The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound.