Blue_Opossum

Morning of April 18, 2020. Saturday.

Dream #: 19,479-03. Reading time (optimized): 2 min 15 sec.



My imagined dream self becomes instinctually aware of my dream beginning, including a viable thread of waking-life identity. As a result, the first rendering is a female form close to my left, modeling the sleeping orientation of Zsuzsanna and me, though she remains standing while I remain seated in a cross-legged position. She is a short distance closer to the wayside of an unknown road than I am. It seems to be nighttime. On the other side of the road, off to the right, is an unfamiliar business building. Feelings of cheerfulness and peace remain throughout my dream. (The eventual sleep-wake personification, firstly as an association with imaginary proprioception, is not intrusive other than wanting me to move from the side of the road to return to slow-wave sleep).

Instinctual dynamics of dream state management begin. On my lap is an open sheet music book, though the sheet music displayed is unknown. Upon that is a tablet with another one atop it. The first features equidistant thumbnails from a web site, mostly of random people, and the second displays a blank screen. Atop the tablets is an open A4 spiral notebook with my handwriting describing dream content as well as equations.

The inference is that I am solving equations using the sheet music book (mainly the arrangement of notes) and the web page thumbnails, which supposedly link to the content of previous dreams and six-digit numbers that serve as markers. The first calculation produces an image of the ocean on the previously blank screen, though it is a small strip, oriented lengthways near the top of the screen.

The second calculation results in an additional lengthways photograph of the ocean, and I am fascinated when it matches perfectly with the first when adjacent to the right side of the previous image. Although the image never moves, there is still the fundamental liminal impression that it defines my status of being asleep and the absence of physical demarcation. I start to consider what will happen when the strips fill the entire top of the screen. They will probably continue to a new row. This identification and anticipation results in the summoning of imaginary proprioception and latent physical preparedness (which usually begins around this part of a dream’s timeline, though here, there is no anticipation of vestibular system ambiguity from the lack of discernment of physicality while sleeping).

The sleep-wake personification initiates from my right. An unknown man drives a Ford Model T Convertible into the area on the other side of the road. (Cars, as with all vehicles, typically correlate with the imaginary physicality of the dream state or preparation for wakefulness with emerging physical awareness and mobility potential.) He cheerfully calls out, implying I am blocking his way even though I am not on the road. (This scenario is also co-occurrent with how I am sleeping close to Zsuzsanna, as the other man is a preconscious personification of my potential consciousness and emerging physical awareness. This same causal factor has occurred in many previous dreams.)

I move back a short distance, but the man parks his car near the business building and walks over to my side of the road. He looks at the items in my lap and seems curious about what I am doing.

I absentmindedly state, “I’m doing sequences of fractals.”

“I can’t even do one,” he says happily, emphasizing “one.”

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Morning of July 5, 1969. Saturday.



I go to Waikiki in Hawaii, or so it seems (I had not been there in real life). However, it is seemingly called “Waikikiki” in my dream (unless that came from a musical repetition of the last syllable) and is more like an island on its own (perhaps it is a play on “Waikiki Key” as with the Florida Keys). As my dream is ending, mostly seemingly in hypnopompia, a slower fictional song comes into play as I wake (though came back in a later “reset” version of my dream), which seems to be a warning for tourists not to cause problems for the local wildlife, though more as self-advice rather than receiving the message from elsewhere. It is sung (by a group of men and women, though in my own young voice in one version) as “Neh-ver go…to the EYE-eye-land…of Wah-ka-KEE-kee again!” The tune is fairly simple and I have included the sheet music here. Curiously, this totally fictional song replayed in my head every now and then for years after (even more than actual commercial music) and I can still imagine it now fairly accurately.

My dream is quite long but mostly involves just exploring the landscape, such as riding in an open train car (that reminds me of a roller coaster car though it does not have challenging events during the trip) and seeing a pterodactyl and nonthreatening volcano. Parts of the region I visit are seemingly “still” prehistoric, or it may be related to the train itself that goes through certain areas and goes through time. The Smothers Brothers are there planning to kill or knock out a triceratops for posterity (or perhaps because they feel threatened by it). However, the triceratops charges at them near boxes of dynamite near a cave and everything blows up as they gawk in fear, side by side, prior to their end…I wake just prior to the implied moment of impact but also get an impression of a cartoon-like jagged “ka-boom” balloon.

I now think that it is likely that this last scene was influenced from a “Road Runner” cartoon (where Wile E. Coyote is hit by a train) though I cannot be certain if that was the sole influence here. I did not really much care for the Smothers Brothers routines (and did not like Rowan and Martin either) so this is probably a form of wish fulfillment at one level. (I only watched their shows because of the guests they had on.)