Blue_Opossum

Saturday morning, 29 November 1975. Age 14.

Dream #: 3,267-01.

1 minute and 40 seconds to read.

Scene 1:

Toby Taylor and I are reminiscing about the 1962 movie “Tiko and the Shark” that I had watched a few times on the “CBS Children’s Film Festival.” We talk about the idea of a remake or sequel even though we also talk about Tiko’s life as if he was a real-world person we knew.

The setting, although appearing as the El Jobean fishing pier in Port Charlotte, Florida, in the early evening, implies the location is Bora Bora to bring about connections to the movie as I push my imagination into my dream’s ongoing narrative. As I talk, I focus on my dream corresponding with my intent as I narrate an idea for a fictitious sequel called “Tiko’s Treasure.”

Scene 2:

As I think about time travel and Tiko’s village, the pier dissolves, and I fall into the water. Although I see shark fins, I am unconcerned.

Toby is “still” on the pier, but it is now far away, contradicting the first implication. The narrative ambiguously implies it has not yet been built, but Toby is still in his original location, despite me being in the water about half a city block away from it. Even so, it seems I am communicating from the dream state (as a fantasy) to his imagined “real-world location” in the “future” (from my present location). More contradictory is that I now consider I might be (or become) Tiko (even though I am also me).

Scene 3:

I find myself in an unrealistic setting with grass huts. One grass hut may be a ticket booth for the “movie” I am exploring. Other grass huts may be for tourists.

The usual factor of arm mobility associations ambiguously integrates into the narrative, resulting in self-contradicting content.

Several “bowling balls” float in the water near one hut (as I consider there is a bowling alley for tourists nearby, but the balls sometimes roll from the hut into the water). The imagery becomes more like a cartoon at this point. They may be confused with large black pearls in the region to distract treasure hunters.

Eventually, I think they are probably coconuts.

Unusual Correlation:Curiously, there WAS a remake a few years after this dream. I found myself watching it when going through channels on my sister Marilyn’s television. The remake is “Beyond the Reef (Sharkboy of Bora Bora)” - made in 1979 but supposedly not released until 1981.

Morning of December 13, 2017. Wednesday.



My beautiful wife Zsuzsanna and I are sitting together on a wooden bench at the end of the Shorncliffe Pier (formerly known as Sandgate Pier), looking northeast towards the ocean’s horizon. The time of day is uncertain, but it seems to be late morning in the final stage of my dream.

We are under the shelter at a later point, undressed, and being intimate. My semi-lucidity (partial awareness of being in the dream state) results in a lack of concern about several unknown members of the public, both male and female, being present, but not paying that much attention to us.

Later, we are closer to the shoreline (now about ten feet out on the pier). I observe what I first assume to be six North Korean males (perhaps in their thirties), waist-deep in the water. As they are walking towards the beach, they are guiding, in pallbearer formation, a damaged half-submerged wooden boat; a shellback dinghy; with a visible jagged hole in the side facing us. I am somewhat wary of their presence, but only for a short time. They gaze at us as if very annoyed.

Looking back again, I come to realize (though this was an actual transformation, not a presumed error in my original discernment) that they are Australian SES (State Emergency Service) volunteers. They are not looking in our direction now and their emotions seem informally neutral.

The water is lower, revealing a number of large stones. Zsuzsanna goes to look for some plastic toys between them that are still muddy from the storm (emergent real-life association, unrelated to my dream’s backstory), and to wash them, and I slowly realize we are now in our house, though our porch is erroneously perceived as being a rock pool (ambiguously perceived as being indoors and outdoors at the same time). I then wake.

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• Dream self mode: Corporeal with enhanced physicality
• Conscious self identity: Viable (although we have not been to Shorncliffe in real life in years), although perceiving myself as perhaps 30 rather than 56
• Induction symbolism: Water as symbolizing sleep
• Induction buffer: Shorncliffe Pier over ocean
• Dream state indicators: Being undressed and fully intimate in public (first-level dream sign, based on the subliminal awareness of being in the dream state, though I am semi-lucid here)
• RAS mediation symbol: Presumed North Koreans, seemingly defeated but presumed unpredictable
• Vestibular system symbol: Outer edge of Shorncliffe Pier
• Preconscious symbol: (Personified) Presumed North Koreans (precursory; transmuted by way of semi-lucidity in acknowledgment of waking being a biological necessity; preconscious does not initiate conflict when dream self recognizes or triggers waking symbolism or circadian rhythms factors)
• Emergent consciousness symbol: Boat leaving water
• Interconsciousness symbol: Australian SES workers
• Exit symbolism: Half-submerged boat being carried from ocean (illusory physicality “leaving” dream state)
• Waking transition symbolism: (Liminal transmutation) North Koreans to Australian SES workers
• Waking symbolism type: Water Lowering Waking Symbolism (WLWS); getting closer to the shore over time also symbolizes waking and circadian rhythms factors
• Additional personal notes: Our (present) porch as symbolizing the waking space is ambiguously combined with WLWS.

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