Blue_Opossum

Morning of April 21, 2017. Friday.



I am watching a movie which is supposedly a sequel to “Finding Nemo”. It may be called “Finding Nemo’s Girlfriend” or at least that seems to be the main plot.

The movie seems to be in an advanced form of CGI. The fish speak and seem very “real”. The search is on for Nemo’s girlfriend (though it does show her in certain scenes where the others are not aware of her location). After a time though, it is revealed that there are people in very unusual costumes with mechanical attachments that create the animated fish in the movie. This includes a smaller robotic fish (or another ocean creature in robotic form) attached to the top of each person’s head, as well as attachments to their arms and some sort of cylindrical form around their body. They seem to be on break and sitting on chairs in a semi-dark studio. There remains a vague (but mostly subliminal) association with being in the Cubitis living room. For a moment, I am confused, as if they do not care about Nemo’s girlfriend or properly ending the movie, but then I realize it is just the making of a movie in progress and the fish characters are not real beings.

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What a curious way to validate fish as symbolizing lower levels of the conscious self, submerged in the dream state, playing a role in real time.

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Morning of April 21, 2017. Friday.



My wife Zsuzsanna and I are walking somewhere that seems modeled (in conscious afterthought only) after an area in La Crosse, south of the overpass near Loomis Street. As we walk towards the overpass, I see an unknown male to our left, who had apparently been walking over the overpass and is going in the opposite direction.

The setting is odd and not based on any real-life memory of anything other than the overpass itself. There is a set of unusual railroad tracks over the overpass to our left (which was never there in reality), which takes up about half of the width. There are no cars seen. Looking back, I see the man completing his trip over the overpass, which seems to be a very difficult path to walk over.

Instead of railroad ties, the continuity of the railroad track design is based on pillow-shaped black “rocks” (though more like large lumps of tar), which are about as wide as the tracks and a bit too high for the rails themselves to be feasible. Additionally, there are a few telephone-pole-like features, a couple car lengths apart for each, on each side, but only a very short distance from ground level (only slightly higher than the pillow-shaped “rocks”). It seems that it might prove to be difficult to walk in the area. Still, I tell Zsuzsanna that I could walk through that area, though we keep going north on the sidewalk.

Soon, as we reach the peak of the overpass, still walking but slightly floating in midair at times, I suddenly decide to use our “car” to go the rest of the way. This makes no sense, as I can easily push it and we are ready to get in, and yet it is invisible, and it would be ridiculous to assume I had pushed it up the overpass with it being no wider than the sidewalk, yet that is the “sudden false memory” that is rendered prior to waking.

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This dream, like most of my dreams, is extraordinarily easy to decode in meaning for what it actually is in real-time dynamics (rather than nonsensical faddish or superstitious “interpretation”).

• The unknown male going in the opposite direction is the personified preconscious transmuting back into the personified unconscious. There was no confrontation as I was already on my way to the passive waking stage.
• The overpass is a direct metaphor for waking. Zsuzsanna is walking with me on the sidewalk as we are in the same bed in real life at the time.
• The railroad tracks lined with the “pillows” are a “vaguely disguised” first-level dream sign that validates the path of the preconscious back “down” into my dream.
• The “stunted telephone poles” represent my lessening connection (and potential communication) to the dynamics of my dream state. This of course is only a liminal space transition, as my unconscious mind is far more accessible to me when I am awake in whole consciousness.
• Our “invisible car” is a mental “vehicle” of pretense in assuming my dream setting has physical dynamics in the very last moments of waking, almost like a comedic afterthought, yet not hypnopompic.

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