Astral Projection

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So, recently I had 3 times out of body experiences where I was switching galaxies faster than speed of light, I came across one with many formulas & gadgets, in forms of tornado, but I am not a maths person, I didn’t understand most of it so just started swallowing, there were gadgets with all blueprints written clearly but moving too fast me for to hold & comprehend. I will try to do this again but slower this time, has anyone else here experienced such thing? Do you think those equations could really mean something, my forte is mostly arts & music, I never paid attention to maths during school because my teacher was an ass & people in science are perceived as nerds & geeks & nobody wants to be friends with them and I wanted friends so never paid attention but after these encounters something tells me I am in the wrong field but I don’t understand mathematics properly yet, should I invest my time in learning it now I am 22F.

Only on cough syrup or K.

I remember a time when I was a kid, but also that could have just been lucid dreaming, not sure.

Only on hallucinogenics. And I didn't go to an astral plane, I got sucked into a piece of cannabis I was holding and there was a complete city made of neon people.

It's generally better not to try and look for deeper meaning in your dreams. They're just hallucinations, they don't mean anything. The equations you saw were just garbage half-remembered from pop culture.

I have never experienced anything that could be called "Astral Projection", and I have never met anyone who could prove beyond any reasonable doubt that their experiences involved anything resembling "Astral Projection" -- they most likely experienced lucid or vivid dreams, or possibly something like hallucinations.  Maybe they were even making it all up.

No harm in learning more about math. Best case scenario, you learn some cool stuff. Worse, you're out some time.

As for astral projection, I never have had that happen to me. One of my ex's swore she could do that stuff. I tend to be a bit of a skeptic and doubt it, but who knows. It was at least real to her.

Only in a couple of dreams, and they were just something my brain made up. I don't believe that real astral projection exists, I think it's just an attractive myth. Those dreams were a lot of fun though.

Remember: You can't fly on the astral plane with unchecked emotional baggage.

If you treat it as a dream...it could have meaning. Maybe math is your real calling. Or not. No way of knowing if its a real astral projection though.

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Have never astrally projected myself though. Have tried though. Even listening to Sun Ra, while smoking weed, doesnt get me to actually astrally project.

when i was on the operating room table or shortly afterwards, i had an exceptionally vivid dream that i was flying in heaven.

I don't really buy into astral projection. That said, one of my favorite books of all time is The Door To December by Dean Koontz. If you're into astral projection, you MUST give that book a read!

I'm into music, too. I'm 44 years old and STILL feel like I'm trying to find my place. As far as math and music goes, let me tell you about my experience.

Late in my undergrad years I discovered 12-tone music and electronic music. I got an opportunity to study music composition at the Crane School of Music in Potsdam, NY where I got to study integral serialism of Webern, Boulez, and Babbitt, and the electronic works of Pierre Schaeffer, Xenakis, Wuorinen, Babbitt, Carlos, and Subotnik. By 2003 I was deep into algorithmic composition. But my coding skills were...nonexistent, unfortunately, so for several years I was working out musical compositions on spreadsheets.

Eventually (about the last 7 years) I did start learning how to code. My "gateway drug" was PureData because everything was visual and fairly straightforward, and I used it to realize some of my ideas from back in my Potsdam years. After using PureData for generating MIDI data, I figured out that Python was MUCH more agile than PureData, at least for what I was trying to do. PureData has Python beat for sound synthesis, but that's another topic.

Anyway, I coded an automatic music generator based on some concepts I explored in my master's thesis and expanded on that. Most recently I converted all of my music generation code to use TensorFlow. It works flawlessly, of course. But TensorFlow is intended for researching Artificial Intelligence. I'm in the process of learning what TensorFlow machine learning models can do for creating algorithmic music. Trust me, all of this math and data science is WAAAAAAAAYYYYYY above my pay grade. Yet I'm in a good position in my life to explore it without any external pressure or time constraints.

My purpose for making music is to help with insomnia and ease nightmares. The purpose of algorithmically generating music is that conventional music is intended to capture the attention of an audience. Using algorithms eliminates the element of human decision-making from one note to the next, which means notes and control data by themselves don't grab the ear and create distraction. ALL musical elements are based on numbers drawn from a Gaussian distribution and rounded to create numerical interval relationships that are difficult to distinguish. Patterns are built from these relationships which gives each composition organic unity that you don't get in any music that is generated purely at random. The patterns can get long enough that they are undetectable, but I prefer to keep patterns between 8 and 16 notes. And since time is included as a musical element and not constrained to a beat or subdivision of a beat, there is a sense of timelessness to my music. However...I'm also rethinking the wisdom of that and might go in the direction of using the Euclidean algorithm (or something like it) as a way of locking music in time. With pitches I use synthetic scales based on melakartas, which means everything is diatonic, although not diatonic in a strictly Western sense. Unlike 12-tone music, dissonances are not preferred. Unlike Western diatonicism, consonances are not preferred. Both consonance and dissonance are welcome and there is no rules-based resolution of dissonance to consonance like in Western common-practice era classical music (although I'm not above that...Palestrina's music is beautiful. I'll save that for version 3.0. lol). But the timelessness, meandering quality of it creates a unique sound space that could be helpful for falling asleep or for concentration/studying, depending on how much caffeine or melatonin is in your system at any given time.

A lot of the music is very dark and sometimes unsettling. But my human guinea pig has mostly had a good experience with it. She suffered a lot of mental and physical abuse in a past relationship and suffered severe PTSD because of it. She's been prone to insomnia and nightmares ever since. Once I started experimenting with this new-for-me kind of music, a lot of the ongoing problems she seems to have had has been reversed.

It's not that my music is made up of sophisticated mathematical algorithms that tap into unseen corners of the mind. All I've done is expand the 12-tone matrix into an organizational structure that incorporates multiple dimensions via supercubes, Each 2-dimensional matrix is composed of transformations of ordered Gaussian numbers--prime, retrograde, inversion, retrograde-inversion. For pitch, these numbers are scaled and rounded to integers which point to an array index which determines which note will be played. For timing, these numbers are scaled in a similar way and point to a time-point index that determines WHEN the note will sound. Another 2D matrix governs velocity/volume level, Another 2D determines control data, like filters, FM mod index, etc.

Since notes and data aren't important to the composition, my focus turns to sound design. It's not about the data. It's about how dreamy the sounds are. It's about making the sounds as neutral as possible without letting them become irritating. And that means that velocity and control data have a noticeable influence on the timbre. There has to be a natural-sounding rise/fall to each note. Complexity in a sound is fine, but complex timbres have to blend and blur into each other. Complexity simply builds a sound without attracting attention to itself. My system doesn't handle sound generation, just MIDI data. With time, I bet I could create an AI to handle that part of the task, but for the time being I don't mind programming synths.

I agree you shouldn't go too deep in your dreams. But don't ignore your dreams, either. Some part of you wants to explore a world of creativity. Whether astral projection is real or not, stay open to worlds most of us wouldn't dare to consider even exist, not even in the imagination.

I wish.

I could barely lucid dream despite being able to recall plenty of dreams.

And if I had able to lucid dream, whenever I tried to fly, it's always this ability to jump really high and glide to maintain altitude...
Or shifting through dimensions of time and space, even teleportation and becoming bodiless and omniscient like narrator.

But practically never a full blown gravity-disregarding flight.
The only time I had, was this really weird dream that I'm floating over some fence and everything is black -- or that's how I interpret it, both recognizable and not recognizable at the same time.
Also not in control, I felt like I'm stuck in some glitch like state and couldn't go higher than the fence as if playing a game with a character on a poorly configured game controller.

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