Blue_Opossum

Morning of November 2, 2016. Wednesday.



In my dream, I find myself in an unfamiliar room in an unknown setting that has the appearance of an efficiency apartment (though my dream self does not perceive it as unfamiliar). Dennis (older half-brother on my mother’s side, of whom I have not seen in real life since 1994) is present but appears as he did in the 1970s. There is also an unknown and unfamiliar male present of about Dennis’s age, presumed (by my dream self) to be either his visiting friend or flatmate. However, it remains uncertain if my dream is otherwise implying the apartment to be mine.

Dennis and I enter into an argument when I play “Nights in White Satin” (a song by the Moody Blues) on a cassette player that sits atop a low-set chest of drawers that faces the foot of the bed, though more to the right. Dennis says it is not the original version. I tell him and the other male that they must have only heard later shortened versions. One point made is that Dennis says there are no helicopter sounds in the original version. I tell him that he is wrong. (However, I am thinking of the movie “Apocalypse Now” and the “Ride of the Valkyries” score and somehow confusing it with “Nights in White Satin”, though the similarity between these two recordings is otherwise minimal.)

I am able to sarcastically, with amusement, vocalize the background motif in inverse (that is, with the staff flipped upside-down so that any sequence of increasingly higher notes go down in pitch and decreasing notes go higher in pitch). I am fully aware of how it would sound as such. The other two look on, seeming annoyed, as I repeat that this is the correct version while implying they may have heard the inverted one. I awake with a sense of joy and an instant recognition of my dream’s meaning.

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Decoding template follows:

• Dream type and explanation: This dream uses “return flight waking symbolism”, which is created when the physicality of the conscious self identity is ambiguously perceived prior to the RAS (reticular activating system) neural gating that regulates the sleep-wake transition. Consequently, the dream self identity subliminally anticipates falling, rising, sustained flight, or other illusory movement based on the misperception of the vestibular system’s equilibrium dynamics.
• Dream state induction type: Transmutation of our bed as a subliminal dream state indicator, created as a result of the subliminal memory of being asleep.
• Dream state indicators: The bed and the song “Nights in White Satin”.
• Liminal space symbol: The beach (unseen yet implied), which represents the neural space between sleeping and waking. The relationship to the flight symbol is that the helicopters (in the movie) fly towards the beach and over land from the water (water of which symbolizes sleep and the circadian rhythms dynamics of the dream state and the glymphatic system).
• Preconscious factor: My dream self is already in the emergent consciousness role, which is validated by my subliminal recognition of both dream state indicators. It is otherwise the preconscious that is dominant over the dream self to initiate waking.
• Interconsciousness factor: The unknown male in the background of whose presence does not otherwise trigger a known dream state component.
• Liminal space cessation trigger: The line “Just what the truth is, I can’t say anymore” from “Nights in White Satin”. The liminal space cessation trigger is that which begins to break the illusion of the dream state, sometimes symbolized by a jigsaw puzzle or a breaking window.
• Flight symbol to dream exit point (symbolic waking transition): The (unseen) helicopter as “returning” me to my bed, symbolized in my dream by the unfamiliar bed of the efficiency apartment. (Note that I sit on the foot of the bed, right side, just as I do with my real bed in waking life.) The helicopter rotor system symbolizes kinocilia in the same way as a tornado in the dream state. (However, at a spiritual level, for those who follow the path, it also represents the Merkaba as a tornado also does.)
• Waking symbolism is typically oriented to the right, which is the location of the cassette player as perceived from the bed.

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