Blue_Opossum

Morning of November 8, 2018. Thursday.

Dream #: 18,952-02. Reading time (optimized): 2 min. Readability score: 63.



I become aware in non-lucidity of being in an unknown room in semidarkness. Marilyn (half-sister on my mother’s side, deceased) is watching something on a big screen. (I do not recall that she had died in February 2014, and I had not seen her in real life since February 1994. She appears as she was in the 1960s.) It is not discernible at first. A slide projector and another device are near me. The image on the screen is mostly sky, but there is a fuzzy pale rendering of a broadcast tower. I make some remarks about it. (Eventually, there had been some unusual thoughts about which times near the end of the year that Marilyn had been alive and when she had not, which makes no sense. My non-lucid dream self must have forgotten the definitions of “death” and “life.”)

Over time, I turn a dial on the device and the image of the broadcast tower becomes clearer. Soon, the imagery changes and is taking up the entire screen as a lattice of a broadcast tower. Simultaneously, my dream becomes more vivid. I realize that I can now create and control imagery, but I am not yet lucid.

I bring about the imagery of a tunnel to my right. It is holographic and about four feet up from the floor. It is a corrugated metal culvert pipe. My cat Smokey from over twenty years ago comes through, and I pet her. I explain to Marilyn what cat it is even though she would have known. There is something within my mind about summoning a denizen from the nexus, the space between dreaming and waking, which the cat represents. I realize that the broadcast tower was a deliberate creation to augment the dynamics of my current conscious self identity in the dream state and so I enter apex lucidity, where the dream state is wholly mine. Looking at the broadcast tower lattice, it now appears to have pieces of pillow stuffing in equidistant patterns in certain corners.

I summon a young Zsuzsanna as when we first met in 1994. She shines with internal energy. The tangibility reaches hyper-realistic forms, indistinguishable from waking life other than being more defined than would be possible in reality. We indulge in making love for a considerable time. There is a point where she floats above me, glowing internally, and rushes at me, this stemming from deliberate anticipation. There is a notion of a vampire theme (in a role-playing context, though horror movie scenarios have remained difficult to make as I have gotten older), initiated by typical lucid dream state frisson, but I cannot sustain the concept, as my thinking skills are too active.

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Certain levels of apex lucidity are such a different experience and level of perception and control it is like a different level of existence. The broadcast tower of enhancing the dream state seems as viable as the opening of a door (or opening a wall like a door) or the use of a staircase.

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Morning of September 12, 2018. Wednesday.

Dream #: 18,895-02. Optimized 1 min 15 sec read.



I am in the Loomis Street house on the second floor and mentally form a spaceship out of the front area. Several unfamiliar men are with me.

I operate my jerry-built flying saucer, still made of wood from the house. It rises in the air and enters outer space. One unknown male (protoconsciousness emergence caused by my vestibular phasing response to the dream state) is wary.

I go to Mars and enjoy seeing its landscapes. My illusory sensations of movement (imaginary kinesthesia caused by the vestibular phasing dynamics of REM atonia) are vivid.

“I’m going to the third galaxy,” I tell the others (an association with Earth being the third planet from the sun).

With the silly pretense of metacognitive dream shaping, I cheerfully claim every solar system has at least one planet like Earth, many of which have human-like inhabitants.

I create a planet upon which to land. There are many unusual structures. The “aliens” look like people, but they say “arrow” (myoclonus association) instead of “hello.” I mentally try to prevent them from speaking English, but we hear some short phrases. Because of this, one male passenger thinks we might be on Earth.

I see spiral writing and crosshairs on a computer screen. I read “TTYL” (“Talk To You Later”). I consider I should make the text seem more “alien.” I focus, and it soon mainly contains characters like those from the Netflix “Travelers” series. (It is a science-fiction series about human time travelers).

I summon Zsuzsanna into a bedroom for an intimate experience. My somatosensory response (tactility, physical pleasure, and sense of warmth) increases exponentially. I sit on a bed, and Zsuzsanna sits on me, facing me. The protoconsciousness personification and the other passengers are watching us through a window (with no sense of intrusion). (There is a vague association with the last scene of the James Bond movie “Moonraker” from 1979.)

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Morning of April 23, 2018. Monday.



While lying in our bed early this morning, I enter light sleep paralysis, which automatically brings me joy, a sense of well-being, and enhanced senses, though there is no imagery. I try to will the rising sensation I usually get upon focusing on this state, which usually begins with a tingling all over my body and an eventual sense of floating. This occurs and I feel weightless. I am aware of Zsuzsanna on my left. I try again. A second wave of tingling pleasure fills me.

Believing I am at least partly awake now (but still in a vivid dream state), I see a few random comic strip panels as if floating above me, facing downward. I read some words and word patterns, most of which are the typical gibberish, but the letters are very clear. One end panel says “TWIN” and below that, “TWN”. Another end panel begins with “Dream interpretation is misrepresentation…”.

I believe I am talking to Zsuzsanna about what I had seen, though my eyes are closed for a time. There is a real awakening of which quickly falls back into a false awakening. I seem to be in the Stadcor Street backyard (where we have not lived in years) in late morning, even though it also seems we are inside our present home in bed in semidarkness. (Being aware of two different lighting schemes simultaneously is not that common in my dreams, though it is basically just another aspect of bilocation caused by the conscious self identity being in the dream state.) I still believe that a part of me is awake enough to communicate with Zsuzsanna. A tingling moves through my body again and there is also a flashing. My hand is flashing as well. There is a very intense enhanced awareness. However, looking at the sky, I see a Klingon Bird-of-Prey hovering over the house and a 1950s flying saucer farther to the left. I laugh at my inability to realize that I had not stayed awake during this time. I then wake for a short time for real. My sexuality seems exponentially increased. I am going to have to play around and take advantage of the dream state for a little longer.

Still in very pleasant light sleep paralysis, I decide to augment the state again and hold my conscious self awareness intact as much as I can. I am then in the bedroom on Barolin Street (where we have not lived since 2008 - the house no longer there in reality). I deliberately become incorporeal for a time and decide to try a typical door experiment. I move through the house toward the front door, which is now a large locked steel vault door. I fly as fast as I can will myself to, headed straight to it. As I know it is a dream, and what the door represents (a liminal space barrier between different levels of consciousness and unconsciousness), I realize that one of two events will happen. Either I will wake upon reaching the door, or I will enter an even higher state of apex lucidity by phasing through it. The latter happens. Time seems to slow down and I phase through the door, enjoying the event. I marvel at the beauty of the event and my enhanced clarity of mind.

After phasing through the steel door, I find myself in front of an unfamiliar house late at night, looking back at the other side of the door. From here, I decide to walk and also to bring about daylight.

I reach an area with about ten people to my left, mostly sitting along the side of the road. Most of them are partly undressed. It might be some sort of family gathering. Being in apex lucidity, the dream characters are a bit “off” and “glitchy”. I am looking for Zsuzsanna or a reasonable facsimile of her. I see a girl sitting on an embankment but realize that it is not her. I notice that all of the people have small areas of odd patchy and scaly darker skin. This may be a RAS hybrid of snake (the core RAS modulation factor) and personification.

The preconscious (as an unknown male of about thirty) takes form and walks toward me and I am very annoyed, as I do not want to wake up yet. I immediately split him in two with the power of my thoughts and the sides fall in opposite directions. His partner comes over and seems upset. She looks down at the ground and seems unsure of what to say. I decide to will the pieces back together and walk off to another area.

I summon a sexual encounter. It seems to be a version of Zsuzsanna at first, but soon turns out not to be. She is wearing a cat costume. Unfortunately, she also expects me to interact with her virtual pet first, that she pulls out of a cloth bag, which is little more than a Fleshlight with a toy stuffed cat sewn around it. This greatly annoys me and I go elsewhere. (Otherwise, a cat is an emergent consciousness factor, though remains on the preconscious side of the door of liminal space.)

The people in this new area, half open building, half outdoors, are now taking on a more realistic appearance. Girls walk through a hall in a building of an unknown purpose. I am not sure if it is meant to be a college, hospital, train station, or all of the above. I summon Zsuzsanna and we indulge in pleasure, though I do not undress her. I go through the motions of undoing my pants (which is very strange as I am not dressed in reality and my faux conscious self model should know this). My manhood phases into her (through her clothes) as she leans back against the edge of a wall where a large room is to the left and the hall is to the right and we move together for several minutes. I have zero interest in the people walking around, though they do not regard us anyway. As I wake, I am holding Zsuzsanna close.

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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.

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• 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.

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Morning of October 31, 2017. Tuesday.



The dream state induction symbolism here is water flowing in (most common). The waking transition symbolism here is water lowering over time and “return flight” waking symbolism (most common; over twenty percent of regular dreams and about ninety percent of all dreams). Dream state induction symbolism and waking transition symbolism are inherent to the dream state itself based on the real-time dynamics of going to sleep, being unconscious, and waking, and is unrelated to real life or the inventive untruthfulness of “interpretation”. These forms of induction and waking transition factors have occurred at least once per day for over fifty years. The water induction and reduction is biologically based on the glymphatic system and the flight-related symbolism is based on the reticular activating system (RAS) and inner ear dynamics during sleep (especially as a factor relating to the fictitious dream body as being upright while the real physical body is lying down, which is what causes most falling dreams and is unrelated to the deception of “interpretation” or cruelly fabricated “meaning” to negate someone’s livelihood under the oppression of disinformation - in fact, if you watch a baby sleeping and a noise occurs in some cases when they are in the dream state or when air blows on them, especially their face, they will throw up their arms and automatically briefly maintain a falling position - not to mention the common term “falling asleep” - how could people miss this?).

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Stepping into a beach scene in late afternoon (a very common lucid entry simply because I like the beauty of the ocean and the liminal space of the beach, which symbolizes the state between dreaming and waking), a young version of Zsuzsanna in black lingerie approaches on a black horse. The essence of beauty increases and is appreciated. Zsuzsanna is with me in an extended love-making scene. My lucidity decreases to semi-lucidity though my conscious self identity remains intact. Sexuality symbolizes…wait for it…sexuality (oh snap), at least in lucid and semi-lucid dreams, because, well, that is what I unconsciously will via conscious self identity (it is not rocket science).

Over time, after indulging in sensuality for seemingly a long time, the usual water lowering event as a waking precursor “timer” (common since around age four) commences. (Among other analogies, this directly represents the tidal analogy of the glymphatic system.)

We have somehow teleported, while on our sides, to a field of knee-high grass adjacent to the beach we had just been on. In the distance, I see a red combine harvester approaching, but not that close to our location. “Oh-oh,” I say, but with somewhat of a comedic mocking of the semi-lucid dream content.

A change occurs where some of the ocean water nearest the beach is topped with ice. I see what I think is a helicopter and I assume it is the flight symbolism (end marker) out of my dream. Instead, my dream does not decay but transitions to being slightly more vivid again. “It’s a snowmocopter,” I say, noticing that it is actually a snowmobile (though was a helicopter that changed into the snowmobile).

I sit down on the snowmobile and do some sort of kick start maneuver with my left foot as if I was on a motorcycle. As I am doing this, the preconscious (as an unfamiliar young male) sneaks up from behind me. Some sort of strange teleportation occurs again, and I am standing and watching the preconscious on the snowmobile (as I am standing on the left of the snowmobile), and he is now trying to start it. “Well, that thing ain’t gonna fly,” I say, as he looks amused, as I laugh myself awake.

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Morning of September 13, 2012. Thursday.



I become lucid in a slow entry transition (the usual lucid and willfully manipulated hypnagogia after making love in real life) and our bedroom takes on different features.

Of course, there is still the residual energy of wanting more intimacy and sustained harmony. Zsuzsanna and I eat strawberries (on a small yellow plate) at one point.

After our romance and intimacy, I am somewhat in a non-lucid state now. I become puzzled, more over my decreasing level of awareness (but which vivifies in the last scene) than by the fact our bedroom is rendered with the wrong layout (not directly linked to the lounge room and kitchen as it is in real life). The paint on the horizontal wall boards is peeling (yet it was not before) which I vaguely recall means that my dream is beginning to ebb, yet my lucidity is no longer viable.

I feel an urge to see if the door is open and it is. I approach the doorway. There is nothing visible beyond. I feel puzzled by an anticipatory mood emerging from within me.

The Cat in the Hat’s hat appears in the doorway, though with no cat. It floats in the air, tips slightly forward and I feel amused, waking with cheerfulness and humor.

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This dream has the usual dynamics as have been in the same sequential components (through tens of thousands of dreams) since early childhood, though I have grown to appreciate, enjoy, and greatly respect how the nuances are always slightly different.

Firstly, it is doorway waking symbolism, where a doorway is rendered as the dream’s implied exit point as an emergent consciousness factor (sometimes triggered by real-life environmental noise but not always, as the reticular activating system often uses the memory of a door knock or door-opening sound to activate waking, though no door knock occurs in this case).

Secondly, the sense of puzzlement is what causes the stovepipe hat to be rendered. Although “The Skunk” is an early childhood dream from 1965, it has very similar dynamics, where the white part of the skunk formed a question mark when I entered the higher liminal space of unconsciousness while becoming closer to consciousness (and also ends with doorway waking symbolism). Stovepipe hats represent the emergent consciousness and the concept is related to “put on your thinking cap” as analogous to waking from the dream state (emergence of thinking skills which the non-lucid dream self does not possess). They have featured as such in a number of my dreams since childhood.

Finally, the essence of a cat is linked but not fully. Depending on the dream of course, cats often serve as a liminal space symbol. This is mainly because of my childhood association of a cat sitting on a fence, a fence being the division between unconsciousness and emerging consciousness.

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Morning of September 19, 2017. Tuesday.



In the first part of my dream, in the first non-lucid segment, I am in a typical scenario where I am in a bookstore (or what is firstly perceived as one) and looking at various comic books and graphic novels. This goes on for a long time as I gather a stack together to keep. The books are unfamiliar, thus new to me, though some are implied to be older (as far back as the 1970s).

At this stage, the personified preconscious is present as a younger unfamiliar male. Curiously, he is painting, as if there was also an art studio here. It is not much bigger than A4 size and lying on the table that I am sitting at eventually. It seems to be a landscape with flowers in the foreground.

I tell him how I had painted, with a paint-by-number kit when I was a boy, two skulls. I explain how they were two singular portraits of skeletal pirates, shown from about the chest up. (This is based on a real-life event and thus atypically, is a real memory.) He said he had never heard of them. “Oh, they were quite popular,” I reply. I then go on to describe how my older brother Earl had started a very large paint-by-number of the Mona Lisa, but had never finished. (This was also a real event, from the early 1970s.)

Eventually, I decide to walk out of what now seems like a second-hand store. I have a stack of graphic novels and comic books at least a foot high. However, it seems confused with the free bookstore, where (in real life) there is no one present other than the patrons and one is trusted to trade books of equal value on their own. A cashier, an older unfamiliar female, stops me by asking what I am doing. She is at a counter to my right. Apparently, I have to pay for the books, possibly a lot of money, which I do not have on me, which I tell her. I also protest in that I tell her I had left food on a previous visit. It does not seem to matter to her. I still apparently have to pay for these books now.

I take out my wallet and the contents of my right pants pocket and see that I have only coins, which I place on the counter, which has now suddenly shifted to the opposite side of the room and farther back from the entrance of the store - a subliminally willed (non-lucid dream control) attempt at reinduction, that is, I had consciously but subliminally willed the counter back from my dream’s implied exit point as well as shifting it from the right to the left, as right is more typical of waking symbolism orientation. (The checkout of a store symbolizes a specific level of emergent consciousness as a common liminal space end marker in my dreams, fully understood as such since I was very young. This does not mean every dream ends shortly after a checkout is rendered, but it does indicate a precursor to an expected shift in consciousness, not necessarily full wakefulness, though that is often the case).

The preconscious factors had transmuted from the artist (which symbolizes potential lucidity, though my non-lucid dream self does not realize this) to the elderly female cashier, though an unfamiliar male with a beard joins her on her right (the same orientation Zsuzsanna and I are presently sleeping in). The other male looks at my coins. Three of them are unusual in that they are mostly featureless other than having an embossed circle on them. “These are tally-hoes,” he says. This seems to mean that they may not be coins for buying something but possibly for use with public transport, or perhaps of little value. (Of course, “Tally-ho”, here an absentminded association with tallying up the total price as in “tally whole cost”, is here also a codeword for the waking transition analogous as the dream self hunting for the fox, which represents the precursor to coalescence back into conscious self identity and critical thinking skills or cleverness which the dream self does not typically possess.)

From here, my mode of non-lucid dream control increments. I decide to leave the store with the books anyway, by teleporting and phasing through the entrance door without opening it (another form of subliminal reinduction, that is, even though I do not know I am dreaming, I deliberately manipulate it, a very common state of in-dream awareness for me).

Still, they are heavy to carry, but I do not mind that much. It seems to be late at night. I notice that the moon is of an unusual appearance as a number of unusual clouds encircle it. The moon imagery is within the blue sky even though the rest of the sky is dark. Understanding that this image of the nighttime sky is absurd, I now become fully lucid and I decide to actively change and sustain my dream.

The first act I perform is to joyfully throw my books onto the ground, as there is no sense in carrying them (or to be weighed down by them) in the dream state. I feel physically lighter and very happy to realize I am dreaming due to lifelong understanding of taking full conscious self advantage of this state. I enter apex lucidity and decide to create a park and have a sustained and augmented sexual encounter with Zsuzsanna. After this, I will it again. Parts of my body are “buzzing” with pleasure and our climaxes are extended (probably due to the Tetris effect from so many real-life events). However, I eventually shift into a different form of lucidity, where my dream is so realistic, that my dream self starts to question if my real physical body is somehow walking around (which of course is a ridiculous thought, but this has happened in past lucid dreams of a higher and sustained form), so I decide to initiate waking to find that I (that is, my sleeping physical body) had not moved at all. Still, there is something about the bliss, freedom, and even perceived safety of apex lucidity that is hard to describe.

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Morning of June 13, 2017. Tuesday.



I find myself wandering in a distorted version of Cubitis, seemingly in the morning at first. The area within and near the carport is expanded to at least twice its real size. I am walking easterly and happen to look back to see two shadows, male and female. They are not deliberately following me, just going in the same direction I am, it seems, but something in the back of my mind, in dawning lucidity, makes me perceive them as Zsuzsanna and I as a precursor to being in the state just prior to waking.

Over time, my lucidity increases until it shifts into full apex lucidity. A young version of Zsuzsanna is present, appearing to be around the age when we first met. We stand in semidarkness in an unfamiliar bedroom. An unknown male stands off to my left. I am not concerned. He does not seem to be an active precursor of the preconscious, so I mostly ignore him while indulging in foreplay with Zsuzsanna. The sense of touch is extraordinarily augmented. We kiss, and I place my hands about her shoulders. Everything is perfect.

Eventually, my awareness increases even more, but I hear Zsuzsanna now whispering things to me that seem different from what my own mind is focused on. My fingers move over her skin, down over the small of her back. I am trying to work out what she is saying but some of the words are not clear. I ask her questions, but eventually only vividly hear her say what I take to be “sore”. I then assume she has physical soreness and I am somewhat disheartened. However, as I shift into full waking, I realize the word was meant to be “soar”, as in the very common waking symbolism of “return flight”. (I see a flash of a childhood dream from November 1968 where I watch a giant eagle-like bird flying.)

Over twenty percent of the tens of thousands of my dreams I have studied and decoded since early childhood contain the return flight waking symbolism of the hypnopompic biological event (of various degrees of subliminally anticipated intensity). This major naturally premonitory precursor is somehow always unique even though the meaning is basically always the same, simply symbolizing the return to full consciousness. It is however, often curiously mixed with other dynamics, sometimes even precognitive (such as my detailed dreams relating to the missing Malaysian flight).

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In lucid dreams, the nature of shadows sometimes comes into play as threads of dawning consciousness (since you cannot have a shadow without light, light representing the day and the conscious self identity). As the sun would symbolize the present whole conscious self identity (which is why strange things occur with the sun in non-lucid dreams - because the conscious self is not coherent or lucid), a shadow would indicate threads of conscious self awareness growing in the dream state (which strangely, at least apparently for some people, the non-lucid or fictional and incomplete dream self sometimes fears). My own shadow usually only appears in vivid lucid dreams and sometimes I indulge in moving to see if my shadow moves with me, which is always amusing, though if I am in a lucid dream where it seems I am deeper within sleep or the unconscious realm, my “shadow self” appears at more of a distance away, sometimes even on a bridge (which symbolizes the transitions between levels of consciousness in real time).

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Morning of May 17, 2017. Wednesday.



I was experimenting with a different type of induction last night. Needless to say, it had a very odd influence. Only the last scene is partly based on a conscious script.

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In the first scene, I am in bed in our present home but not lucid. I am aware that we have a 3D printer in the lounge room. Zsuzsanna tells me about making something with it and I assume she means something like a figurine, perhaps a cat or teddy bear knickknack.

Instead, she brings over what she made and it turns out to be a section of teal-colored embossed cardboard of about A3 size. It is somewhat shiny and the design is made up of equidistant curled leaves with S-shaped lines connecting them.

The personified preconscious appears, but curiously does not dominate the scene or initiate any familiar waking symbolism. He seems to be wearing some sort of large orthodontic headgear, like a metal frame slightly higher than his head and sitting on his shoulders. We sit facing each other. I see “him” as some sort of unusual “partner” who may actually be female. I vaguely think of my mother (though my father as well for a short time), especially as the setting seems to be a version of the northeast corner of the Cubitis living room - but I seem to think we are the same age even though “he” seems to be around eighty years old. I try to project deep love into his (her?) eyes. We might even have been married for fifty years or so. The eyes knowingly gaze back at me and I sense both weariness and incredible persistence despite the state of their health. I try to be sincere in my love, regardless of how bizarre this entity appears. I want to make sure that this entity is aware of my love for them. I keep staring at “him” and slowly, it seems that she is going to go shopping.

I stand up and look down at her as she is still sitting and facing me. The inside of her head is mostly hollow, somewhat like a container. It seems very strange to me that there is no discernible brain. In fact, the back of her head is mostly missing. When she looks up at me, a lot of white and red fluid flows from the back of her head (over the lower edge of the open space) onto the floor. I am puzzled as to whether this could be problematic and whether it relates to some sort of left-over brain energy. I tell her of this but she seems slightly annoyed over my concern for her and gets up to go shopping. At this point, the area seems to be somewhat like the second floor of the King Street boarding house, the second room back from the front (north) of the mansion. However, it turns back into the Cubitis living room in the next scene.

I am in the semidarkness now but a doorway is discernible from where some light is coming through. It is a bit east of where the hidden door was in reality to the room my father built (which blended in perfectly with the knotty pine wall as it was the same piece from the wall).

I go over to it and look out and see that it seems to be late morning. There is a slight lucidity, which begins to grow. I absentmindedly create several random dream characters that walk about in the yard between the orange grove and the carport. Despite doing this, I am not fully lucid (and still consider whether I am dreaming or not). I feel slightly annoyed that the doorway does not seem wide enough to suit me (even though it is). I use my right hand and arm to actually move the entire right door frame so that it slides back like a sliding door (even though it is not a sliding door). (Despite my age, I do not presently recall doing this specific act before in a dream, as potential re-induction is usually only based on opening a door, not causing the doorway and wall to change).

I walk over and sit on the ground and have a younger version of Zsuzsanna stand over me and we soon indulge in lovemaking. An unknown young Asian male, in some sort of Darth Vader costume (though without the mask) stands too close to us for a time. I push him away, though not making him fall over. There is a soft awakening, but quite different than the blissful one of one of my dreams from yesterday.

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This is apparently the first time that re-induction was subliminally initiated by the “brains” of the preconscious persona spilling out of the back of “his” head onto the floor. Whatever next. (This level of subliminal control over the transpersonal is amazing, I think.) At least it delayed my waking transition for about ten minutes.

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Morning of May 16, 2017. Tuesday.



This dream shifts into apex lucidity with automatic but unintentional re-induction from an ongoing non-lucid dream. It is not scripted. (I do not yet post scripted dreams of most types and I usually do not post sexual dreams, at least more graphically, regards of numerous ones in a sequence on a typical night, which are sometimes triggered by the Tetris effect.) For the record, this is also why I never “answer challenges”. It is too easy and unfair to people who do not understand what dreams or different levels of consciousness are, since dreams can so easily be scripted (on at least three different levels - visually, situation-based, and core affirmations), especially when one fully understands both induction and waking symbolism (of the same type used in hypnosis and guided meditation). However, I have always held a greater interest in documenting non-lucid dreams even if they are mostly only induction, dreaming, and waking symbolism (other than the common day-to-day remote viewing and precognitive features).

My dream starts in a non-lucid form. I am with a young version of Zsuzsanna (who appears as she did in 1994, when we first met). I do not take conscious notice of this. We are living in an unknown second-floor apartment. For some reason, I have to go somewhere. I find myself carrying two suitcases (of the same color and design I had when arriving in Australia, that is, there are two copies of the “same” one). This is not possible of course, but I still do it. The two identical suitcases, I somehow carry by the handles in my right hand at the same time. I go down a staircase and through a door at the bottom.

Of course, going down a staircase (of about sixteen steps) in a dream is a common real-time re-induction event and automatically shifts my consciousness (just as in hypnosis and guided meditation). My conscious self identity starts to increase more and more (and going up a staircase often does the same thing, though going down is usually induction or re-induction while going up is waking).

Stepping through the door is an additional “kick” into greater conscious self awareness (though which more often serves as waking symbolism as the actual waking prompt itself). In fact, as I turn about to go into the (unknown) backyard, the suitcases seem to dissolve (though up to that point, I could still clearly feel them and I was even aware of them bumping together - again, regardless of how carrying them this way would not be possible in reality). I reach such an augmented level of conscious self awareness that I am puzzled (that is, I fully know that I am dreaming, but it does not seem possible for a dream to have this much clarity regarding real-life perception even though I have experienced it all my life since around the age of two). There is no difference in how I feel and perceive from waking reality, other than deeper, smoother breathing and less body weight. I remain puzzled because I am trying to decide what to do. It is nighttime and the area is unfamiliar. Our fictional second-floor apartment seems near the back of a building and is near a commercial area, although there is a field on one side.

For now, I start walking, amazed by how real it seems. I look across the unfamiliar street and see a Cat Excavator on display in a storefront window. Of course, this is a metaphorical association with “digging deeper” (that is, looking into old memories, which is really not that important to me at the time). I notice an unfamiliar man and woman walking by the front of the store. From across the street, (by mental will) I “wipe” the excavator display from the store window. I do not see anything to read (such as the store’s name) and then start to consider how much time I have before circadian rhythms start to kick in (as this is my last dream of the morning).

Of course, I instantly think of indulging in sensuality, as, in dreams, sexual acts transmute into high levels of spiritual awareness and blissful, expanding coalescence factors in addition to the increased sense of touch. (This of course is because the dream body is not actually physical - something many people seem to completely lack the understanding of, which is why many of my dreams switch back and forth in phasing, from being incorporeal to being in my fictitious dream body).

I decide, at first, to will numerous dream characters into the field and watch them walk around. There are probably about twenty or so. I change their age and sex for several minutes. (This is similar to the non-lucid beginning of apex lucidity in some cases, where a dream character will switch identities at a rate of two per second, until my conscious awareness kicks in, which I then augment by going through a door for full control.) I am doing it here at a rate of about two per second. However, I decide to stop messing around and bring the version of Zsuzsanna that was in the apartment up to me. She approaches and lowers to give me oral pleasure. It does not matter that twenty other “people” are walking around in the semidarkness. It is just a dream. There is no symbolism in this type of dream, as lucid dreams are made by the self (though instinctual dreaming is as well).

From here, instead of a climax, layers of bliss start to flow over me almost like layers of “additional skin”. I awake with no discernible shift in consciousness; just a subtle “wave” of “ghost skin” rapidly dropping away from my body. This is an atypical way to wake (probably my “softest” waking to date), as even in scripted dreams there is often a hypnopompic event that kicks more than in a normal dream.

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Morning of April 8, 2017. Saturday.

Dream #: 18,373-03. Reading time: 1 min 46 sec.



Zsuzsanna and our family as we are now are at a futuristic craft fair. There is a big round table that rotates as it displays different sections of holograms of various craft projects such as teddy bear kits, stuffed owls, and clothing items. At times, they almost seem to solidify, and I get the impression that some of them do with a purchase. There is one point where “real” pins and needles seem to be on the table. The imagery is beautiful. I am thinking of what items I could get for Zsuzsanna.

I enter a mode of thought where I know I can create and control events but without dream state awareness. I mentally try to complete a Hot Wheels race track. It is difficult but a section at a time appears and eventually covers a long table. (The first part starts as a loop.)

I focus on an overhead view of several different kinds of candy bars displayed on a panel, possibly an advertisement on the tabletop. I try to cause the image to become “real” candy bars for us and our children. I become annoyed when my will does not seem to be strong enough. I slap the image with my right hand, and as a result, all of the candy bars become “real.”

Soon, I vaguely become aware that I am dreaming. Zsuzsanna and I are then on a big bed in a room filled with them. While on my back, we make love, with Zsuzsanna over me, leaning forward. Many other people are around, though most are in a different room.

There is an enhanced and sustained sense of touch. I do not want to allow RAS mediation to dominate as I am closer to lucidity. Still, the preconscious simulacrum appears as an unknown male of about forty, walking in from the left side of the big room. (All other dream characters remain on the right side of the setting.) He approaches the right side of the bed. I imagine a gun into my right hand and shoot him several times in the head and chest as the waking transition is already underway.

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There is a precognitive tag here as I did not know I would soon be seeing a scene from “The Scorpion King” where a rotating table of the same size and height as the one from my dream is featured. It might be a “message” in that the movie scene features a test with a sorceress putting her hands in various vases with a random placement of cobras. She pulls one out but controls it, thus displaying even more power (and control) than previously.

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Morning of September 22, 2016. Thursday.



It seems to be late at night and I am walking with Zsuzsanna in an unfamiliar small town. Somehow I get distracted and find myself on my own in an area vaguely similar in some ways to an area near a church in Bundaberg (though I do not consider my location or have any concern about being in an unknown place). Even though I am not lucid I try to focus on a large stone water fountain as if I am subliminally aware of the nature of water induction to increase the depth and clarity of the dream state.

An unfamiliar priest approaches and seems to want me to move on or is there to tell me what to do as perhaps he does not like me being here so late at night. He tries to impress me by causing a moonbeam to create a glowing circle on the surface of the water. In a way, it seems rather eerie to me, though I vaguely recall it as a circadian rhythms factor (again, even though I am not lucid) and relative to moon or moonlight induction.

“So what,” I say. “I can make the sun come out in the middle of the night.” (I say this without realizing that the sun represents consciousness or the conscious identity within the dream state and thus I am actually talking about lucid dreaming without being lucid.) The area that the priest and I are standing now seems to be a storefront. I move my hands with a level of mental certainty and expectation that the sun will rise at my command, though again not being lucid at this point. Instead, a small sunbeam reaches my feet. At least I accomplished something based on my claim.

I decide to turn around and use whatever sunlight there is to mock the priest by making various shadow forms on the outer wall of the store. A circle of light (almost like a spotlight on a stage) of about a foot and a half in diameter appears on the concrete block outer wall. I lift my left hand up and make an incredibly realistic monkey shadow (after a few false starts with rabbit and dog heads), complete with legs, arms, and a tail, and moving about like a real monkey, almost as if suspended on its own. “Chee-chee-chee-chee,” I utter, happily making my version of a monkey sound. The priest seems to feel insulted as well as outdone by my miraculous abilities and thus he walks off. Even though I am still not at the lucid stage, shadow play is fairly common in certain vivid lucid dream types. Typically, the shadow symbolizes the dream self as “casting” conscious self identity into the dream state (at least when it is a human “duplicate” of the dream self though here, my dawning consciousness is apparently very playful), though this situation does not yet trigger my lucidity.

As I walk, the sun finally rises fully at my subtle command and with no “glitches”. As a result, my consciousness becomes more fully integrated into the dream state in a lucid sense, though not quite apex lucidity (full automatic control with enhanced senses and full body awareness even with full weight and momentum discernment). Just as I turn left around a corner I am at full conscious clarity, which I immediately find very thrilling. I notice a young version of Zsuzsanna (probably as she was a few years before we first wrote) standing on a garden wall of about four feet high, though I do not question this oddity. Several others (all unfamiliar) are standing around, possibly waiting for a bus. Zsuzsanna may also be waiting for the bus even being up on this wall. I hover and move up to stand on the wall with her. She does not seem to recognize me yet and takes on the essence of the preconscious personification.

“This is my dream, so we will get together and have some fun,” I boldly state. “I don’t care about these other people standing around.” She seems to slowly agree or at least lets me hug and kiss her passionately for a long time. Becoming more and more stimulated I indulge in various sensual events (the sense of touch augmented), though meanwhile, three times, for no particular reason, I decide to shoot large masses of spiderweb out of my right hand. One car becomes fully covered in my web, the imagery of which I find amusing when I look back. A couple people are swept back and stuck onto buildings but are not harmed.

Eventually, I notice a large unusual-looking airplane flying in the sky (from right to left). Its wings are up and back almost like a butterfly form and I feel a sense of beauty. Curiously, I do not mentally register it as the “return flight” waking transition symbol even though I have experienced the same metaphor thousands of times in various dream types (though not in the majority of lucid dreams). I notice a very unusual bookshelf-like structure on the other side of town and which seems to be atop a mountain. I focus on this. Although it vaguely reminds me of “Hollywood Squares”, the platforms (or seating areas) are at different levels. There are at least nine demigods in yellow Tibetan monk robes sitting and standing within the structure. I assume they are perhaps thirty feet tall or more. The visible forward edges of the skewed “Hollywood Squares” structure are mostly cream-colored, orange, and yellow. The demigods begin singing to Zsuzsanna and me very loudly and with love and happiness. The music is very clear and rhythmic and very enjoyable (though of an unfamiliar melody which I may record at a future date). They are singing something about tilling and gardening, something like, “In the morning when you wake up, till the soil with love…” and another phrase with “tilling” in it and something about “the next morning you will find”. It goes on for several minutes and as I hold Zsuzsanna, I slip into a less vivid and non-lucid false awakening as the airplane reaches the midpoint of my perspective, over the seemingly divine structure. (Of course, this structure symbolizes the sunrise and waking as non-lucid dreams typically do in the last segment - even though I am still semi-lucid - and a cheerful conscious coloring of my day ensues.)

In the false awakening I am with Zsuzsanna sitting on the floor of our present home. Our youngest son is present. He seems to have gathered seven unusual creatures (there are seven in our family). They seem to be some sort of unlikely composite of seashell, caterpillar, beetle, and chrysalis. For some reason, I point out to Zsuzsanna that they are “brains”, although I add to their number (starting with three, I think) as I notice more and more of them (though still a total of seven). Their shells are very complex in coloring, with mostly thin bands and paisley-like patterns of browns, yellows, and cream colors. There are two different shapes, the two largest being somewhat cylindrical and the others like trapezoidal prisms.

I look at a magazine page that Zsuzsanna is looking at. At first, I see the same airplane as from my previous dream, though as a silhouette in a full page sky photograph. As I tell Zsuzsanna about the dream I just had (the most common false awakening scenario for me other than actually attempting to write it out and soon seeing that my writing changes or that I had written nothing), I tell her how this looks just like the airplane from my dream. I find that unusual but when I look again, I see that it is an upside-down helicopter silhouette (a second “return flight” transition that actually represents my false awakening and how one of the first things I ever heard Zsuzsanna say on her first cassette which she mailed to me being “so if it sounds a bit upside-down, it’s from down-under), which I find rather curious - and from here I actually wake.

Morning of March 31, 2016. Thursday.



I find myself in a new composite setting and this one is mostly modeled after the Cubitis living room. What is different is that the door to my room is not present and a bed is aligned along the west wall (which would have covered the door had it been there as in reality). Also, the front door to the carport is instead implied to be an arched opening to another room. Very light blue curtains hang down over the area.

I am lucid but not yet near apex lucidity. Still, I focus on my perception for several minutes. Being directly linked to the preconscious and my conscious self identity, I start to think about the nature of ghosts and such (and creating a haunted house adventure) but I soon change my mind. Instead, I decide to create a sexual encounter. As curtains over an otherwise open doorway is a form of autosymbolism that designates division of liminal space (the metaphorical “barrier” between dream self and conscious self while in the dream state), I use it to vivify and sustain my dream as I have done in many other dreams. (Additionally, a carport or porch is liminal space in both dreams and reality and is typically the last setting when occurring in a non-lucid dream. Knowing this as I have since childhood also aids in vivifying a dream.)

“The hand and arm of a beautiful young girl will emerge from between the curtains,” I say. Very soon, a graceful female’s hand and arm is protruding from between the curtains. I feel a strange but very pleasant sensation as if a veil is being pulled up and my clarity grows and intensifies. I then add more scenario detail and the ideal form of Zsuzsanna eventually steps out with an incredibly friendly and familiar essence. She is dressed only in light blue lacy lingerie. We make love on the bed (I am on my back and she is over me, facing me) and eventually my dream shifts as I allow it to. It is the same setting but there are other people present now, mostly relatives and a few unfamiliar people.

I notice an Archie comic book on the table (on the opposite side of the room as the bed). It is open to a story where Archie seems to be interviewing or at least talking with a football player. Jughead is seated nearby. There is a plate with a piece of cake on it. I effortlessly will the small slice of cake out of the comic book onto the table and eat it.

“Wow, this is the best cake from a comic book I ever had. It is fantastic!” I say. I pretend to almost pass out with delight. Witnesses, especially the personified preconscious, eye me with suspicion. The cake really is delicious, but perhaps they think it should taste like paper.

As the drawing still exists on the comic book page, I will it out again and eat another of the “same” slice. “This is the best comic book cake ever!” I exclaim. I pretend to fall over backwards in ecstasy (the bed is now on the opposite side of the room by my will) and I deliberately decide to become unconscious and of course becoming unconscious in a dream is waking up into reality or so it is with me when I choose (though sometimes I wake when I wish by opening my “other eyes” in a dream, though this is hard to explain, but I have done it all my life with certain dream types, even non-lucid).

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Morning of January 15, 2016. Friday.



This dream was really odd in what I first thought was random distortion, though I soon began to grasp at least three layers of meaning in a fairly short time, one layer (the most likely, I think) which I will share here.

I am making love to Zsuzsanna in an unknown and unfamiliar setting - what seems to be a fancy hotel room. The made bed (closer to the cater-cornered door than where we are) has its headboard against the wall. I am directly on the right side of it on my back on the carpeted floor, facing the opposite direction of the headboard (with my feet closest to the table and lamp near the wall). Zsuzsanna is on top, first facing one direction than facing the other (in two different events - the sense of touch and localized awareness of heat being very elevated).

I am becoming more and more aware (though not lucid) and soon notice several miniature wolves (slightly smaller than a cat) running around in midair (at about shoulder height), one directly above the pillow. These wolves are not threatening in any way, just mildly distracting. I start to wonder how many there are or if they will become less chaotic (for example, to form a straight line somewhere).

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My reasoning was almost stumped until my interpretation ability flowed naturally. What do people supposedly do when they want to sleep? Count sheep, of course…miniature imaginary sheep that hop over the would-be sleeper and his pillow and are sometimes imagined as floating in the air. This is inverted on possibly two levels. Instead of counting sheep, I am already in the dream state, so the “opposite” form appears - wolves. They are also not lined up to count, implying the dream continuing without waking (though they still may imply the waking mechanism since dreams often implement opposite “what if” ideas). There may also be an association with sheep as related to the popular non-word “sheeple” to describe unaware people. Wolves imply freedom and intelligence over the unaware conformist. However, something being in mid-air, I happen to know (by being directly told in the dream state) that it may sometimes mean “not getting enough support”, which may relate to my perception of much of humanity as not being very aware - or even interested in their own mind and dream states.

Morning of August 14, 2015. Friday.



My dream starts in an unknown building which seems to be a two-storey halfway house for both troubled and homeless youths and adult recovering alcoholics. Richard B (have not seen him in over twenty years) is leaning out a window on the second floor and hammering nails into the outside of that window frame for weatherization and is being filmed for some sort of instructional video. (I am not sure why he is doing it from the inside rather than having a ladder set up on the outside; it would be more feasible, and in fact, to complete the job would be impossible from the inside.) I clean up a room fairly quickly and there is also some painting of at least one room going on.

At one point, I am lying on a mattress in a large room. I get the impression that my mother (deceased) has kept me awake all night from moving potted plants around and doing other things (such as preparing business letters), which is problematic, as I am too tired to get up and go to some sort of school event or other scheduled meeting (though I am aware it is near the last day of school). However, I am also aware that my going to this event is not necessary or I may be wrong with what I am thinking as I may not have to go after all.

Later, I seem to be about twenty years old or younger and am in a room where the house mother (a male that seems to be my foreman from my old Ford Taurus manufacturing job) is writing on a chalkboard. (A “house mother” is typically a strong stocky male that oversees a halfway house.) He has written on the chalkboard (in cursive handwriting) a message concerning about seven or eight new tenants. I read the writing and note that it starts with “Let us all welcome the new tenants, two of whom are from the Karaoke and Lansing tribes” and this is followed by about seven or eight surnames including mine being about the fourth one. I do not sharpen my focus to read all of it, so it is probably not relevant to remote viewing (although the term “Karaoke tribe” actually does exist, oddly enough - which is apparently a group of people who go around singing in various venues and based in La Mirada, California, which I had not known of previously).

Later, I am in the same room, but only one other tenant is present other than the house mother. I say fairly loudly and clearly, “I am going to test if this is a dream.” The two others do not seem to mind. I focus and, while standing, lift both my knees up and hover in the air, rising to the ceiling in eventually a standing position. “Well, it looks like this is a dream,” I say casually, and the two others nod, smile, and agree.

From here, we all fly out from the building through a window on the second floor. However, I fly too close to the building and bang the right side of my head on the eaves. It does not hurt that much, but I feel a strange vibration, like my head is a bell and has just been rung. I note that the others have flown off elsewhere.

When I fly around, I am astounded by the beauty and clear detail of the fictional setting. I then start to think, well, it is time for an outdoor romantic interlude. I fly down near an area where I notice a younger version of my wife in a turquoise bikini, though there are two young males around that may be her younger brothers, though they do not seem familiar otherwise (in other words, not resembling any of her real brothers). An older chubby lady keeps coming out of the house and going back in (and Zsuzsanna does a couple times as well). I am not sure why my wife is seemingly living here at the time. The lady reminds me of a young version of Clara Peller (from the “where’s the beef?” commercials). Eventually, I take my wife behind a shoulder-high hedge that runs parallel to the house’s property line on the right side of it, but annoyingly, the other three people keep coming out and randomly walking around the hedge. I try to shoo them away, but eventually give up and just do what I had intended. Briefly, my wife seems to transform into a part of the hedge and back again which seems a bit strange, but I do not focus on it, and I fly off again shortly after fulfillment (which is quite visual).

From here, I explore another building with amazing clear details, seemingly on the second floor again. I walk by a room that has a low table (about knee-high) that has an image with a teddy bear on it (and there are many other clear details). It looks painted or like a very large decal. The image is quite complex and I am almost certain in afterthought that it is the print of a postage stamp (though I could not find any image close to it anywhere). The teddy bear is in a sailor suit (blue with thinner white stripes) and there is a lot of blue and beige in the image including a beige border. It is sitting near other toys, including a pull-toy of a duck. Exploring other rooms, the visual clarity is almost overwhelming. (My wife reminded me of a cross-stitch design she did similar to the image that was on the table.)

After all of this vivid imagery and flying around and sensual movement and sharpening my focus at least four times throughout my longer dream (with a strange concern about my in-dream breathing at one point, where I have to stop and catch my breath a couple times), I decide to let it go, as my head is starting to feel a bit in “overdrive” and I wake immediately.