• Lucid Dreaming - Dream Views




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    Lucid Dreams

    1. Shorncliffe Pier Romance

      by , 12-13-2017 at 11:51 AM
      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.



      • 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.


    2. Chekov

      by , 12-09-2017 at 12:12 PM
      Early Evening of December 9, 2017. Saturday.



      I am sitting in the front seat of a car in an undefined location. There is not much light. The car seems to be parked. Pavel Chekov, as on an early episode of “Star Trek”, is apparently the driver. He is dressed in his Starfleet uniform. (We have not watched “Star Trek” in quite some time and I had not really been thinking about it either.) The driver’s side is on the left, so it is apparently meant to be of an American setting or association.

      There is an implication of speaking, yet no one actually speaks other than the audio I hear seemingly from outside of the scene. I soon view the scene from the front of the car, facing it and seeing myself on the left. The voice, seemingly my voice, says, “Sometimes more, sometimes less”, with only a vague response from Chekov as a slight turn of his head towards me in acknowledgment. He then looks back to his left, seeming somewhat puzzled about where he is. From here, the scene shifts to where it seems I am looking at two 1940s detectives (wearing black suits) sitting in the car in the same orientation and I quickly wake.



      This dream can easily be typified and decoded as “return flight waking symbolism” (most common type) even though RAS and the association with falling or flight is not directly perceived. This is due to the association with Chekov and his role in the television series. He is a passive form of the precursory preconscious.

      The shift to the offset dream is based on the liminal space cessation trigger, which is that which causes the dream self to subliminally (depending on the level of lucidity if extant) ponder the nature of being between sleeping and waking. This is what “sometimes more, sometimes less” means, relating to the level of awareness during the waking transition and likely also a reference to the degree of lucidity. The detectives “replacing” us relates directly to the puzzling state of liminal space and the implied “mystery” of being unconscious without fully realizing it (though I am semi-lucid here, probably about 50% lucid towards the offset scene).


      Categories
      lucid
    3. Hydra-Window

      by , 12-08-2017 at 09:07 AM
      Morning of January 13, 2008. Sunday.



      This dream occurred (past midnight from January 12) after having fallen asleep while sitting in a chair on our porch, though it is slightly longer than the typical mircodream.



      My dream involves looking into a dark void or featureless area in a mostly unlit space (not necessarily outer space as it does not otherwise seem that expansive). I focus on a floating window, perceived as being on the opposite side of an unseen or undefined room. Atop the window, on the wooden frame, each snake having grown out of the window frame and still connected to it from about half its body length, are nine snake-like “necks” with heads, otherwise realistically rendered in their detail. They move about randomly (mostly remaining vertically oriented). I do not feel threatened or alarmed; only puzzled and curious (especially as I am viably lucid and watching it as I would a three-dimensional television, thus I could not hold any fear or sense of threat anyway). Besides, my physicality is not defined as being within the same space as this window. Even though there is no apparent light source, the surreal imagery is well-defined. The window has nine panes (three by three).



      This is only odd composite waking symbolism to alert me to the fact that I had fallen asleep in my chair. The implied void simply represents my lack of discernment of my real physical body. A snake is the primary (and oldest) waking trigger of RAS (reticular activating system). A window also often represents the waking point of the dream state (while a breaking window symbolizes the cessation of the illusion of the dream state, and although this window does not break, it does move back into the distance with no perception of me moving). In this case, it is more as if I am looking into the dream state than from within it (an aspect of which people who believe in “dream interpretation”, in the inexperienced pop culture sense, either miss or completely ignore despite the fundamental difference).

      The reason why there are nine snakes matching nine window panes may only be a factor of multiplicity as relating to expansion of neural energies in the waking stage (though number nine does have a personal meaning for me).

      The probable reason why the snakes are perceived as growing out of the top of the window frame (rather than for example, snakes near a window in a more natural scene) can just come down to the coalescence factor of waking symbolism.



      Please note that a snake may sometimes have other meanings than just the RAS trigger as a waking alert. It depends on the dream and how the snake is rendered. Some common additional meanings are intestinal issues, frayed electrical cord hazard, umbilical cord (as in wishing to be free of a parent), an arm in a problematic position while sleeping, and so on.


      Tags: snakes, window
      Categories
      lucid , nightmare
    4. A Near Mystere

      by , 12-07-2017 at 07:59 PM
      Night of December 6, 2017. Wednesday.



      Fading into semi-lucidity after typical hypnagogic lucidity, I go beyond a stream surrounded by rock faces into an open area. This shifts into an idea to manifest a perfect combination of sensuality and eeriness. I decide to integrate Zsuzsanna into the role of Mary Medina as in the Grimm Fairy Tales 2017 Halloween Special, but I mostly let it flow on its own without in-dream control (by way of spoken affirmations by my dream self as in some apex lucidity states). There is a sustained event with an incompetent makeup artist. Zsuzsanna ends up with only white face paint on her forehead. This scene seems to repeat after a reset.

      Although some of the setting looks somewhat like a sketchy version of New Orleans, some of the buildings appear as if they are cardboard facades about a block or two away. I ignore this feature and focus on intensifying the nature of my dream. Ghosts wander about, but there is not much eeriness or plot.

      The outcome is in a large dining room. About seven ghosts (in Victorian clothes) play Musical Chairs with six gold chairs with red velvet seats and backs. As they are ghosts, there can be no winners or losers as they just phase into and out of each other when trying to sit and stay on the chairs (and for example, two taking up the same space on the same chair). This scenario is so amusing, it pulls me out of the dream state with an almost audible laugh.


    5. The Culling of the Kraits

      by , 11-25-2017 at 01:26 PM
      Afternoon of November 25, 2017. Saturday.



      My beautiful wife Zsuzsanna and our children and I are living in a trailer in a trailer park in an unknown location. It is mostly in a field of low grass and not many land features, not even a discernible city in any direction, though there does seem to be a road in the distance. Thus, the only extant conscious self threads are of my present marriage status and nothing else, not even a focus on what country I am in, yet with my dream self (personified subconscious) ridiculously accepting the setting as legitimate (even though our large family could certainly not fit in a trailer).

      After some brief generic activities with my family, I step outside the trailer and notice a Belize guerrilla grinning at me and holding a rifle diagonally across his chest. He is standing about ten feet away from the trailer’s entrance.

      While all the other members of my family are still in the trailer, I lift my hands into the air while I am standing just outside the doorway, indicating my submission but only mild surprise.

      However, the guerrilla, an unfamiliar male of about thirty, points down at an area of ground with his rifle. I notice no less than twenty dead kraits in a cluster, the outer perimeter of the cluster being less dense with krait bodies in various curvy positions.

      Apparently, he has done us a big favor in having killed the surprising number of snakes, now strewn about lifeless on the ground near an isolated cluster of rocks to his left (my right). Lucidity comes in at only the last second prior to waking and I immediately recognize this common component and its core meaning.



      In approaching this dream with truth and understanding over superstition and the fallacy of “interpretation”, it is seen to be very basic. Some very basic knowledge about dreams is required; one, that this is an isolated dream during an afternoon nap, of which has entirely different symbolism than dreams of other time periods or during longer sleeping periods (due to the nature of circadian rhythms having the strongest influence over the dream state); two, that it was during a very light sleep with minimal REM; three, that this dream type is basically of waking symbolism only, with no relationship to real life.

      The personified preconscious (the Belize guerrilla - based on an unconscious confusion of Punta Gorda, Belize with my birthplace of Punta Gorda, Florida), typically linked to the reticular activating system (RAS) actually subdued it rather than augmented its dynamics. This is because RAS symbolism is only needed in extended sleep. My brief thread of lucidity is all it took to transmute the preconscious into the emergent consciousness. When one is ready to wake (especially during a lighter and shorter sleep), there is no need for aggressive preconscious mediation.

      A snake is the very epitome of RAS due to its “primal fear” status in the majority and bound to be the most inherent waking alert in many imaginary dream environments, yet many people persist in pointlessly bumbling along with imaginary “interpretations”. Being the oldest waking mechanism (other than the falling sensation linked to inner ear dynamics based on the shift in unconsciousness to consciousness), it is apparently even the origin of the Christian myth with the serpent (RAS) in the Tree of Knowledge (human brain in unconsciousness).


      Categories
      lucid , non-lucid
    6. White Moth (and Shopping Cart)

      by , 11-24-2017 at 09:05 AM
      Night of November 23, 2017. Thursday.



      I am near full lucidity and aware of my conscious self identity. I find myself in a parking lot at nighttime. A shopping cart is moving in front of me. Although I am implied to be pushing it, I seem incorporeal.

      A white moth seems to fly from the front of the shopping cart. It rises in the air about three feet in front of the shopping cart before I awake with a lighter hypnopompic kick.



      This dream is a typical though interesting example of the type in which the symbolism and its inherent meaning is solely premonitory of the hypnopompic kick during the waking transition, and as such, is unrelated to waking life or so-called “interpretation”. Self-contained biologically premonitory dreams of this common type often utilize a flight symbol as here. This is because of the nature of inner ear dynamics and the ascending reticular activating system. (When one is unconscious, one does not usually viably perceive one’s real physical body, which often creates a sense of floating, falling, or associations with flight.)

      The parking lot represents the transitional state between dreaming and waking and is usually unrelated to conscious self factors.

      The white moth, inherently a natural biological symbol rather than an “interpretable” feature, relates to the circadian rhythms of the sleep cycle in three different ways. One, its whiteness is associated with the moon and sleeping at night (especially as it is airborne as an analogy to the moon being in the sky). Two, its nocturnal nature (most moths, but not all, are nocturnal) is also relevant to sleeping at night and being in the dream state during a specific time in the sleep cycle. Three, the flight symbol aspect has already been explained in the third paragraph above. This type of dream occurs at least once during every normal sleeping period (and has for over fifty years), though more often involves walking through a city at night and tripping over the curb and “falling”, also directly biologically premonitory of the hypnopompic kick or waking start, as well as spontaneous muscle tension and release, and unrelated to real life.

      As fully explained in numerous past entries, the hypnopompic waking mechanism (waking start) and its biologically premonitory dream-related events leading up to it by way of the waking transition (and the ascending reticular activating system) are more vivid and intense when I have done a lot more walking prior to sleep, which proves that this dream’s symbolism is based on biology and anticipation of waking, not some sort of nebulous occult “symbolism” as found in so-called dream dictionaries or other nonsensical publications.

      The shopping cart’s appearance is a literal remnant (though its perceived movement symbolizes the real-time waking shift during unconsciousness), not an “interpretable” feature, similar to a bed as a literal dream state indicator (as is being undressed in public as one does not typically wear clothes to bed), as I had been pushing a shopping cart around for about two hours prior to going to bed. In fact, walking a lot while pushing the shopping cart is why this dream’s symbolism is as it is concerning the specific nature of the hypnopompic waking start and the spontaneous release of muscle tension in unconsciousness.

      This dream lacks the personified preconscious common to other dream types. As the hypnopompic waking start is the waking mechanism (and as a result has more energies linked to the physical body), a personified preconscious is not needed to initiate waking (for example, from such as imaginary conflict, perceived “intrusion”, or being chased by the preconscious waking function). Also, when lucid, the dream self obviously takes on more threads of the conscious self identity, thus is already closer to viable consciousness.

      This dream renders and utilizes “exit flight waking symbolism” in incidental contrast to “return flight waking symbolism” (both very common types of waking symbolism) as in dreams such as “Kite or Bird? Self-Breaking Window?” from November 9, 2016 (though there are thousands more in my personal database). There seems to be no difference other than the factors of circadian rhythms dynamics, that is, the white moth flying away from me symbolizes associations with nighttime becoming more dominant in my semi-conscious state and the dream self to continue to sleep and experience additional dreams, while in the other dream, the white bird flying towards me is more about the cessation of the dream state (and its coalescence “back” into the unconscious) towards morning, especially regarding the window-breaking symbolism (the increase of neural energies eliminating the illusion of the dream state), the bird related to the “return” of my conscious self identity in that case (and despite the fact that some birds hunt at night, a bird of that appearance is more associated with daytime). Such symbolism has been inherent to my dreaming history since early childhood in the same context but usually with unique scenarios and elements. I am fully familiar with its meaning and virtually infinite variations and have zero interest in the popular fallacy of “interpretation”.


    7. Usual Induction; Atypical “Snowmocopter” Waking Transition

      by , 10-31-2017 at 01:40 PM
      Morning of October 31, 2017. Tuesday.



      The dream state induction symbolism here is water flowing in (most common). The waking transition symbolism here is water lowering over time and “return flight” waking symbolism (most common; over twenty percent of regular dreams and about ninety percent of all dreams). Dream state induction symbolism and waking transition symbolism are inherent to the dream state itself based on the real-time dynamics of going to sleep, being unconscious, and waking, and is unrelated to real life or the inventive untruthfulness of “interpretation”. These forms of induction and waking transition factors have occurred at least once per day for over fifty years. The water induction and reduction is biologically based on the glymphatic system and the flight-related symbolism is based on the reticular activating system (RAS) and inner ear dynamics during sleep (especially as a factor relating to the fictitious dream body as being upright while the real physical body is lying down, which is what causes most falling dreams and is unrelated to the deception of “interpretation” or cruelly fabricated “meaning” to negate someone’s livelihood under the oppression of disinformation - in fact, if you watch a baby sleeping and a noise occurs in some cases when they are in the dream state or when air blows on them, especially their face, they will throw up their arms and automatically briefly maintain a falling position - not to mention the common term “falling asleep” - how could people miss this?).



      Stepping into a beach scene in late afternoon (a very common lucid entry simply because I like the beauty of the ocean and the liminal space of the beach, which symbolizes the state between dreaming and waking), a young version of Zsuzsanna in black lingerie approaches on a black horse. The essence of beauty increases and is appreciated. Zsuzsanna is with me in an extended love-making scene. My lucidity decreases to semi-lucidity though my conscious self identity remains intact. Sexuality symbolizes…wait for it…sexuality (oh snap), at least in lucid and semi-lucid dreams, because, well, that is what I unconsciously will via conscious self identity (it is not rocket science).

      Over time, after indulging in sensuality for seemingly a long time, the usual water lowering event as a waking precursor “timer” (common since around age four) commences. (Among other analogies, this directly represents the tidal analogy of the glymphatic system.)

      We have somehow teleported, while on our sides, to a field of knee-high grass adjacent to the beach we had just been on. In the distance, I see a red combine harvester approaching, but not that close to our location. “Oh-oh,” I say, but with somewhat of a comedic mocking of the semi-lucid dream content.

      A change occurs where some of the ocean water nearest the beach is topped with ice. I see what I think is a helicopter and I assume it is the flight symbolism (end marker) out of my dream. Instead, my dream does not decay but transitions to being slightly more vivid again. “It’s a snowmocopter,” I say, noticing that it is actually a snowmobile (though was a helicopter that changed into the snowmobile).

      I sit down on the snowmobile and do some sort of kick start maneuver with my left foot as if I was on a motorcycle. As I am doing this, the preconscious (as an unfamiliar young male) sneaks up from behind me. Some sort of strange teleportation occurs again, and I am standing and watching the preconscious on the snowmobile (as I am standing on the left of the snowmobile), and he is now trying to start it. “Well, that thing ain’t gonna fly,” I say, as he looks amused, as I laugh myself awake.


    8. Batwing Doors

      by , 10-22-2017 at 04:22 PM
      Morning of October 22, 2017. Sunday.



      In the last segment of an otherwise sensual dream of the usual daily sequences, I am aware of Zsuzsanna eventually standing directly behind fancy batwing doors, inside the building we had made love in, as I am now on a public footpath. The batwing doors actually seem to have the evenly divided silhouette of a bat at the top as well as stained glass panels very similar to the Barolin Street house windows. The setting seems to be a three-storey hotel of an 1800s style, though there is not a clear essence of being in the distant past. There is a vague association with Brooklyn, though the location is otherwise unknown. She is wearing an old-fashioned but very fancy red corset. She is also wearing a black cowgirl hat with at least four diamonds horizontally across the front. She seems very cheerful.

      Even though I am not fully lucid at this point, probably just on the threshold of active lucidity (and my conscious self identity is mostly present), I still start to vaguely reflect upon the waking symbolism elements though not fully in recalling what a dream is (a common ambiguity that cannot be resolved in conscious afterthought). I recognize the doorway waking symbolism (a doorway symbolizing the exit point of a dream) and consider the flight symbol element (the “bat wings”). Red is usually the last color (or dominating color) seen prior to waking, though usually only when I have been sleeping a bit too long. The cowgirl hat with diamonds symbolizes the activation of the emergent consciousness factor. Just as I start thinking about “lights on” or “lights off” without fully realizing what I am contemplating, I wake.



      Despite my dreams usually having the same core symbolism since early childhood, they are intriguingly rendered in a virtually infinite number of combinations. For example, I can easily compare this dream with “A Bat Not a Mistletoe” (from December 2012) where, instead of the doorway waking symbolism utilizing sensuality and batwing doors, what was believed to be a mistletoe turns out to be a rubber bat nailed directly above a regular doorway.

      Both dreams redundantly synthesized the “return flight” element (that is, return flight waking symbolism, a factor of over one in five of my dreams since early childhood) with doorway waking symbolism. The flight element in both dreams is static and artificial (divided wooden bat silhouette in this dream and rubber bat in the 2012 dream), which relates to anticipatory knowledge of the waking transition as of the involuntary abdominal movement in waking rather than my more common back spasm waking event. Dreams are biologically self-premonitory this way, though the (ascending) reticular activating system (RAS) does sometimes seem a vessel for control in some cases, which I have experimented with at times since early childhood, but with usually unpredictable results, with the problematic ambiguous nature of triggering it just by thinking of it, the aspects very similar to trying to control the dynamics of a sneeze.


    9. Strange Feline Visitor (doorway waking symbolism)

      by , 10-15-2017 at 08:11 PM
      Morning of September 13, 2012. Thursday.



      I become lucid in a slow entry transition (the usual lucid and willfully manipulated hypnagogia after making love in real life) and our bedroom takes on different features.

      Of course, there is still the residual energy of wanting more intimacy and sustained harmony. Zsuzsanna and I eat strawberries (on a small yellow plate) at one point.

      After our romance and intimacy, I am somewhat in a non-lucid state now. I become puzzled, more over my decreasing level of awareness (but which vivifies in the last scene) than by the fact our bedroom is rendered with the wrong layout (not directly linked to the lounge room and kitchen as it is in real life). The paint on the horizontal wall boards is peeling (yet it was not before) which I vaguely recall means that my dream is beginning to ebb, yet my lucidity is no longer viable.

      I feel an urge to see if the door is open and it is. I approach the doorway. There is nothing visible beyond. I feel puzzled by an anticipatory mood emerging from within me.

      The Cat in the Hat’s hat appears in the doorway, though with no cat. It floats in the air, tips slightly forward and I feel amused, waking with cheerfulness and humor.



      This dream has the usual dynamics as have been in the same sequential components (through tens of thousands of dreams) since early childhood, though I have grown to appreciate, enjoy, and greatly respect how the nuances are always slightly different.

      Firstly, it is doorway waking symbolism, where a doorway is rendered as the dream’s implied exit point as an emergent consciousness factor (sometimes triggered by real-life environmental noise but not always, as the reticular activating system often uses the memory of a door knock or door-opening sound to activate waking, though no door knock occurs in this case).

      Secondly, the sense of puzzlement is what causes the stovepipe hat to be rendered. Although “The Skunk” is an early childhood dream from 1965, it has very similar dynamics, where the white part of the skunk formed a question mark when I entered the higher liminal space of unconsciousness while becoming closer to consciousness (and also ends with doorway waking symbolism). Stovepipe hats represent the emergent consciousness and the concept is related to “put on your thinking cap” as analogous to waking from the dream state (emergence of thinking skills which the non-lucid dream self does not possess). They have featured as such in a number of my dreams since childhood.

      Finally, the essence of a cat is linked but not fully. Depending on the dream of course, cats often serve as a liminal space symbol. This is mainly because of my childhood association of a cat sitting on a fence, a fence being the division between unconsciousness and emerging consciousness.


    10. Cell Phone Flashlight

      by , 10-01-2017 at 01:50 PM
      Night of September 30, 2017. Saturday.



      I am sitting on our couch in the darkness in our lounge room in our present home. I am on the right side of our couch facing the north end of our lounge room.

      I feel very peaceful and in a state of well-being and bliss. I soon become aware that our oldest son has come out of his room (from our lounge room’s access door on the west of his room). He has a pale yellow cell phone with a flashlight beam coming out of the top edge of it (not an item he has in real life). He moves it around, mainly in a horizontal semicircle from his right to his left, as if searching for something or someone, apparently me. He seems very cheerful though about five years younger than he presently is (though my dream self does not consider this distortion as such). I quickly wake as a result of RAS (reticular activating system, which is what biologically controls the dream state dynamics and inherent waking symbolism), still feeling very peaceful, calm, and happy.



      I had this longer microdream while actually sitting on our couch (same position and orientation as my dream) after the power had been out this evening for over an hour (the result of a regional blackout). I was so relaxed sitting in the darkness that I slipped into a microdream within a few minutes upon sitting down on our couch (which usually only happens as I am watching television). Our son carrying the flashlight “looking for me” was simply the biological RAS activation (otherwise typified as “searchlight waking symbolism” of the passive and positive kind). The emergent consciousness factor was quite brief and the preconscious dynamic was non-aggressive as this was not a dream of a longer sleeping period. (In actuality, our youngest son had used a flashlight but not on me during the period of my dream.) The cell phone feature is present due to RAS mediating consciousness (as a type of communication with the transient fictional dream self).

      The strictly biological RAS “searchlight effect” has occurred in hundreds of dreams since early childhood, including in documented dreams online such as “Steering Clear of a Laser Tracking Weapon” from 2013, “Spacecraft in the Alley” from 1997, “Not Exactly the Three Musketeers” from 1988, “Laser-Eyed Alligator” from 1979, “The Beam” from 1977, and a number of other dreams.

      For the majority of people who have no understanding of dreams, it may be important to address why this biological RAS activation is different in this case from other dreams that utilize the same basic waking symbolism (the dawning consciousness metaphor), for example, how does this dream differ from “Laser-Eyed Alligator” or other dreams of the same type?

      The most obvious difference here is, I expected and wanted the power to come back on. In “Laser-Eyed Alligator” and “Steering Clear of a Laser Tracking Weapon”, my dream self, at a subliminal level, did not want to wake yet. This is what RAS and the transpersonal preconscious are for. It is not rocket science unless one is superstitious and clueless.



      On a side note, I talked with my lovely wife Zsuzsanna tonight about a possibility of perhaps editing and resupplementing all 4,000 or so of my dream journal entries presently on the Internet to make them more “idiot-proof”. Alas, this seems next to impossible. No matter how much clarity and accuracy I include in some of my entries, based on over fifty years of experience, there are people who do not get dreams at all (or of whom are of the unfortunate mentality to believe in “dream interpretation” in the various superstitious or pseudo-psychological ways the term is misused). There always seems to be one person (usually a male with obvious personal issues) who somehow feels the need to contradict the obvious or add to my post in various ways. I am stating that here just in case such a comment appears on an entry.


      Categories
      lucid
    11. Total Freedom in Lucid Dreaming

      by , 09-19-2017 at 08:58 AM
      Morning of September 19, 2017. Tuesday.



      In the first part of my dream, in the first non-lucid segment, I am in a typical scenario where I am in a bookstore (or what is firstly perceived as one) and looking at various comic books and graphic novels. This goes on for a long time as I gather a stack together to keep. The books are unfamiliar, thus new to me, though some are implied to be older (as far back as the 1970s).

      At this stage, the personified preconscious is present as a younger unfamiliar male. Curiously, he is painting, as if there was also an art studio here. It is not much bigger than A4 size and lying on the table that I am sitting at eventually. It seems to be a landscape with flowers in the foreground.

      I tell him how I had painted, with a paint-by-number kit when I was a boy, two skulls. I explain how they were two singular portraits of skeletal pirates, shown from about the chest up. (This is based on a real-life event and thus atypically, is a real memory.) He said he had never heard of them. “Oh, they were quite popular,” I reply. I then go on to describe how my older brother Earl had started a very large paint-by-number of the Mona Lisa, but had never finished. (This was also a real event, from the early 1970s.)

      Eventually, I decide to walk out of what now seems like a second-hand store. I have a stack of graphic novels and comic books at least a foot high. However, it seems confused with the free bookstore, where (in real life) there is no one present other than the patrons and one is trusted to trade books of equal value on their own. A cashier, an older unfamiliar female, stops me by asking what I am doing. She is at a counter to my right. Apparently, I have to pay for the books, possibly a lot of money, which I do not have on me, which I tell her. I also protest in that I tell her I had left food on a previous visit. It does not seem to matter to her. I still apparently have to pay for these books now.

      I take out my wallet and the contents of my right pants pocket and see that I have only coins, which I place on the counter, which has now suddenly shifted to the opposite side of the room and farther back from the entrance of the store - a subliminally willed (non-lucid, though known as subliminal lucidity in my lifelong journal) attempt at reinduction, that is, I had consciously but subliminally willed the counter back from my dream’s implied exit point as well as shifting it from the right to the left, as right is more typical of waking symbolism orientation. (The checkout of a store symbolizes a specific level of emergent consciousness as a common liminal space end marker in my dreams, fully understood as such since I was very young. This does not mean every dream ends shortly after a checkout is rendered, but it does indicate a precursor to an expected shift in consciousness, not necessarily full wakefulness, though that is often the case).

      The preconscious factors had transmuted from the artist (which symbolizes potential lucidity, though my non-lucid dream self does not realize this) to the elderly female cashier, though an unfamiliar male with a beard joins her on her right (the same orientation Zsuzsanna and I are presently sleeping in). The other male looks at my coins. Three of them are unusual in that they are mostly featureless other than having an embossed circle on them. “These are tally-hoes,” he says. This seems to mean that they may not be coins for buying something but possibly for use with public transport, or perhaps of little value. (Of course, “Tally-ho”, here an absentminded association with tallying up the total price as in “tally whole cost”, is here also a codeword for the waking transition analogous as the dream self hunting for the fox, which represents the precursor to coalescence back into conscious self identity and critical thinking skills or cleverness which the dream self does not typically possess.)

      From here, my state of subliminal lucidity increments slightly. I decide to leave the store with the books anyway, by teleporting and phasing through the entrance door without opening it (another form of subliminal reinduction, that is, even though I do not know I am dreaming, I deliberately manipulate it, a very common state of in-dream awareness for me).

      Still, they are heavy to carry, but I do not mind that much. It seems to be late at night. I notice that the moon is of an unusual appearance as a number of unusual clouds encircle it. The moon imagery is within the blue sky even though the rest of the sky is dark. Understanding that this image of the nighttime sky is absurd, I now become fully lucid, which means my dream is consciously mine to change and sustain in any way I want.

      The first act I perform is to joyfully throw my books onto the ground, as there is no sense in carrying them (or to be weighed down by them) in the dream state. I feel physically lighter and very happy to realize I am dreaming due to lifelong understanding of taking full conscious self advantage of this state. I enter apex lucidity and decide to create a park and have a sustained and augmented sexual encounter with Zsuzsanna. After this, I will it again. Parts of my body are “buzzing” with pleasure and our climaxes are extended (probably due to the Tetris effect from so many real-life events). However, I eventually shift into a different form of lucidity, where my dream is so realistic, that my dream self starts to question if my real physical body is somehow walking around (which of course is a ridiculous thought, but this has happened in past lucid dreams of a higher and sustained form), so I decide to initiate waking to find that I (that is, my sleeping physical body) had not moved at all. Still, there is something about the bliss, freedom, and even perceived safety of apex lucidity that is hard to describe.


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      lucid
    12. Return to the Tree of Opossums

      by , 08-30-2017 at 08:35 PM
      Night of August 29, 2017. Tuesday.



      As a very young child, an intriguing recurring dream, some of which versions were lucid, involved walking down a zigzagging path. It usually seemed to be late at night or very early in the morning before dawn. I would notice a splendorous tree. I would also notice, within the foliage of that tree, eerie glowing eyes.

      The eyes did not seem threatening, though I was aware they were watching me. These states were very vivid. These animals were eventually revealed to be opossums.

      In this new dream, I “return” to this tree and some sort of analogy begins. The tree is shown to represent the human brain, while the glowing eyes represent the energy of neurons presumably while in the dream state. For some reason, it seems a perfect analogy.



      One of the several reasons why “opossum” became a part of my dream-self identity, tribal name, and online dream journalist name, was because of these vivid childhood dreams and the fact that an opossum is a perfect symbol for being in the dream state (as an opossum “plays dead” as an analogy of being asleep - not meant in a negative context).



      Zsuzsanna had a pet Australian opossum when I first made contact with her. This was one of thousands of details that validated our inherent connections to each other long before we met. (She also drew an opossum in a tree as a child with an airplane flying over it, and of course, I flew in an airplane to Australia.) My life has remained miraculous and Zsuzsanna is the only person near my age I can sense as being “there” at all (through the blue flame or Blue Pearl “telepathy”, for lack of a better word).


      Categories
      lucid
    13. The Incredible Shrinking Dreamer (microdream)

      by , 07-27-2017 at 12:52 PM
      Early evening of July 27, 2017. Thursday.



      I enter my dream self’s imaginary physical body and find myself running. I am Grant Williams as Scott Carey in the 1957 movie “The Incredible Shrinking Man”. I am running over the top of a series of cardboard boxes on about the fourth shelf up of a metal utility shelving unit. I am probably about four inches tall. I do not seem to be running because of a threat, just running along.

      My wife Zsuzsanna, though appearing somewhat like a 1950s actress, is running behind me, though to my left. There is a heightened sense of energy.

      Soon, I see the scene from an incorporeal viewpoint from the front of the shelving unit. “We” are running from left to right. Grant Williams as Scott Carey as “me”, running now at an angle, runs straight off the cardboard box from off the front of the shelf, and falls to the floor onto his right side and kicks. At the same time, I experience a mild hypnopompic kick and soft upper back spasm as I realize that the residual imagery reflects my sleeping position exactly. (At this point, I am looking straight down at my body’s position.)



      • This short dream occurred at about 5:30 pm AEST during a nap. My wife Zsuzsanna was in bed with me at the time.
      • Zsuzsanna was behind me to my left because she was to my left in bed, and behind me because I was closer to waking.
      • Falling in a dream usually has no meaning other than being a spontaneous biological waking mechanism (though it occasionally serves as induction). This waking mechanism occurs about twice a day (not counting even shorter microdreams than this), though only at the beginning of a sleep cycle or nap. The association with mortality is far more common in microdreams, which usually only occur while I am watching television (though in this case, at the beginning of a nap at an atypical time, while the television was on in the adjacent room, though I was not facing it).
      • My dream obviously foreshadows the involuntary waking dynamics of muscle tension and release. (Many dreams have threads that are biologically premonitory if you know what to look for.) I am running in this case because my neural activity is not slow enough for more relaxed napping at this specific time.
      • “On the shelf” is dreaming symbolism that is analogous to being in bed.
      • The only element of this dream that is not immediately decodable is the rendering of an implied though fictional scene from “The Incredible Shrinking Man”. This is a precursory marker. This dream was on July 27th and Grant Williams died on July 28th, 1985.


    14. Monkey Resurrection Near a Miniature Tiki Totem Pole

      by , 07-21-2017 at 07:33 AM
      Morning of July 21, 2017. Friday.



      In my last dream of this date, I enter a vivid scene, looking down at two features. There is a small monkey on the left and a miniature wooden Tiki totem pole on the right, both implied to be about the same height but in horizontal positions on an unknown surface.

      At first, I assume the monkey has died. However, in the last moments prior to waking, there is a loud “hoo hoo ha ha” sound as the monkey moves his head, firstly looking at the totem pole on his left, appearing to be slightly puzzled, and then rolling to his left side (towards the totem pole). The implied monkey sound echoes out of the residual essence of my dream as I then instinctively make the same movements as the monkey and roll to my left side to become more comfortable (as I was having lower back pain while sleeping on my back, which I do not do very often due to occasional situational apnea).



      Note that in this case, both the monkey and totem pole are lying down as “in bed” (a first-level dream sign, that is, a real-time indicator of being asleep and in the dream state). The orientation of the two features is the same as Zsuzsanna and I as we are sleeping, assuming the resurrected monkey represents my waking and turning over as I perceived it was. Note that the totem pole does not move or come to life, which indicates that my dream self was aware that Zsuzsanna was still asleep while I was waking.



      Why dream of a monkey? I associate a monkey with “climbing up” from the dream state as well as relating it to the evolutionary chart that supposedly shows the stages of primates evolving into modern man (analogous to the transient dream self "evolving” into whole conscious self identity). Additionally, I sometimes associate a small monkey with a bellhop, and as such, would be a redundant layer for the precursor to waking, as a bellhop often carries luggage upstairs in a hotel (“going upstairs” being waking symbolism). I also sometimes associate a small monkey as in service to an organ-grinder, which would be analogous to “getting attention” as a coalescence factor (another form of waking symbolism), particularly as it holds a cup for collecting coins (associated with the “change” of the dream self into the conscious self or “making sense/cents of” the otherwise puzzling dreaming or waking stages).

      Why dream of an animal coming back to life? An animal coming back to life in a dream is often obvious waking symbolism (depending on the sequencing dynamics). The conscious self identity is often inactive in non-lucid dreams and as such, is sometimes rendered as a dead or sleeping animal (though there does not seem to be any inherent reason for this other than perhaps still being tired in the last stage of sleep or with physical pain in some cases).

      Why dream of resurrection? Threads of the emergent consciousness become more active in the waking transition. Therefore, it is an indicator of increasing neural activity in REM sleep (ventral stream of the visual association cortex - the region of the brain involved in analysis of visual shapes).

      Why dream of a totem pole? A totem pole could be a real-time circadian rhythms indicator (that is, relative to the particular stage of sleeping and dreaming one is in, as some totem poles show different levels or “stages”, including more than one face or emotion). A totem pole or statue coming to life would be a real-time emergent consciousness indicator as waking symbolism (depending on the sequencing dynamics). In some cases, if not moving, it could be a real-time indicator of one’s partner (or possibly a relative) being asleep (in non-REM) within the range of potential contact; physical, mentally associative, or spiritual. A totem pole has also been validated to represent a desire for healing while sleeping. A totem pole that features wings would be additional waking symbolism relevant to the “return flight” (return to whole consciousness) metaphor.


      Categories
      lucid
    15. 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
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