first scene
was observing someone in an elaborate overall that covered
the hands as well
they were suspended above a fine network of fibres that
looked as delicate as a spiders web
the breast/nipple area of the overalls had finely engineered
conical-shaped nozzles that could release a tacky fluid when
the wearer of the suit brought the nozzle into contact with the
delicate weaving they were suspended above in a free-fall
position*
the overalls also had the same mechanism on the fingers of
the overalls
the finesse of the engineering on that part of the hand which
released the fluid was much more sophisticated than the
breast/nipple mechanism
while watching the operator performing a manouvre she or he
came into contact with the web-like structure with the nozzle
of the hands of the suit and the whole network of fine strands
lifted in response to coming into contact with the tacky
substance
second scene
in contrast to the first scene which was done with high levels
of concentration and serious purpose this scene had the same
sort of atmosphere as you would expect at a fete
everybody was having a good time and there was an
abundance of smiling faces
a woman was in an ordinary type overall which, like the
overalls in the first scene, had liquid-release valves around
the breast/nipple area
the fluid release mechanism on the woman's overalls was a
purely fun thing though and it became obvious why people
were laughing an smiling when a man tried to suck out or
drink some of the liquid from the crude mechanism around
the breast area and it went all over him
now, if we take the roney analysis seriously then
what we have here is a bit of future technology
this is the more purposeful side of dreams and dream theory
you are now being asked to consider whether the
interpretation being put on the analysis of dream content has
any merit and/or relevance and/or application in our lives
now or in the near future
* when we get going, when we get going, dream analysis
will be presented in animated comic-strip form
60 minutes
R.E.M.
.
... . .. . . . . . . ... . . . .