Blue_Opossum

Morning of March 5, 2019. Tuesday.

Dream #: 19,069-04. Reading time (optimized): 1 min.



I stand in the early afternoon in an unknown location directly facing the propeller of a small white airplane. The propeller moves a short distance counterclockwise, but then it seems like it had not. I try to determine if it had by concentrating on the scene. I do not see a pilot, as the windows reflect blue sky and white clouds with a gray hue.

I consider the essence of a slipstream, though mainly, since childhood, my modulation of the imaginary physicality of dreaming has been about balance or hovering to sustain and vivify a dream. I know there would have to be no imagined physical contact (despite ordinary wall mediation using phasing). I feel a sense of movement, but wake.

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“Beautiful Sparkling Tornadoes” from this date was about phasing and slipstreams as well. It is the principal factor of dream entry and egress. (That dream had a fictitious author who wrote about unknown creatures coming through the slipstream to “threaten humanity,” though there was no threat to me.) I can assume (at an esoteric level) that a tornado is a primary vehicle of enigmatic space (when it models the virtual Merkaba), yet which I have modulated even in childhood with one of my favorite dreams of spinning a merry-go-round to counteract an oncoming tornado.

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dream type: liminal modulation of imaginary physicality, supraliminal imaginary slipstream (virtual Merkaba)

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Induction, dreaming, and waking processes stem from the same dynamics regardless of any personification or preconscious simulacrum. There is no vestibular system personification here, only me.

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Early evening of February 14, 2019. Thursday.

Dream #: 19,050-04. Reading time (optimized): 30 sec.



My attention is directed down at a display that is first showing a Boeing 747 beginning takeoff. It is dark. It soon becomes more as if I am looking at a representation of the event.

The bottom of my viewpoint displays a white rectangle in an otherwise dark field. It slowly grows upward as indicating the path the airplane is taking.

At first, I think the area is large, perhaps an American state, but I soon realize I am looking at the layout of a small island. The runway is the entire length of it.

The white line becomes longer, extending more quickly as I realize this, understanding that it correlates with (and represents) the waking process, at this point realizing I am dreaming and waking.

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Morning of October 6, 2018. Saturday.

Dream #: 18,919-01. Reading time: 1 min 45 sec. Readability score: 63.



Entering the usual (projected in this stage) vestibular system correlation phase (always based on the subliminal, liminal, or lucid anticipation of the process rather than anything to do with waking life), I find myself back in Cubitis in the early afternoon, in the front yard. I am watching airplanes flying south in the blue sky above. It goes on for seemingly a long time. (Although this is a common dream situation, having been so for over fifty years, it does not have the same essence or mood as my watching the sky before dawn dreams. Those carry more of a deep, blissful nostalgia and happiness, with a false memory of otherworldly activity occurring at about two to three in the morning.)

There are others with me, though they are unfamiliar people. Everyone in this dream is cheerful. My conscious self identity does not exist in this space. Even the neighbors to the immediate south are unknown and unfamiliar. There are no thoughts of the real history with the real-life neighbors of 1968-1978.

At times, I consider that I could cause an airplane to crash (though I am not viably lucid) by anticipating it, though I do not focus on human fatality here. Sometimes one of the planes flies close to the ground in the distance, but there are no explosions. Eventually, I see that a Cessna is in the driveway of the neighbor immediately to the south as if it had been there all along. I point this out to one of the other people in the front yard.

My dream wavers into an indoor setting, where the Cessna is now indoors, in the neighbor’s living room. It is behind the couch (and is not much longer than it) in about the center of the room, though it does not have wings. The owner had called it “fake” even though it is not. He and his wife sit inside the airplane and watch television. The plane faces west.

Eventually, the man cheerfully talks about having a snake around somewhere, which he put in the room on purpose. I am not concerned and do not see a snake anywhere, though slowly wake at this point.

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Since childhood, I have understood the vestibular system correlation avatar to be a specific form of RAS personification (the waking process linked to the reticular formation in REM sleep). Once again, this is validated, as the core RAS manifestation (in all primates, not just human beings) is a snake. It is almost as if the preconscious is playing with me by talking about having put a snake somewhere in the room with the wingless airplane.

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Morning of September 22, 2018. Saturday.

Reading time: 1 min 22 sec. Readability score: 62.



I am sitting in a wooden chair that is first in a mostly undefined featureless room, though with a vague essence of our present home. It is possibly late morning at first. The passage of time seems unusual at the beginning. Several years may have passed very quickly with a brief awareness of different seasons. Soon, it is in an overgrown field. A Twin Wasp engine is on the ground, a few weeds growing around it. It seems to be golden at one point.

The rest of the airplane is elsewhere in the field. There is a 1940s feeling, though based on movies of the time. It seems my task is to fly two ballet dancers (male and female, about thirty years of age), in white, from the area, where they have been for a very long time, living in the minimal ruins of an unknown region. They have still been able to thrive somehow.

Although they sit in the back of a small airplane, they seem to be mentally flying it as I sit in the pilot’s seat. There is a sustained awareness of motion. We move through liminal space of only vague definition as the sky. When I look back at the waking point, they are no longer present.

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Vestibular system avatars sometimes have attributes associated with dancing as a result of the subliminal, liminal, or lucid control of, or focus upon, the illusory physicality of the dream state, the fluidity of adapting to changes in consciousness as well and anticipation of the waking start, even through hypnopompic transitions when they occur. I began to realize this when I was four years old. Airplanes and virtually all flight-related factors (including flying under my own will) are a common dynamic of the process, being present throughout every sleep cycle for over fifty years. Not counting flying under my own will, mechanical forms of flight, such as airplanes, helicopters, and spaceships, when compared with birds, seem to occur with about equal frequency.

Gold always correlates with dream state vivification and the emerging consciousness factor.

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Morning of September 13, 2018. Tuesday.

Reading time: 1 min 53 sec. Readability score: 57.



Since early childhood, originating on December 23, 1966, a few days after my sixth birthday (while living on 901 Rose Street in La Crosse, Wisconsin on the second floor of a commercial building), I began to comprehend the main component of the dreaming and waking process. For those who do not know (as I have explained it hundreds of times since 2004), it is vestibular system correlation. This main factor of going into and out of the dream state is of course based on the inability of the dream self to viably perceive the physical body’s current orientation and is the foundation for what is called the “waking start” or falling sensation. About fifty percent of the tens of thousands of dreams I have studied have this element at one point, more than twenty-five percent related to flight (such as birds, airplanes, helicopters, and unaided flying as well).

This process often involves VSC personification, or another form of the avatar, such as an anthropomorphic bird.

The process may come about either deliberately or spontaneously, from the three dream self modes of subliminal, liminal, or lucid. Sometimes, I initiate the process by habit (and the virtuous circle effect), other times, it is by surprise. This process, just as I have never dreamt of the same setting more than once, is always different, and despite my viable knowledge of the process for over fifty years, I remain astounded by each new subtle variation.

In this case, my dream is quite simple, despite it being a new variation. I am flying on my own in a few scenes. Eventually, I see people who are preparing to work as flight attendants. One of them is the preconscious avatar.

I am puzzled by how a male flight attendant is standing on the tail of the Boeing 747 as it flies to my right in the same direction I am, quite high in the sky. He is standing near the left elevator or horizontal stabilizer of the tail. (This is an association with the fact that an elevator is also a common form of generic vestibular system correlation.)

At another point, when a 747 is on the ground, other flight attendants prepare to work. I am puzzled by why they have to stand on the airplane as it flies rather than ride in it. The (unknown male) VSC avatar tells me that they need to make sure that passengers do not open the door to the outside of the aircraft when it is in flight.

An airplane (other than when serving as a literal or prescient form) is typically a projection of VSC, that is, a secondary projection of one’s imaginary physicality within the dream state. As such, and with the preconscious presence, my dream gives me a “soft landing” so to speak rather than a hypnopompic kick.

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Morning of July 21, 2018. Saturday.

Reading time: 2 min 5 sec. Readability score: 79.



I am with Zsuzsanna for the first time in my dream. We are as we were when we met in February 1994. However, where she lives is different. The house seems to have only one floor. (There have been many dreams where we were together for the first time, each as an alternate timeline, but typically with blissful associations.)

We plan on going to America to live, rather than remaining in Australia. We are walking through a park late at night, and several unfamiliar people are present. It seems we are walking to the airport. (The area looks like a park I was only in once when I was six years old when my parents and I were traveling from Wisconsin to Florida to live.)

There is a sudden unexpected eerie mood as a creature comes out of the dense woods. An incredibly loud roar echoes throughout the area. It is a big mandrill that emerges from the forest that borders much of the park. Most of the other people look alarmed. Some begin to run. Zsuzsanna and I quickly go in the opposite direction as the others. At first, I think the animal will chase the others, but it looks toward us and charges. We go atop a log that is tipped slightly from a tree stump near another tree. The mandrill starts to eat us both at the same time, swallowing our hands first. I am annoyed at this outcome and subliminally reset my dream to begin from the same point but without the creature.

We arrive at the airport. It is still night. Zsuzsanna is elsewhere for a short time. I am uncertain what airplane to get. An unfamiliar woman who works at the airport and is standing with a few unknown members of the public talks to me. Referring to Zsuzsanna and me, she clearly says, “You are the two special people on this world. Yin and Yang.” She says she is an angel. From here, I wander off and ask if there are angels in the airport, but no one else says much.

Zsuzsanna and I are soon sitting in the back of the plane. In fact, we are so far back, there is only room for us in the area, as it tapers somewhat.

The perception of movement is extraordinarily vivid and like being on a real airplane that is taking off. However, when I look out the windows to my right, we have not yet left the ground. I consider what could happen. The airplane might explode in midair or crash, but I am unconcerned. I continue to feel the movement throughout my body. I notice that we are moving on what seems like a highway bordered by guardrails. It is curiously in the form of a complex winding roller coaster shape that continues to go higher. I do not consider this as odd. The pilot is doing his job well, and I trust him. He makes a sharp turn and continues up the runway. I decide to sleep until we arrive in America. It will not be long before we are in our new circumstances.

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Morning of July 9, 2018. Monday.



I am in our present home in my dream, though which seems rotated from north to west, perpendicular to its real location on the corner (intersection).

Our youngest son is building a biplane from Lego. However, when I look again, it seems he has changed it so that it is now a building. He is sitting on our youngest daughter’s bed (where he had slept temporarily). I puzzle over this. I visualize the Lego biplane as being vertical and upright, but then consider that I may have only been looking at the “skeletal” foundation of the building (even though it was an actual transformation typical of the dream state).

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This dream is based on very common (an average of more than once per sleep cycle) anticipatory autosymbolism for vestibular system correlation. This does not always result in actual “flight” or a direct change in physicality upon waking (such as a hypnopompic kick or common falling sensation). In this case, with the bed as the literal dream state indicator, with an airplane autosymbolism for physicality in regard to VSC, it simply represents standing up after getting out of bed, though is also an association with our youngest son sometimes standing on this same bed in reality.

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Some previous (posted online) dreams in which a biplane or biplane hang glider has featured include:

Biplane Hang Glider Mishap, February 27, 2016

Biplane in my Pillow, April 4, 2012

Water from a Biplane, December 20, 2010

Biplane Directive, January 2, 1972

They are not as common as other flight symbols (that is, dream state contemporaneous symbolism of VSC, which is usually unrelated to waking life), such as helicopters, of which have featured in hundreds of my dreams since childhood, some featured in my entry “40 Helicopter Dreams”, posted on May 20, 2018.

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Morning of October 20, 2016. Thursday.



My dream begins with a backstory involving a task which is apparently for a reality show. There is a feeling of comfort and happiness and of being in the right place at the right time.

The challenge involves retrieving a two-storey dollhouse from the middle of a shallow pond. The knee-deep water is very cool and refreshing. The dollhouse is in a deeper area, mostly encircled by rocks that are just under the surface. Reaching down to lift it from the bottom, my right hand brushes a rock and I get an intense electrical shock that jolts my whole body and I even feel residual buzzing for a short time. My perception vivifies after this. I realize that only the dollhouse can be touched with the hands or a shock will result, which seems to be the nature of the challenge. I grab it by the roof and an upper window with both hands and get a vague impression that it is actually a miniature boathouse made of flimsy wood. I lift it up and tip it and watch and hear all the water flow out, as if it had been full of water even though much of it had been above the surface. I carry it back to shore with a great sense of enjoyment.

There is a later scene in a less vivid dream event where two unknown males are trying to win the hand of a tribal princess. (I am unsure of the culture as even though it seems early Native American, it also seems to be in the future where there have been celestial changes, possibly threatening, though this is not a dominant idea.) There is something about shooting an arrow between two bows that overlap front to front giving the impression of a Venn diagram truncated at each side, the central area symbolically relating to the traits of the princess that both men desire, which has obvious sexual undertones.

In the last segment, which is more vivid, an unknown male in a business suit is boarding a passenger jet near the outer boundary of a forest. (My view of him is from behind the left side of the aircraft.) He is carrying a large golden airplane charm which he had apparently won. He seems happy as he is walking up the mobile stairs.

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About 12% of my dreams (about 12 out of 100) render water as autosymbolism that represents entry into the dream state.

About 23% of my dreams (about 23 out of 100) render vestibular system ambiguity as a flight symbol. In this case, vestibular system symbolism (autosymbolism that signifies being unconscious and emerging from the dream state) has three layers; the passenger jet, the golden airplane charm, and the mobile stairs. Gold symbolizes the emergent consciousness as analogous to increasing daylight.

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Text last optimized Saturday, 3 February 2018.

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Morning of March 19, 2017. Sunday.

Dream #: 18,353-03. Reading Time: 1 min 38 sec.



Ben Walton (as from the fifth or sixth season of “The Waltons”) finds a litter of bulldog puppies in a large basket near the end of an alley. There is a male that has unusual markings. I am not sure if someone else is still looking after them (though Ben may have bought the puppy).

Before getting the puppy, Ben performed calculations and concluded that once an adult, it would produce offspring, possibly with the same markings, with a pedigree, even though it would technically be a mongrel. It will supposedly make him rich.

Later, there is a scene where Erin and Ben Walton are playing a game at a small table. They appear to be gambling with boxes of drinking straws. Ben has about six straws (which seems to mean he is losing), and Erin has two.

Erin finds some notebook paper with Ben’s writing and somehow understands that he was using a calculation to gain an unfair advantage (even though he was losing in this case) regarding the supposedly special puppy. She starts complaining about his selfishness and supposed cheating.

He reminds her of the supposed proverb “Visit yourself before you visit someone else.“ It supposedly means that you should look at your faults or limitations before finding fault with others. It turns out that his calculations were incorrect and the puppy will not make him rich after all.

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My dream changes into an unrelated scene. Nancy (with Ronald) Reagan (July 6, 1921-March 6, 2016) is on an airplane flight to California, traveling from somewhere west, going over the Pacific Ocean. She is going to have and raise two of our babies (possibly male and female). I do not consider how outrageous that is. I believe that Zsuzsanna and I will be able to meet them one day (when they will only then learn that we are their real parents).

I watch a monitor near the top of a wall in an unfamiliar building. It has four digits in an LED display that require reading from right to left. The original value is “0 0 3 1” at one point (to be read as “1 3 0 0”). I wait in anticipation because it is supposed to read as “1 1 0 0”, which it soon does. It means that she had one baby, and then two hours later, the other one. (There is skewed logic whereby “two hours” is subtracted from the three to read as one baby.)

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Morning of January 16, 2017. Monday.



There is some sort of conspiracy related to a hospital serving as an “airport” for certain flights, this being unknown to the passengers. Apparently, they experiment on the passengers or harvest their organs.

There is a scene where I seem to be on an airplane, though I also see an unrealistic degree of additional details outside the airplane. The airplane lands on a boulevard near the hospital (in an unknown location), seemingly without any traffic mishaps. It even taxis into a special hangar inside the hospital.

I somehow phase through the airplane even though I am aware that everyone else on it has gone into some sort of suspended animation (obvious autosymbolism for being asleep and dreaming). I am in the hangar and see several other people who work at the hospital approaching the airplane. They seem happy that a lot of passengers are in it. They do not even notice me at first and by the time they do, I am almost out into the hall. They start to chase me but I close the door and lock it behind me, the act of which immediately makes my dream much more vivid. (This is called “doorway reinduction”, as doors are usually autosymbolic of the implied exit point of a dream, though I have used this knowledge all my life to sustain and reinduce my dream state awareness.) The lock is a rectangular part that extends only a short way out from the face of the doorknob (by almost its full diameter), which I rotate to the left as I close the door (dream state reinduction orientation as I sleep on my left side). They cannot continue to follow me.

Later, I notice unfamiliar patients in beds in the halls. Some of them join me as I then decide to leave the hospital rather than create any confrontations. I see doctors talking in the hall. I see at least one police officer, but I am not sure if he is corrupt and working with the hospital. Rather than going down one hall where we could get caught, I take one on the left of two choices, where there are no people who would question us or follow us. It seems to be a very simple evasion. We all get to the end of the hall and are able to escape.

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This is a very basic “return flight” type dream with the same overall patterns as always; the subliminal anticipation of the waking shift (which sometimes includes a falling sensation and which creates precursors that include a number of different flight symbols, though which also include elevators and staircases), the liminal space of the hall, liminal awareness of being asleep (a bed as a dream state indicator), and a doorway at the end of the hall to exit my dream though after having sustained its length a little bit by locking the first door. There is no direct preconscious factor here though it is a rather sustained unusual dream just for being based on vestibular system correlation. The organ harvesting was related to a movie we saw recently (“Inhale” from 2010). Still, it seems to imply that the collective unconscious is “experimenting” on the collective conscious, the logic being that the sleeping passengers would represent conscious selves sleeping and the hospital staff being minds active within the dream state, though I suppose it could also just be a simple metaphor for lucidity and how I am often lucid in dreams while many others are not (though I myself am not viably lucid at any point in this dream other than having a degree of the typical liminal dream control, that is, control of the dream state without in-dream awareness that I am dreaming, though my second attempt to reinduce and sustain my dream instead results in slowly waking by way of doorway waking autosymbolism, which has happened in childhood even when choosing the left door).

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Morning of October 1, 2016. Saturday.



This dream scenario, where I am part of a group of spies or people conducting surveillance, is the second recent and clearer dream of this situation. I seem to be on an airplane, seated on my own on the left side, though this is somewhat ambiguous as it seems more like an odd library setup at one point (though still with the layout of an airplane relative to seating and certain environmental features).

As in my other recent dream of this characterization I have a briefcase that contains both cryptography and communications technology, though is of a different design than with my other dream. At one point, I hold up a large rectangular green and silver printed circuit board, though which has a small rectangular LCD display in the upper right corner. I push various parts of the circuit without any real clue to what I am doing (even though I seem to know) and which activates something on the display. The imagery and motions of my right hand (as well as the sense of touch on my fingertip) is extraordinarily vivid and stable as I move my hand randomly about touching various points. I hold it up vertically in front of me, as if deliberately showing it off to the other people present (even though they are members of the general public who would likely not know what it is).

Eventually, I am looking at my open briefcase with the computerized equipment. There is a set of rolling cylinders in the upper right. There also seems to be a password panel where small rollers are set, similar to a bicycle lock. There is a section on the left that is for displaying names of groups within the communications ring. Curiously, it presently displays a phrase which includes “pink pussy”. As I contemplate what my mission might be, an unknown female (of about eighteen) approaches and takes a cellphone out of its compartment in my briefcase. She seems annoyed at the person attempting to make contact with me and who is using country code fifty-four (though I am not sure if she is implied to be a stewardess as she is informally dressed in blue jeans and a plain blouse).

“I know all about this,” she says, “Country code fifty-four is America” (which is incorrect as it is actually Argentina but I do not remember this in the dream state though I do recall that Australia is sixty-one). After telling me this she walks away and towards the back of the airplane, though sitting down on the right side about four seats behind me. I hear her talking in an annoyed but authoritative manner and, in addition to other issues, she seems to be telling them off about their usage of the term “pink pussy” as part of an international spy ring name. I start to realize that the person on the other end probably has no idea what she is talking about or what is going on, or maybe does not even speak English as I had heard at least a few Spanish phrases. I am not that concerned and remain passive.

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This seems to once again confirm that the preconscious personification (though which does not directly appear in all dreams) cannot ultimately be fully controlled or scripted as every other dream setting, feature, and character can be. My present guess is that it is because it serves a special function in liminal space between sleeping and waking and is somehow directly linked to circadian rhythms and likely another biological function (likely the waking mechanism itself, somehow personified to prevent staying asleep for too long, my best guess at this time). However, in apex lucidity (and in certain other dream types), I seem to wholly “replace” this character. I still have not worked out all the specifics even in fifty years of dream work (although it is something I have not studied quite as much as other components). Saying that country code fifty-four is America confirms the usual wrongness of how this character communicates, which is also a bit of a puzzle. However, thanks to a number of very similar dreams over the years, some clues have emerged. The preconscious personification does not appear to like me having a telephone or other method of communication (which symbolizes access to my conscious self or possibly even the collective unconscious or collective conscious). This seems to imply that it is “against” the dream self (the dream self being the subconscious personification) attaining lucidity - though this may be relative to the specific timing or segment of the dream (which is always the last part); very curious since the “unity hug” instigates this communication or at least coalescence of the dream self into full consciousness, what dreams are naturally designed to represent with virtually countless metaphors. (Then again, a telephone symbolizes indirect communication while a hug is actual “physical” communication. I suspect there is much more to this.)

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Morning of September 22, 2016. Thursday.



It seems to be late at night and I am walking with Zsuzsanna in an unfamiliar small town. Somehow I get distracted and find myself on my own in an area vaguely similar in some ways to an area near a church in Bundaberg (though I do not consider my location or have any concern about being in an unknown place). Even though I am not lucid I try to focus on a large stone water fountain as if I am subliminally aware of the nature of water induction to increase the depth and clarity of the dream state.

An unfamiliar priest approaches and seems to want me to move on or is there to tell me what to do as perhaps he does not like me being here so late at night. He tries to impress me by causing a moonbeam to create a glowing circle on the surface of the water. In a way, it seems rather eerie to me, though I vaguely recall it as a circadian rhythms factor (again, even though I am not lucid) and relative to moon or moonlight induction.

“So what,” I say. “I can make the sun come out in the middle of the night.” (I say this without realizing that the sun represents consciousness or the conscious identity within the dream state and thus I am actually talking about lucid dreaming without being lucid.) The area that the priest and I are standing now seems to be a storefront. I move my hands with a level of mental certainty and expectation that the sun will rise at my command, though again not being lucid at this point. Instead, a small sunbeam reaches my feet. At least I accomplished something based on my claim.

I decide to turn around and use whatever sunlight there is to mock the priest by making various shadow forms on the outer wall of the store. A circle of light (almost like a spotlight on a stage) of about a foot and a half in diameter appears on the concrete block outer wall. I lift my left hand up and make an incredibly realistic monkey shadow (after a few false starts with rabbit and dog heads), complete with legs, arms, and a tail, and moving about like a real monkey, almost as if suspended on its own. “Chee-chee-chee-chee,” I utter, happily making my version of a monkey sound. The priest seems to feel insulted as well as outdone by my miraculous abilities and thus he walks off. Even though I am still not at the lucid stage, shadow play is fairly common in certain vivid lucid dream types. Typically, the shadow symbolizes the dream self as “casting” conscious self identity into the dream state (at least when it is a human “duplicate” of the dream self though here, my dawning consciousness is apparently very playful), though this situation does not yet trigger my lucidity.

As I walk, the sun finally rises fully at my subtle command and with no “glitches”. As a result, my consciousness becomes more fully integrated into the dream state in a lucid sense, though not quite apex lucidity (full automatic control with enhanced senses and full body awareness even with full weight and momentum discernment). Just as I turn left around a corner I am at full conscious clarity, which I immediately find very thrilling. I notice a young version of Zsuzsanna (probably as she was a few years before we first wrote) standing on a garden wall of about four feet high, though I do not question this oddity. Several others (all unfamiliar) are standing around, possibly waiting for a bus. Zsuzsanna may also be waiting for the bus even being up on this wall. I hover and move up to stand on the wall with her. She does not seem to recognize me yet and takes on the essence of the preconscious personification.

“This is my dream, so we will get together and have some fun,” I boldly state. “I don’t care about these other people standing around.” She seems to slowly agree or at least lets me hug and kiss her passionately for a long time. Becoming more and more stimulated I indulge in various sensual events (the sense of touch augmented), though meanwhile, three times, for no particular reason, I decide to shoot large masses of spiderweb out of my right hand. One car becomes fully covered in my web, the imagery of which I find amusing when I look back. A couple people are swept back and stuck onto buildings but are not harmed.

Eventually, I notice a large unusual-looking airplane flying in the sky (from right to left). Its wings are up and back almost like a butterfly form and I feel a sense of beauty. Curiously, I do not mentally register it as the “return flight” waking transition symbol even though I have experienced the same metaphor thousands of times in various dream types (though not in the majority of lucid dreams). I notice a very unusual bookshelf-like structure on the other side of town and which seems to be atop a mountain. I focus on this. Although it vaguely reminds me of “Hollywood Squares”, the platforms (or seating areas) are at different levels. There are at least nine demigods in yellow Tibetan monk robes sitting and standing within the structure. I assume they are perhaps thirty feet tall or more. The visible forward edges of the skewed “Hollywood Squares” structure are mostly cream-colored, orange, and yellow. The demigods begin singing to Zsuzsanna and me very loudly and with love and happiness. The music is very clear and rhythmic and very enjoyable (though of an unfamiliar melody which I may record at a future date). They are singing something about tilling and gardening, something like, “In the morning when you wake up, till the soil with love…” and another phrase with “tilling” in it and something about “the next morning you will find”. It goes on for several minutes and as I hold Zsuzsanna, I slip into a less vivid and non-lucid false awakening as the airplane reaches the midpoint of my perspective, over the seemingly divine structure. (Of course, this structure symbolizes the sunrise and waking as non-lucid dreams typically do in the last segment - even though I am still semi-lucid - and a cheerful conscious coloring of my day ensues.)

In the false awakening I am with Zsuzsanna sitting on the floor of our present home. Our youngest son is present. He seems to have gathered seven unusual creatures (there are seven in our family). They seem to be some sort of unlikely composite of seashell, caterpillar, beetle, and chrysalis. For some reason, I point out to Zsuzsanna that they are “brains”, although I add to their number (starting with three, I think) as I notice more and more of them (though still a total of seven). Their shells are very complex in coloring, with mostly thin bands and paisley-like patterns of browns, yellows, and cream colors. There are two different shapes, the two largest being somewhat cylindrical and the others like trapezoidal prisms.

I look at a magazine page that Zsuzsanna is looking at. At first, I see the same airplane as from my previous dream, though as a silhouette in a full page sky photograph. As I tell Zsuzsanna about the dream I just had (the most common false awakening scenario for me other than actually attempting to write it out and soon seeing that my writing changes or that I had written nothing), I tell her how this looks just like the airplane from my dream. I find that unusual but when I look again, I see that it is an upside-down helicopter silhouette (a second “return flight” transition that actually represents my false awakening and how one of the first things I ever heard Zsuzsanna say on her first cassette which she mailed to me being “so if it sounds a bit upside-down, it’s from down-under), which I find rather curious - and from here I actually wake.

Morning of July 25, 2016. Monday.



I have befriended, as a coworker, Terry O'Quinn (as John Locke on “Lost”). We are volcanologists working in an apparently isolated area, though there is no impending threat at first. Eventually however, I develop some sort of insight into seeing what is to come, though this is more as a typical pretense in somehow subliminally directing my dream (which happens a lot in non-lucid dreams). There are about six or seven in total working in this setting.

I inform them that they all died - though speaking of events about three days from now. They seem a bit wary of my advice that they should leave. They do not want to scrap the study, but I somehow convince them.

Suddenly, at one point as we are walking, we are all in the Cubitis living room. I gaze cautiously at a small bright orange circle (like a shallow hole possibly revealing orange rather than red lava inside) on the knotty pine wall to the right of the hidden door that was there in real life, somehow linked to a light switch in this otherwise dark room. (This is a sunrise metaphor and waking precursor and seemingly symbolizes a desire to somehow see my deceased parents prior to the new day as both my mother and father used that room during different time periods.) There is a sense of electrical energy rather than volcanic and there is no threat, just a sense of awe and curiosity. The others follow my lead willingly. There is an interesting scene of an earthquake but I inform them that there is still time to escape.

There is a scene where Michael Dawson shows up to drive us to the airport. He looks as if he has been badly burned by being close to the eruption, though it is more like an unrealistic type of “burn” where he is more like a shadow made of ash. It is an unusual effect but he seems perfectly fine and is even cheerful.

At a later point I am looking at Terry O'Quinn through the window of a commercial jet airliner that is flying high in the sky (and it seems I somehow phased through the wall of the aircraft I had just been in to do this). He notices me and there is the idea that I am his guardian angel or even his idea of God. He is aware of me and acknowledges my presence in a somewhat cautious but respectful manner.

Finally, there is a bizarre scene where I am looking at the front halves of the heads of all the volcanologists as they are lying on the surface of a table in a medical laboratory. They are slid around almost like dinner plates a couple times. I am trying to work out where the rest of their bodies are though they seem fairly alert and are answering questions and getting examined somehow.

There seems to be a question over how I knew they would have otherwise died. I reveal my ability, which supposedly came from some sort of injection in this same laboratory. A female medical worker seeks to give me another injection to undo my abilities but I cause her to fly backward across the room and against the wall with telekinesis. I am able to fly away as well as to help the volcanologists escape their second possible fate of being lab rats.

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Morning of April 3, 2016. Sunday.



I am present in a three-dimensional animated setting yet I do not perceive it as representing a cartoon or featuring cartoon characters. Scrooge McDuck has a large new airplane. Huey, Dewey, and Louie are present and look on at him in puzzlement regarding his “car repair” activities. We are apparently in the basement of one of his mansions.

It seems that Scrooge McDuck does not know that he has an airplane and instead thinks that he has a large fancy car. As a result, he thinks that the “car” could use a lot of work. This includes taking the propeller off the front as well as sawing off the wings.

In the end, it seems that he still might find it a bit difficult to drive the “car” up the stairs.

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The basement setting is autosymbolic of having been in deeper sleep prior to RAS mediation commencing.

The staircase is precursory autosymbolism that represents the liminal anticipation of the waking process, in this case, going up the staircase to achieve consciousness.

Scrooge McDuck as my preconscious avatar, rendered to correlate with the waking process dynamics, is in the usual preconscious scenario of resolving the vestibular system correlation inherent to the dream state, which is based on resolving the illusory physicality of the dream self. Both an airplane and a car typically represent the physical body in sleep as a factor of vestibular system correlation, but as an airplane flies, the transformation is autosymbolic of resolving that the real physical body is in bed, with the anticipation of the falling sensation typically experienced as a biological factor of the waking process no longer present.

With this dream type, my preconscious avatar has the essence of the emergent consciousness factor, which is shared by the potential of the car going up the stairs.

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Morning of August 16, 2015. Sunday.



Rewritten for clarification and supplemented Friday, 25 August 2017.

In the first part of my dream, I read at least halfway through a paperback crime novel (possibly by Erle Stanley Gardner, though this is not certain). I retain much of what I read for a few minutes after each page, enough to get a general idea of what the story is about, but I eventually forget most of it. It concerns a jewel thief who escapes by traveling by jumbo jet to another country while meeting a female on the airplane. He becomes interested in her and sees her again later on. She is a secretary that eventually goes to work for him.

My reading of the paperback crime novel expands into an amateur play aboard the airplane. I find at least two people (unknown and unfamiliar) who I decide to act out the story with as our airplane takes off and flies to wherever we are going.

One of these other passengers, who mostly stands to my left as I am seated on the right side of the airplane about the fourth seat back, is a young female who becomes wary about doing this as if perhaps she thinks that movies or plays made from novels are filmed or performed exactly as they are. For example, if an actor plays someone who is killed, the actor will actually be killed at that point. This seems to be an extraordinarily ignorant belief, yet in my dream, it seems typical of ordinary people to hold such beliefs. She eventually comments on the persona of the jewel thief in the story and decides to free herself of this little fictional drama and return to her own seat, no longer being interested. I am somewhat annoyed that the play was not completed, but my thoughts shift to other things.

There is an idea that I need to make a beanie. The beanie will have a blue and white mandala design spreading over the center from the top down somewhat like a simplified spiderweb design. Another (unknown) female complains about me wanting to create the beanie (which I plan on finishing on the airplane before we land) from scratch and asks me why I do not just buy one. (In some ways, this is like saying to someone who wants to learn to play guitar to go out and buy a music CD or someone who wants to build a house to just look at pictures of houses.) At any rate, I explain to her how the design and creation has to be mine (similar to a real life event when I made a headband, as it had to be a design taken directly from my dream). I start working on my beanie, but I do not complete it before I wake.

Meanwhile, I am given an on-flight meal which ends up leaving a horrid sweet taste in my mouth after waking. It is some sort of serving-tray-sized clump of thicker reddish jelly or conserves that is not fresh and is shaped somewhat like a land form relating to the Colorado Plateau. I do not want to eat it, but there is nothing else to eat so I eat most of it. I wake before the airplane lands.

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Time to explain the meaning of this dream, yes? I am certainly not talking about “interpretation” but about inherent meaning and why this dream is as it is.

Firstly, I am on an airplane. This usually has nothing to do with waking life (unless prescient or based on literal dynamics from recent experiences) but is an obvious dream state indicator. This is primarily based on the floating sensation of entering sleep and the residual memory of such. (How difficult could it be for a person of average intelligence to immediately realize this?) Over twenty percent of my dreams have more obvious flight symbols. This includes tens of thousands of dreams over a fifty-year time period. As a result, can you imagine what I think when I read about “dream interpretation” as the term is often used? (To be honest, I do not think you could.)

Then there is the paperback crime novel. Since being unconscious in the dream state is a “puzzling” state of awareness, the rendering becomes actualized in this case as a mystery novel and is even expanded into my dream’s environment as such (and how often would such an event occur in real life even symbolically?).

Why am I making a beanie in this particular dream? I am trying to implement a connection to my outer (conscious self’s) awareness in real time (and completeness in consciousness regarding what a mandala represents). There is non-lucid dream control. A part of me knows I am dreaming (as is most often the case) yet the lucidity is not viable or held within my dream self’s inherently fictional memory. Making this cap is similar to other dreams involving my dream self attempting to initiate waking (and this is also why there is no dominant preconscious personification or other preconscious factor). The unknown female complaining about me wanting to make the beanie is possibly a distorted perception of me believing (or actually perceiving within the same level of consciousness as her as we are sleeping) that my wife does not yet want to wake. This is certainly not meant to sound negative. No one else could even come close to her beauty or compatibility with me.

The weird dessert at the end of my dream likely relates to a few factors. (Red desserts have appeared in other dreams since childhood.) It may relate to having low blood sugar after a long sleep. It may be a rendering of the subliminal awareness of an odd taste in my mouth. Red dominating a dream typically means I have been sleeping a bit too long (or sleeping too long in one position). The association with a Colorado plateau may also indicate partial dehydration (and the need to rehydrate after waking, which is very important).

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See how this dream is based on the real-time dynamics of sleeping, dreaming, and waking rather than having feasible conscious self relevance as main factors in this case? A person of reasonable intelligence should be able to grasp this with no difficulty. Even so, most of my dreams have threads of literal prescience, which could not be discerned by “interpretation” either. Thank you for reading and understanding.

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