dreaming,
“physiologic creativity” — as unsuppressable, in a sufficiently complex brain, as sleep itself: Minds, Humans have both, though Minds' dreaming is less tied to the state of sleep and allows for more conscious control. Dreams aren’t random firing of neurons any more than nostalgia (often likened, and in fact deeply homologous) is plain memory of the past; the air of a healthy mind’s dream is unmistakably benign: “dreams are made of light” (lucid!), “there is no death in dreams”; even “no such thing as a boring dream” (at least for the dreamer). ■ Humans now sleep more than in the “sleep debt era” (though easier withstand sleep deprivation) with more of the sleep time lit by dreams, and their dreams are deeper and more transparent (“finally can read/write in a dream”) — but otherwise the Change changed little: “daytime flight hasn’t interfered with flying in dreams.” Dreaming and other borderline mental states saturate lifemaking, culture, destiny quests (world sleep); no longer a divination, a powerful dream can still seed — adwize — a future; in art, dreamlikeness — once implying just about any unconventionality — zeroed in on the much-sought synthesis of “better than life” naturality (quasia are dreamlike) with irreproducible, unexplainable, unforgettable individuality. Narrative art had to adapt — learned to brace against the infusive fragmentarity, to relish “consciousness breaking down into a swarm of feeleries” without sacrificing an overarching unity; new types of narration logic imitate the two-stage composition of a dream tale that “crystallizes from dreambits” — coalesces, in an awake retelling, out of the disjointed shards that survived from the quantumly ungraspable “dream proper.”