• Lucid Dreaming - Dream Views

    View RSS Feed


    1. Red Red Wine

      by , 05-02-2021 at 08:38 AM
      Morning of May 2, 2021. Sunday.

      Dream #: 19,858-02. 3 min 40 sec read.

      This dream begins with the same premise as a March 4, 2021 dream, though with different details and an unrelated outcome. In the previous dreaming experience, my mother gave me two American fifty-dollar bills and her bankbook. In this dream, she gives me one fifty-dollar note. I consider asking her for an additional ten dollars (imagining it as an American ten-dollar bill), but I do not. In both instances, I want the cash to pay some of what I owe my landlady. I had considered getting the additional ten dollars in this dream for food.

      Neither dream self version has any level of waking-life identity or recall, including any memory that my mother and landlady had died or that I have lived in Australia since 1994. Because I am sixty years old in real life, the supraliminal association with wanting sixty dollars may be the correlation in this case even though my dream self is only about twenty-five years old here. (I had established that because paper money is associated with being carried in a wallet that contains an identification card, it is a potential indicator of my imaginary dream self seeking my real-life identity to resolve the duality of the dream state. It is different with coins that I mainly summon to increase somatosensory awareness.)

      I teleport to the King Street mansion (boarding house) to give my landlady the fifty-dollar note. My metacognitive vestibular phasing response predictably corresponds with my dream's ongoing narrative. The staircase does not reach the second floor. Even so, I can maneuver to the door of my apartment that in this dream is the northeast corner room. An unknown male is living in the adjacent room.

      My dream, for a short time, becomes a typical haunting scenario. I summon an unseen ghost to move objects around for amusement. There are three responses with furniture moving on its own as my landlady watches. (Ghosts most often represent my metacognitive state, where my conscious self is incomplete and "haunts" the dream state, the fundamental reason why I summon hauntings other than for entertainment.)

      Eventually, I realize I need to get to my technical institute class. However, I do not have a good pair of pants. The blue jeans I am wearing now have large mustard stains on each leg. I try to come up with a way to wear my pants without the legs being visible, warping my physicality as a result. I float around above the missing part of the staircase, using my belt in different ways, and having my pants only come up to my knees. I then recall I may have clothes at my brother's house.

      I teleport to where Dennis (half-brother on my mother's side) lives. (The bedroom does not resemble anywhere either he or I ever lived in real life.) Another male, unknown, is present (though he vaguely reminds me of a man who lived in the King Street house for a time). I see about four pairs of my blue jeans, one on the bed and the others on the floor. I wonder if Dennis minds if I had left them here. He seems cheerful.

      As I try to put my pants on, I repeatedly cheerfully sing, "Red red wine goes to my head, red red wine goes to my head." I sway about in amusement. The other male, sitting on the left side of the bed, starts to sing a different line, but Dennis puts his finger to his lips to shush him. I soon wake.

      At least one dream from each sleep cycle for over 50 years has included my metacognitive concurrence with being asleep in a literal response (though my dreams are not symbolic in a conventional sense anyway). In this instance, it also has the anticipation of waking and putting on my blue jeans. The difference is that, in real life, my jeans were near the foot of our bed on the floor. In my dream, there were some on the right side of the bed on the floor. (As I have pointed out in thousands of previous entries, dreaming features are like this to avoid associations with waking life, the opposite of the majority of people, including "dream eperts," who are not metacognitive dreamers and consequently cannot ever understand why dreaming narratives are as they are.)

      The wakefulness simulacrum is sitting on the left side of the bed, and in reality, I sleep on the left side (though this is more about the metacognitive catalyst of the dream state above typical errors). Even so, Dennis shushes him as one does when someone is sleeping in the same room. This event has occurred in many past dreams since childhood with different narratives.

      So why "Red Red Wine?" There are several reasons, the first being the association with how dreams lack cognizance (and absence of intellect) and mind-body connectivity (REM atonia) as when drunk. The line "goes to my head" is a reference to dreaming. There is also a subliminal reference to the unsung line "Makes me forget that I still need her so" (the virtual amnesia of dreaming and how my waking-life identity is otherwise absent in this dream). Red is also a reference to the predominant waking-alert factor as well as blood. Additionally, Zsuzsanna had been focusing on a post on Facebook without me knowing. It was about wine (in a thread of enigmatic space that most people deny, yet is how I dreamt of Zsuzsanna long before we met in the first place).

    2. Sophie the Ghost

      by , 05-03-2020 at 01:10 PM
      Morning of May 3, 2020. Sunday.

      Dream #: 19,494-01. Reading time (optimized): 2 min.

      In this dream from late morning, I maintain precursory liminality after I re-enter sleep. As a result, I recall Zsuzsanna and a few of my waking-life associations (including the instinctual perception of being in bed), though I lose recall of what a dream is (as I ordinarily do in this mode). Even so, it starts with my focus on our bed, but the setting is undefined at first. As Zsuzsanna and I are standing in a different room, I watch the sheet on the bed lift by itself and move back as if manipulated by an invisible person. (Note that this correlates with the management of precursory liminality and has happened in many previous dreams.)

      Zsuzsanna and I walk into the unknown bedroom, and I am astounded by the realistic detail and precise rendering of the events (a thought process that never occurs in waking life - how many people, for example, would watch a car go down the street in waking life while thinking, “Wow, that looks so realistic”). Over time, my dream resolves the room as having the essence of the Barolin Street house’s lounge room (where a bed never was in waking life).

      Eventually, the supposed ghost of a teenage girl is present and is responsible for the previous inexplicable activity. Her name is Sophie.

      “Are you the same Sophie from years ago?” I ask her, but my question does not make much sense. She cheerfully confirms that she is by nodding. (She is an older version of Sophie Wender from John Wyndham’s “The Chrysalids,” also published as “Re-Birth.”) I move my hands through her hair, saying how “realistic” it seems as imaginary somatosensory dynamics increase exponentially. (Note that in a different recent dream, this same process resulted in removing sandspurs from a resting wolf’s fur.)

      Eventually, with Zsuzsanna still in the room, another supposed ghost materializes. This one is Marcella Boyland from Daniel F. Galouye’s “Tonight the Sky Will Fall,” though I do not interact with her as much.

      The need to wake to use the bathroom integrates into my dream’s content, resulting in liminal management and its personification as an unknown male ghost married to Sophie, a status previously unbeknown to me. (His manifestation annoys me, as Sophie is “mine,” but discarding the waking transition would be unwise.) As a result, I gaze into a mirror (though I do not see myself at any point, as the mirror is higher than my line of sight), with liminal drop anticipation. From this, the sketchy drawing of a crow fills the mirror, part of it including random zigzagging lines.

      “Can ghosts influence what people see?” I absentmindedly ask the male. “I had that mirror back when I lived in Chicago,” says the male, which is the usual nonsensical response to questions asked in liminal mode. (Ghosts typically result from liminal management with waking-life identity being “incomplete” when between dreaming and waking.)

      The “ghost” walks into the bathroom, causing me to realize that I need to wake up and go.

    3. Ghosts in the Wardrobe

      by , 10-13-2018 at 04:13 PM
      Morning of October 13, 2018. Saturday.

      Dream #: 18,926-01. Optimized 3 minute read.

      Part of my dream’s initial setting has the essence of the Cubitis house’s kitchenette (1978) though its placement in the surroundings is incorrect. It features a 1990s washing machine instead of a stove. (My mother only ever had a wringer washing machine with a cylindrical body when we lived there.) There is an open space to the right (when facing west) leading to a big bedroom with other rooms beyond.

      My dream self mistakenly thinks it is Marilyn’s house. (Marilyn is a half-sister on my mother’s side who died in 2014. My dream self does not recall she died, and she appears here as in the late 1960s.)

      The washing machine inexplicably slides across the floor, turning at an angle. An invisible force drags it to the bedroom. It stops near a door on the opposite side, near the bed. I find this event fascinating, so I tell Marilyn about it.

      I discover the ghost of an unknown boy hiding under the bed after Marilyn informs me. I perceive him as sitting in a Padmasana position (Lotus Pose), although there would not be enough vertical space in a real-world scene.

      I find a small radio station control room in the house, though it is mainly featureless. I talk to Jim through its closed window. (Jim is a half-brother on my mother’s side who died in 2008. My dream self does not recall he died. He appears as he did in the 1970s.) He tells me I should never talk about the ghost to anyone outside our home, but I disagree with him, so he seems sad.

      I intensely focus on my marriage to Zsuzsanna and our miraculous “coincidences.” I talk about them as if they resulted from a divine force above us. Astoundingly, despite this, my dream self does not attain waking-life recognition.

      I return to the bedroom. Marilyn informs me that the ghost boy’s parents, also ghosts, had been hiding in the wardrobe for a long time.

      I open the wardrobe to investigate but mainly focus on an unfamiliar stocky man in glasses. He wears a suit. His right eye seems lower than it should be, angled downward. It is also a shorter distance from his left eye than what would be natural.

      I hold out my right hand for him to shake. I am sincere and cheerful. He willingly shakes my hand. I place my left hand over his right hand, and tactility increases. I am confident and peaceful as I acknowledge him with a sincere smile as if I am happy to meet him.

      Intelligently understanding dreams:

      In actuality, I am asleep in bed, vaguely contemplating mobility because of my status of REM atonia. That is why I imagine a force dragging something to the bed. It is a washing machine to remind me I am undressed while sleeping.

      Shaking hands compensates for becoming intuitively aware of somatosensory phasing caused by variations in REM atonia (paralysis while sleeping, which occurs through all dreams throughout the sleep cycle in healthy people). It also acknowledges the waking transition - unification with my real-life awareness. This act, and hugging, are the two fundamental forms of this intuitive process, depending on my willingness to wake up during a specific part of my dream.

      The unusual downward eye is an intuitive association with having my eyes closed during sleep. The “boy ghost” in the Lotus Pose under the bed is also a dream state signifier.

      There are two main reasons for ghosts appearing in my dreams.

      One reason is instinctual awareness of my dream self being an incomplete form of my true conscious self. That includes my lack of real-world mobility corresponding with the false physicality (vestibular-motor phasing) of dreaming. Even if I walk around in a dream, I am not walking with my body in a real-world event. This type of intuitive awareness integrates into various dream narratives. Unlike others, I rarely fear protoconsciousness, either in hypnopompic sleep paralysis or in the dream state proper (and its natural REM paralysis).

      The other reason is my deliberate summoning of ghosts, monsters, or haunting scenarios to bring about ASMR, which I learned to do in childhood. However, ASMR, predominant in the bliss of hypnopompic paralysis, is not usually as present in the dream state.

      At high levels of lucid dreaming, I have less control of a dream because of conscious bias (excluding hypnagogic and post-hypnagogic dreaming experiences). I know that ghosts, movie monsters, aliens, etc. - do not exist, so summoning such content is futile.

      Updated 05-17-2022 at 04:12 PM by 1390

    4. To Help Ghosts…

      by , 06-18-2018 at 10:07 AM
      Morning of June 18, 2018. Monday.

      Subliminal awareness of the autosymbolic nature of the waking process begins. My unconscious mind is personified as an unknown female despite the fact my non-lucid dream self does not possess viable access to my unconscious mind at this level of REM sleep. Errors and distortions abound. She is a subliminal thread of my wife Zsuzsanna, of which my non-lucid dream self does not yet possess viable memory of or contact with my current conscious self identity. She has a daughter who literally but subliminally represents our oldest daughter at a younger age.

      I am sitting on the floor in a unique erroneous version of the King Street mansion. The house is mirror imaged to its real-life layout, flipped east to west. I am in the downstairs antechamber while the female mostly remains in the living room on the other side of the doorway. She seems annoyed in building a small structure on the floor in about the middle of the living room, mainly from a set of small blocks of different solid colors, mostly blue, yellow, red, and green. They are about the size of baby blocks, but with a feature on all six sides that is like the knobs of a Lego brick, though there are four knobs on each side of each cube in a two by two pattern. A couple times, as the blocks do not fit into each other, stacks of about seven high topple over. There is a row of about eight stacks at various heights. (This is autosymbolism for failure to initiate viable conscious awareness.)

      I am puzzled and somewhat annoyed, though not angry, in trying to rebuild the staircase that goes to the second floor (where I had lived in real life though not been since 1990), which supposedly is to be the real staircase. This is an extreme failure of thinking skills as I am solely working with small triangular pieces of wood. The pieces are only about two inches thick. The two stacks I had made this far are only about six inches high in two rows of about eight pieces each. I cannot seem to arrange the pieces in the correct orientation regarding which edge should face upward. I have several together, but they do not display the form of a set of steps. This indicates that my subconscious self is having difficulty in reaching my conscious self identity during the waking process.

      Subliminal anticipation of the waking process continues but increases. This is after the subliminal recognition of a staircase being autosymbolism for the waking process despite its miniaturization in a setting that represents the liminal space of the process, the antechamber (what my landlady called a “vestibule” in real life). Vestibular system correlation personifies, which causes my dream to jump to a new setting, though in the same King Street mansion, still mirrored east to west.

      I find myself on the second floor. I develop an ambiguous awareness where I start to become partly aware of my married status and erroneously perceive the house, though vaguely, as the Stadcor Street house in Brisbane (where we have not lived in years), though that was only a one-storey house and was nothing like the King Street house. Vestibular system correlation personifies as Glenn, one of our landlords from Stadcor Street. He has never lived in America, but my dream self does not consider this error. I have a vague awareness he is married to my landlady (only vaguely recalled as Zsuzsanna at this point, but this does not trigger the realization of my erroneous associations) even though in reality he had a male partner.

      A vague thread of dream state awareness is present at this point, though no threads of viable lucidity. Because of vestibular system correlation personifying as Glenn, who seems very cheerful, I walk through the doorway of the upstairs kitchen, which opens to the porch’s roof. This is from vague recall that a porch can be used to vivify a dream, as it is autosymbolic of a specific level of dream state consciousness of which I had used many times in the past, since early childhood, to vivify my dream or “step into” a more vivid offset dream. This process developed from walking outside by way of the porch’s doorway. Here though, I am somewhat puzzled from being on the roof of the porch, as there is no additional doorway to intensify my dream or trigger viable lucidity (as the option to jump off the roof to fly does not occur to me). Glenn looks up at me from the public sidewalk in front of the house.

      “You’ll have to use the catwalk,” he says happily.

      I get the impression he had used the so-called catwalk and jumped to the ground from the outer edge of the roof. I study the roof and see a precarious narrow section of wood that is separate from the rest of the roof, which puzzles me. I stand on it, but consider that I cannot get to the rest of the roof (which has some building materials and tools sitting about) even though all I would have to do is step onto it from this supposed catwalk. Even after fifty years, my dream self fails to remember the dream sign of a cat being a “witness” to liminal space and typically near doorways (for the purpose of inducing lucidity in some cases), though the association had been distorted into the word “catwalk” in this case. (No cat is present and my dream self does not think about cats even upon hearing “cat” as part of “catwalk”.) The association with a “cat always landing on its feet” is not present (regarding the vestibular system dynamics of the waking process, which is often a falling sensation, based solely on biology, not “meaning” as “interpreters” falsely propagate).

      My dream shifts into a different scenario as a result of considering the nature of the King Street roof (still erroneously associated with the Stadcor Street house) and subliminal anticipation of the falling sensation of the waking process, which does not occur as a result of this shift. Now it is a typical non-lucidly forced “haunting” scenario. I am downstairs again, but this time the setting is an ambiguous composite of the Stadcor Street house and the Cubitis house. I am now more aware of Zsuzsanna as my wife, though it is still not a complete recognition. She still seems to serve the role as landlady.

      “How long has…it…been in this house?” I ask her this dramatically, speaking of the haunting, which is mainly nonthreatening. We talk briefly, but I become distracted. I find myself in a dark room with an unknown female. There is talk about ghosts and seeing physical evidence of ghosts in this house. I tell her, “This is the only house I have ever lived in where there is the physical presence of ghosts.” On one level, I know ghosts are not real, but on another level, I have achieved non-lucid dream control and revivification at this point to entertain myself. The old writing desk that Zsuzsanna used to have is present, which results in an increase of thinking skills correlation. Near the opposite side of the desk from where the unknown female is standing, another female slowly appears. It is a ghost. “Can you see her?” I ask the female. She tells me that she cannot see anyone there.

      The ghost is a realistic version, as a “real” human, of Velma Dinkley (of the Scooby-Doo franchise), though about twelve years of age. She seems puzzled and very shy and uncertain. “Who are you?” I ask her. “I’m a goddess,” she whispers. I am puzzled and ask her again about five times. Each time, she softly says, “I’m a goddess”. I want to help her come to terms with her death. (This is a vague influence of “Show Yourself” from 2016, seen just prior to sleep, where I expected Travis to hug the ghost of Paul near the end, though he did not). I hug her, place my right hand on the small of her back, and move it up to the middle of her back. As a result, the palm of my hand begins to glow with white light, rays shining into other areas of the room. (I do not recall the association with Zsuzsanna having been born on September 13, though this was exactly one year before “Scooby-Doo” first aired, therefore Velma in this case is a subliminal representation of Zsuzsanna.)

      The palm of my right hand continues to glow as I find myself walking south through the Cubitis hallway. I stand in the doorway of the Cubitis southwest bedroom looking into the semidarkness. Several unfamiliar people, both men and women, are sitting on couches that are against the west and north walls. (This is an erroneous setup, as the north wall held the sliding doors of a large closet in reality.) I hold up my right hand and the light spreads into the room somewhat. The others are puzzled. I step through the doorway and wake. (This is a vague association with a security system reading a handprint to allow entry, or, in this case, to exit the dream state.)

      With this entry, I have attempted to explain the dreaming and waking process as best I could for this dream. (This is difficult in a society where most people have no viable understanding of dreams, many still believing in “interpretation” and “symbolism” in the popular sense, neither of which is real.) The bedroom is a literal thread of final recognition that I am dreaming, and so I choose to wake. The light represents attaining consciousness as a willingness to accept daybreak and intelligence of which only the conscious self possesses in waking life.

    5. Bodies of Relatives and Broadcast Manipulation

      by , 06-13-2018 at 10:49 AM
      Morning of June 13, 2018. Wednesday.

      My dream self holds a liminal awareness of being asleep. Eventually, a subliminal focus on bodies in blankets, as we have more (and thicker) blankets on us in the cooler weather, helps build the first dream segment. The setting is unknown, but seems loosely based on an association with our backyard on Stadcor Street in Wavell Heights (where we have not lived in years).

      I find myself carrying a corpse fully wrapped inside a thick blanket (autosymbolism, though with literal threads, for my physical body being inactive in sleep). I consider that it is Earl (an older half-brother on my mother’s side who died in 2007). Even so, the body is not of realistic size or weight (though my dream self does not consider this). I drop him into a pile of other bodies that are in a hole in the ground. The hole accommodates the length of a little less than two bodies and the width of about two bodies. The bodies are almost to the top of the hole. When I drop Earl in, he somehow easily slips down vertically into a space between my mother and my brother-in-law Bob on the right (though Bob is still alive in real life as far as I know). (They are each fully wrapped in a blanket.) This cheerfully surprises me. There is an awareness of how his body actually seemed to quickly shrink as it slipped down into the space below (vestibular system correlation autosymbolism). I know there are several other bodies farther down, all relatives. I briefly think about the bodies being together like this, vaguely pondering if it is the right way to have a burial. I have a false memory that it is normal to have the bodies of deceased relatives in a backyard like this.

      Knowing that they have to remain buried at a deeper level, I push down on the bodies and even roll around on top of them to force them farther down into the hole. This works to a degree and about two feet of space remains near the top of the hole, but I do not yet shovel dirt into it.

      In the next segment, dominated by non-lucid dream control, I am in an indoor location, though it is mostly unfamiliar (though my dream self perceives it as our present home). I am explaining to members of my family how to see into the spirit realm. They are all on my right, including our youngest son. I consider possible communication with Marilyn (older half-sister on my mother’s side who died in 2014).

      This connection to the spirit world is activated by pressing a paperclip onto the edge of a button on the television remote. (In my dream, the perimeter of each button is metallic.) Doing this distorts the signal, removing most of it to display supposedly ghostly broadcasts and patterns. At first, the screen is mostly black, but there is a fuzzy form that moves across the screen from right to left (though of which mainly just seems like signal interference). I point it out to family members as evidence that ghostly activity is being seen.

      Soon, another form is seen. It is like a very hazy incomplete rendering of Godzilla, about half the height of the screen, somewhat like a pale gray outline with some other details, but it also seems to be a chubby young cat walking on its back legs (which my dream self does not pick up on the autosymbolism of in a cat being a “witness” to the nature of the dream state in mediating the preconscious bulwark, here rendered as the television screen). The image wobbles and sways as it moves from right to left. I tell the others to watch this odd feature.

      Eventually, very clear and detailed scenes are visible, though they are in black and white. There are two “devils” conversing in one scene, one female and one male. They are also insect-like, though mostly human. They have goat horns as well as insect antennae. They are in an outside environment near a rocky area. I have no concern about this scene (as I even find it amusing) and I start to consider that this is a farce. At one level, despite continuing to pretend the images are coming from the spirit world, I realize that all I am doing is weakening a normal television broadcast to create “ghost” images and isolated partial pieces of the real broadcast.

      Sliding the paperclip against the buttons on the remote, the normal broadcast of a schooner at sea, originally in color, changes into a hazy black-and-white image and the rolling sea becomes the wavy lines of the vertical hold being out of adjustment, distorting diagonally (an amazing effect in my dream). There are other images after this, one being the hazy “ghost” of a sea captain. Soon, color images from legitimate television broadcasts start to remain on the screen longer. I tell my family that the process is starting to weaken and the supposed spirit world contact is no longer viable. It has an association with static electricity lessening after more continuous contact with the metallic surfaces. The last image as I wake is a vivid colorful view from under a girl looking down at the viewer, her head against the blue sky.

      This dream was caused by the typical combination of autosymbolism (based on the sleeping, dreaming, and waking process) with television influence, which is interesting, as television is an analogy to a liminal space division or preconscious bulwark.

      The primary influence of both dream segments was “The Seven Year Itch” episode of “Grimm”, seen just prior to going to bed. The remote and paperclip scenario was additionally based on a question from “Think Tank” seen earlier yesterday, though based on an incorrect answer otherwise regarding how a felt-tipped pen saved the Apollo 11 mission (by completing a circuit). It is extraordinary how non-lucid mediation of a dream combines total fantasy with distorted waking life associations, though this is by lifelong habit since early childhood in sometimes reviewing and altering content of television shows, movies, comic books, and so on, in liminal stages of the dream state induction process.

    6. The Silent Purple Ghost

      by , 06-08-2018 at 02:04 PM
      Morning of June 7, 2018. Thursday.

      I am watching a dream scene as if present, but I am not a part of the events.

      A male ghost, mostly of a darker violet color, dwells within the space of the checkout area of a convenience store. Most shoppers are unaware of his existence. At times, he temporarily takes possession of some people.

      In the last scene, the ghost somehow transforms into a piece of grape-flavored hard candy in a wicker bowl (where all the other hard candy is also grape-flavored) opposite the checkout area and the cashier. Apparently, customers are allowed one piece each as they go through the checkout.

      An unfamiliar woman puts one of the candies into her mouth. Suddenly, she appears to be in distress, as the cashier and store manager help her to tilt her head back as the ghost, not yet fully expanded within her physical essence, unwillingly comes out, though the other two are also pulling it out. At this point, it looks somewhat like a violet tracksuit, the track pants coming out first.

      Colors often correlate with dreaming and waking processes, though only when dominant (especially as dreams typically contain all colors). My general sequence is as follows (and of course black is unconsciousness): violet, non-lucid subconscious self; indigo, lucid subconscious self; blue, interconsciousness (prescience, telepathy for lack of a better word, and liminal conscious self awareness); green, liminal space, lower preconscious; yellow or gold, emergent consciousness; orange, apex lucidity, ordinary awareness and a more viable memory set; red, invasive RAS modulation (as red typically only dominates a dream when I have overslept or have a headache and I also see red with reticular activating system modulation with a headache when awake, so it is more obvious in this case). Of course, there are variations which also depend on the level of dream state awareness itself.

      The checkout scenario is common autosymbolism for leaving the dream state. This correlates with the non-lucid subconscious self being “pulled out” of the remaining dream character prior to waking. A cashier would of course be preconscious personification and a store manager the emergent consciousness factor. Perception of loose clothes has occurred in other dreams in checkout scenarios. This is based on the subliminal realization of not being dressed while asleep in bed, the same subliminal awareness that triggers dreams of being undressed in public (which should be a no-brainer for anyone of reasonable intelligence).

    7. Deliberately Angering a Ghost

      by , 08-20-2017 at 07:53 AM
      Morning of August 20, 2017. Sunday.

      I am in the middle room on the east side of the King Street mansion (where I have not been in real life in over twenty years). It is not known if I am living there though, as there is an unknown male in the bed, which is out from the east wall. It seems to be late at night.

      I am aware of a supposed haunting, but there is no concern or fear of any kind. In fact, I make sarcastic remarks to the unseen ghost and screech several times. After time passes, the unseen ghost screeches louder than me. The unknown male and I are somewhat amused.

      Still, I am trying to get the ghost to show itself. The room has a fictional feature. There is a closet to the left of the door, but this feature would not be possible in real life as there is a hall directly behind that wall. At one point, the landlady looks in to see what is going on.

      There are two small wooden shelves near the top of the closet. The ghost seems to be on the top shelf. I see signs of it a few times, but just a little.

      Two unknown girls come into the room. One reminds me of Linda Cardellini as Velma from 2002’s “Scooby-Doo” and the other, Annie Potts as Janine Melnitz from 1984’s “Ghostbusters”. Both are to my left, Linda being closer.

      I tell them to watch as I bring the ghost out from hiding by commanding it to appear. On the left of the upper closet shelf, a small circle of white material appears. Time passes, and the “ghost” emerges. It looks like a series of small balls covered with a handkerchief as it moves down to the bottom shelf and moves to the right somewhat like a caterpillar in a sort of undulating motion.

      Linda makes a comment about it possibly being a “flaw in the film” as if we were watching a movie instead of a real feature in the room. My dream fades from this point.

      Zsuzsanna and I watched “Ghosts of Darkness” (2017) last night, where a main scene involved two men watching a door to a closet and attempting to expel a large demon from an old mansion. This enjoyable comedic dream is all that resulted. There have been a number of other dreams where dream characters talked about dreams or features or events in a dream as if they were movies. I find this very interesting, as it may be a thread of my conscious self expressing this major sentiment about dreams through another dream character, especially as it is usually said near the end of a dream. A movie theater or stage has also been a subliminal dream-state indicator in a number of my dreams.

    8. Comic Books in the Rain and Matchbox Cars

      by , 07-15-2017 at 06:00 AM
      Morning of July 15, 2017. Saturday.

      My dream starts out on the porch of the Barolin Street house (our previous home of where we have not lived since 2008). This is atypical, as the porch setting, though representing liminal space, is linked to the induction stage rather than the waking transition. As such, it begins to rain (water induction, my most common type, as water symbolizes the real-time dynamics of sleep). I enjoy its essence but I then realize that there are several small stacks of comic books in the north side yard, probably only four or five comic books in each of about nine stacks. Many seem to be Harvey comic books, such as “Casper the Friendly Ghost”. They are arranged in mostly an equidistant pattern (of about six inches apart to each direction) on a very low-set table or thin plywood platform. Zsuzsanna is with me. I realize that I have to run and get them so that they are not ruined.

      When I go out into the rain, I feel very good, even though I have to act quickly. Curiously, the books show no signs of getting wet as I gather them. After I take them onto our porch, my dream changes, and there are far less threads of my conscious self identity present.

      I now seem to be about eighteen years old or younger. My mother is still alive (and I have absolutely no recall of her having died in 2002). Strangely, even though my brother Earl did not die until November 29, 2007, I perceive him (via a false memory and false backstory) as having died when I was a teenager. (Therefore, my mother being alive in my dream and Earl being deceased is a typical error that dreams make all the time.)

      The setting is very sparse in detail and so undefined, there is no discernment of whether it is indoors or outdoors or the typical ambiguous combination that my dream self somehow always perceptually resolves. This “impossible” thinking pattern is not viable when I am fully conscious, and remains a distortion native to the dream state only (though I really cannot understand how this could work despite critical thinking skills not existing in most non-lucid dream types).

      My mother is present at times, including the very last scene. I mostly look at various Matchbox Cars. These are ones my brother Earl supposedly owned while living in Cubitis. (Although I still continuously have dreams based on variations of Cubitis, where I have not lived since the summer of 1978, dreaming of Earl’s house in Cubitis, which was only a few houses south of us, is quite rare.) Earl is present in some sort of ghost form, but otherwise appears to be normal, as he was in perhaps the late 1960s. He only looks on at my activities at times.

      Yet another error in this dream is that I see Earl as being married to his third wife Cindy in this time period (and she is “still” living in his Cubitis house) rather than his first wife Beverly (and in fact, I have no awareness of him being married to anyone else). His ghost form seems to be a natural result of dying; that is, people die, and then they exist as visible “ghosts”, set apart from the physical world, but otherwise just as they were when alive.

      I open a long rectangular cardboard box that is a racing set based on Matchbox Cars. There is a blue racing car that I look at for a short time. I do not think Earl will be angry as I look at his collection.

      In the last scene, my mother is nearby. I play around with two blue Matchbox Car pickup trucks that are identical except for the position of the wings of the oversized white chicken sitting in each pickup truck bed. I get the impression it might be meant to be an advertising gimmick (possibly for KFC). One chicken’s wings are out and horizontal while the other’s wings are down and against its body. The chickens also rotate to spin around the pickup truck bed, and I start spinning them prior to waking.

      Although this non-lucid dream is extraordinarily easy to decode the native meaning of as most of my non-lucid dreams are, I will presently only focus on the last amusing segment. Chickens are birds that cannot fly very well, so are a typical example of “failed flight” (a form of “return flight”) waking symbolism. This is not negative and has nothing to do with conscious self “issues” as “dream interpreters” (not a real concept) seem to like to pretend via the Barnum effect. Waking symbolism as such is an indicator of the anticipatory (though subliminal) nature of hypnopompia, which is a biological process. As a result, bird and airplane symbolism (and flying in general) has been extremely common in my dreams since earliest memory, for over fifty years, continuously occurring in over one in five dreams in the tens of thousands I have studied.

      In this one, there is even an obvious dream sign play, the pickup truck BED, an indicator of being in the dream state, even more so with the oversized chickens on them. Pairs of birds (of various species) have occurred in a number of my dreams. They represent, in most cases, Zsuzsanna and I sleeping together. They are different in their wing status (and in different pickup trucks) in this case due to Zsuzsanna and I being in different levels of sleep (in real time). My mother as my emergent consciousness is likely a vague association with Zsuzsanna prior to waking (as she is a mother to our children). Beds (sometimes in unusual locations) as real-time dream state indicators are also common in Zsuzsanna’s dreams.

      Updated 07-15-2017 at 09:00 AM by 1390

    9. A Ghost Story (with empirical concurrent decoding)

      by , 11-18-2016 at 05:18 PM
      Morning of November 18, 2016. Friday.

      I non-lucidly become aware of being in the northeast bedroom of the Loomis Street house in La Crosse. (This means that my synaptic gating has held my memory of having fallen asleep, but not held my memory of my current location, thus my dream self accepts this erroneous location as current. In my dream, I have no focus on any relatives who lived here. I had not lived here since February 1994.)

      No east window is present, an error my dream self does not regard as incorrect. (This is due to synaptic liminal space gating being closed at this point and also why Zsuzsanna appears in my dream with me but as a younger incorrect rendering. Thus far, there are two literal threads, memory of having fallen asleep and partial recall of Zsuzsanna.)

      Over time, I slowly become aware of the evidence of an unthreatening haunting, which firstly only relates to marks appearing on the east wall, though it eventually seems like writing. This supposed ghost seems more like the real Zsuzsanna, though I am not directly aware of this fact in my dream. (This means that factors of my emergent consciousness are becoming active by way of RAS mediation. Threads of recall of who Zsuzsanna really is are becoming more dominant as I grow closer to waking. Well-known lifelong autosymbolism is rendered; “a wall as a liminal space divider”; that is, the precursory synaptic gating between dream self identity and conscious self identity. “Ghost writing” is utilized by way of RAS to augment language and reading skills, which typically do not viably exist in the non-lucid dream state.)

      Eventually, I go outside via the Loomis Street house’s back door, though I am then in the backyard of the Stadcor Street house in Brisbane. My dream self does not consider this impossible location change as erroneous or worthy of attention. (Synaptic gating has brought about a focus on a more recent location I had lived, but not my current address or viable conscious self identity.)

      There is a shed in the backyard which is similar to the Loomis Street house’s shed although it is also associated with the shed at our present address but mirrored. (A shed is typically autosymbolism for a specific type of memory recall and storage.)

      It seems to be early morning at this time. The haunting continues, in two-dimensional dynamics, on the outer wall of the shed that faces the back of the house (west, relative to the Stadcor Street house). The ghost seems to remain contained within the wall, but she communicates with writing and eventually speech. (This means that my emergent consciousness is becoming more active than before to where more viable threads of my physical status of being in bed with Zsuzsanna are extant.)

      A few random unknown people are eventually present near the shed. I notice that the ghost now has the power to direct lightning into the television antenna. I say “look at that” and point. Long thin bolts of lightning intriguingly jump about on the antenna. This causes me to feel somewhat wary. I think that the ghost may now become three-dimensional and perhaps even emerge from the television by going through the antenna and into the house. (This is autosymbolism for the waking transition in my dream’s final stage. It indicates subliminal awareness of Zsuzsanna’s neural energy as metaphorically coalescing with mine - I use “metaphorically” for people who cannot accept the existence of telepathy. The antenna is autosymbolism for serotonin receptors as well as synaptic efficacy. This is very similar autosymbolism as in dreams such as “Not my Fault”, a childhood dream from May 1971.)

      This type of haunting dream stems from the biological factor of being unconscious, though perception of vestibular system ambiguity is minimal here (as there is no association with flying, falling, or other implied movement). The reason for this dream, along with its meaning, has been validated in its correlation with thousands of occurrences of identical autosymbolism in RAS mediation in dreams since early childhood.

    10. Painting and Haunting

      by , 04-14-2016 at 10:14 AM
      Morning of April 14, 2016. Thursday.

      Dream #: 18,014-02. Reading time (optimized): 2 min 30 sec.

      My dream starts as a typical painting and maintenance dream. The setting is a version of our present home with a fictitious open room between the lounge room and dining area where a big wardrobe against the west wall is between them.

      I have clarity as I enjoy my work. I have an occasional concern about paint dripping on folded clothes on wardrobe shelves and the floor. It is light blue paint that changes to a cream color and back to blue. It occurs (several times) when switching back and forth to the different rooms. At one point, I am concerned by the thicker ridges caused by having slapped on too much paint.

      Above our bed, a short distance from the ceiling is an artistic feature left by the former tenant. There are red ribbons in a trailing frame pattern that partially enclose a large and rectangular piece of tinfoil that blocks about eighty percent of the view of the ceiling. I try to paint around it.

      I see a large and ancient painted tapestry. The paint seems to have expanded and blurred over time. I recall that all I have to do is touch something to refurbish or perfect it. I feel the upper right corner of the tapestry. As a result, it becomes beautiful and more defined as I watch, more detail clarifying the image in a slow sweep from right to left. I think I will finish painting the walls this way. Even so, the walls paint themselves in a light cream and blue pattern as the previous lumps and minor cracks smooth out.

      I summon a haunting (regular in dreams since childhood). I pretend the room is haunted, knowing if I concentrate, I can bring about a haunting. I read various large letters and word clusters on the wall. An unknown female, a professional investigator, who reminds me of actress Helen Kleeb as in the 1970s, writes down what I say, most of which is gibberish I spell out for her.

      Eventually, I say, “Oh, it’s a name.” It is Rosemary Berry (unfamiliar, but it reminds me of other rhyming dream names, such as Tony Karoni). I report “Ms” appears before the name. (It is possibly an association with “MS. Found in a Bottle” by Edgar Allan Poe, or Matisyahu’s “Message in a Bottle.” I have recently listened to it and made a version. However, the “MS.” of the Edgar Allan Poe story supposedly means “message” in only some sources and “manuscript” in more credible sources). I am glad signs of a ghost are present even though I am aware it is the result of my pretense.

      Suddenly, I am a little boy of about eight years old, and I see an unfamiliar friendly boy (a ghost of a former resident) walking up to a jagged hole in the wall. (This “doorway” is a haunting feature, and other people who are present cannot see it.) I am aware his name is Hamlet. The investigator is supposed to be my mother now. (Helen is the name of my wife Zsuzsanna’s mother). I tell her about Hamlet. She says, “Oh” and remarks with seeming frustration and disappointment, “You’re just dreaming!” She thinks the Rosemary Berry incident we shared previously was a dream. I feel her condescension, but as I am a child, there is not anything I think I could say. She towers over me to my right, and I feel like a child in size contrast.

      We walk through a parking lot (for liminal modulation, typically the last setting in a dream). After looking at documents she was carrying in her bag, she cautiously says, “Oh…Hamlet was one of the former residents…” (with attestation emphasis on “was”). She looks at me curiously as I wake slowly.

      Updated 07-26-2020 at 10:40 AM by 1390

    11. Human remains inside couch (recurring dream theme)

      by , 06-19-2013 at 12:19 PM
      Morning of June 19, 2013. Wednesday.

      This dream uses a fairly recurring idea of human remains being inside a couch (sometimes inside the cushions).

      In my dream, I am sharing a place with the actor from the television series “Lost”, Josh Holloway, that I vaguely dreamt of only once before as his Sawyer character (in a representation of Tom Sawyer in that particular dream). In this dream he is also his Sawyer character, but instead, named Sylvester (even after waking, “Sylvester” seemed to be his “real” name or “identify”). The apartment seems to be one I had in real life at King Street when I was in my late teens, the one where I also had a noisy refrigerator in one of two larger closets and which was an “expensive” $25.00 a week. (I had, in total, three different apartments in that large historical house during those years; the smaller L-shaped one in back, the one in front with the rocket-like cupola on the east side, and a larger one near the middle of the building as in this dream.)

      He is sleeping on the couch in our apartment, but wakes up because the couch seems to be moving inside. A large nail is sort of moving out from its position along the top area of the frame of the seat area in front, near the middle, but closer to the west end. This is very mysterious as if from some sort of ghostly activity. The nail slowly moves out as if representing some sort of approaching eerie revelation. Sylvester seems a bit nervous. I mostly find it curious and not really frightening in any way.

      Eventually, there are bluish-green fingers visible, of a sort of ghostly nature that continue to work in moving the nail. The fingers are the only thing that is visible at the time, seeming to come out of the surface of the wood around the nail. (Some sort of odd play on “fingernail”?)

      A little later, the east arm of the couch opens up from the front (I think we both may have pulled the upholstery off) - on my left when facing the couch - showing it to be somewhat like a two-level shelf. The bottom area holds a human skull, the second “shelf” or part of the internal couch frame holds a bowl of old human eyes and hair, and a skeletal hand is also inside the arm.

      Sylvester is rather alarmed and of course, people must be told. There is no idea at all of whom it may have been or what happened. I am thinking that the bluish-green hand may be part of an arm that was kept in another part of the couch and acting somewhat like ghostly “remains”.

      It is easy to determine here that the “ghost” inside the couch (a dream sign, as one can sleep on a couch) is a subliminal distorted perception of my sleeping body. But why Josh and why is he called Sylvester? He played a character that was on an island (dream state within sleep as water represents sleep). I associate the name Sylvester with the cartoon character Sylvester the Cat. A cat is a circadian rhythms feature (as well as a liminal space element) typically based on nighttime activities (such as dreaming). (Even though a cat seems to sleep a lot, they are of course active in the daytime.) The skull on the shelf represents lesser critical thinking skills (such as reading books) while in the dream state.

      Updated 11-30-2016 at 12:46 PM by 1390

    12. Ghost Town

      by , 07-02-1978 at 11:58 AM
      Morning of July 2, 1978. Sunday.

      There were a few different versions of this dream (including a couple “resets” during the same sleeping period) which was likely influenced by the television series “Gunsmoke”. I make my way to an old, smaller (unknown) ghost town on my own. There is a skeleton hanging from an old noose that had never been taken down. I had understood the town to be “cursed”, yet it also has some sort of secret.

      It turns out that the town is some sort of portal to the past. As I am walking along, I see an upright oval portal (higher up) in another area that is looking into the past. It is a man (about thirty) who still seems to be alive (but dying) and hanging from the noose. The “vision” soon fades. The town had been “cursed” because of his wrongful death - by the tavern entrance being turned into an active portal and the people being “pawns” of time itself.

      Later on, when I walk through the batwing doors of an old tavern (wooden floor), I am transported into the past, into the time when the town was at its peak in population and prosperity. Someone is playing the song “There is a Tavern in the Town” on a newer (and properly tuned) piano.

      I talk to a few people, including the man who had been hanged. Apparently, he had been hanged for murder. However, he seems very friendly and claims he did not do it. Eventually, a knife is thrown into someone’s neck from behind, just as they are leaving the tavern, and the friendly man I know is blamed. I go in and out of the batwing doors and back to the same time portal entry point. The song “There is a Tavern in the Town” keeps repeating (a thin man in a dark purplish vest and a white shirt and with a mustache and smoking a smaller cigar - is playing it), as I do this a few times, so the scenes repeat. Finally, I am able to see who actually throws the knife (an older, chubbier man of about forty with a black beard and dressed in ragged clothes). Eventually, as the cycle repeats, I am able to warn the other person. The villain gets away, though, but promises to do harm at some point in the future.

      Soon, I am in my own time; there is an unserviced player piano (originally thought to be a ghost involved by some visitors) playing “There is a Tavern in the Town”, but it is very out of tune (or in an unfamiliar minor key) and playing very slowly (similar to a particular Johnny Bond recording I used to own in real life - not sure, but it may be from the “On the Wagon” narrative - have not heard it in many years). It seems that the town was eventually made into a tourist attraction for a short time, prior to it finally being abandoned.

      I see a very eerie in-dream vision of an empty noose swinging in the wind (it was the same noose that had originally been used to hang the innocent man but is now empty). I had saved the young man from the hanging. He comes out from the portal and thanks me, but then tells me that time may eventually reset itself and he may have to face the idea of “being hanged again” and he then returns to his own time. Still, the skeleton and noose are gone when I make my way home. The “resetting” may not occur in my lifetime.
    13. The Ghostly Green Cat

      by , 12-02-1977 at 06:02 PM
      Morning of December 2, 1967. Saturday.

      A green cat is seemingly “haunting” an unfamiliar area of an unknown neighborhood in my dream (though possibly implied to be near my sister Carol’s house in Wisconsin). It glows brightly, mostly while walking atop an older brick fence near a residence where there are a lot of shrubs and flowers in the front yard. The green cat does not seem to be a lost pet, but perhaps the ghost of a stray. It does not frighten me in any way. Although I see it walking towards me at times, I also seem mostly incorporeal and perhaps unseen by this “ghost”.

      A cat is linked to the idea of sleep yet being active at night, and therefore is a good representation of the dream state itself. Here, the cat mostly only appears in liminal space - the top of a wall. Although the color blue usually serves as induction, green sometimes does as well (in contrast to red, which mainly seems like a waking priority prompt).

      This was possibly influenced by a very small plastic figure of a green cat (which may have come from some vendor novelties my brother Earl had in his apartment near ours at North Monroe Street) that I had in a large box of various small items, which included a soft orange rubber cockroach, a black brontosaurus with its head turned around over its body, and a plastic flying lizard among many other items.

      Tags: cat, ghost, green, wall
    14. Little White Riding Hood (precognitive imagery)

      by , 04-09-1976 at 06:00 AM
      Morning of April 9, 1966. Saturday.

      This, I believe is the first version of this dream, a day before Easter.

      I am in an unknown region. There is an isolated house in the forest but near a winding path. Oddly, the house seems “cut in half” in that some outer walls seem to be missing but a family still lives there. The imagery is intriguing and appeared in other dreams with different themes later on, including some featuring the “mystery girl”.

      I am aware of a real, living wolf, but am also aware of the “ghost” of Little Red Riding Hood, who is wearing a white riding hood and is mostly glowing all over, a white light with a lighter bluish tint. She seems somewhat sad and lost. I talk with her but do not recall the conversation - there is an unusual awareness of peace at one point as if she is to be a long-term part of my life. The association may be related to a basket she is carrying being filled with Easter eggs, but I also get the impression they will hatch at a later date rather than being eaten. Even though my dream implies she is a spirit and that the wolf has possibly already eaten her, there is still a strong presence of her in my dream. She is dark-haired and green-eyed and very pretty. There is no direct threat from the wolf although I do see it looking down from a ridge in Chipmunk Coulee (recurring).

      Interestingly, the only other time I saw this precise dream imagery was of an actual “incomplete” house in a photo my wife-to-be had sent to me many years later. This, like many other dreams, seemed to establish a connection to my beautiful wife (and “dream girl”) a couple years or so before she was even born.

      Updated 10-09-2015 at 10:52 AM by 1390

    15. Witch Ghost

      by , 02-10-1974 at 08:10 AM
      Morning of February 10, 1974. Sunday. (Could have started to develop the night prior - before midnight, on February 9.)

      My original dream journal title of this entry was “Ghosts”. I had somewhat carelessly drawn some of the imagery (the witch, the shirtless man, and the cloaked figure) and took it to school, but no one was interested.

      In this very vivid and lucid dream, I had “stepped into my dream” simply by “getting off the couch I had been napping on” (although knowingly remaining asleep) and was heading south through our hallway. There was a very heightened awareness of energy and expectation - my target was the back door of our house that I often went through in lucid dreams, although in real life it was rarely used (much like the carport door from my bedroom). A short, rather small female (perhaps younger than I) walked out of my father’s old room from my right. She was wearing what looked like a cross between a full fancy wedding outfit and a classic Halloween witch costume, but it appeared all in white with a slightly bluish tint in the shadowy areas, including the glowing skin (similar to photographic negatives or tulpa templates where any light seems to come from inside the source if reflected onto it in the normal positive image). I am somewhat afraid, but not fully nervous; it is my dream after all, so I approach her. I notice that she has no eyes to speak of. Mostly, it is only wrinkles where her eyes should be, which go in rows down her cheeks, even though she seems fairly young. It actually looks a little like two vertical rows of gills down from where her eyes should be (much like the underside of a manta ray) - almost down to her mouth. I feel amazing tingling sensations as if sparks are hitting me from her presence alone. The power from her seems to make me fly backwards back down the hallway as sparks move about. She does not make any sound, but there is sort of an awareness of buzzing and a feeling of electricity everywhere. Some words come to mind like “her face was adumbrated” as if part of a story when I had first seen her more closely.

      A little later, two other figures appear in the living room, Lyle Waggoner (the actor) and seemingly a man from the 13th century not wearing a shirt and carrying chains (although this is ambiguous, as Lyle seems to be that character at one point - seemingly the vampiric man from “Castle of Blood”). This part is more of a normal dream awareness not remotely as vivid as the hallway part. Lyle has an axe and it eventually ends up on the south end of the couch, but there is no blood or danger at that point, only the suggestion of such. I seemed to wake up (false awakening) into a vivid state of awareness and noticed that there was a pair of scissors at the end of the couch and thought it was interesting how my dream had changed scissors into an axe. However, I was still in the dream state. When I did wake up, there were not any scissors at all, even though I seemed to have some sort of false memory that there was throughout the night. For some reason, it seemed to be closely related to the Barbara Steele movie “Castle of Blood” (Danza Macabra) from 1964 (of which I was a big fan of since very young) but looks more like her character (in dress and presence, anyway) from “The Pit and the Pendulum”, but it did not really share much other than a loose idea about ghosts reliving their last day, which seemed to imply that I was supposedly a ghost in my dream as well, also odd that Lyle (known mostly only as a comedic actor at the time with Carol Burnett) appeared here as such.

      There is also another part of my dream that seems to be possibly a different dream or “reset”. It involves another supposed ghost (but Grim-Reaper-like) that is like a green-cloaked figure (no face visible) sitting on the couch. It is non-threatening but I sense the word “abhorrence” in my mind.

      This dream has a very similar subtle “summoning” essence as my “Silver Manta” dream (in that I was aware on one vague level that I was deliberately bringing forth the being). The silvery glowing ghostly witch of course represents the moon as a circadian rhythm event, extraordinarily vivid here and with an odd intense level of lucidity. The main difference between the two dreams is that I do not “defeat” this being to instigate waking, which instead leads to a sense of healing, intense energy, and augmented “moon induction” in continuity. Eventually, this dream becomes offset into other patterns and is quite long because of its nature. The witch ghost and the silver manta are the same unconscious archetype which is evidenced by the fact that the witch ghost also has manta ray gills down each side of her face rather than normal eyes though she also represents the essence of my wife-to-be on one level.

      My wife Zsuzsanna was born on a Friday the 13th and as such, people have made sarcastic comments about her being a witch (especially because of all the unusual events associated with both of us growing up), and that she is smaller than average as with the figure in my dream, but it is probably not directly related, although interestingly, I did come to Australia on February 9th (1994). At the time of the dream, I think there may have been some sort of association with the name Wendy, which was the name of the first “girlfriend” I had when around age six, and not just because of the Wendy comic books I enjoyed (and she had curly dark hair).

      Updated 06-04-2016 at 10:34 AM by 1390

    Page 1 of 2 1 2 LastLast