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    1. Dream Journal Paradigm 2020, i, fire and more

      by , 06-01-2020 at 09:39 AM
      Afternoon of May 24, 2020. Sunday.

      Reading time (optimized): 4 min.



      Fire, lightning, electricity, wiring, circuits, lasers, candles, lightbulbs, flashlights, headlights, sunbeams, and the sun are fundamental characteristic features of the cortical arousal of the waking process and represent the increase of neuronal energy and the emergence of consciousness for anyone who legitimately understands the dream state.

      Although the same transitions occur every sleep cycle, they stabilize with uniqueness in vivid liminal sleep-wake management. Here, I will include the modulatory factor in the upper case, a description of the relevant dream content, and the ultradian implication (with virtual or literal melatonin or serotonin mediation). My goal is to find correlations I had not previously noticed (to develop more clarity of mind, though, as there are more than 20,000 examples of this form of dream state management, it is not feasible to include more variables at this time. I may study them in pairs of variables at a later date, though I have found all major statistical curves and causal factors for most dream content over 50 years.)

      Before I describe the many unique and intriguing versions of this process, I will begin with including my lifelong activity of pulling myself out of undefined liminal space (that has no imagery and seems integrated with enigmatic space) by summoning an unseen candle, perceiving my emerging consciousness as a candle flame. When this happens as a result of sleep apnea (though which is rare), and no vestibular-cerebral handshake (viable body-mind agreement), it is the only type of dreaming experience where I feel genuine fear. Variations of it are rare. One variation occurred in December of 1969. In addition to sustaining my consciousness as the essence of a candle flame, I also absentmindedly summoned an unseen dragon that roared and breathed fire. (Undefined liminal space never contains imagery. Also, the duality as a result of being between dreaming space and waking space is far less in this state. That is likely what causes a sense of dread.)

      19690519. FIRE. Toby and I rescue Brenda from her burning house, though it is erroneously on the school grounds. Dark, before dawn. (Includes audio near the waking point: “You boys are wonderful!”)

      19710209. LIGHTNING. Frankenstein’s monster is the driver of a taxi I get into (though I do not notice until I am sitting in it in the back seat, left side). I see lightning flashing only inside the school in the early morning on a clear day. There is a sense of amusement rather than a threat. As a school is associated with learning, the lightning represents potential wakefulness and is analogous to the monster rising from his bed. The taxi is analogous with my physical body, of which I do not yet have control, as I am asleep in reality. Otherwise, summoning vehicles as I often do, is more about increasing my imaginary physicality to enhance and sustain the dream state.

      19710516. LIGHTNING and FIRE. A bolt of lightning comes down and strikes a church belfry in the distance, setting it afire, while I am on the otherwise empty school grounds with my mother. Dark, before dawn. (Includes audio: I say, "It’s not my fault” to my mother.) It is essentially a visual and visually exaggerated version of the candle-lighting process.

      19740127. SPARKS and FIRE. I am at my middle school with my GI Joe jeep, though it is erroneously a remote control toy (confused with my remote control orange Volkswagon). Low lighting in the cafeteria. At first, I seem to be operating it, but the narrative changes. Sparks and fire begin near the gas pedal when it stops, but it does not spread. A moving vehicle (analogous to the body) typically represents the anticipation of a vestibular-cerebral handshake, and I often summon vehicles in all modes of dreaming. The fire near the gas pedal anticipates atonia to myoclonus, which is often a spontaneous leg kick with waking.

      19791106. FIRE. In a parking lot (management of liminality during an absent vestibular-cerebral handshake), I see a car erupt into flames as its unknown owner enters it (though I feel no emotion or sense of dread). Curiously, as a result, the car reveals what looks like an oversized human ribcage that had been its top and sides. Nighttime, low light. It is a direct validation that a vehicle is analogous to the human body.

      19820905. ANTHROPOMORPHIC LIGHTNING (ELECTRICITY). Early morning setting. An imp, about a foot tall, lives inside the kitchen cabinet under the sink. He seems to be made of electricity, though he maintains a sketchy human form and monitors the plumbing (seemingly with the pipe missing). Although he seems mischievous, I do not feel threatened. Later, I see Earl in the back of a car in a parking lot (liminal space management). He is instead the disabled man from a real advertisement in which he had said, “I’m a little tired. I’m alright though,” when rising from the water in an Olympic-size pool. It ties in with how the “electric imp” was a simulacrum of melatonin mediation. (The clue is the statement “I’m a little tired,” though unspoken in the dream, meaning I am sleeping, as water signifies the dream state’s dynamics.)

      19901209 FIRE. I see the front-left heating element on the stove catch fire for no discernible reason in the otherwise dark Loomis Street kitchen. I feel no sense of threat. (Audio: An unknown girl exclaims “Fire!”) This variation of the candle flame summoning has an association with the area underneath the stove element as a virtual portal deeper into dream space.

      20160222. CANDLE FLAME. I summon a giant candle to undo the magic of a male cult leader. (Audio: “…and now a golden candle, taller than me, appears here.”) (My dream was extremely long with a complex narrative.)



      I include these detailed explanatory factors with each relevant series about my fundamental dreaming habits and their inherent dream-based meanings, so I can remove the more extensive redundancies from past entries (on my two main online dream journals), and keep this introductory page as a public reference for future entries.


    2. Loose Wiring

      by , 01-31-2020 at 09:17 AM
      Morning of January 31, 2020. Friday.

      Dream #: 19,401-02. Reading time: 1 min 35 sec.



      My dream self’s focus is on electrical wiring, which is typically co-occurrent with an increase in mental activity (neuronal energy) while sleeping (and sometimes, as here, eventually renders fire). (It is a common sleep-wake mediation process for me, but the rendering and narrative are always different, though in one dream it was more obvious than usual when I “removed my head,” which was a football helmet, and examined and moved the wiring inside it.)

      The setting is unknown (though my dream implies it is our present home). Zsuzsanna is nearby (to my left, modeling our sleeping position). At about neck level, a cluster of gold wiring is hanging from an open part of the wall (so it is a type of wall mediation, that is, navigating emerging liminality, as well as associations with increasing mental activity). Although the wires are loose, I consider that the current is stable as long as they do not get moved either accidentally or with intent.

      Zsuzsanna’s brother Simon approaches and comments on the wiring. I move the cluster slightly and consider the loose wiring (and certain wires touching each other) might cause a short.

      As a result of moving the wires, my dream’s dynamics and narrative changes, with my liminal intent to continue sleeping. The incidental preconscious personification as Simon, who remains passive, also correlates with my sleep-wake mediation. (The preconscious simulacrum only dominates when waking is more of a priority, kind of a no-brainer.)

      My dream changes into typical indoor-outdoor liminal ambiguity. The outcome of this wall mediation results in its virtual division expanding and becoming a beach that defines open liminal space yet is still impossibly implied to be inside our house. (However, potential water reinduction is not clearly defined, as the ocean seems distant.) I now see a very long electrical cord that seems to go all the way to the shore (while the beach sand it is in is still a part of the floor of our house), and minimal fire consumes part of its length as I walk along, mentally extinguishing it to sustain my dream. (Fire also sometimes correlates with the increase in body temperature when closer to waking.) There is no more fire, and I sleep for about another hour.



      Several of my recent dreams have had atypical variations of intentional water reinduction, all with unique results, for example, “Digging Up a Pool” from January 28.


      Categories
      lucid
    3. From Parking Lot to Smoking Newspapers

      by , 10-23-2018 at 08:04 PM
      Morning of October 23, 2018. Tuesday.

      Dream #: 18,936-03. Reading time (optimized): 3 min. Readability score: 69.



      As my non-lucid dream self, holding no viable threads of my real-life identity, I become vividly aware that I am sitting in the back seat, on the left-hand side, of an otherwise empty car in the Village Shopping Center parking lot in La Crosse. It is nighttime. I become aware that the car belongs to my brother-in-law Bob. (I have not had any contact with Bob since 1994, over twenty years ago.) There are only two other cars present.

      An idea comes to my dream self’s fictitious mind that I should go to the driver’s seat and take the car back to the Loomis Street house. I am feeling very cheerful and confident. I get out on the left-hand side and go around to get in the front seat. (This is really about the typical initiating of subliminal control of the dream state and has nothing to do with waking life or “interpretation.”)

      I get behind the driver’s seat. It is difficult to close the car doors, and I try several times. They are flimsy and not like real car doors at all, but are about as efficient as a dream can make something that stems from vivid non-lucidity. (It would have been better letting the dream play itself at this specific point.) I have no idea how to start the car. I have no key. I first consider that it starts like a lawn mower, but I do not see a recoil starter assembly. There is a small metal lever on the left side, below the steering wheel. I put my foot on the gas pedal and wiggle the lever. Gasoline starts pouring from underneath the full length of the dashboard. That concerns me. I do not want to incur the risk of something catching on fire. I get out of the car, and two unfamiliar men get out of their cars and come over to help me. At this point, as the men check over the car, I anticipate an explosion (an attempt at subliminal dream control), and I tell them to move away, but nothing happens.

      I decide to walk to the Loomis Street house. On the way, walking east on the north side of Sill Street, I notice many boxes of magazines on the boulevard. It is a recurring situation where I realize I can take what I want (as I am deliberately though subliminally creating this scenario at its foundation, knowing it is a dream on one level), as it is left out for garbage pickup. It is also late morning. My non-lucid dream self does not register the impossible time change (as is always the case). I find a stack of magazines that are black-and-white collections of Nancy comic strips (by Ernie Bushmiller). Looking around more, I also notice stacks of interior decorating magazines, which I have no interest in at the time. This part of my dream comes from the lifelong practice of trying to initiate viable emerging consciousness threads by focusing on sustained reading skills of which do not ordinarily exist in the dream state.

      I arrive at the Loomis Street house. My sister and mother are there and seem healthy. My dream self has no recall that they are deceased. A minimal thread of my conscious self identity emerges, but it is rather odd. I vaguely recall the concept of marijuana from Nimbin, yet I have no memory that I have lived in Australia for over twenty years or of my real-life status. (Additionally, I would never try drugs in real life under any circumstances, another factor that validates my dream self is not my true conscious self identity.)

      I have some “marijuana” that I smoke with my mother and sister. It is rolled-up full-sized newspapers. There is trouble keeping them rolled up, and they burn with big flames, though I still suck in the fire and smoke. As I focus, I am astounded by my vivified perception, and yet I am not lucid. I start to become puzzled as I enter enigmatic space (a specific level of the dream state). I realize, though vaguely, that there is no marijuana and that smoking newspaper is odd.

      I start to wake, realizing what my dream self had been creating. Fire is the emerging consciousness and often part of the waking process. The newspapers, at least as related to reading them, are the attempt to sharpen my perception, as I had tried to do in the previous dream segment, but it did not initiate lucidity, only revivification.


    4. “You’re Johnny Blaze” (Fantastic “Ghost Rider” Dream)

      by , 09-18-2018 at 02:31 PM
      Morning of September 18, 2018. Tuesday.

      Reading time: 2 min 52 sec. Readability score: 70.



      Still aware of where my physical body is as I sleep, my illusory dream body rises and floats into our lounge room. I remember to focus on our porch for liminal space vivification (enhancement and sharpening of the midpoint between dreaming and waking). However, when I get to the entrance of the lounge room, there is no porch. My dream self is now implied to be corporeal but has distorted physicality. My legs are not viable, so I both fall and partly hover over the stairs, yet I do not wake. I get the impression of another physical form hovering above the ground, of which I bump. It seems to be an unfamiliar male, not very well defined. He is soon gone.

      My dream is extraordinarily vivid but does not shift to the highest level of lucidity. The neighborhood is of a different appearance. Directly across the street to the north are more houses. On the west side of the intersection, I see a flaming man on a flaming motorcycle of which is traveling quite slowly. He is going south. The imagery is eerie but wondrous. I feel a sense of otherworldly awe. The fire is beautiful and increases my awareness of the dream state.

      I anticipate his approach, as I think he will turn around and come back. He does, but eventually, the fire goes out, and he is walking with his motorcycle on my side of the street. As he is walking to the north side of the intersection, I boldly call out, “You’re Johnny Blaze.” He seems puzzled, and crosses back to my side of the street, approaching me. He is wearing a blue motorcycle racing jumpsuit with white stripes down the sides.

      He stands close to me to become Ghost Rider again. I realize he will be able to look deep into my soul and know all there is to know about me. The experience is incredible. It is as if the universe itself is looking into all areas of my existence and personal history. He is a man again, though his eyes are glowing with eternity, infinity, and universality. I notice that flakes of my skin seem to be falling away from the scar on my right thumb, as I look down at it. There is no pain or implied threat.

      Instead of any potential threat, he starts whimpering in appreciation of the life I have lived up to now. He hugs me and seems like a new friend. From here, my level of awareness shifts. I become less lucid as my dream changes into a different form, though the Johnny Blaze character is still present.

      My mother is present, but I do not recall that she had died years ago. She asks me what is going on. I say, “I knew it was a dream, so I went from there,” regarding my description of falling out the door into a vivified scenario. That is very odd though, as I am no longer lucid (yet saying “I knew it was a dream.”)

      As the waking transition starts, Johnny Blaze is no longer carrying the interconsciousness within the rendering. Still, I say, “Watch this,” only loosely expecting Ghost Rider to appear one final time.

      Instead, a wall, like that inside a house, intersects the street, and a door appears in it. There is the common indoor-outdoor ambiguity (the sense of being inside and outside at the same time). Some other dream characters, including my mother, Zsuzsanna, and me, go over to the doorway. Beyond it from our side, we see that Johnny had crashed into a row of wheelie bins and fallen over, though I realize he is not the same character as before, as the interconsciousness had left the dream state right after hugging me (in temporary coalescence and unification). He is on the ground, mostly on his back and turned a bit to the left, looking somewhat surprised and annoyed. I wake quickly from here, finding myself in the same physical position as Johnny had been.

      I should point out that I had held no thoughts of Ghost Rider, either the comic book or movie for a long time. Johnny Blaze was nothing like Nicolas Cage (or any other known actor) in my dream. He was an unfamiliar man of a more athletic build.


      Categories
      lucid , memorable
    5. Setting the Preconscious Avatar Afire

      by , 09-16-2018 at 07:01 PM
      Morning of September 09, 2018. Sunday.

      Reading time: 1 min 18 sec. Readability score: 63.



      I do not usually set the preconscious avatar on fire. It depends upon my acceptance of, and resonance with, the waking process (or how annoyed I might be about waking up in contrast to the more positive willingness) and whether or not vestibular system correlation is a factor of the transition.

      My conscious self identity is not present at the beginning. It starts with a typical bedroom induction. The bedroom is a variation of Gellibrand Street in Brisbane, where we have not lived for many years.

      Curiously, there are several other people in our bed with us, though I do not perceive them as intruders. (Our bed would need to be unrealistically wide to accommodate them, but I do not perceive it as such.) I am aware that the door into the bedroom is open, but it is to the left rather than in the middle of the opposite wall. (I am atypically sleeping on my right side, with my left more exposed to my real environment).

      Two unknown males step into the bedroom. I do not know their intent, but I assume it is intrusive. Having a vague memory of my conscious self identity but not my real-life status, I consider what I should do.

      Becoming aware that I am in the waking process of a dream, I become annoyed (as I had not used the induction process to sustain lucidity). I take hold of what is left of my dream self’s side of liminal space and create the intersection process, which is otherwise the choice to reenter deeper sleep or to wake. However, the feature is two rivers that cross each other perpendicularly rather than streets (though they are about the same size as urban streets). I mentally tie the preconscious avatar and his partner to a post where the rivers cross, mentally douse them with gasoline, and set them on fire. I deliberately fly up and out of the dream state much to my satisfaction.


      Tags: bed, fire, rivers
      Categories
      lucid
    6. Stopping a Fire by Turning off a Light

      by , 06-18-2018 at 01:18 PM
      Morning of June 18, 2018. Monday.



      In my last dream of today, I enter a short but very vivid scene. I find myself back on the second floor of the King Street mansion, with no memory of my present life other than a subtle recall of Zsuzsanna being my wife. It seems to be the middle room of the east side of the house, where I once lived in real life. Moments before, I had full memory in partial wakefulness of where I was, but this is completely lost upon my short return to sleep.

      The room’s west wall is deeper into the room than the doorway, resulting in a short wall to the right of the doorway when entering the room (a fictitious feature which my dream self does not recognize as wrong). I notice an irregular hole in this wall of which is about a foot above the floor. This puzzles me. Over time, I start to realize that something inside the wall is on fire. It relates to the electricity. Smoke billows from the corner of the wall for a short time (which of course would not be possible as the bottom of the wall is solid to the floor). I sense that the wiring, farther inside from the wall’s outer surface, is on fire. I look at the hole and see it is somehow growing (though is not visibly on fire). (This does not make any sense, as is often the case with dreams. If the wiring is burning, farther back from the wall as such, how could the hole being growing larger on its own?)

      The hole grows downward, elongating and curving right, and soon resembles a reverse J-shape. The hole grows bigger, with a slight sizzling sound. It does not expand outward much, but “burns” downward (yet with no sign of flames) in a line. I decide I need to turn the light off. I flick the switch off and immediately wake.



      A light switch, as with a door, is autosymbolism for reticular activating system mediation of the sleeping and waking process. Typically light, lightning, and fire are consciousness augmentation and initiating the waking process. (Even in real life, if I accidentally drop something on my foot and become suddenly more aware, I will “see lightning”.) However, since early childhood, it has also become analogous to achieving lucidity and dream state revivification through non-lucid dream control or non-lucid manipulation. (Many forms of autosymbolism of reticular activating system mediation can be used to increase lucidity and, by way of the virtuous circle effect and with countless legitimized experiences, result in an entirely different dreaming process than many people experience, including continuous non-lucid dream control where bad dreams are very rare other than when biologically premonitory). In this case, its analogy is simply turning the potential for lucidity off and waking at the same time, as I had already slept a little too long this morning. Otherwise, fire is one of my most common dream features, especially of microdreams and very short dreams. (There will usually be at least one inconsequential microdream of a small fire at the beginning of every sleep cycle, which has been the case since early childhood.)



      Some people, when not wishing to achieve conscious awareness in the dream state, or simply wanting to return to sleep, will have dreams about trying to turn the same light off repeatedly, with little or no success, or of turning off a large number of lights in the same room, resulting in the room being as lit as ever. I have experienced this myself, and ultimately, it is hilarious, despite the intense frustration of the dream self.

      Categories
      non-lucid
    7. Phone on Fire

      by , 06-04-2018 at 11:27 AM
      Night of June 3, 2018. Sunday.



      This brief vivid lucid dream was triggered by a lapse into unconsciousness while I was contemplating liminal space while still semi-conscious. I was actually thinking about a telephone and its autosymbolic meaning in representing potential communication between dream self and conscious self, though was visualizing a rotary telephone sitting on a table with my dream self in the room and my conscious self on the other side of the wall. It is rendered as a simple sketchy diagram (with the correct waking orientation layout, the dream self room with the telephone on the left and my conscious self’s room on the right).

      Eventually, I am within a vivid lucid dream. Zsuzsanna’s cell phone is sitting on the top of the couch and very soon catches on fire for no discernible reason. I find this intriguing and immediately wake.

      No mystery here, as waking processes of shorter dreams since early childhood have often involved fire suddenly starting as consciousness initiation autosymbolism, not quite as common as vestibular system correlation though sometimes combined in waking process synthesis with such as a meteor or falling and burning airplane and many more forms of inherent autosymbolism of which is unrelated to waking life in most cases (other than when prescient or as a literal carryover).

      This is additionally validated by the cell phone being in the fictitious location atop the couch where I had just otherwise had my head in reality prior to going to bed (thus my lucid dream self was focusing on the last place my physical brain was before being in bed in addition to thinking about communication through liminal space of which the cell phone represented).


      Categories
      lucid
    8. Putting out a Fire Above

      by , 05-19-2018 at 10:58 AM
      Morning of January 3, 2017. Tuesday.



      In my dream, I am living in an unknown residence. I am only vaguely aware of my family as they are now. I am in a cold indoor environment in the wintertime (even though it is very warm in real life). To my right is a large hot water heater of an unrealistic design and which nearly reaches the ceiling. There is also a furnacelike feature near the top.

      I have an object that resembles a circuit board. A few wires are sticking out. By rubbing two wires together I can start a fire and make the room warmer. There is a ramp along the wall. After several attempts to get a fire going, a small fire finally starts. The entire circuit board is soon ablaze. I am enjoying it until I notice a couple of additional flames higher up that may or may not have come from my activity with the circuit board.

      There is an unfamiliar young male present at one point. He points out that the hot water tank is now releasing sizzling water. I unplug the hot water tank and the water stops squirting from various areas of the tank, especially near the top.

      I grab a white plastic bucket and fill it with water from the faucet. I fling it upwards but see that I will have to climb up to make sure all the flames are doused. When I get to the top near the ceiling I notice the top of the wall opens into another room. It is like an attic with a low ceiling. An older woman (of perhaps sixty) is sitting close to my side and an unknown young girl is sitting on a couch across the room and reading a book. The fire seems to be going out.

      I apologize to the unknown female but she does not seem angry or annoyed. Looking down at a table in the implied doorway of this unlikely room (though I think it is some sort of open vent that is not meant to serve as a door), I see a Gold Key “Star Trek” comic book (which is a real-life cover of a comic book I have not had in years). The top of the cover’s image is nearest me so is upside-down. There seem to be a couple of burn marks on it and it also appears mostly in grays.

      I say, “Oh, I have this comic book,” and the woman says, “I know, I gave it to you”. This puzzles me at first, but I do not say anything else about the comic book.

      “I had my gloves sitting there,” she says, indicating that she had a pair of gloves sitting on the “Star Trek” comic book. She seems to be implying that the fire had burned them up completely. I tell her that it is unlikely as there were only a few small flames which had gone out quickly. I slowly wake while wondering what else to say.



      Dream state and waking process autosymbolism fully explained here:

      Lucid dreams are not the same as controlled dreams. You can be lucid and not in control of either the dream environment or the dream body. You can direct and modulate the dream without lucidity. Dream control is a separate state than maintaining self-awareness in the dream. Lucid dreaming is not a “skill” (and for me has always been a natural state since earliest memory). Neither is dream control, though it does become fundamental upon understanding dream state autosymbolism and how RAS (reticular activating system) mediation works.

      My dynamic and transient subconscious self in non-lucidity, because of isolation from both my unconscious mind and my conscious self, does not usually possess viable memory of waking life or reasoning skills. The rendering of the hot water heater is a thread of the liminal awareness of my physical body being too warm in my real environment, and is rendered to my dream self’s right as I sleep on my left side (my right more liminally aware of the real environment as a result). The cool fictitious environment is a result of a liminal thread of the conscious desire to be cooler. Additionally, water is autosymbolism for the depth and dynamics of sleep.

      Liminal dream state awareness is inherent (a liminal realization of being in the dream state, yet without being lucid; a result of synaptic OR gating; my conscious self being aware I am dreaming while my dream self is not) and liminal dream control (the circuit board as autosymbolism for RAS mediation). Synaptic gating is triggered from the liminal awareness that water is sleep and fire is waking (achieving consciousness). However, I non-lucidly sustain and control my dream at this point before the preconscious factor renders a young male to caution me on modulating my dream due to my real-life environment being too warm. (This is a “primitive” but very important biological mechanism, just as the autosymbolic call to wake and use the toilet is). “I unplug the hot water tank”. I moderate my intent of dream state sustainment and reinduction, though I still have a tentative desire to sustain my dream by throwing water from a bucket.

      I decide to enter the waking space willingly. I liminally seek out the RAS bulwark and find the liminal space divider (that otherwise separates the dream self identity from the conscious self identity). This is rendered as the unusual opening into what is implied to be an attic and is a form of sustained doorway waking autosymbolism. The attic relates to higher thinking skills (and also has an association with the thalamus in contrast to RAS) that are only viable when awake. RAS personification (as the old woman) is rendered. The usual vestibular system autosymbolism becomes the focus but is rendered in static form as a “Star Trek” comic book cover, which additionally signifies the sustainment of the liminal space transition and the lessening of waking start anticipation (which is typically experienced as the falling sensation of which is solely biological). Additionally, I am in the timeless transpersonal stage where it could be said that the old woman and young girl are both versions of my wife Zsuzsanna on opposite sides of the timeline.

      Personified RAS (transforming into this dream’s emergent consciousness factor) talks about her gloves having been on the comic book. (The fire had gone out, as the waking alert factor is no longer needed.) This is subtle autosymbolism of the knowledge of dream state modulation, as hands and gloves represent potential control of the dream state. There is also the implication of the control of vestibular system dynamics in this case as evidenced by the gloves being atop the static flight symbol imagery. Gloves additionally augment the illusion of physicality. (The dream self does not have a real physical body, and a practice that some lucid dreamers utilize is looking at their hands as a “reality check” to see if they look unusual or have the wrong number of fingers.)


    9. Tools under the Door, Starting a Fire, Tiny Cat

      by , 08-07-2017 at 02:07 PM
      Morning of August 7, 2017. Monday.

      Dream #: 18,494-02. Reading time: 2 min 40 sec.



      I am sitting on the floor near the southeast corner of the living room in the Cubitis house. The layout is different. My attention is on the front door and a fictitious area north of the kitchenette.

      I am aware of my father on the carport (though I do not see him). (My dream self does not remember he died in 1979.) He does not enter the house. He slides several objects under the door (which would have been impossible in reality). I see them as well as hear their movement. There are at least three open-end wrenches, presumably different sizes from a set. There are other items, like a couple of flat pieces of metal. I think he wants me to put them in the hallway closet, as he no longer has space for them in the shed.

      I have two irregular stones that seem more like crystals at times. Although mostly opaque, they sometimes seem transparent, becoming glassy when I tap them together. Some facets are reflective and shiny. They have a bluish tint for the most part, though I notice that one looks gold at a later point.

      I think I can make a fire. I strike one stone against the other, sometimes doing this when one is on the floor, other times while holding them. They sparkle, and some areas catch fire.

      Light gray tendrils of smoke and small flames are the results at least four times. I get a folded piece of notebook paper and hold it near one stone as I hit it with the other, and they burn for a time. The paper catches fire.

      An orange tabby cat no longer than my hand rests on my right near a burnt area of the floor. It moves a short distance from the smoke and flames. The small fire is close to it but does not hurt it. Its tail traverses an area of the floor that had burnt moments before. It does not show signs of fear or injury.



      Dreams are mainly a result of co-occurrence with the status of being in the dream state, resulting from subliminal environmental monitoring, enigmatic space, and autosymbolic waking processes.

      My dream self sometimes instinctually starts a fire to activate consciousness, a goal stemming from the status of being in the dream state (and being instinctually aware of being asleep), NOT a factor from waking life. My extent of dream control has no association with being “lucid.” My brief dream self identity is not a model of waking life identity. In this case, there is no recall my father had died. There is in other dreams, a factor unrelated to the implied time or any recent thoughts I may have held in waking life. It is because, in subliminal space, my dream self does not have practical access to either my unconscious mind (or its legitimate memories) or my real identity.

      This dream also includes wall mediation (another regular event of being in the dream state, NOT a cause from waking life status). A wall (and related features like doors, windows, and fences) is a concurrent virtual division of various levels of liminal space and enigmatic space, though is more likely with an environmental factor like less intrusive noise. The tools from under the door are another association with achieving consciousness, of which the preconscious (reticular activating system) is the foremost dynamic.

      The stones become transparent when closer to initiating consciousness (starting the fire) to remind me my dream is an illusion but still controllable by instinct.

      Cats sometimes appear with wall mediation (with many specific examples of this in my dream journal), as a virtual anchor in liminal space; and in childhood, a summoned virtual witness to the dream state when lucid. In this instance, the cat is a tiny version of Tiger (a cat from my childhood when I lived on 611 North Monroe Street in 1967). One of the photographs from this time features me sitting in front of the front door, holding him.


      Updated 09-08-2019 at 09:16 AM by 1390

      Tags: cat, father, fire, tools, wrench
      Categories
      non-lucid
    10. Big Beetles From Space (with the Waltons)

      by , 01-30-2017 at 07:30 AM
      Morning of January 30, 2017. Monday.



      All the members of the Waltons family each have singular kiosks set up along the roadside in a straight line, adjacent to an old warehouse. It is a back road in an unknown region (but is probably meant to be Walton’s mountain). Each of the Waltons is selling something different. Mother Walton is selling handmade potholders and oven mitts. Grandma Walton is selling preserves in jars. (She is at the last kiosk on the left.) John Boy Walton is apparently attempting to sell the books of his he once had printed from a subsidy publisher he was victimized by. I am not sure what the others are selling (though Jim Bob is seemingly with slingshots).

      It is nighttime eventually, and rather dark out. No one else but me (other than the Waltons) had been in the area. A very small meteor comes down and hits mother Walton’s kiosk but does not seem to do much damage. Another one just misses Grandma Walton’s stand.

      I tell them that the meteors are coming down in a particular pattern. They do not at all seem to be concerned about the falling meteors even with the two close calls. I predict where the next one will hit and I am correct. I go and put the contents of the small meteorite in a large transparent glass container.

      Looking closely into the container, holding it up, I see a few bits of rock. I also see a curious orange glow on the right side of the container. Near the center of the container is an odd structure that looks cylindrical and constructed of green glowing glass shards that are long and thin but also resemble a burning cigarette (other than the embers being green).

      After a short time, there are two oversized beetles in the container, bigger than my hands. One is a golden Christmas beetle, the other resembling a green weevil mixed with a rhino beetle. I am thinking of how they came from another planet and somehow survived within the meteor (even though they seemed to rapidly grow from out of the embers), though I consider how there is only one of each (though each is beautiful in its own way). I am also thinking that they are too different to reproduce since they are seemingly different species. No sooner do I hold that thought for a moment when they start to mate. The shiny green beetle climbs atop the golden one and they remain mating until my dream ends.

      The Waltons, especially Grandma and John Boy (who are standing the closest to me) stare at the event, not speaking.


    11. Searching for “Ghost Riders”

      by , 09-14-2016 at 03:14 PM
      Morning of September 14, 2016. Wednesday.



      I am using a notebook computer as well as accessing the Internet in an unfamiliar residence which is apparently where my family and I live. Our oldest daughter is present at one point and she is also using her computer. The large room does not have much furniture and I am seated on the floor, my daughter also seated on the floor on the other side of the room. The common distortion of somehow “using the Internet” in an actual notepaper notebook occurs (where images sometimes move on the paper, though not in every such dream, and in this case, actual type appears rather than handwriting).

      I try to search for the term “Ghost Riders in the Sky”. I seem to have forgotten how to perform a search, at least in a more feasible manner. I type “Ghost Riders in the Sky” with a small keyboard so that it appears on the notebook paper. I then move the computer mouse across the notebook paper to near the top of the page and watch the image of the print move in line with the mouse. I seem to remember that by doing this, it activates the search. However, nothing happens. I then reason that one has to move the computer mouse more quickly so that it creates a sort of “momentum” as the print on the paper is then somehow “flung” into a virtual but unseen search engine box on the surface of the paper. I cannot seem to do it correctly. I reason that there must be a virtual impetus setting (for the computer mouse) of plus or minus and in a context menu but I cannot remember where it is.

      I ask my daughter if she can get the search function to work on her computer. She seems to discover that the search function is offline and informs me of this. Still, I decide to try a different computer, which I recall is in a different room off to my right. There is a very large rectangular wooden table that holds six computer workstations (the narrower end of the table parallel to the doorway), both towers and desktops, each with a large CRT monitor, which are arranged as three facing outward on each side.

      I decide to use the middle workstation on one side of the table; the side where the doorway is then to my left. The search still does not seem to be working after I type in the phrase “Ghost Riders in the Sky”. I notice that the USB cable that is required for the search function to work is at an angle, halfway out of the electrical outlet (which is a white upright surge protector power board with three outlets), but tipped to the left (which is based on two absurd notions; one, that a USB cable needs to be plugged in somewhere for an Internet search to work and two, that a USB cable would fit in an electrical outlet).

      I adjust the USB cable to push it down fully into the outlet which is on my right. It is in the outlet between where the desktop computer is plugged in (left side) and where the CRT monitor is plugged in (right side). Soon, there is a sizzling sound. I am not sure what is going on. I see an orange glow coming from the monitor without paying much attention to the side of the monitor looking more like a vent with equidistant horizontal louvers. Soon, there are sparks flying out of the outlet along with a bit of fire and more sizzling from the other workstations. I soon realize that I had better turn off and unplug everything. First, I turn off the switch on the power board, but the noise and fiery glow seems to grow and spread and I wonder if I had turned it on instead of turning it off (which is illogical as I had just been using the computer). I go around the table attempting to turn everything off. There is even a power board with three outlets hanging to the left of the doorway at about chest-level, which I also turn off and pull plugs out of. My wife Zsuzsanna comes in. Our youngest son and daughter come in and playfully walk clockwise around the table cheerfully and I tell them that they should leave.

      Although the fire becomes brighter and the sizzling louder, it does not really spread that far. Each fire mostly remains inside the perimeter of each computer workstation, which is looking more and more like an arrangement of tall vents with equidistant louvers that I mostly watch the fire through. There is hardly any smoke.

      Soon, the crackling and sizzling becomes a very strange metallic music. It is firstly an instrumental version of “Ghost Riders in the Sky”. The metal of the burning workstations “plucks” the song, though is not that loud. The gremlins (from the 1984 movie “Gremlins”), though remaining unseen, are “singing” - though not the actual lyrics, just “ya ya ya ya, ya ya ya ya” to the melody, though for the chorus, they sing “yippee-yi-ay, yippee-yi-o, ghost riders in the sky…” the title being mostly muttered and somewhat indistinct as they go back into the “ya ya ya ya” verse. As I stand in the doorway, I marvel at what seems a “frozen moment” of perfection (even though I know it will cost a lot of money to replace the computers). The thin metallic plucking of the melody sounds very distinct as each louver of the vents snaps, though the workstations (and vents) still appear as complete and undamaged through the fire. (The equidistant horizontal lines of light have appeared in previous dreams, akin to venetian blinds and relating to the nature of liminal space, including with the potential of greater clarity or lucidity, between dreaming and waking.)



      Although I consider this a beautiful and unique dream (analogous to the dream-self identity as the phoenix), it carries the same core meaning (and sleeping, dreaming, and waking components and inherent symbols) as the majority of my dreams since early childhood. Firstly, my unconscious dream self seeks to return to whole consciousness (which is often the primary goal of most dream-self incarnations though in many cases the dream self attempts to “escape” from the “interference” of whole consciousness, or does not want to wake yet) through use of computer technology (as only the conscious mind has viable thinking skills or a stable system of logic). The common “return flight” aspect is here, but in this case as the “ghost riders in the sky” (the sky often being symbolic of the conscious mind as being “above” the dream self), where fire is mentioned in the actual song, fire of which represents emergent (waking) awareness (or if one prefers, the emerging sun or light of day). Orange is also a factor of sentience (and the need to wake up) between yellow and red (which also represent states of consciousness when dominant, yellow or gold being the “softer” phase and red often indicating more of a need to wake, in my case, often after sleeping a little too long, relative to circadian rhythms). The color red increases the pulse and heart rate, and raises your blood pressure in preparation for waking. Red, orange, or yellow are typically the final dominant colors in my dreams (depending on the type), where blue typically serves as the opposite, that is, dream induction itself (or the calming of consciousness which transmutes as the “sky” but focuses via the “sun”).


      Updated 08-03-2017 at 05:35 PM by 1390

      Categories
      non-lucid , memorable
    12. Sturgeons, Gars, and a River on Fire

      by , 08-24-2016 at 02:24 PM
      Morning of August 24, 2016. Wednesday.

      Dream #: 18,146-05. Reading time (optimized): 3 min.



      I am with my family in an unknown location near a small oval pond of an area of about ten feet by six feet, seemingly late at night. There are no other discernible environmental features. Zsuzsanna is off to my left, our two youngest sons closer to me on my left, our youngest the closest.

      Our youngest son is fishing, but I eventually help him reel in a fish. It turns out to be a small pale bluegill (even though I had considered that there were no fish in the pond) with the hook stuck on the outside of his mouth on its right side, which is difficult to pull out. The tangibility and sense of movement and weight of catching a fish are amazingly realistic. When I throw it to my right instead of putting it on a stringer, I see a second pond, about the same size as the first, perpendicular to it and about two feet away from it. The water is only inches deep. There is a pile of bluegill about three or four high, almost covering the far half of the side of the pond, most caught within the last day or two. About a third are alive. I wonder which fish came from which body of water, but the second one is not deep enough to fish in now.

      Later, we walk near a ravine in an unknown location (where there is only part of a guardrail) near an urban area. It seems to be late afternoon. The scene is clear and detailed, with plenty of light to see at a distance. I see puddles far below and three big parallel fish on their stomachs about five feet apart, facing away from us. They are about four feet long and still alive. I tell Zsuzsanna two are sturgeons, but one is an alligator gar, but the imagery changes to feature the opposite. The scene is ambiguous, as they are similar in appearance. We teleport to the area near the fish far below. I warn our youngest son not to put his hand near the mouth of a gar, but he does after patting its back, seemingly preparing to take it home with us to eat. He appears to have cut his fingers. However, this is not the case, and he seems cheerful.

      We walk through a long but narrow park, adjacent to the road. It is late at night again. There are about five other people around (of questionable repute), and they are setting up an overnight camp in the closed park. They gather under a park shelter nearby. An unknown male in his forties, who may be lighting a cigarette, throws a lit match into the river close to where he is. As a result (and as I vaguely anticipate), the river’s surface somehow catches fire with a bright flash and tall flames, and they are startled but unharmed.

      Not wanting trouble from the park rangers, Zsuzsanna and our children, under my lead, turn to go back in the opposite direction with a steady gait, though not as if fleeing, but assertively. I am aware that there may be a game warden or two near the boat ramp directly opposite the entrance (where we first came in), but this is uncertain.

      Now we are going home. It seems to be around the same time as the previous scene. We reach the perimeter of a parking lot, about one-fifth the size of a city block, adjacent to the sidewalk. We may walk through it diagonally from here (off to its right) rather than go around at the intersection. However, the declivity might be too challenging for us to traverse, especially for Zsuzsanna to manage the pram.

      We walk through a high school instead. Even though it is late at night, students are walking on the grounds. (At least one is wearing an American football uniform.) We use the entrance and the exit but go back around and up to a fence that blocks our way. We walk around it and continue from here as I wake.



      Dream signature: Water induction, seeking correlation of dream state awareness (fishing), water lowering (melatonin mediation), vestibular system adaptation (walking near ravine), water reinduction (river), lit match and river on fire (precursory consciousness initiation; choice to “go home”; wake), liminal space entry (parking lot), vestibular system correlation (anticipation of walking through declivity; wariness of waking process as potential falling sensation), emerging thinking skills (going through high school), wall mediation (fence).


      Tags: fire, fishing, park, ravine
      Categories
      non-lucid
    13. Being a Superhero and the Great Sun Barrier

      by , 07-04-2016 at 10:34 AM
      Morning of July 4, 2016. Monday.



      At first, I am wandering about in what I first think is a business building though there are not that many people around. There had been a slight focus on catching a bus (from the La Crosse post office area - even though I now live in Australia), but my attention shifts. I see an unknown male walking towards me in the dimly lit hall. I notice in one large office I glance into that Terry O'Quinn is standing in semidarkness near a desk as if ready to go home. I say “Hello Anthony” and wave and he seems slightly startled and annoyed by my presence and simply responds with “Huh?” I keep walking thinking that I should have called him Mister Quinn. I do not catch that I had called him by the wrong name (and although he has a brother named Thomas Anthony Quinn, I got the name mixed up with the other Anthony Quinn, the Mexican-born American actor who died in 2001).

      I am now a young female flying in a loose-fitting superhero costume. My very large cape has narrow vertical red and white stripes (which is an obvious association with the American flag and its waving though I do not perceive this as such while in my dream, although a cape itself is a dream sign that represents being under a bedsheet or blanket). I feel good as I fly through an area between tall buildings. A young male approaches me from the opposite direction and he is wearing the same costume as I am. We end up on the ground where there are several other people, which seems somewhat of a family reunion in a metropolitan park. After a time, he seems in awe that I am flying without aid. It turns out that he had been held up by wires (I assume, linked to all the buildings). I can see a number of wires that are attached to him from different directions (which is an obvious play on the dream self as being a “marionette” of the unconscious state in non-lucid dreams), almost as complex as a spiderweb. Eventually, he seems angry that I can really fly and he cannot. Suddenly, I am a different character, myself as I am now. I am now apparently the father of the previous female character who is still with us. I tell him that I had flown all my life and he seems surprised and annoyed. I tell him that I had flown a lot in Wisconsin when it was too cold for others to be out, though it also seems that my family is the only one with members who can fly. Eventually, my female character is now me again, but later becomes a male flying character (though not the other male who “flew” with wires).

      In the next scene, I am going to Terry O'Quinn’s house (its location of which I somehow know though none of this dream’s settings are familiar in any way) to, I think, as a courier, get some documents relative to a business venture. It still seems to be in the afternoon. A group of about ten or more males are standing in a sparse arrangement (somewhat equidistant) in his front yard. They seem to not like my special abilities, including my flying ability, and start to approach me aggressively. I blow lightly in their direction as I am going onto the porch and somehow they are all knocked down by an invisible force and do not get up.

      I look into Terry’s bedroom (obvious dream sign; the dream self reflecting on the conscious self still being in bed), and see that he had been sleeping, and as such, he again makes a sort of frustrated “Huh?” sound. Deciding not to annoy him any further, I walk back out onto the porch, which is now perpendicular to where it had just been seconds before (that is, rotated ninety degrees to the right - and this is a long-recurring sudden illogical setting change) and facing the street instead of the large yard at the side of the house. Soon, a male in a business suit comes out to talk to me. I try to discern if this is Terry, though I ask him if he is Tony, but it is someone else. He is a younger male (perhaps about twenty) wearing horn-rimmed glasses. He is talking to me about Terry and his tax forms (relative to business) but I do not quite understand the last sentence. He says something with a very strange playful tone (though as if also being sarcastic towards me) that sounds like gibberish. I ask him to repeat what he had said and he repeats it more loudly than before. I still cannot make out what it is as it sounds more like just a fast “nyah nyah nyah” noise. I tell him in a playful though assertive manner, almost as if talking to a child, “I can’t understand you and I don’t think I ever will” and then begin to hear lightly dramatic music playing in the background as if my dream has an overhead “soundtrack”. He just sits on the wall of the porch grinning sheepishly.

      As I am walking down the street, other people are looking at the sky and something seems wrong with the sun. It is supposed to be afternoon but is slightly darker than it should be. After a short time, the sun appears as a goldfish drawing etched into the sky in bright orange strips of fire (which almost seems natural and normal). A circle of fire is around it. However, this fire seems to hit an invisible spherical barrier a short distance out from the sun. “There is a barrier around the sun,” several people begin to note and say as a small crowd gathers around near one intersection. Everyone seems concerned. I am not that concerned considering that if this were real, it would be the end of the world.

      Time passes, and eventually there are images in the sky of witches in a circle, from about the waist up, holding their hands out vertically and trying to match the fire shooting out of the now crystal ball sun by sending their own fire (from the palms of their hands) back into the “sun”, which seems to “explain”. the supposed barrier There is a loud sizzling sound that also seems to have elements of hissing, breathing, and snoring.



      What a long bizarre and surreal mixed-up dream. What is unusual is the goldfish, as a fish is typically an induction symbol (which directly represents the dreamer in the dream state), though here is the waking precursor and light-of-day symbol (dawning consciousness as sunrise and circadian rhythms metaphor). I guess this is because gold represents conscious activity in the dream state, so the goldfish oddly serves as this dream’s flight symbol (that is, the main consciousness displacement representation that occurs in the majority of my dreams). Fire represents emerging conscious awareness within the dream state and as such, sometimes causes the dream’s dissolution (unless lucid).
    14. Musical Distractions

      by , 06-22-2016 at 10:54 AM
      Morning of June 22, 2016. Wednesday.



      In the first part of my dream, my family and I as we are now are seemingly living back on Stadcor Street in Brisbane. However, it seems (or eventually becomes) more like a public venue. Our house is also a little bigger and fancier. I find myself playing an electronic keyboard in our kitchen. I am enjoying the sounds for a few minutes. My music sounds mostly like a reed organ with sustained one-note tones around the 440 Hz range.

      Eventually, I notice that I am likely annoying a group of people who are performing in a small orchestra in our living room as well as distracting their small audience. I did not even realize that there were other people in our house (other than the members of my family). There are at least six members of the orchestra. I can clearly hear the beautiful music though it does not sound familiar or recognizable as a known work. My keyboard in fact, is almost as loud as the orchestra at first. Even though these people are technically trespassing (though I do not focus on that fact) I decide to stop playing. I remain passive and receptive and eventually go to the living room and the scene shifts.

      Now I am sitting on a couch in an unfamiliar setting that seems only partly rendered. On my left though, there is ambiguity in whether I am outdoors or indoors (though the implication seems logically indoors). An unknown male of about sixty is on my right. He seems to be talking about the history of a particular musician though I am not sure who he means. In fact, he may not even be addressing me as he seems to be speaking to an invisible audience presumed to be facing our location. I have an old softcover music book with yellowed pages and scroll and seashell patterns on the cover (possibly from the 1800s) and this book may be relevant to his oration but he seems a bit distracted and perhaps he is even an eccentric homeless person. There seems to be something “off” about him. He seems angry about the musician of his speech not having an accurate representation in published works. That is, the books published on his life contain mostly erroneous details. However, it may also be that he is completely wrong about what he is saying in his speech.

      The scene changes again and I seem mostly uninvolved as I watch Burl Ives blowing on a harmonica in short intervals. The members of the orchestra at the beginning of my dream are chasing him down a hallway. Every now and then he stops and cheerfully and defiantly blows into the harmonica. The orchestra members wave their fists and continue to chase him down the long hallway and around corners but he continues to elude them, mostly remaining about three feet ahead of them at all times. Eventually, they catch on fire but still continue to pursue him, not seeming to notice or care that they are on fire. I watch the flames leaping mostly from their upper backs and shoulders.

      Now I am watching Zsuzsanna sitting on a park bench. She is looking at a small neat oblong garden bed which has smooth white stones around the shrubs and flowers. It is parallel to the bench and about eight feet away. The head and shoulders of a young male pops up from the ground, but it vibrates and quivers and seems to be a movie prop as it is pale, almost colorless, and clay-like. Its purpose seems to be to fully emerge from the ground but it keeps going down again to about neck level. Another (unknown) person to her right seems to be laughing intensely at the scene and I start to feel a strange cheerfulness as well. It seems to be part of a movie being filmed but they cannot get the prop to operate correctly.



      Burl Ives has a special symbolic significance for me. He played the skeptic and eventual victim as a result of his own skepticism in “The Bermuda Depths”, which was a movie that signified my path to my “mystery girl” as being a real character (rather than just a dream character as I had originally thought when growing up). Water and fire have always appeared in dreams he has been in. Fire usually relates to dawning conscious awareness and the nature of sunrise (as relevant to day to day reality).

      The first part of my dream relating to the orchestra seems to be relevant to a time (and as a reminder) for both lucidity and non-lucidity. Although I indulge in apex lucidity on a night to night basis (the type of dream I rarely post), I also find joy and great interest in non-lucid dreams regardless of their content and my excessive familiarity with many component types. Here, I am making music and then decide that the orchestra (the Source or the natural flow of the unconscious realm) should be heeded and heard.

      The last part relates to a prolonged waking transition. My dream goes a bit haywire. One way to look at it is that I am trying to wake up but I am too amused by the surreal imagery and cannot quite “emerge” from the unconscious realm even though I have been downgraded to a “movie prop” (a movie being analogous to the dream state).

      Categories
      non-lucid
    15. Stove on Fire in Bathroom

      by , 03-26-2016 at 09:26 AM
      Night of March 26, 2016. Saturday.



      Sometimes I think that if a dream ever rendered a setting correctly, without a feeling of bilocation, or indoor and outdoor ambiguity, or of a unique composite or changes in directional orientation or colors or other details, I would not to know what to think at all. In this dream, I am technically looking at my old family home in Cubitis yet with the idea it is our present home even though my dream occurs directly after falling asleep for a short time during a nap this night and I had not been inside that house since mid-1978.

      Not only that, the Cubitis bathroom is an altered setting as it is. It is larger to where the west wall (where the doorway also is) is long enough for both a large squarish porcelain sink and a stove (with large oven) with four heating elements, both features on the door’s right (and the right of the stove being directly near the northwest corner, it seems). The setting remains in semidarkness (with no implied light source other than apparently the hallway light). I do not focus on the east side of the room at all - I am only ever aware of the basin and stove that are next to each other. (In reality, the sink, which was much smaller than the one in this dream, was on the north wall, near the northwest corner.)

      Fire is one of my most common dream features second only to water. There have been other dreams of attempting to put out a stove fire with water. In this case, curiously enough, the fire starts from behind one of the stove’s dials (rather than a heating element or pan being on fire). The dial itself is extended horizontally outwards a bit more from the top of the stove than would be logical (or perhaps it pulled out a bit farther than intended) and the four dials are located beyond and behind the heating elements rather than above the oven.

      Concerned about this event, I flip up both switches on the wall (which are next to me, immediately to the right of the door and above the sink) even though I am not certain about which direction (up or down) is on or off (as up was always “on” in places I lived in America, but in Australia, it sometimes varies even within the same house, though up is often “off”). I “know” that the switch on the right is for the stove and the left one is apparently for the hot water availability for the left faucet/tap (which of course is not realistic at all). Still, this is illogical enough to cause my dream self to become puzzled for a short time (though not lucid). Does the switch turn off the water completely or only the hot water?

      I am able to fill a glass of water and throw it at the fire. It takes about three attempts before the fire is under control (even though it is only around the dial).



      Fire usually relates directly to growing conscious awareness within the dream state (and some fire dreams trigger lucidity), which seems validated by the concept of growing awareness of the light of day (including sunrise or dawn even though this dream was at night) as well as being “brighter” in clarity and perception. Awareness of fire seems to make a dream more vivid. As I put the fire out, my dream loses its vividness and I soon wake.




      Updated 04-20-2017 at 08:27 AM by 1390

      Categories
      non-lucid
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