Blue_Opossum

Morning of August 1, 2017. Tuesday.

Dream #: 18,488-02. Reading Time (optimized): 2 min.



I am with several people on an unusual little island at night. I walk around in a paved area. A small canal divides most of the island about one-quarter in from the side opposite of where I stand. There is at least one big brick building that blocks my view of the ocean on my right.

Zsuzsanna and our youngest son are eventually with me. We go over to the canal. I notice that the ocean on the opposite side of the island, which I can now clearly see, has whitecaps (though I do not focus as much on the waves on my left side). An unknown girl talks about it publicly, relaying a concern that makes me consider if the waves could eventually cover the island. The island’s isolation contributes to this concern but not for long.

I look into the depths of the canal and see a shadowy shape that I soon see is a shark of about four feet long. I tell Zsuzsanna and our son to watch, and we cheerfully look into the water. I soon notice other small sharks as well as a little dolphin, which is surprising, as they do not fight. They do not look real and make me think indirectly of CGI. We share amusement in watching these creatures in addition to several tiny fish. The more active area of the ocean remains off to my right, behind the big building, but some of it is still visible through the end of the canal and surrounding area.

---

Zsuzsanna remains on my left, correlating with our sleeping positions. Additionally, this is one of many dreams that lack definition or attention to my left in contrast to a clear focus to my right, which is subliminal wakefulness anticipation (as I sleep on my left side, my right more exposed to my environment correlating in the dream state with its concurrent monitoring).

For over 50 years, water has been a consistent factor of natural melatonin mediation and ultradian and circadian rhythm in correlation with my sleep cycle. The unknown girl is a subliminal reminder of the Naiad factor from high-level dream state induction, though here has transitioned to the RAS (reticular activating system) mediation stage. She is “warning” me about the high waves, a warning about not sleeping too long, the island being the dream state.

I was aware that I was at least partly responsible for creating the ocean creatures, but with no dream state realization. The eradication of the unintelligent hype equating lucid dreaming with dream control is necessary to understand the processes and dynamics of awareness in all modes of dream space. The ambiguity of whether they should be sharks or dolphins (with both appearing without incident) reflects the dual nature of RAS mediation and simulacra transitions, from REM and non-REM sleep induction to consciousness reinitiation.

---

Zsuzsanna had a dream with the same content in the same period, including the CGI association with ocean creatures. It happens regularly, with too much matching detail to be coincidental.

---

Morning of May 31, 2017. Wednesday.



In my dream, there is firstly the common water induction factor (which has been relevant to at least one to two dreams per night for over fifty years), and it is rendered as the ocean this time (deeper sleep and a potential link to the collective unconscious). There is the typical ambiguity of being indoors and outdoors at the same time. My dream progresses from my first location of a computer setup and bed to a more relevant (to real life) waking symbolism setting where I am then in our present home (though still with a sense of being outside even though I see Zsuzsanna sleeping in our bed in one of the last scenes).

I seem to be part of an Internet group with three people of whom I do not know at all and had never met; two males and a female. Our virtual presence on the webpage is shown as a small paragraph (of about five or six lines) with a current photograph in the upper left corner of each person’s profile paragraph and present status. We talk to each other with microphones, though we sometimes type messages.

Our talk is mainly about a large plesiosaurus that is not far from the ocean’s surface in the area near the beach. It does not pose a threat of any kind regardless of its cliché “sea serpent” associations. The unknown female seems to talk the most over time. Eventually, there is mention of how the creature had apparently been bumped by another animal underneath. This event does not seem problematic but dominates the last part of the online conversation. Oddly, one male talks about the event as if it was he that had been nudged.

Eventually, it seems as if the others are offline and probably sleeping. I somehow see a scene where a very large dolphin nudges the stomach of the plesiosaurus (while swimming in the same direction just under it, implied to be to my left), though this is seemingly not an aggressive act. I notice that the dolphin is of a very unusual mottled pattern, mainly of purple and pink, almost reminiscent of a bed sheet pattern (though I do not make this association while in my dream).

I decide to contact one of the others to report this. I wake up one of the males (by calling him with a telephone) and he seems somewhat confused and annoyed in being woken up at first. I describe how the dolphin is a very large but likely unknown species. Eventually, the scene shifts to where we are physically with each other in an area that seems modeled after the southeast grounds of my middle school (where I was last present in 1975). I mostly sit on the ground while the other three walk around, though one male talks to me (while standing) for a short time. Somehow, the location still seems the same on one level.

The unknown female dominates the rest of the waking transition, which becomes distorted and illogically sustained. She tries to tell me something that I have to ask her to keep repeating (at least six times) as I do not catch the last word (a very common dream event). I think she might be saying the word “blue” at the end of the question but I am not sure. The phrase itself seems mostly like gibberish. Eventually, I just say “yes” and tell her my last name, which may not be what she was talking about (though my surname does at least rhyme with “blue”).

I go over to where Zsuzsanna is sleeping (the indoor dynamics becoming a little more dominant than the sense of being outside) and there is the essence of where we live now in reality. She does not wake. (This is a typical dream setting shift where I walk from the grounds of my middle school in America to within our present home in Australia without my dream self regarding the impossibility at all. Still, this linear symbolism validates that dreaming of a school is often an attempt by the limited temporary dream self to get back to current whole conscious self identity, which is then indirectly shown as still being asleep in reality, though my dream self only sees Zsuzsanna in this case.)

I see that I have the journal of the unknown female. It is somewhat like a mix of dream journal and real-life diary. It also has a number of scribbles and references to pills (and apparently illegal drugs), something about “taking the cruel pill” and odd illogical forms of supposed art, which is mainly just random lines, partial sketches, and random words. The fact that this unknown female is so undesirable in the last stage of the waking symbolism is a subliminal incentive for me to wake at this time and join my real partner in life. (In fact, the personified preconscious as such is often very annoying and imposing, but this depends on which part of the sleep cycle I am in, and time and time again, for over fifty years, is precisely linked to my circadian rhythms dynamics.)

---

Despite the unusual nature of this dream in regard to the sea serpent, it is a very typical lifelong-established combination of dream signs (residual subliminal memories of having fallen asleep) and dream state induction symbolism and waking symbolism. The bumping of the dolphin against the plesiosaurus is a symbolic carryover of a recent dream where I drove a car between two vehicles in the street and nudged the streetcar (so that it rolled to the intersection without a conductor). This is symbolic of nudging Zsuzsanna in my sleep in real time. (In fact, many dreams have dynamics based on current environmental factors, something that people who believe in “dream interpretation” in the popular but naïve usage of the term completely ignore.)

Projecting (and expanding) my imaginary dream body as a streetcar in one dream (without my conscious self identity being able to link to it to “drive” - depending on the stage of sleep) and as a plesiosaurus in this one, may be purely incidental, though a plesiosaurus, when passive, is symbolic of being in a more relaxed sleep while a streetcar rolling to an intersection is waking symbolism (though also analogous to rolling over in my sleep without being fully awake). (The plesiosaurus symbolism as such has occurred since around age six.)

---

Morning of July 27, 2016. Wednesday.



One area of a building I find myself in, as I am becoming mostly lucid, seems to be a small private bar, though with several people, mostly unfamiliar, though Ian Somerhalder is here. (This actor was on both “Lost” and “The Vampire Diaries” so curiously can represent both subliminal water induction and dream flight as well as the circadian rhythms factor of nightfall and the dream state, all simultaneously.)

I am lucid, but not viably lucid (to where I can automatically direct everything) and I do not enter apex lucidity (which requires pushing open a heavy wooden door for me or at least going through a porch or open doorway) even though I am aware I am dreaming.

I start talking about how I am dreaming and try to prove this to the patrons of the bar. Ian looks on with a slight interest and becomes curious when I press my hand into the rectangular wooden and metal bar table. However, instead of my hand phasing through the table, the implied polarity is skewed as I push my hand down through the surface so that the wood and metal moves, creating a hand-shaped hole in the top of the table (with some of the metal part ribboning around part of my hand), the main piece sticking to the palm of my hand as I continue to press down. This is not quite what I had intended of course, but Ian still has a look of awe on his face with a vague hint of amusement. I try it a few more times at the main bar, but my hands and fingers now only meet with total solidity. I keep tapping my fingers and hand on the surface and only meet logical resistance as in reality. This annoys me greatly. The counter’s solidity is very realistic and uncompromising.

I leave the area and soon find myself in a shootout with police officers and a number of 1960s gangsters. I do not have a gun and I do not materialize one at any point. I end up in an area where I notice an unknown male of about forty years of age. He is wearing a black shirt that reads (in white letters) “Do not shoot me because I am Claude’s (my full name in possessive) guardian.” I find this very peculiar and thus question why and how an Angel of Retrieval could possibly be in a lucid dream other than as comic relief. I also find this scene (and him) somewhat hypocritical on two levels. Firstly, the shirt is possibly bulletproof, and secondly, I myself have no writing on my own shirt and it is likely not bulletproof either. Still, I somehow manage to dodge all the bullets that are randomly flying everywhere. I try to summon the shirt from his body into my hands, which works, but then decide he can have it anyway.

I then go into a large area where the timber structure of the walls and ceiling is rather complex and a number of people are having a party. I decide to use telekinesis to make the ceiling collapse for no particular reason and leave the building as it collapses behind me.

I end up walking on a very large and wide wharf that extends out about thirty feet or more over a gray ocean and it seems just prior to sunrise. A number of people are present, but no one is familiar. I make eye contact with a random male of about thirty and try to communicate with telepathy but he just stares back blankly. I eventually start touching and pushing people (not aggressively) to see how “stable” they are.

A young girl approaches (probably a young version of my wife Zsuzsanna I perceive as being asleep - thus the ocean, which represents sleep and the dream state) and she seems slightly upset but does not see me at all (even though I am not phased or invisible as far as I know). There are a couple other people in the area. She seems concerned about the dolphin known as “Skipper” and it possibly swimming away or “leaving” her (though this is only by assumption because I think of “Skipper” as a dolphin for some reason, when it is actually supposed to be “Flipper” - so this association with Skipper as a dolphin may be completely wrong, though it does have meaning). I look out at the ocean and start to hear unusual music (an old song I wrote at age twelve based on “When Wakes The Dreamer!” from Eerie Magazine) and decide to leave my dream.

---

This last part is rather interesting and contains an element I could not possibly have known about, as Zsuzsanna had never mentioned that she had her doll named Skipper (which was female) near the ocean (the only doll she took that time), and also, had to leave it behind when her family moved. In my dream though, at least vaguely, I did see “Skipper” as a distortion of “Flipper” which would be me as the dreamer leaving that essence of me behind in the symbolic ocean of sleep (while Zsuzsanna was still sleeping as I woke thus I was “leaving her” as we were then at different levels of consciousness), while it is also an incidental play on “Skippy” (the kangaroo). A doll is also the dreamer within a dream, as it is still and “held” by the superior whole consciousness and not active in sleep.