Blue_Opossum

Night of June 17, 2020. Wednesday.

Dream #: 19,539-14. Reading time (optimized): 2 min 30 sec.



Before deliberately letting go of my conscious awareness and recognition of being in the dream state (see note one below), I watch the typical rapid morphing of surreal imagery until it begins to slow into something with which I can integrate. I become aware of an audio snippet from “The Solid Tin Coyote” that accompanied the scene where it is striding. (It is a very familiar and nostalgic sound going back to age five when I first saw it in a drive-in theater with my sister Marilyn and her husband.)

I focus on the imaginary sound, and this results in a vivid vestibular response of being the solid tin coyote. However, during my dream, my viewpoint changes. At times, I am the solid tin coyote, cheerfully striding through a field. At other times, I am inside its head at a panel reminiscent of an aircraft. Additionally, I am sometimes watching it from an incorporeal perspective.

Soon, Imperial Walkers (AT-AT walkers) from the “Star Wars” franchise appear on each side. They are slightly shorter than the solid tin coyote. As the solid tin coyote, I happily push them over and avoid their attacks.

Eventually, when cerebral cortex nuances rise above vestibular cortex nuances (that is, thought cohesiveness beginning to overtake the imaginary physicality of the dream state because of higher liminality and more predominant duality), a Boston Dynamics robot dog struts into the scene from the opposite direction. “Mind your social distancing,” it says in a strange synthetic voice, yet while walking even closer to my solid tin coyote form.

“Here’s your social distancing,” I say, and kick the Boston Dynamics robot dog over a pole vault bar about a city block’s distance away.

After this, vestibular dynamics rise above cerebral, resulting in seeing a herd of zebras running to the horizon. (See note two.)

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It is important to emphasize that this is my first liminal to instinctual dream where a pandemic term was perceived, though it still did not trigger any dream state recall of the pandemic itself.

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Note one: In contrast to “becoming lucid” while dreaming (though I have always been spontaneously lucid in the first half of a sleep cycle since I was a toddler, a fact that most people can neither seem to comprehend nor accept), I often utilize the opposite technique. After building a foundation of repeated specialized affirmations (though I never post more definitively scripted dreams online), I deliberately release my conscious presence, so my dream becomes instinctual (without conscious bias, allowing my dream’s narrative to render naturally), which is more intriguing and unique than by way of liminal modulation. (This term includes the sustaining of the duality and knowledge of causal factors between dream space and waking space.) It is overwhelmingly evident that most people lack any understanding of the dream state or its processes, but I try to write as clearly and as honestly as I can. I use specialized software to utilize as low a grade level (concerning readability) as possible for the content, making multiple passes. Despite my AI-reported performance, typically 100% (correctness, clarity, engagement, and delivery), that does not guarantee that my writing is entirely free of errors or ambiguity.

Note two: Anything in my dream resulting from vestibular-cerebral handshakes and their instinctual, liminal, or lucid management, for example, a car, horse, robot, and so on, vary with which cortex is concurrently most active.

Robots correlate more with cerebral cortex integration (and my liminal awareness that the physicality of the dream state is wholly imaginary). Physical forms such as animals (in this case, the zebras) correlate more with vestibular-cerebral passivity as I release my hold on liminality. I have experienced these results in thousands of my dreams since childhood, so there is no mystery as to their causal factors.

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Morning of June 12, 2017. Monday.



As with many of my dreams throughout my life, this dream is far too long, nonlinear, and surreal to relate cohesively online, though I will attempt to relate some of the main scenes as closely as possible.

I find myself with the understanding that I am playing Luke Skywalker in a new low-budget “Star Wars” movie. Zsuzsanna is Princess Leia (even though Luke and Leia were brother and sister rather than man and wife). The movie is implied to be along the same lines as the first “Star Wars” movie and I guess is meant to be a cheap remake. A couple other characters are with us, including a skinny version of Chewbacca, with much sparser hair.

In one scene, we are wading through a pond just outside of a large building, but we eventually enter the building. There is an unknown male near the entrance who is holding people’s credentials until they come back after exploring the building or possibly engaging in recreational activities. One of the unknown people I am with refuses to give the man his identification card and I think there might be some trouble. However, there is no implication of violence. The man instead hands him a small flower on a long stem, or at least that is what he says it is. To me, it looks more like some sort of small plastic rod, perhaps a toy. Still, nothing confrontational occurs.

After wandering about in the halls, we come to a room that is filled with water of about waist high (and thus must have a sunken floor). There is a giant jellyfish that I have to cut off from around Zsuzsanna and possibly another character. I use a large sharp sword. It takes awhile as I slice through its thick but soft body below the surface of the water. Someone shows me a miniature jellyfish that was just found in the small left pocket (of some sort of blue tunic) of one of our group (though this person must have been killed or vanished). This miniature jellyfish is like another one that apparently turned into the giant jellyfish and had entered his pocket while we waded in the pond outside the front of the building (on the left of the entrance).

From here, we walk towards the entrance, somehow not at all wet. Somehow, my “sword” is now a fake “lightsaber”, though not really like a lightsaber at all. I am carrying it horizontally in my right hand. It has a pink blade and a blue handle and is more like a giant toy jackknife even though, again, it is supposed to be a “Star Wars” lightsaber of about the same length. I realize that weapons are probably not allowed in the building. I do not want a confrontation, though none occurs as I fold the oversized plastic blade back into the handle. Meanwhile, the character that had taken our credentials stands without emotion near the entrance.

As we walk outside, I consider how cheap my prop looks. Looking back, I see that the male regards me with respect, and I consider how devoted an actor he is for seemingly feeling comfortable in such an obviously low-budget movie. For a short time, as I walk near a long colonnade, where many unusual characters (some alien, but most humanoid) are lined up to go into the building in the direction behind me to my left, I consider that I may be too old to be Luke Skywalker (who is supposedly meant to be the young version in this film). Still, the movie is being filmed in real time and I will do what I can.

As we walk along, I see what I firstly associate with a “Star Wars” tauntaun running along towards our direction but to our left in an open featureless field. For some reason, I call it an ostrich, mentioning it to the others. It is not like an ostrich however. It looks more like a giant quail. Another one appears, with an unknown female riding it.

In the last scene, Big Bird (from “Sesame Street”) appears as a “Star Wars” character. He makes an effort to sit on one of the creatures but I think he might be too big. Still, he manages to sit on it even though it lowers to the ground for a short time, but then seems fine and strong enough to support Big Bird’s weight. I turn to tell the others, “It’s a bird on a bird”.

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Once again, the preconscious (man at the counter collecting credentials) is not only not confrontational but quite respectful compared to past dreams. Still, this is probably because the flight symbol connection is being initiated (even though Big Bird does not really fly and the giant running quail are at least not implied to here either). Big Bird as my emergent consciousness factor relating to suitably being able to sit on the other bird relates to having deliberately lost weight recently. Cutting the giant jellyfish from around other characters possibly relates to me losing weight as well.

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Morning of July 20, 2016. Wednesday.



I am with my wife Zsuzsanna on a large bed (the most obvious dream sign of all) though this bed is about twice as big as it would be in reality. She is on my right doing some sort of work on a calculator. The setting, though not rendered fully, actually seems to be near an intersection which is on our left (our bed running longways to the street with us facing the street at most points) with a bus stop farther away to our right (a potential dream exit sign; that is, the waking precursor in this case even though I do not perceive myself as needing or wanting to catch a bus either “out” of my dream or to an offset dream), and although I am aware of at least four or five other people nearby, there is no sense of imposition. The location itself is unknown. The implication could be either America or Australia or elsewhere.

Over time, I understand that she had been carefully typing in a program related to calculating percentages. There are at least three virtual panels related to lines of instruction. She seems very involved and serious about what she is doing. Somehow though, I later have the calculator (possibly when she goes somewhere for a short time, but she is back later) and I had put lines of my own programming in, although they may only be REM statements. Still, I realize that perhaps it would have been best not to add to the program as I do not want to alter the outcome of her session even though I thought it might make her results more accurate.

Looking at the calculator again as she is holding it in her left hand, I notice that the programmer’s name appears at least three times on the screen below each group of at least three lines each of a specific subroutine (the screen of which is longer than it should be, almost taking up the entire space of what would actually be the keypad). It sounds like an East Indian name to me, and I assume it is a male’s, likely a college professor’s. “His” name seems to be Padmé Amidala (which is actually the name of the young female in some of the “Star Wars” movies, and I had not at all thought of “Star Wars” at any point recently).