• Lucid Dreaming - Dream Views




    View RSS Feed

    Blue_Opossum

    1. To Serve the Preconscious

      by , 06-30-2017 at 12:30 PM
      Morning of June 30, 2017. Friday.



      I enter a prolonged dream state and remain mostly in instinctual dreaming depending on the situation. The same characters are consistent throughout for the most part. In normal lucidity, a dream can be taken full control of and vivified with the current conscious self identity. Creation and control is also predominant in instinctual dreaming, except there is no association with dreams or knowing or remembering what a dream even is and there is usually no current conscious self identity present. The nature of non-lucid dream control varies from faithful pretense in scenarios to passive expectation in how the dream is rendered and changed.

      In the beginning, I am with a group of unknown males, mostly in their thirties. We are trying not to be discovered by another group of males. At one point, we go into a small ramshackle building that seems like a barn (play on Barnum?) with missing external walls on at least one side. There are at least four rooms, but the layout is much like oversized public bathroom stalls. I go into one to attempt to stay out of sight and others go into other rooms. There are small piles of old wooden planks and gaps in some of the walls. Eventually, the other group knows where I am.

      The leader of the other group reminds me of P. T. Barnum. He discovers that I have telekinetic ability and wants me to work for him. This happens after several attempts to kill me. In one scene, an unknown male dressed in a ballet outfit shoots an arrow at me from about twelve feet away. I mentally cause the arrow to turn in flight and it goes back to him, hitting him in the chest, though I am not sure if he is fatally wounded. If I do not work for the leader of these men, he will continue to hunt me even though, over time, I defeat most of his team.

      Prior to the last scene, when it seems to be late morning, he tells me that he could really use me and seems friendlier. It seems he has no men left on his team. Curiously, it turns out that he wants me to clean the entire planet, rid the world of pollution and make it neater and more in order. He sits at a picnic table. My answer is still “no”, but I play around with my telekinetic abilities through various scenes. In one, I make scraps of paper on the top of a picnic table hover and come together in one pile. I see disordered towels, which belong to him. I cause the towels to become neatly folded on the picnic table’s top. He seems very passive at this point.

      As he watches me, I look out at the ocean. I see at least two sailboats and tell him to watch what I am going to do. I cause one to rise in the air as a man falls out into the water. The sailboat, while hovering above the water, bumps the other one, causing it to tip, though no one seems hurt. From here, my dream fades.



      The sailboat coming up out of the water (“rising from sleep / water”; the sails relating to bed sheets as a continuation of the folding towels association in making a bed after waking) is yet another version of waking symbolism involving water lowering or not being present where it would be expected (and water itself is dream state induction and symbolizes the essence of sleep). The last event is also akin to a flight symbol, a very common, over one in five of my dreams, precursor related to subliminal anticipation of a hypnopompic “fall” upon waking, including airplanes, birds, UFOs, the dream self falling, rising, or flying, and many other common forms. Still, many people seem to believe in certain forms of “dream interpretation” as a consequence of the Barnum effect.



      Barnum is a great personification of the preconscious and the emergent consciousness transmutation in the last scene. This likely comes from having to endure a few fake “dream interpretations” (though only recently on sites I do not post on as much as the main dream journal site and tumblr) even after explaining that I have no interest in second-hand “interpretation” from people who have no understanding of basic dream types or know anything at all about my life to this point (which makes second-hand “interpretation” even more ridiculous and offensive to an experienced dream journalist), me already explaining dynamics of my dreams at least in part, the “interpreter” (often of whom shows no sign of consistently remembering their own dreams) pretending negative context where none exists (though revealing their own life and mentality rather than mine of course - which is in fact what second-hand “interpretation” actually is, not a viable statement for the dreamer regardless of their typical politeness and willing submission to the Barnum syndrome).



      Stopping the arrow in flight and sending it back was a curious way to stop the waking mechanism without lucidly knowing this as my dream self. If it had reached me, it would have triggered the typical hypnopompic jolt (such as my lower back spasm sometimes triggered by the bird beak symbol or other flight-related symbols). However, this mechanism sometimes does not complete when certain levels of awareness are focused on it, though I still consider it a “chicken or egg” puzzle as to the causal factor.


      Tags: pt barnum
      Categories
      non-lucid
    2. Lorenzo’s Snakebite (exposing dreaming and waking processes)

      by , 06-27-2017 at 12:27 PM
      Morning of June 27, 2017. Tuesday.

      Dream #: 18,453-02. Reading time (optimized): 1 min 30 sec.



      My dream begins, displaying snakes that are neither a threat nor where I am as if they were images on a screen.

      I mentally create a new snake with liminal dream control. The setting becomes distorted. I try to make myself see a snake crawl from our present home’s kitchen. The snake appears but is unrealistic. A second unrealistic snake appears.

      My level of awareness increases when Zsuzsanna and our three youngest children are near the front door, going out to the library (though it is night in the last scene). Although it is our present home, the setting is uniquely distorted (as always). A snake bites Lorenzo on the finger shortly after I warn everyone it is nearby. I am concerned, thinking he should go to the hospital. Lorenzo cries and looks at me. However, the situation becomes ambiguous, stemming from my imagination. Although I thought the snake was venomous, Zsuzsanna informs me it is not.

      They go outside. The porch steps are incorrectly facing north, straight out from the front of our house (a recurring error) and slightly higher than in reality. Lorenzo sits on the ground near the steps. I think he might still need medical attention as he seems faint. I go out and half-jump, half-fall off the steps (vestibular system correlation, which revivifies my dream) to sit on the ground and comfort him as “we” coalesce into emerging consciousness.



      Important: Note how Lorenzo is this dream’s sleep simulacrum (the subliminal association with being in REM sleep), as he is “feeling faint.” Note how the scene directly links to vestibular system correlation (the subliminal focus on illusory physicality and movement by way of staircase usage, which I often initiate deliberately). These two dynamics are vital in decoding dreaming and waking processes and have correlated the same way in many previous dreams. Additionally, a dream character using a door is a common form of autosymbolism for synaptic gating concurrency.

      It is also important to realize how the foundation of my dream stemmed from my conscious will with dream state awareness that transitioned into my dream’s unwilled scenario when I abandoned that alertness. That is how many dreaming experiences occur with many people either not admitting to it or unaware of their mental processes.


      Tags: snake, snakebite
      Categories
      non-lucid
    3. Being Calm During the End of the World

      by , 06-26-2017 at 12:26 PM
      Morning of June 26, 2017. Monday.



      I am back on Loomis Street (where I have not been since February 9th of 1994 in reality) within a typically distorted dream-self identity of not being with viable memory beyond that of my eighteen-year-old self. I am in the living room of the Loomis Street house. There had been details that the world will be having strange weather, which has something to do with the sun. At first, my dream seems to be based on only unusual weather approaching, but not that threatening. However, the concept changes, becoming far more dramatic, before my dream ends.

      My mother is alive and seemingly well and in the west bedroom of the Loomis Street house. I have no memory of her passing in 2002.

      It seems to be afternoon. I am in a state where I decide to play around with the world itself by spinning the entire atmosphere, clouds and all, as fast as possible. That is, rather than causing Earth to spin faster or to slow down, it remains at its present rotation as I spin the sky around, north to south. The clouds are white and fluffy against a bright blue sky. The realism is extraordinary as I look out through the porch windows and watch the clouds dart across the sky as I willfully spin the atmosphere. I am doing this to show a few other (unknown) people what might soon be happening naturally due to the celestial events. This goes on for several minutes.

      Eventually, the celestial changes come and the sky changes. Very unusual clouds appear in the sky. I sense people’s fear while not feeling threatened myself.

      For a time, the sky looks much like an analogue television screen that is not fully on the channel. That is, there are diagonal lines and flickering bars across the sky. There is one very loud thunderclap. Looking at the sky again, it resembles an empty multicolored spreadsheet, with each cell randomly billowing downwards slightly, the whole expanse with somewhat of a wavering effect.

      I know I should see my mother. She sits in her bed in her room and seems upset, saying how it is “the end of the world”. I do not feel any sense of fear or even concern for humanity. I calmly accept the fate of the world and of myself.



      It is obvious that this dream utilizes liminal dream control and originates mainly from my current conscious self identity and understanding of the dream state (virtuous circle effect) than anywhere else (even though I have no memory beyond my late teenage years while still within my dream). That is, I know I am creating my dream, and yet my dream self identity is not aware of this at a viable level. It partly comes from having looked at a childhood dream from 1971, that was in turn, based on having seen the movie “Crack in the World”, the childhood dream association of which also influenced at least one other dream of this date.

      The evidence is not only obvious, but continuous on different levels. Firstly, I am able to spin the entire sky with no effort. Secondly, the sky then becomes like a television display not being on the channel. This is direct evidence that I view the sky as something I can willfully change as if with a television remote and that my thoughts are still based around liminal dream awareness. Then, the next stage utilizes an emergent focus on critical thinking skills (which do not viably exist in the dream state) when the sky then becomes like a multicolored spreadsheet, as if waiting for my conscious thinking skills to ascend and fill it with organized data. This same focus makes me subliminally aware of the waking symbolism - that is, dream state cessation as an “end of the world” metaphor (which has been a common form of waking symbolism since early childhood). (Why would dream cessation symbolism relate to the conscious self in a negative context? This is the ridiculous mistake I have seen people continuously make all my life with so-called interpretation, which I learned to dismiss at a very early age in light of truth.)

      The fact that my dream self has no fear of this supposed end of the world is more evidence of liminal dream awareness and potential control being a major factor. Why should I care if my dream ends? It is a perfectly natural event. Even more obvious is the “return to bed” metaphor (yet another subliminal thread of acknowledgement of being asleep in reality), even though, in this case, it is typically distorted to a different time and characterization. The real puzzle still remains. What determines the status of my dream self (regarding altered age and time distortion factors)? What determines when and where any precognitive threads (or “input” from the collective unconscious or the Source) dominate the patterns?


      Updated 05-14-2018 at 06:45 PM by 1390

      Categories
      non-lucid
    4. Sealing the Globe

      by , 06-26-2017 at 09:36 AM
      Morning of June 26, 2017. Monday.



      I am in a school setting, but it is completely unfamliar in regards to the school I went to in reality and I am unsure of the implied location. On one level, it seems vaguely bilocated with the area near Loomis and Gillette streets, though not the real-life school (that I never went to).

      I mostly spend time walking around with a young atypical version of Zsuzsanna, who seems more like a classmate around my own age. I give her love and attention, though in the background, there is the realization of many other students projecting an overall mindless nature in addition to a group mentality of no benefit to anyone, which she also seems aware of and does not want to be a part of. I refer to her as my “partner” when speaking to an unfamiliar male.

      After what seems a long time, the scenario changes. I have picked up a broken globe. The globe seems to have been made at least partly of glass and is only about twice as big as my fist. It is in several pieces. A male that reminds me somewhat of Zsuzsanna’s father is on the other side of the room (though I have never met him in reality and only talked to him on the telephone years ago).

      In a non-lucid state, I cause the broken pieces to hover in the air, with no effort other than basic thought. Soon, I decide to fix the globe. I cup my hands around the jagged variously-sized pieces after they are placed together. There is an incredible vividness of heat and steam flowing from the palms of both of my hands. I am clearly aware that this will reseal the globe, somewhat like welding, but more like melting the glass and then smoothly connecting all areas of the surface.

      The steam and hissing coming from my hands does not cause any discomfort even though my sense of touch is otherwise enhanced.

      The globe of the world is a smooth sphere again. The other male does not seem alarmed or even puzzled. This is somewhat unusual in that it is the reversal of typical dream cessation symbolism, though because of its vividness, is probably more about stabilizing my emergent consciousness factor in this case.



      This is one of a few dreams of this date that was directly influenced by looking back at a childhood dream from 1971, which had been influenced by seeing “Crack in the World” (a 1965 movie). This dream is more like the 1971 dream than the others. (In fact, many of the few hundred brief dreams of this sleep cycle’s beginning centered around the movie theme to some extent. The fact that I had only thought about the 1971 dream for a short time, and the fact I had not seen the movie for a long time, is puzzling in how much influence there is over a new dream which is otherwise completely unrelated to my present life status, and yet this is a very common occurrence.) Additionally, I now realize that I had also been looking at a photograph from a 1982 dream (“Apple Baby”), which is a close shot of a hand holding a large apple.


    5. Flying to a Library as Casper the Friendly Ghost

      by , 06-21-2017 at 10:26 AM
      Morning of June 21, 2017. Wednesday.



      I am in my bedroom in Cubitis (where I have not been in real life since the summer of 1978). There is not much furniture present other than a bed. My room is full of very shiny small gold nuggets and gold dust with a few piles of gold coins. It seems to be nighttime.

      I do not consider that my bedroom being filled with gold all over the floor from wall to wall is unusual in any way. I also do not consider that it is unusual that I am Casper the Friendly Ghost, in cartoon form. Wendy the Good Little Witch is visiting. There is no direct association with humanity at all.

      Snorkledorf, the Freakies Cereal character, though not associated as such by my dream self, is approaching from the west. Wendy and I know that we are in danger. He will most certainly eat all my gold and then eat us. We decide to flee. Wendy and I fly northwest, and although I phase through the wall as I am flying because I am a ghost (though I often do this as my more conscious-self-based dream self), Wendy does as well, which puzzles me briefly. Perhaps she quickly used her magic wand. For a short time, I am thinking that she could turn Snorkledorf into something else, but that might not prove to be feasible.

      We both fly north now. The area is no longer like rural Cubitis but not like a city block, either. The houses are close together, the backs of the houses facing each other, with shared backyards (an interesting dream distortion). Somehow, the area seems familiar or at least “correct” to me (even though it is entirely unique) and I decide to fly to the library. Wendy is no longer with me. I get the idea that Snorkledorf might be able to track our direction using his sense of smell, but that concern fades.

      In the unfamiliar library, I am “myself” to some degree. That is, my dream self identity is now human but there are not many threads of my current conscious self identity, though I have no dream-self memory of having just been Casper the Friendly Ghost. I discern my fictional dream self as when I was around twenty-five (even though I had not been in Cubitis since age seventeen). I “know” that the library is north of my home in Cubitis, the other side of Highway Seventeen from where the plant nursery would have been in reality (as well as the opposite side of the highway as my home was). As usual, this is the first time this fictional layout has ever been rendered. There was no public library in Cubitis.

      I look westerly at a tall wooden magazine rack and see a variety of magazines and comic books. I think I might buy a book I see in about the center of the rack, which is a graphic novel of perhaps sixty-four pages, though it feels thicker when I stroke the slightly irregular spine with my right thumb and index finger. Even though I am not familiar with its content and it does not seem all that interesting, I decide I will buy it as I read the price on it as $1.13; a dollar and thirteen cents. My dream self does not consider that, being in a library and probably not part of an ongoing book sale (though there are book sales at our local library in real life), that I could not buy it even though I plan to.

      I turn around and lean down upon a heavy wooden table to read the book more closely. There are a few other people seated at it, including a very chubby short-haired unfamiliar male on my right (south) of about twenty. As I lean upon the table while turning a couple pages of the graphic novel, the heavy table begins to tip to the point where its top is almost diagonal to the floor.

      “I’m sorry,” I say to the small group of people, as I catch and pull the table back upright before it is fully on its side.

      “If you could harvest that energy, you could solve the global energy crisis,” the chubby male says formally but cheerfully. I wake.



      • The gold in my Cubitis bedroom uniquely symbolizes all my dreams that I had documented and decoded in my youth.
      • Snorkledorf in this case symbolizes so-called dream interpreters. They “eat” (read) someone else’s dream without knowing what a dream is (what gold is for). They “trumpet” (as does Snorkledorf) an irritating out-of-tune fallacious “interpretation” with no understanding of personal value or experience or true meaning.
      • Being Casper and flying is a waking symbolism precursor. Flying is the main anticipatory form of waking from a dream. Some “experts” believe this evolved from our ancestors falling out of trees while sleeping, but other “experts” have other theories, such as unconscious confusion of the physical body being horizontal in sleep while residual threads of the conscious self identity are rendered as upright in the dream state. I am more inclined to believe the second theory.
      • $1.13, the cover price of the graphic novel, relates to how long I had been sleeping, an hour and thirteen minutes, a format I picked up from watching the timer on our DVD player so many times over the years. The graphic novel itself symbolizes being in the dream state.
      • It is curious that the personified preconscious (though already coalescing into my emergent consciousness) said “harvest” instead of “harness”. (“Harvest” would imply getting electricity from plants, thus I suspect it means on one level that I should eat more green vegetables for more energy.)
      • Thinking that Wendy could transform Snorkledorf with her magic relates to a conversation Zsuzsanna and I had prior to my dream. Neither of us have any answers for what is really wrong with much of humanity, regardless of how many times we had discussed it. This also relates to a recent analogy I came up with. Being an Internet dream journalist with over fifty years of experience is like being a heart surgeon with a detailed personal diary and additional book on anatomy. In the night, a person comes in through the window and scribbles in the margins “explaining” how the human body is run on hamster wheels…



      Updated 06-21-2017 at 10:55 AM by 1390

      Categories
      non-lucid
    6. The Two Heads Syndrome

      by , 06-20-2017 at 12:20 PM
      Morning of June 20, 2017. Tuesday.



      My wife Zsuzsanna and our children as we are now are living in an unknown residence, though the last scene is modeled after the southwest Cubitis bedroom (where I have not been since 1978). Zsuzsanna tells me that our youngest son seems to be in a trance. He is lying on his back in a bed chanting numbers, though at one point he is doing this with his knees over the side of the bed. Zsuzsanna just says that “he’s counting”. His eyes are open but he seems “asleep”.

      (Of course, this situation is simply a real-time subliminal factor of being asleep myself and is so common, I typified “The Sleeper” as such when very young. The Sleeper is not always a human character and there are sometimes a group of Sleepers. Still, the validation of The Sleeper depends on other dream dynamics. For example, in one surreal dream where our youngest son was in a bed and seemingly very ill, there were additional precognitive factors.)

      Our son’s left eye seems unusual and is a different color than his other eye. (My view of it is greatly magnified as is fairly common in dreams. This was influenced by a bit of redness he had in one eye a few days ago, which is okay now.)

      Over time, our son is awake but he talks about having two heads. He does not actually have two heads but he seems to think he does when looking in a mirror. He even motions with his hand to show where it supposedly is (apparently on his right shoulder).

      In the last scene, I am in the room modeled after the southwest Cubitis bedroom. Looking in a mirror, I see I have a second head on my left shoulder. This head is partly reminiscent of a character like Mr. Hyde in an old “Dr. Jekyll and Mr. Hyde” movie (such as from 1931). The other head does not seem threatening. In fact, it seems cheerful.

      I consider whether or not someone is standing behind me with his chin over my left shoulder, but there is no one there. I reach up and touch my other head, mostly around the face on the cheeks. It feels like I am touching someone else’s skin rather than my own, which makes me consider why it does not feel as if I am touching my skin. It seems too much like real flesh to be an artificial head someone may have placed there.

      In the last scene, prior to my dream fading, I tell Zsuzsanna about it, but at first, it seems that I am the only one who can see it. However, our youngest son seems to be able to point it out at times, apparently because he had an extra head but is now fine in every way. This apparent syndrome is only temporary though I had vaguely considered if it was related to some sort of haunting.



      That preconscious is a laugh riot. (This dream was probably influenced by “The Manster”, though which I have not seen in a long time. If so, it would have been triggered by the focus on our son’s red eye a few days ago, as in the movie, the extra head starts out as one large eye on the man’s shoulder.) Basically, this is just another metaphor for coalescence of the personified (or monsterfied?) preconscious into the dream self prior to returning to whole consciousness. Of course, it is not usually physically literal in this way. One of my last dreams of having two heads was on February 24th of this year.


      Updated 06-20-2017 at 03:47 PM by 1390

      Categories
      non-lucid
    7. Fighting with the Preconscious over Musical Discernment

      by , 06-19-2017 at 02:55 PM
      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.)



      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.)


    8. “Stealing” from the Preconscious with Telekinesis

      by , 06-19-2017 at 12:19 PM
      Morning of June 19, 2017. Monday.



      My dream starts out with my dream self (with at least some present conscious self identity threads, though not that many) being in an unfamiliar library in semidarkness. I am aware of an unknown female (seemingly in her twenties) who had been looking over a number of supposedly ancient religious books with the hope of gaining some sort of understanding of her life as well as personal power. However, I am also aware that there is nothing here of any value for her when considering my own opinion of her activities. She does not seem to be aware of me at first. I assume that I am incorporeal at this time, though I am corporeal in the last part of my dream. Looking at the pages, they are singular lines of hieroglyphs rather than a discernible language, somewhat like small sketchy icons (a carryover from a couple previous recent dreams). It seems to be some sort of ambiguous distorted combination of Aztec, Olmec, and Buddhist cultures.

      In fact, there seems to be something in the back of my mind regarding this distortion, as some of the icons seem to represent Olmec colossal stone heads as well as Buddha heads and figures, yet there also seem to be some Aztec symbols. This reminds me of the New Age movement, primarily based on modern charlatanism and fallacious occult systems, which unrealistically combines anything and everything in an unlearned, unrelated, and wrongful sense (including all the fake products for gullible believers in the 1980s, such as free radical “guards” one wears, which only had internal circuity to make a small light bulb flash on and off to make it look like it was doing something). I begin to feel sorry for her, even though the books themselves may otherwise be of some historical significance.

      I end up sitting at a rectangular wooden table with her sitting across from me, as well as there being a presence of about six or seven other unknown people. A few of the additional people are at a table that is perpendicular to the one I am at.

      She is using a calculator for a reason unknown to me. Soon, I cause, via telekinesis, the calculator to rise into the air and come over into my raised hand. The others do not seem that surprised and she does not seem to object. She then has a fifty-dollar note in her right hand, which I do not clearly discern as either American or Australian (though it is more like an Australian fifty-dollar note relative to its darker golden color overall, though with no plastic or transparent content). She is holding it up as if ready to spend it on something (though this is not logical as we still seem to be in a library).

      I use telekinesis again to will it from her hand. However, it rips and she still has a large section of one corner between her fingers. Feeling slightly guilty about this, I try to unite the pieces back together with telekinesis and additional mental will. Even though the piece is eventually reattached, with associations of manipulating the resealing of the tear like a zipper, I cannot fully seal the tear on will alone, plus, the corner now seems slightly out from the rest of the bill and at an angle (This would not be possible in reality, as the area of the paper would require it to be of the exact shape when coming back together for the correct fit. It would not be possible for there to be a gap or extra paper beyond the perimeter implied as here, as the distorted trapezoidal upper right corner relative to the front of the bill now appears a bit bigger than it was). An unknown male at the other table “reminds” me that he had told me not to use telekinesis in this way (though I do not recall this actually having happened before).



      This dream utilizes non-lucid dream control. (Despite this, I am still technically the personified subconscious as I am not consciously aware of my conscious self identity and status.) This is evidenced by the fact that my conscious self certainly does not believe in telekinesis even though my silly dream self typically does and uses it effortlessly for the most part (more so in non-lucid dreams than lucid ones). Instinctual dreaming (non-lucid dream control) renders most forms of dream “interpretation” as pointless. If the fictional temporary dream self differs so much from the current conscious self and its present status, why would one assume there is significant relevance to the current conscious self (other than with literal precognitive threads, some of which are not revealed until many years after the dream). Although the manipulation of an object with telekinesis is technically a type of flight, I do not classify it as a third-level flight symbol unless more clearly defined or evidenced as such in my dream. It still seems to imply a factor of real-time dreaming and waking symbolism as in “not being fully grounded”.

      What is going on here is a very typical metaphorical biological “showdown” between my non-lucid dream self (aka personified subconscious) and the personified preconscious (which is often transpersonal and unrelated to the conscious self persona, and thus which I assume in some cases comes from the collective unconscious) of the type which I have experienced all my life since early childhood. I am taking from her, the symbolic form of my critical thinking skills (the calculator), which do not viably exist in the dream state, and thus I am initiating my own waking symbolism which is why the preconscious does not object (as its purpose is to either wake the dreamer or instigate emotional factors related to waking from the dream state out of biological necessity; for example, if you do not wake you go into a coma or die - it has baffled me since early childhood how so many people do not realize that this is one of the main functions of dreams, though unlike what some “experts” claim, not the only purpose). The inability to fully repair the fifty-dollar note may symbolize two completely different factors, the first relating to, in being in the waking transition, unable to subliminally reinduce the dream state (as I am not lucid), and two, being that fifty is near my age, may relate to the biological impossibility to completely restore my physical body to as it was in my youth. (The symbolic “pulling up of the zipper” in attempting to fix the note may also be a waking precursor simply related to getting up and getting dressed.)


      Updated 09-08-2019 at 04:38 PM by 1390

      Categories
      non-lucid
    9. No Explosion After All

      by , 06-18-2017 at 11:12 AM
      Morning of June 18, 2017. Sunday.



      My wife Zsuzsanna and I are in an unknown bedroom which is seemingly implied to be part of our home. I have some sort of booby trap set up. It is a jury-rigged device with an explosive. It is set up like this to prevent any imposer from having more access to our home.

      The setting has the essence of some sort of unlikely composite of the lounge room of our present home and my fourth grade portable classroom that was north of the main building, with the classroom layout here mirrored from right to left when inside. When the imposer comes in through the doorway, there will be an explosion.

      I consider the setup. The imposer will perhaps not be killed; only surprised. I talk to Zsuzsanna about the setup. Our bed is longways (adjacent to the wall) just to the left of the entrance. (I am not even sure if there is an actual door covering the entrance.) The foot of our bed comes up to near the entrance directly on the left side. The booby trap is right at the foot of our bed.

      I consider that perhaps it is not that great of an idea. I tell Zsuzsanna that the explosion will probably be big and that it might destroy a part of the house or even reach us.

      I go over to the device and pick up an oversized nine-volt battery. It has two wires at the top, each connected to what would otherwise be snap connectors. The two wires then lead to the explosive pack. However, instead of two polarized snap connectors at the top, there are two smooth electrodes with the same positive polarity implied for each, each of the appearance of an electrode from a singular cylindrical battery. I remove the wire from one, which will probably prevent the pack from exploding. Still, I also remove the second wire. I now know that I have disabled it.



      Of course, this setup makes no sense. In the first place, the nine-volt battery, other than being over twice the size it should be, would have no polarity in reality due to its invalid design. In the second place, one could not wrap wire around a cylindrical electrode (as it would just slide off). In the third place, there does not seem to be any kind of tripwire for when the imposer comes in, but just a small container of some sort on the foot of the bed, attached with two long wires to the oversized nine-volt battery.

      Still, as would be expected, disabling my fictional device caused a softer waking, with no hypnopompic jerk. I find it fascinating how the majority of dreams are internally premonitory (in a biological sense) of the waking mechanism, especially related to the seemingly infinite ways a dream renders the lead up to waking symbolism.



      So what is happening in this particular dream? Well, the bomb is at the foot of the bed. When I disable it, I (or rather my unconscious essence) have done something biologically that prevents the type of hypnopompic jerk that is like my leg spontaneously kicking upwards. The location at the foot of the bed validates this quite obviously, and the different locations relate to the subliminal awareness that my hypnopompic kick might also disturb Zsuzsanna (so thus I am talking about the imposer, as subliminally expecting my emergent consciousness factor rather than the preconscious). It is also to the left of a doorway. A doorway symbolizes a real-time shift in consciousness, often the symbolic state directly between dreaming and waking up, as has been validated in thousands of my dreams since early childhood (and which I have typified when only about ten years of age as the “threshold” type). Zsuzsanna is to my left in my dream as she is in reality in bed as we are sleeping (a repeating orientation in my dreams.) Additionally, the battery and wires represent nerves and disabling it is symbolic of softening the nerve impulses of my real physical body. As with common symbolic (but subliminal) reinduction, this is not clear to me until directly after waking.

      I have, since very young, always found it far more meaningful and important to understand the true meaning of non-lucid dreams than the pretend game of “interpretation” in the naïve sense. To each his own.


    10. Dream Flight Play on Words

      by , 06-13-2017 at 08:12 AM
      Morning of June 13, 2017. Tuesday.



      I find myself wandering in a distorted version of Cubitis, seemingly in the morning at first. The area within and near the carport is expanded to at least twice its real size. I am walking easterly and happen to look back to see two shadows, male and female. They are not deliberately following me, just going in the same direction I am, it seems, but something in the back of my mind, in dawning lucidity, makes me perceive them as Zsuzsanna and I as a precursor to being in the state just prior to waking.

      Over time, my lucidity increases until it shifts into full apex lucidity. A young version of Zsuzsanna is present, appearing to be around the age when we first met. We stand in semidarkness in an unfamiliar bedroom. An unknown male stands off to my left. I am not concerned. He does not seem to be an active precursor of the preconscious, so I mostly ignore him while indulging in foreplay with Zsuzsanna. The sense of touch is extraordinarily augmented. We kiss, and I place my hands about her shoulders. Everything is perfect.

      Eventually, my awareness increases even more, but I hear Zsuzsanna now whispering things to me that seem different from what my own mind is focused on. My fingers move over her skin, down over the small of her back. I am trying to work out what she is saying but some of the words are not clear. I ask her questions, but eventually only vividly hear her say what I take to be “sore”. I then assume she has physical soreness and I am somewhat disheartened. However, as I shift into full waking, I realize the word was meant to be “soar”, as in the very common waking symbolism of “return flight”. (I see a flash of a childhood dream from November 1968 where I watch a giant eagle-like bird flying.)

      Over twenty percent of the tens of thousands of my dreams I have studied and decoded since early childhood contain the return flight waking symbolism of the hypnopompic biological event (of various degrees of subliminally anticipated intensity). This major naturally premonitory precursor is somehow always unique even though the meaning is basically always the same, simply symbolizing the return to full consciousness. It is however, often curiously mixed with other dynamics, sometimes even precognitive (such as my detailed dreams relating to the missing Malaysian flight).



      In lucid dreams, the nature of shadows sometimes comes into play as threads of dawning consciousness (since you cannot have a shadow without light, light representing the day and the conscious self identity). As the sun would symbolize the present whole conscious self identity (which is why strange things occur with the sun in non-lucid dreams - because the conscious self is not coherent or lucid), a shadow would indicate threads of conscious self awareness growing in the dream state (which strangely, at least apparently for some people, the non-lucid or fictional and incomplete dream self sometimes fears). My own shadow usually only appears in vivid lucid dreams and sometimes I indulge in moving to see if my shadow moves with me, which is always amusing, though if I am in a lucid dream where it seems I am deeper within sleep or the unconscious realm, my “shadow self” appears at more of a distance away, sometimes even on a bridge (which symbolizes the transitions between levels of consciousness in real time).


      Categories
      lucid
    11. Pirates on the Porch

      by , 06-12-2017 at 12:12 PM
      Morning of June 12, 2017. Monday.



      I become aware that I am lying on a snow-covered sidewalk, possibly in La Crosse (where I have not been in real life since February of 1994). I “remember” that I had been with a group of pirates. Presently, I and at least three others are probably in need of assistance. We all are going to be taking at least two headache tablets (even though I do not have a headache). They are all on the ground, near parts of the snow-covered sidewalk. I also see a lot of powder, the appearance of which reminds me of powdered drain cleaner. Within the mostly white powder are slightly larger red, blue, and green grains.

      I take only two pills and, even though the others have probably taken four, decide to stop there. I also ingest just a small amount of the powder. Still, I wonder if I had taken too much. (I do not use any kind of drugs or medication in reality.) I feel an unusual blissful sensation as well as a slight vivifying of my dream.

      Later, I decide to get up. The other pirates do not follow me at this time. I find my way onto a porch that seems loosely modeled after the King Street mansion’s front porch. I lie on the wooden floor for a short time.

      Soon, the leader of the pirates opens the front door and steps out onto his porch to see me lying there on my back. Even though I am a part of his group, he seems annoyed to see me and is going to shoot me. He takes out a flintlock rifle and aims at me. I do not really feel like being shot but I do not attempt to escape or even move. Suddenly, another pirate appears behind him on the porch (having just come in from outside) and shoots him in the back of the neck. This other pirate is Charlie Pace (a “Lost” television series character played by Dominic Monaghan). I am grateful and thank him. The rest of the pirates that had been lying on the snow-covered sidewalk enter the porch from outside and look down at the body, seemingly unsure of who the new leader will be.



      This is a typical porch dream of the type I have had all my life. Porches symbolize the waking transition of liminal space and often involve the personified preconscious (here, the pirate leader). The purpose of the preconscious is to initiate waking (or finalize the consciousness shift towards waking), sometimes by “killing” or annoying the fictional dream self (though sometimes linking “return flight” symbolism). Although it is rare to be “killed” in my dreams in a discernible manner, my emergent consciousness was projected as the pirate version of Charlie Pace (though sometimes my emergent consciousness is like an enemy as well depending on the type of waking symbolism that is rendered). (I have not seen an episode of “Lost” in a long time.) There was no direct hypnopompic surge (which probably would have happened had I been “shot”). It was a soft awakening. The very common dream sign of lying down having been “asleep” is present (and I am lying down in the last scene as well), which replaces the usual water induction (although technically snow is frozen water).


      Updated 12-12-2022 at 04:23 PM by 1390

      Tags: pills, pirate, porch, snow
      Categories
      Uncategorized
    12. Being in a Low Budget “Star Wars” Movie

      by , 06-12-2017 at 08:09 AM
      Morning of June 12, 2017. Monday.



      As with many of my dreams throughout my life, this dream is far too long, nonlinear, and surreal to relate cohesively online, though I will attempt to relate some of the main scenes as closely as possible.

      I find myself with the understanding that I am playing Luke Skywalker in a new low-budget “Star Wars” movie. Zsuzsanna is Princess Leia (even though Luke and Leia were brother and sister rather than man and wife). The movie is implied to be along the same lines as the first “Star Wars” movie and I guess is meant to be a cheap remake. A couple other characters are with us, including a skinny version of Chewbacca, with much sparser hair.

      In one scene, we are wading through a pond just outside of a large building, but we eventually enter the building. There is an unknown male near the entrance who is holding people’s credentials until they come back after exploring the building or possibly engaging in recreational activities. One of the unknown people I am with refuses to give the man his identification card and I think there might be some trouble. However, there is no implication of violence. The man instead hands him a small flower on a long stem, or at least that is what he says it is. To me, it looks more like some sort of small plastic rod, perhaps a toy. Still, nothing confrontational occurs.

      After wandering about in the halls, we come to a room that is filled with water of about waist high (and thus must have a sunken floor). There is a giant jellyfish that I have to cut off from around Zsuzsanna and possibly another character. I use a large sharp sword. It takes awhile as I slice through its thick but soft body below the surface of the water. Someone shows me a miniature jellyfish that was just found in the small left pocket (of some sort of blue tunic) of one of our group (though this person must have been killed or vanished). This miniature jellyfish is like another one that apparently turned into the giant jellyfish and had entered his pocket while we waded in the pond outside the front of the building (on the left of the entrance).

      From here, we walk towards the entrance, somehow not at all wet. Somehow, my “sword” is now a fake “lightsaber”, though not really like a lightsaber at all. I am carrying it horizontally in my right hand. It has a pink blade and a blue handle and is more like a giant toy jackknife even though, again, it is supposed to be a “Star Wars” lightsaber of about the same length. I realize that weapons are probably not allowed in the building. I do not want a confrontation, though none occurs as I fold the oversized plastic blade back into the handle. Meanwhile, the character that had taken our credentials stands without emotion near the entrance.

      As we walk outside, I consider how cheap my prop looks. Looking back, I see that the male regards me with respect, and I consider how devoted an actor he is for seemingly feeling comfortable in such an obviously low-budget movie. For a short time, as I walk near a long colonnade, where many unusual characters (some alien, but most humanoid) are lined up to go into the building in the direction behind me to my left, I consider that I may be too old to be Luke Skywalker (who is supposedly meant to be the young version in this film). Still, the movie is being filmed in real time and I will do what I can.

      As we walk along, I see what I firstly associate with a “Star Wars” tauntaun running along towards our direction but to our left in an open featureless field. For some reason, I call it an ostrich, mentioning it to the others. It is not like an ostrich however. It looks more like a giant quail. Another one appears, with an unknown female riding it.

      In the last scene, Big Bird (from “Sesame Street”) appears as a “Star Wars” character. He makes an effort to sit on one of the creatures but I think he might be too big. Still, he manages to sit on it even though it lowers to the ground for a short time, but then seems fine and strong enough to support Big Bird’s weight. I turn to tell the others, “It’s a bird on a bird”.



      Once again, the preconscious (man at the counter collecting credentials) is not only not confrontational but quite respectful compared to past dreams. Still, this is probably because the flight symbol connection is being initiated (even though Big Bird does not really fly and the giant running quail are at least not implied to here either). Big Bird as my emergent consciousness factor relating to suitably being able to sit on the other bird relates to having deliberately lost weight recently. Cutting the giant jellyfish from around other characters possibly relates to me losing weight as well.


    13. Buying Magazines in an Unfamiliar Store

      by , 06-12-2017 at 05:16 AM
      Morning of June 12, 2017. Monday.



      I am walking through an unknown city in a commercial area, where there are a number of small stores to my left as I walk. It seems to be late morning. I seem to be on my own at first. I have an interest in looking around in a store and turn to enter a store I think I recognize. When I walk in though, I see it is a clothing store.

      “Whoops, wrong store,” I say as I soon turn around to leave. Another (unfamiliar) man who had been walking behind me also enters the store and turns around to leave when I do. It is almost as if he had been having the same thought orientation as I had and was simply following me as if I was “leading”, apparently also looking for whatever I am (even though we had not spoken and I am not even sure where I am going).

      I continue to walk, but only a short distance and into another store that has a different type of entrance as the previous. There is a large long checkout counter on my right and an interior wall to my left so that it seems almost like walking through a narrow hall. I continue towards the back and see that it is a large bookstore.

      I see a magazine that I find interest in after first noticing what I take to be an Omni magazine. When I pick it up and look through it, I see that it is a science-fiction comic book (in color) about dinosaurs and a group of men. I decide that I will buy it. I look in my wallet and I am somewhat surprised to find at least two one-hundred-dollar bills, a few fifty-dollar bills, and more. I illogically reason that my mother (who died in real life in 2002) had placed the money in my wallet. I have no memory that she had died even though I assume I am my present age.

      I then see another magazine I want. I look through it and find it interesting. It also has at least one story relating to dinosaurs but is seemingly for older readers as well as being thicker. It is supposed to come with a CD, but I decide I will ask at the checkout if they have it. Our youngest son appears to my right as I decide to buy one more thing. I see a few groups of Casper comic books to my left. There are about four different covers (different issues) in the groups. I ask my son if he wants one and he says yes and points to one in another area to the right, but I already have one I find interesting and inform him that it is also larger. It is a fifty-two pages “giant” edition. He seems happy.

      I go to the checkout and there is an unfamiliar cashier who is a female of perhaps fifty. She has gray hair. I remember to ask about the CD. However, when I look at the magazine, which is wrapped in (transparent) plastic, I see the CD is already there. I tell her that I had thought it would be in a jewel case attached to the cover. She looks at me with wary concern and asks if I had put anything on the CD (such as a computer virus, I assume) and I sarcastically ask her how I could have done that, asking her if I used the cover as a computer. Then I consider that technology might very well allow one to use a magazine cover as a computer, which I talk to her about for a very short time, but nothing negative commences and I remain cheerful.

      As I pay, holding my wallet open and taking out a fifty-dollar bill, I notice an unknown female on my right cheerfully looking at the hundred-dollar bills in my open wallet as I hold it up near the counter. It almost seems as if she never saw one before and, slightly wary, I put my wallet away. It turns out however, that she had not been looking at my wallet or even at me; perhaps something on the counter.



      This dream is a very good example of why dreams are nothing like stories. I am looking through a magazine, planning to ask the cashier where the cover CD is. The magazine is somehow then commercially wrapped, implying it always had been (thus I could not have been looking through it even though I was). I then tell the cashier that I thought it would be in a jewel case, which makes no sense as I said this spontaneously and had really not considered it in this manner. Then the cashier asks if I had “put something” on the CD. Obviously, being wrapped, I could not have, and even if I had, I am buying it, so whatever I might have put on it would only be in my possession and with no problem or concern for others.

      Additionally, my mother died in 2002, yet my son, born in 2007, is with me at his present age. My mother only ever lived in America and would not have had Australian money of such an amount to give me, thus making the setting itself ambiguous by location. Omni magazine stopped publication (in print) in Winter 1995. The Casper comic book, though new, was like one from around 1971. The threads of the fictional dream self always seem completely different each time and from many different timelines and temporary false memories.


    14. The Not-so-great Photographer

      by , 06-11-2017 at 12:11 PM
      Morning of June 11, 2017. Sunday.



      My wife Zsuzsanna and our children as we are now are at a carnival, though curiously, a group of people are in our house at one point (mostly in our lounge room) who are apparently waiting to enter another area. I do not see them as imposers and even consider how there are not that many people around. There is the typical ambiguity of the setting being an unlikely essence of indoors and outdoors at the same time, a common factor of my dreams since early childhood.

      A photographer is present in a few different scenes. He reminds me of Al, the Italian manager of a pawn shop in La Crosse, who I have not seen in nearly twenty-five years.

      Although some of the photographs he takes seem okay, many are very poorly done, often cutting off the person’s face below the nose. I have the strong impression that the photographs he takes that turn out well are the result of random coincidence.

      Zsuzsanna and I sit to the right of an unknown family. I sit to Zsuzsanna’s right. I assume the photographer is going to take a few good photographs of the scene. However, when I look at them later, I see that my face is only visible above the mouth and in one photograph, the one I look at the longest, both my eyes are closed. I show Zsuzsanna and relate my opinion of this photographer as not being very good. I notice in the last photograph, my right eye is closed and my left eye is open.



      The photographer is of course this dream’s personified preconscious. He is not really confrontational here as in many other dreams. The purpose of the personified preconscious is to initiate the waking transition and in some cases, as here, to give evidence that the dreamer is dreaming. The subliminal anticipation of the hypnopompic jerk is only one of several factors in this waking symbolism. The preconscious is more of a biological necessity, though not always personified (for example, is sometimes an animal, sometimes an event or feature of a setting, but always fairly obvious if one understands dreams). The nature of how the preconscious waking factor is rendered, and what character plays the role in a particular dream, sometimes seems completely random. However, looking more deeply, there is usually more than one layer.

      In this case, the photographer is played by a man who worked at a checkout. A checkout is a form of liminal space waking symbolism. (The analogy is that a person is done shopping and ready to return home as akin to leaving the dream state, or “checking out of the dream state”.) This type of hybrid characterization, though always unique, has occurred in thousands of my dreams, with the same waking symbolism and implications.

      It is not that common for me as my personified subconscious (temporary fictional dream self) to be The Sleeper. This element is typically projected as something else, even faulty technology. In the last photograph, one of my eyes is open, which is an emergent consciousness factor. (My mouth is not visible in the photographs as I cannot speak coherently while sleeping.) Zsuzsanna and I are oriented in my dream as we are in bed in reality (that is, she is to my left). There seem to be a few types of instinctual dreaming (non-lucid dream control). In addition to the state where the dreamer knows he is making the dream (and yet does not even remember or know what a dream is), there is the state as here, where the dreamer is more passive to events, yet where there is the subliminal knowledge of being asleep but not direct or creating viable lucidity. There is also a sort of halfway point when I am next to Zsuzsanna, my dream attaining real environmental orientation while still within the dream state (more common and sustained in my childhood dreams).

      Of course, a carnival symbolizes the dream state itself (that is, a place not relevant to the usual day-to-day reality, though my family had been to one recently).


      Updated 09-08-2019 at 04:51 PM by 1390

      Categories
      non-lucid
    15. An Impossible Taxi Ride

      by , 06-11-2017 at 09:49 AM
      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.



      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.


    Page 1 of 2 1 2 LastLast