Blue_Opossum

Morning of November 27, 2016. Sunday.



I become aware of exploring isolated areas in my pretense as a biologist who works for the government. (This pretense is based on non-lucid dream control, as there is no lucidity, only the knowledge of making and controlling my world and my experiences.) I find myself on this journey with growing curiosity. I intend to remain friendly, enjoying new depths of exploration.

In late morning, I wander into a dense cypress swamp of which has the appearance of the beautiful area I lived in in Florida when very young. There is an old wooden building on the bank of a river. An old unfamiliar black male lives here. I explain to him that I am getting samples of the water as well as samples of the flora and soil. He is cheerfully friendly, unsuspicious of me. Before I leave, I explain to him that our world is badly polluted, which surprises and concerns him. I pretend to conspiratorially catch myself in this “accidental” revelation and “stop myself from saying more”. (Non-lucid dream control is like simultaneously being an actor and director of a movie, with staunch pretense in scenarios, yet with no in-dream recall of what a dream is.)

I soon find myself in Australia, without contemplating that one cannot quickly walk from Florida to inland Australia (and I do not recall teleporting). There is an unknown female who runs a refuge for wild animals in an isolated area. I explain the nature of my work to her as I conduct tests on several kangaroos that had been standing in a circle.

I next find myself in an unknown man’s house. He has at least one son and daughter, both young. I apologize for my intrusion and explain that I am continuing to another location that can only be reached by way of a hidden door in his house. He trusts me and he and his children follow me into the area. It is a large bunker that had been built by the government. There is a laboratory and supposedly (at first) enough food to last for weeks. I look at the contents of a box of cereal. The multicolored cereal is unusual in appearance but tastes sweet. It resembles twigs of various colors with blue honeycomb-like football-shaped pieces.

I look outside through large windows and see what I first think is Sydney Harbour. However, what I first perceive as the Sydney Opera House changes ambiguously into a lighthouse and then a hotel. I see several children, mostly boys, climbing over rocks on the shore, in front of the windows of the bunker. Even though the area appears to be open at this point (without an outer wall on this side of the bunker), I reason that it is a holographic projection that looks and feels like rocks but only from the outside (similar to the scene from “Star Trek: Insurrection”). As I am leaving, I look back and see the unknown man and his kids looking in cabinets under the laboratory counter. I now see that they are empty (even though they seemed full previously). I see that the man and his son are amused that the government apparently does not have the resources to stock this supposedly important bunker with weapons, laboratory equipment, or additional food and supplies. I do not feel embarrassment or concerned as I am on my way elsewhere.

I next find myself in an unknown region near the ocean. I am with an unfamiliar male in our task force. We supposedly have a large motor yacht with a lot of special equipment. We are going to conduct tests on ocean life, including plankton. However, as I illogically set about to push what first seems like a large motor yacht into the water, it becomes a small skiff with no outboard. It quickly starts to sink. This annoys me and I try again by non-lucidly resetting my dream. I make at least three attempts, but I become frustrated. My pretense is no longer viable to non-lucidly continue my dream.

The ocean begins to lower and starts to become the tiled floor of my Cubitis bedroom (where I have not been since 1978). My task force partner points out that they are making a movie of us, but our roles are being played by Bill Murray (as he appeared in “Ghostbusters”) and Alan Hale Jr. (as he appeared on “Gilligan’s Island”). They are fighting and rolling around under a bed and biting each other on the ear. This is supposed to be comedic and relevant to the movie’s plot. I wake as I am looking under the bed watching them bang their heads together. (There is a sense of bilocation; of being outside on a beach and within my Cubitis bedroom at the same time. As such, the area under my bed also has a vague essence of being under a low-set boardwalk.)

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Features and events of this long intriguing dream explained here:

Dreaming process autosymbolism defined by:

Unconsciousness personified as black male living by the river.

Glymphatic system and immune system integratingly personified as my subconscious self (validated by the references to the river, government, pollution, and biology).

Subliminal thread of my wife Zsuzsanna as unknown female at the animal refuge.

Subliminal thread of my conscious self identity as man with children.

Non-lucid dream control personified as Alan Hale Jr.

Liminal space divider rendered as enigmatic window of bunker and shoreline simultaneously. (This is autosymbolism for my dream self’s subliminal recognition of the outside world of which is not aware of the existence of my dream self.)

Waking process autosymbolism defined by:

Preconscious personified as Bill Murray.

Water lowering waking symbolism (very common).

RAS modulation rendered as Alan Hale Jr. vs. Bill Murray. (Non-lucid dream control and otherwise sustained dream continuity modulated by consciousness reinitiation. Bill Murray is a regulatory “ghostbuster” modulating the illusion of the dream state by way of biological necessity to wake from the dream state.)

Correlation of physicality as shrinking and sinking boat. (All primary singular vehicles; boats, cars, airplanes, etc. often represent correlation of physicality, in this case representing the potential “sinking” of my body into deeper sleep and thus of which is immediately followed by autosymbolic RAS modulation as the preconscious waking process.)

Correlation of cortex activity as shoreline (liminal space divider) transmuting to “return” to bedroom (subliminal to liminal awareness of being asleep). I have always typified this element as a dream state indicator, as it is a literal factor, not autosymbolic.

Liminal vestibular system correlation as ear biting.

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Abridgement and simplification for the casual reader on Thursday, 7 June 2018. Feel free to let me know when there is a dream thread or detail in an entry of mine of which you cannot correlate the autosymbolism’s cause or meaning. Thank you for reading. I wish you well.

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Morning of November 19, 2016. Saturday.



The roads are lightly flooded, though not to an extent that makes Toby’s driving problematic. Toby cheerfully talks of continuing to drive straight on the present road to where we may be arriving at a shopping mall, though he turns left instead after giving information to a traffic cam that he will not be turning. This puzzles me and I am not sure of his motive. I consider that he may not like the idea of being tracked by GPS and may believe that what he said will somehow fool the cam despite the GPS.

We go up a gradient after turning left and of which is somehow more flooded than the main road and turn off, which of course is not possible as the water would flow downward. The sense of motion in going through the shallow water is very relaxing and peaceful.

Soon, Toby is suddenly near a building in the distance, as if he had teleported from his car. There are a few times after this scene when the car seems to be driving itself. It is my task each time to bring the car to Toby. The very lightly flooded streets bring a sense of calmness to the location, though there is a slight annoyance at times over Toby teleporting from the car while driving and then us having to find him to take his car to him. At one point, he even seems slightly annoyed when he teleports to the end of a street and has to wait for us to bring his car to him.

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Understanding the real reasons for dream features and events:

My dream state initiation autosymbolism for this dream is water induction, my most common form, at least one dream per sleep cycle for over fifty years, as water is autosymbolism (as well as an auto-scripting factor from an understanding of the dream state) for the essence of sleep, muscular release, and the absence of emotion in unconsciousness.

Toby is the driver and in this case is my personified unconscious (which is not as common as the personified preconscious for biological reasons, as most people naturally fall asleep but in contrast require RAS mediation or RAS modulation to wake), and as we are moving through water, it is autosymbolism for my physical body requiring more sleep, as it is not fully a boat. Toby being the driver has no waking life significance in this case and is rendered as a deeper induction thread, as I have not seen him in real life since we were teenagers. (In fact, Toby is rendered as such because he does not represent a factor of waking life, to prevent flawed neural gating and false memory association.)

Is turning left and going up a gradient significant? Yes, as typically autosymbolism being oriented to the left is reinduction (when I sleep on my left side). However, going up implies an emergent consciousness factor. As a result, the traffic cam can only represent RAS mediation itself, and the water being illogically deeper higher up is based on a subliminal attempt to suppress the emergent consciousness factor. My dream plays out a skewed reinduction loop, somewhat like the opposite of a false awakening. My body wants to sleep more deeply, but there are subliminal environmental or biological distractions. That is basically all this dream signifies. Thank you for reading. Anything that you feel needs additional explaining, feel free to ask.

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Morning of November 18, 2016. Friday.



I non-lucidly become aware of being in the northeast bedroom of the Loomis Street house in La Crosse. (This means that my synaptic gating has held my memory of having fallen asleep, but not held my memory of my current location, thus my dream self accepts this erroneous location as current. In my dream, I have no focus on any relatives who lived here. I had not lived here since February 1994.)

No east window is present, an error my dream self does not regard as incorrect. (This is due to synaptic liminal space gating being closed at this point and also why Zsuzsanna appears in my dream with me but as a younger incorrect rendering. Thus far, there are two literal threads, memory of having fallen asleep and partial recall of Zsuzsanna.)

Over time, I slowly become aware of the evidence of an unthreatening haunting, which firstly only relates to marks appearing on the east wall, though it eventually seems like writing. This supposed ghost seems more like the real Zsuzsanna, though I am not directly aware of this fact in my dream. (This means that factors of my emergent consciousness are becoming active by way of RAS mediation. Threads of recall of who Zsuzsanna really is are becoming more dominant as I grow closer to waking. Well-known lifelong autosymbolism is rendered; “a wall as a liminal space divider”; that is, the precursory synaptic gating between dream self identity and conscious self identity. “Ghost writing” is utilized by way of RAS to augment language and reading skills, which typically do not viably exist in the non-lucid dream state.)

Eventually, I go outside via the Loomis Street house’s back door, though I am then in the backyard of the Stadcor Street house in Brisbane. My dream self does not consider this impossible location change as erroneous or worthy of attention. (Synaptic gating has brought about a focus on a more recent location I had lived, but not my current address or viable conscious self identity.)

There is a shed in the backyard which is similar to the Loomis Street house’s shed although it is also associated with the shed at our present address but mirrored. (A shed is typically autosymbolism for a specific type of memory recall and storage.)

It seems to be early morning at this time. The haunting continues, in two-dimensional dynamics, on the outer wall of the shed that faces the back of the house (west, relative to the Stadcor Street house). The ghost seems to remain contained within the wall, but she communicates with writing and eventually speech. (This means that my emergent consciousness is becoming more active than before to where more viable threads of my physical status of being in bed with Zsuzsanna are extant.)

A few random unknown people are eventually present near the shed. I notice that the ghost now has the power to direct lightning into the television antenna. I say “look at that” and point. Long thin bolts of lightning intriguingly jump about on the antenna. This causes me to feel somewhat wary. I think that the ghost may now become three-dimensional and perhaps even emerge from the television by going through the antenna and into the house. (This is autosymbolism for the waking transition in my dream’s final stage. It indicates subliminal awareness of Zsuzsanna’s neural energy as metaphorically coalescing with mine - I use “metaphorically” for people who cannot accept the existence of telepathy. The antenna is autosymbolism for serotonin receptors as well as synaptic efficacy. This is very similar autosymbolism as in dreams such as “Not my Fault”, a childhood dream from May 1971.)

This type of haunting dream stems from the biological factor of being unconscious, though perception of vestibular system ambiguity is minimal here (as there is no association with flying, falling, or other implied movement). The reason for this dream, along with its meaning, has been validated in its correlation with thousands of occurrences of identical autosymbolism in RAS mediation in dreams since early childhood.

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Morning of November 17, 2016. Thursday.



I am wandering around in La Crosse as I have the vague realization that I am tired and should probably go home. My dream self seems about twenty years of age. I fly to the back of a building, to the first-floor’s extended roof of the building which has at least two storeys. This feature provides access to two apartments on the higher floor. (The feature is similar to the Rose Street building I lived in as a young child, except it only had one hallway door to the first-floor roof. The location itself seems more like the area where Dennis lived years ago which also had only one door to the first floor roof.) From the outside, I have a false memory that my apartment is to the left and the one on the right is where my brother Dennis lives. He appears as he did in the 1970s.

The setting is very distorted. Even though I remember living and sleeping in the apartment, it is far too small for a human being to either go through the doorway or actually live inside the building. The height of the living area is no more than two feet. This puzzles me but neither triggers any realization that the situation is impossible nor results in stronger emotions. I consider that the building is mostly made of a stack of bricks that shift a bit at times, which somehow makes the apartments smaller or larger at different times.

There is a conversation between Dennis and our (fictitious) landlady, which eventually relates to something about feeding homeless people in the area. I cannot get into my apartment so I decide to sleep on the roof while thinking of how the homeless people will be fed as it seems like a worthwhile task. Dennis has some carrots, lettuce, and potatoes to start a stew or soup. Eventually, just as I begin to wake, there are vague thoughts about geese flying over the building and returning to the area.

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Wandering around feeling tired is a dream state indicator created by subliminal awareness of being asleep as well as having been tired in reality prior to my dream. This is additionally evidenced by wanting to sleep on the roof, which is a liminal space divider related to depth of sleep and how much of the conscious self identity is present. It is also why my dream’s setting is rendered as too small to access. The geese returning to the area is typical vestibular system correlation, autosymbolism for waking process thoughts in “returning” (waking back into) the physical body while leaving the illusory dream body. There are also mild thoughts of hunger. The “feeding” reference is to me, as “homeless” is based on liminal awareness of not being awake in the physical body.

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Morning of November 13, 2016. Sunday.



I find myself in an unknown and unfamiliar area but which is near a public venue. An older male of about sixty is standing near the curb and preaching. He talks about the nature of God as if he is some sort of messenger. However, he seems very mundane and yet also very artificial-sounding, uneducated, and bland in his claims.

Over time, he mostly goes on and on about how he sweats for God. He makes the claim that only people who are chosen by God can sweat large amounts of sugar. At different points, sugar falls from his arms as he performs his sermons. After a time, I get very annoyed and tell him how a person cannot sweat large amounts of sugar crystals from their body. This makes him even more confident about his apparent mission.

For a time, he walks around on his hands. As he does, very large sugar crystals seem to fall from his arms and legs. However, I am aware that, when looking closer, they are just coming from the creases in his clothes. He does not seem to be sweating at all. Still, the sense of the continuous falling of the sugar and the motions of the cloth is very vivid.

My wife Zsuzsanna comes up to me and, since I have had enough of the “preacher”, we walk from the curb to some sort of commercial building. The hand of an unknown unseen female comes out from a dark doorway of a business and hands me a business card. They seem sincere in their approach and seem to understand that I know the preacher is just an irritating fake. However, I am aware the business promotes New Age concepts relating to finding out what one’s past life or alien contact is and thus is also nonsense. Even though I do not need the service of this business, I accept the card without being rude.

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There is possibly an association with “sugar-coated lies”, though there was an obvious influence from a song I like, “Climb the Hill” by the Fixx, with “To me you’re inside out and upside-down” and “Bible thump posturing won’t turn me ‘round”. It is also unfortunately based on a mentally ill male who used to write mindless lies about me (and other posters) on a dream journal site and his own website. I would not even know where to begin with his nonsense. He writes compilations of his “beautiful art” related to his abuse, falsehoods, and stalking of other dream journalists under the “guidance of God”, while pretending to be a man from the future praising himself, and that is only a small part of it.

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Morning of November 12, 2016. Saturday.



I find myself in what seems to be our old apartment on Gellibrand Street in Clayfield, yet which also has the feeling of the northeast bedroom of the Loomis Street house (yet another new composite I have never experienced before). The Loomis Street living room is mixed into the Gellibrand Street hall. However, even though it looks more like the Gellibrand Street apartment I feel younger and as if it is mainly the small Loomis Street bedroom.

At one point, I hear an unknown male talking outside my door. Eventually, it seems he is mocking me, yet somehow without being directly sarcastic in his vocal tone. I am annoyed and go out to the front yard but do not yet see him. I notice that instead of the front steps there is a round boulder to have to walk up onto, which is difficult. The unknown male is now standing at the open hall entrance. He reminds me vaguely of Don K (who I had not seen since around 1982) and seems about twenty-five years old. He makes a couple comments about my difficulty in walking up and over the bolder and I feel a bit annoyed as my legs do not seem to work correctly.

He mocks me with a few more comments, a couple relating to phrases my mother used to use (such as “my old bones” and “this nutty old world”). I agree with a couple comments he makes relating to my apparently lame legs.

Still, I become more annoyed by his presence. He makes comments about details in my dream journals that I had written way back when I was only eight or nine years old (the original phrasing and writing style). I am surprised he knows all this. I get the impression he had somehow been reading my dream journals way back to 1966. I wonder if he stole any of them or any of the pages.

Eventually, I punch him out. He ends up lying on his side in an unknown area, as the setting now transforms into an unfamiliar location. When he moves, I decide to chop him up so that he cannot be an annoyance anymore. Another male appears (likely the emergent consciousness personification as it seems more passive and “closer” than a personified basic conscious self identity) and we seem to be working in a mission together. There is an advanced computer that speaks as I am trying to work out where to send the body parts.

I give the computer vocal instructions and it answers me in a loud clear voice. I give it various longitude and latitude directions though at first, what I say is distorted and meaningless. The computer keeps correcting what I say so I can repeat certain details.

“Thirty-six degrees latitude north,” I eventually say. “One hundred fifteen degrees latitude west…”

“You mean longitude,” says the computer loudly. I agree with all the corrections the computer makes, but I have no idea where I am sending the body parts as it feels I am just saying random values. I get the impression that a team will come in, take them away, and place them wherever.

“The Deuce-Berry Hoover Dam,” announces the computer. I am somewhat surprised and am not certain it is a good idea to put the remains there (as I consider the remains sitting atop the wall near a spillway, right out in the open), but I do not say anything. The other male looks on passively as I visualize the espionage team getting ready.

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A dam is a potential waking prompt as water symbolizes sleep and a dam stops water from flowing; deuce is sometimes a term for the preconscious (secondary to a more defined emergent consciousness in the final scene of a dream), berry being a play on “bury” and “Hoover” also being associated with vacuum cleaners (both a mortality symbol and dreaming conduit and waking transition symbol that has been recurring more over the last ten years); the talking computer is the personified whole conscious self (not that common a feature as here) due to only the whole conscious self having viable thinking skills.

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Morning of November 11, 2016. Friday.



I find myself on a beach in daylight but possibly towards early evening. In the first segment of my dream, there is a focus on a blue kite that is near the shore but over the ocean. Who it belongs to is undetermined. The end of the string is apparently caught in some large jagged rocks and cannot be reached. I decide that it might be mine, although that may not matter since I do not see anyone attempting to retrieve the reel. Still, my “mission” seems to be to get the kite.

While standing near the rocky area I look back and notice an allosaurus in a doorway. The size orientation does not make sense as I get the impression it is a normal doorway (even though it is out of scale relative to distance), yet the allosaurus is also supposedly large. It looks like a model of one, such as the one from “Land of the Lost” (1970s television series) but is “walking” against an invisible barrier so that with every step forward it sort of slides back. It is almost comical. I do not want to miss out on my kite retrieval but I also do not want to be caught by surprise though I eventually decide it is no threat. The implications do not make much sense. The wall that the doorway is in seems incompletely rendered and not fully in the immediate setting, fading out around the top and ends.

Looking out towards the ocean, and at the same level of the blue kite (and to the left of it by about ten feet perhaps) I see a small man with wings wearing only a dhoti. He is very quickly (to an unrealistic extent) scribbling random unfamiliar symbols (except for a spiral) onto his chest and wings. I notice most of the supposed writing continuously falls off (which of course is not really that logical), becoming ash or ash-like. I feel a sense of both amusement and puzzlement.

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Morning of November 10, 2016. Thursday.



I am in a van being driven by my brother-in-law Bob. Most of my family members are with me in the back except for Lorenzo (middle son). Looking to my left, I see that an unfamiliar female passenger in another vehicle (probably a van as a car would be lower) somehow holds onto the top of the driver’s side window of Bob’s van, which I think is a very foolish thing to do. (This seems to be a preconscious factor, at least potentially, but the situation eventually fades.) The vehicle has four chubby and aggressive females, probably in their late thirties. My brother-in-law does not respond. I eventually yell at them. They soon drive on ahead.

We eventually arrive at an unfamiliar shopping mall near a mountainous area. It now suddenly shifts to nighttime, around eight o'clock. I suddenly feel concerned that Lorenzo is not with us, as I feel he should not be left alone (at our house) for the two or so hours we will probably be here (seemingly for shopping and a movie). I decide to quickly fly back to make sure he is okay, though on one level, I feel silly about flying all the way back after just arriving here, as it apparently took a long time for Bob to drive out here. However, because a parking lot symbolizes liminal space (a higher state between dreaming and waking), I somehow get “stuck” right on the perimeter. I am flying but not making much forward progress (a very rare event for me, but I have rarely attempted flight over a parking lot in dreams). I almost manage to fly above the roof of a nearby house. Instead, I decide to teleport to my bed (false awakening) and I am glad I am now able to check on Lorenzo.

Almost immediately, I am with Lorenzo and the rest of our family in the front yard in Cubitis. It now seems early afternoon. It seems there are several people trespassing, close to the bedroom windows. I get angry but my family and I end up leaving, walking southward (with no destination in mind). I shout several rude remarks back at them as well as making rude gestures. They do not seem intimidated. Curiously, they are mostly all seated on the ground in formal meditation positions, including an unknown toddler (male). I get the impression that the oldest male (about sixty), who is thin and wearing coveralls, had been working on a car, but I do not see a car anywhere.

Soon, I am walking with Zsuzsanna and an unknown female with dark short hair. As we walk along, there is mention of the van event that occurred in the first part of my dream (as this female apparently had trouble with the four from the vehicle as well). I eventually enter a very subtle lucidity, but not active lucidity. This is where I am not lucid but manifest, mostly through pretense at first, the idea of a secret area to explore (commonly recurring since early childhood).

Even though it is mostly an outside area, we come to floor-length curtains (subtle lucidity sign, akin to going onto a stage). Going through the beige curtains, we enter some sort of secret abandoned park with a zoo theme. I am at first somewhat startled by a male and female lion (just to my left and past a doorway we come out from), and I am concerned for a short time that they may jump over the fence. However I soon realize that they are animatronic animals that have not been maintained for a long time as some of the sections of fur are missing and metal and plastic can be seen through certain areas. We continue along a beautiful garden path. The sidewalk, always with a continuous hedge on each side, turns at ninety degree offsets fairly often, but is not really maze-like. Although I am aware of several other animatronic animals, I do not see them due to dense shrubbery. I feel very happy and relaxed.

We somehow end up in a kitchen, which is a little like the one on Stadcor Street. I am, for a short time, aware of a group of people walking by outside the large windows, but I do not actually see them through the curtains. I only hear them and they seem cheerful. There are soon unusual implications in the immediate setting. I see the year 2002 on a small calendar magnet on the refrigerator as well as seeing it on a couple documents. Zsuzsanna and the other female do not seem to “realize” the implications. To me, based on seeing “2002”, it seems like we are in the present. I feel that there is a pretense that the park had been closed for many years even though the date (false assumption) reflects the present (and even though by dream implications we are fourteen years in the past). Still, I feel a sense of harmony and peace.

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Being in the kitchen in the last scene represents light hunger during sleep. A lion is often the coalescence factor (return to consciousness) as it can swallow the imaginary dream self (and is an association with “The Sleeping Gypsy” 1897 oil painting). The curtains were the same color as the lions, so this was a type of subliminal expectation, though the lions turned out to be mechanical (and not any sort of threat) in this case. My puzzling over the date and not knowing the present year is quite common in my dreams. The personified subconscious (dream self) has no concept or understanding of time in the majority of my non-lucid dreams. For example, I am often much younger or in a different or mixed up time period that combines different time periods. I do not like conflicts or conflict-related challenges in dreams, though the preconscious biologically needs to be aggressive to push the dreamer to activate waking (via RAS) even though coalescence consent (such as hugging a dream character as also has recurred since childhood) would be much better, though the personified subconscious (dream self) typically sees the preconscious state as a threat (especially when there is a subliminal desire to sleep longer), both with negative daybreak types (or end of the world events) and various forms that chase the dreamer, rather than allowing time to indulge in sustained dream exploration as here.

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Morning of November 9, 2016. Wednesday.



I find myself standing in an unknown mostly featureless room as I have just shifted into the beginning of my lucid dream. I mostly find myself gazing at the blue sky through a closed sash window. (I am not sure of directional orientation. If it is implied to be our bedroom window I would be looking west.) An unrealistically large bird, but otherwise the kind called a kite, is seemingly flying directly towards the window.

Before the bird gets too close and crashes into the window, it slows down and becomes an actual white kite but is still moving down towards the window. Strangely though, the window still breaks (without the kite hitting it), glass flying inward, towards me. At this point, I experience the back spasm event and nearly go flying off our bed. (Ordinarily, back spasm dreams are a premonitory sequence where something seemingly jabs me in my back in physical hypnopompia, a recurring dream event from very early childhood. It does not seem as if this was the case this time, as the flying glass shards came from in front of me, although it was triggered by a sudden awareness of Zsuzsanna’s body behind mine as I was lightly sleeping on my right side. Still, the timing of the imagery was not correctly aligned with the physical event, which I find hilarious, like a movie that was incompetently dubbed.)

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A breaking window simply symbolizes dream cessation in real time (as does losing teeth, which also usually has no waking life meaning). (This metaphor is even used in the 1971 TV movie “The Deadly Dream”).

The imagery in this dream has a thread of prescience. Zsuzsanna had checked out “Tommy” from the library, which features a longer scene near the end with Tommy on a white hang glider that looks very much like a large white kite. I had no way of knowing she would be checking it out at this time.

Otherwise, kites, birds, airplanes, and virtually anything associated with flight or wings (including birds that cannot fly) are associated with the floating sensation typically experienced upon falling asleep. Over one in five of my dreams for over fifty years have had this dream state dynamic, but are always unique, and sometimes, as with this dream, contain literal prescience.

The “back jab” event is based on biology, and only happens in a particular stage of sleeping or waking as a result of spontaneous neural energy. It is completely unrelated to real life dynamics, just as the hypnopompic kick is (although the hypnopompic kick is more pronounced when I do more walking on a particular day).

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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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