Blue_Opossum

Afternoon of December 25, 2016. Sunday. (Last clarified and resupplemented on Sunday, 10 September 2017.)



In my dream, as I am lying in our bed as it is located and oriented now in our present home on W Street, and possibly in late morning, there are concerns expressed by others (seemingly unfamiliar people) of whom I am unsure are present in our bedroom or speaking via telepathy from another location (though I do not perceive them as imposers). I falsely remember that we have a pet donkey that lives inside our mattress. I am unsure if he has eaten recently, perhaps not for weeks. The area he is within is possibly locked, and I hear someone asking if the lock is locked. I do not think the donkey is ill, though I am unsure. I get the impression of a cage being inside our mattress (almost as big as our mattress), and within that cage, the supposedly full-sized donkey. Regardless of how absurd and impossible this situation is, it seems logical and serious to my dream self. (This is vaguely similar to my recurring forgotten pet dreams, where I become aware of a pet in my bedroom, usually on the opposite side from the foot of my bed, that I may not have fed in weeks or longer, yet perceiving it may still be alive. The pet is often a guinea pig or rabbit in a cardboard box that is open at the top.)

In an unrelated scene in a more vivid but less detailed setting, an unknown female approaches me in a white martial arts outfit. She kicks me in my stomach (without any discernible motive other than practicing her martial arts) as I am standing (facing south), seemingly in the room where my computer desk is, and I simultaneously wake with the stomach jolt (which mostly only happens when I am sleeping on my side and is not as intense as my hypnopompic back spasm which can happen in any position). It does not hurt and is not even unpleasant, just a spontaneous movement of the abdominal muscles upon waking.

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The meaning of this dream is very obvious to me. It is completely unrelated to waking life regarding any symbolic significance, being primarily rendered around the waking transition as many dreams are. It is yet another incidental rendering of subliminally anticipating the hypnopompic kick though it was a lesser abdominal jolt in this case. Both the donkey and the female practicing martial arts (of whom probably represents Zsuzsanna being in bed with me, though she really does not kick me with a hypnopompic kick when we are sleeping) represent the same potential waking prompt. Incidental associations relate to our son doing martial arts in real life and possibly the “Little Donkey” Christmas carol (though my dream self does not typically have a viable memory of what year it is let alone the date of December 25th in this case).

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Morning of December 25, 2016. Sunday.



I seem to be in a very large unfamiliar room with a high ceiling that seems to be in a large commercial building. However, it is meant to be the inside of a helicopter (though the fact it looks nothing like the inside of a helicopter in any way does not trigger any level of doubt or any type of realization). I am apparently flying in this “helicopter” as a passenger. There are two unfamiliar male pilots (in black pants and white shirts) who mostly remain seated on the opposite side of the room from me. They face toward a wall looking at a number of monitors. At times, they seem to be typing flight instructions on keyboards as they look at the monitors. There is also some communication now and then with air traffic controllers or at least some people on the ground.

The “helicopter” is supposed to be landing somewhere soon, but it is not safe to land anywhere in the area due to a mist that remains at least six feet above the ground and is covering unseen large rocks everywhere in the landscape. Some parts of some rocks protrude upward from the mist. It seems to be part of a canyon or possibly a series of canyons, all with mist and rocks. This puzzles me somewhat but nothing about the situation seems wrong or threatening to me.

One of the pilots, while standing near the desk-like extension from the wall, seems to relate to the other that he could land without hitting a rock though no attempts at landing occur, at least any of which I become directly aware. There is a sense of movement at one point where the room seems to slowly turn in a circle but there is no disorientation or perceived danger on my part. I seem to be lying on my left side at one point though not directly aware of being on a bed. I start to think about the “helicopter” landing on the flat ground between large jagged rocks. I do not feel concerned about anything. The pilots do not address me at any point.

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This dream’s autosymbolic meaning is based on the biological nature of the dream state itself and obviously has nothing to do with waking life, especially as the autosymbolism’s phrasing in hypnopompic disclosure is known. A helicopter (which has been a recurring emergent consciousness factor in my dreams since early childhood), as with vehicles in general, is an autosymbolic extension of my physical body in REM sleep, though with a more defined subliminal discernment of the vestibular system ambiguity that occurs naturally in unconsciousness, than with similar autosymbolic extensions such as a motorcycle. This dream’s autosymbolism was based on a typical unconscious phrasing, “Although I am now sleeping, I am becoming more aware of my real environment and of my physical body, which is operating smoothly”. The jagged rocks are autosymbolic of a vague anticipation of a waking start (hypnopompic kick or other involuntary muscle event), though of which does not occur, and the mist of course is autosymbolism for the dream state itself. This dream has a curious ambiguity of taking the subliminal awareness of being in our bedroom and sustaining it with the typical return flight waking symbolism, a type of RAS mediation which has occurred in at least one dream per regular sleeping period for over fifty years. As I am already in the more defined liminal space of conscious self recognition in passive waking transition, there is no dominant RAS modulation and the pilots of course are RAS personification and the emergence of thinking skills, which typically do not exist in the dream state.

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Morning of December 23, 2016. Friday.



I seem to be on Loomis Street, with my sister Marilyn still being alive though appearing as she was in the 1960s. However, her house’s layout is more like the Barolin Street house (in Australia), though the (Barolin Street) lounge room is a bedroom in my dream. In the last segment, the veranda implied to be at the front of her house is not familiar other than vaguely like the front porch of our present home.

There is a focus on beds (most obvious dream sign ever) and Marilyn is talking about a special purchase she made in buying beds at a local secondhand store. Her husband is also present but mostly remains in another room. Marilyn seems very happy and seems to think the beds are like a treasure or very valuable antiques.

I lie down to go to sleep on my “new” bed, but I am somewhat confused by its nature. It is actually only a set of elevated golden bed springs. Still, I am not nearly as uncomfortable in my dream as I would be in real life would this be the case. There is a period where I actually seem to be “asleep”, though there is still a level of awareness of my dream’s environment. I do find it somewhat odd that the beds are not complete but I consider that the rest may be delivered later.

At another point, I am looking out from the high (fictional) veranda, though it is more like an outer mezzanine combined with the porch of our present home. I also look through a west window and there is some confusion regarding the neighbors (unknown man, woman, and at least one child) looking out through their window at the same time and seeming annoyed that I am looking out the window (though I have no interest in what they might be doing). They close the curtains of their window.

There is soon an unknown male present (whom I have no association of being imposing in any way) who had found the neighbors’ act of closing their curtains as an amusing event. From the veranda, I watch a number of butterflies moving around, mostly downward. They (or at least some of them) seem oddly squarish (almost reminiscent of a postage stamp, as the wings of at least a couple of them seem perforated like a postage stamp) and almost as if they are made of orange paper. I get the impression that they may not even be alive, but there is ambiguity. Some of them must be alive or they would not be able to fly around. I watch one moving downwards, soon landing on an unrealistically located top of an implied apartment building roof (which would be an impossible perspective based on where I am) and consider that it had not been alive.

The unknown male seems to think they are all alive. I mention to him how they do not seem to be fluttering or moving their wings at all for the most part.

“They are oracular butterflies,” he says, which supposedly explains why they are not moving their wings even though some are flying back upwards at times. I do not understand the correct meaning of the word “oracular” and confuse it with it meaning something that is circular (even though the butterflies are squarish) though I also consider it might be the name of a species. I feel very peaceful and, although I find the scene puzzling, feel quite comfortable and continue to watch more and more of them move about above the street.

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• Most of the butterflies were pale orange although a few were white or cream-colored. Orange establishes medium waking priority (biologically) and is analogous to sunrise associations (the patterns of emergent daylight being linked to bands of emergent consciousness).
• Butterflies are a first-level flight symbol, which makes up at least twenty percent of all dreams I have had in the fifty years I have closely studied them. Return flight factors (including falling or rising), analogous to the consciousness shift of the waking experience, are often within or near liminal space (as here, rendered as the veranda).
• The personified preconscious most often is the most present in liminal space (as well as almost always being the last and most dominant character), which is here, the usual porch-like middle point between sleeping and waking. He tells me that the butterflies are “oracular” which is associated with dreams being potentially precognitive though was not confrontational here as is often the case.
• The butterflies being somewhat reminiscent of postage stamps relates to the communication between synthetic temporary dream self identity and emergent conscious self identity.

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Morning of December 20, 2016. Tuesday.



I am at our present address on W Street near the west side of our house on the public footpath. It seems to be morning. There had been signs of a light rain. I notice that the Wicked Witch of the East must have been in a storm (though not in our area, at least with any perceived backstory) and blown our way in that the NBN cabinet near our house had fallen upon her (which is not logical, as the NBN cabinet is set upon concrete and shows no signs of having been removed or damaged). I know this is true because her ruby slippers have been sticking out from under the cabinet for probably a day or two. They stick out from the right side of the NBN cabinet.

It may be important to inform people of this. I look more closely and bravely feel the supposed ruby slippers, which are actually more like red fishing boots. They are of a floppy rubbery material. Perhaps the remains are not actually present.

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This dream presents failed flight waking symbolism, one of my most common forms of waking symbolism since early childhood, which is unrelated to waking life, and as such, does not imply any negative connotations. It establishes a form of “return flight” as related to the hypnopompic stage (which is rendered as such in over twenty percent of my dreams or 1 in 5 in tens of thousands), which sometimes induces a falling sensation (which is biological and unrelated to waking life). It is unreasonable to assume real life associations with such precursory symbolism relative to hypnopompia.

In this case, the position of the implied body (though the body itself is not seen or touched) is in a sleeping position, a real-time dream state indicator. Once again, the waking symbolism is oriented on the right.

The detail of the red fishing boots establishes three well-known dream state indicators simultaneously, red as a known presence of waking priority (especially in dreams which become completely red, which means I have been sleeping too long), boots that are not being worn (as one does not wear shoes when in bed), and residual water induction remnant (in being fishing boots or waders).

Additionally, there is the implication of the NBN cabinet representing technology, communication, and intelligence as symbolizing the conscious self over the fictional dream self or the remnants of the ephemeral dream self at the waking point.

Additionally, it is unreasonable in this case to assume the “witch” is related to waking life by specifics, for three main reasons. One, the “witch” herself does not even appear in this dream. Two, the “witch” is a fictional character from the “Wizard of Oz”, and my association validates this entire dream as primarily a real-time dream state indicator. Remember that “The Wizard of Oz” is about someone being knocked unconscious and having a dream. Three, it is fantasy, and fantasy symbolism is based on creativity, not life-relevant symbolism.

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Morning of December 20, 2016. Tuesday.



Zsuzsanna and I are “sleeping” in a tent (in the same orientation as in reality; her on my left) in what is apparently an unfamiliar urban park (though with a vague association with the field that used to be across the street from our present home) early in the morning around sunrise. I become wary of the gaps at the bottoms of the sides of the tent (mostly to my right, near my head) in their offering of less privacy. It is also windy at times. In the final scene, the tent is actually hovering above the ground and directly above us, the bottoms of the sides probably about four feet above the ground. I think a few ropes are still holding it in place. My clueless non-lucid dream self is not standing at any point.

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This is typical RAS (reticular activating system) intrusive waking symbolism, though sustained and with no hypnopompic physical event.

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Key concepts: Zsuzsanna and I sleeping in correct orientation as first level dream state indicator, dream state indicator of indirect association with floating or flying as dictated by natural inner ear dynamics, outdoor area previously a field and now a parking lot in real life as liminal space transition, sustained RAS factor, no personified preconscious, no direct preconscious factor, non-lucid and sustained non-cooperative emergent consciousness, interpretable as waking symbolism only.

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Morning of December 3, 2016. Saturday.



In the hour before dawn, I find myself in an unfamiliar setting. It is a parking lot of which may be that of a restaurant. A 1969 bronze green Land Rover Series IIA Station Wagon is the only vehicle present in the semi-darkness. Areas beyond the parking lot and building remain indiscernible.

Two unknown Caucasian males of about forty, wearing sage safari jackets, are attempting to coax two male lions into the back of their Land Rover. My dream self does not consider how foolhardy or unlikely this is, including the probable lack of space for the lions inside their vehicle. I do not feel threatened by the presence of the lions.

Over time, one of the men somehow manages to get one of the lions into the Land Rover and onto the back seat. A short time passes and I no longer see the man. The other lion is eventually behind the Land Rover. I begin to get the impression that a lion will swallow the remaining man, which may have been the fate of the other man. I begin to feel somewhat wary but not in immediate danger. The other man is standing near the back of the Land Rover and I am viewing the scene from the front of the Land Rover, to its right side.

Just as the lion that is still outside the Land Rover seems to consider perhaps killing or swallowing the man, non-lucid dream control begins…

The male lion transforms into my wife Zsuzsanna. She is wearing a long white flowing gown. The man seems to disappear as Zsuzsanna approaches me to give me a hug. Joyful coalescence is the waking factor.

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My dream is clearly explained here in a more detailed resupplementation (rewritten on Friday, 22 June 2018):

The outcome of this dream is that the reticular activating system modulation factor (the lion) transforms into the emergent consciousness factor (my wife Zsuzsanna) because of non-lucid dream control (because of my advanced understanding of the dream state since early childhood). A lion’s essence in the dream state is an autosymbolic composite of two factors. The main factor is coalescence. (This means that I see a lion as having the potential to swallow my illusory dream self back into whole consciousness). The lesser factor, as with a domestic cat, is being “witness” to the dream state and the nature of liminal space. You will see the same autosymbolic processing factors in hundreds of my online entries, but always unique.

The parking lot setting is a common form of autosymbolism for a specific level of consciousness during the waking transition as a result of subliminal association with the physical body being inactive while asleep. (In contrast, moving vehicles represent a liminal awareness of vestibular system correlation concerning the physical body while asleep.) The Land Rover is an autosymbolic association with my physical body, as most singular vehicles are in dreams. Ultimately, the parking lot’s autosymbolic nature lacks the more defined anticipatory factor of the waking process and suggests a subliminal desire for returning to deeper sleep (and as such, serves as ultradian rhythm autosymbolism).

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These are the layered causes of this dream:

The television series “Daktari”, which originally aired from 1966 to 1969.

Clarence, the Cross-Eyed Lion, from the aforementioned “Daktari” series. (I was sometimes called “Clarence, the Cross-Eyed Lion” in elementary school. This was solely because my middle name is Clarence.)

Early childhood dreams of my dream girl in a flowing white gown, originally influenced by “Isle of the Dead”, a 1945 Boris Karloff horror film, certain scenes of which fascinated me in a romantic sense, rather than frightening me, at age four.

Erin Moran, as in the aforementioned “Daktari” series, resembled my real-life schoolmate, friend, and neighbor, Brenda. My first known euphoric waking transition, also the result of a hug, featured Brenda in the final scene. This astounded me and, because I was only eight at the time, I did not know what it was biologically until a few years later. Brenda was also validated as the prescient stand-in for my wife Zsuzsanna when my dream girl was not more efficiently rendered (that is, looking and sounding exactly like Zsuzsanna before we knew of each other in waking life).

“The Sleeping Gypsy”, an 1897 oil painting by French Naïve artist Henri Rousseau. Rousseau described his painting as follows: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic.”

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In decoding my dream, the autosymbolic dreaming and waking processes reveal the following sequence: Brief contemplation of “Daktari”, my childhood dream of hugging Brenda, subliminal awareness of being asleep, emerging awareness of my conscious self identity and that I am sleeping with Zsuzsanna, liminal recall of “The Sleeping Gypsy” mixed with romantic non-lucid dream modulation related to “Isle of the Dead” (and its analogy to being in the dream state), liminal perception of my wife as a “sleeping gypsy” (as she is Hungarian Romani), and finally, transmutation of the lion of coalescence (being “swallowed” into waking consciousness) to euphoric coalescence (being hugged, which is a more positive analogy of being “swallowed”), which is otherwise of the same autosymbolic foundation.

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