Dream Storyboards: Stranded in London (Episode 2)

Pubblished by Umberto Prunotto on Dream Research Storyboard Series
September 8, 2012

Here’s the second episode of one of the “storyboard visualization” experiments that we conducted to extract the perceivedrepresented, and interpreted information from one of our early subject’s dreams (read this earlier blog post to learn more.)

Umberto Prunotto, CEO
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“I turn and see an elegant Rolls Royce.”

“Now I am in the back seat of the car. The driver is a chauffeur. I think, ‘he is property, like me.'”

“Every detail of this car is impeccable. I feel empty. The car is an extension of me. I remember now. I’m an agent of the government and its monarchs.”

“I exist only for my cover. Today, it is to protect the kingdom’s princess on her wedding day. I love her but she does not love me. She does not see me.”

The scene changes and the man finds himself in a Rolls-Royce with a chauffeur. The interior of the car in all its detail comes into the man’s sight. The man feels ill at ease. Everything appears perfect, impeccable, but also essentially useless. What need could he possibly have for all those optionals? Many of them he can’t even understand, and in any case, he has no use for them. A piercing feeling of radical alienation possesses him. The man realizes that he is a secret agent, and his mission is to protect the Princess, who is about to be married. He secretly loves this Princess, but knows he will never be able to be with her, nor will she ever love him back. In the only role available to him, the expression of love is not an option: his task is to make sure that everything works as it should, without problems or inconvenience, and that the King and Queen are satisfied and happy. He feels immersed in this feeling of frustration.

[The scene changes and the man finds himself in a Rolls-Royce with a chauffeur — the automobile par excellence of the Kingdom, not his car. The car in this context represents the sexual-erotic dimension of the individual: the man’s intimacy is thus revealed as “property” of the Kingdom, just like the car and the man who drives it. Orders can be given to the chauffeur, as long as they respect the laws and established dogma (the abstract historical Ethos and the fundamental stereotypes of the presumed “common good” on which the Kingdom is based: conventions, obligations, social and family duties). The interior of the car in all its detail comes into the man’s sight. Everything looks perfect, impeccable, but is practically unavailable, useless, even incomprehensible, and so the man is overcome by a feeling of radical extraneousness. Everything belongs to the Kingdom and obeys its laws. The sensation of falsity and emptiness, of insignificant appearance, is tremendous. This negative sensation is totally identified with the state of his own emotional and sexual-erotic relationships. This condition is the result of mimesis in which singular and tangible reality – unique, unrepeatable, an incarnate truth, what the man is – is replaced by Abstract Truth (what the Kingdom wants him to be). The Kingdom “welcomes” you only if there is total, blind conformity, and if true reality, living reality, is eliminated on a sacrificial altar. The man discovers that he is a secret agent, someone who is under cover, who exists but appears not to, and his mission is to protect the Princess, who is about to be married. What more ideal love (and idealized, alienating, and alienated) than the love for the Princess of the Kingdom? He secretly loves this Princess, but knows he will never be able to be with her, nor will she ever love him back. Love, for him, is precluded by the role established by law: he is to make sure that everything works as it should, without problems or inconvenience, and the King and Queen are satisfied and happy. There is no time and no space for his feelings or for him at all. Frustration is guaranteed and absolute.]

This post is part 2 of a 5-post series:

Illustrations by Giulia Francesca Massaglia for Dreamboard
Text semiotic structuring by Antonella Palumbo
Translation by Matthew Furfine for Dreamboard

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