tell them about the armed robbers!

One way to work with a dream is to use HK testing to derive an issue (or two) from it. Before getting out of bed I'd checked I was in balance and self-tested that one of the messages from this dream was that there was something important that needed working on but that it was never going to come up in priority unless I did something to help that happen. I tested that I needed to get up and work out what to do straight away...

I found that I needed to wear an Ocean Jasper stone whilst I dreamt and that having dreamt I needed to place the stone on my heart chakra and do a fingertips together integration. So I found a way to attach the stone to me whilst I slept and when I woke up from another dream did the integration.

I then went back to sleep, without the stone and had yet another dream. This one was saying quite plainly that I needed to work on some phobias and that the only way they would come up was if I wore a Cos Batt whilst testing for them. The dream showed me that I needed to work on four groups and then put on a Cos Batt and find 5 groups of Phobias. And when I got up that is exactly what I did. First I found an issue:

• Being Resistant to finding the work I most need to do on myself

Which consisted of four groups of work.

Then I put on a Cos Batt and found the phobias. I cried as I did these corrections. They were very emotional. But having done them I felt more alive and more energetic than usual for the rest of the day.

---

I knew that there was more to the Armed Robber dream than just a prompt to use Ocean Jasper whilst I dreamt. So I also made a point of going to my local Amnesty bookshop. I got several books but the first to catch my eye was this:


An energy that I've recently met (in fact only the night before the dream-filled night) said it had been around for a long time and one of its given names was Sphinx. When I looked this up on wikipedia it mentioned that the sphinx is associated with Sekhmet. Perhaps because the Sphinx is often shown as a lion with a woman's head and Sekhmet as a woman with lion's head.

Now I associate Sekhmet with Sekhem because Ben mentioned there was a connection when we went to the British Museum after HK8.

In 1998 I was attuned up to Master's Level (III) in Tera-Mai Reiki and Seichem. On Kathleen Milner's website she only gives a very minor description of how Patrick Zeigler came to acquire Seichem. In this book, All Love, it mentions that he got it through hiding in a tunnel created by tomb thieves, staying, without sanction, in the Great Pyramid over night, and receiving the energy whilst in there, then evading the guards in the morning - all these actions, no matter how understandable, are those of a thief.

I was strongly guided to be attuned to Reiki and Seichem but when it came to attuning others I've done almost none. This was because my energy system was strongly aware that I was picking up unwanted energies along with the attunements. I came to consider this acquired energy to be part of the attuning master's karma. I had also been strongly guided to have a different master for each attunement, this probably helped me distinguish the attunements from the unwanted energies.

Now on discovering that the Seichem heritage comes directly from someone who violated the Great Pyramid I realised that another aspect of the unwanted energy that I had was in fact the Curse of the Pharaohs!

I hope I've now cleared this too... and I hope that most other initiates do not pick up these energies in the first place...

Incidentally the Sphinx brought me a correction that it called "Wringer" and after doing it I did indeed feel like I'd been completely wrung out... when I mentioned this to Jim he said, jokingly, that maybe I'd been through the Sphincter... Here's a relevant quote from the Sphinx's wikipedia page:

The word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω (sphíngō), meaning "to strangle". This name may be derived from the fact that the hunters for a pride of lions are the lionesses, and kill their prey by strangulation, biting the throat of prey and holding them down until they die. The word sphincter derives from the same root.

The same page also mentions "There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck." The Pharaohs curse is probably quite bad luck... However the Sphinx itself seems to be more like a guardian.

Coloured Light

Another HK tool is colour. One might need coloured cards or coloured lights for EFBs or P/OMs.

These are a stained glass sample set from a time when I was doing stained glass - the place that sold them to me was taken over long ago. I love glass and the colour of light one gets through it but it has some drawbacks - the worst is that its heavy.

So I ordered a set of plastic filters from Formatt Filters - cost £10.55 including postage - they took over 2 weeks to arrive but now they are here I'm delighted with them!

This is their sample set of lighting gels:

They claim that there are over 200 samples in the set. Here are a few of the warm ones:

Each filter has a backing sheet with its reference number, name and most have a graph which appears to show its transmission wavelengths:

Here is the Plasma Red filter over an LED penlight:

So far when using coloured lights in P/OMs I've found they tend to be on acu-points and recently I've also often had either a round magnet on a different point on the same meridian or an essence on one EP and the light on the other EP. Curiously these have not tended to be symmetric, applying only to the left or the right on bilateral meridians.

All of these P/OMs have also required Cos Batts though I know some people use coloured lights instead of holding points or using Cos Batts.

Mouthfeel

As I've been exploring EFBs more recently I came upon the concept of mouthfeel.
Could it help to make this an explicit dimension of Gustation, in addition to the flavour (bitter, sweet etc.)?

Maybe having a list of consumables with particular mouthfeel would help:

• Sticky / chewy - peanut butter (especially the way it sticks to roof of one's mouth), jelly beans, chewing gum
  
• Crunchy - potato crisps/chips, corn chips
  
• Greasy - cheese, butter, oil
  
• Hardness - nuts, raw vegetables
  
• Wetness - water
• Dryness - dry biscuit
• Suckability - various liquids though a straw - contrast a milk shake with lemonade
• Bubbles - carbonated water
• Temperature - hot food, warm, room temperature, cold

I'm sure there are lots more...

For some dimensions see wikipedia: Mouthfeel

Wood Work

One of the things about HK is that the more tools you have the greater flexibility you have in putting together corrections.

When I was repeating HK6 in June I took along the wood veneers I'd bought when I originally did it over 10 years ago. Yesterday it suddenly occurred to me that it might still be possible to get them so I searched for: "art veneers" "collector's set" and up they came from Craft Supplies. There are two sets, the first has around 50 in and the second more like 30.

Another source of pieces of wood is Green Man Trees - for £3 per sample you will get a chunk of wood from a tree that's been carefully prepared especially for healing work. Each piece has its name lightly burned into it.

Of course you can also collect your own though if you want to know what it is make sure you label it as soon as possible.

This twig "fell off the back of lorry", well a white van belonging to some gardeners, right in front of me today - from the leaves that were with it I think it was a Robinia. It is also very lichen covered and has an odd smell... quite a different energy from the veneers...

Supine and Prone

In the HK8 with Vivian that I was on a week ago the words supine and prone came up a lot. And that got me thinking...

Prone - prone means lying on ones belly - it also means, more metaphorically, being inclined to do something.

Yet many humans do not like to lie on their bellies despite it being a quite natural animal position. Some people do sleep that way but many do not, finding it difficult to get comfortable and / or breathe.

Four-legged animals walk around in an essentially prone position with their bellies down. We as humans are most unusual in walking upright with our bellies exposed to the world.

Animals are at their most vulnerable when lying belly-up or supine - yet this is the very position we are most likely to take up when lying on a couch seeing a therapist.

Vivian was emphasizing the value of lying down to do corrections in general, not just those with a behaviour of lying down, and I'm wondering if its being closer to our animal natures in some way that makes this so...