Blue_Opossum

Morning of October 6, 2019. Sunday.

Dream #: 19,284-04. Reading time: 1 min 40 sec.



Induction: I am sitting in an armchair wearing headphones in an unknown residence. The room is not well-lit. I listen to various vocal sounds on a tape playing in a cassette deck to my left, some that are partial affirmations related to dreaming, though there is the usual gibberish. I do not maintain full dream state awareness (though my perception remains instinctual, as the processes are the same, lucid or not).

I see many maidenhair ferns in small plant pots. It is a beautiful tranquil sight. I feel I am where I should be. I notice it now seems to be late morning.

Wall mediation with a vestibular precursor: I see a shadow at the glass-paneled door. It seems to be an uninvited ninja who has a crowbar that soon emerges between the door and door frame. I suspect this may relate to the cassette I am listening to, so I pull the jack from the cassette deck and remove my headphones. As I do, the door makes a light shutting sound, and there is no ninja. (Pulling a jack from a stereo is the opposite of what I typically do in dreams to vivify and sustain cortical arousal. In addition to a typical preconscious personification, the ninja is a vestibular simulacrum, which transitions into flight autosymbolism in the next scene.)

More wall mediation and vestibular processing: I turn about to see a winter forest setting beyond an open wall. I enjoy the beauty of the scene as the snowflakes strike my face. The time has changed again, and it now seems early evening. A jet flies overhead (unrealistically slow). I see its shadow rise on the trunk of a tree, and I lift my arms to mimic the shape. I am unsure if they are searching for the ninja or me. I decide to take to the sky and become one with the jet to gain control of the whole region. (I fly vertically straight up.)

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The tree with the rising shadow of the jet is a process whereby the tree is a representation of how my physical body does not move while I am sleeping. The flight association is the precursor to vestibular arousal. Rather than the drop, I fly up and out of my dream as I have many times since childhood. Vehicles of any kind (including aircraft) are typically a result of the imaginary physicality of the dream state, each having specific nuances and associations with different levels of muscularity and anticipation of the drop.

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Morning of December 15, 2017. Friday.

Dream #: 18,624-02. 3 min 20 sec read.



Cubitis (irrelevant since 1978) is the first location of my dream, but snow and ice cover my Cubitis home's front yard. My dream self does not hold a recognition of this place, and snow and ice would have never been a feature. Cubitis occurs as an incidental setting rather than having associations with my childhood and teenage years.

I am vaguely aware of my conscious self's identity but not my current address or status. I am involved in a treasure hunt but not as a recognized participant. Laverne and Shirley, as the television characters from the original series, are key participants.

A vivid segment occurs with a life-size version of the Matchbox car Alvis Stalwart BP Exploration Vehicle. It approaches from the northwest and is functioning as a snowplow. It is nighttime. I am amazed by its size and power, though I am unsure who is driving it. (I know they are one of the treasure hunt participants.) The loud yet soothing noise it makes is vivid. I know I have to get to where the treasure might be before it catches up, though I am only walking fast. Despite the snow and ice, I do not feel cold. I walk briskly through an area toward the south, south of the front yard of the Cubitis house, and the headlights of the vehicle shine on me twice. I try to dodge their beam, yet I feel little concern. (This is a factor of being vaguely aware of daybreak and not wanting to wake yet.)

Eventually, although I am still outside, I arrive at a place that looks like a large hall of a house, though the implication is that it is an outside area. (Using a real-life comparison, it is about where the south neighbor's carport would have been.) I notice fast-food wrappers and some papers amidst piles of books and other items to my left. Laverne and Shirley seem confident about finding the treasure at this point. There may be a letter from someone, or another clue, revealing where it is.

I realize we are nearing the end of the area designated as part of the treasure hunt. I wonder if the exploration vehicle is still somewhere nearby. My dream's setting, which is still part of the outside treasure hunt, is now a bedroom, with at least one wall and part of the ceiling missing.

Laverne and Shirley become annoyed that the treasure may not exist. However, I soon notice an A4-size transparent plastic envelope that is full of shiny gold coins. It is vertically upright and pressed against the south wall just behind some other items. They look like Australian two-dollar coins, but I know they are twenty-dollar coins. Laverne and Shirley are sitting on the bed at this point. I give it to Laverne and soon notice another container of more gold coins. It resembles an A4-size plastic box that we keep documents in, though this one is more transparent. I ask Laverne if I can have some of them, not considering that they should all be mine, as I am the one who found them. She cheerfully agrees I should have some of them. I awake while looking at the supposed twenty-dollar coins sliding out of the first container onto the center of the bed, ready to be counted. (The bed's orientation is from east to west. Its association with where it would be in the setting from where my dream started is unknown.)

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The "Laverne & Shirley" influence is mainly a metacognitive association with dreaming from hearing the opening theme song so often. It mostly corresponds with the lyrical line, "got a dream and we just know now." "Reaching a bed" has been a fundamental ending to my dreams since childhood, for the self-evident reason I am a metacognitive dreamer.

Coins have often featured in my dreams since childhood, from summoning somatosensory dynamics. (It is from wanting to enhance or stabilize my sense of touch while in the dream state, but I also had a silly belief when I was very young that I could pull a coin from out of the dream state). Noticing the sense of touch is one dynamic when emerging from REM atonia.

The ambiguity of dream settings and their countless composites of unrelated locations, their continually transforming attribute, and consciously unresolvable indoor-outdoor ambiguity (perception of being in an indoor and outdoor area simultaneously), and partial renderings in otherwise undefined space, is wholly unlike waking life or any factor of reality or memory.

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The Matchbox car I dreamt of yesterday (the flatbed truck with a house on the back, listed as "Truck with Site Office," though there were two in that dream of different colors), and the Matchbox car appearing here as a life-size vehicle (listed as "Alvis Stalwart" BP Exploration Vehicle), are number 60 and 61 (appearing in my dreams on consecutive days). The sequence may be coincidental or residual thoughts of a dreaming experience from the previous day, integrating into a new dream.

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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.

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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).

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Morning of September 13, 2015. Sunday.



I am in a seemingly isolated area that feels somewhat elevated (such as some sort of “floating” featureless room), in semi-lucidity, enough to know that my conscious thoughts can make and shape my (unscripted in this case) dream. I think about a snowstorm for no particular reason and I watch a few snowflakes swirl through the air outside, in the darkness of seeming night, seemingly looking west (considering the vague focus and orientation of our real bedroom). I see no land features, just the snowflakes. After a few minutes, I see a blizzard though I do not feel cold at any point. I feel a deep sense of peace for a time, watching the snowflakes swirl around.

I eventually get a vague idea that I am looking into outer space rather than looking outside and into a snowstorm, and then I eventually realize that I “actually” am looking into a “real” outer space scene. Now, stars and planets are swirling around, crashing into each other with brilliant explosions. I am somewhat amused that a simple blizzard transforms into such an amazing chaotic event that seems to imply “the end of the universe”. I start thinking of the scene being reminiscent of “The Wizard of Oz”, where Dorothy is watching all the strange imagery through her window. I even do a vocal “doot-doo” version of the scene where Miss Gulch is riding her bicycle.

I soon get the idea that the little melody of Miss Gulch’s bicycle ride is not really that suitable for the end of the universe, so I try to vocalize “The Ride of the Valkyries” but keep shifting into the “National Geographic” theme. No matter what, I cannot grasp the melody from “The Ride of the Valkyries” without it switching to the other tune. I “realize” that the two pieces have much the same music but with slightly different timing and accented parts. The exact “The Ride of the Valkyries” melody keeps eluding me and I get more and more frustrated that I cannot remember it correctly. In the background, the “National Geographic” theme keeps distracting and even “teasing” me every time I get a little of the other tune correct.

From here, I see that the end of the universe has changed into a basketball game. This seems reasonable, as a sphere is still bouncing about the “cosmos”. I watch passively for several minutes.

“Could you move?” says a young friendly female voice from behind me. Indeed. I find that I had not been looking out a window (even though I was - my dream just typically changed as such), but sitting in front of a large television where a basketball game is being broadcast (and perhaps the other scenes were relevant to a cowboy show followed by a channel changing to an astronomy show followed by it being changed to this basketball game). It is a young version of my wife, seated on a couch and wearing a light pink robe, but in a scenario that implies it is years before we met. “I didn’t know girls watched basketball,” I say. I get up and suddenly stop when I see two people I do not know coming into the room. They are likely token parents of Zsuzsanna’s in this scene. So, obviously, I transform into an antique brass floor lamp. The “father” comes over and pinches my nose and my “bulb”, implied to be at about the same level as my head, lights up the room a bit better. Zsuzsanna has an extraordinarily mischievous grin growing on her face, as she seems to be eating popcorn.

Remembering that I am dreaming (rather than my lucidity being consistent throughout), I decide to try to come out of my brass floor lamp camouflage. This is difficult and I succeed only in wobbling my base while rocking side to side, making a curious clanging sound on the wooden floor. The other male looks around curiously, but then continues to chop some spring onion in the kitchen.

Well, I cannot move as a lamp, so I might as well wake up, which I do.

Morning of November 3, 2013. Sunday.



This was another funny connection and recurring dream-oriented pattern. It also relates to my most recent dream. What I saw was a large staff with a golden snowflake design on the top. Inside the snowflake area (the center) was the Blue Pearl floating within an implied globe setup (but the mechanism not visible), but this time I saw it to be planet Earth, shining and glowing, and blue rays emerging at times. It felt very meaningful and timeless and really “shined”. I saw it turn slightly and felt as if it was very deep within my consciousness. A feeling of bliss.

“Suzy Snowflake” was a song I came to really enjoy when young as well. I took another song “Susie Q” (also spelled as “Suzi Q” - my wife usually uses the Suzi spelling for the anglicized form of her first name now), as turning out to be two things, Q for Queensland, and, on a more humorous and lesser note, the omnipotent being from the “Star Trek” series.

The image is another scan of an old handmade pamphlet (made many years ago) which became a sort of personal running gag for my wife and me. One of the first things I had heard about her from a relative the first time we were communicating via postal mail was that she was “fragile”…The play on “I am avalanche” was another thing that caused people to believe the Yin-Yang pairing would bring destruction, but I think it is a reference to enlightenment, or the existence of Universal Mind. I think the comic strip clip is from B.C., the one with the cavemen. The snowflake is usually connected to the six-pointed Star of David (known in Hebrew as the Shield of David or Magen David), though, although it seems eight-pointed in the first panel of the strip.

Morning of April 2, 1979. Monday.



I am seemingly back in Florida, somewhere near Lakeland (possibly the front central area of Southgate Shopping Center), with no memory of having moved back to Wisconsin. There is some sort of ability I have to give trees the ability to grab people or even grow larger and stretch horizontally to capture someone (briefly recurring event during this year). This is related to trying to escape from several unknown males; either gangsters or the authorities (uncertain of which). I know that I have done nothing wrong, but there is a vague association with someone I knew who became a killer. This in turn, with only partial memory, places me in a “maze” of trailers in a large trailer park. The “maze” is probably only about three (trailers) by six or seven, though.

At one point, I have this strange “realization” that I should lead them into a television - and inside of it - to trap them within the television. This may work when used in combination with the trees blocking them or grabbing them and throwing them elsewhere.

After a time, everything becomes less problematic. I find myself in a field, though I am aware there are still people around. I eventually notice strange “lines” (about nine feet long) floating in the air horizontally and seeming like lines on a television. There is a vague association with snow on a television (relative to static) in a possible link with Winter Haven (and even an odd uncomfortable link to “Heaven”).

I am trying to gather my thoughts but something is not quite right. Static and horizontal distortions cannot exist in a real environment - only on television (or in the case of static, a radio as well). I become semi-lucid. I realize that I must somehow be “inside” a television that is on. I even hear more short bursts of static from an undefined direction and more lines in the air to confirm my suspicions. I am somewhat wary of remaining where I am - thinking that if someone turns off the television I may cease to exist. There is a “reset” and a false awakening, but I eventually “escape”.

It seems to be that anyone (even a figure of authority) who spends too much time looking at a screen (without a real-life passionate relationship to ground them) will face a future of “static” and little else. Life is vision. Love is life. An older person without a meaningful relationship is like a mirror without a reflection. Plus, the horizontal hold is wack.