• Lucid Dreaming - Dream Views




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    1. Being Wrong in a “Nights in White Satin” Argument

      by , 12-07-2017 at 08:46 AM
      Morning of November 2, 2016. Wednesday.



      In my dream, I find myself in an unfamiliar room in an unknown setting that has the appearance of an efficiency apartment (though my dream self does not perceive it as unfamiliar). Dennis (older half-brother on my mother’s side, of whom I have not seen in real life since 1994) is present but appears as he did in the 1970s. There is also an unknown and unfamiliar male present of about Dennis’s age, presumed (by my dream self) to be either his visiting friend or flatmate. However, it remains uncertain if my dream is otherwise implying the apartment to be mine.

      Dennis and I enter into an argument when I play “Nights in White Satin” (a song by the Moody Blues) on a cassette player that sits atop a low-set chest of drawers that faces the foot of the bed, though more to the right. Dennis says it is not the original version. I tell him and the other male that they must have only heard later shortened versions. One point made is that Dennis says there are no helicopter sounds in the original version. I tell him that he is wrong. (However, I am thinking of the movie “Apocalypse Now” and the “Ride of the Valkyries” score and somehow confusing it with “Nights in White Satin”, though the similarity between these two recordings is otherwise minimal.)

      I am able to sarcastically, with amusement, vocalize the background motif in inverse (that is, with the staff flipped upside-down so that any sequence of increasingly higher notes go down in pitch and decreasing notes go higher in pitch). I am fully aware of how it would sound as such. The other two look on, seeming annoyed, as I repeat that this is the correct version while implying they may have heard the inverted one. I awake with a sense of joy and an instant recognition of my dream’s meaning.



      Decoding template follows:

      • Dream type and explanation: This dream uses “return flight waking symbolism”, which is created when the physicality of the conscious self identity is ambiguously perceived prior to the RAS (reticular activating system) neural gating that regulates the sleep-wake transition. Consequently, the dream self identity subliminally anticipates falling, rising, sustained flight, or other illusory movement based on the misperception of the vestibular system’s equilibrium dynamics.
      • Dream state induction type: Transmutation of our bed as a subliminal dream state indicator, created as a result of the subliminal memory of being asleep.
      • Dream state indicators: The bed and the song “Nights in White Satin”.
      • Liminal space symbol: The beach (unseen yet implied), which represents the neural space between sleeping and waking. The relationship to the flight symbol is that the helicopters (in the movie) fly towards the beach and over land from the water (water of which symbolizes sleep and the circadian rhythms dynamics of the dream state and the glymphatic system).
      • Preconscious factor: My dream self is already in the emergent consciousness role, which is validated by my subliminal recognition of both dream state indicators. It is otherwise the preconscious that is dominant over the dream self to initiate waking.
      • Interconsciousness factor: The unknown male in the background of whose presence does not otherwise trigger a known dream state component.
      • Liminal space cessation trigger: The line “Just what the truth is, I can’t say anymore” from “Nights in White Satin”. The liminal space cessation trigger is that which begins to break the illusion of the dream state, sometimes symbolized by a jigsaw puzzle or a breaking window.
      • Flight symbol to dream exit point (symbolic waking transition): The (unseen) helicopter as “returning” me to my bed, symbolized in my dream by the unfamiliar bed of the efficiency apartment. (Note that I sit on the foot of the bed, right side, just as I do with my real bed in waking life.) The helicopter rotor system symbolizes kinocilia in the same way as a tornado in the dream state. (However, at a spiritual level, for those who follow the path, it also represents the Merkaba as a tornado also does.)
      • Waking symbolism is typically oriented to the right, which is the location of the cassette player as perceived from the bed.


    2. Hierarchy Artifacts

      by , 09-25-2017 at 10:28 AM
      Morning of September 25, 2017. Monday.



      In my dream, I find myself with a personified version of the preconscious that I created in the 1980s. Although this form is active every now and then, like most forms of the preconscious, there is typically no connection to waking life or the pretense of “interpretation”.

      This male in my dream as the role of the RAS (reticular activating system), which is what biologically controls the waking transition and its symbolism between consciousness and unconsciousness, is of the “Hierarchy”, a term I created in the 1980s for the nature of the dream state and its various core components and real-time symbolism including circadian rhythms symbolism. Its inherent waking symbolism is of a necessarily biological authority, unrelated to waking life. (Dream symbolism is more about the nature of being unconscious than being awake, kind of a no-brainer really, yet most of society presently completely ignores this truth.)

      Alex (Alexander; chosen because it means “defender of men” or “protector of mankind”, a good analogy for RAS) and I are in an unknown building. It may be a library, as shelves and dividing walls that do not reach the ceiling are present. There is an unfamiliar elderly woman present. Though I am never lucid (or even subliminally lucid), we are here to research the nature of the Hierarchy, and the woman mentions some sort of ancient document, which supposedly relates to this organization that secretly rules and protects mankind.

      At one point, Alex and the woman are on the other side of a shelf that is almost up to the ceiling. I can hear him confirm that the document is genuine. Wondering what my role in all this is, I decide to climb up to the top of the shelf.

      I look through a few boxes on the top shelf. I look down and see an unusual anthropomorphic crescent moon cookie cutter, though it is vertically oriented rather than of a logical cookie cutter design. It has the essence of an ancient artifact and I find it interesting. I ask Alex if I can have this and use it in my work.

      He informally tells me that there are “no cookie cutters” in the Hierarchy, more so referring to the prospective role of being a cookie cutter in the Hierarchy.

      Later, I am with my older brother Dennis (who still lives in America and last seen in real life in 1994). I tell him about the Hierarchy and about Alex. I say that Alex has “limitless diamonds” and owns whatever he wants.

      The moon represents the circadian rhythms factor of dreaming (as night is typically associated with the dream self while daylight and the sun represent the dynamics of conscious self identity). Its being a cookie cutter signifies the nature of lucid dreaming under conscious self identity creation. The fact that there are apparently “no cookie cutters” in the Hierarchy translates as RAS being of a biological factor and that one should not have full conscious control of circadian rhythms cycles, which could damage the physical body. This does not limit or suspend any potential for apex lucidity of course, which mostly occurs in the morning anyway within my last dream. The cookie cutter’s position on the shelf is more about the dynamic of this part of the sleeping and dreaming cycle, the moon’s crescent form signifying my percentage of unconscious awareness and percentage of vividness of the dream state (for example, a full moon would indicate full awareness while in the dream state). Liminal space dividers in the dream state are symbolized in real time by walls, fences, or high shelves. My act of climbing the shelf is symbolic of my dream self (subliminally) seeking more understanding of RAS and the preconscious.

      My comment to Dennis about the diamonds relates that the preconscious and RAS are of the main biological power behind sleeping and waking transitions. Being within a large diamond is one of the Mastership meditations that in part represents clarity of thought even when unconscious (though again, I do not have viable lucidity in this dream).

      This dream is mainly the result of a new variant of affirmation-based dream preparation. Instead of using “after” and doing the count after a particular affirmation, I have changed this to “anytime after” for a number of reasons. For example, “anytime after” is far more powerful than “after”, as “after” would otherwise denote “immediately after” or “soon after” while “anytime after” would be far more likely to integrate into the continuity of a later dream, either literally or symbolically depending on the desired outcome.


    3. Marsh and Missile [dual narrative]

      by , 08-09-2017 at 01:28 PM
      Morning of August 9, 2017. Wednesday.



      I become aware that I am babysitting an unfamiliar boy of about four years of age in the northeast area of the Cubitis living room. I perceive myself as being about twenty-five years old. It feels like it might be late morning. I have no associations with whomever the boy’s parents might be.

      The dreamer does not realize that he has not lived in Cubitis since 1978, leaving when he was seventeen. He also does not recall that he lived in Wisconsin when he was twenty-five, not Florida. The memory of his three sons (and two daughters) does not seem extant, though the presence of the unfamiliar boy, who does not resemble any of his sons, may be a subliminal clue, though he otherwise has no memory of who he presently really is.

      There is a huge Raggedy Ann doll sitting against the north wall near the northeast corner of the living room. I have a notion that the giant stuffed doll is somehow a mother figure for the boy. It almost reaches the ceiling. The head is unrealistically large in proportion to the rest of the doll. Time passes, and the head seems flatter (front to back) than it should be. The doll begins to sag and lean forward and the boy and I are annoyed that this oversized pie-like head may cover us. I have to push it back a few times, but when I do, the whole doll, especially the head, seems slightly thinner.

      The dreamer still does not have viable memory. He does not question why a giant doll would be perceived as a “real” mother by the boy or comfort him as such. He does not even consider simply moving out of the way of the doll when it leans forward at times. He does not consider why the doll’s head gets vertically flatter when there is no discernible reason for the change. Perhaps he is subliminally aware of the weight of the blanket on his real physical body as he sleeps, and perhaps through the veil of sleep, he indirectly recalls that his youngest daughter has stuffed toys near her as she sleeps. Could this hodgepodge of current neural energy while sleeping be why such a scene is rendered? He also did have concern that his youngest son had enough blankets prior to sleeping. As a doll symbolizes the physical inactivity of someone while in the dream state, it likely is a very distorted thread of memory of his beautiful wife Zsuzsanna, combined with thoughts of his pillow that sometimes seems too flat.

      Eventually, I notice that much of the oversized ragdoll is now more like a collection of blankets that fall forward at times, a couple that cover me, though I think the doll is still sitting there. It seems ambiguous, and the round face itself seems more and more like a large flat pillow I push back several times. It does not seem cold. I do not think that the boy will be harmed, only perhaps annoyed by being covered like this. After a few minutes, I am aware that Dennis (half-brother on my mother’s side) is coming into the house. He seems about thirty years old and is dressed like a biker. He wants to show me something. It seems the boy will be okay on his own, though I somehow perceive that Dennis has no interest in the boy’s well-being. I go with him for a short distance after leaving the house. I then decide to fly. Coming out from the house, it is now the King Street boarding house. I effortlessness fly north over Tenth Street South, leaving Dennis behind for now.

      The dreamer’s brother had not been to Florida since 1970. Like every other dream feature, it is erroneous, completely removed from any correct timeline. Even more curiously, he walked out from the north end of the open carport in Florida yet simultaneously from the closed porch of the King Street boarding house, not regarded in real life much since 1990 and over 1,500 miles away from the original setting. There is no measure of distance in thought, but that is moot, as the two buildings were somehow perceived as being the same. The dreamer often flies in his dreams as if it was a perfectly natural thing to do. To take to the air to get somewhere else is what he has done often for many years in both lucid and non-lucid dreams, without considering physics or gravity. There is no doubt, but the dream self is not the conscious self, and the rules that dictate that flying cannot be as such do not apply, even if there was some subliminal memory that it was not possible.

      I end up in some sort of forest on the other side of La Crosse, which I perceive may be several blocks west of Loomis Street. After walking around and entering a denser area of forest by way of a footpath, I notice that Dennis is already here. He talks to a seemingly homeless person in dark apparel. The unfamiliar scruffy male is sitting at the side of the path, facing outwards from the dense trees. Dennis seems annoyed and may be impatient about something. It has something to do with the other male not owning a motorcycle as he is expected to. There is no fighting, just a conversation. It seems the other male may have sold or lost his motorcycle and is now living in the woods. I walk around and see another clear footpath that leads straight through the densest part of the forest. It seems to be afternoon and the imagery is very clear and beautiful. The path leads east and seems to continue for quite a distance. I can see an open area at the very end that indicates an urban area. Still, after walking around, I decide to fly again.

      The dreamer does not question this fictional area of land. The area in real life would be within the same area as the Northside Elementary School (though the area looks much different now than when he last lived there in February 1994). He does not ask himself how Dennis apparently walked there and got there before him.

      As I am flying, my focus changes somewhat. I see below me, something that is almost like a life-sized map, showing how the area originally appeared. It was mostly a marshy expanse with no trees for a long time. This changes, as Dennis had planted a number of saplings over time, until it was a dense forest. Curiously, I am aware that no one else, including members of the city council, ever noticed this change other than Dennis and a few biker friends of his. I watch the changes in the map as I turn and fly south.

      Looking down on a slowly animated life-sized map superimposed over the bird’s-eye view of the land below does not seem unusual to the dreamer. It is like a visual historical view displaying the changes over time, not following the rules of real-life perception. He does not fly back down to investigate or consider that if he did, he might be in the original treeless marsh as it supposedly was years previously.

      I am now aware that it is nighttime even though it had been afternoon moments before. I do not find the change unusual. I am aware of a missile lighting up a small area of the sky to the north, over what I perceive may be a small island, but I still consider it as a threat even though it seems far away. My wife Zsuzsanna now joins me as we run southward. The buildings around us start to shake. They seem to wobble and waver unrealistically, somewhat like exaggerated jelly motions. I think we can escape. We run over the tops of buildings, over the roofs of commercial buildings of various heights, no attention to how tall they are. It seems effortless but annoying. I get the idea to take cover in a boiler room of a commercial building. I sense the ceiling may collapse, but it does not, though there is still shaking. We end up near a breaker panel. I have a fading idea about possibly resetting the main breaker, as if that might somehow make the building more suitable to hide in.

      The dreamer’s memory seems more viable now as he recalls Zsuzsanna. There is even a thread of recent memory about North Korea’s missile launches, but little else. His focus on the breaker panel reveals a subliminal awareness of the neural energy within his mind, yet not fully realizing why this thought emerges in the last seconds of his dream or whether it symbolizes “deactivating” his dream, increasing his neural energy and expansion into whole consciousness, or both.