Blue_Opossum

Morning of December 30, 2017. Saturday.



My dream is set in a mostly undefined location. It is already a factor of the waking space (waking transition symbolism). Zsuzsanna and I are sleeping on the floor on a blanket, with no mattress. Although the setting is undefined, there is some essence of the kitchen of our present home, except it seems much larger. As such, we are oriented with our heads to the east when sleeping. It seems to be morning, though there is minimal light.

Curiously, a handicapped young male (of whom we do not know in real life but have seen in the past), is also present on a blanket on the floor to the north. I do not see him as an intruder or even as being imposing.

The setting also has the common ambiguity of bilocation, the sense of being indoors and outdoors at the same time (a result of being in sustained non-lucid waking space), though my focus is more on being in our home. Still, sleet begins to fall. It is small ice pellets, though they are not hitting any of us directly, just falling about onto the blankets. The other male seems somewhat cheerful as I pick up some of the ice pellets. He does not get up from his blanket.

I perceive that the sleet is somehow dry, which puzzles me. I inform Zsuzsanna of this. How could sleet be dry? I know it is made of water (or is supposed to be), yet I also perceive that no water (frozen or otherwise) is present in the ice.

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This is water lowering waking symbolism (though second-level), which has occurred on a regular basis (in one form or another) since childhood. The most likely biological explanation behind this is an association with needing to drink fluids after waking (which is also what desert settings typically indicate). The essence of water is my most common dream state induction factor (and its lowering or lack of presence symbolizes waking from the dream state). Water symbolizes the biological dynamics of sleep in real time. The human body is made of about sixty percent water. (I tend to hear the sound of water flowing when entering a more relaxing sleep, and if my sleep is disturbed briefly or the level of my unconsciousness shifts, I will hear sounds that resemble stones breaking the surface of a pond, at slightly different pitches, which brings me closer to consciousness during the induction state. However, still ponds and small lakes are more on the outer levels of unconsciousness and the dream state. Wider rivers, floods and higher waves, and the ocean, tend to be rendered when I am deeper in sleep and more relaxed - this being the opposite of typical claims by so-called dream interpreters, and in fact, the sound of the raging ocean is used on commercial relaxation tapes to induce sleep.)

I find this dream curious in how there is a subliminal waking space symbol here. The handicapped male is someone we have only seen once in the last several years, and only just recently. We saw him at the shopping mall as we were sitting on a bench that faces the large parking lot. He was off to our left, the same orientation in viewpoint as in my dream when I was standing and facing east. Without intending to sound mean, his mentally disabled status also symbolizes the lack of critical thinking skills when unconscious.

My association with the parking lot as a liminal space factor (both in real life and the dream state) rendered him in my dream as a liminal space “remnant” (rather than being a RAS component or preconscious dynamic), though in the waking space where only blankets (as dream state indicators) were rendered. I find that intriguing, and it only serves to validate what I already know.

The rest is based on associations of when our roof was torn off and it rained inside our house in November. We then slept on the floor in the front room (where part of the roof still covered it) for a time. The kitchen association almost always relates to light hunger in sleep. I suppose there is a bit of wishful thinking here in this particular case as well. We want to stay dry in our house when it rains. Our new roof seems to be okay thus far.

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Morning of December 21, 2017. Thursday.



In my dream, I am living with Zsuzsanna at the Stadcor Street house in Wavell Heights, where we have not lived in years. However, it seems like a “Family Affair” scenario. I happen to seemingly be in the role of Johnny Whitaker as Jody Davis. Zsuzsanna is in the role of Anissa Jones as Buffy Davis. Marilyn (older half-sister on my mother’s side) is in the role of Kathy Garver as Sissy Davis. I am about ten years old and Zsuzsanna (disproportionately to my age) is about eight. We do not look like the television show characters though. We look like ourselves at those ages.

However, Brian Keith is himself, as I know him as Brian Keith rather than his character on the television show. The same with Sebastian Cabot. There is no memory of any of the actors having died. There is no memory of my sister having died. Even though Zsuzsanna is present and we are in the Stadcor Street house, all other memory of my current conscious self identity is absent.

Zsuzsanna, Marilyn, and I are in the kitchen. Brian Keith is working with some sort of large boiler (mostly shaped like a vertically rectangular prism) in the northwest corner of the kitchen. It nearly reaches the ceiling. Something goes wrong and hot water sprays out to the opposite side of the kitchen from the top of the boiler. I watch Brian working in an attempt to fix it. Still, a piece of the boiler falls out from the back. I see many flames near the bottom. I vaguely perceive Brian Keith as my father, even though on the television show, he was my character’s uncle. Even so, I start to realize that there may be danger. I am thinking it will explode and destroy much of the house.

Brian stays, still trying to fix the problem, although I get Marilyn and Zsuzsanna to leave with me by going to the front of the house. On the way, Sebastian Cabot is sitting in an armchair (facing south) in the center of the lounge room, reading a novel. I tell him about the boiler. He formally waves us off to indicate that we should go to the porch to escape the danger. However, he remains seated and calm as if not concerned about the imminent explosion. I think about walls exploding toward us if we do not get to the porch in time, but at another level, I am not really that concerned and remain without much emotion.

Despite the setting having been the Stadcor Street house up to this point, when we go out to the porch from a fictional door in the middle of the west wall of the lounge room, we are then on the King Street boarding house porch (in America).

My dream ends around this point and there is no explosion. (A porch is my most common dream state end marker, which symbolizes the higher level of unconsciousness between dreaming and waking in real time, and has as such since early childhood.)

There is another dream after this, which is not related to this one at all. However, there is then a dream that is related to this same scenario but somewhat different. I am now as I was in the 1980s, though I also, in direct contradiction, perceive myself to have the computer that I have now at our present address. I am even aware of where my computer is, or was, regarding the Stadcor Street house. Oddly though, I do not recall my current conscious self status or of living in Australia (even though the Stadcor Street house is in Australia and I still live in Australia).

The boiler is still acting up. Brian Keith is not present, but I talk to Marilyn (recognizing her as my real sister this time) about how hot it is getting near the west kitchen wall, which may affect the east wall of my den. I ask her if the heat will ruin my computer and she nods without speaking. I yell “f–k you” at an absent Brian Keith about ten times prior to fully waking. (I have not seen “Family Affair” since the 1970s.)

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What a delightfully and ridiculously mangled mess of nonsense this is. I have no idea where any of it came from other than the waking transition symbolism that has been very familiar since childhood. (This includes a boiler or furnace symbolizing the emergent consciousness factor via RAS - the reticular activating system, which is perceived as causing the dream state to enter an “end of the world” perspective, usually completely unrelated to waking life and restricted to merely symbolizing the end of the dream state as it has thousands of other times since early childhood. Fire typically symbolizes the conscious self identity in its emergent consciousness roots in coming out of the dream state - though in this case, there is also the association with the hotter weather.) The kitchen setting usually indicates mild hunger during sleep, more so towards morning. There is also the possibility that, in this case, the potential for the boiler exploding relates to the digestive process (as it was in the kitchen), though I did not have heartburn at any recent point. My concern about my computer was from a subliminal thread of memory from a worker coming in early this morning and fixing the ceiling in our front room, though the computer is on the opposite side from where the work was done.

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Morning of June 14, 2017. Wednesday.



I am in an unknown residence where there are a number of unfamiliar people, though most of them seem friendly and cheerful. I am working with mixing music (with a cassette deck) but using a commercial folk music recording and I end up playing the cassette in reverse (by the tape being reinserted into the cassette inside-out, though the dynamics are muddier than digital reversal).

Over time, I begin to hear actual words, which turns out to be “Mama always tried to give me what I needed…” with additional lyrics about the singer’s father. There is also something about fast food being “fake” or something along those lines with an additional mention of the mother.

I take off my headphones and have an unfamliar male listen and he seems to find it interesting. In actuality, the melody is based mostly on the country song “Okie From Muskogee” (Merle Haggard), though I do not realize this in my dream. Eventually, the lyrics become gibberish (back to sounding more like reversed audio), although I still listen for possible phrases.

Eventually, a chubby biker (unfamliar) with a large brown beard, pulls out my headphone jack and seems to do something to the cassette deck and I soon see it is on its side. This annoys me and, even though he is bigger than me, I start beating him on the head and shoulders with my smaller barbell (without the weights). He is not injured that badly and we somehow end up in a kitchen (possibly loosely modeled after the Loomis Street house kitchen) but I soon wake. (I am fairly certain the biker is associated with Hell’s Angels, thus is this dream’s flight symbolism.)

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The personified preconscious is not always directly associated with a discernible flight symbol (though the preconscious level itself often is) as just being the preconscious personified is inherently viable as dominant waking symbolism on its own. Ending up in the kitchen in my dream relates to mild hunger while sleeping; pretty obvious. (Plus, this is redundantly validated. Even if I was ignorant enough not to know this, it is backed up by the “fake” food reference in the song. “Fake” food would be a subliminal link to knowing that eating in a dream does not give the body actual nutrients.)

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Morning of June 11, 2017. Sunday.



I am riding in the back of a taxi. The driver, a dark-haired male in his thirties, is unfamiliar. Zsuzsanna is with me. There also seems to be at least one unknown female present as a passenger. She makes unusual comments as we ride through a mostly unlit area, as if she is uncertain of the intention of the cab driver or where we are going. We go through an odd area between two exterior (presumably) walls in a more isolated part of the unknown city. The walls are irregular (more like rock faces) and seem to have recesses with unknown features, perhaps living creatures, but this never becomes clear.

Several different times, the taxi goes up a staircase, similar to the one on Rose Street (but somehow never down one). I do not consider this unusual, even though we somehow are eventually outside and at ground level again, to later ride up another high flight of steps. The last staircase is slightly steeper than the previous but there is never any sense of fear or even wariness.

Finally, we get out of the taxi on the second floor of an apartment building, apparently where the driver lives. This does not seem unusual to me. (In fact, my dream self had no backstory memory or any destination in mind at any point.) The driver walks over to an unusual “table” in his kitchen, but which looks more like the walls we saw earlier, and is actually like a large irregular rock (though flat on the top) in the shape of a rectangular prism. The driver exclaims “Oh!” (as if surprised by something unseen) and waves his hand, but there is nothing there. He mentions that a wasp had emerged earlier from the “table” and seems to think that this event is also transpiring presently (though it is not). I do not feel threatened or alarmed in any way and calmly mention to all the others that there is nothing there.

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In this dream, the preconscious shows me, several times, the “staircase as consciousness shift” factor (here, as implied waking symbolism). Still, there is no discernible change in the waking transition as such (though in contrast to going up, going down steps typically either vivifies my dream or triggers full lucidity). Even more oddly, he pretends the flight symbol (hypnopompic start precursor) is present in the last scene when I do not see it or feel the “return flight” mood at all. (Obviously, I still eventually wake.)

It is a general rule that the preconscious becomes more dominant (even aggressive or uncommunicative) over time during a particular sleep cycle. Obviously, this is because waking up is a biological necessity. This did not seem so much like a glitch as a “practice run” inclusive of my usual waking symbolism over the last fifty years.

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Night of May 18, 2014. Sunday.



I seem to be in a large kitchen, though not bodily present, that is, I do not seem to possess my illusory dream self’s body. It may be the set of one of those nonsensical reality television cooking shows (none of which we have ever watched).

I notice more and more heads of lettuce and cabbages on a large table (not a kitchen counter). There seem to be many varieties, of which are mostly green, some leaves having light stripes. I look more closely inside the leaves, mentally willing them to spread (by way of semi-lucidity), and under their leaves, I sometimes see a human eye. This seems to be perfectly natural. I also see a few white plates and large knives.

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Dreams are known to be autosymbolic of the sleeping, dreaming, and waking processes of RAS mediation. Therefore, I can easily determine that this is an incidental playful association with “heads” of lettuce as a secondary factor of subliminal incidental focus on REM sleep (REM meaning Rapid Eye Movement, though the singular lettuce eyes were not moving rapidly due to the lack of temporality in the dream state).

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Morning of September 3, 2011. Saturday.



This dream situation and skewed perspective has been a very sparsely recurring scene, going as far back as age five (when first documented on Rose Street), though in this particular case, it was inspired more by a computer game than a toy racing track as such in the past. In most versions of this recurring concept, there is some degree of confusion in in-dream perspective (usually disembodied) over what is horizontal and what is vertical, even more so in this dream, probably due to the perspective of the computer game influence in being an “overhead view” yet viewed as vertical on the computer monitor.

Regardless of the number of movies and television shows I have seen with overhead views seen on the vertical, this skewed perspective is not as common in (at least my own) dreams as I would expect, though I do strongly believe that a lot of screwed-up aspects of dreams have been caused by watching imagery on a television or movie screen (though again, not as much as one would expect - for example, the size orientation of even human heads when viewed on television or especially on a movie screen does not cause as many dreams about giants or tiny people as one would expect or even as much distorted perspectives as would seem reasonable otherwise - although I did notice a major change in my dreams since watching television when younger - including zooming in or zooming out, sudden location shifts becoming more common, unexpected panning, and so on).

In this version of my dream, I am closely watching miniature cars (about half the size of a Matchbox Car) driving over the surface of the kitchen table (though back at Gellibrand Street it seems, though the setting does not seem consistent), over what looks like a set of about four miniature highways (which take up about two-thirds of the area of the tabletop). I am sometimes aware of small buildings, but they are not three-dimensional and look painted-on (and even the cars look “flat” at times). I seem to be floating around in my dream’s environment, disembodied. As is typical of this dream type, the top of the table seems to shift to where I am additionally watching a (fictional) plane that is vertical and by which the cars apparently drive up and down perpendicularly to the tabletop and somehow flip over at ninety degrees to keep driving without apparent incident. I am also aware of “real” items on our table at some points, mostly salt and pepper shakers (which we actually do not even have on the table in reality). I am also very vaguely aware of this being a part of a computer game, but it is not as defined an awareness that would otherwise trigger my lucidity. I do not experience disorientation, just an uncertainty at times of what the angle and placement is of what I am viewing; that is, whether I am looking down at a horizontal plane, or before me at a vertical plane. This has really not been all that common a viewpoint in my dreams. Also, the highway remains a highway, unlike railroad tracks in such a scenario that then sometimes become a ladder when rendered vertically.

Morning of April 8, 1998. Wednesday.



My wife Zsuzsanna and I own some sort of large game, which is as long as one side of the Gellibrand Street kitchen (the side with the internal door, the north wall), where a toy canoe goes across a conveyor-belt-like mechanism that simulates a journey by river where you have to gather a few things worth points as well as go around areas that come up from trapdoors in the “river” (playing field), such as (toy) alligators. I suppose in some ways it is like a real-life mechanical version of a computer game. The game seems mostly made of plastic with metal features. Gears cause different things to come up out of the simulated water imagery.

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Morning of September 5, 1982. Sunday.



There is some sort of creature or imp that lives in a cupboard under the kitchen sink at my brother Earl’s house in Florida (though he had not lived there for several years in reality), though which later seems to be in Wisconsin at a motel. My dream and the offset sequence seems to take place in late morning.

The creature, which is apparently made of electricity, projects small bolts of lightning up through the drain somehow (as if the pipe is not there and the creature is directly under where the water would flow). However, I am never directly threatened by the imp and the lightning seems mostly inconsequential. I visualize the imp as probably only being about a foot tall.

At one point, he sounds like a human talking, but with a sort of hollow or metallic sound. It seems that Earl will be unlikely to live in the apartment anymore until the “electric imp” is gone. I do not see this imp at any point, only the smaller patterns of lightning coming out of the drain now and then. Although the imp may be talking to me (though I do not focus on what it is saying), I do not speak at any point in this dream or the following offset segment.

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In an offset dream, though still part of the same sequence (without waking), I find myself in an unknown parking lot (though is possibly near Shopko on the north side of La Crosse). I see Earl sitting in the back seat of an unknown car, on the right-hand side. His face seems distorted, without the potential for it to be a real human face (which my dream self finds inconsequentially puzzling). Still, he reminds me of a handicapped male in a television commercial from years ago, who said, “I’m a little tired. I’m alright though,” when emerging from the water of a large indoor swimming pool.

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The last scene is a transmuted water lowering waking symbol (subliminally associated with someone emerging from water as analogous to leaving the dream state), even though the electric imp was already a factor of water lowering waking symbolism. A parking lot is also a common waking space symbol for me, though typically the second-from-last dream of the sleeping period (as this was) while a porch is typically the final waking symbolism setting of a sleeping period.

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