Blue_Opossum

Morning of August 16, 2018. Thursday.

Reading time: 1 min 33 sec. Readability score: 61.



My dream starts out in what is a rare type of rendering with the factors contained in a “box” as separate from the dream self, but subliminally chosen by the dream self. (This stems from the “Don’t Open Till Doomsday” episode of “The Outer Limits,” which I saw at age 4. I had been in and out of various vivid dreams and inexplicable states of consciousness, and have been fascinated with them ever since.)

Theodore Bikel appears in a Christmas scene within this “box.” It has the essence of “The Night Before Christmas” Whitman punch out diorama that I put together each year as a boy. He is singing a Christmas song, though I do not recognize it. It is a tradition. Someone is playing a piano on the other side of the room from him. Family members are present. There is much joy.

After a time, I am absentmindedly putting another box “into” it. The process is abstract without a way to resolve it in conscious terms. The second box is similar to the previous, except that someone is playing a smaller and tinny-sounding keyboard. It is about two-thirds “into” the first box, moving in at an angle from above, before my dream’s level of focus changes.

Now I am looking at another “box” of entertainment. In the background is an unknown male wearing a Christmas tree costume (though most of his face is visible), with a yellow five-pointed star as a cap. In the foreground and to the left is a young girl (unfamiliar) sitting in an armchair and wearing all of a bird costume except for the head. In her right hand, she operates a bird hand puppet.

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The association with birds, airplanes, or unaided flight as the vestibular system correlation of the waking process has occurred in at least one dream every sleep cycle for over fifty years, but this instance is more unusual than usual. The hand puppet signifies dream control (and VSC mediation) and resultant VSC RAS modulation without lucidity in this case.

The unknown young girl is this dream’s typical preconscious avatar and VSC personification, and as usual, guiding my return to consciousness without RAS conflict (or the biological falling start). The male is my essence, a tree (physical body not moving in sleep) with the yellow star (emerging consciousness factor).

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Morning of August 16, 2018. Thursday.

Dream #: 18,868-02. Reading time: 2 min 15 sec.



In subliminal mode (dream creation and control without lucidity), my dream self chooses to ride in the back of a car. (This is the same stem of subliminally desired vestibular system correlation that otherwise creates flight events but with less anticipation of the biological process that results in a falling start). After creating this scene as a passive transition, I watch the scenery to my right. I am uncertain of who the driver is. (It is the preconscious avatar of course, but I remain unsure of its identity in this segment, but I vaguely perceive it is female, probably a thread of conscious self identity implying Zsuzsanna, as she is sleeping on my left at the time.) It seems to be late morning. It is a beautiful sunny day under blue skies.

We go past an enormous cow pasture on our right. There is not much definition of the driver on the left. It is an American car. (I am subliminally choosing not to augment my dream, as I sleep on my left side). Despite its size, there are only a few cows here and there, which I find puzzling. They are all black-and-white Holstein cows of a very similar appearance as if my dream utilized the Photoshop clone stamp tool.

Eventually, we come to crossroads (which represents reticular formation mediation). I look back and see that one end of the cow pasture (on the road perpendicular to the one we are on) is unfenced. There are several houses along that area with large side yards. I start to wonder if cows sometimes get out through that area. (This is a very passive changeover of liminal space division, which a fence otherwise represents. Of course, this scene also causes my dream to jump into a different stage.)

I am now inside a big featureless room that is not well lit. An unfamiliar male climbs a rope up to a square cage hanging from the ceiling that is almost touching it. A bobcat is sitting inside the cage. The man, who reminds me of the essence of a magician, opens the door of the cage and starts petting the bobcat. It seems very tame. The man and the bobcat start hugging and kissing. I soon wake.

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Climbing a rope (whether or not it is the dream self or projected into an avatar) is usually the final metaphorical representation of vestibular system correlation during the waking process, though it is less common than flight-related events. A cat is a form of the preconscious as a “witness” to the dream state, while the man is a transition of the dream self and an emerging consciousness factor. It is a unification (coalescence) process.

My dream’s model is typical (though again, not as common as flight-related vestibular modulation), for example, “Climbing a Vine” (March 4, 2017), uses the same model, only it is integrated rather than projected. Additionally, that dream perceives the reticular formation as a possible threat rather than resolving liminal space with unification.

The dynamics behind this dream stem from having watched “Sabretooth” (2002) with Zsuzsanna last night. It transmuted the negative unification factor (as the cat in the movie attacked and ate people) into a more harmonious unification factor. It is the desired waking process rectification other than when the immune system is under attack (as in my “Night of the Rat” dream from April 8, 1978).

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