Blue_Opossum

Morning of December 23, 2020. Wednesday.

Dream #: 19,728-03/02. Reading time (optimized): 1 min 45 sec.

This entry includes two unrelated dream narratives. The first integrates somatosensory phasing (as a result of sleep atonia with liminal finger movement associations while sleeping), and the second, the usual vestibular phasing.

In my first dream, its setting is not only of typical indoor-outdoor ambiguity but also ambiguously underwater yet not underwater. I am simultaneously sitting at the bottom of a lake, in a room, an outdoor area above water, and a large aquarium. Even so, it does not feel like I am underwater other than when I press my face into a vertical wall of suspended water under the “lake.” I am sitting on a couch. (The floor is like the bottom of a lake but with a living room feel.)

A few people are making a video. There is an unrelated event where two crayfish are fighting. I place my hand near them, and they move apart. There is a buzzing sensation in my fingers. They come back to fight and move about several times.

I am playfully sarcastic regarding the video the others are making. I press my face into a wall of water. When I speak, my voice only makes gurgling sounds. I can vividly feel the water on my nose and mouth. I am recording my “speaking” for the others to use in their video.

In my offset dream, predictable vestibular phasing brings about the usual liminal navigation of floating and flying. An actor is performing for others. On stage right, I perform some unusual dancing as he speaks. I soon float several feet into the air to hover for several seconds each time. As I slowly fly, my awareness becomes more vivid. I feel cheerful, and my activity is effortless (as the result of vestibular system correlation, a non-symbolic fundamental physiological effect of navigating the dream state).

The scene in my first dream comes from the annoying gurgling in numerous videos I have seen recently in waking life, even on mainstream media. Their talking becomes so incoherent with the gurgling effect I often cannot discern most of the words. This attribute is from noise removal settings being too high. I would rather hear background noise than be unable to understand what they are saying.

Somatosensory phasing relating to water denizens is typically in dreams near the middle of my sleep cycle, and in this case, the process precedes the vestibular phasing, making it more vivid and effortless. There were recent dreams with a giant walking squid (Gezora), my hand transforming into a starfish, the sleep atonia causation regarding my arms as two ghostly octopus tentacles phasing from out of a tabletop, and many more.

Morning of December 20, 2020. Sunday.

Dream #: 19,725-02. Reading time (optimized): 2 min.



My typical navigation of liminality and phasing sequences during sleep does not include waking-life identity at first or recall of what a dream is. The extraordinarily vivid experience of imaginary kinaesthesia is predominant throughout the first part of my dreaming experience.

Duality with vestibular phasing personification results in an unknown male driving a vehicle I ride in. The “car” is solely two back-to-back couches on wheels. It is similar to the couch I sit on in waking life, though I am on the far left (unlike at any time in waking life). We go through an unknown city. There does not appear to be a steering wheel anywhere. Somehow, as we are traveling, the unfamiliar man leaves. I remain on the front couch while his wife and at least one son stay on the back couch. Additionally, the “vehicle” is now speedily going in reverse over an overpass.

The realism of imaginary kinaesthesia, including the vivid sense of momentum and direction, is astounding. I become slightly wary at times, but I do not have any fear. The others, speeding forward, do not seem afraid. As the front couch speeds in reverse, I see cars on the street of the appearance they should have, yet which does not cause me to question why our “car” is back-to-back couches.

I consider I will try to stop or at least slow down the couch as our speed increases slightly. On the left end, below the arm, is a lever. (In waking life, this is the lever that extends the footrest.) As I pull it, I feel the couch slow down and come to a stop in the parking lot of a shopping mall. We all get out, and our driver is there looking at a storefront. Two people talk to him as they are leaving. They say they cannot give him a tour but invite him to look around inside the empty store. Dagwood Bumstead (from the “Blondie” comic strip) is standing nearby.

I begin to recall my waking-life identity, but I walk to an unknown residence where my family and I supposedly live. I walk through a room with a Christmas tree in the corner. I see the isolated shadow of a tree’s branch on the ceiling (truncated as a circular form), with no source, but I perceive it as random dirt I will remove later.

Somatosensory phasing begins with increasing liminal awareness of being asleep in bed in my dream’s final segment. Gustatory phasing coheres with somatosensory phasing. As a result, in my dream, I am on a bed. I need to clean candy sprinkles from it. I scoop them up to eat, and their taste is sweet. The hundreds of tiny pieces of candy form a pattern similar to a river delta. There seems to be no end to them as I continue to eat as many as possible. The bed extends several feet, even into another room. No matter how many sprinkles I pick up to eat, there are always several remaining.

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Night of December 17, 2020. Thursday.

Dream #: 19,722-18. Reading time: 2 min 12 sec.



In my dream, I become aware of being in an unfamiliar house. I am looking through a doorway where a young girl sits at a desk in a smaller room, writing. (I am standing near the center of a mostly featureless room.) A little bird is on her desk, having left its cage. I am somewhat surprised that cerebral phasing (and its personification) is still active. Ordinarily, the Naiad factor (melatonin mediation) has occupied this part of my sleep cycle’s timeline for over 50 years. (She is not a Naiad though she does mention mines, suggesting caves, in the outcome of the narrative.)

I slowly become aware of the silhouettes of about six birds. They are peregrine falcons and owls flying around in the foreground, about two feet in front of me in the same room. There is significant energy that increases over time.

After an intriguing sustained hypnotic focus on this shadowy rustling and atypical energy for this stage, the girl turns to tell me, “Take them to the mines.” I know it means to prepare to enter a deeper sleep to decrease vestibular phasing and myoclonic anticipation.

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How to understand the reasons for dream content:

Can ultradian rhythm, sleep dynamics, and the time of my dream be determined solely by content? Yes, in this instance, it most certainly can. Here is why:

Firstly, “take them to the mines,” preconsciously commands going to a dark place underground. In other words, it anticipates my liminal thoughts of entering deeper sleep near the beginning of my sleep cycle. (I am typically aware of the causes of my dreams while I am navigating them. It is not “intepretation” to already comprehend what is occurring.) References to caves in anticipation of entering (or returning to) deeper sleep have been a regular feature in my dreams for over 50 years.

Because the peregrine falcons and owls are somewhat restless and in the foreground, as a result of predominant vestibular phasing (implying it will take longer to succumb to sleep atonia), the cerebral phasing personification (the girl at her desk) increases to bring attention to the process; thus the cerebral phasing (and reasoning ability) is also at a higher level than usual. Birds also often anticipate myoclonus while sleeping, though in this case, the residual vestibular phasing does not result in myoclonus.

Why is my anticipation of slow-wave sleep compensated for here in associating it with mines? It is because of experiencing sleep apnea recently. The girl says, “Take them to the mines.” Despite the peregrine falcons and owls indicating restless residual vestibular phasing, a subliminal reference to canaries in coal mines for detecting harmful gases is a factor. It is associated with not being able to breathe while sleeping. Despite subliminally anticipating sleep apnea in this instance, I otherwise rarely experience it.

My dreams often include literal references to sleeping or dreaming because I am always aware (on one of three fundamental levels; instinctual, liminal, or lucid) when navigating dream space (and duality).

My dream’s partial influence is the print “El sueño de la razón produce monstruos” (“The Sleep of Reason Produces Monsters”) by Francisco Goya. However, the foundation stems from “Young Girl Writing at Her Desk with Birds” by Henriette Browne. There was no perception of uneasiness despite the inference of the Goya print.

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