Morning of June 10, 2017. Saturday. This is just a typical first-level dream sign dream of the type I have had continuously all my life, although I only document them when there are unique features. As I have explained before (though it is a no-brainer if one actually understands dreams and how the human mind works), the rendering is based on threads of real-time but subliminal conscious self awareness within sleep. (The number of threads of conscious self identity vary greatly from dream to dream, which is why “interpretation”, as in relating to the current conscious self, is not really feasible.) In my dream, I am in an unfamiliar location. There are a number of unknown people around who I do not perceive as imposers. Curiously, we are all on an oversized L-shaped bed, which goes around the internal corner of a wall (that is, of an inward ninety-degree angle). There are at least two windows, one on the side I am on and the other around the turn. I am also aware of a few family members. A television is on on the opposite side of the room but I do not pay that much attention to it. I want to keep the window on my side open. It is a bit difficult as the piece that is meant to hold it up (at about the halfway point) is somewhat flimsy. Someone else (unknown), around the corner and on the perpendicular part of the large bed, hands me a gold metal rod (which I thank him for), which I think was a horizontal piece from the other window (which I think may have come from the top of the lower sash). It is about two and a half feet long. One part of it on one end (perhaps attached to it) loosely resembles a very long barrel bolt lock. I am able to place it vertically within the window’s left side to hold up the lower sash at the level of the upper sash. After this, I do something to a headphone cord that is apparently plugged into the television. I pull it closer to where I can comfortably put on my headphones (not getting off the bed at any point). I soon hear the television sound through the headphones, although it also seems to be coming out into the room (which is not possible unless the relevant Y-cable is used). This last part loosely comes from a recent real-life event. The speakers on our new television stopped working and I had to jury-rig a cord from the headphone socket into amplified multimedia speakers. (Our new DVD player appears to have no tuner so I guess technology is still moving backwards, as usual.) Over the last several years, I have learned a little more about the specific elements of “behavior” concerning preconscious factors, especially the personified preconscious. After closely studying tens of thousands of dreams all my life, it appears, quite obviously, that the nature of the preconscious in this case is non-aggressive or confrontational as I am “already in bed” and additionally “already near the open window”. (A window symbolizes, in real time, either the threads to the conscious self status, or another level of consciousness. In holding the window up with a piece given to me by a personified preconscious persona, I am willingly, though subliminally, entering the waking transition without the need for the preconscious to create aggressive or confrontational waking symbolism). Additionally, hearing the television through my headphones symbolizes, in real time, my approach to the waking event horizon, as a television sometimes represents (in real time) the dreamer’s external environment (though it depends on the dream type and time frame of the dream). Additionally, the L-shaped bed is probably an unusual visual form to make the clear distinction between the fictional dream self (and its typically false memories and false identity) and the emergent consciousness (which is far more like the current whole conscious self identity). As such, it is likely analogous to the intersection feature in some dream types.
Morning of June 7, 2017. Wednesday. I am in an unknown location, seemingly in someone’s backyard at one point. There is a long scenario where this part of the world (the setting in my dream) will soon be ruined by sunlight of too high a radiance. That is, plasma, for whatever reason, is somehow flowing closer to only this part of the world. It does not seem that bad at first. Some unknown people and I are involved in some sort of writing activity. I am sitting on the lawn. Over time, I am aware of the approaching danger. In the last scene, red dominates my dream. It is coming in with more heat and intensity. This also means that this part of the world will no longer exist. I roll on my side to escape the reach of the red beams, which seem almost like a giant magnifying glass being used as analogous to set a fire or burn an ant. Since childhood, red almost always symbolizes (in real time) the need to wake up (or that I had been sleeping for too long). In this case, I had absentmindedly switched sleeping positions to being on my right side in the first time in a few weeks. Even in my dream, there is the subliminal awareness of this being wrong and I even roll on my side in my dream. (I can only sleep well on my left side, or halfway on my stomach to my left. Sleeping on my right side almost always causes digestion problems even if I have not eaten in awhile, as well as physical distress at times.) Dreams such as this often serve as real-time waking mechanisms despite people failing to understand this primary purpose of dreams, although contrary to what some “experts” claim, dreams are sometimes more than just waking symbolism even though this one is limited to that function. Still, living in a world of the “dream interpretation” fallacy all my life is just as annoying as being in a world with people who claim dreams have no meaning at all.
Morning of June 7. 2017. Wednesday. The first main scene of my dream involves going to a very large unfamiliar post office, though there is the common indoors-outdoors ambiguity. There are a number of rows of post office boxes and drawers, though no interior walls or discernible building features. It seems to be late morning. The sky is overhead; no ceiling implied for the “post office”. It is somewhat like a simple maze in the last part of this scene. I see a group of about six police officers between two rows. In another area, there is an unfamiliar male in black appearing with a gun, though he is not a direct threat to me. Still, I do not want to be near him or the people he aims at from time to time. From an unrealistic distance, I am still able to read a yellow strip of writing below one post office drawer (in about the middle of the feature) that has something to do with needing a special code as well as the key in order to open it. It seems related to a business. I have a curiosity over what might be in the drawers, though I also consider there might not be anything. Several unknown males join me as I move around the rows of post office boxes to be out of the viewpoint of the man with the gun. He is not after us specifically but I consider that he may not want any witnesses regarding his activity towards others. He does not fire the gun at any point. Eventually, I leave the area and find myself in an unknown neighborhood. A young version of Zsuzsanna is to my right (though I am seemingly much younger as well, perhaps only about twenty). It is as if we have only been together for a short time. Walking ahead of us and to our left is a thin female with short and curly gray hair. She is unfamiliar and seems at least sixty years of age. She is wearing light-colored slacks and a blouse. She is carrying a large black-and-white cat on her right shoulder (which I assume to be male). Suddenly, there is some sort of change where Zsuzsanna is now somehow sitting on the lady’s right shoulder and I find myself carrying the large cat near my left shoulder. The old woman somehow caused this because she wants us to have a meal with her at her house and talks to us about this. Her cat was also apparently becoming difficult for her to control, which is why I am now holding it. I am holding it up and out with both hands and it struggles a bit but does not get away. We reach the area where she lives. She has one neighbor (also an older lady) to our right. The chicken-wire fence is lying on the ground, rolled out to where one must walk on it to get to another gate where there is a small enclosed garden area (which is about the same size in area as our bed and probably a real-time play on “garden bed” as a dream sign). It almost seems like it rolls out automatically (somewhat like an irregular carpet) by the will of the person going to the old woman’s house. I do not really feel like walking on wire mesh, so I hover slightly above it and slowly fly mostly in a vertical position to the enclosed garden area. Zsuzsanna, being already behind the first gate, is partly lying on her right side on the ground near the right internal corner of the garden fence, holding herself up with her arm. There is soon distorted imagery to where a couple large blades of tall grass partly block my view of her face, but this seems like some sort of “story” related to “Alice in Wonderland”. The old woman talks about a man who tends to her garden, but this becomes like a dream within a dream. The man is also seemingly playing a televised role, dressed as a farmer or a minimal clown as a farmer, but being called a “demon” in describing what he is doing in tending her garden and also having unusual snakes on display to the public. I consider if he feels odd about being called a “demon”, as they do not exist and there is nothing threatening or negative about his persona or activities. He seems to tolerate this in playing a role in a television show. He holds up a couple different snakes that he has cared for. One has a catlike head. The other has a black head on a light brown body but the head of which is like a miniature shark. There are no negative emotions of any kind in seeing this impossible imagery. Dreams do not really have “interpretations” in the naïve popular usage of the term but they often do have layers of meaning, primarily based on real-time levels of consciousness which may or may not relate more directly to the present conscious self status. There is a preconscious precursor here. Although he has a gun, it does not create enough of a sense of danger to activate the waking mechanism, which is a major function of dreams (though not the only function as some “experts” claim). The simple maze relates to finding specific threads of my conscious self identity for my temporary fictional dream self to find its way to the waking threshold. The post office probably has two underlying meanings, real-time communication between different levels of the self while not fully awake, and possible links to the collective unconscious (or even collective conscious). It may also relate to precognitive threads with someone the dreamer is not yet in communication with (and may not be for years), something I validated from childhood dreams relating to my “mystery girl” (Zsuzsanna). The dark cat represents a real-time factor of being asleep (and often represents an aspect of liminal space), as cats are known for sleeping a lot (as well as being active at night when people sleep). The personified preconscious takes on the form of an older woman carrying her cat. Her giving it to me relates to activating my emergent consciousness precursor. “Beyond the fence” is a metaphor for a shift in consciousness while in the dream state. The first fence is on its side because, in reality, I am lying down (sleeping) instead of being awake and standing up (thus it is a second-level dream sign). I often hover or fly very well and effortlessly in the final stage of a dream and without giving it much thought (which relates to lessening the hypnopompic jerk and waking more softly as it is premonitory of the biological falling sensation). My emergent consciousness (as a projection as the gardener with the snakes in some sort of skewed television role) is illogically called a “demon”, but in a very matter-of-fact sense, with no associations with negativity of any kind. This probably relates to my status of being in a world full of superstitious people who have little or no understanding of the dream state. The imagery, though slightly grotesque (primarily the snake with a black miniature shark head, which is a “less water” factor of which has continuously occurred in my dreams on a day to day basis for over fifty years and is both biological and symbolic on a number of levels) has no effect on my perception or emotions, just as with hypnagogia visuals (though this becomes more of a hypnopompic state). I wake very slowly and softly, with no physical hypnopompic effects.
Morning of June 3, 2017. Saturday. I am in an unknown and unfamiliar setting, lying on my left side on a bed that is unrealistically large. It seems to be late morning. There are several other unfamiliar people in the room, though I do not perceive them as imposers or annoying in any way. There is also at least one young girl to the left standing on the floor, though near a young Hispanic female who seems to be a teacher and is also on the large bed. The implied teacher has some sort of curious device that seems related to computer technology yet is more like an abacus with spherical drops of water as the counters. Over time, I watch the beautiful silvery imagery of the pure water droplets moving smoothly across the horizontal abacus rod by themselves, almost as if inferring a clock or timer of some sort, yet also somehow seemingly linked to the back of a desktop computer. Still, I also get the impression that the Hispanic female is involved in using them at times for actual mathematics. She reminds me of a young Sonia Manzano (perhaps about twenty); (Maria from “Sesame Street”). After a time, my dream self seems oddly unlinked to my intent (even though I am otherwise fully within my dream self’s imaginary “physical body”). I want to communicate with, and become closer to, the Inducer (personified higher unconscious). Instead, my dream self becomes my personified preconscious (which is extremely rare in non-lucid dreams of this type). I spontaneously start singing, “Like a moth to a flame…” in a higher pitch (sounding somewhat like a young teenager), my dream suddenly shifting, becoming more vivid, yet with the Inducer seeming annoyed and deliberately taking the child and the water induction abacus away from the area. Knowing this, I am already entering peaceful dark and undefined liminal space, but quickly shifting into my full conscious awareness. This dream is very atypical regardless of having the usual water induction and “return flight” waking symbolism. I rarely shift into becoming the personified preconscious in this way. (Usually, the personified preconscious is a different dream character, completely unrelated to the conscious self. In fact, even my emergent consciousness is sometimes projected as another dream character until waking coalescence occurs.) However, I am already in bed (in my dream) to prepare to wake for real. I had already enjoyed the (biological) healing continuity of the spherical water droplets imagery. Singing “like a moth to a flame” is a metaphor for the temporary dream self (moth in flight related to the hypnopompic jerk of the waking mechanism) merging into the whole conscious self identity (the flame) and “dying”. The song itself is apparently fictional even though I was sure it was a classic country song by Leroy Van Dyke. The lyric is in “Four Walls” (Jim Reeves) but is a different tempo and melody. (It may be related to the first line of “Four Walls”; “Out where the bright lights are glowing”, as my family and I had just spent the day and evening at a carnival on the outskirts of town.)
Morning of June 2, 2017. Friday. I am on the porch of the Barolin Street house (where my wife Zsuzsanna and I and our children have not lived in real life for years) in Bundaberg. However, in my dream, it is implied to be in Cubitis (where I have not lived since 1978). Even though my dream self is probably implied to be around forty-six years old (I am presently fifty-six), there is also an ambiguous hybrid facet of my fifteen-year-old self. There is a small bookcase on the south side of the porch facing south (though north in the Cubitis orientation), where no bookcase ever was in reality. It is within the open area rather than the back of the bookcase being against a wall. I am vaguely focused on a dream journal as well as a textbook and a couple other books, including a volume from a set of encyclopedias. (These books were in the lower shelf.) Now and then, I shift into my teenage focus. I look out through the porch windows toward where the neighbors have just driven back to their house. They are walking around near their car, which is parked just outside of their small open carport and facing their carport. Thus, as is typical of this recurring dream scenario, I first see only Lisa’s parents and wonder what is going on. After a time, I am more within my older perspective and looking at the books again. Still, Lisa appears, having phased through the side of the porch. I acknowledge her presence as she stands facing me, though she remains behind the back of the bookcase. When I look up at her, she seems to be about twelve years old. Curiously, I notice that she has an animated tattoo on her forehead which has two frames (at the rate of about one per two seconds). The tattoo is somewhat pale and transparent with an embossed essence rather than having much contrast or color, though I can still read the larger of the two frames. It reads as “LOST GIRL” (in uppercase). I do not consider this to be strange at all though I also do not consider any meaning of any kind. The second frame, when it appears in the animation sequence, is not written large enough to read from where I am seated. It appears seemingly as an address (possibly of a dance studio) as on an envelope. To the lower left of the “envelope address” is what looks like a small icon of Earth with a pair of wings. It seems we are both in the process of moving. She stands attentively but we do not speak much. The preconscious in this dream is of a very atypical essence. It almost seems to be awaiting instructions rather than initiating the waking mechanism, though me facing the bookshelf implies my thinking abilities emerging, thus the preconscious may have already “done its job” by remaining behind the bookcase as I face it. There are several meanings (layered meanings in addition to the native real-time meaning), none of which are significant to my present conscious self status. Firstly, it could be a residual thread of how I view people who believe in vicarious “dream interpretation” as “lost” (as I am near a bookcase and with a dream journal), though who am I to judge people who, for whatever reason, believe that things like chiromancy, tasseography, or reading ‘possum bones in a circle cast in the dirt somehow “works” for them. On a personal level, it may simply mean no longer being my teenage self in Florida and the residual effect of traumatic transitions that will always remain a part of my life experience regardless of how happy and loved I have been most of my life, especially over the last twenty-five years. Contrived convenience: Contrived convenience is a common type of erroneous dream rendering where the presumed errors in memory are based on the real-time linear convenience of the particular dream. If not for contrived convenience, many settings, features, and events in dreams could not be perceived by the dream self at all. For example, in this case, seeing the activities of my Cubitis neighbors near their small carport would not have been possible if my dream had correctly rendered the liminal space factor as my Cubitis home’s carport rather than the Barolin Street house’s porch (as the real-life limited view from the Cubitis carport was only to the north, and only partly west and east). Also erroneous is how Lisa somehow came onto the porch through the porch’s side. That is, she somehow phased through the porch wall (and windows), which is where my dream self’s attention was focused, rather than entering normally through the porch door which would have been somewhere off to my right (where I never directly looked). (This term is also used to describe “reality” or linear time as experienced by an individual but I will not get into that here.)Dream sign (dream journal): A dream sign (my systemic definition only) is a carryover of the conscious self’s current status of being unconscious and within the dream state. The most obvious type is being in bed. Others include not wearing shoes or socks, being undressed in public, a bed in an incorrect location, and even thoughts of one’s dream journal. Dream signs, like so many other features and events in dreams, have nothing to do with erroneous beliefs in “interpretation” (in the common misuse as a synonym for meaning) that is still so popular with the public.Flight symbol: Flight symbols occur as waking symbolism in over one in five of my non-lucid dreams (closer to one in four, or at least over twenty percent) in the tens of thousands of my non-lucid dreams that I have documented and closely studied and decoded. This is obviously because of the subliminal yet anticipatory nature of the purely biological hypnopompic jerk or sleep start, that is, the perception of falling as a natural shift in consciousness from sleeping to waking that often occurs even in infants. It is hard for me to accept that there are people who believe that biological dream dynamics have some sort of “interpretation”.Personified Preconscious: The personified preconscious is typically a dominant dream character of a very specific recognizable essence of whom, while usually a different character (either male or female), initiates either the unification, disruption, or cessation (depending on the unique dream self incarnation) of the dream self’s transmutation into whole consciousness within the waking transition. The waking mechanism might be based on anything from activating more threads of the current conscious self identity with augmented emotions (for example, the dream self getting aggravated by feeling imposed upon by a trait unrelated to current conscious self identity) to blissful coalescence (for example, hugging the personified preconscious and feeling bliss or love in coalescence). The preconscious is transpersonal, sometimes the opposite of the conscious self identity, and is often completely unrelated to the current conscious self’s persona or identity (contrary to the ridiculous belief that every dream character comes from current conscious self identity or status, which could not be more wrong).Porch as liminal space: A porch as a dream setting is usually a real time metaphor of my dream self’s transition into wakeful consciousness. It represents the state between being in a house (temporary limited dream self’s perspective) and the outside world (conscious self identity’s perspective). It is a factor of my most common waking symbolism, which I have fully validated thousands of times since early childhood.
Morning of June 1, 2017. Thursday. This dream is, in part, a sort of skewed carryover from another recent dream (“In a Science Group with Three Strangers”, from May the 31st, 2017). The same fictional characters appear, two unknown males and an unknown female. (Both the first part of this dream and the previous dream relate directly to studying the dynamics of sleeping and dreaming in real time, though while non-lucid.) This dream is too distorted to make much sense of. There is something about them hanging around where my mother is sleeping. It is an upstairs area. I remain annoyed at these people throughout this segment. I even kick one of the males so that he slides down the stairs, though he is not fatally injured. I do not go down the stairs myself (which sometimes serves as a lucidity trigger, though otherwise vivifies my dream, as the usage of a staircase in a dream relates directly to shifting one’s level of consciousness while in the dream state, just as it does in certain forms of hypnosis and guided meditation.) This scene shifts to a completely distorted and skewed continuity combining science-fiction with “real life”. I am in an unknown area and there is some sort of backstory of the world becoming too cold for people to comfortably live. I know I can help (without being lucid). Floating in the sky about ten feet above the ground is a very large holographic globe of Earth, which, for some reason, I perceive as the “real” Earth. (This of course makes no sense, as how could I be on Earth and also see Earth in the sky?) Captain Picard (as from “Star Trek: The Next Generation”) in a Runabout, flies out from the holographic but “real” Earth to the right of it (in my perspective) and towards my direction (though there is no direct contact or communication). He seems concerned. I decide to “fix” everything by waving my right hand and creating heated air currents from a fair distance away from the floating transparent globe, which form in a presumed S-shape, top to bottom. (This is very similar to how I mentally repaint walls in non-lucid dreams). I stand in one spot, hoping that these patterns will correctly cover the whole world to make it warm enough for human survival (even though the globe is not rotating). It has become cooler here in reality. The holographic Earth comes from Zsuzsanna and I having just watched a couple episodes of “The Librarians” where a large holographic globe is featured. Many of my dreams are directly influenced by television (though probably not the majority) even though I do not watch it that much (certainly not nearly as much as others).
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