• Lucid Dreaming - Dream Views




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    Blue_Opossum

    1. 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.)


    2. To Retrieve a Sacred Wedding Stick

      by , 11-14-2018 at 09:51 AM
      Morning of November 14, 2018. Wednesday.

      Dream #: 18,958-02. Reading time (optimized): 3 min. Readability score: 58.



      In a previous dream including my conscious self’s identity and to some extent in real life, I had been building a more extensive paradigm understructure for my online dream journal as a way to make it more idiot-proof, despite there being virtually no evidence that mainstream humanity has any understanding of the induction, dreaming, and waking processes. I had been focusing on “personifications of” while branching into more specific factors of vestibular system correlation, nexus simulacrums, and melatonin mediation. During this time, my dream self loses most of its present waking life identity while still holding a subliminal awareness of concurrent physicality and a minimal degree of lucid dream state awareness to where only a sliver of my conscious self’s identity remains extant; just enough to deliberately enter the role of another denizen to experiment with the dream space.

      The backstory of an upcoming wedding comes to the forefront. It is a transpersonal thread adjacent to the virtual foreshore. There is the sighting of an unknown groom of about twenty-five in my incorporeal glimpse. I possess the body of a man who is about eighty years old to sustain his role in attaining a sacred stick from a secret area for the unknown young groom (who remains in another part of town), maintaining faith that any other sentient presence in the dream space will not detect me as an imposter. The interconsciousness borrows pieces of a setting that I had not lived in real life for years, making sure it is incorrect in design so that it is not mistaken for having waking life relevance or the fallacy of symbolism that the unintelligent pursue. I am at an erroneous version of the Stadcor Street house in Brisbane. This version of the house has an enclosed wooden back porch, which expands over the area that the utility room was in real life (though the utility room was at ground level). Another male, unknown, about the age of the man whose body I possess, is with me, remaining on my left (dream attention orientation, as I sleep on my left side). I do not see the house as a place of significance, and my dream self only vaguely realizes that it is an illusory model of a place I had once lived. There is little of my conscious self identity that remains extant.

      We are to meet with a man who is over a hundred years old, known only as General. Another man who is about a hundred years old arrives first. The four of us briefly appraise each other. I marvel at how wrinkled their faces are. I nod to General, addressing him solely and lightly with “General.” He does not seem to suspect I am not the old man. I feel comfortable in my fictitious role. He had stepped from a back room of the house, perhaps the kitchen in assuming that this fake house was somewhat like the original. The other man had come in from outside. My dream self’s attention does not focus on the porch setting as the nexus within liminal space; that virtual bridge which I had entered thousands of times in previous dreams since early childhood. Despite “General” being a military association with the preconscious and interconsciousness simulacra, I do not anticipate dominance by their presence. We go out into the backyard. It seems to be late morning. I am holding a large irregular stick in my left hand.

      We all have walking sticks, but the groom’s sacred stick is just beyond the backyard in a cluster of trees. In reality, this would have been our neighbor’s backyard, which was divided from ours by a small fence.

      As I am walking, the other end of my stick, still being used with my left hand, somehow gets stuck between two small cages (the bottom of one and the top of the other). I am not sure if they contain any animals. A big cloth is covering them. It takes me a few minutes to pull it out. The man who had been with me, the first one, seems slightly annoyed and moves to help me, but the stick is already out.

      Liminal awareness had established that I was sleeping on my left arm in an uncomfortable position, which became a factor of my dream’s scenario, altering its potential. My dream self absentmindedly points this out, with the stick, where my essence is, beneath the cloth (bed sheet) and asleep, my waking self “caged” within the virtual lattice of physicality.


      Categories
      lucid
    3. Rusty DVD Player with Mouse Inside

      by , 10-16-2018 at 09:22 AM
      Morning of October 16, 2018. Tuesday.

      Dream #: 18,929-01. Reading time (optimized): 3 min. Readability score: 71.



      I am in the front room of our present address. It seems to be early evening. On my desk is an unrealistically big DVD player rather than my computer (as in real life). It is about as tall as my real monitor. I am having difficulty opening the drawer and eventually find a DVD stuck at an angle inside. I am also looking for other DVDs but am uncertain where they are.

      I look inside the DVD player and look up from an orientation that would not be possible in real life (as there is no way my head would fit inside the drawer space of the DVD player). I see the underside of the laser mechanism that reads DVDs. (My dream is erroneous because this would imply that DVDs are played upside-down in this player.) The area around the lens is rusty and eroded. There are other areas of a similar appearance. (This is dream self confusion with the tape oxide build up that occurs with cassette decks and has no connection with DVD player associations in real life.)

      Eventually, I see something moving in a space atop the DVD player. This section resembles a transparent turntable cover. On the left side, there is a small animal covered with lint and dust, so much so, that I can not identify what it is at first. However, I soon see a mouse tail sticking out from one end.

      I pick up the lump of lint and dust and hold the mouse in my hand. It is now about three times bigger than it had just been and there is no more dust or lint on it. I decide to take it outside and let it go. I vividly feel its movement on my hand.

      As I walk through the house, I am now in a fictitious alteration of the Stadcor Street house (where we have not lived for years). At the front of the house is a fictitious porch. (This feature has occurred in other dreams that include the Stadcor Street house. In real life, the entrance was perpendicular to the front of the house, not directly at the front as in this dream.)

      The mostly featureless porch has no low-set wall or railing (and is more like a balcony). I absentmindedly let the big mouse fall to the floor, but it seems fine. It runs off the edge of the porch, at the front, into the darkness. The ground is at least four feet down. (That is erroneous as well, as the house did not have this elevation until years after we moved.) I do not walk over to see its status, as I start to wake at this point. I am aware that Zsuzsanna and our oldest daughter are in the lounge room (still the Stadcor Street house).



      [key descriptors]

      This dream has minor telepathic threads, which is often the basis for what people (including me) mistakenly call precognition. I will eventually clarify where it can “explain” what seems to be precognition, such as inexplicable communication with Zsuzsanna long before we made contact in waking life. (In this case, one thread was from Zsuzsanna thinking about finding misplaced library DVDs, of which I had no prior awareness.)



      [key ERRORS]

      I confuse cassette tape oxide build up with a DVD player association. Additionally, I confuse our old audio deck that includes a turntable as having a modern DVD player as one of the units. It also replaces where my computer is set up in reality.

      The mouse grows in size without dream state recognition. Its coloring is otherwise the same as one of our oldest daughter’s pet mice, but I do not have this recall while in my dream.

      Our present home transforms into a house we have not lived at in years, and in turn, that house has a fictitious porch. That house also now has a higher elevation than when we lived there, though has that property in my dream.

      Despite my dream self having a few viable threads of my conscious identity, the creation of the porch to replace enigmatic space (to aid in lucidity if the potential is present) did not work, but only resulted in passively projected vestibular system correlation. That is, I subliminally transform the process as the mouse running off the edge of the elevated porch rather than the vestibular system correlation where I might fly or “fall” out of the dream state. (There are thousands of examples of this process, but always slightly different.)


    4. The Usual Snake and Porch Autosymbolism

      by , 07-19-2018 at 08:55 AM
      Morning of July 19, 2018. Thursday.



      In my dream, there is the usual snake scenario, though there are different factors as is typically the case. Our two youngest sons are present in the unfamiliar room. The setting is meant to be the house we are now living, but it is not familiar.

      There is a small snake that does not seem much of a threat. It slithers off into an area of miscellaneous items; mostly toys.

      We see a big green snake. As it slithers out, I swing at it with a sword, though I miss the first time. I chop off its head in my next attempt.

      The nature of my dream changes. Some unknown people are present, but I do not see them as intruders. The setting now seems to be a discernible variation of the Loomis Street house. They are going somewhere. An unknown female is leaving her daughter behind in the back of her car. That seems a bit unusual to me, but I think I will check up on her later.

      Later, the setting changes into what seems to be a variation of the Barolin Street house. I hear a noise on the porch, and I go to check. I consider it might be one of our children, though it now seems late at night. After I open the front door, I see an unknown boy on the porch in the semidarkness. He seems to be an East Indian of about fourteen years old. He is standing in the center of the porch, which is larger than it was in real life.

      “What do you want?” I ask him. He does not move, and I become slightly annoyed. Perhaps he is a neighbor’s son wanting to sell me something, though I remain unsure. I consider that he might be intruding deliberately. I do not know his motive.

      “Suzi, could you get my gun?” I call out to my left. The boy looks concerned and turns to leave.

      "I was just kidding,” I say as he is exiting the porch.

      After this, there is awareness of the world soon coming to an end. I sit on a couch across from Zsuzsanna, and she seems concerned. It is now morning in an unfamiliar lounge room. (It is still implied to be our home.) My dream self does not register the sudden change in time as is almost always the case.

      The world is going to end today. I am not sure how I know. I feel wary of this idea. I think back and understand it somehow relates to an encounter I had with someone. I am in an anomalous state that I cannot resolve consciously. I know it is from a previous dream encounter, presumed to be from before the snake event. Although I know I am dreaming I do not know I am dreaming.

      I soon wake with the full realization that I had been dreaming, feeling relieved. Still, I cannot resolve the enigma of knowing I was dreaming, yet not knowing. It was as if my dream self knew I was dreaming without my conscious identity knowing. Although this has happened on other levels repeatedly since childhood (especially in non-lucid dream control), it has never been expressed in this specific way before.



      The porch showdown with the preconscious avatar (a common form of RAS mediation since early childhood) had different dynamics than usual. The mood was different and seemed more like an interconsciousness avatar. It was even more like an external entity, though this might have been illusory.

      The “end of the world” scenario has occurred regularly since childhood. I rarely have anxiety in dreams, but in this one I did. I think it might have been heavily influenced by “Dream Replicants and the Emergence of Simulacra” by Richard Catlett Wilkerson, as I had also been writing a series of pages about emerging consciousness simulacra. For example, one part in Richard’s text read, “More currently, Carl Jung, and then James Hillman have suggested that even the ego in the dream, who I think of as me in the dream, may also not be me. Linda Magallón has also suggested we give the dream a higher existential reality and address the dream and dreamer and dreaming process as a kind of entity.” Ultimately, it represents my subliminal knowledge of my dream ending.

      I knew from early childhood on that my subconscious self in non-lucid dreams rarely correlates with my current consciousness as in waking life other than with prescience, which is very common.

      The snake scenario, in this case, is typical RAS modulation (which is very common in most people, yet somehow no one ever catches on even with some websites featuring a few dreams a day with the same content). Here, it only served to shift my level of consciousness rather than wake me. Cutting off the snake’s head was autosymbolism for subliminally separating from my conscious self’s identity for a time, as in other dreams. (Snakes otherwise signify different aspects in other dream types when not a segment of the RAS factor, often human intestine, umbilical cord, or electrical cord warnings.) Green shows up more in a particular band of awareness, midway through the dreaming process (also signifying peace and balance depending on the hue), followed by yellow (unification stage of the dream self and conscious self), orange, and red. Red, however, usually only dominates when I have slept too long in the last dream of a sleep cycle.



      Readability score: 69.


    5. Snakes on Walls

      by , 04-29-2018 at 08:29 AM
      Morning of April 29, 2018. Sunday.



      I am in a large featureless distortion of the Loomis Street house’s porch (about twice as big as it is in reality). My brother-in-law Bob is present. Curiously, I am also vaguely aware of my youngest son. (This is a typical distortion of random threads, as my son being present is the only thread relevant to my current conscious self identity.)

      Eventually, I see (and subliminally will by way of RAS modulation anticipation) a snake crawling on the wall (in the manner of if it was actually the floor). I cannot be sure if it is venomous but Bob comes in to distract it.

      However, three green snakes end up being present, one that Bob is battling near the center of the porch, one near Oliver (though not perceived as a threat) to the right, and one near me. I seem to be standing on the right arm of the armchair yet also standing on the floor. It is an unusual sense of bilocation. I move my legs around in order to deter the snake, still wondering if it might be venomous, but there is no dominating sense of threat or any actual fear (probably because I know it is the RAS modulation factor as the waking alert).



      This dream type is a form of vestibular system correlation, which occurs in countless unique forms but basically always means the same thing, that I am trying to discern the nature of my real physical body in growing closer to conscious self awareness. This is not the first time that snakes have occurred in correlation with this process, which is why they are on the wall rather than the floor at first.

      I have not seen Bob since 1994 and have no idea of his present status. My son’s appearance in this case relates to a concern about his health, though it is not a major issue. Snakes sometimes relate to autosymbolism regarding the human intestine, especially in indigestion. Autosymbolism is often based on visual associations (such as a snake being associated with the human intestine), not words (as language skills are not even present in most levels of REM sleep).

      As always, a porch is my most common liminal space autosymbolism since childhood, which indicates a specific level of unconsciousness between sleeping and waking and is unrelated to waking life (other than a porch representing liminal space in waking life as well, and you will find much dream autosymbolism is not very difficult to understand when eliminating the “interpretation” fallacy).


      Categories
      non-lucid
    6. A Porch as Liminal Space (Dream Journal Reference)

      by , 02-01-2018 at 09:17 AM
      Afternoon of February 1, 2018. Thursday.



      “A Carport as Liminal Space” also links to this entry. The only potential difference relates to my personal history in mostly living in houses with large enclosed front porches in contrast to one house, in Cubitis, with a large carport by which access to both the front yard and backyard was inherent. (In contrast, the Rose Street apartment, on the second floor of a commercial building, with businesses on the first floor, only had a minimal public entry at the foot of the stairs.)



      “A Porch as Liminal Space” is one of my most common autosymbolic settings in the waking transition and has been as such since early childhood. A porch is autosymbolism for a specific level of unconsciousness, often rendered as the final setting in a dream when RAS mediation dominates the most. It is often triggered when my dream self, though often as a subliminal factor, wants to sustain the dream state (without viably remembering what a dream is), mainly as a RAS artefact from the otherwise lucid habit of “going outside” in childhood dreams due to it being a starting point for apex lucidity.

      In many cases, I have utilized my understanding of autosymbolism in semi-lucidity to vivify my dream into astounding apex lucidity by using a porch as an “entry point”, though always in going outside (which makes the term “entry point” sound ambiguous even though it is not), and augmenting my dream into incredible clarity. This is because such autosymbolism is rendered while closer to the emergent consciousness factor (the same factor of which gives a subliminal cue to my dream self to attempt to sustain my dream). Unfortunately, it also means that RAS mediation is likely to dominate by rendering the preconscious as personified, which sometimes results in “intruder” dreams.

      A porch represents liminal space regardless of which porch is rendered in my dream. Although my dream settings are always unique from dream to dream, there are cases where the porch of my present home is rendered in the last scene, though usually has a noticeable fictional aspect or different orientation (in conscious realization only, after waking). Sometimes the wrong porch is rendered with a particular previous home, or sometimes leads to a different location from where it did in real life.

      As with certain other autosymbolic settings (excluding such as a bedroom or bathroom), there is no connection to waking life or the conscious self identity other than when prescience is a factor. In other words, it is inherent to the condition of being unconscious while subliminally seeking to sustain the dream state in preference to becoming conscious. This is why RAS mediation is most likely to dominate this setting in the final stage of a dream, typically by being at the entry point of the porch or becoming an intruder on the porch, as waking is a biological necessity. However, depending on biological or environmental factors, my dream self is sometimes allowed to use this setting as a dream state augmentation factor. Again, this is only utilized by going outside, as going inside would place me closer to a dream state indicator such as a bedroom or bathroom; a bedroom to remind me that my physical body is asleep and thus cannot stay as such forever and a bathroom to remind me of the eventually inescapable biological need to use a toilet.



      A full understanding of this setting and its autosymbolic nature has brought me closer to mastering many levels of the dream state, even in non-lucidity.


    7. Beyond Lucidity

      by , 01-24-2018 at 09:47 AM
      Morning of January 24, 2018. Wednesday.



      I find myself in an extremely vivid lucid dream. I am in a large unfamiliar enclosed porch, mostly empty other than a big table I am sitting at, where my computer is. My computer keyboard has several inches of space in front of it (whereas in real life, my computer keyboard’s closest side to me is right at the edge of my desk). I am aware of Zsuzsanna in a room to my right, though I do not see her. I see the doorway, but I mostly sit in semidarkness. (Of course, a porch is autosymbolism for liminal space, my most common setting of this nature since childhood, occurring in at least one dream per several days for over fifty years.)

      I marvel at the level of realistic detail. I think about typing on my computer’s keyboard, but unusual features come into play. Firstly, I have an association with the Caps Lock to my left. After a short time, there are two small padlocks, more like holographic images, appearing on the two lowest left keys. They are on their sides with the shackles facing me. I find this curious and puzzling.

      Although doorway waking symbolism is implied as a precursor, and being to my right (typical waking symbolism orientation), I start to focus on my left side. I eventually see my detached fingers moving over the keyboard, though more as a semitransparent hologram of which is additionally implied to be some sort of optical illusion. I am in awe over this imagery. My detached glowing ghostly fingers float closer to my “real” (dream self’s) hand (where I also see that I have normal fingers, so the detached ones are indeed implied to be some sort of optical illusion). I try to make the connection to real life, failing to understand this type of imagery is only possible in the dream state.

      I slowly begin to become more baffled by the vividness of my dream. It seems to surpass many previous levels of lucidity (though not with certain dreams, such as the quetzal and rooster one from March 1986, which had several astounding prescient threads in one dream). More so, I actually start to focus on the orientation of my real physical body and can even seem to “feel” (or sense) the real left side of my face. However, instead of the occasional absentminded folly of wondering if my physical body is somehow walking around in traffic as I am in my dream, I vividly remain aware of the left side of my face being on my pillow. I become focused on trying to make sure my dream self remains in a “safe” position, with a slight concern about the pillow cover being closer to my mouth. However, there is no actual feature or direct tactile impression or more vivid tangibility as such, as it seems to be on a different inexplicable level of awareness. This has no effect on the level of vividness. It is odd (and eventually distracting) trying to associate the essence of my dream self’s left side of my face (which I can feel and am fully aware of) with my real physical body’s left side of my face. I am so amazed by my situation, I do not think of inducing a new scenario or going through the doorway, which in some cases intensifies my level of lucidity rather than causing me to wake (though apex lucidity is typically only triggered if there is an actual door to open). I am also puzzled by why I am not hearing the hammering next door (as they are putting a new roof on that house, which was damaged when our roof was torn off and part of it went through theirs). However, when I wake, they had been taking a break. (They started about six in the morning.)


      Categories
      lucid
    8. Comparing Matchbox Cars on Barolin Street Porch

      by , 12-14-2017 at 07:40 AM
      Morning of December 14, 2017. Thursday.



      The first part of my dream is unremembered other than undefined patterns of passive family activity. My dream self (personified subconscious) is already in the waking space when my dream becomes clear and vivid.

      The typical waking space is rendered as a porch (my most common real-time liminal space symbol since early childhood, which symbolizes a specific state of unconsciousness between dreaming and waking), although it is the Barolin Street house’s porch. We have not lived there since the beginning of 2008. The personified subconscious has no concept of time or space (or any critical thinking skills). As a result, I do not regard this error of residence and accept it as our “real” and present home. I am uncertain of the implied time, though it seems to be night.

      Three unknown visitors are at the porch door, which is open; two males and a female. However, the entrance to the porch is incorrectly rendered on the south end rather than its real location at the front, which is east. In the role of my personified subconscious (which is just a distorted filter, not a “mind” with any semblance of intellect), I do not “know” anything, and accept it as “real”.

      I do not see the three visitors as intruders, which means that my dream self (at least at this specific point) is ready to coalesce back into waking consciousness. (This is a subliminal mechanism. I am not lucid.) They start to talk about a dead fish that is on its right side (facing east) on the inner porch ledge. It is to my right when facing the doorway.

      The dead fish is a mooneye. (I have not seen a mooneye in real life since 1990.) Although I am not fully aware of this symbolism while still in my dream, there are four distinct levels of meaning. One, it is an artifact of water lowering waking symbolism (though there is no recall of water induction and no apparent WLWS in this particular dream, making it implied by habit without the direct discernment). Two, it means my glymphatic system’s functions are starting to lessen in nearing waking. Three, because it is a mooneye, and is dead, it is an association with nearing daybreak (waking transition; the sun symbolizing the conscious self while the moon symbolizes the dream self). Four, it is a symbol of my physical body being asleep, though its being on the right side is seemingly a subliminal warning that I may be on my right side in reality. (Though I do not recall having turned over during my sleep. I usually sleep on my left side for health reasons, as the stomach naturally hangs to the left and other systems operate better in this orientation.)

      I am not sure what to say to them about the dead fish. I do not perceive it as unusual, but I hold no recall of how it came to be there. I mention to the three unknown people who stand just outside the doorway that “some are big enough to eat”, but they start talking about roe (fish eggs). Still, they do not seem that interested in the mooneye for such a source.

      Meanwhile, I am closely looking at some Matchbox cars while standing near the center of the porch. Two of them are similar. I gaze at them with full intent. They are flatbed trucks (“flatbed” as being a dream state indicator as a play on being in bed). Each holds a small house. (The basic design is the same as one I had in real life as a boy, though it looks about twice as big, though my view in my dreams often magnifies what I am looking at.) I continue to stare at them, deliberately ignoring the three people just outside the doorway. One is mostly blue (that is, both the truck and the house) and one is mostly pale orange. (In reality, the truck was blue and the house was orange.)

      I continue to gaze at the two trucks. I notice a detail of where the house’s window frames (in their vertical appearance and detail) and the vertical borders of the truck’s windows (looking at them from the side as they are facing right) are slightly closer to the front in one than in the other. (This relates to subliminal awareness of nearing my dream’s exit point, and waking symbolism is typically oriented to the right).

      From here, I am suddenly aware that the three people are coming onto the porch. I teleport to the end of the porch and slam the door on them (indicative of the subliminal desire to remain asleep for a little longer). However, I notice that someone had left a set of keys on a table to the right of the door (even though there is no recall of the other people having been inside the porch). I open the door manually, apologizing. The female comes in and gets her keys and leaves again, the door remaining open as I wake.



      This dream has the dynamics of the typical waking space scenario, common on a regular basis since early childhood. The other three characters were, in upward hierarchy order, the personified preconscious, the personified interconsciousness, and the emergent consciousness. In this case, the emergent consciousness symbol was an unrecognized (while in the dream state) form of Zsuzsanna. She is the only one (other than our children) allowed to have “keys” to other levels of my unconsciousness. This is typical doorway waking symbolism, a door representing either the dream’s exit point or in some cases, access to apex lucidity and extraordinarily vivid automatic control of the dream state (and “summoning” mode, whereby all dream characters fully serve the dreamer via conscious self will), which for whatever reason, many people apparently cannot do. It may relate to my advanced understanding of the dream state since early childhood (and never falling victim to the fallacy of “interpretation”), whereby the majority of people totally lack the knowledge of what a dream actually is. I should also include here that, the large Barolin Street house was actually moved, via trucks, to a new location after we moved in 2008. Thus, this feature is also a subliminal thread of real-life factors of the past - of which I did not realize while in the dream state, even though it was probably meant to be an interconsciousness clue that I was in the dream state.


      Categories
      non-lucid
    9. Shorncliffe Pier Romance

      by , 12-13-2017 at 11:51 AM
      Morning of December 13, 2017. Wednesday.



      My beautiful wife Zsuzsanna and I are sitting together on a wooden bench at the end of the Shorncliffe Pier (formerly known as Sandgate Pier), looking northeast towards the ocean’s horizon. The time of day is uncertain, but it seems to be late morning in the final stage of my dream.

      We are under the shelter at a later point, undressed, and being intimate. My semi-lucidity (partial awareness of being in the dream state) results in a lack of concern about several unknown members of the public, both male and female, being present, but not paying that much attention to us.

      Later, we are closer to the shoreline (now about ten feet out on the pier). I observe what I first assume to be six North Korean males (perhaps in their thirties), waist-deep in the water. As they are walking towards the beach, they are guiding, in pallbearer formation, a damaged half-submerged wooden boat; a shellback dinghy; with a visible jagged hole in the side facing us. I am somewhat wary of their presence, but only for a short time. They gaze at us as if very annoyed.

      Looking back again, I come to realize (though this was an actual transformation, not a presumed error in my original discernment) that they are Australian SES (State Emergency Service) volunteers. They are not looking in our direction now and their emotions seem informally neutral.

      The water is lower, revealing a number of large stones. Zsuzsanna goes to look for some plastic toys between them that are still muddy from the storm (emergent real-life association, unrelated to my dream’s backstory), and to wash them, and I slowly realize we are now in our house, though our porch is erroneously perceived as being a rock pool (ambiguously perceived as being indoors and outdoors at the same time). I then wake.



      • Dream self mode: Corporeal with enhanced physicality
      • Conscious self identity: Viable (although we have not been to Shorncliffe in real life in years), although perceiving myself as perhaps 30 rather than 56
      • Induction symbolism: Water as symbolizing sleep
      • Induction buffer: Shorncliffe Pier over ocean
      • Dream state indicators: Being undressed and fully intimate in public (first-level dream sign, based on the subliminal awareness of being in the dream state, though I am semi-lucid here)
      • RAS mediation symbol: Presumed North Koreans, seemingly defeated but presumed unpredictable
      • Vestibular system symbol: Outer edge of Shorncliffe Pier
      • Preconscious symbol: (Personified) Presumed North Koreans (precursory; transmuted by way of semi-lucidity in acknowledgment of waking being a biological necessity; preconscious does not initiate conflict when dream self recognizes or triggers waking symbolism or circadian rhythms factors)
      • Emergent consciousness symbol: Boat leaving water
      • Interconsciousness symbol: Australian SES workers
      • Exit symbolism: Half-submerged boat being carried from ocean (illusory physicality “leaving” dream state)
      • Waking transition symbolism: (Liminal transmutation) North Koreans to Australian SES workers
      • Waking symbolism type: Water Lowering Waking Symbolism (WLWS); getting closer to the shore over time also symbolizes waking and circadian rhythms factors
      • Additional personal notes: Our (present) porch as symbolizing the waking space is ambiguously combined with WLWS.


    10. Pirates on the Porch

      by , 06-12-2017 at 12:12 PM
      Morning of June 12, 2017. Monday.



      I become aware that I am lying on a snow-covered sidewalk, possibly in La Crosse (where I have not been in real life since February of 1994). I “remember” that I had been with a group of pirates. Presently, I and at least three others are probably in need of assistance. We all are going to be taking at least two headache tablets (even though I do not have a headache). They are all on the ground, near parts of the snow-covered sidewalk. I also see a lot of powder, the appearance of which reminds me of powdered drain cleaner. Within the mostly white powder are slightly larger red, blue, and green grains.

      I take only two pills and, even though the others have probably taken four, decide to stop there. I also ingest just a small amount of the powder. Still, I wonder if I had taken too much. (I do not use any kind of drugs or medication in reality.) I feel an unusual blissful sensation as well as a slight vivifying of my dream (even though I am not lucid).

      Later, I decide to get up. The other pirates do not follow me at this time. I find my way onto a porch that seems loosely modeled after the King Street mansion’s front porch. I lie on the wooden floor for a short time.

      Soon, the leader of the pirates opens the front door and steps out onto his porch to see me lying there on my back. Even though I am a part of his group, he seems annoyed to see me and is going to shoot me. He takes out a flintlock rifle and aims at me. I do not really feel like being shot but I do not attempt to escape or even move. Suddenly, another pirate appears behind him on the porch (having just come in from outside) and shoots him in the back of the neck. This other pirate is Charlie Pace (a “Lost” television series character played by Dominic Monaghan). I am grateful and thank him. The rest of the pirates that had been lying on the snow-covered sidewalk enter the porch from outside and look down at the body, seemingly unsure of who the new leader will be.



      This is a typical porch dream of the type I have had all my life. Porches symbolize the waking transition of liminal space and often involve the personified preconscious (here, the pirate leader). The purpose of the preconscious is to initiate waking (or finalize the consciousness shift towards waking), sometimes by “killing” or annoying the fictional dream self (though sometimes linking “return flight” symbolism). Although it is rare to be “killed” in my dreams in a discernible manner, my emergent consciousness was projected as the pirate version of Charlie Pace (though sometimes my emergent consciousness is like an enemy as well depending on the type of waking symbolism that is rendered). (I have not seen an episode of “Lost” in a long time.) There was no direct hypnopompic surge (which probably would have happened had I been “shot”). It was a soft awakening. The very common dream sign of lying down having been “asleep” is present (and I am lying down in the last scene as well), which replaces the usual water induction (although technically snow is frozen water).


      Updated 07-06-2017 at 06:49 AM by 1390

      Tags: pills, pirate, porch, snow
      Categories
      non-lucid
    11. “Lost Girl” (and the animated forehead tattoo)

      by , 06-03-2017 at 08:49 AM
      Morning of June 2, 2017. Friday.



      I am on the porch of the Barolin Street house (where my wife Zsuzsanna and I and our children have not lived in real life for years) in Bundaberg. However, in my dream, it is implied to be in Cubitis (where I have not lived since 1978).

      Even though my dream self is probably implied to be around forty-six years old (I am presently fifty-six), there is also an ambiguous hybrid facet of my fifteen-year-old self. There is a small bookcase on the south side of the porch facing south (though north in the Cubitis orientation), where no bookcase ever was in reality. It is within the open area rather than the back of the bookcase being against a wall. I am vaguely focused on a dream journal as well as a textbook and a couple other books, including a volume from a set of encyclopedias. (These books were in the lower shelf.)

      Now and then, I shift into my teenage focus. I look out through the porch windows toward where the neighbors have just driven back to their house. They are walking around near their car, which is parked just outside of their small open carport and facing their carport. Thus, as is typical of this recurring dream scenario, I first see only Lisa’s parents and wonder what is going on.

      After a time, I am more within my older perspective and looking at the books again. Still, Lisa appears, having phased through the side of the porch. I acknowledge her presence as she stands facing me, though she remains behind the back of the bookcase. When I look up at her, she seems to be about twelve years old.

      Curiously, I notice that she has an animated tattoo on her forehead which has two frames (at the rate of about one per two seconds). The tattoo is somewhat pale and transparent with an embossed essence rather than having much contrast or color, though I can still read the larger of the two frames. It reads as “LOST GIRL” (in uppercase). I do not consider this to be strange at all though I also do not consider any meaning of any kind. The second frame, when it appears in the animation sequence, is not written large enough to read from where I am seated. It appears seemingly as an address (possibly of a dance studio) as on an envelope. To the lower left of the “envelope address” is what looks like a small icon of Earth with a pair of wings. It seems we are both in the process of moving. She stands attentively but we do not speak much.

      The preconscious in this dream is of a very atypical essence. It almost seems to be awaiting instructions rather than initiating the waking mechanism, though me facing the bookshelf implies my thinking abilities emerging, thus the preconscious may have already “done its job” by remaining behind the bookcase as I face it.



      There are several meanings (layered meanings in addition to the native real-time meaning), none of which are significant to my present conscious self status. Firstly, it could be a residual thread of how I view people who believe in vicarious “dream interpretation” as “lost” (as I am near a bookcase and with a dream journal), though who am I to judge people who, for whatever reason, believe that things like chiromancy, tasseography, or reading ‘possum bones in a circle cast in the dirt somehow “works” for them. On a personal level, it may simply mean no longer being my teenage self in Florida and the residual effect of traumatic transitions that will always remain a part of my life experience regardless of how happy and loved I have been most of my life, especially over the last twenty-five years.



      • Contrived convenience: Contrived convenience is a common type of erroneous dream rendering where the presumed errors in memory are based on the real-time linear convenience of the particular dream. If not for contrived convenience, many settings, features, and events in dreams could not be perceived by the dream self at all. For example, in this case, seeing the activities of my Cubitis neighbors near their small carport would not have been possible if my dream had correctly rendered the liminal space factor as my Cubitis home’s carport rather than the Barolin Street house’s porch (as the real-life limited view from the Cubitis carport was only to the north, and only partly west and east). Also erroneous is how Lisa somehow came onto the porch through the porch’s side. That is, she somehow phased through the porch wall (and windows), which is where my dream self’s attention was focused, rather than entering normally through the porch door which would have been somewhere off to my right (where I never directly looked). (This term is also used to describe “reality” or linear time as experienced by an individual but I will not get into that here.)
      • Dream sign (dream journal): A dream sign (my systemic definition only) is a carryover of the conscious self’s current status of being unconscious and within the dream state. The most obvious type is being in bed. Others include not wearing shoes or socks, being undressed in public, a bed in an incorrect location, and even thoughts of one’s dream journal. Dream signs, like so many other features and events in dreams, have nothing to do with erroneous beliefs in “interpretation” (in the common misuse as a synonym for meaning) that is still so popular with the public.
      • Flight symbol: Flight symbols occur as waking symbolism in over one in five of my non-lucid dreams (closer to one in four, or at least over twenty percent) in the tens of thousands of my non-lucid dreams that I have documented and closely studied and decoded. This is obviously because of the subliminal yet anticipatory nature of the purely biological hypnopompic jerk or sleep start, that is, the perception of falling as a natural shift in consciousness from sleeping to waking that often occurs even in infants. It is hard for me to accept that there are people who believe that biological dream dynamics have some sort of “interpretation”.
      • Personified Preconscious: The personified preconscious is typically a dominant dream character of a very specific recognizable essence of whom, while usually a different character (either male or female), initiates either the unification, disruption, or cessation (depending on the unique dream self incarnation) of the dream self’s transmutation into whole consciousness within the waking transition. The waking mechanism might be based on anything from activating more threads of the current conscious self identity with augmented emotions (for example, the dream self getting aggravated by feeling imposed upon by a trait unrelated to current conscious self identity) to blissful coalescence (for example, hugging the personified preconscious and feeling bliss or love in coalescence). The preconscious is transpersonal, sometimes the opposite of the conscious self identity, and is often completely unrelated to the current conscious self’s persona or identity (contrary to the ridiculous belief that every dream character comes from current conscious self identity or status, which could not be more wrong).
      • Porch as liminal space: A porch as a dream setting is usually a real time metaphor of my dream self’s transition into wakeful consciousness. It represents the state between being in a house (temporary limited dream self’s perspective) and the outside world (conscious self identity’s perspective). It is a factor of my most common waking symbolism, which I have fully validated thousands of times since early childhood.



    12. Missing Boat of Girls in 1924

      by , 04-03-2017 at 10:03 AM
      Morning of April 3, 2017. Monday.



      My dream begins with the usual water induction (which at least one lucid or semi-lucid dream of every night since early childhood begins with). A group of about seven unidentifiable female forms (though typically variations of Zsuzsanna) appears reflected in silhouette on the surface of the slowly rising water, but rather than any type of cheerful ritual (including healing affirmations or those of several other types), my dream shifts into where they are eventually on a boat. There is some sort of backstory regarding the journey but it is not clear. I “remember” that they are from the 1920s.

      My dream shifts into a (false) waking stage (which includes minor physical anticipation of the falling sensation) though my lucidity becomes more subliminal (and shifts into fully subliminal lucidity after the next scene) even though my dream remains vivid. The liminal waking expectation fades and I shift back into my dream (without a false awakening - only the continuation of the original ocean theme).

      I then see a few men from the 1920s on some sort of unlikely open train in the distance. I seem to be hovering above the ocean in an incorporeal state. The rickety train is carrying livestock and supplies. They are going up a very steep railway bridge but which is actually a rollercoaster rising up from the ocean. The top is incredibly steep, but the train somehow makes it over the peak safely and begins to slowly go down the other side. (I do not recognize that it is a rollercoaster and continue to associate it as a railway bridge.) This event is metaphorical for the false waking expectation - that is, going up a slope but then going over the other side with no mishap, fall, or collapse. As a result, I focus on the boat of girls again (of whom I now associate with relatives or ancestors), but soon realize that their boat is not present. I notice a number of other boats. I wonder if they have become lost (which of course is analogous of losing my lucidity).

      I am then on a couch in a very distorted version of the Loomis Street house. For example, a bathroom replaces the small northeast bedroom and the couch is near the center of the living room facing south. The large television is against the south wall (though in reality it was always out from the east wall with the couch’s back against the south wall). Zsuzsanna is on my left as well as our two youngest children on her left. Very curiously, my brother Leonard (half-brother on my father’s side), of whom I have rarely dreamt of in my lifetime, is on my right. There is a very unusual loud squawking noise. It turns out to be a brownish pterodactyl crawling on a cliff made up of clusters of smooth boulders (though which looks more like boulders near the ocean shore). I am trying to work out if I am seeing this on the television or if we are somehow looking through a hole in the wall into the past. I contemplate whether or not the pterodactyl will fall off the cliff, as it is getting closer and closer to the edge. Something within my mind makes me realize that this is a waking prompt symbol (just as with the rollercoaster railway bridge in the previous scene) and my dream shifts without me being lucid for the second time (though this is likely because there is an ocean association, which can cause reinduction).

      Soon, there is a scene of Egyptian “gladiators”. I think it odd that a sticker book Zsuzsanna and our children are looking at has images that exactly match the design of what the “gladiators” are wearing on the television. Leonard points out the advertising on the armor that a few of the Egyptians are wearing. I do not consider how ludicrous it is that ancient warriors would have modern commercial symbols and English writing on their armor. One of the symbols is the McDonald’s logo engraved on the armor just above the warrior’s waist. This is curious as it is made up of two upward and downward slopes so could be seen as a waking precursor symbol just as the earlier rollercoaster railway bridge of the similar shape. The phrase “phone home” is also engraved lower down on the armor. (This is hilarious as it symbolizes communication between dream self and subliminal threads of conscious self identity, yet once again, I do not catch the dream dynamic).

      My dream then shifts into vivid liminal space. I find myself walking out onto the porch (most common liminal space setting and often the last setting in a dream due to its nature). A group of unfamiliar people wearing fancy clothes from the 1920s are seated in at least three locations. Still, one male closest to the open living room door (on the right of it) seems to be dressed more as if from the late 1700s. I decide to ask what year it is. The unfamiliar male near the doorway starts reciting curious (but unremembered) poetry, with something like “three years beyond 1921”, soon informing me clearly that it is 1924. Looking out at the street (through the porch windows), I notice a number of cars from the 1920s, yet I do not see the car that the girls are supposed to be arriving in.

      The other male gets up and needs to use the bathroom. He seems very cheerful and friendly. Because the porch is a “different space” apart from the main dream setting, he seems very much in awe when going into the living room and to the bathroom door since that part of the house is “my time” (as in contrast to this dream’s personified emergent consciousness), though I remain on the porch, watching him through the doorway. However, the bathroom door is locked from the outside and he does not know how to use a knob lock. He returns to the porch, still in awe yet seeming very happy. I tell him that I am from 2016 (not remembering it is actually 2017). I tell him that I will unlock the bathroom door for him. Instead, he starts touching my face, hands, shoulders, wrists, and arms, pressing his fingers against me as if he thinks I am not quite human, me “being from the future”. I tell him (at least twice) that I am a “hologram”. (This is technically correct. The personified subconscious, always the dream self in first person when not lucid, as it certainly is not the conscious self identity, is technically a type of hologram, especially as the dream self certainly does not have a real physical body either.)

      He continues to push his fingers against my face and begins to smell me, while remaining very cheerful. The sense of touch is extremely enhanced and “accelerated” here. Coalescence (dream self unity of all other dream characters - where all the dream characters quickly merge into the dreamer like blobs of pale light into a swimming pool) soon occurs and of course it is me who has to actually wake up to use the bathroom.



      Understanding dreams and dream dynamics:

      • Water remains my most common form of induction (and real-time symbol for sleep) and this is apparently true for the whole of society, as the majority of commercial relaxation, meditation, and self-hypnosis tapes have included the sound of the ocean, a river, or a waterfall.
      • The metaphorical waking precursors (especially the rollercoaster railway bridge where I actually felt a slight physical shift into liminal space even though I was nowhere near it) not completing and instead bringing me back into the dream state is not that common (especially when I have to wake to use the bathroom). Instead, it took my personified emergent consciousness to bring me out directly (though still oddly sustained). (I assume he was not my personified preconscious even considering the porch setting as he was not aggressive or confrontational in any way and there was no additional shift other than last-stage coalescence.)
      • I presently associate my brother Leonard with fake news (which he is continuously posting on Facebook). This is likely to be a dream sign here, “fake news” being analogous to being in a (non-lucid or subliminally lucid) dream. Also, he is on my right, and the emergent consciousness precursor often has its event horizon on the right. (This is developed out of reading from left to right and a number line being oriented left to right, not on the disproved concept of left-brain and right-brain.)
      • The seeming contradiction of the waking precursors not completing is likely biological and based on circadian rhythms. Even with a need to use the bathroom, the body still requires a certain amount of rest. (It is also possible that the anticipatory muscle states being mixed, that is - both whole body and bladder pressure - were responsible for the atypical dynamics and truncated symbolism.)
      • This dream utilizes an altered setting based solely on dream state and waking dynamics, where the emergent consciousness goes towards the bathroom, which replaces the real bedroom. This is directly symbolic of me needing to leave my bed and go to the bathroom. The door is locked, so I still need to physically wake to use it (though often dreams render peculiar bathrooms or annoying situations as a trigger to deliberately bring the dreamer out of sleep).



      Updated 05-04-2017 at 01:52 PM by 1390

      Categories
      lucid
    13. Ready to Smoke on the Porch

      by , 03-04-2017 at 09:04 AM
      Morning of March 4, 2017. Saturday.



      I am on the Loomis Street porch and there are soon a number of unfamiliar people, most of whom are closer to the porch door. We are on the north end of the porch. There is a point at which one of the others talks about smoking. There are a few different types of plants in small transparent plastic bags and I am not certain if some are meant to contain marijuana or tobacco but I assume they may have marijuana. I also have a braided section of sweetgrass. I light it and deliberately breathe in the smoke for some reason.

      An unknown girl wants me to roll a cigarette and seems to think I have better tobacco or marijuana than her. I tell her that I do not have any papers. After a pause, I ask her if I can use one of hers. I go over and see that there is a large sheet of thin paper she has on her lap (which is atop a book), a little bigger than a sheet of notebook paper. It seems unlikely that someone would roll such a large cigarette. I reason that doing so would require a number of folds before rolling. I ask her if I should use only half the paper by tearing it across the width and she says no with a tone of annoyance in her voice.

      I take it to the other side of the porch (the right of the living room entrance) and put it on top of a closed turntable that is sitting on a high-set table. I then ask her if she wants to do it. She gets up, seemingly somewhat annoyed. She takes out a large plastic bag and begins to drop a large amount of dried leaves on the paper. Pieces are falling everywhere, much of it outside of the paper. My dream becomes a little more vivid at this point.

      My mother (appearing for the first time in this dream) looks out through the doorway as if puzzled by what is going on and asks her what she is doing. I also ask her what she is doing since I get the impression she is wasting much of it as only some is going onto the paper, much of it going over the table and floor.



      Understanding dream dynamics:

      • Although my mother was the one to wake me to get up for school for so many years, she does not usually appear as the emergent consciousness factor (or even the preconscious) in the final moments of a dream (threshold dream type - that is, when the waking metaphor is rendered as someone or something appearing in a doorway).
      • The porch setting is usually only rendered at a specific level of consciousness in the final dream of a sleep cycle, as it links to a specific form of liminal space (both in dreams and in reality). This has been the case since early childhood.
      • There have been a number of other dreams where smoke has appeared on a porch (not always the same source). Although smoke is a coalescence factor, it seems a no-brainer that it is associated with fire (which represents neuronal activity).
      • Doing something in a dream that one would not do in real life is evidence of subliminal lucidity (no matter how slight). (For example, I would never associate with drug users in reality).


      Updated 03-14-2017 at 08:10 AM by 1390

      Categories
      non-lucid
    14. The man who was not on the porch

      by , 02-25-2017 at 08:25 AM
      Morning of February 25, 2017. Saturday.



      I become more aware while in the middle of a conversation, mostly with people we do not know. Zsuzsanna is with me to my left. We are sitting at a large table. We seem to be in a new unique distortion of the Loomis Street house. If so, we are facing westerly, toward the kitchen. I become slightly puzzled about who these people are. They are mostly a mix of Maori and Caucasian. Without displaying any anger, I tell them it is time to leave. This has something to do with realizing that pages from my dream journals (even from my large notebooks from childhood that served as extensive dream journals) are strewn in loose piles everywhere on tables and desks. I consider that someone reading just one or a few pages of my journals will likely misunderstand everything. Still, I do not see them as thoughtless imposers or intruders.

      As most of them get up to leave, I notice a former coworker from Eco 3 (from 1980), Richard B, sitting on a couch, facing south. (The couch is more toward the kitchen and aligned to the north wall where there was never one in reality.) I tell him that he can stay and the others hear me say this. I then see a different version of him sitting farther west but on the back of the couch rather than the seat. This puzzles me somewhat, yet I also recognize him as at least having the first name of Richard though soon perceive him as a different person. The first Richard has no facial hair. The second Richard does.

      After we go out onto the porch, there seems to be a large pile of miscellaneous items between the living room entrance and the porch when I look back. (This is not logical as it would have made it impossible to go onto the porch.) I notice several cats climbing up over the items but they do not come onto the porch. The five or six visitors are leaving through a door that is near the northeast corner of the porch, east side (front of the porch), though the real door was near the center of the east side of the porch. (This is a new distortion despite dreams of the Loomis Street house still being common.)

      After they are outside, I hear another male’s voice off to my right. Looking on that side of the porch, I notice a thin male of perhaps in his late forties who suddenly starts talking. He is only about the size of a twelve-year-old. He has a large beard and is lying on the wooden porch floor on his back, his head pointed south, apparently having been asleep, under what appear to be two upside-down large metal baskets that are arranged end to end. This is a very unusual and unlikely scene. Looking more closely, I see that he is holding a thin stick with a sharp point, which he grasps lengthways over his chest (parallel to his body). I perceive him as likely being a homeless drunk and I want to get him off the porch but I am wary of the sharp stick. I start to talk to him in a calm voice, telling him it is time to go.

      As I watch him, and speak to him, he vanishes before my eyes (yet I do not consider this unusual as I reason that I may not have perceived the scene correctly at first).

      “I am not even there, mate,” says a very loud clear Australian male voice. I start to consider that there is some sort of small amplified speaker near the front of the porch (which I visualize as being in the shape of a wind-up alarm clock - an obvious dream state indicator and additionally waking prompt autosymbolism). I ask him where he is and what he wants and he says, “I’m looking for a preview”. (A number of other comments prior to this are exchanged, but I do not fully recall them.) I wake up with a headache (seemingly caused by his loud voice) but which is mild after I get up and walk around.



      Understanding this dream’s dynamics and meaning: Since early childhood, a front porch has been one of the most common final settings in the last dream of a sleep cycle. This is because a porch represents liminal space both in dreams and in real life, which is also evidence of liminal dream state awareness and liminal dream control by way of the virtuous circle effect in having a genuine understanding of dreams, so much so, it serves as a carryover in some dream types. A porch is the liminal space between one’s home and the world outside (analogous to the state of unconsciousness between dreaming and waking). Because of this knowledge, I have deliberately often utilized porches in my dreams to vivify and sustain my dream by going “outside” from the porch. This is also why RAS personification is more likely to be dominant when such autosymbolism is liminally utilized, as it is the function of RAS (reticular activating system) to mediate and modulate the dream based on ultradian rhythms and other factors (such as the need to wake to attend to biological needs). If one genuinely looks at my dreaming history, they would see thousands of examples of this in the fifty years I have studied dreams and validated their meanings.

      The upside-down metal baskets were a liminal attempt to “cage” the preconscious to sustain the dream state, in this case, a distorted association with the word “hold” (as meanings of words in dreams are often incorrect along with most other dream content), as both a basket and a cage can “hold” something. The preconscious was “sleeping” at this time but soon became active as the other dream characters were leaving (sustained doorway waking autosymbolism; very common). He did not use his weapon or become dominant because I soon focused on my emergent consciousness stage (resulting in his dissolving and the loud voice beyond the porch).

      “I’m looking for a preview” is a curious phrase. While the preconscious often spouts gibberish, this is similar to another phrase spoken by the preconscious years ago; “It’s time for a new movie”. I have held different theories on this. “I’m looking for a preview” may relate to the preconscious seeking coalescence with the emergent consciousness (immediately prior to establishing conscious self identity as the “movie” itself).


      Updated 05-14-2018 at 08:23 PM by 1390

      Categories
      non-lucid
    15. A Perilous Journey to the Wondrous and Strange New House

      by , 07-13-2016 at 08:33 AM
      Morning of July 13, 2016. Wednesday.



      The first segment relates to my wife Zsuzsanna and our family as we are now though living in a house that seems like a variation of the Loomis Street house. One difference is that there is an additional porch door on its south end, closest to the internal wall. It had apparently been unused for longer periods by other tenants and was even nailed shut. In fact, there is a point at which I remove the nails and we use it for a time. Eventually, our landlord appears and, even though we had been using the door recently, makes the claim “this door has never been opened”. I find his ignorance typical of people but amusing. He appears to be here to make repairs.

      Soon, there is this idea that I am leaving for an undetermined amount of time. Zsuzsanna had asked me at least twice if there was a nude man sleeping in the middle of the street (dream sign). I am not sure at first as it may just be an animal that had been run over. It seems to be late afternoon. Everyone is sad to see me leave. I leave with no additional belongings or items. A car pulls up (from the north if assuming Loomis Street) and an unknown teenage girl is the driver. (This is one of those many times when I somehow know that I am creating the events in my dream, in this case summoning the driver “out of nowhere”, but I am not at all aware that I am dreaming.) Before I ride off in the car (the driver’s side being on the left even though I have lived in Australia since 1994), Zsuzsanna asks me again about a possible nude man sleeping in the middle of the street but I am still not sure.

      The dark-haired girl is dressed somewhat formally in black slacks and a light-colored sleeveless top. I do not learn her name at any point. Her demeanor is somewhat formal though still cheerful. I notice that the unusual imagery in the middle of the street is actually an animatronics display of two beavers as in an implied scene from one of the “Chronicles of Narnia” movies. This seems curious to me as it may be a hazard for vehicles to have to drive around. Ahead, as we go south, we notice other animatronics displays, most of which are large but most are on each side of the street. One, on the left, is somewhat like a small Nativity scene. This all seems like some sort of temporary publicity stunt as well as a holiday-related event.

      A shift occurs and it is now late at night. I am now walking with the unknown female in an unfamiliar alley though it is an illogical setting as one alley leads into an additional perpendicular alley with a high light-colored wooden fence on the opposite side. An unknown man approaches us with a knife to rob us. Even though I am not lucid, I say “You have no knife” and his knife vanishes. He appears to be very puzzled and somewhat concerned. For a short time I think of making him vanish as well but instead, I create a revolver in my right hand and aim it at him. I then think that this might make the girl think that I am a violent person so I cause my gun to vanish. The man runs off into the night.

      I am now returning to my family. It has been two years since I had seen them (though Zsuzsanna appears about twenty years younger and our children appear about three years younger). I hug her in the doorway. We are going to travel to a new home. Many people are going to help us, though most of them are in their fifties to seventies. The journey will be difficult since we have to wade through a river in the coldest part of the year. In fact, someone asks me why I want to go there at this time but I do not have an answer for them. Still, I am not sure how Zsuzsanna and our children get through as I only see several older people making the journey. I am with them but somehow not fully in my body. I do not seem as stressed as they are by the conditions of the environment. One older male’s outer flesh had come off from his right side and I can see his ribs and lungs. He keeps wading through the cold water with the others. I think perhaps he may die, yet he continues. I feel a bit guilty about his condition.

      We all end up on the porch of my family’s new home. Oddly, it just seems like another version of the Loomis Street house (in seeming location and orientation) that we had left. It seems an older unknown male is letting us live there for as long as we want. The male who had a large strip of his flesh come off seems to be okay now. Many antiques and knickknacks are visible, including some sort of smaller cylindrical objects with a forest painted in one smaller circular area on the side and which may be candle holders. I remark about the house probably having been built in the 1700s. I see that the brick wall on my right is very crooked, with the bricks at various depths from the wall’s implied center (almost as if something very strong had tried to push out from the other side) but this does not seem problematic in any way. There seems to be some sort of machine attached to the ceiling. I can see two small rectangular buttons close to each other longways, one red, one yellow, the red one on the left as I look up. Someone activates it with a switch on the wall for a short time and a few are wary of it as it is fairly large and hanging over their heads. It is connected to some sort of pulley and is part of a device to carry parts for production from one area to another but has been unused since perhaps the 1800s.

      I look out through the doorway and discover that there is now an additional porch that is illogically linked to the front of this porch. It is a bit bigger and mostly glass and metal rather than brick. There is a series of French doors all the way across the front. I clearly see writing that is printed in large letters (at least six rows) from ceiling to floor. It says “To Lulu” on each left door and “To me” on each right door (and there are probably four sets of two) so that the writing is close near the middle of where each pair of doors open. The writing is on bars that go across what is otherwise glass to where I can see outside to the street.

      I go back into the other smaller porch and comment on how the house was built for, and dedicated to, a girl named Lulu. I start repeating “To Lulu, to me, to Lulu, to me” over and over. (Lulu is the name of a singer who sang “To Sir with Love”, which I heard a lot as a child and young adult and which I also performed as an instrumental on both accordions and keyboards. However, there is also a song called “Don’t Bring Lulu” which I also performed, though I assume it means the singer as Paula Abdul was referenced in one of my last dreams.)
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