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~ A little something from my retro-past. Originally appeared in Gold Key’s Walt Disney’s Comics & Stories, Vol. 24, No. 8, May 1964.
“The Return of the Phantom Blot” ©2015 Sam Hallmark – 6.75″ x 6.0″ – Gouache
“Luminous Being in Landscape” ©2015 Sam Hallmark – 18″ x 24″ – Acrylic
Here is a new canvas with a luminous being in the foreground. They often appear to me as I fall asleep. Much like Morpheus in old Greek myths luminous beings guide me from evening-tide into my nighttime dreamscape. Although at times mysteriously shrouded they often appear as glowing energy balls. Sometimes egg-shaped they emit wiggling bands of energy in all directions at once.
In fact, all living creatures appear on a certain plane of existence as glowing egg-shaped energy balls. Our presence is beneficial to each other. We are constantly making connections and remaking connections with other luminous beings. When a connection is made I am instantly filled with feelings of bliss and well-being.
Call them luminous beings, glowing energy balls, spirit guides and helpers… they contribute in a huge way with centering each one of our spirit selves.
“Mind on Fire – The World’s Aflame” ©1973 Jerald Ault
“Minds Afire – World’s Aflame!” ©2006 Sam Hallmark
The earliest inhabitants of the Anza Borrego Desert left hardly a trace of their passing. Flourishing sometime between 5000 to 8000 years ago, these early peoples were completely nomadic. They pursued large game, caught fish and waterfowl.
Our understanding begins with the written historical record beginning in the year 1774. This was due to the expedition led by Juan Bautista de Anza through the desert on his way to California from Tubac, Arizona.
Three main tribes make up the prehistoric and recent historical inhabitants of Anza Borrego. These are the Cahuilla to the north and east, the Northern Diegueño off to the west, and the Kumeyaay to the south.
Petroglyphs and pictographs remain as the representational art left behind by these tribes. The rock art is more plentiful here than in most other regions of North America. Petroglyphs are created by picking directly into the dark stain of desert varnish which coats the rock surface. When picked through, the lighter colored underlying granite is exposed. This results in a lasting image. Pictographs, on the other hand, are painted on the rock using ancient formulas to achieve a range of colors.
Interpretation of rock art is always a matter of conjecture, because the true meaning has often been lost to the sands of time. One thing is certain, that many of the symbols and glyphs have a mystical or ritual quality and come into use in initiation ceremonies, fertility and marriage ceremonies, astronomical and or astrological observations, visions and dreams and even historical records. The importance of these carvings and paintings to the various tribal shamans cannot be over emphasized.
Q. So, how do I go about ‘Lucid Dreaming’?
It’s important to set the scene up properly. While going into a lucid dreaming state you’ll listen to something playing lightly in the background. I believe, it’s my personal theory, that by choosing content of a benign nature, colorful, musical, with a real fantasy component, you can avoid the accumulation of negative energies found in shows depicting realistic violence, blood, etc.
Q. What kind of shows should I use?
Interestingly, our subconscious minds can discern the difference between implied reality and pure fantasy. All funny, colorful, musical, cartoon shows seem to work. Gumby is perfect being somewhat cast as a claymation Zen Buddhist! (just check out Art Clokey!) Looney Tunes and Merrie Melodies are also a good choice. Strangely enough, the Three Stooges also work well. Multiple viewings of these films familiarizes the subconscious mind and commits to deep memory the various scenarios. This allows you to meditate on the totality of the experience without paying attention to what’s going on. After time and practice (yes, believe it or not!) you’ll be able to incorporate this discipline into a decompression routine you can use before you prepare for bedtime. Here it’s possible to develop something useful. Lucid dreaming. Lucid dreaming allows us to dream with a purpose. Solve your daily problems while you dream intentionally.
Start by dimming the lights. Prepare for bed and get into your quiet spot. Put on the cartoons with the sound turned real low but still audible. Close your eyes and visualize the cartoon you’re not watching. Then pose a problem you can solve with lucid dreaming. It works best if you have a goal in mind. Your first task is to look at your hands and tell yourself, “I have found my hands and I am also really dreaming!” Don’t move on until you accomplish this first task. You’ll know deep down when you are lucid dreaming because you feel a certain clarity that exists beyond words and language. It’s possible to accomplish important tasks while lucid dreaming. But it takes a lot of work. At first you may want to keep a dream diary, where you write down all your dream activity. Sometimes alarm clocks are employed to wake you up at predetermined intervals if you can’t remember a significant amount of dream material.
Q. What can you do in a lucid dream?
Well, it seems to rely on how open to possibilities you are in your waking life. With enough faith anything is possible. One of the smaller tasks possible with lucid dreaming is finding lost objects. This really works! With lucid dreaming you can review conversations as they actually happened as opposed to the version spinning in your head. You can also review situations that you took place in. Lucid dreaming allows you to witness the replay of any situation as a spectator instead of a confused participant. This can be immensely valuable when re-examining your own behaviors with a cold and dispassionate eye.
~ Luminous Being in Landscape ~ ©2015 Sam Hallmark
And with enough practice, patience, and faith, it’s possible with lucid dreaming to check in on your loved ones from impossible distances. You can also visit with those who have passed on to the afterlife. You can reconcile with your loved ones and tell all those important people the things that you couldn’t say in real life for whatever reason. You can visit famous people from the past. Or visit special people, mentors in life who made you what you are today. Don’t be surprised to be tasked with some sort of question or small mission to be completed by yourself. It’s almost as if you are being tested to see if you are paying attention. Lucid dreaming is a circle. Everything is a circle. Going around and around again. Lucid dreaming works best when you open up to whatever pulls you into the circle. Just flow with it.
~ Luminous Being ~ ©2015 Sam Hallmark
From our previous post we learned a little about Carlos Castaneda and his background. While a controversial figure in his own right, it is clear there is a golden thread of truth woven throughout Castaneda’s work. Something rings true about Don Juan’s ‘Creed of the Warrior’. The way of the warrior looms large in any discussion of Don Juan’s philosophy. Don Juan’s teaching is based on an ancient Toltec’s warrior way of thought. The Way of the Warrior could teach a young sorcerer how to think, talk, and act appropriately, in every possible situation.
According to Don Juan’s teachings, humans are pure energy. You and I are in fact swirling balls of light energy. The Toltec process of ‘seeing’ allows the seer to experience how things really look, that is, the totality of our reality can be observed. When your skills at ‘seeing’ progress to the choice moment you can observe people as luminous balls of light and energy. The central part of the luminous egg swirls either clockwise or counterclockwise. All the while emitting luminous strands of light from somewhere in the egg’s mid-section. You can ‘see’ that some luminous eggs connect with other luminous eggs in a strange transference of light energy.
~ Desert Cave ~ ©2015 Sam Hallmark
~ according to wikipedia…
Starting with The Teachings of Don Juan in 1968, Castaneda wrote a series of books that describe his training in shamanism, particularly a group that he called the Toltecs. The books, narrated in the first person, relate his experiences under the tutelage of a Yaqui “Man of Knowledge” named Don Juan Matus. His 12 books have sold more than 28 million copies in 17 languages. Critics have suggested that they are works of fiction; supporters claim the books are either true or at least valuable works of philosophy and descriptions of practices which enable an increased awareness.
Castaneda withdrew from public view in 1973 to work further on his inner development, living in a large house with three women whom he called “Fellow Travellers of Awareness”, and who were ready to cut their ties to family and changed their names. He founded Cleargreen, an organization that promoted tensegrity, purportedly a traditional Toltec regimen of spiritually powerful exercises.
Castaneda’s first three books – The Teachings of Don Juan: A Yaqui Way of Knowledge; A Separate Reality; and Journey to Ixtlan – were written while he was an anthropology student at the University of California, Los Angeles (UCLA). He wrote these books as his research log describing his apprenticeship with a traditional “Man of Knowledge” identified as don Juan Matus, a Yaqui Indian from northern Mexico. Castaneda was awarded his bachelor’s and doctoral degrees based on the work described in these books.
In 1974 his fourth book, Tales of Power, was published and chronicled the end of his apprenticeship under the tutelage of Matus. Castaneda continued to be popular with the reading public with his subsequent publications.
In his books, Castaneda narrates in first person the events leading to his 1960 introduction to Matus, a half-Yaqui “Man of Knowledge”, and his subsequent experiences with him. He also says the sorcerer bequeathed him the position of nagual, or leader of a party of seers. Matus also used the term nagual to signify that part of perception which is in the realm of the unknown yet still reachable by man, implying that, for his party of seers, Don Juan was a connection in some way to that unknown. Castaneda often referred to this unknown realm as nonordinary reality.
The term nagual has been used by anthropologists to mean a shaman or sorcerer who claims to be able to change into an animal form, or to metaphorically “shift” into another form through magic rituals, shamanism and experiences with psychoactive drugs (e.g.,peyote and jimson weed – Datura stramonium).
Castaneda was the subject of a cover article in the March 5, 1973 issue of Time which described him as “an enigma wrapped in a mystery”. When confronted by correspondent Sandra Burton about discrepancies in his personal history, Castaneda responded:
“To ask me to verify my life by giving you my statistics… is like using science to validate sorcery. It robs the world of its magic and makes milestones out of us all.”
The interviewer wrote:
“Castaneda makes the reader experience the pressure of mysterious winds and the shiver of leaves at twilight, the hunter’s peculiar alertness to sound and smell, the rock-bottom scrubbiness of Indian life, the raw fragrance of tequila and the vile, fibrous taste of peyote, the dust in the car, and the loft of a crow’s flight. It is a superbly concrete setting, dense with animistic meaning. This is just as well, in view of the utter weirdness of the events that happen in it.”
My youngest daughter, Stephanie Hallmark, is a hard working young woman. Like a lot of folks nowadays, she works two different jobs and does them both very well. She is an esthetician at the European Wax Center located in 4S Ranch and also works as a server at Stone Brewery’s Liberty Station location in Point Loma. She loves both jobs.
Stephanie is also a fantastic artist. Working mostly in acrylics she has produced some profound and moving paintings. Influenced by both Georgia O’Keefe and Frida Kahlo, her work has an hyper-real photographic edge to it while expressing moods of a decidedly surrealistic nature.
~ Arabian Eyes ~ ©2007 Stephanie Hallmark
Stephanie has a clear vision in mind before committing anything to canvas. Her design choices are always based on solid reference and observations. Her color sense is exceptional and the way she handles blending and shading treatments really makes her artwork stand out.
~ Ebony Blue ~ ©2008 Stephanie Hallmark