[Mandala Dream Analysis] A Dream of Moving Back and Forth in an Apartment Elevator While Carrying an Electric Rice Cooker

Introduction
Modeling the way the mind moves in a 'mandala' shape

Mythsanddreamsare both patterns of vibration that rise from the same pulsating 'depths' of the human mind, mapped onto the very bottom of the surface consciousness, onto that flat base. One form of this mapped pattern is themandalaitself.mandala.

In the vision of a dream, the mysterious world that one can see, remember, and report in words after waking is a pattern that emerges when the vibrations rising from the pulsations of the 'depths' of the mind are projected onto the very bottom of the surface consciousness—the bundle of memories of sensory impressions. This pattern oftentakes the form of amandala.

A mandala has a form that combines acircle and a square. Because it is a square, four terms and four poles naturally stand out, and four intermediate terms placed between those four terms emerge, depicting an eight-term relationship.

Mandala as a visual image
Mandala as a 'predicate' appearing in narrative

Thismandalacan be directlyvisualized (becoming a visual image)as an image of a four-term or eight-term relationship, a so-called mandala, or it can appear asan experience in a dream where the sense of distance between self and other expands and contracts.

For example, in a dream, it is when four characters (of course, these four could split into more, or some of them could be omitted) repeatedlyfight and make up, or separate and combine.

In a dream, 'I' and the other characters who are not me unfold in a certain space (inside a circular space, inside a square room, or around a square table)a separation and combination, swaying between the two poles of love and hate.

Alternatively, the mandala can be verbalized as a 'mythological' narrative, a story where mythical gods or supernatural beings combine and separate, spin around, run away and chase each other, or split in half.

I am tentatively calling them 'terms' in the sense that they look like some solidifiedthingwhen viewed by humans, but they are more likemovement, pulsation, vibration, swinging amplitude..., going back and forth, apredicative aspect.

The characters in a dream, are placed in the position ofsubjectsand reported as such. In other words, when the dreamer reports to the analyst, they are forced to speak in terms like 'a woman wearing a deep hat...', meaning they are forced to verbalize it, but I would like to read this as actually being a case wherethe afterimage of the predicative aspect resonates and presents a subjective aspect. I want to focus not on 'what' but on 'how it is moving'.

Expanding and contracting predicates

This movement appears asan experience in a dream where the sense of distance between self and other expands and contracts. In the preface to 'C.G. Jung's Seminar on Pauli's Dreams',the supervisor, Professor Toshio Kawai, writes as follows.

The various terms that face each other and oppose one another on the circle of the mandala (in this case, "consciousness" and "the unconscious") are both "movements." The mandala and the various terms that oppose each other on the mandala are "not reified," in other words, they are not things that roll around as solidified, clearly outlined, and fixed-property individual objects, but are events described by movement, motion, patterns of movement, or in other words, "predicates."

Previously, focusing on this "predicative" aspect, I read Jung's analysis of 'Pauli's Dream.' A series of articles is posted below.

* *

This time, I will usea dream of my own, the author of this article, as the subject of analysis. I would like to capture how, in our own dreams today, predicates attempt to achieve mental harmony as if drawing a mandala.

Dreams: Products of the unconscious that are easy to be conscious of

In the lecture compiled in 'Pauli's Dream,' Jung says the following:

Dreams are information transmitted from the unconscious to the surface of consciousness.By analyzing dreams, we canunderstand the state of conflicts and fixations in the depths of the mind that the dreamer themselves is not consciously aware of.

◇

What exactly is happening in a dream? Dreams are often absurd and incomprehensible. They are elusive, and when it comes to analyzing them, one feels like they don't know what to do or how to go about it.

That is where the 'mandala' comes in handy.

A mandala is a pattern drawn as an eight-term relationship, where squares are combined to highlight four terms or four poles, or to superimpose the relationships of four intermediate terms placed between each of those four terms.

In dreams, things in the shape of a mandala may appear directly in the imagery. If so, it is easy to understand that it was a 'mandala dream.'

On the other hand, there are many dreams where it is difficult to notice at first glance that a mandala is hidden. For example, there are dreams where a binary opposition, which is the minimal constituent unit of the oppositional relationships that weave a mandala, is foregrounded alone, and the distance between its two poles expands and contracts. This could be being chased by someone, running away and hiding, or losing something important and searching for it, or four characters (of course, these four can be divided into more, or some of them can be omitted) repeatedly fighting, making up, separating, or joining. This is an experience where the sense of distance between self and other expands and contracts.

In dreams, a mandala may appear directly in the form of a circle or a square, or one may see the movement of the terms of two binary oppositional relationships, which would form the four corners of this square, sticking together and pulling apart.

Interestingly, in "myth," which is an expression of thought that emerges from the depths of the human mind just like dreams, gods and supernatural protagonists shorten and lengthen the distance between each other, join and separate, spin around, run away and chase, or become halved. When one attempts to simulate the movement of stretching and segmenting a mandala-like pattern using language, which is a segmentation system, both in dreams and myths, a linear narrative is verbalized around the aspect of the predicate of the expansion and contraction of the distance between two opposing entities.

I (the author writing this text) have long been attempting to re-read the mythological narratives analyzed by Mr. Claude Lévi-Strauss in "Mythologiques" by comparing them against an eight-term mandala-like schema. Please feel free to use it as a reference.

Δ-β Predicate Expansion/Contraction Model

Here, I will write about the predicate drawing a mandala.

In the case of myth, at the end of the narrative, it aims to draw a mandala-like pattern that looks like a combination of a square and an inscribed circle (circumscribed circle), which connects Δ1-4 while keeping them separated so they are not overly separated.

At the beginning of a myth, there is no Δ yet. Simply put, it does not exist. It is non-existent. From nothingness (from a state where even the pair of existence/non-existence does not "exist"), one must first begin by carving out a "space" for the Δs to fit into, and generating a "
field" where the Δs can be placed. That is where the mythic logic of savage thought moves.

The narrative of a myth first describes a movement where the ambiguous mediating terms, denoted as "β" in Figure 1, stretch long toward the first and third quadrants, or the β terms stretch long toward the second and fourth quadrants, or gather at a single point in the center, and so on, describing an amplitude.

If one tries to sense this only through images without entrusting it to linguistic narrative, it is as if a spiral begins to rotate from a single point, the vortex of that rotation expands, and it begins to draw a stable circle. Inside (or outside) this circle, a square emerges, a quadrilateral with the four Δ terms as its four corners. On the other hand, in myths that are told strictly through language and entrusted to "characters," it feels like kneading mochi, pottery clay, or pie dough, where two of the four ambiguous mediating terms (β) seem to be overly joined on the first axis, while simultaneously being overly separated on the second axis that is orthogonal to that axis. These "axis that causes separation" and "axis that causes joining" alternate at high speed.

The ambiguous mediating terms (β) in myths take forms such as "a human who does not know how to use fire and pecks at the soil like a chicken," "a jaguar that wears clothes, carries a bow and arrow, and walks on two legs," "the moon that transforms into a porcupine to seduce a human woman," or "a human who separates their lower body from their upper body, dives into a river with only their upper body, and lures and catches fish with the smell of flowing blood".

Such things "do not exist" empirically (as Δ terms), but myths aim to capture the movement of the "/" just before one becomes able to distinguish whether something empirically exists or does not exist, and to stabilize this.

Therefore, by short-circuiting Δ terms that should be empirically diametrically opposed, such as human/animal or prey/hunter, creating a state where one cannot tell which is which, they intentionally tell a story to produce (bricolage) ambiguous mediating terms. The shocking story in the myth of Ogetsuhime about offering vomit as food is also an example of this. Things that show a movement of drawing an amplitude that violently goes back and forth between empirically opposing poles, or that exist in a way that is both or neither of two empirically opposing poles are called ambiguous mediating terms (β relative to Δ in Figure 1).

When these βs are pulled out in all directions, and the four β terms are separated at an equal distance without being attached or detached (drawing a square), this balances the movement of pulling out with the force trying to return to the center.

Here, the speed of expansion and contraction decelerates infinitely.

Thus, in the "between" of these beta terms, a space opens up where four regions or objects, "that which is distinguished from what it is not, that which is not-not-that-which-is-not" (delta), flicker in a way that persistently maintains their contours.opens.

Such movements that direct what is separated toward union, or what is united toward separation, can also be seen in the vision of a "dream".

Up/Down Inside/Outside

This time, let's analyze my own dream.
It is a dream where I am wandering around the elevator hall of a condominium, pushing a serving cart with an electric rice cooker filled with piping hot rice.

Expansion and contraction between the two poles of up/down, and expansion and contraction between the two poles of inside/outside.
Let's focus on the predicates that bring these two expansion and contraction movements to the surface.

Let's first keep in mind the high-rise condominium and the movement of the elevator going up and down.

Top floor
|
/ Ascending ↑ (elevator) ↓ Descending /
|
First floor

I am first in the elevator hall on the first floor.
And I am carrying an "electric rice cooker filled with freshly cooked rice" on a cart. I don't know where I brought it from, but the rice cooker is still piping hot.

I, who want to go up but cannot, break the distinction between the inside/outside of the rice cooker

I want to go up from the bottom in the elevator.
However, the elevator does not come down from the top at all.
I want to go up but cannot.

I, who am at the bottom wanting to go up but unable to, am in a twisted state of separation and union: remaining separated from where I want to unite (upper floor) and remaining united with where I want to separate (first floor).

Remaining separated from where I want to unite
/
Remaining united with where I want to separate

Terms in such a phase of twisted separation and union are, in terms of the delta-beta model above, beta terms, or ambiguous mediating terms.

Now, let's focus on the fact that I am "carrying" an "electric rice cooker filled with freshly cooked rice." The electric rice cooker filled with freshly cooked rice and I are in a state of union.

β1 I who am pinned down to the bottom against the top
↓
↑
β2 An electric rice cooker filled with freshly cooked rice

At this time, β1 I, who am stranded in the first-floor entrance hall, am excessively combined with β2 opening the lid of the electric rice cooker, taking out the rice inside, and forming rice balls, in a predicative aspect, with the electric rice cooker filled with freshly cooked rice.

β1 I calmly open the lid that distinguishes the inside/outside of the β2 electric rice cooker, thrust my hand into it, and form the hot rice that is the content. The β binary, two ambiguous mediating terms, are excessively combined.

What is empirically separated is excessively combined

However, opening the lid of an electric rice cooker, or thrusting one's hand inside to take out rice and make rice balls, is not particularly unusual in itself. Empirically and sensuously, it is a very common everyday scene.

The reason this dream makes the combination of β I and β electric rice cooker into a state where what should normally be separated is excessively combined empirically and sensuously is because this rice ball making is not taking place in a home kitchen or dining table, but outdoors, in a place where dust dances due to the wind pressure of the elevator.

In other words, because I am opening it in a place where one would not normally open an electric rice cooker, and cooking in a place where one would not cook, it evokes a sense of discomfort where things that should be separated are excessively combined.

Indeed, to heighten this sense of discomfort, the neighbors coming and going in the elevator hall look at my actions with curious, or rather, strange eyes.

Since I am known as a respectable person in the neighborhood, I think this is very bad and start making excuses.

No, that's not the point; you should form them at home.

As the dreamer, I suppose I want to form them at home, but since I cannot return home (the elevator won't come down), I have no choice but to form them here, which only makes me seem even more like a strange person.

***

Now, let's take a look at the scene generated by AI (ImageFX) of "a person forming rice balls in an elevator hall, watched by neighbors as if they were a suspicious person."

Going up and coming down

Finally, the elevator comes down.

I hurriedly do something with the rice balls I am in the middle of forming and enter the elevator car together with the other neighbors who were waiting for the elevator. And then we are carried up and up.

βI, the βelectric rice cooker, and the βneighbors, all together, jumbled into one, are ascending.

↑
｜
｜
β
β*β
β
｜
｜

However, for some reason, the elevator passes the floor I was aiming for and continues to ascend. Then it descends, but it also passes the floor I am aiming for on the way down.

And so, I end up back in the first-floor elevator hall, the place where I was just a moment ago making rice balls.

Going up and going down.

It is a magnificent expansion and contraction.

The interesting thing here is that the other passengers all get off properly at their respective target floors.

ββNeighbors
｜
｜
｜
βI*βElectric rice cooker
↓

In other words, since the time I was making rice balls in the first-floor elevator hall,among the β-terms that were jumbled together and combined, the β-neighbors settled into the positions they were supposed to be in(getting off at the floors they were supposed to get off at),and separated from βme and the βelectric rice cooker.

The expansion and contraction of the distance between two people

Now, back in the first-floor elevator hall, the electric rice cooker and I are joined by the neighborhood association president. He also lives on a high floor of the same apartment building and intends to take the elevator.

βI * βElectric rice cooker
βNeighborhood association president

At this point, I am no longer making rice balls. The lid of the electric rice cooker is closed, and I have become just an ordinary person who is simply carrying the electric rice cooker on a cart.

I tell the neighborhood association president that the elevator just goes up and down and I couldn't get off at the floor I wanted to return to.

The βneighborhood association president empathizes with what I say as if he had been waiting for it. And he tells a story about being taken to a place called "Basement Level 3" in this same strange elevator.

Top floor
↑
｜
｜
β
β*β
β
｜
｜
↓
Basement Level 3

There is no button installed in our apartment's elevator to go to "Basement Level 3", which means we are normally completely separated from this "Basement Level 3" (we cannot go even if we want to, and we cannot combine even if we want to combine).

The βneighborhood association president says that he was unintentionally taken by the elevator to this "Basement Level 3", which is supposed to be completely separated under normal circumstances.

I am interested in "Basement Level 3", which is directly beneath my home but which I have never visited, and I ask the βneighborhood association president what it is like. According to him, it wasan eerie, damp, pitch-black space where mechanical sounds roared.

Basement Level 3 and the top floor

Now, while talking about this "third basement floor", a resident belonging to the "top floor", which is the polar opposite of this "third basement floor", happens to pass by. Interestingly, it is said that this person from the top floor does not use the elevator. I imagine it must be quite tiring to climb the stairs all the way to the top floor, but they seem fine with it. They walk briskly away from the elevator hall and head toward the emergency stairs.

This top-floor resident, who intends to climb to the top floor using the stairs, has at this point clearly cut ties with the elevator, which forces one to go down to places one does not want to go and prevents one from going up to where one wants to go. By using the stairs, he is a being who is already guaranteed to reach the top floor.

<<Top Floor>>
β Top-floor resident who climbs without using the elevator
↑
|
|

<<1st Floor>>
β Me * β Electric rice cooker

|
|
↓
β Neighborhood association president who was brought along by the elevator unintentionally
<<3rd Basement Floor>>

Here, the situation is that the "β Top-floor resident who climbs without using the elevator" and the "β Neighborhood association president who was brought along by the elevator unintentionally" are each connected to the poles defined by the elevator's vertical movement—the top floor and the bottom floor (3rd basement)—while currently, by chance, I and the electric rice cooker are on the first floor.

What is interesting is that the "β Neighborhood association president who was brought along by the elevator unintentionally" evaluates the "β Top-floor resident who climbs without using the elevator" as someone "you cannot say just anything to, so be careful and interact with them properly".

They are saying that the person from the top floor is someone who will cause trouble if you interact with them without discretion—that is, if you try to rely on them too much and become overly attached, or if you oppose them strangely and try to separate too much.

Nevertheless, they are a neighbor in the same apartment building, and if they are a reliable person, they can be counted on in times of need. I would like to interact with them properly, without becoming overly attached or overly separated, with moderation, keeping a sense of distance.

「β Top-floor resident who climbs without using the elevator」
|
/
|
「β Neighborhood association president who was brought along by the elevator unintentionally」

What is interesting here is that the symbols of the two ends of the elevator's movement (those related to the top floor and those related to the 3rd basement floor) have come to maintain a constant distance, neither too close nor too far. In this way, the "expansion and contraction" of the elevator (the top end extending endlessly further up and the bottom end extending endlessly further down) has stopped, and its top and bottom ends have been fixed.

Earlier, the reason I could not reach the floor I was aiming for was because the elevator's top end was endlessly extending and contracting further up, and the bottom end was endlessly extending and contracting further down, causing it to expand and contract.

However, now, the elevator's two ends, the top end and the bottom end, have been fixed.

Here, β me and β the electric rice cooker ride the elevator up with β the neighborhood association president.

I am able to get off the elevator on the floor where my apartment is located.

β The neighborhood association president continues on the elevator to go somewhere else.

Now, I and the electric rice cooker can finally go home.

However, this time, the space expands and contracts in the horizontal direction.

I thought my home was right after getting off the elevator, but I cannot find it even after searching. Then, looking at the floor plan showing the room layout, I learn that my room number is in a place far from the elevator.

I thought it was close, but it was far.

The far/near distance is expanding and contracting based on the elevator.

Top end
↑
|
~ Far <-*-> Near ~
|
↓
Bottom end

Thus, the β-binary combined state of β-me + β-electric rice cooker expanded and contracted vertically and horizontally, carving out the distinctions of space.

In this way, the apartment as a three-dimensional mandala was established.

Jung's Four Functions of Consciousness

Now, here,

β-top-floor resident who climbs without using the elevator
β-me
β-electric rice cooker
β-neighborhood association president who was unintentionally taken to the 'third basement floor' by the elevator

Let us map the relationship between these four entities onto what Jung calls the four functions of consciousness.

Jung organizes the functions of human consciousness into four: 'Sensation,' 'Thinking,' 'Feeling,' and 'Intuition'.

• 'Thinking': Distinguishing what is from what is not

• 'Sensation': Distinguishing what exists from what does not exist

• 'Feeling': Distinguishing what is liked from what is disliked

• 'Intuition': Distinguishing what appears from what disappears

When these four functions work together in a balanced way, neither too close nor too far apart, the human psyche (mind) reaches a state of great stability and harmony.

If the 'distance' between the four psychic functions becomes too great, or if they become too close and one function swallows another opposing function, the harmony of the four functions cannot be achieved.

The 'Mandala Dream' is what teaches the surface of consciousness to aim for this harmonious state of mind.

Characters symbolizing the four functions

Now, let us map these four functions of consciousness onto the characters that appear in my dream.
Incidentally, this 'four' is dynamic; it can shrink from four to one, or expand from one to four. Therefore, there are cases where any β can be assigned to any function and still make sense. Thus, the arrangement of the four functions and four βs here should be viewed as merely tentative and temporary.

• Existence/Non-existence is unattainable 'Sensation' == β-electric rice cooker

• Separation/Union is unattainable 'Thinking' == β-top-floor resident

• Identification/Differentiation is unattainable 'Emotion' == Neighborhood Association President on the 3rd basement floor of β

• Profit Increase/Loss Decrease is unattainable 'Intuition' == β Me

The 'β Resident of the top floor' who climbs to the top floor under their own power without even glancing at the expanding and contracting elevator appears to be a symbol of 'Thinking' where discernment is clearly effective.

On the other hand, the 'β Neighborhood Association President' who is chatting with β Me is a term that freely expresses emotions, revealing the eeriness of the 3rd basement floor and a sense of wariness toward the resident of the top floor without reservation. Let us view this as a symbol of 'Emotion'.

The remaining β Electric Rice Cooker and β Me are 'Sensation' and 'Intuition'.

First, the electric rice cooker, which is loaded on a dolly and being pushed by me, appears to me as an important object that is heavy and cannot be left behind. Furthermore, its substantial weight slows down my movements as I try to scurry about. Let us view this electric rice cooker as a symbol of 'Sensation' which discerns 'existence/non-existence'.

And in this dream, 'I' do not seem to be using my head much, but am just being carried along by the elevator and running around solely to transport the dolly with the electric rice cooker to my room. Let us consider this appearance of disappearing here and appearing there, or disappearing there and appearing here, as a symbol of 'Intuition'.

And in this dream, the dreamer 'I' continues to carry the electric rice cooker the whole time.
In other words,'Intuition' and 'Sensation' are strongly (excessively) combined,while 'Thinking' has gone far away, not being chased but remaining separated in the distance,and I am having small talk with 'Emotion'.' 'Intuition' is relying on 'Sensation' while also listening to 'Emotion', but 'Thinking' has already gone ahead.

<<Top Floor>>
β Top floor resident who climbs without using the elevator
↑
｜
｜
｜
β Neighborhood Association President who was unintentionally brought along by the elevator
｜
<<Intermediate Floor>>
｜
β Me * β Electric Rice Cooker
｜
｜
<<First Floor>>
｜
<<3rd Basement Floor>>

◇

In other words, if we arrange the sense of distance between the four terms, it might look something like the following.

Thinking
｜
｜
｜
｜
Intuition = Sensation
||
Emotion

In this form, it has not reached a clean mandala-like pattern, such as a square combined with an inscribed (circumscribed) circle.

To put it exactly in terms of this diagram, it has become an unbalanced shape, as if the top β was grabbed and pulled.

If there is any advice I can give to myself at this time, the following two points can be made.

1) Are you not troubled by being occupied by 'Sensation' while being pulled by the object of that sensation and running around with 'Intuition'?

2) Is 'Thinking' not moving on its own far away from sensation and intuition, and is 'Emotion' not also being passed over lightly as if it were someone else's impression?

* *

Summary

In dreams, mandala-like shapes sometimes appear directly in the imagery. In such cases, it is easy to understand that it was a "mandala dream."

On the other hand, there are also many dreams where it is difficult to notice at first glance that a mandala is hidden within them.

For example, there are dreams where the binary opposition, which is the smallest constituent unit of the oppositional relationships that weave a mandala, is foregrounded as a single instance, and the distance between its two poles expands and contracts. This could be a dream where you are being chased by someone, running away and hiding, or losing something important and searching for it, or where four characters (of course, these four could be divided into more, or some of them could be omitted) repeatedly fight, make up, separate, and unite. This is an experience where the sense of distance between self and other expands and contracts.

In dreams, mandalas may appear directly in the form of circles or squares, or they may appear as crushed and stretched patterns where the terms of the two binary oppositional relationships that would form the four corners of this square are stuck together or separated.

In this dream, this movement emerged at the very bottom of the surface of consciousness, borrowing the symbol of the elevator's movement, which moves up and down, expanding and contracting vertically.

*

Interestingly, in "myth," which, like dreams, is a manifestation of thought that emerges from the depths of the human mind, the gods and supernatural protagonists shorten and lengthen the distance between each other, combine and separate, spin around, run away and chase, or become halved. When one attempts to simulate the movement of stretching and segmenting a mandala-like pattern using language, which is an articulation system, both in dreams and myths, linear narration is verbalized around the aspect of the predicate of the expansion and contraction of the distance between two opposing entities.

Δ-β Predicate Expansion/Contraction Model

Here, I will write about how predicates draw a mandala. In the case of myth, at the end of the narrative, it aims to draw a mandala-like pattern that combines a square and an inscribed circle (or circumscribed circle) that
connects Δ1-4 while keeping them separated but not excessively so, as shown in Figure 1.

At the beginning of a myth's narrative, there is no Δ yet. Simply put, it does not exist. It is not there. From a state of nothingness (where even the pair of 'is/is not' does not 'exist'), one must first begin by carving out a 'space' where the Δs can fit, and generating a '
field' where the Δs can be placed. That is where the mythic logic of savage thought moves.

The narrative of a myth first describes a movement of amplitude, such as the ambiguous mediating terms, denoted as 'β' in Figure 1, stretching long toward the first and third quadrants, the β terms stretching long toward the second and fourth quadrants, or gathering at a single point in the center.

Things that show a movement of amplitude that empirically goes back and forth violently between opposing poles, or things that exist in a way that is both and neither of the two empirically opposing poles are called ambiguous mediating terms (β relative to Δ in Figure 1).

At this point, when these βs are pulled out in four directions and the four β terms are separated at an equal distance without being attached or detached (drawing a square), this movement of pulling out and the force trying to return to the center are balanced.

Here, the speed of expansion and contraction decelerates infinitely.

In this way, in the 'interval' of the amplitude of these β terms, a space opens up where four regions or objects, 'that which is distinguished from what it is not, that which is not what it is not' (Δ), flicker so as to maintain their contours continuously.

Such movements that direct what is separated toward union, or what is united toward separation, can also be seen in the visions of 'dreams'.

The meaningful lived world for each of us (whether in a good sense or a bad sense) emerges from the depths, the bottom of our hearts, in this way.

Introducing other dream analyses

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