Just to add that hypnagogic and hypnopompic images are very closely related to dreams themselves and should best be approached in the same way; that is, as Methos says, by not only by appreciating their startling independence and visual/auditory surprises, but by trying to reflect on them in order to uncover their meaning.
Carl Jung began observing these and other spontaneous products of the imagination over one hundred years ago and developed methods to help clarify their meaning while maintaining a sense of emotion along with a mature respect for them.
For example, he writes:
“Critical attention must be eliminated. Visual types should concentrate on the expectation that an inner image will be produced. As a rule such a fantasy-picture will actually appear— perhaps hypnagogically— and should be carefully observed and noted down in writing [Today, we can also use a small digital recorder instead].
Audio-verbal types usually hear inner words, perhaps mere fragments of apparently meaningless sentences to begin with, which however should be carefully noted down too. Others at such times simply hear their ‘other’ voice. There are, indeed, not a few people who are well aware that they possess a sort of inner critic or judge who immediately comments on everything they say or do”.
I believe that it’s also important to note the following:
“… after a certain point of psychic development has been reached, the products of the unconscious are greatly overvalued precisely because they were boundlessly undervalued before.”
That is, a person could tend to be sucked into a vortex of images and emotions, possibly becoming overly inflated by their beauty and strangeness in the process. Understanding their meaning can help to alleviate this possibility.
About this idea of balancing out the beautiful or “aesthetic” side of any images with understanding, Jung simply writes:
“… we could say that aesthetic formulation needs understanding of the meaning, and understanding needs aesthetic formulation.”
Jung also advised the following:
“Often it is necessary to clarify a vague content by giving it a visible form. This can be done by drawing, painting, or modelling. Often the hands know how to solve a riddle with which the intellect has wrestled in vain. By shaping it, one goes on dreaming the dream [or exploring the hypnagogic and hypnopompic images] in greater detail in the waking state, and the initially incomprehensible, isolated event is integrated into the sphere of the total personality, even though it remains at first unconscious to the subject.”
Accurately analyzing hypnagogic/hypnopompic and dream images can benefit from reading books on symbols that have been derived from reliable sources (as opposed to most “dream dictionaries”) such as “A Dictionary of Symbols” by J. E. Cirlot, “The Penguin Dictionary of Symbols” by Jean Chevalier and Alain Gheerbrant, “The Herder Dictionary of Symbols”, “Ariadne’s Clue” by Anthony Stevens, “Dictionary of Images and Symbols in Counselling” by William Stewart, “Jungian Dream Interpretation” by James Hall, "Inner Work" by Robert Johnson, “Man and his Symbols” edited by C.G. Jung.
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