Frogs and Eggs
Jan. 29th, 2023 09:54 amBusy cluttered dreams that derive very clearly from real life incidents; me trying to get a sick cat from one place to another, me trying to phone Mum, me trying to adjust my sleeping. Only at one point was there an interesting aspect of new dream lexicon to it. There was a strange ornate clock, with two small eggs underneath. I turned one around and it was smashed open. Looking inside I saw the yolk and white as though it had already been cooked, though runny, and in that goo were a whole bunch of scrunched up dead spiders, and one, maybe two tiny but very long legged frogs. I tried to reach in, but it meant possibly touching the spiders, and I wasn't a hundred percent convinced they were all dead. I didn't get to examine the other egg.
It feels to me like a message from my subconscious; I am done with the Spiders Bride type telling for now, whatever that means. Something different is awake, delicate and difficult to reach but there. Accessing it, working out a new environment for it before risking harm to the egg where it currently lives is my job. I should look at that other egg too at some point. I get it, I think, and even this is not lurking far down in the psyche. A few days ago, when my head was full of the sierra, I tried to create an AI depiction, and some attempts were more successful than others. On DALL-E 2 with this prompt; sierra nevada, mountains of light and rock, pawpaws, olive trees, almond trees, made in glass, digital fantasy art, photorealistic, Hyper detailed, fantasy art, beautiful fantasy landscape, realistic, natural, cosmic sky, detailed full-color, nature I got this strange thing:

And there they are. Of course, the prompt never mentioned eggs. But this might be the source of the imagery, considering how very mirror-like my dreams have been in true Alice through the Looking Glass fashion.
Scotland is an immensely inspiring country, with layer upon layer of story and history, mythology and evocation seeped into it. Creating a new one is not easy, one almost doesn't want to. Why move on from Tam Lin when I have barely begun to experience the rose woods of Carterhaugh?* Why would I leave the lands of Kelpie and Selkie, when I have hardly begun to traverse them? I love the old magic. But I suspect it is not for me to use, rather to experience as a personal joy. I could create a gripping yarn type tale about Rosslyn Chapel, but it's been done, done, done.
I think that is one of the things about magical places. They frown at the bard who upon seeing them only thinks 'I can make a story out of this.' In its own way this kind of thinking is as mechanical and exploitative as any other. I need to be conscious of it, while never forgetting that art is always artifice in some way.
*No rose woods at Carterhaugh any more. One must dream them back into being.
It feels to me like a message from my subconscious; I am done with the Spiders Bride type telling for now, whatever that means. Something different is awake, delicate and difficult to reach but there. Accessing it, working out a new environment for it before risking harm to the egg where it currently lives is my job. I should look at that other egg too at some point. I get it, I think, and even this is not lurking far down in the psyche. A few days ago, when my head was full of the sierra, I tried to create an AI depiction, and some attempts were more successful than others. On DALL-E 2 with this prompt; sierra nevada, mountains of light and rock, pawpaws, olive trees, almond trees, made in glass, digital fantasy art, photorealistic, Hyper detailed, fantasy art, beautiful fantasy landscape, realistic, natural, cosmic sky, detailed full-color, nature I got this strange thing:

And there they are. Of course, the prompt never mentioned eggs. But this might be the source of the imagery, considering how very mirror-like my dreams have been in true Alice through the Looking Glass fashion.
Scotland is an immensely inspiring country, with layer upon layer of story and history, mythology and evocation seeped into it. Creating a new one is not easy, one almost doesn't want to. Why move on from Tam Lin when I have barely begun to experience the rose woods of Carterhaugh?* Why would I leave the lands of Kelpie and Selkie, when I have hardly begun to traverse them? I love the old magic. But I suspect it is not for me to use, rather to experience as a personal joy. I could create a gripping yarn type tale about Rosslyn Chapel, but it's been done, done, done.
I think that is one of the things about magical places. They frown at the bard who upon seeing them only thinks 'I can make a story out of this.' In its own way this kind of thinking is as mechanical and exploitative as any other. I need to be conscious of it, while never forgetting that art is always artifice in some way.
*No rose woods at Carterhaugh any more. One must dream them back into being.