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    1. Flying and “Zombie Wars” (without Zombies)

      by , 01-03-2019 at 09:52 AM
      Morning of January 3, 2019. Thursday.

      Dream #: 19,008-02. Reading time (optimized) 3 min.



      My dream self maintains a thread of my conscious self identity in that I remember Zsuzsanna, though no other current factor (such as an awareness I live in Australia) is extant. We are in the King Street mansion (though Zsuzsanna has never been to America). I introduce her to Leonard. They briefly hug. Leonard seems cheerful and glad to see me

      The staircase does not appear, so my dream does not vivify as a result. Vestibular system correlation still occurs, as I end up happily flying without effort with Zsuzsanna to a fictitious arcade northeast of the King Street house. [inherited non-linear vestibular system correlation]

      In the arcade, which does not have much lighting, the setting eventually vivifies, though Zsuzsanna is no longer present. (Zsuzsanna often serves as an induction simulacrum in one dream and an emerging consciousness simulacrum in another.) I stand in a big electronic game that seemingly combines several other games. It is called “Zombie Wars.” It is like a very sparse and oversized pinball playing field. Facing away to my left and perpendicular to the table I am at, though attached to it, is a pinball machine of regular size. I can control its flippers from where I am even though I cannot see most of its playing field. The game relates to the player being on a quest, but the backstory is unclear. There is an icon displaying a hypodermic needle that holds green fluid. (I vaguely sense that it would result in going deeper into sleep to correctly play the game, but I do not activate it.)

      There are also sections to my right. I mostly play around with the controls without any goal in mind. The area is about four times the size of a drafting table, not including the attached pinball machine.

      A small device on the upper right has a vertical metal rod that I can guide over an area that represents a map. There is a similar small machine to its right. I continue to play around with the controls. The rod moves around randomly, making a maze-like pattern.

      What I mostly enjoy doing for several minutes is making the whole table roll about and shake. [inherited linear vestibular system correlation] The feeling of movement is vivid and pleasing, like being on a ride that is rolling about in all directions. The entire oversized game moves up to two feet in each direction, though it is all random. (No viable gameplay is occurring.) There is presently one other person in the arcade, an unknown male off to my left on the other side of the big room. He is playing a pinball game.

      The unknown male owner walks in from behind me, off to my left. I suspect that he is coming to tell us that the arcade is closing, though this turns out to not be the case, as more people come in. (This is a subliminal attempt at left-side-oriented dream state reinduction based on my usual subception of being in the dream state, but which instead triggers RAS.)

      The preconscious, as an unfamiliar young blond man of about seventeen, is activated and becomes his typical intrusive self to initiate the waking process. I am still playing around with the controls of the big game. The pinball game that was attached to the left is now more like a video game. It involves small short rockets going down into moon craters as well as shooting lasers at small slowly moving hovering rocks. I score points despite the preconscious chanting gibberish at me in a seemingly sarcastic tone. (Logically, I would not be able to see the screen, as it is facing away from me, but I have two simultaneous viewpoints at this time.)

      In my annoyance, I decide to leave, and as a result, there is a subliminal thread of [literal bed space emergence] as I get my hooded sweater. I notice several pairs of my blue jeans strewn about in the room, a subliminal awareness that I do not wear clothes as I sleep. When I go to pick up a pair of my jeans to put on, thinking I will probably leave my other clothes in the arcade, and contemplate flying back to King Street, the waking process initiates as a result.



      Two distinct forms of (inherited) vestibular system correlation being in the same dream is not very common because of the consciousness initiation factor, but this was a long dream with a few different levels of illusory awareness.


      Updated 01-03-2019 at 12:14 PM by 1390

      Categories
      non-lucid
    2. Summoning a Chinese Sea Dragon to Swallow a Sea God

      by , 12-27-2018 at 10:37 AM
      Morning of December 27, 2018. Thursday.

      Dream #: 19,001-02. Reading time (optimized): 1 min. Readability score (optimized): 70.



      At night, I am hovering over an unknown region of the ocean, walking on water at times. A miniaturized dam and its spillway are between two rocky outcrops. In proportion with my erroneous size perception, it only seems about six feet in length and about a foot in width. Despite the presence of the ocean, there is a vague awareness of indoor-outdoor ambiguity. An unknown male is with me.

      A sea god, possibly Thaumas, flies down to land atop the dam in a squatting position, on the right of the middle on our side. He appears as an informally dressed slim blond man with a mustache. He pulls a diagonal lever with his teeth, resulting in the water on the opposite side of the dam lowering and vanishing, leaving an expansive floor at the level the ocean’s surface had been. This floor has a break perpendicular to the middle of the dam, implying two sliding doors of enormous size, now closed.

      His act annoys me. I affirm the return of the water, saying that no one else will ever be able to change it. The ocean water flows back to where it had been, presumably as deep as previously.

      I confidently affirm a sea serpent will rise from the ocean depths to swallow this intrusive male. A Chinese sea dragon, with a head the size of a bus, emerges.

      Although rising close to the other male and me, it is not a threat to us. It swallows the sea god and swims away.




      2020 footnote headers:

      [water induction] ocean
      [erroneous size perception]
      [indoor-outdoor ambiguity]
      [non-linear vestibular system correlation] flight and walking on choppy water
      [dam as dual enigmatic space mediation and melatonin mediation]
      [passive enigmatic space witness] unknown male
      [melatonin mediation simulacrum mode two] intrusive sea god
      [water lowering autosymbolism]
      [water reinduction]
      [dream self commanding melatonin mediation]
      [coalescence factor mode two]
      [dream control without conscious self identity]
      [dream control without dream state awareness]
      [dream self controlling core reticular formation alert factor; serpent]



    3. DREAM JOURNAL ESSENTIALS: Taxi Drivers

      by , 12-14-2018 at 12:46 PM
      Friday, 14 December 2018.

      Reading time (optimized): 4 min. Readability score: 49.



      In choosing to ride in a taxi in the dream state, whether in subliminal, liminal, or concurrent dream self modes, I am relinquishing reticular activating system mediation to the preconscious and the emerging consciousness dynamics. The resulting preconscious simulacrum is an incidental factor of linear vestibular system correlation. It is a result of my dream self’s implied passivity in initiating the return to consciousness and the resolving of the illusory nature of physicality at the apex of the waking process. The taxi driver is a projected (rather than inherited) form of linear vestibular system correlation. Virtually any vehicle stems from the subliminal, liminal, or concurrent status of illusory physicality while sleeping, and while there is a lack of viable awareness of where my body is and its orientation.

      To reveal this process, I will include a list of some of the taxi dreams I presently have online, though this is a work in progress, as my online dream journal is nowhere near being a complete representation of my dreaming history.



      From dream #: 2,834-02 (age 13, “Overpass Mishap”). The taxi driver in this dream, an elderly black male, was known to me in real life. In rising beyond the median of the dreaming process, the taxi ascends an overpass. My dream begins to lose cohesion as we are at the peak, and the overpass seems to either quickly fall or vanish as I simultaneously phase through the roof of the taxi, effortlessly flying up into the sky. As I look down, it all looks like a miniature model, the taxi about the size of a Matchbox car. There is no “meaning” here. It is simply my infra-self responding to the enigmatic space of the dreaming process.

      From dream #: 1,195-02 (age 9, “My Little Cane”). In one of many segments in this very long dream, I am kidnapped by two men and taken into a taxi that actor Ricardo Montalban is driving. He is in charge of my kidnapping, intent on stealing my cane due to its dream-control-relevant dynamics. In a short time, I deliberately become invisible and phase through the roof of the taxi, flying to another location. Ultimately, this taught me about the crucially domineering nature of the preconscious and its simulacra in reticular activating system mediation, as the waking process is a biological necessity. The outcome was that I became ghostlike and remained annoyed by my lack of conscious self identity in the dream state, based on my inability to discern my physical body and its orientation as I sleep. There is a subliminal factor of my cane being analogous to Aaron’s rod. The core reticular formation aspect is a snake as the waking alert factor (though there is no direct snake association in this dream).

      From dream #: 1-02 (age 6, “Invisible in a Taxi”). In this dream, the taxi driver is actor Ernest Borgnine. My dream sustains enigmatic space to the degree where, not only am I phasing from the taxi, through walls, and back to my bed, and back to the taxi, the taxi phases through walls of commercial buildings now and then. I do not have money for the fare, but I manage to stay unnoticed by the driver. The subliminal awareness of being asleep in bed is inherent, which is why the preconscious is not domineering, though this changes when my dream self tries to sustain my dream for too long.

      From dream #: 1,513-02 (age 10, “Frank N. Stein”). In this dream, I am on the street between my elementary school and the playground, the taxi slowly going east. I soon see that Frankenstein’s monster is the driver. He turns around to look at me, but I do not feel threatened. Beyond, to my left, I see lightning inside my otherwise dark classroom (though I had seen it earlier before getting in the taxi). Lightning is a factor of increasing consciousness activity and implies the activation of the emerging consciousness (by way of the preconscious in liminal space) as Frankenstein’s monster came to life and “awakened” from lightning.

      From dream #: 10,591-01 (age 34, “Winona’s Taxi”). The taxi driver is Winona Ryder. She is annoying as the preconscious tends to be, to initiate the emerging consciousness essence. In this case, the smoke serves as an association with the passivity of the dream self and the lack of conscious self identity within the dream state (in subliminal modes).

      From dream #: 18,437-03 (age 56, “An Impossible Taxi Ride”). In this dream, the taxi as relevant to linear vestibular system correlation transmutes to nonlinear. As a result, the taxi goes up and down several staircases until reaching the driver’s apartment on presumably the second floor. (The driver is an unfamiliar man.) From here, there is a situation where he believes a wasp has flown from inside a big irregular rock, but I affirm there is no danger. The wasp represents the transmutation of the previous process and is autosymbolic of the increase of neuronal energy.

      From dream #: 18,382-05 (age 56, “A Spider in a Taxi”). In this dream, secondary factors of vestibular system correlation come into play. A spider (depending on the nature of the dream) is often a negative subliminal association with the human hand, in this case, stemming from my annoyance at high cab fares (and handing the cab driver “too much” money), particularly as I crush the spider with the edge of my wallet. A wallet typically holds identification cards and can be a factor of expressing conscious self will.



      To summarize:

      Taxi (or any vehicle): Analogous to the body, which is imaginary in the dream state (illusory physicality, orientation, and destination).

      Taxi driver: Typically the simulacrum of preconscious activity (by way of the reticular activating system), analogous to the emerging consciousness remaining passive of resolving the illusory physicality of the dream state. (See the examples above where my dream self deliberately abandons this process by phasing out of the vehicle and flying, the final stage of resolving vestibular system dynamics.)


      Categories
      side notes
    4. The Usual Easiness of Hovering and Flying

      by , 12-07-2018 at 08:18 AM
      Morning of December 7, 2018. Friday.

      Dream #: 18,981-02. Reading time (optimized): 3 min. Readability score: 66.



      I become vividly aware of being in my brother-in-law Bob’s car in the back seat, on the right side. (This subliminally stems from sleeping on the right side of our bed, though my conscious self’s identity is otherwise absent as I have not been in La Crosse since 1994. My dream self’s location in the back seat implies being in temporary isolation from my reticular activating system’s processing.) It is nighttime. The parked car is in the middle of the east side of Wood Street. (This is scene is erroneous, as Bob would typically only park on Loomis Street near where he lived.)

      An unknown male is backing up his car, which remains perpendicular, from the other side of the street, towards Bob’s car. Although I think his vehicle might hit hard, as he does not seem to notice Bob’s car, the back of it only bumps the right side near my door.

      I start yelling at him and leave Bob’s car to go to the front of it. By now, a few other unknown people are present. At least one police officer (a preconscious simulacrum that does not activate) is nearby, but there is not much interaction (due to my level of dream state consciousness in the transition to the next scene). The man remains in his car. I point out to the others how the right front wheel of Bob’s car is now bent, the top at an outward angle. I go over to the left side and see that the left front tire has what resembles a big pile of white cream (or white “clay”) near it that appears as if it had been squeezed out from a short cylindrical protuberance on the tire. (Gamma-aminobutyric acid, or GABA, in its natural form, is rare autosymbolism, yet has appeared in several dreams recently.)

      I walk back to Loomis Street, into the backyard of the house by way of the alley, and enter the house via the back door. As I walk around, I see that everyone is in bed. I want to tell them about the mishap with the car. The house is dark, and I complain that it is before eight o'clock in asking why everyone is already asleep. One bedroom replaces the porch, with the bed visible beyond the living room’s doorway and long ways to it, but my dream self does not recognize this error. At this point, I am more viably subliminally aware I am in the dream state (as validated by seeing people in bed and the RAS precursor of the previous scene not initiating), which triggers the next stage of the dreaming process.

      Vestibular system correlation kicks in as usual at this level of dream state consciousness. I am in Southside La Crosse now, near a group of about seven unfamiliar teenagers, both males and females. I easily allow myself to rise in the air and hover for a time, but I also fly around for short distances. Most of the other people are surprised. I tell them that I cannot understand why people walk over a long distance (such as from one side of town to another) when flying is so much easier. The others take turns rising in the air for a short time.

      From here, an unknown male happily flies with me, including through the service area of a restaurant (caused by subliminal hunger during sleep). I eventually arrive in the parking lot of a shopping mall. However, it also has a vague association with my old middle school in Arcadia.

      The parking lot (autosymbolism for an inactive body while sleeping) usually comes at a closer emerging consciousness stage than does a porch (in which porch, warehouse, shed or garage, parking lot typically correlates with incremental bands of concurrent consciousness in the waking process). There are a few unknown men who are amazed at how I hover and fly around. They talk about gravity and how I am “defying the laws of gravity.” I tell them that flying is a natural activity and that you only have to allow yourself to rise in the air.

      They continue to mention gravity as I walk to the other side of the parking lot, near the street, to prepare to fly again. I cheerfully yell back at them, “If gravity existed as you say it does, then the moon would be stuck to the Earth!” My affirmation stems from how the dream self and its imaginary physicality (moon) is not bound by the physical (Earth).


    5. Kinder Surprises on King Street

      by , 12-01-2018 at 07:41 AM
      Morning of December 1, 2018. Saturday.

      Dream # 18,975-02: Reading time: 3 min 48 sec. Readability score: 58.



      My infra-self’s illusory location of being beyond the nexus of RAS (reticular activating system) separates me from my waking life identity. My infra-self (non-lucid dream self as personified subconscious) loses the viable connection with my unconscious mind in the non-lucid dream state, this personal truth (validated tens of thousands of times since early childhood) being the opposite of what most of modern society naively believes about non-lucid dreams. Only one subliminal thread of my conscious self remains without activating any other until I am in the nexus of the waking process.

      I am in the King Street mansion, in the middle room of the east side of the second floor of the house, where I have not lived for over twenty years. I am wearing a dark blue hooded sweater with big front pockets. I am going to fly to Northside La Crosse, to Marilyn’s house. (Marilyn is an older half-sister on my mother’s side who died in 2014. My infra-self has no memory of her death.) The thought of physically taking to the air to fly has occurred in dreams all my life (even at age three), without the slightest pause of considering it as an impossible act, and of course, it is effortless. Flight and elevation symbols, both projected and inherited, have occurred at least once (typically more) in every sleep cycle for over fifty years. It is vestibular system correlation, the most common factor of the dream state, which I do not pretend has any association with waking life. It merely correlates with the nature of the absent physicality of the dream state.

      I have a total of five Kinder Surprise eggs, all of which are still in the original packaging, though one of them has some of the foil coming off, with part of the chocolate exposed. I decide to eat that one and put its yellow toy container in my right pocket. I put the other unwrapped chocolate eggs in my pockets, three on the left, one on my right, and will give them all (including the toy) to my youngest daughter. (This focus does not bring about a recall of where I live. However, this is the second recent dream where I remembered her while my infra-self was erroneously on King Street and preparing to go to Northside La Crosse, though that one was caused by her speaking when I was sleeping. Also, I never saw Kinder Surprise products in America in reality.)

      I fly to Northside La Crosse. I eat an entire chocolate pie (and appreciate its flavor) in an unfamiliar room implied to be in the Loomis Street house. (Dreams in which I eat something sweet only occur after I drink something sweet before sleep.) After this, I am watching television with my brother-in-law Bob. I do not care much about watching his show, which he comments on at times. I subliminally become aware of the nexus (the precursory association being the television), and this causes me to choose to go out onto the front porch. I look outside from the porch door and see a few unfamiliar people in the dark of late night. (There is no recall of often using this scenario to vivify and sustain my dream. Instead, I succumb to the subliminal awareness that I am dreaming in the next scene.)

      I lie down on the couch on the porch, my head east. My dream becomes much more vivid in this preparatory transition. Marilyn’s neighbor comes onto the porch but appears as she was in the late 1970s. It is dark, but I can vaguely discern whom it is seemingly implied to be. She is going into the living room to see Bob but stops briefly, saying, “Oh, hello Claude, I’m sorry if I scared you.” On the one hand, there were no concerns about this simulacrum coming onto the porch (even though the preconscious is typically domineering at this stage of the waking process in this dream type). On the other hand, she never called me by my real first name in real life, and this error augments my self-awareness, though I remain only semi-lucid and soon wake.

      Hearing my name in a dream usually results in consciousness shifts and level of awareness, as my imaginary dream self is unlike my waking life identity. It causes me to think about who I am, which causes me to wake, though the porch as the commonly recurring “bridge” through the nexus was already extant.

      This entity had the essence of the interconsciousness more so than the preconscious (which seems absent here), which is atypical but has happened in other dreams. It most likely included an emerging but distorted thread of recalling Zsuzsanna. However, why was it apologizing? Does this go all the way back to 1965 when it came as a giant white cat (with a beard) that walked over my chest (one of my first nexus-as-porch dreams)? It may also relate to the bull simulacrum that, as a child, served as a limitation of deliberate dream state vivification and indefinitely sustaining them (which is unhealthy).

      I think that the five eggs are autosymbolic for the beginning of the return to consciousness, as I have five children, though my infra-self only remembers my younger daughter, which correlates with the partially unwrapped egg as the beginning of waking life recall. (This is a no-brainer as “kinder” means “children” in this context in German - well DUH.) Yellow is the color I have always used (since early childhood) to initiate consciousness, whether in subliminal, liminal, or lucid modes. (Plus, it being on my ride side indicates waking process association, as I sleep on my left side with my right more exposed to my real environment.)


    6. Beautiful Wondrous Rain

      by , 11-10-2018 at 09:08 AM
      Morning of November 10, 2018. Saturday.

      Dream #: 18,954-02. Reading time: 2 min 26 sec. Readability score: 66.



      I am looking at a map of the island of Sulawesi (Celebes) with its very unusual shape. I notice an isolated fictitious town with the name of “Core” that is otherwise where Central, West, and South Sulawesi meet. There are mostly only native inhabitants there. I project my dream self into the map to create the foundation of my dream. I decide I will play the role of introducing new opportunities and resources to the region.

      At one point, I mentally create diced pineapples in a bowl and the tribal leader enjoys them. I reassure him that I will only allow a few tourists to come to the area only during certain time periods and that I will have my team clean the region on a regular basis.

      At another point, several soldiers, all in black, come to occupy the area. I mentally create an army that comes in from a ship and wipes them all out.

      I decide to go on a journey to Los Angeles. An unfamiliar backpacker asks if he can go with us, and I say yes. I enjoy the idea of a random dream denizen (almost as if I see him as “real” or having perception) being on my ship in my dream. Although the trip is supposed to last several days, we arrive there within minutes. I try to make the ocean waves more interesting. In the distance, there seem to be huge “curtains.”

      I alter the nature and progression of my dream with the intent of increasing my dream state awareness. I create rain to sustain and vivify my dream to astounding levels (as water and its specific dynamics has always been a natural melatonin factor of the dream state). The weight and coolness of the water is incredibly realistic. I slowly fly in standing position above an unknown town in semidarkness. I marvel at the pleasurable sensations of the rain that falls upon my skin and the realistic, vivid sound of rain all around me. I fly slowly over a small canal with culverts on each end.

      I eventually land and bring out the sun. I walk down a wooden sidewalk and notice the nexus simulacrum (personified preconscious) going through a doorway built adjacent to the building on my right but of which goes to the intersection, but I mentally force him to turn around. I ask him, “What is your name?” He looks puzzled and in a hurry. “What is your name?” I ask him two more times, in case there is an interconsciousness thread present.

      I maintain the expectation that the nexus simulacrum may have a level of transpersonal intelligence that may not originate from my dream self.

      He answers with “Dennis Sunimun.” I let him leave, as he seems late for a business meeting. Still, “Dennis” is the name of my brother and “Sunimun” is an obvious distortion of “sunny man.” I was hoping for something more, evidence of intelligence beyond my own, which has been present in certain previous dreams.

      I reset my dream, with the possibility I will wake myself, but I end up in an offset dream of lesser vividness. Still, I make my way to a library to write down the event. I walk through midair, about ten feet above the street, with a few random people.

      In the library, I read handwritten details in a notebook. I write “Dennis Sunimun” several times, but when I look each time, I am not sure if it is clear enough to carry over into my conscious memory and I try writing it again. Finally, I go into another area of the library and walk out with my family.


      Categories
      lucid
    7. Talking with my Father (and Grandfather) at a Public Venue

      by , 10-23-2018 at 10:28 AM
      Morning of October 23, 2018. Tuesday.

      Dream #: 18,936-02. Reading time (optimized): 2 min. Readability score: 69.



      I am at the Concordia Ballroom in La Crosse. (My father often performed publicly here when I was very young.) There is a service counter at the east end of the hall (a fictitious orientation, as it was on the north end). My father is sitting behind it. (I do not recall that he had died in 1979). His father is standing to his right but appears as being much younger than my father. (I do not focus on the absurdity of the scenario.)

      My grandfather is talking about the history of our family. During this time, I am trying to connect wires so that both speakers will play music. The one on the far left is working, but the far right one is not. I hear sound only in my left ear. I wrap the clusters of wire around each other. There are many that stick out from different areas of the plastic coating. My father looks on as I do this. I am wary of touching certain ones together, but in reality, it would not matter, as there is no electrical current. I spend several minutes doing this, starting over a few times.

      I sincerely tell my father how much I enjoyed singing with him when I was a boy.

      My grandfather speaks of a fictitious family history meant to be the truth. I remain puzzled about the details, but I do not say anything. Supposedly, my father’s mother’s name was Boyat (unfamiliar to me). She was famous and had an artificial knee. (In reality, the name was Ruland and appears in a book about Tecumseh.)

      Eventually, the right speaker starts working. When this happens, I absentmindedly but dramatically run off to the far end of the hall. I enter a bedroom where Zsuzsanna is sleeping. I leap into the air and fly a short distance. I try to wake her, as it is supposedly late in the afternoon. (In reality, she is awake, and I am asleep in my dream.)



      There have been numerous dreams of connecting wires. It seems to indicate a subliminal attempt to become lucid or connect with my current conscious self identity. I hear the sound in my left ear, which is dream state orientation, as I sleep on my left side with my right exposed to the real environment, so having the full connection would initiate conscious awareness within my dream.

      In this dream, I become more subliminally aware of being in the dream state, but I do not achieve a viable liminal or lucid understanding that I am dreaming. Still, I automatically enter the usual vestibular system correlation stage by leaping and flying in dream state indicator space; the bedroom where Zsuzsanna is sleeping. Up until then, I had no recall of my current conscious self identity. I wake shortly after this. Before I am awake, I see patterns of an offset dream forming to my left, which mostly shows laundry, and I consider it is “correct” in being down to the left.


    8. Almost Superman

      by , 09-29-2018 at 08:08 AM
      Morning of September 28, 2018. Friday.

      Reading time (optimized): 3 min. Readability score: 54.



      The library setting is where my conscious self identity, as in waking life, often carries and holds my dream self in an attempt to hold dynamics of intelligence and memory that typically cease to exist in non-lucid dream states, as the non-lucid subconscious and its personification as the dreamer has no viable connection to the unconscious mind or real life. Since early childhood, I have often tried to manifest books or something to read to bring about viably lucid threads of the emerging consciousness, which sometimes works to vivify my dream self’s status, but in this case, it is only the library with no focus on any specific book.

      The otherwise unfamiliar library is close to my conscious self awareness but without viable lucidity or conscious self identity. (I do not know the implied country of its location.) My dream self is aware that I am asleep and dreaming, but it is a subliminal factor, that is, my dream self and conscious self have not coalesced. Physicality and tangibility still increase significantly. I am aware of the preconscious avatar sitting to my right and reading a book in the passive monitoring of my dream self’s status. It is an unfamiliar man of about fifty. I become more annoyed, as he is crowding me. I continue to maintain my focus of sleeping on my left side, as I am in reality. My dream continues to vivify. It is all thought and physicality. There has been no imagery yet.

      Finally, my dream self achieves the mode of non-lucid dream control, established by the essence of the library, but without my conscious self identity. Vestibular system correlation commences, and I have thoughts of being a superhero. I fly around for a time as I usually do with this primary dream state factor. Despite not being lucid, I am familiar with the nature of creating and controlling my experience.

      I consider that I am Superman, but not “the” Superman. At one point, I decide to have a blue cape rather than a red one. Eventually, I also see that I am wearing slacks and have mismatched socks. I have a blue sock on my left foot and a white sock on my right. I mentally will the bottom of my pants legs to tighten, grow longer and cover my feet, more so from the idea that superheroes do not wear regular pants. Despite having willed my cape to appear and eventually changing its color, I do not contemplate changing either of my socks’ colors.

      In my dream’s final scene, I walk inside an area in the afternoon where a chain-link fence, of about ten feet in height, encloses an unknown warehouse. It turns at ninety degrees to match its adjacency to the building’s outer wall. There does not appear to be an exit on that side. (A fence of this nature is the synchronous division between the dream self and the conscious self and the subliminal distinction between the illusory physicality of the dream self’s fictitious body and the status of the real physical body in REM sleep.) The space is narrow. Still, I stop two criminals, both unfamiliar men, from stealing a device relating to communications technology. This scenario is the typical precursory RAS modulation and ultradian rhythm correlation, its rendering for curbing potential unchecked sustainment of the dream state, more so as a concurrent REM sleep safeguard than having anything to do with real life.

      I carry the device back around the corner (RAS mediation) to see the owners of the warehouse. Even though the avatars are standing on each side of me and all can see, I have to describe what one criminal looks like to one of the warehouse owners. The avatars to my left are potential dream state revivifiers (I sleep on my left side), whereby the ones on the right are active preconscious (and possibly interconsciousness) threads. The communications device, which resembles a small shortwave radio, merges and coalesces with my dream self and subliminal conscious self identity, and I wake as a result.



      Additional notes: Mismatched socks represent the distinction between the fictitious dream self and the conscious self identity. It is one of those renderings that have occurred since early childhood in all modes (subliminal, liminal, and lucid) of the dream self. In lucidity, I am aware of the meaning, as I am aware of the dreaming and waking processes and how specific patterns manifest. It is not “symbolism” in the conventional sense as many people believe.


    9. Hanging from the Sky

      by , 09-23-2018 at 06:49 AM
      Morning of September 23, 2018. Sunday.

      Reading time (optimized): 2 min. Readability score: 61.



      In this dream, I am non-lucidly practicing and controlling vestibular system correlation and other factors in the same manner as when I was around age eight. I direct the waves of tangibility upwards, from feet to head to uplifted hands, and create storm conditions for wind, though of which are not problematic.

      I seem to be a young boy in my dream. The setting is the front of a variation of the Cubitis house, close to the outer area of the carport. Jim (older half-brother on my mother’s side, deceased) is present, appearing as he was in the early 1970s. He has a large book of information about a secret society he belongs to, and I read a paragraph about mountain-climber and explorer requirements. (Despite my conscious self identity not being extant, this seems influenced by watching “Exploring With Josh” videos before sleep.)

      It seems to be morning, though there are many gray clouds overhead. I tie two bed sheets together, tearing parts into strips, and throw the “rope” into the air. Jim tries it, but the other end curves and the makeshift rope falls back down. I hold on to one end of the “rope,” and I rise into the sky, about ten feet from the ground, the bed sheet “rope” remaining mostly vertical. (This was influenced by watching “Tau” from 2018 two days ago when Julia made a cloth rope to manipulate devices outside of where she and the other two were, though the dynamic was horizontal rather than vertical as in this dream. It also implies that my non-lucid dream self seeks the thinking skills that only my conscious mind has, which is validated by the dream segment after this one.)

      Eventually, I find a newspaper and roll a two-page spread into a cone. It becomes unrealistically long, and this “rope” pulls me higher into the sky than the bed sheet did. The scene repeats, but I add more two-page newspaper spreads. Jim seems puzzled as to how I am doing this. My parents (both deceased) come out during the last minutes.

      I hang on to the newspaper “rope” and enjoy the intense feeling of movement and flight even though I remain in vertical position. The wind blows me about north and south above the front yard. The other end remains airborne and stable in its height even though it does not connect to anything.



      My dream has a clearly defined history going back to early childhood. Replacing the bed sheet “rope” with newspaper is a technique to focus higher thinking skills which are not typically present in the dream state, the bed sheet rendering from the subliminal awareness of being asleep. Other than printed text, I also subliminally, liminally, and lucidly, focus on technology in some dreams. However, a dream such as “Cell Phone Flight” from 2015 is somewhat uncomfortable (though there was less to hold on to). Vivid vertical flight is unusual, as it contrasts with the physical body being horizontal in bed and sometimes triggers a somersault awareness.


      Categories
      non-lucid
    10. Flying High

      by , 09-13-2018 at 12:49 PM
      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.


      Tags: airplane, flying
      Categories
      non-lucid
    11. Flying Around and Bribing the Preconscious

      by , 09-07-2018 at 12:07 PM
      Morning of September 7, 2018. Friday.

      Reading time: 3 min 5 sec. Readability score: 69.



      My dream is a meandering adventure and threads of my conscious self identity typically come and go in different scenes. Various time periods are erroneously combined and skewed as is often the case.

      In one scene, I am “sleeping” while sitting on a couch in an unknown dark location. Tony, a classmate from middle school, is sitting on my left. I seem to be an adult, but I have had no contact with him since my teenage years other than on Facebook.

      I am later in a big classroom that has no student desks. Everyone is watching a male classmate (unknown) who is performing a strange dance and transforming into various small objects and animals. He also mentions something about not using chlorine in a swimming pool.

      Although I had been in Florida, I am now suddenly in Wisconsin. Tony is now sitting on the curb near an intersection. I fly high into the air to look down to see him looking curiously up at me. Later, I am walking with several schoolmates. I have a false memory that Karen and Kenny lived next door to the King Street mansion and have no recall that I once lived on the street. Kenny turns to go into the yard even though I thought we were all walking a distance yet.

      Soon, I am in the northeast room of the King Street house. I now remember I have a young son, though that is the only thread of my conscious self identity at this point (and he had never been to America let alone to King Street). There are a lot of miscellaneous items all over the floor. I realize that I need to feed our cats. My son has a dish of cat food. One of the white cats had eaten, but the other had not. I have a false memory that we have two white long-haired cats, male and female. I soon realize we only have one and deliberately change my dream without lucidity. However, that is wrong as well. We do not have any solely white long-haired cats in reality. I become puzzled but not lucid and my dream shifts again.

      Later, I dive into the Black River while flying, though with the false association it is the ocean. I vividly feel myself move through the water back to shore. I am enjoying myself. Though I am not lucid, I understand the association between water and melatonin (as water is autosymbolism for sleep), thus diving into the water keeps me in my dream.

      I fly around until I hear people talking in a building. It is a miniature version of the La Crosse post office, though is associated with the Arcadia one. Female schoolmates and one male schoolmate are inside. He faces the entrance, sitting on a chair. His presence is this dream’s preconscious avatar.

      A young version of Zsuzsanna is my schoolmate. We all sit talking for a time. I am going to fly home with Zsuzsanna even though it is erroneously La Crosse. The preconscious is somewhat of a bully (which it has to be to trigger waking in some cases), but it does not bother me. He asks me to give him a dollar.

      I hold out my right hand, palm down, and singular thrice-folded dollar bills come out of nowhere to fall to the floor in front of the RAS avatar. I non-lucidly create many of them, and they scatter over the floor. The avatar seems somewhat annoyed and is only holding on to one of them, making no effort to pick any of the others up. Even though I am consciously unaware I am dreaming, I am well aware of the factors and dynamics. I consider this somewhat of an RAS mediation bribe to allow my dream to continue and vivify, which it does for a time.

      I hold Zsuzsanna to my left, and I effortlessly joyfully fly off while I hold onto her, remaining about ten feet above the sidewalk for about a block. I then fly higher with her.



      Holding another dream character at my side and flying with them is a recurring VSC (vestibular system correlation) event in my dreams (and has been for over fifty years), both lucidly and non-lucidly, though sometimes others fly on their own. I have often manipulated my dream non-lucidly. Lucidity is not required to create or control dreams (or have endless “magical” abilities), though many people still propagate this misconception. The only real difference other than knowing it is a dream is a viable memory of the conscious self identity of which is lacking in most non-lucid dreams.


      Categories
      non-lucid
    12. Making and Moving a Planet, Inhaling Medusa‘s Jewelry

      by , 09-03-2018 at 02:04 PM
      Night of September 2, 2018. Sunday.

      Reading time: 2 min 28 sec. Readability score: 64.



      I decide to create an earth-like planet (a typical exercise) and, within my implied position in outer space, pull it towards me and push it away from my view several times. It relates to a specific type of dream state perception where passive observation and creation are ambiguously the same. For example, I may “pull” the background closer to me rather than enter into it.

      In an undefined but “patchy” unlit space, I practice rotating the view to the right about 45 degrees, then to the left. I shake it side to side rather than attempt to move my head. I push and pull the “patchy” undefined space towards me and push it back as I did with the planet exercise. I create a solid green square and make it go side to side (leftmost and rightmost) with little effort. I mentally shake it until it breaks up into smaller squares. There is the usual segment where diamonds rapidly flip over each other.

      I create a castle. I open an outer brick wall about two storeys up to practice the manipulation of liminal space division. The hole in the outer wall is diamond-shaped. I mentally pull out the bricks and put them back into the wall several times, with no effort, only expectation of what I want. I spin individual ones in midair while turning all of them in rotation like a tank tread before they uniformly join into a solid wall again. While the hole is there, an unidentifiable female avatar remains motionless inside that room.

      I create a rainy alley scene, like out of a 1940s gangster movie. A black 1947 Cadillac Fleetwood pulls up. Three unfamiliar men get out. I decide to make the scenario into something different. Now, three young girls in 1970s jumpsuits approach. The one in the middle ahead of the other two pauses and turns around. I notice her hair moves in the wind like a fire. The imagery begins to spin and shine, the helicopter rotor effect, and turns into a stained-glass spinning kaleidoscopic view, expanding into a different state of awareness, though is three-dimensional rather than a flat field. I joyfully watch this surreal imagery for several minutes.

      I hover and fly over beautiful rocky landscapes with rivers of mist.

      I start playing around with a four-feet-high egg in the same way I did with the brick wall earlier. Similarly shaped pieces of the eggshell break out and move about in the air in a circular pattern, reminiscent of a mosaic taking itself apart and rebuilding itself, but I will them back into place several times as if the egg had never started to hatch. Each time, only a pair of human eyes is visible from inside the egg, though different each time. (This stage of dreaming has occurred on a regular basis for over fifty years. Eyes are usually the most realistically defined imagery.) I then start to realize that an egg, at least in some manifestations, is the same type of perceptual liminal space division as is a brick wall; pieces of the egg, bricks of the wall, break out, reconstruct.

      Eventually, a young version of Medusa is present upon my summoning. I focus on the intricacy of her hair. Hundreds of tiny snakes move about atop her head. There is no fear or concern. I marvel at the detail of her costume and headband. Eventually, the snakes are intricate braids of human hair. A turquoise stone is in her headband. I deliberately suck in and inhale its essence as a mist that has healing properties.

      I create another earth-like planet. It cracks into smaller pieces at the top, and I pull cotton out of it.


    13. In Filmed Flight

      by , 08-26-2018 at 07:46 PM
      Morning of August 26, 2018. Sunday.

      Reading time: 2 min 23 sec. Readability score: 56.



      In my dream, I am in a new variation of the Cubitis house. It seems to be late morning. Zsuzsanna is present. The television is in the west area of the living room (where it never was in real life.)

      I seem to be mentally creating or recording calculus equations onto a VHS tape as I am standing on the other side of the room. The VHS player is on a shelf below our television. As it is recording over previous content, at least one episode of “Sesame Street,” I am still able to see parts of the original content. There are also brief sections of music and random patterns of static and snow.

      Eventually, I see that the “Sesame Street” images are upside-down, yet rendered very realistically as such. I am only vaguely puzzled by this.

      Soon, I have a small video camera, and I go out to the south side yard. I am going to make a movie about flying. I rise in the air, and before I fly higher and faster, I find amusement by seeing my shadow over the front yard, north of where I am hovering. My shadow is distorted, short and somewhat round, but I can discern from it that I am wearing a top cat and a cape or cloak. The movie may also be related to a fictitious detective serial. From here, I effortlessly fly higher and faster over Arcadia until I wake.



      Pertinent information for new readers:

      Since childhood, I have developed and enhanced various processes in the dream state. One of these is attempting to clarify the status of my infra-self by focusing on concepts such as reading or using a computer (before computers were in use in households), yet by association, mathematics sometimes occurs though is rarely viable. It typically enhances threads of liminality (sometimes lucidity) even when I am not lucid (as the infra-self does not otherwise have a viable reading ability or logical reasoning). The muppets, which I associate with control of dreams, are a result of this process. Television is a type of liminal space division (similar to a fence or wall), the contrasting dynamics of infra-self and conscious self.

      A significant factor of the dreaming and waking processes is vestibular system correlation, that is, resolving the illusory nature of the dream self’s body with how the real physical body is oriented (though it also includes the distortion or expansion of space around where one is sleeping). That is what is behind falling, flying, rising, and hovering dreams.

      The first dream of each sleep cycle, for over 50 years, usually involves falling, though is more vivid when I had done more walking that day, while in stark contrast, the last typically involves effortless flying whether or not I am lucid, usually in the final scene. However, I have often deliberately used falling for reinduction or sustaining a dream.

      Zsuzsanna’s presence typically has priority over threads of where we live in reality. (Zsuzsanna has never been to America as my dreams often imply.) I never dream of correct settings, as they are often mixed-up variations of everywhere I have lived. (I have not lived in Cubitis since 1978.)

      The upside-down dynamic mainly stems from Zsuzsanna saying, “if it sounds upside-down, it’s from down under” on her first recording to me. However, this did not result in my infra-self remembering I live in Australia.

      A shadow stems from a subliminal, liminal, or lucid thread of my conscious self looking into the dream state. In apex lucidity, I play with or test my shadow to see if it is “me.”


    14. A Sister is Alive Again

      by , 08-03-2018 at 09:46 AM
      Morning of August 3, 2018. Friday.

      Reading time: 2 min 37 sec. Readability score: 75.



      I find myself in a big, unfamiliar library that is part of a school building. It is seemingly the end of a school day. A female is present. She may be a teacher. It seems that most people have left. I am asked to clean up, as no one else is going to. I go through the aisles to pick up blankets and bed sheets (without questioning why these items would be “left behind” in a library). I also find a few towels. There are also several pairs of gloves, one pair that I believe is mine, so I put them on. There is also a winter jacket. From here, I decide that I will fly to the north side of La Crosse.

      I am soon at the Loomis Street house. My brother-in-law Bob seems happy. He appears as he did in the 1980s. A boy is present that is theirs. I falsely remember that they had a child of about eight years old. Bob tells me that another boy was born recently. I ask him whose child this is, as my older sister Marilyn had died. It turns out that she was brought back to life by a business that offers this service. She comes into the house and seems as she was in the 1960s.

      The house now seems like an ambiguous mix of the Loomis Street house (in America) and the Gellibrand Street apartment in Australia. A bed is in a similar orientation as it was in the Gellibrand Street place, where we lived when our oldest son was a baby.

      Marilyn seems happy. The baby is on the bed and has a strange appearance, a big head, and a thin, wiry body. It is only a few days old. It is speaking coherently with a curious metallic echoing. The words are soft. I do not recall what he said.

      I ask about Cindy, my brother Earl’s wife. She was brought back as well. Bob says that she has “a hundred years left (to live).” Curiously, I have no memory of Earl (who had also died in real life).

      Later, Marilyn and I are talking about all the puzzle books she had given me, mostly from the 1950s, 1960s, and 1970s, the majority of them Dell. (This was a real-life event.) They were in a big cardboard box. We talk cheerfully about difficult cryptic crossword puzzles. The harder ones are left for me to solve.



      My dream self recalls that Marilyn had died, but also with the false memory she had one child that would now be about eight (though she would be far too old for this to be true). I remember my sister-in-law, but not my brother. I do not recall my current life status, yet the Loomis Street house (America) mixes with where Zsuzsanna and I lived years ago, which means a part of my conscious self identity is subliminally present. Dreams are a fascinating comedy of errors sometimes.

      The last part (waking process rather than dream revivification) is from a trigger I developed in childhood, to make a dream more vivid and coherent by giving myself reading tasks or focusing on books or writing (though I also used coins for this), though now I mostly use computer associations. (An odd result of that is how computer technology is often on notebook paper in my dreams.) The association with solving puzzles also directly relates to the middle of the waking process, between the fictitious dream self and emerging consciousness identity.

      The library trigger “failed,” but still displayed dream state indicators (bed sheets and blankets in the aisles), though the usual vestibular system correlation (flying in this case) was present. I put on gloves to mask my conscious self identity and physicality. It shows that I was in non-lucid control of my dream (as is most often the case) but with odd results and the usual dream state amnesia when non-lucid.


      Tags: flying, library
      Categories
      non-lucid
    15. Dreams of Type PRECONAV-VSCPCEL, 01-15

      by , 07-05-2018 at 10:20 AM
      Evening of July 4, 2018. Wednesday.



      This entry contains brief details in a list of complete online entries for 15 fascinating dreams that meet the criteria for designated type: PRECONAV-VSCPCEL. This entry’s internal code is PRECONAV-VSCPCEL-01-15, for personal statistical records in over 50 years of studying and resolving tens of thousands of my dreams. The entries are not listed in any order. They include the specific causes of each dream’s autosymbolism, meaning, and outcome. To hold the PRECONAV-VSCPCEL code, a dream must meet the following criteria:

      The preconscious avatar during waking process autosymbolism must be a celebrity, in their real-life identity, a character they play, or their appearance without my dream self’s recognition as either (for example, erroneously perceived as a relative, friend, or member of the public of which would not imply their celebrity status). Both celebrities and unknown or unfamiliar people are common preconscious avatars, as neither is a part of waking life (other than when literally prescient threads exist).

      Vestibular system correlation of RAS (reticular activating system) mediation or modulation and the mediating or modulating personification of vestibular system correlation as such must be the primary basis for, and cause of, my dream’s autosymbolism and outcome in both lucid and non-lucid transitions and in both controlled and passive dream state scenarios. It must be as a waking process factor (in its autosymbolism) rather than an induction factor as in other cases, though some induction autosymbolism is typically present to render the particular dream’s foundation.

      To understand the causes and meaning of this dream type requires the intelligence and experience of knowing that dreams are mainly autosymbolic of the sleeping, dreaming, and waking processes, including concurrent biological dynamics and ultradian rhythm factors as well as environmental circumstances. This dream type, depending on the dream, is a result of subliminal, liminal, or lucid awareness in anticipation of the waking process as well as various levels of non-lucid and lucid dream control based on the knowledge of dream state autosymbolism. Although flying, falling, and rising are a biological factor of dreaming and waking (inherent in vestibular system correlation on how the dream self cannot viably discern physicality while in REM sleep), the preconscious often serves as an additional factor of RAS mediation and modulation as an anticipatory projection of the subconscious self. The main factors behind this type of autosymbolism are in the desire of having both a helper (in the anticipated “fall” from the dream state) and a witness (and companion) of the waking process. I began to understand much about dreams at age four and by age six, had an astounding level of both lucid and non-lucid dream control. This dream type, like most others, may include obvious dream state indicators, such as a bed or being undressed (in subliminal realization that my physical body is usually undressed when I am sleeping in bed).



      01] Fictitious Lloyd Bridges Movie. March 10, 1978. My preconscious avatar is actor Lloyd Bridges, serving as the virtual replacement for my subconscious self that is otherwise only a witness (to the fictitious movie titled “Bridges”). This mainly stemmed from a nostalgic focus on the TV movie, “The Deadly Dream”, first viewed in full on September 25, 1971. This dream even ends with ending movie credits rolling as I wake. While the real movie was based on a dream that turned out to be real, my dream is autosymbolic of the dreaming and waking process and includes the play on “bridges” as representing the concurrent changes through different levels of consciousness in REM sleep. “I just hope he comes down all right” is a reference to the waking process and the biological anticipation of “falling awake” (waking start).

      02] Shopping with Silas Weir Mitchell. June 22, 2018. My preconscious avatar is actor Silas Weir Mitchell, serving as helpful companion to my subconscious self. I reset my dream while semi-lucid after he falls off the curb two stories down to the street (which is impossible) but then I decide to wake. This was a different form of the first dream of virtually every sleep cycle for over fifty years but which involves me directly. I take a step while walking on the sidewalk and trip (with an unusual misstep) or fall off the curb and experience the vestibular system correlation and hypnopompic kick of the waking process. However, this process is far more vivid after I had walked a lot more on that day. This otherwise stemmed from the association with the character he plays on the TV series “Grimm”, which is Monroe. I lived on North Monroe Street as a child. This same association has triggered other dreams of Silas walking down the street near me. The intersection is autosymbolism for RAS mediation and the choice of waking for the day or returning to deeper sleep for a time (ultradian rhythm factor).

      03] Dancing High (with Jordan Gavaris). June 1, 2015. My preconscious avatar is actor Jordan Gavaris, serving as a parallel avatar to my subconscious self. This dream stemmed from nostalgic associations with my “Money Cat Minion Saves Me from Falling from Roof” from 1966 (age 6). Jordan starred on TV series “Orphan Black” as Felix, and I associated that name with cats and supposedly “always landing on their feet”. (Cats have often served as witness to the dream state in liminal space autosymbolism and as a form of the preconscious avatar in both lucid and non-lucid dreams, including in cases where a cat, including such as a lion or a tiger, becomes a person in my dream’s final scene). With this dream, there were resets back into the same elevated scene, both lucidly and non-lucidly.

      04] The Flying Carpet (with Lucie and Desi Arnaz, Jr.). March 23, 1973. My preconscious avatar is actress Lucille Ball, serving as a liminal emergent consciousness precursor. The song “Magic Carpet Ride” is a dream induction influence (especially as its first line is “I like to dream”). It also takes on the dream state indicator analogy of being like a bed. A parking lot is dream state autosymbolism that represents the physical body being inactive in sleep.

      05] The Tiny Man and the Apocalypse (with Gregory Hines). April 12, 2017. My preconscious avatar is actor and dancer Gregory Hines, serving as a catalyst for the waking process of a very long dream. In this dream, a sketchy version of Gregory was rendered as impossibly sliding down the side of a building (though of which was ambiguously in what was perceived as also an indoor setting as in many past dreams).

      06] Ralph the Airplane Fixer (with Mary Canfield). December 13, 1969. My preconscious avatar is actress Mary Canfield, serving as helpful companion to my subconscious self. Mary played the character “Ralph Monroe” in the TV series “Green Acres”, and as explained above, this (North Monroe Street) is an association with where I lived as a boy. The rest is a bilocated essence of autosymbolism of the dream state itself (flight) as my bed also somehow being a flying wooden airplane (even though I remain in my bedroom).

      07] Amusing Helicopter “Rescue” (with Pierce Brosnan). May 19, 2016. My preconscious avatar is actor Pierce Brosnan, serving as summoned helper to my subconscious self. In silliness, I place a miniature model of me as meant to represent me being asleep and dreaming. I associate Pierce Brosnan with James Bond, which relates to spies and a loose association with detectives, which are a preconscious factor of liminal space, in needing to understand the transitions from sleeping to dreaming to waking.

      08] Yet Another “Uhny Uftz” Dream. August 4, 2015. My preconscious avatar is actor and comedian Dick Van Dyke, serving as a virtual replacement for my subconscious self. This was based on a nostalgic association with an episode of “The Dick Van Dyke Show” titled “Uhny Uftz”, first watched in full on September 29, 1965, though in my dream, it is a “real” flying saucer rather than a toy as in the TV episode. This dream brought about an elevated sense of peace and love.

      09] Nichelle in a Small Rocket. March 8, 1997. My preconscious avatar is actress Nichelle Nichols, serving as a virtual replacement for my subconscious self. This association comes from “Star Trek” but also links to the concept of communication in liminal space (as she plays the communications officer), between dream self and conscious self (as well as the dream self with the transpersonal interconsciousness).

      10] Saul Rubinek and the Airplane Crash. May 28, 2015. My preconscious avatar is actor Saul Rubinek, bringing attention to the nature of the vestibular system correlation of the dream state. This dream was partly a result of environmental noise as well as the usual vestibular system correlation autosymbolism that renders in virtually infinite ways. I associate Saul as a good avatar due to his association with the TV series “Warehouse 13”, as warehouses are autosymbolism for memory processing in REM sleep (even though non-lucid dreams themselves rarely have any form of accurate memory or viable intelligence).

      11] Talking About a Dream from a Don Knotts Movie. May 3, 1998. My preconscious avatar is actor and comedian Don Knotts, serving as witness to my liminal awareness of the dream state and my appreciation of the surreal nature of dreams. I am very vaguely lucid and relating to the nature of autosymbolism of vestibular system correlation, which is linked to flight symbols, in this case, the surreal scene from the movie where the stealth bomber transforms into a manta ray (one of my favorite and most nostalgic movie events).

      12] Russell Johnson and The Cane Toad War. October 6, 2013. My preconscious avatar is actor Russell Johnson, serving as helpful companion to my subconscious self. This was the typical hovering and floating around near the ceiling dream, though no lucidity came about in this case. As with Josh Holloway, my association with Russell is as being a castaway on an island (the dream state).

      13] Female Robotic Suit (with Barbara Bain). August 22, 2014. My preconscious avatar is actress Barbara Bain, serving as both vestibular system correlation and as an autosymbolic representation of my annoyance with my real environment. Barbara was an association with my perception of Zsuzsanna being annoyed by the noise next door as well, and the association with needing “protection” as such while sleeping. (Barbara Bain shares my wife Zsuzsanna’s birthday of September 13 in addition to playing Helena on “Space 1999”. Helena is Zsuzsanna’s mother’s name. Barbara’s character was also a doctor on this show, hence the associations with needles and medical features.)

      14] Helicopter to Spaceship to Helicopter to…. June 9, 2016. My preconscious avatar is actor and model Josh Holloway, serving as helpful companion to my subconscious self in the last scene. After a dull and sustained focus on vestibular system correlation in a faux sleeping scenario outside on the ground, my dream begins to progress toward the presence of the preconscious, who shows up as Josh. I mainly associated Josh as being “Tom Sawyer” as a castaway on an island (an analogy to being in the dream state, especially as associated with water induction).

      15] People of Powder. September 18, 1990. My preconscious avatar is actor and comedian Don Knotts, serving as a parallel witness for my subconscious self. “Can’t be…there aren’t any airplanes anymore”, which he says upon hearing an airplane flying in the sky outside while we remain in the ruins of a commercial building in New York, comes from his role in “The Reluctant Astronaut” and how he was afraid of being on an airplane or in space. (However, it also tied in with threads precognitive of the September 11 attacks in 2001 and the grounded airplanes after that event, the 2001 anthrax attacks, as well as my as-yet-unknown-of upcoming marriage.)



      Additional notes as correlation samples:

      Associations with dream state induction: Lloyd Bridges (“Sea Hunt” - water induction, being like a fish), Silas Weir Mitchell (werewolf-like character as analogous to dreaming and waking), Russell Johnson (isolated on island, dreaming), Josh Holloway (isolated on island, dreaming), Don Knotts (“The Incredible Mr. Limpet” - water induction, becoming a fish).

      Associations with outer space (augmented ambiguous vestibular system factor): Lloyd Bridges (“Stowaway to the Moon”), Dick Van Dyke (“Uhny Uftz” episode of “The Dick Van Dyke Show”), Nichelle Nichols (“Star Trek”), Barbara Bain (“Space 1999”), Don Knotts (“The Reluctant Astronaut”).

      Transitional autosymbolism (liminal space): Lloyd Bridges (play on “bridges”), Gregory Hines (cop in “Running Scared”), Pierce Brosnan (James Bond movies), Barbara Bain (“Mission Impossible”), Saul Rubinek (curator in “Warehouse 13” - secret service agents also feature in this show).

      Enhanced vestibular system correlation: Lloyd Bridges (“Sea Hunt”), Jordan Gavaris (dancer), Lucille Ball (dancer), Gregory Hines (dancer), Nichelle Nichols (dancer), Barabara Bain (dancer), Don Knotts (as an animated fish in “The Incredible Mr. Limpet”).


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