• Lucid Dreaming - Dream Views

    View RSS Feed


    1. My Job is to Scrape Ice off the Edge of a Concrete Platform

      by , 03-12-2023 at 08:53 AM

      Sunday morning, 12 March 2023.

      Dream #: 20,537-01.

      2 minutes and 30 seconds to read.

      Somatosensory Foundation:

      This dream, originating from typical REM sleep dynamics, results in a narrative enforcing my somatosensory response (imagining purposeful tactility) and potential real-world hand mobility because of my current status of REM atonia, a causality factor for dreams in the fourth quarter of my sleep cycle. It is so specific the physiological pattern and timing match tens of thousands of previous dreaming experiences over nearly 60 years.

      The presence of ice has a double meaning here. Ice corresponds with my intuitive perception of REM atonia nuances (while ice melting anticipates achieving wakefulness and real-world mobility), while I also sometimes imagine ice when there is too much real-world heat while sleeping.

      The setting is a parking lot on Copeland Avenue in La Crosse (a city I have not lived in since 1994). It is late morning. My job is to scrape ice off the edge of an elevated curb. The ice is only on the vertex of the top edge of one side of the low-set platform. The vividness is astounding, beautiful, and peaceful. For about 20 minutes, I happily scrape all the ice off, feeling satisfied, but I wonder if any of it will form again before I receive my payment.

      More Correspondence with the Usual Sleep Dynamics: A parking lot is what I imagine, define, and create to enhance a mode of liminality, a specific level of dream state awareness. As in real-world correlation, it represents temporary immobility but with a potential transition from one place to another (here, from the dream state to viable wakefulness). This fundamental dream motif has remained a regular feature since early childhood, typically as the final scene of a sleep cycle.

      The concrete platform is about the size and height of a bed - with the vertex of the curb being the top edge of one side of the “concrete bed.” I sometimes shift a blanket remaining atop it, recognizing its role in my sleep navigation.

      Protoconsciousness Personified as a Celebrity: After I finish my work, I watch George C. Scott, the actor, approaching a nearby building (walking from the road). The building is farther from the avenue than I am. It seems to be his office for the management of a nearby warehouse. He sees me but does not mention my payment and enters the building.

      I am unconcerned about my payment or even if I receive it. I “walk with intent” to the road. However, George C. Scott comes out to give me a check when he sees I am leaving.

      Proto-Cognizant Staging: I look at the check and read its details as I walk. It is for 20 dollars. There is handwriting featuring “20 Copeland Avenue,” “La Crosse,” and “G. Scott” as a signature. I plan on asking Zsuzsanna if George C. Scott owns a business here. (Zsuzsanna has never been to America, as I often remind readers.) I am intrigued but consider it may have been someone who only looked like him.

      Inexplicable Transpersonal Link to Zsuzsanna:

      Zsuzsanna was awake and reading about Emmet Brown’s “Great Scott” exclamations. There was no way I could have known this other than a typical transpersonal link - which is how I learned she was a real-world person (on the other side of the planet from me long before we met in waking life).

      These links (NOT because of the dream state, as some people pretend - as dreams distort the link as they do everything else) regularly occur when one of us is awake and the other asleep. However, it also happens (with different dynamics) when we are both awake or asleep.

      Updated 03-12-2023 at 09:16 AM by 1390

    2. Loose Screws (somatosensory - unfathomably vivid)

      by , 03-07-2023 at 08:43 AM
      Tuesday morning, 7 March 2023.

      Dream #: 20,532-02.

      2 minutes to read.

      This dreaming experience sustains my somatosensory response to variations in REM atonia. Because of how specific my illusory hand mobility is, my dream renders such realistic imagery, tangibility, and depth perception that it is unfathomable in conscious afterthought.

      My main focus involves looking for a correctly sized screw to put through two parts of a small screwdriver and tighten it - so that it becomes a usable screwdriver again. I use a different small screwdriver to turn the screw inside the hollow handle of the first. I do not find one I can rotate for very long until stopping from it being the wrong size.

      The setting is an ambiguous combination of table and floor with screws and small metal pieces everywhere, but I do not consider it as impossible as it would be in a real-world activity. (The bottom half of my body would be missing to correspond with the narrative’s implication.)

      Other features are present at times. I notice a few small tackle boxes and open them, but they are empty.

      There are several containers with dark smooth rust coating their inside. Although I think about removing it, I do not.

      Protoconsciousness (atypical somatosensory induction in this case), personified as an unknown man who vaguely reminds me of an alcoholic co-worker from over 20 years ago, is present for a time. He blows on my face with significant realism and asks if he can help me, but I tell him it is unnecessary. An unfamiliar man on my left asks me if he wants him to go to the other man’s house to talk to him about leaving me alone, but I tell him no.

      Meanwhile, a harmonica inside a transparent plastic container plays itself, though it is only one loud chord. I do not consider the event unusual. It seems incongruously related to the man blowing air.

      Regarding my dreaming history, it is more common for a female dream character as protoconsciousness to blow on my face or sprinkle water on me for dream state vivification. Sometimes she hovers above the floor, becoming an anthropomorphic water form, and “rains” on me. It exponentially vivifies the dream state because of my somatosensory response and its hallucinatory cortical activity.

      When I slept in a friend’s apartment in America years ago, the anthropomorphic water form seemed present for nearly an hour, and bubbles continually moved inside it.

      Regarding two typical offset dreams today, one was a cast somatosensory event where an unknown cheerful young girl receives a roll of coins (unknown denomination) from an unseen bank teller. A typical REM atonia response casts a roomful of dolls (a common metacognitive association with physical immobility while asleep). Such content does not occur intentionally - it is how I have always intuitively though spontaneously responded to the physiological effects of sleep in liminal states since childhood. Feeling someone’s hair or an animal’s fur is more guided (intentional).
    3. Heraldic Dragon Storm

      by , 03-07-2023 at 06:47 AM

      2 minutes and 30 seconds to read.

      Wednesday morning, 1 March 2023.

      Dream #: 20,526-03.

      The illusory dynamics of this dreaming experience first involve the typical arm (and hand) mobility theme and somatosensory responses to REM atonia, but after “walking with intent” (and vivifying my dream exponentially), the somatosensory factor transitions from directed to received (over my entire right side) and becomes incredibly vivid, with loud auditory phasing.

      My dream’s first segment is a typical shopping narrative in an unknown location. After getting several items in a grocery store, I go to what I think will be a bigger grocery store, though it turns out to be smaller. I push the shopping cart from the first store, go outside, turn to the right, and enter the small store. During this time, I touch the various Australian bills, mainly the fifty-dollar notes, to multiply them in my wallet, realizing I can do this continually, having no limit to what I can spend.

      A man is sitting near the narrow entrance inside the building, though the perpendicular corner, where people exit, is open. I tell him he can look at my receipt (from the previous store) as I hold it, but he waves me and my shopping cart through. The aisle begins here but turns right at 90 degrees and turns right again with one checkout at the third counter (opposite the corner near the exit). In other words, the shopping area is only one rectangular path, with the entrance and exit at the same corner.

      One man walks close to my shopping cart but goes in the opposite direction. The area is too narrow to allow for much browsing.

      I do not see much to buy. I pick up a few fruits resembling mangos, but they have strange small donut shapes over their surface. The spots are reminiscent of white hole guard labels for notebook paper. Even so, I keep one that looks fresh.

      I pick up two pairs of unusual red fruits shaped like irregular Greek amphoras. (They are probably meant to look like hearts with partial aortas.) I select a few other items.

      At the checkout, I hand the male cashier a twenty-dollar bill. Some coins fall (more typical of my second post-hypnagogic dream content each sleep cycle), but he picks them up for me.

      Once outside again in daylight, I am unsure how I will get home. I consider getting a bus, but I decide to push the shopping cart home, though I am unsure where I am and which direction home is. Eventually, I “walk with intent” as my dream becomes more vivid, realizing there is a light rain (somatosensory response to variations in REM atonia).

      To my left are surreal storm clouds, one forming a black tornado with irregular curves. I am unconcerned. Ahead, at a T-intersection, is a tall building of at least five floors. Above the building are at least three animated sketches of heraldic dragons. They are unrealistic in that they look like neither living creatures nor clouds. Even so, curls of black smoke form some of the moving drawings.

      As I walk closer, my dream becomes more and more vivid, with incredible surreal beauty. The “cartoon” dragons continue to breathe fire and lightning onto the top of the building, seemingly with a sentient attempt to destroy it. I do not feel endangered.

      A loud roaring noise, similar to the last part of the alien light probe scene from “Star Trek: The Motion Pictures,” occurs as I walk by the building. I consider that the heraldic dragon “storm clouds” will remain over the building until I leave the area.

      As I deliberately walk by the building, though in the middle of the street, rubble and dust from its eaves (because of a dragon’s blast of fire and lightning) bounce along the street, hitting me lightly along my right side, head to foot. The sensation is incredibly realistic. I find it fascinating (and vaguely amusing) as I slowly walk until my dream ends.

      Updated 03-07-2023 at 07:02 AM by 1390

    4. MAPPED DREAM: "Tiko's Treasure"

      by , 03-06-2023 at 06:14 PM

      Saturday morning, 29 November 1975. Age 14.

      Dream #: 3,267-01.

      1 minute and 40 seconds to read.

      Scene 1:

      Toby Taylor and I are reminiscing about the 1962 movie “Tiko and the Shark” that I had watched a few times on the “CBS Children’s Film Festival.” We talk about the idea of a remake or sequel even though we also talk about Tiko’s life as if he was a real-world person we knew.

      The setting, although appearing as the El Jobean fishing pier in Port Charlotte, Florida, in the early evening, implies the location is Bora Bora to bring about connections to the movie as I push my imagination into my dream’s ongoing narrative. As I talk, I focus on my dream corresponding with my intent as I narrate an idea for a fictitious sequel called “Tiko’s Treasure.”

      Scene 2:

      As I think about time travel and Tiko’s village, the pier dissolves, and I fall into the water. Although I see shark fins, I am unconcerned.

      Toby is “still” on the pier, but it is now far away, contradicting the first implication. The narrative ambiguously implies it has not yet been built, but Toby is still in his original location, despite me being in the water about half a city block away from it. Even so, it seems I am communicating from the dream state (as a fantasy) to his imagined “real-world location” in the “future” (from my present location). More contradictory is that I now consider I might be (or become) Tiko (even though I am also me).

      Scene 3:

      I find myself in an unrealistic setting with grass huts. One grass hut may be a ticket booth for the “movie” I am exploring. Other grass huts may be for tourists.

      The usual factor of arm mobility associations ambiguously integrates into the narrative, resulting in self-contradicting content.

      Several “bowling balls” float in the water near one hut (as I consider there is a bowling alley for tourists nearby, but the balls sometimes roll from the hut into the water). The imagery becomes more like a cartoon at this point. They may be confused with large black pearls in the region to distract treasure hunters.

      Eventually, I think they are probably coconuts.

      Unusual Correlation:
      Curiously, there WAS a remake a few years after this dream. I found myself watching it when going through channels on my sister Marilyn’s television. The remake is “Beyond the Reef (Sharkboy of Bora Bora)” - made in 1979 but supposedly not released until 1981.
    5. ADDITIONAL NOTES FOR “Run from the Brontosaurus”

      by , 03-06-2023 at 03:51 PM
      Saturday morning, 18 December 1971. Age 10.

      Dream #: 1,825-01.

      1 minute and 50 seconds to read.

      Requires reading and understanding: MAPPED DREAM “Run from the Brontosaurus” in the first part of this report.

      This dream is one of many from childhood that I still cherish, regardless of its usual predictable causality factors. I still view this dream as hilarious on one level.

      While hand mobility and somatosensory response (often with summoning and handling coins) have occurred regularly in dreams since childhood, foot mobility with a somatosensory response in the bottoms of my feet is uncommon, though I also use my hands in this case - and it is still predictably tied to leg mobility as most outcomes in this mode.

      The curious event here involves falling and breaking a window by landing on it from a reasonable height but remaining in the dream state. Although horizontal, it ties to using a door as a dream’s deliberate exit point. While my intent to exit is ongoing, it triggers an offset somatosensory dream segment instead. I had, however, deliberately jumped from a bridge to leave the dream state, expecting, if remaining in the dream, to land in the water, as with similar instances. That is what I find hilarious.

      “Doubling” is a viable term for this dream sequence because I am still in the dream state for an additional vivid segment, and it combines two dream-exiting methods I have often used.

      What caused this particular shifting response (rather than waking me up)? My guess is because of the lack of myoclonus in this case. (Even so, there have been more recent dreams where I remained in the dream state after feeling “the drop.”) Myoclonus most often wakes me from the dream’s physical illusions (particularly leg myoclonus at the beginning of every sleep cycle). It shifted into a somatosensory response (glass in the bottoms of my feet) but still did not wake me. A typical hand-based somatosensory response as a catalyst is an animal nibbling my fingers.

      Again, the lightning (an increasing synaptic energy analogy) striking the dinosaur and bringing it to life (waking it up) was also a transition representing precursory wakefulness, though, at that point, my dream also shifted into another segment (though with my deliberate intent in the first instance - because in childhood, I learned to hold myself in the dream state even when there is an imaginary threat and now have gotten much better at it - see “Heraldic Dragon Storm” from 2023 for example).

      The unrealistic stop-motion effect (movie influence) has occurred in many other dreams. These days, “bad CGI” also occasionally “corrupts” dream narratives. Animated content superimposed over otherwise realistic scenes has also often occurred since childhood.

      Updated 03-06-2023 at 04:12 PM by 1390

      side notes
    6. MAPPED DREAM "Run from the Brontosaurus"

      by , 03-06-2023 at 03:42 PM

      Saturday morning, 18 December 1971. Age 10.

      Dream #: 1,825-01.

      2 minutes and 30 seconds to read.

      Scene 1:

      I intuitively respond to the dream state by “leaving my bed” (imagined) before dawn and “walking with intent” through the Cubitis house’s dark carport - toward our backyard rabbit shed (a recurrent beginning for this mode of dreaming).

      A brontosaurus in suspended animation is present. I cannot pass it. Its head and neck lie across the short concrete path that extends into our backyard from the east end of our carport, stopping at our shed’s entrance. I illogically conclude my father dug it up while working on the real-world addition to the building.

      Lightning strikes the dinosaur’s head, and it comes to life as I watch its head rise above me.

      Scene 1 Influence and Causality:

      This part of the narrative came from the 1960 movie “Dinosaurus.” However, in that movie, the brontosaurus was friendly. My dream integrates the essence of the dinosaur from the 1959 redundantly titled movie “The Giant Behemoth” and borrows from it more than “Dinosaurus” from this point.

      Lightning striking the dinosaur’s head to “wake it up” (as in the movie) is cast here because of an increase in my intuitive response to dreaming, that is, gaining more metacognition while still in the dream state. Therefore, the dinosaur is this dream’s sleep simulacrum. Sleep simulacra have featured regularly in my dreams since childhood. I habitually seek out and wake up sleep simulacra by habit to vivify and sustain the dream state. I stay in the dream state (by choice) and “run” from the dinosaur without real-world emotion. This event exemplifies my lifelong trait of anticipating wakefulness while dreaming, yet it results in virtually infinite unique and satisfying narratives.

      Scene 2:

      Even though I am on foot, I soon reach the El Jobean bridge in Port Charlotte, though it takes over 40 minutes by car in real-world time. It incorrectly looks more like London Bridge when I look back while walking south. The time now seems like late afternoon. I get impressions of “toy” cars the size of real-world cars, though I do not focus on them. I find the bridge imagery fascinating. The dinosaur, which moves slowly in the distance, may not reach me as the bridge might collapse. It may not even be aware of me. It moves with an unrealistic stop-motion effect, as in the movie.

      Scene 3:

      When reaching about two-thirds of the length of the bridge under a blue sky, I decide I will jump from it because I reason it may collapse anyway to bring an end to my dream. (Illusory bodily awareness and sense of weight are too realistic for flying in this instance.) Even so, I am still vaguely unjustifiably wary of what will happen if the animal reaches me before I wake.

      I sit on the railing and cheerfully jump, expecting I will merely wake up - though I do not. Instead, I enter a more vivid offset dream.

      I feel an impression of landing on my feet, but there is a loud staccato sound of breaking glass. There is a brief cool “pain” in my feet. I am now in the southwest area of my real-world school’s playground (in the early morning), standing on a four-paned window I broke by landing on it.

      I sit down and cheerfully pull flat triangular pieces of glass from the bottom of my feet. There are about five pieces in each. There is no blood, and I am unconcerned.

      Outcome Causality:

      My deliberate jump to leave the dream state caused a quick transition of responses from my vestibular cortex with imaginary movement (and the regularly occurring leg mobility theme every sleep cycle), a predictable auditory event of the sound of breaking glass (that has continually happened throughout my life, and which otherwise breaks the illusion of dreaming in contrast to here), and my somatosensory response (which often follows my vestibular-motor response).

      Updated 03-06-2023 at 04:18 PM by 1390