Welcome Class, to Room 666...Again

The original thread is somewhat lost in The Bermuda Triangle, so, after debate, a sequel has been created to house paranormal and conspiracy items into one pandoras box. Our first item:

Skulls and Bones

 

The other one lasted a year. Ahem...'Newbie'

 

No, I'm just stating fact.

Toven....Toven...Toven....I told you...there is only one person on The hype! who could do that...

That person has less of an ego.

And doesn't fall into my setups where I force him to finish off my statements.

..minded?


See, I can do it too.

 

Assuming is bad.

 

A Pontianak is a female Malay vampire. In order to chase its victims, its head detaches from its body with its entrails trailing below. When the head reaches its victim, it sucks his / her blood.

A werewolf is a man who is transformed, or who transforms himself, into a wolf in nature and appearance under the influence of a full moon. The werewolf is only active at night and during that period, he devours infants and corpses. According to legend, werewolves can be killed by silver objects such as silver arrows and silver bullets. When a werewolf dies he is returned to his human form.

Origin
The word is a contraction of the old-Saxon word wer (which means "man") and wolf -- werwolf, manwolf. A Lycanthrope, a term often used to describe werewolves, however, is someone who suffers from a mental disease and only thinks he has changed into a wolf.

The concept of werewolves, or lycanthropes, is possibly based on the myth of Lycaon. He was the king of Arcadia, and in the time of the ancient Greeks notorious for his cruelty. He tried to buy the favor of Zeus by offering him the flesh of a young child. Zeus punished him for this crime and turned him into a wolf. The legends of werewolves have been told since the ancient Greeks and are known all over the world. In areas where the wolf is not so common, the belief in werewolves is replaced by folklore where men can change themselves in tigers, lions, bears and other fierce animals.

History
In the dark Middle Ages, the Church stigmatized the wolf as the personification of evil and a servant of Satan himself. The Church courts managed to put so much pressure on schizophrenics, epileptics and the mentally disabled, that they testified to be werewolves and admitted to receive their orders directly from Satan. After 1270 it was even considered heretical not to believe in the existence of werewolves.

The charge of being a werewolf disappeared from European courts around the 17th century, but only for the lack of evidence. The belief in werewolves, however, did not completely disappear. In Europe after 1600, it was generally believed that if there were no werewolves, then at least the wolf was a creature of evil. This resulted in an unjustified and negative image of the wolf; an image that most people still have today.

(Greek) lykanthropos - lykos wolf; anthropos human being; Wolfman.

The black dogs are found all over the British Isles, especially on deserted roads. They are roughly the size of a calf and they move in utter silence, except for the clicking of their claws. The chill despondency and despair these dogs cause is the reason why there are no detailed descriptions of their appearance. While a companion is no guarantee for safety -- for one might see the dog and the other might not -- it offers a better protection than walking alone. It is said that the best companion is a descendant of Ean MacEndroe of Loch Ewe. He rescued a fairy once and in return he and his descendants were given perpetual immunity from the power of the black dogs.

The mythical king of the serpents. The basilisk, or cockatrice, is a creature that is born from a spherical, yolkless egg, laid during the days of Sirius (the Dog Star) by a seven-year-old rooster and hatched by a toad.



The basilisk could have originated from the horned adder or hooded cobra from India. Pliny the Elder described it simply as a snake with a golden crown. By the Middle Ages, it had become a snake with the head of a cock, and sometimes with the head a human. In art, the basilisk symbolized the devil and the antichrist. To the Protestants, it was a symbol of the papacy.

According to legend, there are two species of the creature. The first kind burns everything it approaches, and the second kind can kill every living thing with a mere glance. Both species are so dreadful that their breath wilts vegetation and shatters stones. It was even believed that if a man on horseback should try to kill it with a spear, the power of the poison conducted through the weapon would not only kill the rider, but the horse as well. The only way to kill a basilisk is by holding a mirror in front of its eyes, while avoiding to look directly at it. The moment the creature sees its own reflection, it will die of fright.

However, even the basilisk has natural enemies. The weasel is immune to its glance and if it gets bitten it withdraws from the fight to eat some rue, the only plant that does not wither, and returns with renewed strength. A more dangerous enemy is the cock for should the basilisk hear it crow, it would die instantly.

The carcass of a basilisk was often hung in houses to keep spiders away. It was also used in the temples of Apollo and Diana, where no swallow ever dared to enter. In heraldry the basilisk is represented as an animal with the head, torso and legs of a cock, the tongue of a snake and the wings of a bat. The snake-like rump ends in an arrowpoint.

Fear Liath More, or the Grey Man, is a creature said to have inhabited the vicinity of the summit cairn of Ben MacDhui, one of the six great peaks of the Scottish Cairngorm Mountains, for generations. The Grey Man is identified as a presence encountered both physically and psychically. In its physical form, the Grey Man is most often described as quite large and broad shouldered, standing fully erect and being in excess of 10 feet in height, with long waving arms. He is also reportedly olive complected or, alternatively, covered with short brown hair. Because of this, some tend to associate him with the Bigfoot or Sasquatch of North American fame, or the Yeti of the Himalayas. Footprints found on the summit of Ben MacDhui do closely resemble the "typical" Bigfoot imprint. However, this association is misleading, as the Grey Man has far more interesting identifying characteristics than his physical description alone.

More frequently, the Grey Man is encountered in physical sensation, but without a true physical form. Sensations of this type include vast, dark blurs which obscure the sky, strange crunching noises, echoing footsteps which pursue the listener, an icy feeling in the surrounding atmosphere, as well as a physical feeling of a cold grip on, or brush against, the observer's flesh. There is also a high pitched humming sound, or the Singing as it is sometimes called, which is associated with Ben MacDhui and the Grey Man.

Additionally, the Grey Man has an extremely powerful psychic effect. Visitors to Ben MacDhui report a feeling of overwhelming negative energy. Occasionally this is described as extreme lethargy and despondency. More often, it is typified by acute fear, apprehension and an overwhelming panic, leading to suicidal thoughts or physical flight from the area. Generally, this fear is accompanied by the physical sound of echoing footsteps chasing the observer, and sometimes the sound of a resonant and yet completely incomprehensible voice which seems to be faintly Gaelic in nature.

Curiously, the Grey Man has a distinct area of influence. At a certain point in their downward flight all observers report that the negative energies and feelings of fear end as abruptly as they began. The Grey Man has most often been encountered within this century by mountaineers climbing in the Cairngorms. He has also been described in several books, including Affleck Gray's The Big Grey Man of Ben MacDhui and F.W. Holiday's, The Goblin Universe.

In Norwegian sea folklore, the Kraken is an enormous sea monster which would sometimes attack ships and feed upon the sailors. It is part octopus and part crab, although others refer to it as a giant squid.

Literally, "coiled". In the Bible, and especially the Old Testament, the Leviathan is some sort of chaos animal in the shape of a crocodile or a serpent. In other bible texts it is taken to mean a whale or dolphin, because the animal is there described as living in the sea. Later the Leviathan became a symbol of evil, an anti-divine power (some sort of devil) which will be destroyed on Judgement Day.

The Leviathan appears in more than one religion. In Canaanite mythology and literature, it is a monster called Lotan, 'the fleeing serpent, the coiling serpent, the powerful with the seven heads'. It was eventually killed by Baal. The Leviathan is also the Ugaritic god of evil.

An Orc is a sea-monster fabled by Ariosto, Drayton, and Sylvester to devour men and women. According to Pliny, it was a huge creature 'armed with teeth'.

 

Demons

 

Thats why I didn't do them one by one.

 

Monsters in Greek Mythology
Argus
Argus may have had as many as one hundred eyes, which were located all over his body. Hera employed him as a guard. He was killed by Hermes. Afterward, Hera put Argus's eyes in the tail of the peacock, her favorite bird.

Cerberus
Cerberus was a huge and powerful three-headed dog. He was owned by Hades, god of the dead, who used the fearsome hound to guard the entrance to the underworld. In his final labor, Hercules went to the underworld and kidnapped Cerberus.

Cyclopes
Each of the Cyclopes was gigantic and had a single eye in the middle of its forehead. The Cyclopes made lightning and thunderbolts for Zeus to use. The brutal Polyphemus, a Cyclops and a son of Poseidon, lived on an island, where he was blinded by Odysseus.

Gorgons
The Gorgons were horrifyingly ugly monsters who lived at the edge of the world. Their hair was made of serpents, and one look from a Gorgon's eyes would turn a man to stone. Perseus killed the Gorgon Medusa by beheading her while looking only at her reflection.



The Hydra
Hydra
The Hydra was a massive and poisonous serpent with nine heads. Every time one head was injured, another two grew in its place. Hercules sought out the monster in its dark marsh and succeeded in destroying it.

Minotaur
The Minotaur was a man-eating monster with the head of a bull. King Minos kept it hidden in a labyrinth (a maze) in Knossos, on the island of Crete, where he used it to frighten his enemies. Theseus killed the Minotaur.


The Minotaur
Scylla and Charybdis
The powerful monsters Scylla and Charybdis lived together in a sea cave. Scylla had many fierce dog heads and ate sailors alive; Charybdis created whirlpools by sucking in and spitting out seawater. Both Jason and Odysseus safely traveled by these monsters.

Sirens
The Sirens were giant, winged creatures with the heads of women. They lived on rocks on the sea, where their beautiful singing lured sailors to shipwreck. Odysseus filled his sailors' ears with wax so that they might sail safely past the Sirens.

 

Cryogenics

 

Coral Castle was built in the early 20th century by an eccentric Latvian recluse named Edward Leedskalnin - who supposedly left Latvia when he was rejected by his 16 year old fiance. He would never marry - and would spend 30 years of his life building a Coral Castle - and surrounding buildings - for his supposed 'Sweet Sixteen'.



Edward Leedskalnin was a 100 pound - 5 foot tall man - who wound up in Homestead, Florida - on a ten-acre tract of land just south of Miami, Florida. Somehow he managed to single-handedly lift and maneuver blocks of coral weighing up to 30 tons each and create not only a castle but other things. How Edward did his work - has never been discovered - though he labored for 30 years.

He worked alone - at night - and seemed to know when he was being watched. On those occasions - he never lifted any of the stones.



Many articles claim that he found the same secrets of levitation as those used by the supposed builders of the Pyramids of Egypt - among other megalithic sites around the world whose creation remain unexplained.

Edward Leedskalnin was quoted as saying, "I have discovered the secrets of the pyramids, and have found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons!"

In total, Edward quarried over eleven hundred tons of coral rock for his castle, using tools fashioned from wrecking-yard junk, never revealing how he managed to rise, and position, the massive coral blocks that make up the compound. An air of mystery surrounded his two story monolith, known as the tower, which housed his workshop and living quarters which no one was permitted to enter. He was secretive, and almost always worked at night, no one ever saw him.

Leedskalnin was a student of the universe. Within his castle walls, built of coral blocks weighing approximately 15 tons each, he had a 22-ton obelisk, a 22-ton moon block, a 23-ton Jupiter block, a Saturn block, a 9-ton gate, a rocking chair that weighed 3-tons, and numerous puzzles. A huge 30-ton block, which he considered to be his major achievement, he crowned with a gable shaped rock. These personal accomplishments have astounded and surprised many engineers and technologists, who compare them with those achieved by workers handling similar weights in industry today.

Much of the Coral Castle site is calibrated to celestial alignments, including an ingenious thirty ton telescope, towering twenty five feet above the complex, perfectly aligned to the North Star. A working sundial, calibrated to noon of the Winter and Summer Solstice, is so accurate it tells time within two minutes!



Edward Leedskalnin's Celestial Telescope

An area known as the 'moon pond,' comprised of three 18-ton pieces of coral, represents the first quarter, last quarter, and the full moon. Nearby stand Mars (which Ed believed sustained life), and a ringed Saturn - each the size of an automobile. An obelisk taller then the great monolith at Stonehenge, stretches 40' toward the sky, weighing 57,000 pounds! A series of concentric coral circles is said to represent the solar system.

Entrance to Coral Castle is made through a gate fashioned from a single coral block weighing nine tons. This miraculous monolith is approximately 80 inches wide, 92 inches tall, and 21 inches thick. It fits within a quarter of an inch of the walls on either side and pivots through an iron rod resting on an automobile gear. The enormous block balances so perfectly on its center of gravity that a visitor can easily push it open with one finger.

People who are sensitive to electromagnetic energies fields will sometimes report headaches while standing inside the archway of the nine-ton swinging gate - door - thought to be over a vortex - and a major grid point of the planet.



Another gate, this one a great triangle,
at the opposite wall, weighs three tons.

Is that a triangle . . . as in pyramid energies . . . ?



Coral Castle's megalithic renderings of planets and moons.

t
Ed carved this giant heart.
Was he referencing the heart chakra and feminine energies?


A 5,000 pound heart-shaped coral rock table, with a red blooming ixora growing from its center, is believed to be the world's largest valentine, according to Ripley's Believe It Or Not.



Inside the courtyard, to the immediate right, rears a broad, square tower, with a flight of stone steps ascending to a single doorway near the top. They lead to the highest point in the area and a small room. This chamber is occupied only by a leather hammock and a crude wooden table piled with primitive tools - chains, saws, many kinds of drills, wedges, hammers, chisels and crowbars. Tools also festoon the walls. This imposing tower was raised with approximately 243 tons of coral cut into cyclopean blocks weighing from four to nine tons each.

Edward Leedskalnin disputed contemporary science and believed all matter consisted of magnets which could produce measurable phenomena, and electricity. Ed would say he had rediscovered the laws of weight, measurement, and leverage" and that these concepts involved the relationship of the Earth to celestial alignments. He claimed to see beads of light which he believed to be the physical presence of nature's magnetism and life force, or what we term today, Chi.

Many people report that he used harmonics combined with grid energies and celestial alignments to do his work. Harmonics can be used to lift objects. Tibetan Monks combine their harmonics to elevate heavy objects.

'Tibetan Sound Levitation Of Large Stones Witnessed By Scientist'. In his work Diamagnetic Gravity Vortexes, found in the book Anti-Gravity and The World Grid David Hatcher Childress, postulates that the area of South Florida at Coral Castle (considered part of the Bermuda Triangle) is a powerful diamagnetic levitator. Leedskalnin demonstrated magnetism (EM energies), and the mechanism of levitation, by applying the natural Earth Grid principles of diamagnetism. Leedskalnin could levitate huge pieces of coral by using the center of mass for the needed slight, uplift, launching pressure.

Ed Leedskalnin showed every indication of being a natural geomancer - one who senses the unique telluric forces of the Earth. He was highly intuitive, and knew how to observe nature for signs of anomaly. This ultimately led him to the discovery of vortex energy, and the ability to harness the natural elements of magnetism.

He understood the critical nature of identifying the most energetic location to erect his massive Castle, and seemed to have known the secrets of anti-gravity, and its relation to cosmic events. Ed proceeded to develop a means of leverage power generated from the geomagnetic grid, and produced a system to generate anti-gravity waves.

Edward's notebooks are laden with schematics for magnetism, and electrical experiments. Although he possessed only a fourth-grade education, it seems he had discovered a means to reduce the gravitational pull of the earth. He wrote a series of pamphlets which included his theories on magnetism and cosmic force.

Researchers have speculated that Ed learned the secret of levitation, and one theory in particular caught the imagination of many. The planetary grid hypothesis postulates that the earth is covered by an invisible web of energy, which is concentrated at points of telluric power, the convergence of which create unusual phenomena.

These telluric grid dynamics played a vital role in the construction of the Castle, according to author Ray Stoner. In his book The Enigma of Coral Castle, Stoner speculates that the complex was originally moved from Florida City to Homestead, not because of privacy issues (as most historians suggest), but because Ed realized he had made a mathematical error in his original positioning, and moved the entire structure to take advantage of an area with greater telluric force.

In December of 1951 Ed Leedskalnin at age 64 became ill. He put a sign on the door saying 'Going to the Hospital'. He took a bus to Jackson Memorial Hospital in Miami. Three days later he died in his sleep of malnutrition and kidney failure, taking his secrets with him. After his death, $3,500 was found in the tower; his life savings, mostly from land sales.

 

Moon Conspiracy

 

Lucid Dreaming - The phenomenon of being conscious and aware that one is dreaming, while one is in the process of dreaming.

1.1 WHAT IS LUCID DREAMING?

Lucid dreaming means dreaming while knowing that you are dreaming. The term was coined by Frederik van Eeden who used the word "lucid" in the sense of mental clarity. Lucidity usually begins in the midst of a dream when the dreamer realizes that the experience is not occurring in physical reality, but is a dream. Often this realization is triggered by the dreamer noticing some impossible or unlikely occurrence in the dream, such as flying or meeting the deceased. Sometimes people become lucid without noticing any particular clue in the dream; they just suddenly realize they are in a dream. A minority of lucid dreams (according to the research of LaBerge and colleagues, about 10 percent) are the result of returning to REM (dreaming) sleep directly from an awakening with unbroken reflective consciousness.

The basic definition of lucid dreaming requires nothing more than becoming aware that you are dreaming. However, the quality of lucidity can vary greatly. When lucidity is at a high level, you are aware that everything experienced in the dream is occurring in your mind, that there is no real danger, and that you are asleep in bed and will awaken shortly. With low-level lucidity you may be aware to a certain extent that you are dreaming, perhaps enough to fly or alter what you are doing, but not enough to realize that the people are dream representations, or that you can suffer no physical damage, or that you are actually in bed.


1.2 IS LUCID DREAMING THE SAME AS DREAM CONTROL?

Lucidity is not synonymous with dream control. It is possible to be lucid and have little control over dream content, and conversely, to have a great deal of control without being explicitly aware that you are dreaming. However, becoming lucid in a dream is likely to increase the extent to which you can deliberately influence the course of events. Once lucid, dreamers usually choose to do something permitted only by the extraordinary freedom of the dream state, such as flying.

You always have the choice of how much control you want to exert. For example, you could continue with whatever you were doing when you became lucid, with the added knowledge that you are dreaming. Or you could try to change everything--the dream scene, yourself, other dream characters. It is not always possible to perform "magic" in dreams, like changing one object into another or transforming scenes. A dreamer's ability to succeed at this seems to depend a lot on the dreamer's confidence. As Henry Ford said, "Believe you can, believe you can't; either way, you're right." On the other hand, it appears there are some constraints on dream control that may be independent of belief. See "Testing the Limits of Dream Control: The Light and Mirror Experiment" for more on this.


1.3 HOW ARE LUCID DREAMS RELATED TO OUT-OF-BODY EXPERIENCES (OBEs)?

A mysterious and highly controversial phenomenon sometimes occurs in which people experience the compelling sensation that they have somehow "left their bodies." The "out-of-body experience" or "OBE", as this fascinating phenomenon is usually termed, takes a variety of forms. In the most typical, you are lying in bed, apparently awake, when suddenly you experience a range of primarily somatic sensations, often including vibrations, heaviness, and paralysis. Then you experience the vivid sensation of separating from your "physical body" in what feels like a second body, often floating above the bed.

It is important to note the distinction between the phenomenal reality of the OBE and the various interpretations of the experience. What is really happening when you feel yourself "leaving your body"? According to one school of thought, what is actually happening is just what it feels like: you are moving in a second body out of and away from your physical body--in physical space. But this "explanation" doesn't hold up very well under examination. After all, the body we ordinarily feel ourselves to be (or if you like, to inhabit) is a phenomenal or mental body rather than a physical body. The space we see around us is not physical space as "common sense" tells us, but as modern psychology makes clear, a phenomenal or mental space. In general, our consciousness is a mental model of the world.

OBE enthusiasts promote lucid dreaming as a "stepping stone" to the OBE. Conversely, many lucid dreamers have had the experience of feeling themselves "leave the body" at the onset of a lucid dream. From a laboratory study, we have concluded that OBEs can occur in the same physiological state as lucid dreams. Wake-initiated lucid dreams (WILDs) were three times more likely to be labeled "OBEs" than dream initiated lucid dreams. If you believe yourself to have been awake, then you are more likely to take the experience at face value and believe yourself to have literally left your physical body in some sort of mental or "astral" body floating around in the "real" physical world. If, on the other hand, you think of the experience as a dream, then you are likely to identify the OBE body as a dream body image and the environment of the experience as a dream world. The validity of the latter interpretation is supported by observations and research on these phenomena.


2.1 WHY HAVE LUCID DREAMS?

Upon hearing about lucid dreaming for the first time, people often ask, "Why should I want to have lucid dreams? What are they good for?" If you consider that once you know you are dreaming, you are restricted only by your ability to imagine and conceive, not by laws of physics or society, then the answer to what lucid dreaming is good for is either extremely simple (anything!) or extraordinarily complex (everything!). It is easier to provide a sample of what some people have done with lucid dreaming than to give a definitive answer of its potential uses.

2.1.1 Adventure and Fantasy

Often, the first thing that attracts people to lucid dreaming is the potential for wild adventure and fantasy fulfillment. Flying is a favorite lucid dream delight, as is sex. Many people have said that their first lucid dream was the most wonderful experience of their lives. A large part of the extraordinary pleasure of lucid dreaming comes from the exhilarating feeling of utter freedom that accompanies the realization that you are in a dream and there will be no social or physical consequences of your actions. One might think that this is a rather intellectual concept, but an ecstatic "rush" frequently arises with the first realization that one is dreaming.

2.1.2 Overcoming Nightmares

Unfortunately for many people, instead of providing an outlet for unlimited fantasy and delight, dreams can be dreaded episodes of limitless terror. As is discussed in the books Lucid Dreaming (LaBerge, 1985) and Exploring the World of Lucid Dreaming (EWLD) (LaBerge & Rheingold, 1990), lucid dreaming may well be the basis of the most effective therapy for nightmares. If you know you are dreaming, it is a simple logical step to realizing that nothing in your current experience, however unpleasant, can cause you physical harm. There is no need to run from or fight with dream monsters. In fact, it is often pointless to try, because the horror pursuing you was conceived in your own mind, and as long as you continue to fear it, it can pursue you wherever you dream yourself to be. The only way to really "escape" is to end your fear. (For a discussion of reasons for recurrent nightmares, see Overcoming Nightmares from EWLD.) The fear you feel in a nightmare is completely real; it is the danger that is not.

Unreasonable fear can be defused by facing up to the source, or going through with the frightening activity, so that you observe that no harm comes to you. In a nightmare, this act of courage can take any form that involves facing the "threat" rather than avoiding it. For example, one young man dreamt of being pursued by a lion. When he had no place left to run, he realized he was dreaming and called to the lion to "come and get him." The challenge turned into a playful wrestling match, and the lion became a sexy woman (NightLight 1.4, 1989, p. 13). Monsters often transform into benign creatures, friends, or empty shells when courageously confronted in lucid dreams. This is an extremely empowering experience. It teaches you in a very visceral manner that you can conquer fear and thereby become stronger.

2.1.3 Rehearsal

Lucid dreaming is an extraordinarily vivid form of mental imagery, so realistic that the trick is to realize it is a mental construct. It is no surprise, therefore, that many people use lucid dreaming to rehearse for success in waking life. Examples of such applications include public speaking, difficult confrontations, artistic performance and athletic prowess. Because the activity of the brain during a dreamed activity is the same as during the real event, neuronal patterns of activation required for a skill (like a ski jump or pirouette) can be established in the dream state in preparation for performance in the waking world. See EWLD for examples.

2.1.4 Creativity and Problem Solving

The creative potential of dreams is legendary. The brain is highly active in REM sleep and unconstrained by sensory input, which together may contribute to the novel combinations of events and objects we experience as dream bizarreness. This same novelty allows thought to take on forms that are rare in waking life, manifesting as enhanced creativity, or defective thinking depending on one's point of view (As Roland Fisher put it, "One man's creativity is another's brain damage."). The claim of enhanced creativity of the dream state is supported by LI research: One study found word associations immediately after awakening from a dream to be 29% more likely to be uncommon compared to word associations later in the day (NightLight, 6.4, 1994). Another study comparing a variety of kinds of experience including daydreams, memories of actual events, and dreams, found that dreams were judged as being significantly more creative than both daydreams and memories (NL, 4.1, 1992). In any case, many lucid dreamers report using dreams for problem solving and artistic inspiration; see EWLD for a variety of examples.

2.1.5 Healing

The effects of visual imagery on the body are well-established. Just as skill practice in a dream can enhance waking performance, healing dream imagery may improve physical health. Medical patients have often used soothing and positive imagery to alleviate pain, and the dream world offers the most vivid form of imagery. Thus, some people have use lucid dreams in overcoming phobias, working with grief, decreasing social and sexual anxieties, achieving greater self-confidence and by directing the body image in the dream to facilitate physical healing. The applications, which are described in greater detail in EWLD, deserve clinical study, as they may be the greatest boon that lucid dreaming has to offer. Other potential healing applications of lucid dreaming include: practice of physical skills by stroke and spinal cord injury patients to encourage recovery of neuromuscular function, enjoyment of sexual satisfaction by people with lower body sensory loss (fully satisfying dream sex requires only mental stimulation!), more rapid recovery from injury or disease through the use of lucid dream imagery, and an increased sense of freedom for anyone who feels limited by disability or circumstance.

2.1.6 Transcendence

The experience of being in a lucid dream clearly demonstrates the astonishing fact that the world we see is a construct of our minds. This concept, so elusive when sought in waking life, is the cornerstone of spiritual teachings. It forces us to look beyond everyday experience and ask, "If this is not real, what is?" Lucid dreaming, by so baldly baring a truth that many spend lives seeking, often triggers spiritual questioning in people who try it for far more mundane purposes. Not only does lucid dreaming lead to questioning the nature of reality, but for many it also has been a source of transcendent experience. Exalted and ecstatic states are common in lucid dreams. EWLD presents several cases of individuals achieving states of union with the Highest, great peace and a new sense of their roles in life.


2.2 CAN LUCID DREAMING BE DANGEROUS?

The overwhelming majority of lucid dreams are positive, rewarding experiences. Moreover, lucidity in unpleasant dreams or nightmares can transform habitual fear into conscious courage. The simple state of lucidity is frequently enough to elevate the mood of a dreamer in a nightmare. In a study of the effect of lucid dreams on mood, college students reported that realizing they were dreaming in a nightmare helped them feel better about 60 percent of the time. Lucidity was seven times more likely to make nightmares better than worse.

A parallel concern is that dying in a dream can cause death in reality. If this were true, how would we know? Anyone who died from a dream could not tell us about its content. Many people, after awakening alive, report having died in their dreams with no ill effect. Dreams of death can actually be insightful experiences about life, rebirth, and transcendence.

Some people believe that dreams are messages from the unconscious mind and should not be consciously altered. Modern research on dreaming, discussed further in chapter 5 of EWLD, suggests that dreams are not messages, but models of the world. While awake, sensory and perceptual information governs our model. While dreaming, our bodies are paralyzed and our brain builds a world model based on a secondary source; namely, our assumptions, motivations, and expectations. These biases are difficult to identify while awake, so a world based entirely on such biases, the world of dreams, can help us to recognize them. Thus, dreams are not messages, but are more like clues into the inner workings of our minds. The conscious and critical awareness that accompanies lucid dreams allows dreamers to thoughtfully interpret their dreams while they happen.

Finally, some people worry that lucid dreams are so exciting and pleasurable that they will become addicted and "sleep their life away." There is a biological obstacle to living in lucid dreams: we have a limited amount of REM sleep. More importantly, lucid dreams can be inspirations for how to act and improve in reality. Your behavior strongly influences your experience in both worlds. Lucid dreams can be signposts for how you can make your waking reality more exciting and enjoyable.


3.1 CAN EVERYONE LEARN TO HAVE LUCID DREAMS?

Lucid dreaming is a skill you can develop, like learning a new language. A few individuals may have an innate talent for achieving lucidity, yet even they can benefit from instruction and practice in making the most of their lucid dreams. Many more people experience lucidity as a rare spontaneous event, but need training to enjoy lucid dreams at will. The best predictor of success with lucid dreaming is the ability to remember dreams. This, too, is a skill you can develop. With specific techniques, you can increase the quantity and quality of your dream recall, which will in turn greatly increase your ability to have lucid dreams.

 

3.2 HOW DO I LEARN TO HAVE LUCID DREAMS?

The two essentials to learning lucid dreaming are motivation and effort. Although most people report occasional spontaneous lucid dreams, they rarely occur without our intending it. Lucid dream induction techniques help focus intention and prepare a critical mind. They range from millennium-old Tibetan exercises to modern methods developed by dream researchers. Try the following techniques and feel free to use personal variants. Experiment, observe, and persevere - lucid dreaming is easier than you may think.

3.2.1 Dream Recall

The most important prerequisite for learning lucid dreaming is excellent dream recall. There are two likely reasons for this. First, when you remember your dreams well, you can become familiar with their features and patterns. This helps you to recognize them as dreams while they are still happening. Second, it is possible that with poor dream recall, you may actually have lucid dreams that you do not remember!

The procedure for improving your dream recall is fully detailed in EWLD and A Course in Lucid Dreaming in addition to many other books on dreams. A brief discussion of the methods involved is available on the Lucidity Institute web site. The core exercise is writing down everything you recall about your dreams in a dream journal immediately after waking from the dream, no matter how fragmentary your recall. Record what you recall immediately upon waking from the dream; if you wait until morning you are likely to forget most, if not all, of the dream. In A Course in Lucid Dreaming we advise that people build their dream recall to at least one dream recalled per night before proceeding with lucid dream induction techniques.

3.2.2 Reality Testing

This is a good technique for beginners. Assign yourself several times a day to perform the following exercise. Also do it anytime you think of it, especially when something odd occurs or when you are reminded of dreams. It helps to choose specific occasions like: when you see your face in the mirror, look at your watch, arrive at work or home, pick up your NovaDreamer, etc. The more frequently and thoroughly you practice this technique, the better it will work.

Do a reality test.
Carry some text with you or wear a digital watch throughout the day. To do a reality test, read the words or the numbers on the watch. Then, look away and look back, observing the letters or numbers to see if they change. Try to make them change while watching them. Research shows that text changes 75% of the time it is re-read once and changes 95% it is re-read twice. If the characters do change, or are not normal, or do not make sense, then you are most probably dreaming. Enjoy! If the characters are normal, stable, and sensible, then you probably aren't dreaming. Go on to step 2.


Imagine that your surroundings are a dream.
If you are fairly certain you are awake (you can never be 100% sure!), then say to yourself, "I may not be dreaming now, but if I were, what would it be like?" Visualize as vividly as possible that you are dreaming. Intently imagine that what you are seeing, hearing, smelling, feeling is all a dream. Imagine instabilities in your environment, words changing, scenes transforming, perhaps you floating off the ground. Create in yourself the feeling that you are in a dream. Holding that feeling, go on to step 3.


Visualize yourself enjoying a dream activity.
Decide on something you would like to do in your next lucid dream, perhaps flying, talking to particular dream characters, or just exploring the dream world. Continue to imagine that you are dreaming now, and visualize yourself enjoying your chosen activity.

3.2.3 Dreamsigns

Another dream-recall related exercise introduced in EWLD and further developed in A Course in Lucid Dreaming is identifying "dreamsigns." This term, coined by LaBerge, refers to elements of dreams that indicate that you are dreaming. (Examples: miraculous flight, purple cats, malfunctioning devices, and meeting deceased people.) By studying your dreams you can become familiar with your own personal dreamsigns and set your mind to recognize them and become lucid in future dreams. The Course also provides exercises for noticing dreamsigns while you are awake, so that the skill carries over into your dreams. This exercise also applies to lucid dream induction devices, which give sensory cues--special, artificially-produced dreamsigns--while you are dreaming. To succeed at recognizing these cues in dreams, you need to practice looking for them and recognizing them while you are awake.

3.2.4 Mnemonic Induction of Lucid Dreams (MILD)

The MILD technique employs prospective memory, remembering to do something (notice you're dreaming) in the future. Dr. LaBerge developed this technique for his doctoral dissertation and used it to achieve lucid dreaming at will. The proper time to practice MILD is after awakening from a dream, before returning to sleep. (Modified from EWLD, p. 78)

Setup dream recall.
Set your mind to awaken from dreams and recall them. When you awaken from a dream, recall it as completely as you can.


Focus your intent.
While returning to sleep, concentrate single-mindedly on your intention to remember to recognize that you're dreaming. Tell yourself: "Next time I'm dreaming, I will remember I'm dreaming," repeatedly, like a mantra. Put real meaning into the words and focus on this idea alone. If you find yourself thinking about anything else, let it go and bring your mind back to your intention.


See yourself becoming lucid.
As you continue to focus on your intention to remember when you're dreaming, imagine that you are back in the dream from which you just awakened (or another one you have had recently if you didn't remember a dream on awakening). Imagine that this time you recognize that you are dreaming. Look for a dreamsign--something in the dream that demonstrates plainly that it is a dream. When you see it say to yourself: "I'm dreaming!" and continue your fantasy. Imagine yourself carrying out your plans for your next lucid dream. For example, if you want to fly in your lucid dream, imagine yourself flying after you come to the point in your fantasy when you become lucid.


Repeat until your intention is set.
Repeat steps 2 and 3 until either you fall asleep or are sure that your intention is set. If, while falling asleep, you find yourself thinking of anything else, repeat the procedure so that the last thing in your mind before falling asleep is your intention to remember to recognize the next time you are dreaming.

3.2.5 Napping

Two observations led LaBerge in the late 1970s to develop morning napping as a method of lucid dream induction. First, he noticed that lucidity seemed to come easier in afternoon naps. The second suggestion same from several lucid dreamers who noted that certain activities during the night appeared to induce lucid dreaming. The diverse qualities of these interruptions: sex, vomiting, and pure meditation, piqued LaBerge's curiosity regarding what feature each might possess conducive to lucidity. The answer proved to be quite simple: wakefulness interjected during sleep increases the likelihood of lucidity. In fact, the nap technique, refined through several NightLight experiments, is an extremely powerful method of stimulating lucid dreams. The technique requires you to awaken one hour earlier than usual, stay awake for 30 to 60 minutes, then go back to sleep. One study showed a 15 to 20 times increased likelihood of lucid dreaming for those practicing the nap technique over no technique. During the wakeful period, read about lucid dreaming, practice reality checks and then do MILD as you are falling asleep. The Lucidity Institute's training programs include this technique as an essential part of the schedule, one of the reasons why most participants have lucid dreams during the session.


3.3 HOW QUICKLY CAN I LEARN LUCID DREAMING?

The speed with which you develop the skill of lucid dreaming depends on many individual factors. How well do you recall dreams? How much time can you give to practicing mental exercises? Do you use a lucid dream induction device? Do you practice diligently? Do you have a well developed critical thinking faculty? And so on.

Case histories may provide a more tangible picture of the process of learning lucid dreaming. Dr. LaBerge increased his frequency of lucid dreaming from about one per month to up to four a night (at which point he could have lucid dreams at will) over the course of three years. He was studying lucid dreaming for his doctoral dissertation and therefore needed to learn to have them on demand as quickly as possible. On the other hand, he had to invent techniques for improving lucid dreaming skills. Thus, people starting now, although they may not be as strongly motivated as LaBerge or have the same quantity of time to devote to it, have the advantage of the tested techniques, training programs, and electronic biofeedback aids that have been created in the two decades since LaBerge began his studies.

Lynne Levitan, staff writer for the Lucidity Institute, describes her experiences with learning lucid dreaming as follows:

"I first heard of lucid dreaming in April of 1982, when I took a course from Dr. LaBerge at Stanford University. I had had the experience many years before and was very interested to learn to do it again, as well as to get involved in the research. First I had to develop my dream recall, because at the time I only remembered two or three dreams per week. In a couple of months I was recalling 3 to 4 or more per night, and in July (about three months after starting) I had my first lucid dream since adolescence. I worked at it on and off for the next four years (not sleeping much as a student) and reached the level of 3 to 4 lucid dreams per week. Along the way, I tested several prototypes of the DreamLight lucid dream induction device and they clearly helped me to become more proficient at realizing when I was dreaming. During the first two years that we were developing the DreamLight, I had lucid dreams on half of the nights I used one of these devices, compared to once a week or less without. In considering how long it took me to get really good at lucid dreaming, note that I did not have the benefit of the thoroughly studied and explained techniques now available either, because the research had not yet been done nor the material written. Therefore, people now should be able to accomplish the same learning in far less time given, of course, sufficient motivation."


3.4 WHAT TECHNOLOGY IS AVAILABLE TO ASSIST LUCID DREAMING TRAINING?

The Lucidity Institute offers electronic devices that help people have lucid dreams. They were developed through laboratory research at Stanford University by LaBerge, Levitan, and others. The basic principle behind these devices is as follows: the primary task confronting someone who wishes to have a lucid dream is to remember that intention while in a dream. One of the best ways to increase a person's chances of having a lucid dream is to give a reminder to the person during REM sleep. In the lab, we found that flashing light cues worked well in that they tended to incorporate into ongoing dreams without causing awakening. You may have noticed that occasional bits of sensory information are filtered into your dreams in disguised form, like a clock radio as supermarket music or a chain saw as the sound of a thunderstorm. This is the same principle used by our lucid dream induction devices: the lights or sounds from the device filter into the user's dreams. In cases of very deep sleepers, we found that it was sometimes necessary to use sound as well as light to get the cues into dreams. The dreamer's task is to notice the flashing lights in the dream and remember that they are cues to become lucid. Because we could not possibly accommodate everyone who wants to come into the sleep lab for a lucid dream induction session and most people would rather sleep at home anyway, we worked for several years to develop a comfortable, portable device that would detect REM sleep and deliver a cue tailored to the individual user's needs.

3.4.1 The NovaDreamer

The NovaDreamer lucid dream induction device works by giving flashing light or sound cues when the user is dreaming. Users modify the device settings to find a cue with the right intensity and length to enter their dreams without causing awakening. In addition, device users practice mental exercises while awake to enhance their ability to recognize the light cues when they appear in dreams. The NovaDreamer includes a soft, comfortable sleep mask, which contains the flashing lights, a speaker, and an eye movement detection apparatus. The NovaDreamer's electronics are all inside the sleep mask. The NovaDreamer uses REM detection to time the delivery of lucidity cue and provides feedback on the number of cues given. It includes the "Dream Alarm" feature to boost dream recall. Users have a choice of a wide selection of cues and receive feedback on the number of cues they receive during a sleep period.

The lucidity cues of the NovaDreamer are intended to enter into ongoing dreams. This can occur in several ways. Cues can be superimposed over the dream scene, like a light flashing in one's face, or they can briefly interrupt the dream scene. The most common (and most difficult to identify) incorporation of cues is into dream stories. Little brother flashing the room lights, flash bulbs, lightning, traffic signals, police car lights: all are real examples of incorporations of NovaDreamer cues. The trickiness of cue appearances underscores the need to thoroughly prepare one's mind to recognize cues via waking practice.

The NovaDreamer offers a second method of lucid dream stimulation. This method arose out of the discovery that while sleeping with the NovaDreamer, people frequently dreamed that they awakened wearing the device, and pressed the button on the front of the mask to start the "delay," a feature that disables cues while you are drifting off to sleep. Ordinarily, a button press would cause a beep to tell you that you had successfully pressed it. However, people were reporting that the button was not working in the middle of the night. Actually, they were dreaming that they were awakening and pressing the button, and the button did not work because it was a dream version of the NovaDreamer. Dream versions of devices are notorious for not working normally. Once people were advised that failure of the button in the middle of the night was a sign that they were probably dreaming, they were able to use this "dreamsign" reliably to become lucid during "false awakenings" with the NovaDreamer. Research suggests that about half of the lucid dreams stimulated by the devices result from using the button for reality tests. Available from the LI. For details, see the NovaDreamer manual (in html format), or in Acrobat PDF format.