Grey = awake Yellow = non-lucid Blue = lucid There's something to do with Regina from once upon a time and a witch. They want to go somewhere with some circular magical construction in a gigantic warehouse made out of a black material, but they need food. Thus the evil witch decides to bring Henry from the same series as food. Regina of course says no and provides the food they need. Henry still goes with them, though. Suddenly there's a scene change to people going insane and violently throwing themselves onto their children. Suddenly I am one such child and someone sits down on me, and I wake up. That was a weird dream with horrible themes. Not good.
No techniques used, completely random lucid after ~6 hours of sleep. Had a long non-lucid dream about wandering around town while being late for work. In the end I ended up on a beach and because I felt extremely tired I laid down on the sand. Immediately, I felt a sinking sensation which I associated with WILD so I got somewhat aware already. I relaxed completely and 'awoke' in my bed the next moment. Being pretty sure of having a false awakening I got up and looked around. My surroundings were more vivid than ever; for further testing I precisely inspected some furniture nearby. I couldn't believe how real everthing felt and looked and RCed to confirm my dream state. Walking over to the window I now saw differences to reality. There was a large window facade and I looked down into a sort of foyer with another wall consisting of glass. Down there was a DC with a bike trying to leave the building through the glass wall but couldn't get through. Thinking to myself that I'll succeed where he failed I passed through the windows (though they seemed solid at first) and slowly floated down. I tried to remember what I had planned to do next in a lucid dream but my memory was largely inaccessible. Only some tasks of the year came to my mind, so I proceeded to fly away from here. Outside I somehow found myself in my parents' garden - but a version from more than ten years ago. Suddenly, flying felt physically exhausting (what kind of nonsense in a dream...) and I woke up.
Morning of July 28, 2020. Tuesday. Dream #: 19,580-02. Reading time (optimized): 2 min 30 sec. I am dreaming in an instinctual mode that transitions to moderate liminal modifications that define my emergence from illusory dream perception to the threshold of wakefulness and precursory physicality. My waking-life identity is irrelevant and absent throughout this process. I am sitting on the couch in the living room of the Loomis Street house (unseen in waking life since February 1994). I have no recall of its history as my dream starts with a fanciful theme, with morphing content. The narrative initiates emerging physical awareness by first acknowledging and defining the immobility of my physical body while sleeping (a fundamental dreaming process). My dream’s narrative begins with the creation of miniature walls (about a foot in height) with the appearance of the front of a barn (the quantization of the virtual division between dream space and waking space), featuring a hayloft door and barn doors. An unfamiliar male character of about twenty years old had been creating them under the management of British actor Mark Sheppard (this dream’s sleep-wake manager) who remains a passive witness, as my dream self is initiating the waking transition in this instance. I instinctually continue the process by mentally creating a new version of the little wall. Its appearance differs from the original design only in that it features four miniaturized drawer spaces (without drawers), of equal size, beneath two adjacent doorways (where the barn doors had been). They are in two columns of two, and the feature matches the width of the barn’s entrance. A narrow column evenly divides the two doorways, directly above the division of the two drawer space tiers. (This feature instinctually acknowledges the compartmentalization of neural activity while in REM sleep, though with the anticipation of achieving consciousness.) Mark looks on as I feel cheerful about this more elaborate design. The modulatory process (co-occurrent with progressing towards wakefulness) continues with a change in the feature. The area where the drawer spaces were is magnified and isolated while the rest of my dream’s environment becomes undefined. I see two miniaturized gray boom gates that mirror each other, facing the center. This feature instinctually anticipates the exit point of the dream state. As a result, somatosensory dynamics initiate. I push down on the tip of the little boom gate on the right, and it springs back up (sleep atonia to myoclonus). My instinctual awareness of my immobility while sleeping (sleep atonia) integrates into the next change in the feature. Mark remains, but I do not look at him. The little boom gates transform as the area is now over twice the size as previously. They are now tonearms that face each other (similar to those of a 1950s record player). I become aware that there is motorized clockwork higher within this feature, though I wonder if the tonearm on the left is redundant or if it might interfere with the function of this device. I move the right tonearm in the manner of how I would use it when placing it on a record. The left tonearm only slightly moves on its own as I do this. Mark says he does not think there will be any problems with the new design. Even though this dream utilizes the usual processes, I found this particular sequence fascinating in its uniqueness and inventiveness. Factors not explained in the main entry: Hayloft door (quantized in the miniature wall): Instinctual anticipation of the vestibular system ambiguity as a result of being in REM sleep. A recent variation of this occurred in “Conspiratorial Murals (‘Tickle Me’ Influence),” where my dream self even made a vocal acknowledgment of the process. Tonearms: Correlation with liminally becoming aware of the physicality and potential mobility of my arms during the waking transition (sleep atonia to myoclonus).
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