Blue_Opossum

Friday, 18 October 2019

Reading time: 3 min 20 sec.



Here, I will explain the essential decoding of entries that will eventually include “bird resurrection” in the title. The original entries will remain in my online journal.

Something coming to life, reviving, or waking from sleep in the last part of a dream is simply the subliminal, liminal, or supraliminal anticipatory autosymbolism of waking up, the preconscious precursor of gaining control of the physical body and the emergence of consciousness and valid personal identity. That is what most final dream segments include (more so with instinctual and lucid modulation), though with an infinite variety of content. Ultimately, the most common indicator of this process for me is a bird of any number of species from dream to dream.

The foundation of this process has occurred every sleep cycle since early childhood, though I have only thus far included some of the more interesting dreaming experiences online.

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Qebehsenuef Canopic Jar (October 18, 2019). A mummified parrot in an Egyptian falcon canopic jar (Qebehsenuef) comes to life, and the bird vibrates in my hands with pleasing sensations.

The most recent mental activity before this had been in slow-wave sleep (virtual mummification). I am lucidly modulating liminal space (anticipating the drop, but it does not occur). I had intestinal pain before (and during) sleep. (A Qebehsenuef canopic jar holds the intestines.) Note that any container typically represents how the dream self cannot arouse the physical body until consciousness emergence.

Decayed Fence and Strange Weather (July 7, 2015). At the end of this dream, Ava Gardner is in a lacey black dress. She is on the floor near a couch on her elbows, with her knees up. As I grab her heels, she transforms into a Tweety Bird foil balloon of about three feet in length. I strike it against the floor while holding the bottom edge, but it remains as it is. (It was similar to “Unconvincing Resurrection” from October 18, 2016, when I tried to resurrect a dream character from his skull in a bucket of water, but out came a novelty balloon with a skeleton print.)

That dream segment (the last part of a much longer dream) is probably more ridiculous than most other examples. Balloons and birds both correlate with drop anticipation, though balloons additionally relate to a subliminal, liminal, or supraliminal focus on breathing while sleeping.

One Quail into Three (September 26, 2014). There is a tall thin paper sack with a rectangular bottom that contains a sickly quail on its side. There is a vivid vibration as I hold the paper bag. Eventually, there are inexplicably three quail in it, two healthy, one sickly. Zsuzsanna is about to sell the sack of quail to an unknown woman who arrives at our door (lesser wall mediation with doorway waking autosymbolism). I wake as she talks to her.

That dream indicates the same process and with the same modulation as the first example, though instinctually rather than lucidly. However, enigmatic space (not a dreaming process) also became a factor here. Years later, in real life, our oldest daughter took an interest in raising quail (with Zsuzsanna helping her). When selling a few in town, the buyer complained about one of them being unhealthy, though it was not; it only had one feather out of place. Thus, my dream’s scenario was also literal, but years before real-life correlation. (One quail of a small hatching as here died in another instance.)

Baby Bird (May 4, 2014). We have a baby bird (possibly a wild finch) that fell out of its nest and is living inside my makeshift terrarium outside. It is weak and sickly, seemingly injured. By feeding it small pieces of rubber cut from a bicycle inner tube, it grows and becomes healthier in a short time. Later, after feeding it potato chips, it ceases to exist.

That dream might seem bizarre to people who do not understand the co-occurrence of dreaming and waking processes. Bicycles are a more grounded form of vestibular correlation anticipation than flight is (with less expectation of the drop), so this is instinctual modulation to correlate emerging physical preparedness as much dream content is. Next, come potato chips. As they crumble easily, I associate them with the dream state losing cohesion (and the bird and anticipatory factors dissipate as a result).

The Hummingbird Power (January 2, 2007). In this dream, a hummingbird had gotten into our house, and I do not want it to become weak over time or injure itself. Holding it creates an extreme sense of compressed weight as well as pleasing powerful vibrations. Although it seems to have gotten squashed when I absentmindedly close our front door, it seems invulnerable and flies back into our house for a time.

Ceramic Chicken (from 1963) is one of my oldest validated dreams from before I could write. A statue coming to life is the anticipation of waking (cortical arousal).

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Hopefully, this entry should serve as a partial foundation for idiot-proofing my online dream journal when it comes to this type of content.

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Morning of October 18, 2019. Friday.

Dream #: 19,296-12. Reading time: 34 sec.



In the dryad stage, there is liminal ambiguity. The sign of movement and discernment of white (as with a nymph’s elaborate dress) seems to be a misperception. There is no one sitting on the low branch of a big tree in an otherwise open area.

As a result, I walk through the sparse ruins of an unknown town, signifying the dream state is slowly losing cohesion. There is a more clearly defined warehouse (liminal space) I enter.

I find an Egyptian falcon canopic jar (Qebehsenuef). It contains a mummified parrot that comes to life when I hold it. I vividly feel the movement as I hold onto it, even a subtle, pleasing vibration as if from a mild electrical current.

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See also “bird resurrection” (for the explanation of this process) that will follow this entry and have the date of October 18, 2019.

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Sunday, 13 October 2019

Reading time (optimized): 4 min.



In this informative dream journal series, I will clarify how vehicles appear and function in the ways they do in my dreams based on over 50 years of experience and validation in my life as both an instinctual dreamer and natural lucid dreamer.

First and foremost, the isolated (with the exception of enigmatic space and quantum entanglement) and illusory mental model of the dream self (that also lacks the viable memory of conscious identity because of its disconnection from the unconscious mind, chiefly in non-lucidity, to prevent false memory building) does not have the potential to control the physical body during sleep (though sleepwalking seems to be an exception, but that is not a subject of which I have experience). Even so, that factor does not stop my dream self (by way of preconscious monitoring and accommodation) from creating the imaginary dynamics of physical movement and virtual travel.

Since early childhood, there have only been a few basic practices and variations in the modulation of vehicles that I will explain in this series. When it comes to the drop (vestibular correlation experienced as an imaginary fall, typically during the natural waking process), dream modulation often varies as analogical to controlling a potential sneeze, which is possible, though somewhat unpredictable (depending on the depth of sleep).

I typically experience two types of short dreams at the start of each sleep cycle (before entering longer hypnagogic sessions). One is the right leg kick (usually correlating with the same dream content, that is, walking and falling, more intense when I had done more walking earlier that day, which proves it is a result of physical causes stemming from muscle dynamics and not personal reasons by way of the popular but asinine notion of “interpretation”) and the other is the spasm in my back, like a jab, that is extraordinarily intense, though the foundation of its dynamics specifically stems from liminality (that is, being between dreaming and wakefulness with separation of conscious identity from viable physicality) and the extent of cortical arousal. As such, dream content varies, though with the same types of autosymbolism that represent stages of dreaming.

I will review various dream features and events from my 50 years of dreaming history. Vehicle renderings mainly stem from my dream self’s desire to subliminally, liminally, or supraliminally enhance the potential of imaginary physicality and the illusion of movement. The kind of vehicle (for example, car, train, bus, truck, boat, airplane, helicopter, flying saucer, and so on) establishes co-occurrence with the dreaming stage and specific dynamics of vestibular arousal, degree of expectation of the drop, and extent of physical dynamics and muscularity in sleep as well as the residual level of melatonin.

It needs to be understood that not all vehicles in my dreams exhibit co-occurrence solely with my imaginary dream state physicality and its status as I instinctually or lucidly anticipate and match induction, dreaming, and waking stages (including the drop). In some cases, associations with the bed I am sleeping in become part of the vehicle-rendering process, either directly or ambiguously, and then it becomes a signification that the vehicle is more representative, in an imaginary sense, of the bed (and my contact with it) than my physicality is. It also depends on incidental shifts that match shifts in consciousness, particularly preconscious processing. There are also cases where a vehicle correlates with legitimate physicality, including in a premonitory context.

I will now elaborate on the specific causes of dream content and variations of the fundamental processes, the main focus on imaginary vestibular dynamics, and their control (whether instinctually or lucidly).

I will reveal an interesting note on how a vehicle bumping or rubbing against another one was rare in my dreams until after being with Zsuzsanna and sharing a bed with her. This occurrence stems from the anticipation of our bodies bumping together during our sleep. It does not mean my dream is demonstrating literal co-occurrence with such monitoring (other than when there is physical contact), as it mainly stems from anticipation as with the drop.

Now, I will go into the specifics with dream content and comparing and contrasting processing factors.

In “Overpass Mishap” (September 22, 1974), I instinctually phased out of my imaginary physicality (and my dream) by passing through the roof of a taxi as I anticipated the drop. As the overpass collapsed, I was simultaneously in flight. The car, being an illusion of my fictitious dream body as I looked down, became like a Matchbox car in this case, the setting becoming like a model of the town. Lucidity is not required to control dreams. All one needs is an understanding of what dreaming processes are. The instinctual essence already exists, as it is not biologically possible to be unaware of being asleep while dreaming.

I could easily compare this with “The Suitcase and the Stolen Sweepstakes Entries” (September 20, 2019). In that case, rather than anticipation of the drop bringing about waking, I instinctually used it to vivify and sustain my dream, which eventually shifted into cognitive arousal processes. (The drop rarely occurs more than once in the latter half of the sleep cycle and usually only once at the beginning.) When the driver (a teenage girl) deliberately drove off the edge of a second-level parking lot, I had no concern as I felt the movement of the bus falling to the perpendicular street below.

I should emphasize how dreams preconsciously distort reality to prevent waking life associations and false impressions. For example, in my first dream above, although the situation came from a recent real event, the taxi was heading south into town rather than taking me north to my home in Cubitis, and in the last scene, transformed into a downscale model. In my second dream above, the parking lot was an altered version of a ground-level parking lot. (There were no elevated parking areas at the front of the shopping mall in real life, revealing how dreams distort settings based on the drop or waking process anticipation.)

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Morning of October 6, 2019. Sunday.

Dream #: 19,284-04. Reading time: 1 min 40 sec.



Induction: I am sitting in an armchair wearing headphones in an unknown residence. The room is not well-lit. I listen to various vocal sounds on a tape playing in a cassette deck to my left, some that are partial affirmations related to dreaming, though there is the usual gibberish. I do not maintain full dream state awareness (though my perception remains instinctual, as the processes are the same, lucid or not).

I see many maidenhair ferns in small plant pots. It is a beautiful tranquil sight. I feel I am where I should be. I notice it now seems to be late morning.

Wall mediation with a vestibular precursor: I see a shadow at the glass-paneled door. It seems to be an uninvited ninja who has a crowbar that soon emerges between the door and door frame. I suspect this may relate to the cassette I am listening to, so I pull the jack from the cassette deck and remove my headphones. As I do, the door makes a light shutting sound, and there is no ninja. (Pulling a jack from a stereo is the opposite of what I typically do in dreams to vivify and sustain cortical arousal. In addition to a typical preconscious personification, the ninja is a vestibular simulacrum, which transitions into flight autosymbolism in the next scene.)

More wall mediation and vestibular processing: I turn about to see a winter forest setting beyond an open wall. I enjoy the beauty of the scene as the snowflakes strike my face. The time has changed again, and it now seems early evening. A jet flies overhead (unrealistically slow). I see its shadow rise on the trunk of a tree, and I lift my arms to mimic the shape. I am unsure if they are searching for the ninja or me. I decide to take to the sky and become one with the jet to gain control of the whole region. (I fly vertically straight up.)

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The tree with the rising shadow of the jet is a process whereby the tree is a representation of how my physical body does not move while I am sleeping. The flight association is the precursor to vestibular arousal. Rather than the drop, I fly up and out of my dream as I have many times since childhood. Vehicles of any kind (including aircraft) are typically a result of the imaginary physicality of the dream state, each having specific nuances and associations with different levels of muscularity and anticipation of the drop.

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Morning of October 5, 2019. Saturday.

Dream #: 19,283-02. Reading time: 1 min 15 sec.



I am in an unknown ambiguous setting with the common factor of indoor-outdoor ambiguity. The area is not well-lit. While it is implied to be outside, I also sense it is inside a big building with a high ceiling. The floor/ground is smooth.

I am pulling a rope from a horizontally-oriented reel on a buckboard wagon. I vividly feel the movements and sensations in my arms as I pull the rope. The wooden vehicle is at least six feet away (facing away), and the reel, its width nearly that of the wagon, is under the seat. The rope is coming from up and behind the reel.

I am guiding the rope at about waist-level to an unfamiliar man who is standing about six feet beyond a cattle fence. He, in turn, is guiding the rope to an unseen man farther away (whom I sense may be sitting or lying down). I am unaware of a backstory that might explain why I am here. Eventually, the end of the rope prevents farther pulling as it is attached to the reel.

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The unseen man is my potential emerging consciousness. The man I am guiding the rope to is my preconscious (the personification of my reticular activating system and vestibular cortex) though here as a subliminally summoned vestibular witness (for correlation and potential coalescence). The buckboard wagon is autosymbolism for my physicality while in the dream state (as all single vehicles often are). The rope, attached to the reel/“real” ends because my dream self’s fictitious mental model cannot move my real physical body. In this case, the fence is autosymbolism for the virtual division between subliminal and liminal space, though typically the division between subliminal or liminal space and wakefulness. The reel is under the seat of the wagon as an association with being able to get up. (In this case, there is no drop or anticipation of one.)

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Morning of October 01, 2019. Tuesday.

Dream #: 19,279-02. Reading time (optimized): 2 min.



Wall mediation (precursory): My imaginary dream self integrates into a typical wall mediation scenario (that occurs at least once each sleep cycle). Despite the vividness and my instinctual attention to the process, my identity is mostly absent at first. There are several unfamiliar people present with me (to my right, waking orientation when on my left side) in an undefined room, though I do not look at them. I am close to a wall of a yellowish cream color, near where it meets a corner. The paint is densely cracked but not flaking. It seems there may be a haunted essence (caused by being between dreaming and waking when on a specific ultradian curve).

Wall mediation (waking the sleeper): I mentally open the wall perpendicular to the first and to my left. Inside it (with only enough space to contain standing people who are facing outward) are four soldiers from the eighteenth century in suspended animation (inactive reticular formation), standing side-by-side, about two feet apart. The two leftmost are Asian warriors. The other two are British soldiers. I consider each Asian warrior somehow serves one of the others, though they are seemingly in a deeper state of sleep. The two rightmost soldiers have locks attached to their left arm, though the keys are in plain sight, hanging a short distance from their lock on a small chain (as with the type used to turn on a lightbulb by pulling on it, rendering this autosymbolism as an obvious play on becoming conscious). The keys have wing insignias (with at least three bars of shorter length from top to bottom) oriented left, similar to the left half of an aviation badge (a static flight association implying a soft awakening from sleep). I unlock the soldier second from my right (as he correlates with my position in bed, with the rightmost soldier a distorted - but changing - awareness of Zsuzsanna) but I wake before unlocking the rightmost one.

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Despite my dreams always using the same simple autosymbolism (typically in the same order) representing co-occurrence with the transitions throughout the sleep cycle, there are often threads of incredible, enigmatic space. The first thing I saw after waking, I did not expect. It was the “Space Seed” episode of “Star Trek” (the twenty-second episode of season one) where warriors on an old spaceship (“Botany Bay”) came out of suspended animation with the help of Captain Kirk and his crew. (I must point out I hardly ever watch television at this time, and I knew nothing about the station’s schedule.)

It is not unusual for the preconscious to personify as either authority or as the indicator of being asleep. What makes this correlation more defined is that the episode has sleeping warriors (including Asian) that serve another nationality (Khan), and a crew waking them from a sleeping chamber in a wall.

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“Time stops every time I stop and remember you. Oh Suzannah you dream for all who are displaced by foreign call. Oh Suzannah, oh sent to Botany Bay.”

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