Blue_Opossum

Night of April 10, 2017. Monday.



I am someone else and connected to the sales or delivery of a centrifuge. Knowing its overall appearance, it is not that hard to associate it with a poker chip carousel. There is ambiguity over time, in fact, upon deciding what it really is or what is really going on. The first scene is of men in white lab coats using the centrifuge. Still, cowboys from another time gather, apparently in a tavern. For a moment, a cowboy seems to be wearing a lab coat over his trail-worn clothes.

It is a questionable situation. There are about five cowboys sitting at a round wooden table playing poker in an old west environment - yet these same men are also somehow simultaneously standing outside in the street, but it can not be discerned if they are planning mischief (either inside or outside) or simply involved in social events with other residents. Only mild anticipation ensues. It seems to be morning. Birds are singing outside beyond the batwing doors.

Morning of April 8, 2017. Saturday.

Dream #: 18,373-03. Reading time: 1 min 46 sec.



Zsuzsanna and our family as we are now are at a futuristic craft fair. There is a big round table that rotates as it displays different sections of holograms of various craft projects such as teddy bear kits, stuffed owls, and clothing items. At times, they almost seem to solidify, and I get the impression that some of them do with a purchase. There is one point where “real” pins and needles seem to be on the table. The imagery is beautiful. I am thinking of what items I could get for Zsuzsanna.

I enter a mode of thought where I know I can create and control events but without dream state awareness. I mentally try to complete a Hot Wheels race track. It is difficult but a section at a time appears and eventually covers a long table. (The first part starts as a loop.)

I focus on an overhead view of several different kinds of candy bars displayed on a panel, possibly an advertisement on the tabletop. I try to cause the image to become “real” candy bars for us and our children. I become annoyed when my will does not seem to be strong enough. I slap the image with my right hand, and as a result, all of the candy bars become “real.”

Soon, I vaguely become aware that I am dreaming. Zsuzsanna and I are then on a big bed in a room filled with them. While on my back, we make love, with Zsuzsanna over me, leaning forward. Many other people are around, though most are in a different room.

There is an enhanced and sustained sense of touch. I do not want to allow RAS mediation to dominate as I am closer to lucidity. Still, the preconscious simulacrum appears as an unknown male of about forty, walking in from the left side of the big room. (All other dream characters remain on the right side of the setting.) He approaches the right side of the bed. I imagine a gun into my right hand and shoot him several times in the head and chest as the waking transition is already underway.

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There is a precognitive tag here as I did not know I would soon be seeing a scene from “The Scorpion King” where a rotating table of the same size and height as the one from my dream is featured. It might be a “message” in that the movie scene features a test with a sorceress putting her hands in various vases with a random placement of cobras. She pulls one out but controls it, thus displaying even more power (and control) than previously.

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Morning of April 7, 2017. Friday.



My family and I as we are now are watching television. At one point, it seems we are watching the movie “Firestarter” (1984).

Over time, it seems that there are some very strange changes in the movie as I remember it and I become more and more annoyed.

In a scene where Andy is talking to his daughter Charlie, he is now wearing a fireproof suit (where in the original scene he was in his normal informal clothes). I talk about how they must have covered up the image of the actor with some sort of CGI. I find the change ridiculous. (His face cannot even be seen as it is covered with some sort of material.)

Other scenes have been changed. At times, Lego people appear in some of the scenes instead of human actors. Another scene has a stuffed dog that moves about like a real one. The nature of the movie becomes more and more surreal. At one point, I am sitting on a bed, seemingly somehow inside the movie (but only for a short time) and a stuffed dog and a stuffed rabbit are present (the stuffed rabbit in the bed and the stuffed dog walking about near the bed).

I eventually decide that the television has become corrupt and needs to be rebooted like a computer so that television shows and movie scenes will be as they should be. I am in front of the television. Our youngest son is also present. I mention how I have to reboot the television.

I look on the bottom right of it but I am not sure what to do. On the bottom left, but mostly arranged vertically, is a set of about seven buttons. They are of different shapes, a couple horizontally rectangular and a couple vertically rectangular while others are square. I see that one of the buttons (the bottommost one) reads “SET”. I assume that this might mean “reset” so I press it and the television screen goes black and a sequence of dominoes (overhead view) appears on the screen. Our youngest son tells me that those buttons are only for the domino game.

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Morning of April 7, 2017. Friday.



I am in an unfamiliar apartment (in an unknown location; that is, no idea of the city or country), though it seems to be implied to be John Lennon’s. John Lennon (October 9, 1940-December 8, 1980) is seated near a table opposite the room from me and facing me. There are two unknown males in the room, one on the far left, one on the far right. I feel very good and have an optimistic attitude even though I am uncertain of who these other men are. They have scraggly hair and are of an unusual appearance. There is some conversation, but I do not focus on it that closely.

John Lennon goes over to the area near where I had been though I am now more near the center of the room. He inserts his left hand, up to his wrist, into an unusual recess (which is actually shaped like a hand) that is on the side of his microwave oven. I suppose it is like some sort of security procedure. There is no door on the oven. It seems to have fallen off at some previous time.

A man on the other side of the room seems worried and complains that he can feel the heat. I recall hearing that microwave ovens can be dangerous (especially with the door off), though I do not feel much concern myself. He uses it with the door off to warm up a bowl of something.

Later, there seems to be a normal oven in the room (though the room is not a kitchen), opposite my side, with the microwave now near the back of the normal oven (and facing the opposite direction). I can feel a lot of heat from the normal oven, though it is not uncomfortable.

In the last scene, the four of us walk to a dump (landfill). One of the males is carrying a large stuffed rat, which is somewhat cartoon-like and which is about half the size of a person. The male says he is discarding it because it “doesn’t talk anymore”.

As we are nearing a pile of trash (on our right) which he intends on throwing the stuffed rat onto, the rat says “Are you kidding, I’ve been talking all day”. (No one hears it except me.)

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Morning of April 6, 2017. Thursday.



For a short time, it seems that I may be at some sort of lecture (with an unknown backstory). The one talking is the Temperance Brennan character from the “Bones” television series. She is wearing a white lab coat. Curiously, there is a wall halfway to the left side of the scene where she seems to sometimes speak from behind it at an angle.

She leans out and mentions something about “flying colors” (in a serious tone) which I perceive as an important phrase.

A female cartoon character, who vaguely reminds me of a Peanuts comic strip character in overall appearance (though not any specific one), jumps up to the left and yells “Ee-glah!” at her. Temperance Brennan backs up in surprise and annoyance to go back behind the wall.

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Directly after waking, I am thinking that “flying colors” is not really a common expression as first perceived and that my dream was just generating gibberish. However, looking it up, I remember that “with flying colors” means “with great success”, though I do not recall hearing it much.

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Last checked and enhanced Tuesday, 25 July 2017: On “failed flight waking symbolism”, I have repeatedly stated that waking symbolism of this type, being inherent to the real-time dynamics of the dream state, is unrelated to the conscious self and real life for the most part. Despite the fact that the preconscious initiates the waking transition by saying something about “flying colors”, which means “with great success", the emergent consciousness factor (as a cartoon) forces her back behind the wall (which relates to metaphorical divisions of consciousness). It may seem contrary or contradictory to use “with great success” with a negative phrase such as “failed flight”, but in this scene, it is how it is rendered in the context of my dream and actually implies success (or otherwise I would not have awakened, get the picture?).

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Morning of April 5, 2017. Wednesday.



I am in an unfamiliar setting; a mostly featureless room that seems somewhat like a basement; that is implied to be either another world or an area near a portal where things can be pushed through to another location by teleportation. There is one other male present but I do most of the work. (The work I do in my dream is so physically realistic, my muscles feel tired upon waking and remain so.)

Firstly, I put a large wrapped ham on a square wooden table. There is a very large cardboard box, as high as my waist and about as wide as a doorway (and slightly wider than the table). We fill it with oranges in several stages. In the last stage, when I pour the last of the oranges in, they form an unlikely conical shape higher than the box height. However, I push them about so that they are soon even with the top, some of them falling into spaces near the corners. The event is otherwise very vivid and realistic, especially in touch and motion.

I am somewhat worried about what a challenge it might be to get the table and box (which are moved at the same time, the table in front while pushing the box) through the doorway portal. I somehow push them up a short flight of steps and through a doorway (though not the portal). After pushing them through a featureless room with a very vivid sense of physical effort, I learn that the destination is not nearly as far away, or as difficult to get to, as I first believed. The other male informs me that the doorway we need is just ahead (even though I had thought I might have to go through several other doorways and bigger flights of steps or even into a different building).

I soon am able to push the table and box full of oranges through a doorway into an unfamiliar classroom. It appears to be high school. The humanitarian work that the other male and I had done is known by at least a couple of the students and the unfamiliar male teacher and briefly discussed. I feel good about having done such a task.

Soon however, an unfamliar male student starts talking and asking the teacher questions about weapons of war, mentioning something about a missile. This annoys me somewhat and it seems like they are not really focused at all on what the other male and I had done. I do not say anything and soon wake.

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Morning of April 3, 2017. Monday.



My dream begins with the usual water induction (which at least one lucid or semi-lucid dream of every night since early childhood begins with). A group of about seven unidentifiable female forms (though typically variations of Zsuzsanna) appears reflected in silhouette on the surface of the slowly rising water, but rather than any type of cheerful ritual (including healing affirmations or those of several other types), my dream shifts into where they are eventually on a boat. There is some sort of backstory regarding the journey but it is not clear. I “remember” that they are from the 1920s.

My dream shifts into a (false) waking stage (which includes minor physical anticipation of the falling sensation) though my lucidity becomes more instinctual (and shifts into non-lucid dream control after the next scene) even though my dream remains vivid. The liminal waking expectation fades and I shift back into my dream (without a false awakening - only the continuation of the original ocean theme).

I then see a few men from the 1920s on some sort of unlikely open train in the distance. I seem to be hovering above the ocean in an incorporeal state. The rickety train is carrying livestock and supplies. They are going up a very steep railway bridge but which is actually a rollercoaster rising up from the ocean. The top is incredibly steep, but the train somehow makes it over the peak safely and begins to slowly go down the other side. (I do not recognize that it is a rollercoaster and continue to associate it as a railway bridge.) This event is metaphorical for the false waking expectation - that is, going up a slope but then going over the other side with no mishap, fall, or collapse. As a result, I focus on the boat of girls again (of whom I now associate with relatives or ancestors), but soon realize that their boat is not present. I notice a number of other boats. I wonder if they have become lost (which of course is analogous of losing my lucidity).

I am then on a couch in a very distorted version of the Loomis Street house. For example, a bathroom replaces the small northeast bedroom and the couch is near the center of the living room facing south. The large television is against the south wall (though in reality it was always out from the east wall with the couch’s back against the south wall). Zsuzsanna is on my left as well as our two youngest children on her left. Very curiously, my brother Leonard (half-brother on my father’s side), of whom I have rarely dreamt of in my lifetime, is on my right. There is a very unusual loud squawking noise. It turns out to be a brownish pterodactyl crawling on a cliff made up of clusters of smooth boulders (though which looks more like boulders near the ocean shore). I am trying to work out if I am seeing this on the television or if we are somehow looking through a hole in the wall into the past. I contemplate whether or not the pterodactyl will fall off the cliff, as it is getting closer and closer to the edge. Something within my mind makes me realize that this is a waking prompt symbol (just as with the rollercoaster railway bridge in the previous scene) and my dream shifts without me being lucid for the second time (though this is likely because there is an ocean association, which can cause reinduction).

Soon, there is a scene of Egyptian “gladiators”. I think it odd that a sticker book Zsuzsanna and our children are looking at has images that exactly match the design of what the “gladiators” are wearing on the television. Leonard points out the advertising on the armor that a few of the Egyptians are wearing. I do not consider how ludicrous it is that ancient warriors would have modern commercial symbols and English writing on their armor. One of the symbols is the McDonald’s logo engraved on the armor just above the warrior’s waist. This is curious as it is made up of two upward and downward slopes so could be seen as a waking precursor symbol just as the earlier rollercoaster railway bridge of the similar shape. The phrase “phone home” is also engraved lower down on the armor. (This is hilarious as it symbolizes communication between dream self and subliminal threads of conscious self identity, yet once again, I do not catch the dream dynamic).

My dream then shifts into vivid liminal space. I find myself walking out onto the porch (most common liminal space setting and often the last setting in a dream due to its nature). A group of unfamiliar people wearing fancy clothes from the 1920s are seated in at least three locations. Still, one male closest to the open living room door (on the right of it) seems to be dressed more as if from the late 1700s. I decide to ask what year it is. The unfamiliar male near the doorway starts reciting curious (but unremembered) poetry, with something like “three years beyond 1921”, soon informing me clearly that it is 1924. Looking out at the street (through the porch windows), I notice a number of cars from the 1920s, yet I do not see the car that the girls are supposed to be arriving in.

The other male gets up and needs to use the bathroom. He seems very cheerful and friendly. Because the porch is a “different space” apart from the main dream setting, he seems very much in awe when going into the living room and to the bathroom door since that part of the house is “my time” (as in contrast to this dream’s personified emergent consciousness), though I remain on the porch, watching him through the doorway. However, the bathroom door is locked from the outside and he does not know how to use a knob lock. He returns to the porch, still in awe yet seeming very happy. I tell him that I am from 2016 (not remembering it is actually 2017). I tell him that I will unlock the bathroom door for him. Instead, he starts touching my face, hands, shoulders, wrists, and arms, pressing his fingers against me as if he thinks I am not quite human, me “being from the future”. I tell him (at least twice) that I am a “hologram”. (This is technically correct. The personified subconscious, always the dream self in first person when not lucid, as it certainly is not the conscious self identity, is technically a type of hologram, especially as the dream self certainly does not have a real physical body either.)

He continues to push his fingers against my face and begins to smell me, while remaining very cheerful. The sense of touch is extremely enhanced and “accelerated” here. Coalescence (dream self unity of all other dream characters - where all the dream characters quickly merge into the dreamer like blobs of pale light into a swimming pool) soon occurs and of course it is me who has to actually wake up to use the bathroom.

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Understanding dreams and dream dynamics:

• Water remains my most common form of induction (and real-time symbol for sleep) and this is apparently true for the whole of society, as the majority of commercial relaxation, meditation, and self-hypnosis tapes have included the sound of the ocean, a river, or a waterfall.
• The metaphorical waking precursors (especially the rollercoaster railway bridge where I actually felt a slight physical shift into liminal space even though I was nowhere near it) not completing and instead bringing me back into the dream state is not that common (especially when I have to wake to use the bathroom). Instead, it took my personified emergent consciousness to bring me out directly (though still oddly sustained). (I assume he was not my personified preconscious even considering the porch setting as he was not aggressive or confrontational in any way and there was no additional shift other than last-stage coalescence.)
• I presently associate my brother Leonard with fake news (which he is continuously posting on Facebook). This is likely to be a dream sign here, “fake news” being analogous to being in a (non-lucid or subliminally lucid) dream. Also, he is on my right, and the emergent consciousness precursor often has its event horizon on the right. (This is developed out of reading from left to right and a number line being oriented left to right, not on the disproved concept of left-brain and right-brain.)
• The seeming contradiction of the waking precursors not completing is likely biological and based on circadian rhythms. Even with a need to use the bathroom, the body still requires a certain amount of rest. (It is also possible that the anticipatory muscle states being mixed, that is - both whole body and bladder pressure - were responsible for the atypical dynamics and truncated symbolism.)
• This dream utilizes an altered setting based solely on dream state and waking dynamics, where the emergent consciousness goes towards the bathroom, which replaces the real bedroom. This is directly symbolic of me needing to leave my bed and go to the bathroom. The door is locked, so I still need to physically wake to use it (though often dreams render peculiar bathrooms or annoying situations as a trigger to deliberately bring the dreamer out of sleep).

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Morning of April 1, 2017. Saturday.



I am at first floating over an early evening scene (though it is still daylight) of 1940s gangsters driving around, possibly in Chicago. Being semi-lucid, I automatically perceive the foundation of the dream state as a “blissful flood” (and have since very young), with water flowing in slowly, with beautiful vivid reflections. As water symbolizes sleep and the dream state (even as in the “Little Nemo” comic strip), I feel relaxed, even though some of the gangsters now sit on the roofs of their cars, appearing frustrated that their activities were interrupted. My semi-lucidity fades slightly and I then absentmindedly wonder if this is part of a movie where things had gone wrong with the set due to water from another set (perhaps for a Navy movie) going past a barrier.

Having been incorporeal, I now seem corporeal. The gangsters eye me suspiciously but do not seem dangerous. I ride with Zsuzsanna in a Venetian gondola, though I do not see the oarsman. Our boat slowly moves past them as they sit on the tops of their 1940s cars to our left, the water halfway up over the windows. Zsuzsanna and I are intimate as my dream moves toward the waking transition (and waking transition symbolism in contrast to dream induction symbolism).

The water seems more shallow as we go through a tunnel. At first, I am wary of going into a tunnel. It appears that some sawhorse traffic barricades fall over from water coming in from “over itself” at the end of one part of the tunnel (which makes no sense - as if the water was halfway up but somehow solid or remaining in place even at the opening (perhaps somehow jellified), with some “normal” water moving over the original level somewhat like a small waterfall).

There is light ahead and I get a very vague memory of when Pinocchio was inside a whale, though I do not think that is the case with us. “That’s it, over there,” I say as I point. There is a loose association with the television show in April of 1986 about Al Capone’s vaults (“The Mystery of Al Capone’s Vaults”).

A young Geraldo Rivera sits on straw on a slightly damp surface inside a larger hollow area. He has a bottle of wine (possibly meant to represent the sole bottle of bathtub gin originally found in the vault). I look very closely at the bottle of wine because there is writing on it. I need to read it and understand its meaning. The brand name of the wine seems to be “Cortex”.

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Even though the preconscious (when it is personified) is almost always a different character, it is easily recognizable by additional clues (often either direct or subliminal identification as the waking prompt and the particular level of consciousness just prior to waking, as the role of the preconscious is to make the dreamer more aware of the fallacy of his temporarily skewed dream self identity and bringing the dreamer out of the dream state) as well as mood, shift in the clarity of a dream, and dominance in many cases. In this case, the common water induction transmutes to the waking symbolism. “Cortex” is a direct clue; “the outer layer of the cerebrum, composed of folded grey matter and playing an important role in consciousness”.

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Morning of April 1, 2017. Saturday.



This dream falls into a similar theme as a dream of September 2016 where whatever I write becomes part of my dream (rather than saying an affirmation to create dream scenes). Still, I never become lucid.

In one scene, my wife Zsuzsanna and I had been together for a year or more but, according to my dream’s backstory, we had not been married. I write a sentence that reads “Zsuzsanna and I have a legal marriage license”. I do some sort of hand motion over the writing, and then slap the wall (“Supernatural” television series influence, it seems). A sheet of paper that looks something like a certificate appears out of nowhere on a picnic table. It is apparently our marriage license. An unknown female claims it does not seem real, as certain writing on it is not raised (or embossed). However, looking at a real marriage certificate, it seems of the same (correct) design.

In another scene, an aircraft carrier moves towards a beach. It is tipped to one side and moves out and in with the waves for a time, lengthwise to the shore - the top facing towards land. It is vivid and dramatic but there is no threat to me. (It does not seem to be sinking.) Oddly, the airplanes do not move or slide off at any point. There is vague concern that one end or the other may cause damage to buildings near the shore, but this does not happen.

In another scene, I decide to eliminate a large portion of the world’s population. I make sure to include “except for me and my family”. I am outside at a picnic table and George C. Scott (October 18, 1927-September 22, 1999) approaches. I have not yet slapped my writing (which is on the surface of the picnic table) to instigate the event.

An unknown male is with George C. Scott and gives me advice on how to utilize my idea. I am to write that George is my uncle and that he will be going back in time to just before humans came to exist (though I am not at all aware of what the situation implies). The unknown male tells me that the name is written with two S’s, inferring that it is George C. Sscott, which does not seem right to me, but I write it anyway, though it still somehow comes out as “George C. Scott” and he complains about the spelling. I make a couple mistakes and have to write it again, one being “George S. Cott”, another being “George Scott”.

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