• Lucid Dreaming - Dream Views

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    1. Pterodactyl Model Panning (causation explained)

      by , 05-15-2021 at 08:32 AM
      Morning of May 15, 2021. Saturday.

      Dream #: 19,871-02. Optimized 2 minute read.

      Note; The waking-life model is red. For the image, I made it the same as the predominant color in my dream (though there were other colors). The additional optional outer wing piece is for a torn wing feature.

      My dream begins with me sitting near a river, though the water lowers over time. (This attribute has remained the same for this dream type for over 50 years. One influence is from isolation tank films I saw as a child, though it also naturally corresponds with melatonin mediation and ultradian rhythm.) Typical indoor-outdoor ambiguity (impossible to discern as such in waking life) is predominant at some points, though there is more morphing of the setting than usual. The locational inferences are unknown. I have recall of my real-life identity to the extent of where I recall I have three sons.

      I think of creating a portal so that my sons can see a living pterodactyl through it. We do not intend to go through the portal but to watch different events through it.

      A somatosensory phase response (a natural, predictable shift to attention on using my hands toward resolving REM atonia) becomes predominant, and there is a spontaneous flight-related association with the Aurora Pterodactyl model kit from the early 1970s. I had one when I was a boy. In this instance, the process curiously mixes with finding gold coins (also somatosensory summoning), but only as a supraliminal influence. (I do not think about panning for gold in my dream, only recovering all the pieces of a plastic pterodactyl model.)

      After my sons watch a living pterodactyl through the portal (a precursor to managing the vestibular phasing of dreaming) for a few minutes, I begin finding many different sizes and colors of pieces from various fictitious versions of what is otherwise the same Aurora pterodactyl model kit.

      Many parts are smaller than the waking-life kit, but there are no larger versions. I see little cyan plastic wings, but also green, blue, and other colors. There are more outer wing parts than other features. I also notice some small wing connectors; rectangular prisms. I become fascinated by their variety and study their random arrangement for several minutes. However, there is no dream segment where parts of a complete model are collected and assembled.
      Revealing dream content causation:

      I continue to be fascinated by how the same processes and phasing responses (often in the same order throughout my sleep cycle) result in so many unique and engaging narratives.

      This dream’s narrative is a result of my typical familiar lifelong metacognitive status and its management:

      Water induction corresponds with beginning my navigation of REM sleep and is usually the first process depending on my dream’s time.

      Vestibular system ambiguity (vestibular cortex phasing response) is from being in REM sleep and links to my metacognitive pursuit of mind-body reconnectivity, often with flight associations. In this instance, however, the phasing curve favors my metacognitive focus on REM atonia (physical immobility in sleep).

      As is often the case, my dream focuses on managing the virtual division between dreaming and attaining wakefulness. Here, it results in a “portal” (rather than the more mundane summoning of a door) and the mental and physical duality of dreaming that is absent in real life.
    2. Jackie Gleason in Stormland

      by , 05-26-2020 at 12:01 PM
      Morning of May 26, 2020. Tuesday.

      Dream #: 19,517-01. Reading time (optimized): 3 min.

      My dream self grows instinctually aware and active during the usual process that determines a handler for cortical arousal (initially my vestibular cortex). In this dream, it is Jackie Gleason, the primary influence being the moonrise (dream state initiation) in the television series “The Honeymooners.” (I will emphasize a fundamental causal factor here. Because being in the dream state has a similar level of cortical dormancy and sensory deprivation as when watching television or a movie, a celebrity is often the virtual handler of my waking transition.)

      An unknown male is with me to my right (waking status personification, mainly inactive). In a big undefined room, two unfamiliar men are standing and talking, facing each other, with the implication we are watching a movie, though we are present and sitting cross-legged at the scene (a common dream state ambiguity). One man is playing the role of a young and thin Jackie Gleason. For a few minutes, we are trying to work out which man is playing him. Eventually, it becomes obvious. It is the man on the left, who has dark curly hair.

      The identity determinant results in initiating the next stage of my dream and vivifies it. My dream self handler (again, vestibular cortex) is Jackie Gleason. Even so, I am still only a witness to the scenario. The Sistine Chapel is in ruins, though only as in another world. An unknown male with a staff controls the lightning (neural energy while in the dream state) to send individuals into the other world. He first does this to an unknown woman (a quantum model of Zsuzsanna, as my waking-life identity is absent). I watch her wander around alone. The storm is not threatening.

      Eventually, the anticipated myoclonus factor becomes pre-liminal. Jackie Gleason stands in the center of the ruins and wants to find the unknown woman to confirm her status and bring her back if possible. The expectation of the transition is by way of flight (as has usually been the case since childhood). There is no roof on the ruins of the building, to allow for the vestibular management of this process. (I am sleeping on my back in this instance, which usually results in vertical dream state processing rather than horizontal as with, for example, using a door to exit my dream).

      A pterodactyl flies down as the vestibular processing simulacrum. Jackie Gleason stands there, but nothing happens. They stare at each other, but the pterodactyl eventually unexpectedly flies off instead of carrying him into the next world.

      As a result of no myoclonus or viable consciousness emergence, cortical arousal instead establishes a vivid offset dream that serves as a false awakening, and I am now lying on my back on the front lawn of our current home in the late morning. Zsuzsanna is standing to my left. (She is awake in reality, standing to my left in our lounge room.) I can see the front of our house and the sky. Dark clouds, lightning, and rain are fast approaching from the south. I am concerned about my dream journal getting wet (as it is on the lawn near me), but I have difficulty moving quickly enough. Eventually, I can get up and wake while doing this.

      Here are some similar examples of this dreaming process that has occurred every sleep cycle for over 50 years:

      Ralph Waite (as in “The Mississippi” television series from the 1980s), referring to a book, talks about the vestibular cortex processing in initiating consciousness (though I do not discern the specific details), summons a giant sparrow, and flies off on its back. (November 7, 2018.)

      An unknown woman and her daughter (quantum model of Zsuzsanna and our youngest daughter) receive a book from Rodan. (Rodan has a similar appearance as a pterodactyl.) The book is enormous (as tall as the woman) and is about dream state processes. (May 21, 2020.)

      A giant white dove (with a red heart symbol on its chest) emerges from the entrance of the Arcadia post office and approaches me as I stand outside facing the building. I hold onto a sword engulfed in blue fire, but there is no threat. (February 9, 1991, part of a longer dream with enigmatic communication with Zsuzsanna before we met in waking life, foreshadowing the letter she wrote to me. I arrived in Australia on February 9, 1994. An American postage stamp, #2814C, featuring a white dove and a red heart made of roses came out on February 14, 1994.)

    3. 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 instinctual (and shifts into non-lucid dream control 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 09-08-2019 at 06:52 PM by 1390

    4. Scanning the Bottom of Loch Ness and Finding Beauty

      by , 02-16-2016 at 08:16 AM
      Morning of February 16, 2016. Tuesday.

      I am watching, while incorporeal, the adventures of two young males riding in a small boat in Loch Ness. There are other people around, but not as integrated into the events I am viewing. As the men travel over the lake, there is some sort of special imaging they are able to see which is related to a new kind of advanced technology. Other unseen characters are making this possible for them and they do not seem to be part of the research themselves. There is a sense of beauty as the bottom of Loch Ness is rendered in perfect detail, though all in one brighter color yet which seems to be different over time.

      Soon, the flat fossilized remains of a huge pterodactyl are seen on the large screen. However, it seems as if I am moving over this rendered area (of the bottom of Loch Ness) in a bird’s eye view as well as with no implication of water, only the imagery of the lake bottom as I (or the imagery) slowly move ahead, somewhat like horizontal scrolling though with the seemingly correct size orientation (as if my incorporeal form is integrated into the technology itself or at least the end result of it). There is a vague awareness of the possibility of seeing the Loch Ness monster if it exists, but this does not occur. Over time, only unrealistically huge fossils are seen, mostly all of flying creatures. It seems amazing that mankind is now able to see everything at the bottom of Loch Ness and the two males are thrilled and grateful to the others who are making this possible (as, again, they seem like random members of the public who just happen to be in the right place at the right time).

      A huge archaeopteryx fossil is also seen (possibly about a hundred times bigger than it would be in reality), and the focus probably remains on this section for the longest period. There are also a lot of similar fossils, one which is possibly the fossil of a giant (fictional) prehistoric flying snake. Curiously, again, there do not seem to be any fossils of swimming creatures anywhere on the lake bottom, or extinct lake denizens, mostly only the giant prehistoric birds and flying reptiles, some fossil sections touching mostly at wingtips. The mood remains very cheerful and satisfying even during the waking transition.

      Of course, this dream represents looking into the deepest recesses of memory at the deepest levels of mind to see things that were not as visible or detailed as before. The fact that they were only gigantic flying creatures relates to the “higher” ideas and memories (and with greater perspective) I think, which had originally “taken more in” from a more detailed “bird’s eye view” before becoming a part of my memories and dreams. This also fits in with my increased research of date-specific layers in dreams over time. On February 16, 1970, there was a dream of a living archaeopteryx (only about the size of a chicken in this case and remaining on the south side of my room) in my bedroom in Cubitis, which was influenced by an image in an old book (which my mother bought second-hand) on prehistoric animals.
    5. Pterodactyl Driver

      by , 07-19-2015 at 01:59 PM
      Morning of July 19, 2015. Sunday.

      After smoothly moving into blissful sleep paralysis after love-making, the “portal” begins to form, the thin short glowing lines (some moving as if racing with others in pairs) and asterisk-like sparks coming together into forming the usually generic city streets setting, by far the most common rendering of origin in the last ten years or so. I am too integrated to be pulled back by a hypnic jerk (as is often the case where my first very short lucid dream of many nights is of walking on a sidewalk and eventually tripping somehow and falling forward, with an intense body-wide sensation before I begin to integrate back towards the flow of a new dream creation) and am soon in my dream’s incomplete setting and where parts of the street are not yet rendered. I also had not scripted a dream concept the previous evening so I relax my focus as in a semi-lucid dream.

      Shortly, letting my thoughts wander, I begin to remember a brief previous focus on an old dream titled “Yakety Yak” (August 11, 1974) which featured Mad Magazine’s “Spy vs. Spy” character heads and which I had posted on tumblr earlier. As I have learned, it does not take much for a dream to form out of a very short time period (even with full lucidity) involving the focus on even a very old dream or a brief glance at an insignificant and impersonal article in a old newspaper (as with another recent dream).

      A white 1974 Cadillac Coupe DeVille convertible comes into the scene from my left side, seemingly driving north relative to my dream’s implied orientation, but south based on my conscious afterthought concerning my house’s orientation, based primarily on the transition of direction from living here as opposed to living in Wisconsin in America (as it seems a bit like a La Crosse setting), something that is fairly common in dreams that utilize La Crosse settings, and which also make some composites a bit ambiguous in directional orientation (assuming a particular dream does not rotate house layouts and features ninety degrees, or sometimes also symmetrically mirror them).

      There is some sort of confusion with names; “Coupe DeVille” warping into “Cruella de Vil” and I briefly falsely recall that this character is Cruella de Vil in a pointless “aha” moment. I soon realize that this is not the case and that, regardless of my lucidity, it is typical invalid word association gibberish, as the Spy driver is male.

      Soon, however, Spy is not Spy at all, but is now my Revell SnapTite Pteranodon Model from around this same time period (age 13), though there is some transient ambiguity during my focus on the eerie similarity of the heads. As I focus on the memory of how the model’s head swiveled about in reality, its head begins spinning as it is driving (although there is a brief period where the Spy/Pteranodon seems to be shaking his head “no”). Eventually, in spinning so fast, it becomes a helicopter rotary propeller, spinning faster and faster, creating a slight sense of in-dream vertigo as the car and the head smoothly transform into a helicopter, which rises in the air and flies away, leaving a sense of awe but soon decaying into abstract hypnopompic forms.
    6. Pterodactyl (versus my Helicopter)

      by , 10-02-1977 at 04:02 PM
      Morning of October 2, 1977. Sunday.

      Pearl Bailey (who shared my mother’s middle name of Mae) lives a few houses north of me in Cubitis on the same side (east) of Highway Seventeen. She seems to almost be like my mother, or perhaps a “replacement” for my deceased mother, though my mother did not die until 2002 in real life (yet on this same date). She tells me about a pterodactyl seen in the area and from there my dream has Hollywood-movie-like aspects. (In the background, there is some sort of association with “won’t you come home, Pearl Bailey”; and there may also be an association with Beetle Bailey.)

      I eventually have a long, dramatic battle with the pterodactyl while flying a helicopter. It also seems it is part of a movie we are filming with a real pterodactyl and a possible real risk to me. I am not defeated and actually enjoy this adventurous dream. (In real life, I had a larger plastic model pterodactyl that I used in a trick outside photograph of my father where it looked “life-sized”. It had an interchangeable wing, one of which was implied to be injured/torn.)

      I have tagged this as precognitive due to the interesting coincidence of a different “Bailey” being listed directly before my mother’s obituary in 2002.

      A helicopter (as well as a pterodactyl or pteranodon) is a flight symbol, and as such, signifies a real-time subliminal awareness of being in the dream state (and may or may not have an additional meaning), this being a natural association with the consciousness displacement of falling asleep or waking up. In fact, an astounding twenty percent of the tens of thousands of dreams I have documented and studied over fifty years contain flight symbols as such, often being directly linked to the waking prompt for obvious reasons (almost as obvious as the biological-based falling event, which rarely has an “interpretation” and is often solely the incidental precursor to waking).

      Updated 11-22-2016 at 06:35 PM by 1390