Blue_Opossum

Morning of December 20, 2010. Monday.



This is a short summary of one segment only.

---

On a clear mid-afternoon, I am at the top of a high hill upon which there are no manmade buildings or vehicles. I am in a peaceful field with green knee-high grass. There is a verdant forest on two sides, the one to my left being denser. A young girl (who is likely a young version of Zsuzsanna) of about ten, dressed in informal clothes including blue jeans, approaches from the sparser forest and cheerfully starts talking to me. She has binoculars and wants me to look through them. Looking through the binoculars after she passes them to me from my right, I see a large American eagle. It flies in various directions at about three different distances. After time passes, the eagle lands on a branch and looks in my direction, but not continuously. The binoculars seem to dissolve in my hands after it has landed on the branch. Eventually, time seems to pass, though only about fifteen minutes, and yet the girl seems a few years older when I see her again. She stands, holding a tall narrow wooden staff, in the middle of a white sandy pathway with trees on each side.

---

This is RAS mediation via the personified preconscious as remaining passive (due to my willingness to watch the eagle through the girl’s prompting) for the rectification of vestibular system ambiguity (preparatorily symbolized by the eagle) in semi-lucidity. The field is autosymbolism for liminal space and the pathway is the emergent consciousness conduit. Being on the hill is autosymbolism for being closer to full consciousness. Zsuzsanna typically appears in my dreams more to my left if she is still asleep and to my right when she is awake, especially if up and walking around. This may be due to sleeping on my left side with my right side openly exposed to my real environment, where RAS mediation is dominantly directed. This is virtually the same waking symbolism, though with different details, as early childhood dreams, including the “Patches” series. It is in direct contrast to “Two Intruders Give Me a Talon” from 2015, where the dominant preconscious comes into liminal space, autosymbolized as the porch of our current home, to force me to grow a condor-like talon on my right hand for the non-lucid metaphorical rectification of vestibular system ambiguity, which is the biological factor of falling and flying dreams. Resupplemented Saturday, 27 January 2018.

---

2010DEC20(L3.1) Foundational affirmation: “I am the continuity of my greatest strength and most beneficial viewpoint.”

---

Dream #NYMC53

Morning of January 1, 2017. Sunday.

Reading time: 50 sec. Readability score: 80.



I first focus on a big eagle when I am within a tunnel in a cavern, looking out through the entrance when farther inside. It seems to be an influence from making an image from a 1968 dream that had a giant bird that resembles an eagle. It seems to fly towards the entrance yet the distance does not seem to change.

I see a clear pool of water. Something that looks like a snake is swimming in the water, but it soon seems to be a belt somehow moving on its own. Eventually, there seem to be at least a dozen identical venomous serpents that I have no concern about in my lucidity. They are like small coral snakes. They slither in and out of porous rocks. I am eventually aware of Zsuzsanna.

There is a scene where I see an unknown young girl in a plaid dress (yellows and greens). Down past her knees, she seems to be growing out of another girl, and that girl, in turn, grew out of another, and still another. The fourth girl is lying on the cavern floor. They all seem cheerful. This “human tree” reminds me vaguely of a scene from George Harrison’s “When We Was Fab” music video from 1987.

---

Morning of June 16, 2013. Sunday.



I had a shorter intimate dream with the setting once again being in Cubitis, the one area near the hallway being fairly close as to how it really was. Zsuzsanna and I are wrapped in blankets on the otherwise hard tiled floor but we are still enjoying ourselves.

In my last dream of this date, I am back on King Street in the L-shaped smaller apartment in the back. I have several paintings up on the main length of the west wall. They are sort of like water-color images and slightly abstract, one of an eagle’s head. My wife Zsuzsanna is talking to someone else about his art, but he seems to be a younger version of me though with ongoing tribal ties and more art skills, perhaps. His work is detailed but more contemporary, almost like panels from a professional-looking comic book. One image shows a happy couple. One seems to be on plain A4 typing paper but that one may be a print. They are making fun of all the racist cartoons and such that stereotype Native Americans as saying “Ugh!”. They each say “Ugh!” about six times, laughing. Apparently, my “younger self” is even going to paint a large picture expressing the “ughness” of “Ugh!” in abstract. Some of it seems to be a response to modern television shows. There is a vague idea that the public would sit and watch a still image “Ugh!” on their television screen for an hour or more without moving.

Another (unknown male) person also speaks, and there are two other unknowns in the room, at least at one point. This other person is talking about how “great” my paintings on the wall are and I feel a bit silly about the attention as his praise seems sincere, yet as he points out each individual line making up the larger image when talking about the eagle head picture, which is composed of mostly blue and lighter purple water-color paint-like lines, but with also a somewhat of a pen-drawing look.