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Thursday, March 14, 2013

Otis' Dream, parts 1334 - 1337







1334. His arguments were delivered without conviction however, because there were aspects of his dream theory he was not content with, though he kept his reservations to himself. If dreams were assemblages of remembered photograph like images stored in the brain over time, how could he account for the fact of movement and time so artfully utilized in the dream sequences. He had no idea. The best he could imagine was what one would now refer to as a montage.





1335. As for his comparing a dream to a stage play in that in was presented frontally and without the use of camera angles, even this he was not sure about. Freud shared with our Buboni here an interesting but perplexing question. You will recall that Professor Buboni talked about the problem of not knowing what another person experiences when they see the color "red." We can only know our own experience of red, not another’s.







1336. So too with Freud, he was troubled by two questions, the first was this: "Do others experience their dreams as I experience my own dreams?" And another more subtle and frightening question, 'is my memory of my own dream really accurate, or do I distort, exaggerate, and alter the memory of my own dream to either impress or aggrandize my idea of myself?"







1337. He recalled that dream where he was a great composer, and the music he composed moved him to tears as the audience rose to applaud his compositions as if he was another deaf Beethoven. Was all that music really the product of some great composer buried deep in his own unconscious, or just the remembered strains of a Hayden Sonata he heard in a concert hall, or worse yet, just glorified elevator music he was in a swoon over? How was he to answer this question?

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