Morning of September 13, 2016. Tuesday. This dream was extremely long (as is often the case with me), shifting and sifting in and out of different levels of consciousness (only partial semi-lucidity in one segment), and which contained too many scenes to feasibly document (let alone provide the meaning for), but I will include some of the clearer events. The main event relates to my wife Zsuzsanna and I living in the northeast apartment in the King Street boarding house. Of course, the room has to be rendered much bigger than in reality in order for everyone to fit. Not only that, the room is easterly duplicated at least two more times (which, as usual, I pay no notice to). The Jordanaires are visiting us. However, these “Jordanaires” (by which I probably confused with The Andrews Sisters, though there were only three in that group) are actually four dark-haired Caucasian girls sitting at a rectangular table with Zsuzsanna. My sister Carol (August 4, 1943-December 10, 2009; half-sister on my mother’s side) is also present, appearing as she did in the 1980s. For a time, the four girls sing Elvis Presley’s song “Teddy Bear”. Even though it sounds very harmonious and in perfect unison, I eventually tell them to shut up or leave (though I guess I really do not feel that imposed upon). (In a way, this could possibly be considered as a secondary dream sign due to the fact that children sometimes sleep with teddy bears.) “I don’t really like that hooga hooga music,” I explain to Carol (describing the blend of gospel and rockabilly as “hooga hooga” in mocking Elvis’s singing style in songs like “Teddy Bear” and “Don’t Be Cruel”). I then tell her that it is okay to listen to at times and that I sometimes enjoy his music, but I do not feel like listening to it right now. There was another long segment prior to this one which involved looking at a hexadecimal dump of a series of science fiction novels. At one point (as a normal display) I see a listing of three columns with two to three titles listed in each column. The first two columns have asterisks at the beginning of each title which means that they can be read for free. The third column has a price listing at the top which I think is $29.95 for each. I am aware that the writer is a young female. I do not recall the titles as I do not really focus on them that much. I look at the hexadecimal dump and see that there is executable code at the beginning in addition to each story. Although the formatting is not directly executable there are indeed subroutines in the code. I see the string “this story is not available for reading in Australia”. Very curiously, this does not trigger any present real-life status memory and I still perceive that we are living on King Street. Still, I consider reversing the logic of the sequence (“jump if” to “jump if not”) to display the message in America (to then prevent access) and to allow it to unlock in Australia just to be funny. As I am reflecting upon this with a cheerful nostalgia, I look at the rest of the formatting of the story but do not actually read it. I do notice that the margin code seems to be unrealistically wide but I do not puzzle over it that much. I hear Zsuzsanna ask our youngest son “Did you burn your hand?” and I expect that he did and I am concerned. I actually wake up while asking her if she had said this (and she had not but had been talking to him), but only briefly and I immediately fall asleep again. In another scene, I go into one of the duplicated rooms and notice that there are small paper sacks everywhere, some on tables and many more on the floor. At the bottom of each sack is a jelly roll, but most of boysenberry or blueberry filling. I take one out and find it delicious. (In the back of my mind, I even recall the oral sex symbolism without becoming lucid.) In another scene, I have the apartment door open. My (King Street) landlady comes up the steps and holds her hand out as if in expectation for me to give her the money I owe her. I tell her that I will pay her later and she looks annoyed and walks off to Leonard’s apartment. Meanwhile, I had been ready to hand her a green tambourine, except that I soon notice that the membrane is split along one side and coming off around the edge. I throw it onto a huge pile of various toys and junk that comes up almost to my waist. It looks like we have some cleaning to do as the pile fills about half of our apartment. Near the last part, I pick up large oblong pieces of dust from under a table, with my bare hand, which contains hairs and at least one dead grasshopper (a rather odd return flight waking transition, more specifically “failed flight”, with the loose hairs symbolizing the end of the dream state and the fictional “head” of the dream self).
Morning of September 10, 2016. Saturday. My wife Zsuzsanna and our children and I are living back at Stadcor Street in Brisbane. It seems to be early afternoon and we have to go shopping for groceries. I am going out the back way, through our kitchen, but the layout is a bit different. The small square area that one needs to go through to get to the back porch is much bigger and there are additional doors, one directly into our backyard and another one onto our back porch. I notice what I first think is our pet black cat in the small room with me but it has no eye, nose, or mouth detail. It is like a three-dimensional shadow and I sense puzzlement radiating from it. I am slightly wary (but not fearful in any way) as the creature jumps up and somehow goes through the area between the central top part of the door and the door frame (and would have to be as thin as a sheet of paper to do this). This would be the door that goes to our back porch (liminal space). I go to the lounge room to talk to Zsuzsanna about this strange event and she calls the animal something I do not seem to be able to hear properly. After I ask her to repeat it a few times, it still sounds something like “wolf-roosh”. My hearing ability seems to become too distorted each time to hear the final part of the term. What I grasp from the term seems odd to me as it was seemingly a cat shadow, without any wolf associations at all. After we do our shopping, the unfamiliar balding male cashier (of about forty years of age) cannot seem to get the cash register to work properly. Apparently he has to press his thumb on a pad to acknowledge he has the authority to use the cash register, but it is not recognizing him. I am thinking that maybe his thumb needs to have a small amount of yellow ink on it to get it to work. I am getting annoyed and I am not sure how we will complete the transaction if the cash register will not work. The checkout area of a store is a waking transition metaphor symbolizing leaving the dream state. In this case, the lack of “yellow thumb” is associated with not being fully conscious. The cash register symbolizes the potential increments of critical thinking during the waking transition as conscious self identity emerges. The threshold event (here an atypical precursor rather than my dream’s final scene) concerning the door, featured a cat shadow in liminal space as the emergent consciousness factor. Curiously, this was borrowed from the ending of “The Flintstones” (which I had seen so many times as a child). Even the essence of the movement (comparative to the sabre-toothed tiger jumping up in the cartoon) was the same. I found that fascinating, especially as the ending theme’s line “…cat will stay out for the night” could be interpreted as remaining unconscious (asleep) throughout the sleep cycle.
Morning of August 29, 2016. Monday. My wife Zsuzsanna and I are in bed, though I do not pick up on the fact that the orientation is quite different. Beyond my feet (I seem to be lying on my back) and not that far from our bed, I notice that three young men of about twenty years of age (possibly younger) had been looking at us through the mail slot on our front door (even though we have no mail slot and in fact I have never been in or lived in a house with this sort of layout). The three males take turns looking at us, which is odd because I think they might also see through the window in the door (although this is not certain) unless they want to remain mostly out of sight. Since I am nude, I am therefore not embarrassed about any implication of having slept in my clothes (as in a few past dreams including a recent one), but I am very annoyed at these imposers. I get out of our bed (without getting dressed) and get my large barbell (my weapon of choice in many dreams) and go to our front door (of a fictional appearance) and shove it through the mail slot to bonk one of them on the head and continue to strike whoever is within reach after mentioning something about this imposition to Zsuzsanna. (Discovering that unknown people, usually younger males, had been watching me as I sleep is a long-term recurring dream situation since early childhood, though usually non-threatening, and is a dream sign of residual subliminal memories carried over into sleep, which typically represent threads of my own conscious mind or in some cases an unexpected environmental noise. In this case, my conscious mind’s “intrusion” into the realm of my dream self is validated by the mail slot, which represents potential communication between non-lucid dream self and conscious self. Because I probably do not want to wake up yet, I subliminally “pretend” it is an intrusion by strangers, though in some cases there actually are real voices on the public footpath from outside our house when we are sleeping.) The scene and setting very curiously shifts to one where Zsuzsanna and I are sitting in armchairs (now fully clothed) in an unknown mostly featureless room with the three unknown males who are sitting on wooden chairs. Three small dogs, possibly chihuahuas, are running around and are seemingly a mild threat though they do not come close enough to bite either of us. I push them away with the barbell and also bonk the males on the heads a few times even though they do not directly attack us. I do not really feel like hurting the dogs and we leave without incident. Later, I am in the backyard of our present home on W Street. Zsuzsanna is sleeping on her left side in a grass cocoon (seemingly intricately woven of thin grass) very close to the west fence. I hear someone talking, probably walking south past our house, and wonder if they are going to bother us by looking through the gaps in our fence. Zsuzsanna looks beautiful. The grass cocoon covers almost every part of her with the appearance of a papoose, with only her face showing through an open oval area. There is a sense of love and peace.
Morning of August 18, 2016. Thursday. In the first part of one scene, I am at our present home and near our front door. It seems we have at least one (unknown) female visitor but she is talking with my wife Zsuzsanna in the dining room (which we use as the main bedroom). For some reason, our front door is open and I am looking outside while standing in the doorway. It seems to be early afternoon. I am eating some delicious snacks of a strong bittersweet flavor, eating at least a dozen of them without paying much attention to their appearance. They go down my throat, each being swallowed whole. Finally, upon looking at them, I notice that they are like miniature shish kebabs, though the implied stick is also edible and sweet. On the end of each is a large and shiny red carpenter ant head with black mandibles. This gives me pause even though I had been enjoying these snacks (and I briefly vaguely wonder if eating their heads as such could be dangerous). I realize that the ant head goes down first, and I had been properly consuming them as such, but now, as I think about it more clearly, I am not so sure I will continue to eat them, at least for now. In another sequence, I am looking over at (old neighbor in Cubitis) Harold’s orange grove area (even though the house I am observing this from seems to be a minor variation of our present home). It seems to be late morning. The weeds are very high, nearly at chest level. I feel slightly guilty for not having mowed the area (which has no orange trees in this scene) yet do not even consider that his area is not my responsibility anyway. Soon however, two of his workers come over and start cleaning the area. They are dressed like sheiks (even though I sense one is East Indian and had worked as a cab driver recently). I still feel slightly guilty at their difficulty in trimming the plants. However, it soon is seen that what I first thought were weeds are two beautiful trapezoidal sections of tall flowering plants, forming two somewhat large hedge-like features. It now seems to be an amazing regrowth of what was intended years ago to be as beautiful as it is now. Still, the unknown male continues to work at it, cutting small sections at the bottom. He brings his gardening shears near the top but the areas near the blossoms are impossible to cut for whatever reason - in fact, it almost breaks his shears. He stops and studies the tops of the plants. He then informs Harold’s wife (who instead appears as Diane K for an unknown reason) and tells her that the plants are producing fruit, which seem very valuable. This does not seem to matter as Diane tells him that everything must be cut down as that is what Harold had said, though she seems upset about it and refers to him as a “posturing curmudgeon”. I feel very annoyed that the fruit will be wasted as well as soon missing out on the beauty of the red and white prolific flowers. Eventually, the setting changes very illogically. I am still seemingly at our present address, but the roof seems to be missing and the orientation still partly reflects Cubitis. Looking to the north, I see what resembles the Rose Street building. It seems to be nighttime though still somehow light enough to see at a distance. On the roof is “Diane” (still apparently playing the role of Harold’s wife) though she now seems to be Karen’s mother instead. I wonder if she sees me and recognizes me. She does not wave or make any indication as such. My two youngest sons are in the house, more to the north. The house seems to be open to outside on that end. I am still aware of her annoyance at Harold having the plants cut down, but when I look out, I notice two smaller beautiful hedge-like areas and it now seems daytime again. Turning about, the setting shifts yet again and it is now late at night again. I now “understand” even after having gazed at the shorter hedge-like flower sections in his yard, there are now only two mats in that spot (which somehow now is a much smaller area) with shorter grass growing in parts in a somewhat random pattern. I also see light-colored sand in random patches, mostly on the mats, which is also somehow the remains of flowers. This is in the area of the kitchen on his side as apparently we share the residence. I view the scene from our (my family’s) side of the kitchen. I do not question the plants having been growing out of the wooden floor and also growing from the mats. The kitchen is fully enclosed and no part of the house is fully open to outside as it was minutes ago. Soon, I need to use the bathroom and it is late afternoon again. I go into a (fictional) room (which would be implied to be between our two son’s rooms in layout) where it looks as if the toilet had somehow been slid across the floor and turned perpendicularly to where it had been. There is a decorated Christmas tree to its left and the room looks more like a lounge room overall. Looking down, I see there is hardly any water in the bowl and there is also a transparent plastic wrapper in it. I decide to use the “other” toilet. The other toilet is in our actual lounge room and faces east though is in a corner (northwest) that is implied to be our bathroom. At first, it seems fine (and it also is now a few hours earlier than it was moments ago), though I eventually realize the curtains are open on two sides and I hear the rest of my family returning home from their outing. I am annoyed (in realizing how open the “bathroom” is) but get up to close the two curtain sections. Still, I then see there is nothing there at all, the area being completely open on two sides with no curtains after all (implied entry point and the right side) and the time shifts to where it is even earlier (close to morning), so I decide to wake up and use our real bathroom (though it is not that common for a dream to be based on needing to get up and use the bathroom), which I immediately recall is not problematic as the ones in my dream had been. It is curious how many bizarre scene shifts and impossible time shifts there were and I did not question any of them, especially the house not having a roof and being completely open on one side or time jumping backwards a couple times, though both aspects are quite common in dreams.
Morning of August 17, 2016. Wednesday. My wife Zsuzsanna and I seem to be much younger, perhaps both in our twenties, seemingly about the same age. My dream starts (or at least becomes viably discernible) at a point where we are walking out from the Cubitis carport (a common induction point in my childhood and teenage years) about an hour or two before dawn. We are headed out to the highway area just beyond the big front yard (the original Highway Seventeen) for some reason. I notice that the area is different. Instead of a culvert, the land is elevated about eight feet above the highway (which is an intriguing variation I had never dreamt of before). I notice a few wastebaskets just off the highway, of various sizes and colors, which I consider as belonging to neighbors. I also get the impression that people sometimes sit in the area on the wayside below as an act of socialization. Zsuzsanna goes north to the area near where Harold’s orange grove started. There is an unusual large light-colored tree growing through a recess (or circular “notch”) in the embankment with its west side open (and facing the highway). Most of the branches (at least those in view) look as if they had been cut off about a foot or so from the trunk. Some of the exposed roots seem to be nearly at the height of the embankment (extending into the recess only) even though the trunk also properly extends from the ground below just off the highway. I do not question this highly unlikely and illogical feature. There is no traffic on the highway during the length of my dream. After a short time, even though I have no lucidity, I will a television to appear. It is a widescreen television similar to our real one and it faces the house. I tell Zsuzsanna to “watch this” as I manipulate its placement without touching it, using telekinesis to slide it a bit more north. (At no point is anything discernible or considered to be more north of the tree.) There is a sense of puzzlement where I consider that the embankment may have a slope from the ground level below that is horizontally deeper in near the bottom, and if this is the case, there may be people there though unseen, though this does not seem to be the case after a time. I cause the television to float in the air a few times, just past the edge of the embankment, as I contemplate what to do with it. I eventually start moving my hands in both a vertically and horizontally increasing span (moving my arms about slowly in an arc) as if indicating that the television is getting larger both in its width and height. This actually works and I am amused as I cheerfully ask Zsuzsanna “how is this?” It becomes very large, nearly as big as a movie theater screen (though with the black surface of a television), several times its original size. The detail seems flawless in how it slides and becomes larger, vaguely reminiscent of shutters opening (though not directly rendered as such, though I do get an association of parts of it flopping out from the side as it evenly grows larger though not as if by original design). My dream becomes more and more vivid as I go closer to the tree and the edge of the embankment and I sit down to the left of the tree (south side). It is the only tree visible in the area. Zsuzsanna starts climbing the tree, but only near embankment height, and she mostly only circles around it, sitting on a truncated (seemingly evenly sawed-off) branch a couple times, while facing the tree. Still, I am concerned that she could slip or fall and I tell her to be careful as I would not want anything to happen. I then use telekinesis to start causing dirt to fill in the recess that the tree is adjacent to, but decide to stop after a short time even though the completion would cause the area to be more stable to walk on (though this is not really logical as in reality there would still be less dirt overall in the area, although there is a sense that I may be creating it as I also mentally move it). Zsuzsanna seems very happy and deriving pleasure from moving about the tree’s circumference (while staying mostly at the embankment height, going neither up or down). I feel a sensual attraction to her as she sits on the truncated branch facing the tree, the scene being somewhat erotic. Since 1968, Highway Seventeen (the original name as the stretch is now called Northeast Cubitis Avenue), when featuring as the main setting of a dream (especially in the final segment) causes an absolutely amazing heightened sense of clarity and extremely clear “realistic” detail and vividness. I suspect at least two possible reasons for this. A highway often seems symbolic of the strongest link between dream self and more discernible increasingly active consciousness. I also spent a lot of time (during a period of about eight years) waiting on the wayside for the school bus (as well as getting off there in the afternoon), and so these two factors also can combine to validate this as an augmented liminal space and “arriving home” (waking up) scenario. The fact that I non-lucidly create and manipulate the television (which usually represents a dream within a dream though in contrast also a link to the external real environment) seems to be a very intriguing non-lucid practice of dream manipulation (though many dreams throughout my life, I as my dream-self have also manipulated non-lucidly solely by pretense and nearly subliminal expectation, though this does not always work, as with my recent “Robot Help” dream as an example). Additionally, the television expanding and growing larger is also analogous to my dream becoming more vivid.
Morning of July 27, 2016. Wednesday. Even though I am fully lucid, I had entered a very skewed version of “When Wakes the Dreamer!” (first read around age twelve in 1973 in Eerie Magazine). My wife Zsuzsanna is outside talking with an unknown female. They are looking at the horizon at what are apparently unusual events related to the supposed HAARP (apparently closed in 2014) conspiracy. It also seems there may be some sort of military action but not as an imminent threat. San Francisco, as in the story, is “gone”. Misty “tendrils” of either smoke or cloud rise in the distance, some tongue-like. As I am listening to Zsuzsanna and this unknown female speak, I look up at the nighttime sky and see a huge cloud. It looks much like a human face, mostly like Doug in a particular panel of “When Wakes the Dreamer!” though oddly in the negative (even though I do not recall seeing it in photographic negative at any time in my past). (The word balloon with the image had read “Just moments ago you said that I was aware of things that the mass media would never realize existed! Perhaps!”) Still, Doug’s huge visage almost seems like pareidolia in the back of my mind (especially as seeing a face in the clouds is a common form of pareidolia - and even though it is a dream, I do not want to embarrass myself). I mostly stare in awe at the sky. I am not that concerned about the female of whom Zsuzsanna is talking to regarding the so-called HAARP weapon. I never draw their attention to this weird cloud at any point even though I consider doing so. His “tongue” seems to extend and go up along the left side of his face almost to his “forehead” - which is almost like a separate vertical cylindrical cloud formation, not quite like a tornado, but becoming more like a giant pale vertical tomato worm cocoon (distorted by elongation and being rendered in photographic negative). Still, the more closely I stare at it, the more eerie (no pun intended) it appears. If Doug is the dreamer of my dream, where does that leave me? Certainly it is not my face in the clouds. I find myself wandering through an alley and “returning” to our home, though it is a mostly unfamiliar residence still deemed to be ours. I discover a package that looks much like a miniature pillow (obvious dream sign) which seems to be on our bed (another obvious dream sign). I am aware it contains a small amount of various organic herbs and seeds that we had ordered, which were quite expensive. However, when I go closer, everything starts popping out of the package, though each at a different time, such as maize flour (the first to somehow “jump” through the unwrapped package), sunflower seeds, fennel seeds, and seemingly thistle seeds as one of the last features (the kind you “make a wish” on). I do not want all of this wasted, so I eat the small amount of maize flour as well as some of the sunflower seeds and fennel seeds that later emerge. (I believe this segment was caused by sounds in my real environment at the time and my dream trying to resolve these sounds by including both dream signs and very slight “nourishment” and an analogy to increasing awareness of physicality.)
Updated 07-13-2018 at 04:46 PM by 1390
Morning of June 22, 2016. Wednesday. My wife Zsuzsanna and family and I as we are now are at a large unfamiliar park, though perhaps implied to be in Brisbane. It is somewhat like a composite of the South Bank and Nundah parks. After a time, a group of unknown people start to gather under a shelter. This seems to be related to the beginning of a concert. It seems to be nighttime at first, perhaps around nine o'clock. We listen to the music for a time. Our children stand to our right. We are not actually under the shelter at this point but just on the outer perimeter of it. Burl Ives, or someone much like him in this case, eventually shows up and there is the option to go with him on some sort of tour of the area. Zsuzsanna and I and a number of other people join the group. At this point, our children apparently remain behind, although our two oldest are with the younger ones. We are eventually on a bus going up a hill. Somehow, the time is now late morning or afternoon since it is now daylight. After a time, the bus transforms into a jeep and Zsuzsanna and I are sitting in the front to the right of the driver (which is the wrong orientation if assuming an Australia vehicle). The jeep goes over a narrow road and into a fissure; between two high rock faces (which almost come up to the sides of the jeep), right to the edge of a cliff - and I almost think we are going over and that it is meant to be the purpose and climax of the supposed tour. I see the view far below, mostly of forests and ravines. Soon though, the jeep backs up and I hear an unknown voice behind me say, “Oh, we are backing up now” as if they are relieved our tour did not include going over the cliff. “This is a really stupid way to make a road,” I say assertively. However, the jeep, after backing out from the fissure, is then driven in a perpendicular direction and comes to a stop just before going off another part of the cliff. Again, I contemplate if we are going over but instead the driver backs up a bit and turns and goes down the road and back into town. Having had enough of this “tour”, I leave the jeep as it is still going down the street and somehow end up on my own in an unusual fancy building, which is apparently closed at the time. I try to find a door out of the building to go home (as I am also concerned about where our children are) but I end up only going into what seem like business offices. One room has a male and female who do not regard me. I then turn and go down a hall and somehow (by force of will even though I am not at all lucid) create a door into a portico which leads into a parking lot. It is now nighttime again (and thus Ed Wood must be directing this dream as often seems the case with illogical sudden switches from night to day and back again during the same shorter time period). As I walk through the parking lot, Zsuzsanna is walking to my right as if she had been there all along. I am still concerned about our children’s safety, particularly our youngest daughter. As I continue to walk I realize that Zsuzsanna is still speaking to me even though she is now a mostly yellow (emergent consciousness color) cylindrical music box of the windup type that holds and rotates a baby cot mobile. I accidentally drop her on a parking block as I am stepping over it. I feel bad and hope she still works. I hear her musical whirring and realize she may recover. Firstly, a parking lot represents the liminal space between dreaming and waking and is always an element of the waking precursor for me. Many of my dreams end in a parking lot setting because of the symbolic association between being “elsewhere” (in the dream state) and from there will go “home” (real physical body) even though there is no car association here (and I am inclined to now believe that a parking block may be analogous to a pillow as a dream sign in at least some cases). This last part was also indirectly precognitive as our youngest daughter was slightly injured by falling on a music box (though was not hurt that much). The loose patterns included the music box, the association with a baby or young child, and being hurt in a fall. My dream however, though it foreshadowed the event correctly on one level, used completely different connections. What I find very curious here is how the typical falling start (waking point) was “stopped” twice before I took action to go into a different level of consciousness (though I sometimes deliberately jump from cliffs to enter an enhanced flying mode), which then foreshadowed an event from today. I was unable to prevent it, but I still find it very interesting and typical of the unexplainable facets that occur in some dream types.
Updated 08-15-2017 at 06:51 PM by 1390
Morning of April 26, 2016. Tuesday. I am on a raft made of logs of which is floating on a body of water, but I am unsure if it is implied to be the ocean, a lake, or a wide river (though ocean seems the most likely). Over time, I notice a few empty rafts in the distance on each side of me, though more to my right. My dream becomes somewhat abstract. I try to use the raft as a trapdoor to flip it over to enter another realm. Flipping my raft (part manual effort, part mental effort) makes the other rafts in the distance automatically flip in unison with mine, though I somehow remain atop my raft when it flips. The implied “doorway” under each raft is black and seemingly without the presence or essence of water. I know that I am trying to wake up or at least enter a clearer level of awareness within the dream state even without viable lucidity. Going down into the water as well as the supposed dark “doorway” would imply dream induction. Still, I try for several minutes and eventually notice Zsuzsanna on a different raft. I get the impression that flipping my raft will send me through the implied portal up and onto her raft as a mostly subliminal act of “retuning” to our bed. This works and I am with her, by her side, and quickly wake. This is the first time (at least in recent memory) that a dream rendered a raft as a “door” (or as potential doorway waking symbolism). It makes sense though, as the water body implies going deeper into unconsciousness and a raft additionally implies autosymbolism of our bed, and again, was even perceived as such by my dream self.
Morning of April 7, 2016. Thursday. There is a backstory to my dream of having collected water from a shallow pond. I am not sure of the setting or its location. My sister Marilyn (half-sister on my mother’s side) is nearby and as she appeared before I moved to Florida in 1967. My family as they are now are also present at one point. I look into the water and below the surface I see many implied one-celled animals (which you can only clearly see with a microscope in real life). Marilyn also looks on. I see a glowing transparent centipede, swimming downwards (which puzzles me since I know centipedes are not aquatic), forming a moving staircase shape (like a mobile escalator) eventually going out of sight. The one-celled animals (mainly protozoa) swim down out of sight but are visible at other times. Eventually, a small fish jumps up out of the “aquarium” which surprises Marilyn. I am somewhat surprised as well, because I thought I had gotten the water from a pond that was not deep enough to be suitable for fish. I am not sure where the fish is after the jump, perhaps on the floor. (A fish out of water represents the dreamer coming out of the dream and as a result, my dream shifts to the waking transition.) Later, I am holding an antlion larva. Over time, I notice blood on the tip of one of my fingers. It seems that it had been biting me (even though they do not bite in my experience). However, it also seems to instead be the result of a hangnail. Still, I ask my sister whether or not antlions eat people. Again, a fish is a projection of the dream self in the dream state (and water represents sleep and the flow of thoughts in the dream state). The one-celled animals may be a reference to minor neuron activity or a subliminal association with other dreamers. An aquarium is a downsized focus on the dream state itself, representing the human mind on one level. The unlikely “phasing” centipede swimming in the water represents a shift in consciousness. In this case, as it swims deeper, it forms a symbolic staircase to link to the nonlinear events throughout my life and down into the depths of the unconscious. This is evident by the link to a version of the original childhood “Taboo” dream (sparsely recurring, no more than perhaps four times) and upon checking, I found markers and parallels. It has the same basic setup; that is, looking at an aquarium of (visible to the naked eye) one-celled animals, though this was in third grade in 1970, one version found to be on today’s date exactly forty-six years ago (and which appears to have been partially influenced by the movie “Jigsaw”, about a man finding a body submerged in a bathtub). I have not held antlion larva much since third grade. This ending element represents a typical waking transition because an adult antlion resembles a dragonfly, which is a flight symbol. The bloody finger may be an association with our youngest son’s hangnail. The reference to “eating people” is a reference to coalescence and the dream self merging into whole consciousness during the waking transition (especially the association with “lion” as a lion is often a form of the more aggressive emergent consciousness). Also, an antlion is shaped somewhat like a human thumb, where my youngest son’s hangnail was. The antlion’s mandibles may be an association with the hangnail itself. Other phasing staircase references (as the “water centipede” in this dream) can be found in dreams such as “Rocket Science?” (July 2, 1976), where a sheet of typing paper mysteriously “rolls” down from the ceiling (which represents the liminal state between sleeping and waking) and forms a staircase pattern or brief “escalator”. This focus greatly intensified that dream. A similar event occurs in “White Noise Staircase” (February 21, 2014). Identifying phasing staircases may be beneficial, since I believe that it may also be relevant to a deeper bond with the Source and wholeness, as a staircase is a link between sleeping, dreaming, and waking). A centipede may be a dream’s rendering of the human spinal cord. In water (as in this dream) it serves as both a reminder of the human physical form as such and immersion in the dream state via the staircase or escalator metaphor. On one level it is the energies of my unconscious awareness returning to the Source. In the first version of “Taboo” from 1970, it was more about “sea monkeys” (brine shrimp) on one level. These “sea monkeys” also represent the human spinal cord.
1 minute 54 second read. Monday, 14 March 2016. Holographic Toy Tiger (sleep simulacrum) Dream # 17,983-01. My dream's location is my den from the Stadcor Street house in Wavell Heights (where we have not lived for years) in Brisbane in the late morning. A stuffed toy tiger is on a blanket on the floor in the center of the room. The design implies that the animal is resting on its stomach. (See the image if available. It is similar to one we have in waking life, but my dream's version is less realistic.) With the back of my hand, I pretend I can touch and feel the intangible hologram. I move it over the periphery of the hologram's imaginary surface. I "know" I am feeling something, but I consider it may be something located elsewhere and not in alignment with the hologram's shape. (I have often had dreams of this implication. It is otherwise a specific type of lucidness to increase my somatosensory phasing response to the dream state, to bring about more vividness and realism.) Eventually, Zsuzsanna stands in the doorway (in the background), looking into the room. I see her from the other side of the stuffed toy tiger hologram (in the foreground) that briefly moves its head in her direction. I see a flick of its tongue from its profile and feel intrigued, waking at this point. The stuffed toy tiger correlates with a thread of lucidness in recognition that my physicality in the dream is unreal. The blanket signifies my realization of sleeping in bed. The toy tiger's tongue moves somewhat because my tongue has some mobility before waking before REM atonia diminishes. A similar model from early childhood, titled "The Skunk," has the same foundation of causality, although the co-occurrent dynamics are slightly different. I will compare and contrast the content of both dreams here: "Holographic Toy Tiger": A hologram of a stuffed toy tiger in a sleeping position on a blanket signifies my co-occurrent recognition of being asleep in bed. The room is otherwise featureless. Protoconsciouness initiates as Zsuzsanna in a doorway (background), seen from my side (foreground) of the "sleeping and waking animal." The outcome reveals my recognition of having tongue mobility before REM atonia wholly diminishes. "The Skunk": A sleeping skunk signifies my co-occurrent recognition of being asleep in bed. The room is otherwise featureless. Protoconsciouness initiates as an unknown girl in a doorway (background) seen from my side (foreground) of the sleeping and waking animal. The outcome is that the white area of the skunk's body becomes a question mark to correlate with the essence of being puzzled by the sudden realization I am dreaming. Imagine all the people who cannot understand or accept the factual attributes of concurrent dream content causality (as explained here) and seek to corrupt it with the unintelligent misdirection of "dream interpretation."
Updated 07-13-2022 at 08:00 AM by 1390
Morning of March 6, 2016. Sunday. This highly atypical dream state was like a hybrid of a false awakening and a lucid waking transition glitch. The setting seems to be our bed as it is in real life, except that I get the impression or for whatever reason have the false memory of a door to outside being just east of our bed, about where the middle of the kitchen is in reality. My wife Zsuzsanna mentions something about an animal having gotten in through the window (which does not makes sense as it has a screen). It seems to be a wolf, about twice the size of a normal wolf. However, it seems to be invisible. I try to kick it out of our bed several different times and at one point, oddly believe that I somehow kicked it through the closed door (again, rendered in the wrong location), not breaking through the door (or causing it to fling open) but phasing through it (dream “logic”?). There are at least three “resets” of the situation. Several times, I thrash my legs around (even though it does not seem I had done this in reality no matter how “real” it felt). The wolf seems to be very tiny at times, though the sheet seems lumpier and higher at other times. I can see clearly into the room, as it is seemingly near dawn. There is no actual attack or implied injury at any point.
Morning of February 27, 2016. Saturday. My wife Zsuzsanna and I are sitting in a parked car in an unknown large parking lot in an unknown area. I am on the left in the front seat, and America is possibly implied as the location. There are only a few buildings around, most in the distance. Still, consciously relative to our present home, I feel that the car is northeast of our home, facing north. It seems to be late afternoon. The sky is bright blue with a few white clouds. There are a few odd partial contrails in the sky, sparsely scattered, that are like truncated C shapes. There seems to be a vague awareness that military activities, mostly related to aircraft, are occurring somewhere in the region. I puzzle over this but I am not concerned about it or wary. Eventually, I notice a man high in the sky who is piloting a biplane hang glider. At first, he seems to know what he is doing, but at one point, the longer I watch, he seems to be falling (almost as if I am willing him to by subliminal expectation). He comes closer and closer to our car and eventually crashes onto the parking lot, sliding from left to right, hitting the left side of the front of our car with a hard metallic sound and resulting in the feeling of the car briefly moving. I get out of our car and look to see a number of pieces of the hang glider strewn over the immediate area. At least three of the wings are mostly whole. The male is sitting on the parking lot to the left of our car, about two feet in front of it, with his knees up. I stand to his left about three feet away. He does not look injured at all. I ask him if he is okay and he looks at me as if I am an idiot. (It does seem very unlikely that he did not get hurt or even killed, but he does seem okay.) Another male is eventually present who seems to be his companion (though he had apparently not been hang gliding) who stands to his right. There are thoughts of whether or not he used a kit to build the biplane hang glider himself or bought it commercially already made. Perhaps he made a mistake in building it, though this is uncertain.
Updated 09-11-2019 at 06:57 PM by 1390
Morning of February 14, 2016. Sunday. Dream #: 17,954-05. Reading time (optimized): 2 min. In my dream, my wife Zsuzsanna and I are in a shed that may be a distorted version of our present home’s shed. There is also an unknown male character. A trapdoor spider about four times bigger than a real one is near the doorway. It bites Zsuzsanna on her right knee, but she is soon a young version of the Erin Walton character (played years ago by Mary Beth McDonough), which puzzles my dream self in a way that alters my level of awareness. The man holds her as she cries and sits down and he gives her an injection near her right knee with a hypodermic needle (a very rare dream prop for me), which contains the cure. It seems she will recover. I look in the doorway, and there stands the four-times-bigger trapdoor spider. I eventually understand that the spider is Kali. “She is the mighty aspect of the goddess Durga. The name of Kali means black one and force of time. She is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction.” (Kali often has four arms and two legs, which makes her an “insect,” not a “spider.”) Zsuzsanna used to play with trapdoor spiders without knowing they were venomous (yet luckily was never bitten). Secondly, I associate Erin Walton with the petting of a deer (relating to a documentary feature about her that I saw years ago as well as the Waltons episode “The Fawn”), which was like a very similar image in a photograph Zsuzsanna sent me before we met of her feeding a deer. Zsuzsanna’s right knee was miraculously healed (even though doctors said it could never be) when we first met and shared meditations. Although there are other layers, two are interesting and fit perfectly. One is a ghost story related to Kali as a demonic living statue (though I no longer have that comic book). On Thursday, February 14th, 1974, I saw “The Waltons” episode “The Ghost Story.” “Strange things are occurring at the Walton home. The family uses a Ouija board to ask questions about the happenings. A small boy staying at the home is to leave to meet his father. Things happen to prevent this.” The original newspaper summary: “John-Boy obtains a ‘spirit board’ which is reputed to foretell the future and to put its interrogators in touch with the psychic world. When the board appears to be delivering mysterious messages, Grandma and Olivia insist that the children stop playing with it.” The trapdoor spider in my dream seems associated with a Ouija board (which is dependent on the use of hands and which is what a spider also represents in some dreams in a negative context), also representing Kali, also representing “messages” in the liminal stages of sleep which have various transpersonal sources. Because my 1971 dream features doorway waking symbolism using Kali, it seems a relevant marker. On one level, it serves as a personal confirmation against so-called psychics, “dream interpreters,” or ideas from questionable sources.
Updated 08-02-2022 at 04:33 PM by 1390
Optimized 2 minute 30 second read. Monday morning, 25 January 2016. Game Frog (fascinating and rewarding real-world outcome) Dream # 17,934-01. I am with Zsuzsanna in an unfamiliar convenience store implied to be southwest of where we live in real life, seemingly on Electra Street (though I have not been there in waking life). The checkout counter is in the back instead of near the entrance. Absentmindedly, I buy an incomplete computer game. At the checkout, I see a small white cardboard frog in the open box. I do not consider the cardboard prop an unlikely computer game item. The game also features a "lily pad," though it looks like a white paper crown. (See the first image if available.) The cashier (an unfamiliar girl with protoconsciousness essence) calls the computer game's designer at his house, claiming one side of the cardboard frog "needs adjustment." The faux frog spontaneously "activates" and hops off the counter. It may be a version of Frogger that utilizes the environment as its playing field. I consider it is programmed to cross the street and dodge traffic but would require the player to control it when functioning correctly. I notice a cat investigating an aisle. The cat spontaneously flies backward because of a function of the game triggered by the frog's location. I lose interest in buying the game because I do not feel like trying to maneuver an artificial frog through traffic, especially since the game is malfunctioning. After leaving the store, Zsuzsanna and I see a different cat (unfamiliar) that could be a stray. It has long, light gray hair. I pick it up to carry home to feed it. I soon have a vague impression it may belong to someone who lives near the store. Zsuzsanna turns left to go through the open hall of a building, through the back, as a shortcut. I assume it has apartments on both sides of the otherwise publicly accessible corridor. I do not follow her. I go around the building, hoping she stays safe, but I am mentally prepared to defend her. Three unfamiliar men harass her as she does laundry on a porch-like area. She has a nonchalant attitude, but one of them pushes her. I am suddenly holding my Olympic barbell (without weights), and I swing it several times. I strike them all in the stomach until none of them can stand.After my dream, our youngest son Oliver found a toy frog and a paper crown on the sidewalk while walking between our home and the shopping mall. (See the second image if available.) Despite my dream's narrative aligning with the usual processes resulting from REM sleep, its real-world outcome was rewarding. Animals typically correspond with how I perceive and manage my imaginary physicality while sleeping. A frog correlates with intuitive myoclonic dynamics because its back legs kick. The computer game implication implies cognizance of this process while dreaming, as does the "crown." In contrast to leg myoclonus, abdominal myoclonus results in me striking the men's stomachs "until none of them can stand." (I am not standing while sleeping.) Anyone with reasonable intelligence and who dreams with lucidness would recognize how predictable REM sleep dynamics predominantly influence dream content over waking-life factors. It is especially discernible here with the first's cat myoclonic response, carrying the second cat near my stomach, the association with laundry (being undressed while sleeping), and the transition to hitting the men in their stomachs. Protoconsciousness as the store's cashier reporting the frog's problematic attributes to its unseen designer corresponds with the dynamics of my sleeping position regarding myoclonic precursors, as a store's checkout anticipates the ending of a dream or dream segment. These dynamics have influenced hundreds of previous dreams in similar ways.
Updated 08-06-2022 at 07:17 AM by 1390
Morning of January 15, 2016. Friday. This dream was really odd in what I first thought was random distortion, though I soon began to grasp at least three layers of meaning in a fairly short time, one layer (the most likely, I think) which I will share here. I am making love to Zsuzsanna in an unknown and unfamiliar setting - what seems to be a fancy hotel room. The made bed (closer to the cater-cornered door than where we are) has its headboard against the wall. I am directly on the right side of it on my back on the carpeted floor, facing the opposite direction of the headboard (with my feet closest to the table and lamp near the wall). Zsuzsanna is on top, first facing one direction than facing the other (in two different events - the sense of touch and localized awareness of heat being very elevated). I am becoming more and more aware (though not lucid) and soon notice several miniature wolves (slightly smaller than a cat) running around in midair (at about shoulder height), one directly above the pillow. These wolves are not threatening in any way, just mildly distracting. I start to wonder how many there are or if they will become less chaotic (for example, to form a straight line somewhere). My reasoning was almost stumped until my interpretation ability flowed naturally. What do people supposedly do when they want to sleep? Count sheep, of course…miniature imaginary sheep that hop over the would-be sleeper and his pillow and are sometimes imagined as floating in the air. This is inverted on possibly two levels. Instead of counting sheep, I am already in the dream state, so the “opposite” form appears - wolves. They are also not lined up to count, implying the dream continuing without waking (though they still may imply the waking mechanism since dreams often implement opposite “what if” ideas). There may also be an association with sheep as related to the popular non-word “sheeple” to describe unaware people. Wolves imply freedom and intelligence over the unaware conformist. However, something being in mid-air, I happen to know (by being directly told in the dream state) that it may sometimes mean “not getting enough support”, which may relate to my perception of much of humanity as not being very aware - or even interested in their own mind and dream states.
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