Blue_Opossum

Morning of December 20, 2017. Wednesday.



I am writing a booklet in my dream about a factor which has remained consistent since early childhood. It is called “The Roof Factor.” I am not lucid. In reality, I had thought about writing an entry on the concept. I focus on dreams about open ceilings and roof repair.

Before I was nine years old, I came to understand some dream features signified the level of consciousness. I noticed dreams featuring open ceilings were more likely to occur in a certain level of awareness, in a particular part of the sleep cycle, when my conscious self identity was present to a greater extent than in other dreams (more than when such as a porch is rendered to represent the waking space). Most open ceiling dreams feature my current address and most often have more common dream state indicators. (Most of my non-lucid dreams have less conscious self connections and distort in anachronistic composites of various places I have lived in the past). It validates a ceiling or roof as representing a specific level of consciousness in a similar way as a wall or fence in relating to liminal space division, though with viable threads of conscious self identity. That is even more so with dream state indicators such as beds in being potential exit points or focal points of emerging consciousness factors. (I do not typify a ceiling or roof as a dream state indicator, as it does not directly relate to bedrooms or beds).

I do a lot of writing and reading in my dream, going back over at least a dozen dreams with the roof factor. Eventually, I wake to feel vaguely annoyed at having “lost” all my writing. Experiencing a long dream while writing about them while not aware that I was dreaming was amusing and ironic.

There were more dream references here than in other dreams in recent memory. They had an interesting connection with the replacement of our roof in real life after the storm had torn it off over a month ago, which was the scariest event in our lives.

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Readability score: 61.

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Morning of December 19, 2017. Tuesday.



This dream occurred during the time we had been trying to sleep, early in the morning, with the roofers having worked on our house in reality, but during their break and when we fell asleep.

In my dream, there is a scene where one of the roofers is actually in our house and I see that he is watching Zsuzsanna sleep. I am not lucid. This annoys me very much, but he soon leaves. Meanwhile, I notice strange features hanging from the ceiling, about three feet from the floor. There are four of them, defining a square’s vertices. They look like vertically flat objects, seemingly made of material such as vinyl, but with the look of a chest of drawers. I do not consider this feature strange even though most of my conscious self identity is extant.

Later, I am looking through our clerestory windows and see two roofers (each one’s face through a different window, the first and third from the left). A lot of black smoke is coming from the first roof tier to the left. Apparently, it is coming from a power tool, but I am vaguely considered that it may be toxic. The other male is looking on. Both look at us at times. This has the essence of a false awakening, and the roofers are starting to make noise in real life by this point.

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This is a typical intruder dream triggered by real environmental sounds and vaguely perceived “intruders” at the time. However, they did not actually come into our house or watch us through our clerestory windows, as this is just the RAS (reticular activating system) mode that functions as such when one is unconscious. (Understanding dreams is not difficult despite most people bizarrely having no clue as to what a dream actually is). I am not lucid in this particular case. Chase dreams are of the same nature, also rendered by way of RAS, which renders the personified preconscious to alert the dreamer into waking, because waking is a biological necessity. It is that simple. (Some people do have too much stress, though, and as such, would likely rather to continue to sleep, which RAS simply will not allow out of biological need.)

Additionally, looking through a window represents the waking space (that is, the liminal space between dreaming and waking). The black smoke (a real-time symbol) symbolizes the nature of being asleep (and has occurred in other dreams as such, including a few positive, even blissful dreams). The unusual hanging features likely relate to the fact I am not “on the ground”. That is, it is a dream state indicator similar to that of “The Hanging Doll” in that it symbolizes my physical body being in bed, though is also linked to my dream’s distorted perception of the four roofers, and their temporary status of being on our home’s roof (as four “floating chests” that have very limited storage for “a longer stay”). I have always found it utterly bizarre that people do not seem to understand that what is going on in a dream is based on being in the dream state itself. How could so many people not be aware of something so obvious?

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The roofers in real life extended and built over our second-tiered roof (pretty much destroying the purpose of a clerestory roof) so that it now blocks the clerestory windows and only ugly rafters are visible. One even said he would come around and board them up from inside. Zsuzsanna told him no, but for people to even do things like this and suggest things like this means that something is apparently “missing” from their mind, an inability to think or understand anything (too much alcohol perhaps? In the DNA?). Zsuzsanna and I have conversations often about what is “missing” from so-called normal people.

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Morning of December 17, 2017. Sunday.



In my dream, I am in an unknown house, though my sister Marilyn (deceased) is present. It is not seemingly implied to be the Loomis Street house. She appears as she did in the 1960s. I have no recall of her deceased status.

I have the awareness that a laptop computer does not use 3.5-inch disks (and that they are old technology), and yet I have no viable memory of the last twenty years of my life. (Dreams are strange that way.) Marilyn does mention this game as not being compatible with her computer. There is a set of about seven disks that are needed to install and run the game.

Eventually, we somehow get the game to work. It is holographic, though also seemingly solid at times, and fills nearly half of the unknown room. Two spherical aquariums appear on each side of the playing field, near the center of each side, where other features appear on each end, though I am mostly only focused on the aquariums. The virtual aquariums are about three feet high, though elevated to about five feet from the floor with a stand.

Apparently, the game involves some sort of event when an anthropomorphic fish emerges from at least one of the aquariums, though no actual game play ensues. There are some resets of this dream where parts repeat, though much is not that clearly defined.

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An aquarium represents the mental model of the nature of the dream state (in real time). In this case, the two spherical aquariums symbolize the sleeping minds of Zsuzsanna and me. The anthropomorphic fish would represent the emergent consciousness “coming out of sleep”, sleep of which is symbolized as water.

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RAS quantizes the mental model of the dream state in this way at times, more so when sleep is somewhat restless or with “intrusive” environmental factors, based on the analogy of being in a fishbowl when outside noise is more intrusive into sleep, otherwise vaguely similar in waking transition symbolism to the very common water lowering waking symbolism (which has occurred at least once per normal sleeping period for over fifty years, since earliest memory).

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Morning of December 15, 2017. Friday.

Dream #: 18,624-02. 3 min 20 sec read.



Cubitis (irrelevant since 1978) is the first location of my dream, but snow and ice cover my Cubitis home's front yard. My dream self does not hold a recognition of this place, and snow and ice would have never been a feature. Cubitis occurs as an incidental setting rather than having associations with my childhood and teenage years.

I am vaguely aware of my conscious self's identity but not my current address or status. I am involved in a treasure hunt but not as a recognized participant. Laverne and Shirley, as the television characters from the original series, are key participants.

A vivid segment occurs with a life-size version of the Matchbox car Alvis Stalwart BP Exploration Vehicle. It approaches from the northwest and is functioning as a snowplow. It is nighttime. I am amazed by its size and power, though I am unsure who is driving it. (I know they are one of the treasure hunt participants.) The loud yet soothing noise it makes is vivid. I know I have to get to where the treasure might be before it catches up, though I am only walking fast. Despite the snow and ice, I do not feel cold. I walk briskly through an area toward the south, south of the front yard of the Cubitis house, and the headlights of the vehicle shine on me twice. I try to dodge their beam, yet I feel little concern. (This is a factor of being vaguely aware of daybreak and not wanting to wake yet.)

Eventually, although I am still outside, I arrive at a place that looks like a large hall of a house, though the implication is that it is an outside area. (Using a real-life comparison, it is about where the south neighbor's carport would have been.) I notice fast-food wrappers and some papers amidst piles of books and other items to my left. Laverne and Shirley seem confident about finding the treasure at this point. There may be a letter from someone, or another clue, revealing where it is.

I realize we are nearing the end of the area designated as part of the treasure hunt. I wonder if the exploration vehicle is still somewhere nearby. My dream's setting, which is still part of the outside treasure hunt, is now a bedroom, with at least one wall and part of the ceiling missing.

Laverne and Shirley become annoyed that the treasure may not exist. However, I soon notice an A4-size transparent plastic envelope that is full of shiny gold coins. It is vertically upright and pressed against the south wall just behind some other items. They look like Australian two-dollar coins, but I know they are twenty-dollar coins. Laverne and Shirley are sitting on the bed at this point. I give it to Laverne and soon notice another container of more gold coins. It resembles an A4-size plastic box that we keep documents in, though this one is more transparent. I ask Laverne if I can have some of them, not considering that they should all be mine, as I am the one who found them. She cheerfully agrees I should have some of them. I awake while looking at the supposed twenty-dollar coins sliding out of the first container onto the center of the bed, ready to be counted. (The bed's orientation is from east to west. Its association with where it would be in the setting from where my dream started is unknown.)

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The "Laverne & Shirley" influence is mainly a metacognitive association with dreaming from hearing the opening theme song so often. It mostly corresponds with the lyrical line, "got a dream and we just know now." "Reaching a bed" has been a fundamental ending to my dreams since childhood, for the self-evident reason I am a metacognitive dreamer.

Coins have often featured in my dreams since childhood, from summoning somatosensory dynamics. (It is from wanting to enhance or stabilize my sense of touch while in the dream state, but I also had a silly belief when I was very young that I could pull a coin from out of the dream state). Noticing the sense of touch is one dynamic when emerging from REM atonia.

The ambiguity of dream settings and their countless composites of unrelated locations, their continually transforming attribute, and consciously unresolvable indoor-outdoor ambiguity (perception of being in an indoor and outdoor area simultaneously), and partial renderings in otherwise undefined space, is wholly unlike waking life or any factor of reality or memory.

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The Matchbox car I dreamt of yesterday (the flatbed truck with a house on the back, listed as "Truck with Site Office," though there were two in that dream of different colors), and the Matchbox car appearing here as a life-size vehicle (listed as "Alvis Stalwart" BP Exploration Vehicle), are number 60 and 61 (appearing in my dreams on consecutive days). The sequence may be coincidental or residual thoughts of a dreaming experience from the previous day, integrating into a new dream.

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Morning of December 14, 2017. Thursday.



The first part of my dream is unremembered other than undefined patterns of passive family activity. My dream self (personified subconscious) is already in the waking space when my dream becomes clear and vivid.

The typical waking space is rendered as a porch (my most common real-time liminal space symbol since early childhood, which symbolizes a specific state of unconsciousness between dreaming and waking), although it is the Barolin Street house’s porch. We have not lived there since the beginning of 2008. The personified subconscious has no concept of time or space (or any critical thinking skills). As a result, I do not regard this error of residence and accept it as our “real” and present home. I am uncertain of the implied time, though it seems to be night.

Three unknown visitors are at the porch door, which is open; two males and a female. However, the entrance to the porch is incorrectly rendered on the south end rather than its real location at the front, which is east. In the role of my personified subconscious (which is just a distorted filter, not a “mind” with any semblance of intellect), I do not “know” anything, and accept it as “real”.

I do not see the three visitors as intruders, which means that my dream self (at least at this specific point) is ready to coalesce back into waking consciousness. (This is a subliminal mechanism. I am not lucid.) They start to talk about a dead fish that is on its right side (facing east) on the inner porch ledge. It is to my right when facing the doorway.

The dead fish is a mooneye. (I have not seen a mooneye in real life since 1990.) Although I am not fully aware of this symbolism while still in my dream, there are four distinct levels of meaning. One, it is an artifact of water lowering waking symbolism (though there is no recall of water induction and no apparent WLWS in this particular dream, making it implied by habit without the direct discernment). Two, it means my glymphatic system’s functions are starting to lessen in nearing waking. Three, because it is a mooneye, and is dead, it is an association with nearing daybreak (waking transition; the sun symbolizing the conscious self while the moon symbolizes the dream self). Four, it is a symbol of my physical body being asleep, though its being on the right side is seemingly a subliminal warning that I may be on my right side in reality. (Though I do not recall having turned over during my sleep. I usually sleep on my left side for health reasons, as the stomach naturally hangs to the left and other systems operate better in this orientation.)

I am not sure what to say to them about the dead fish. I do not perceive it as unusual, but I hold no recall of how it came to be there. I mention to the three unknown people who stand just outside the doorway that “some are big enough to eat”, but they start talking about roe (fish eggs). Still, they do not seem that interested in the mooneye for such a source.

Meanwhile, I am closely looking at some Matchbox cars while standing near the center of the porch. Two of them are similar. I gaze at them with full intent. They are flatbed trucks (“flatbed” as being a dream state indicator as a play on being in bed). Each holds a small house. (The basic design is the same as one I had in real life as a boy, though it looks about twice as big, though my view in my dreams often magnifies what I am looking at.) I continue to stare at them, deliberately ignoring the three people just outside the doorway. One is mostly blue (that is, both the truck and the house) and one is mostly pale orange. (In reality, the truck was blue and the house was orange.)

I continue to gaze at the two trucks. I notice a detail of where the house’s window frames (in their vertical appearance and detail) and the vertical borders of the truck’s windows (looking at them from the side as they are facing right) are slightly closer to the front in one than in the other. (This relates to subliminal awareness of nearing my dream’s exit point, and waking symbolism is typically oriented to the right).

From here, I am suddenly aware that the three people are coming onto the porch. I teleport to the end of the porch and slam the door on them (indicative of the subliminal desire to remain asleep for a little longer). However, I notice that someone had left a set of keys on a table to the right of the door (even though there is no recall of the other people having been inside the porch). I open the door manually, apologizing. The female comes in and gets her keys and leaves again, the door remaining open as I wake.

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This dream has the dynamics of the typical waking space scenario, common on a regular basis since early childhood. The other three characters were, in upward hierarchy order, the personified preconscious, the personified interconsciousness, and the emergent consciousness. In this case, the emergent consciousness symbol was an unrecognized (while in the dream state) form of Zsuzsanna. She is the only one (other than our children) allowed to have “keys” to other levels of my unconsciousness. This is typical doorway waking symbolism, a door representing either the dream’s exit point or in some cases, access to apex lucidity and extraordinarily vivid automatic control of the dream state (and “summoning” mode, whereby all dream characters fully serve the dreamer via conscious self will), which for whatever reason, many people apparently cannot do. It may relate to my advanced understanding of the dream state since early childhood (and never falling victim to the fallacy of “interpretation”), whereby the majority of people totally lack the knowledge of what a dream actually is. I should also include here that, the large Barolin Street house was actually moved, via trucks, to a new location after we moved in 2008. Thus, this feature is also a subliminal thread of real-life factors of the past - of which I did not realize while in the dream state, even though it was probably meant to be an interconsciousness clue that I was in the dream state.

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Morning of December 13, 2017. Wednesday.



My beautiful wife Zsuzsanna and I are sitting together on a wooden bench at the end of the Shorncliffe Pier (formerly known as Sandgate Pier), looking northeast towards the ocean’s horizon. The time of day is uncertain, but it seems to be late morning in the final stage of my dream.

We are under the shelter at a later point, undressed, and being intimate. My semi-lucidity (partial awareness of being in the dream state) results in a lack of concern about several unknown members of the public, both male and female, being present, but not paying that much attention to us.

Later, we are closer to the shoreline (now about ten feet out on the pier). I observe what I first assume to be six North Korean males (perhaps in their thirties), waist-deep in the water. As they are walking towards the beach, they are guiding, in pallbearer formation, a damaged half-submerged wooden boat; a shellback dinghy; with a visible jagged hole in the side facing us. I am somewhat wary of their presence, but only for a short time. They gaze at us as if very annoyed.

Looking back again, I come to realize (though this was an actual transformation, not a presumed error in my original discernment) that they are Australian SES (State Emergency Service) volunteers. They are not looking in our direction now and their emotions seem informally neutral.

The water is lower, revealing a number of large stones. Zsuzsanna goes to look for some plastic toys between them that are still muddy from the storm (emergent real-life association, unrelated to my dream’s backstory), and to wash them, and I slowly realize we are now in our house, though our porch is erroneously perceived as being a rock pool (ambiguously perceived as being indoors and outdoors at the same time). I then wake.

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• Dream self mode: Corporeal with enhanced physicality
• Conscious self identity: Viable (although we have not been to Shorncliffe in real life in years), although perceiving myself as perhaps 30 rather than 56
• Induction symbolism: Water as symbolizing sleep
• Induction buffer: Shorncliffe Pier over ocean
• Dream state indicators: Being undressed and fully intimate in public (first-level dream sign, based on the subliminal awareness of being in the dream state, though I am semi-lucid here)
• RAS mediation symbol: Presumed North Koreans, seemingly defeated but presumed unpredictable
• Vestibular system symbol: Outer edge of Shorncliffe Pier
• Preconscious symbol: (Personified) Presumed North Koreans (precursory; transmuted by way of semi-lucidity in acknowledgment of waking being a biological necessity; preconscious does not initiate conflict when dream self recognizes or triggers waking symbolism or circadian rhythms factors)
• Emergent consciousness symbol: Boat leaving water
• Interconsciousness symbol: Australian SES workers
• Exit symbolism: Half-submerged boat being carried from ocean (illusory physicality “leaving” dream state)
• Waking transition symbolism: (Liminal transmutation) North Koreans to Australian SES workers
• Waking symbolism type: Water Lowering Waking Symbolism (WLWS); getting closer to the shore over time also symbolizes waking and circadian rhythms factors
• Additional personal notes: Our (present) porch as symbolizing the waking space is ambiguously combined with WLWS.

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Morning of December 12, 2017. Tuesday.



In this dream, there is the transition to water reinduction (water as symbolizing sleep), though my conscious self identity is virtually nonexistent. Even being in the Loomis Street house’s backyard, there is not even the association with my relatives who lived there for years. While in the backyard near the alley (where I have not been in real life since February 1994), there are a number of unfamiliar characters. There is something about going somewhere, another country perhaps, and we start our journey.

The Loomis and Gillette Street area transform into some sort of distorted wharf, which I believe is meant to be with the ocean on the left (even though Wisconsin is nowhere near the ocean in reality). All of the people we meet are dark-skinned and may be Sri Lankan (which I seem to recall being said as such in my dream). They are all males in their twenties, supposedly refugees. It is illegal for us to be there or walk over the wharf to wherever it is we are going. That will apparently not stop us though and our group walks over the long wharf. Still, the other males are very friendly even though they seem slightly confused that we are not like them. I start talking to them in Spanish, “Cuando salga el sol me despertaré”. (“When the sun rises I will wake” - note that I am not viably aware I am dreaming.) I repeat “cuando” several times, as a question. They only shrug and smile.

There is an area where a doorway is too narrow to go through. I do something to where we continue from near the right of it, though it does not make any sense. It seems as if I somehow moved the doorway itself by “sliding” it with my hand.

From here, I am riding in a van, on the front passenger side, on the right (implying America). The driver of this van is riding a motorcycle a car length ahead of the van (which makes no sense at all, but this is how it is experienced).

The port authorities are now following us. Because we had gone through the restricted area that held refugees, we are to be captured and shot, no matter where we decide to go or live. The man on the motorcycle is shot once and splits into several pieces, rolling over the road, the van I am in continuing to apparently drive itself. I do not feel very emotional.

After traveling a long distance, miles away from the Loomis Street house’s backyard, I find myself back on Loomis Street, in the Loomis Street house’s kitchen (likely due to mild hunger in sleep). Of course, this makes no sense either.

I am presumably the last one of my group left. I now have a very vague emergent awareness of relatives having lived on Loomis Street years ago, though no current conscious self identity. An unknown male comes into the kitchen from the south room to shoot me. I decide that this is RAS mediation (even though I am not lucid) and that he is the preconscious factor and thus I shoot him first and then soon wake. I will not tolerate being victimized in my own dream, even when there is no viable thread of current conscious self identity.

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Morning of December 11, 2017. Monday.



Thinking about our house actually having a roof again after over a month of this nonsense (since the storm tore it off), naturally some dream content would have an association with it, that is, in cases where my current conscious self identity is extant in an incidentally non-lucid dream. Because the personified dream self has no concept of time or space, or any semblance of intelligence or viable memory in non-lucid dreams of most stages of unconsciousness in the sleeping cycle, it is not automatically expected as a factor though. Curiously though, there were dreams about the roof repair and our landlord involved in it a few times prior to the real-life event (the storm that tore our roof off), so that is the literal prescience at work again.

My foreman from years ago (Patrick S, who shot himself, and by which I had a prescient dream of his saying “goodbye” on the same day with no way of me knowing he would do this, as I had not seen him for months as it was) takes the role of our landlord without my dream self really noticing it.

I am sitting on a beam above our ceiling, the area far more expansive than in reality. I am reading a paperback book. Above me is a solid roof, so my dream is illogical in implying a new roof is being built below it. Instead, on a different beam several feet away, is Patrick. He is nailing a small piece of tin in a vertical position aligned to what is then a wooden walkway. I feel somewhat aggravated (though not enough to trigger RAS and the waking event), as this seems to have nothing to do with the actual roof over our house, at least not the main sections.

I somehow teleport to the area and he hands me a hammer and asks me to help him. One corner of the tin seems problematic, apparently with too many nail holes that have torn the tin, to be feasible to be nailed where it needs to be aligned. My dream distorts and then I am to get a ladder and go up to where I already am, which of course makes no sense. As I then attempt to climb the ladder to where I had already been moments before, the ladder is now actually a distorted composite of ladder, staircase, and bookcase (not the first time this specific feature has occurred in a dream). From here, I start to realize that the symbolism means I am dreaming and consequently (without holding back on RAS mediation or mode) soon wake.

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Although staircases symbolize the return to waking consciousness (when going up; as going down typically vivifies a dream, sometimes triggering apex lucidity, at least in my case, where I then have full conscious self control of the dream state), ladders do as well, though staircases are more common as such due to being far more of a familiar factor in waking life (which sounds strange I suppose, as dreams are otherwise so inherently surreal, often having little or no relevance to real life). The composite synthesis of the bookshelf factor (note I was reading prior to my teleportation to Patrick’s location) is parallel symbolism that validates the meaning of the staircase symbolism. That is, both represent the emergent consciousness stage of RAS mediation. This is because only the whole conscious self has thinking skills and basic language skills with such as books.

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Morning of December 10, 2017. Sunday.



Dream Series: The Experience of Prescience, the Inexplicable Dream State Phenomenon. Part 8

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I find myself in an unknown setting, apparently participating in some sort of treasure hunt, though relating to the backstory, we are already in the area where the treasure is. Curiously, my mother-in-law is present without any association with conflict. Zsuzsanna and our children are also present as well as at least one unknown male.

There is some sort of movie, though more like a slideshow, shown near one of the areas where treasure is stored. It is apparently of Vasco da Gama, though there are several other explorers and natives in very unusual outfits, each unique. One native has some sort of fancy oval and horizontally-striped shield over the front of his body, yet the imagery is rather sketchy and surreal.

Over time, I marvel at the beauty of the various stones we find. They are divided into particular kinds, piled into kitchen cabinets, both at floor level and three-tiers from the ceiling. I do not yet see this as odd even though it is implied to be some sort of cave that has not been known of or explored since the 1500s.

The cabinets are along two walls that meet. I find a group of blue and white stones that are presumably called “ice”. I find a bag on a shelf above these stones that reads “ice”. I am somewhat puzzled by the name, though only with a vague recall of ice being frozen water.

At this point, I finally start to realize the error of my dream’s implications. I tell the others that this place could not have existed in the 1500s as the cabinets all look new and the design is modern. I find an unknown plastic object in the cabinet where the transparent bag that says “ice” on it is found. I say, “This could not be from the 1500s”. It is circular, possibly a piece of a sieve. I then say, “These are like kitchen cabinets. They could not have been made that long ago.”

It seems more like the large kitchen of an unfamiliar house.

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I do not really see the point, but this dream turned out to be precisely precognitive as many dreams are relating to a specific thread with too much visual detail to be coincidence. Zsuzsanna’s sister had brought a bag of ice around today, identical to that of my dream (of a kind I had never seen before otherwise), and with no way of either of us expecting this. In fact, the very idea of this would have been otherwise absurd, especially as our freezer is nearly too full to even hold it. Some precognition is more so because of telepathy (for lack of a better word), but I have wondered since childhood about the specific nature and patterns that are more likely to be “sent”. Still, it is the most unusual and unlikely events that have more of a precognitive presence in my dreams.

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Early Evening of December 9, 2017. Saturday.



I am sitting in the front seat of a car in an undefined location. There is not much light. The car seems to be parked. Pavel Chekov, as on an early episode of “Star Trek”, is apparently the driver. He is dressed in his Starfleet uniform. (We have not watched “Star Trek” in quite some time and I had not really been thinking about it either.) The driver’s side is on the left, so it is apparently meant to be of an American setting or association.

There is an implication of speaking, yet no one actually speaks other than the audio I hear seemingly from outside of the scene. I soon view the scene from the front of the car, facing it and seeing myself on the left. The voice, seemingly my voice, says, “Sometimes more, sometimes less”, with only a vague response from Chekov as a slight turn of his head towards me in acknowledgment. He then looks back to his left, seeming somewhat puzzled about where he is. From here, the scene shifts to where it seems I am looking at two 1940s detectives (wearing black suits) sitting in the car in the same orientation and I quickly wake.

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This dream can easily be typified and decoded as “return flight waking symbolism” (most common type) even though RAS and the association with falling or flight is not directly perceived. This is due to the association with Chekov and his role in the television series. He is a passive form of the precursory preconscious.

The shift to the offset dream is based on the liminal space cessation trigger, which is that which causes the dream self to subliminally (depending on the level of lucidity if extant) ponder the nature of being between sleeping and waking. This is what “sometimes more, sometimes less” means, relating to the level of awareness during the waking transition and likely also a reference to the degree of lucidity. The detectives “replacing” us relates directly to the puzzling state of liminal space and the implied “mystery” of being unconscious without fully realizing it (though I am semi-lucid here, probably about 50% lucid towards the offset scene).

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Night of December 6, 2017. Wednesday.



Fading into semi-lucidity after typical hypnagogic lucidity, I go beyond a stream surrounded by rock faces into an open area. This shifts into an idea to manifest a perfect combination of sensuality and eeriness. I decide to integrate Zsuzsanna into the role of Mary Medina as in the Grimm Fairy Tales 2017 Halloween Special, but I mostly let it flow on its own without in-dream control (by way of spoken affirmations by my dream self as in some apex lucidity states). There is a sustained event with an incompetent makeup artist. Zsuzsanna ends up with only white face paint on her forehead. This scene seems to repeat after a reset.

Although some of the setting looks somewhat like a sketchy version of New Orleans, some of the buildings appear as if they are cardboard facades about a block or two away. I ignore this feature and focus on intensifying the nature of my dream. Ghosts wander about, but there is not much eeriness or plot.

The outcome is in a large dining room. About seven ghosts (in Victorian clothes) play Musical Chairs with six gold chairs with red velvet seats and backs. As they are ghosts, there can be no winners or losers as they just phase into and out of each other when trying to sit and stay on the chairs (and for example, two taking up the same space on the same chair). This scenario is so amusing, it pulls me out of the dream state with an almost audible laugh.

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Morning December 7, 2017. Thursday.



With water induction, I find myself walking over a walkway made up of boards of various lengths. It is also implied to be a road (or low-set bridge) for cars (though only one passes from the opposite direction at times to where I move out of the way a short distance), over water (either the ocean or a large lake), though I remain unsure of the location. Walking with me to my immediate left is an unknown male in his late twenties. He reminds me of an otherwise younger John Leguizamo (though I seem to be much younger as well).

“Be careful, it’s a pigeon,” he tells me. A mostly black pigeon walks across the walkway, perpendicular to us, and from my left to my right. John’s spoken statement causes me to become a bit more aware, but I do not understand the relevance.

Looking at him, his face seems to remain frozen, with an annoying grin. “Is it now?” I say, but he does not respond.

I am trying to grasp the situation when I realize that it has something to do with “not letting a pigeon cross your path”, though this is otherwise distorted from the nonsensical “black cat” superstition.

Looking at him again, his face is in a different annoying expression, also somewhat like a grin.

I decide to “not let the pigeon cross my path” by turning right and following the pigeon, as it had apparently stopped and is walking slowly. Still, this will lead me off the side of the walkway if I continue. Instead, I find myself walking on my bed. There is a strange falling sensation as if my body was not fully perceived. I am concerned that I fell atop Zsuzsanna, but this is only a false awakening.

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Decoding template follows:

• Dream type and explanation: This dream uses “return flight waking symbolism”, which is created when the physicality of the conscious self identity is ambiguously perceived prior to the RAS (reticular activating system) neural gating that regulates the sleep-wake transition. Consequently, the dream self identity subliminally anticipates falling, rising, sustained flight, or other illusory movement based on the misperception of the vestibular system’s equilibrium dynamics.
• Dream state induction type: Water (most common, at least once per sleeping period).
• Dream state indicators: The bed (in the false awakening).
• Liminal space symbol: The walkway over the water and the false awakening setting.
• Preconscious factor: John Leguizamo.
• Liminal space cessation trigger: Contemplating illusory nonsense while in the dream state itself (yet not realizing it).
• Flight symbol to dream exit point (symbolic waking transition): The pigeon as “returning” me to my bed, symbolized in my dream by the false awakening. (Typically, the preconscious points out this dream feature as such, which here, I become annoyed at, probably out of liminal dream state awareness in not wanting to wake yet.)
• Liminal dream control seems to be a partial element, evidenced by my “freezing” (and sustaining) of the preconscious and implementing my own focus of choice, even though it otherwise manifests my false awakening into the offset dream.
• “And they try to pigeon hole in you in hollywouldnt but dont u let them!” - John Leguizamo.

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Morning December 7, 2017. Thursday.



I am seemingly at our present address, though it is distorted. There are two main parts to my dream.

One part involves Jim (August 1, 1947-June 10, 2008, half-brother on my mother’s side). He is sitting next to me on a bench, to my left. A doctor is also present. My dream self is unaware that he had died. However, the doctor is talking about Jim’s overweight physicality. (This was more relevant to the 1980s, before he lost a lot of weight.) There seem to be other people present at times. There is some sort of surreal concept relating to individual internal body parts relating to being fat and which one is affected first, with some sort of odd association with stencils. Jim does not speak but the doctor does, touching Jim’s shoulders and arms at times.

This eventually shifts into a different dream scenario. It relates to also being at our present address. However, there is apparently a train, designed like a subway train, which seemingly goes north to south near where our bed is in reality. I stand in the semidarkness looking at this setup, though I do not consider it strange or intrusive.

Two men who work for this subway system, formally dressed, though reminding me also of movie ushers based on their uniforms, are performing an unusual task while moving out from and back into the different train cars. They are working from north to south, putting some sort of small metal hanging objects over the door handles. Some of the hanging objects are different but some resemble a smaller detached handle of some kind, though each reminds me vaguely of a broken handcuff (though not seen as such by my dream self). However, I realize that they relate to some sort of signifying of a particular subway car’s status, possibly relating to how many passengers are allowed in the next journey or which cars can be used in what way.

Next, there is a pointless and contradictory conversation where I tell them that one of the handles does not need the marker as such (as there is already one on the adjacent handle of the same set of doors), even though I am not certain of the purpose of their job. They say that it does not matter how many of the objects are used but then soon contradict themselves by implying that there is only a limited number of these objects and that all must go where they should. I do not say anything or even fully notice this contradiction for a few seconds, then I wake in realization that their comments made no sense.

Decoding template follows:

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• Dream type and explanation: Doorway waking symbolism; with emergent consciousness triggered by illogical contradiction (liminal space cessation trigger), as intelligence is not typically extant in the dream state.
• RAS symbol to dream exit point: Our sleeping area was replaced by a train, symbolizing the return to waking life and oriented north to south as how we rise from bed in reality (that is, our feet are oriented south).
• Preconscious factor: The subway workers as ambiguously associated with movie ushers (as a movie theater symbolizes detachment from the real world; that is, symbolizes the dream state itself).
• Additionally, the otherwise unknown act seems associated with setting up rope barriers (as in a movie theater) yet without the rope, and yet also implying “release” from the dream state (broken handcuffs on door handles, a door representing a dream’s exit point).
• The first part of my dream relates to a desire to remain healthy, though I am not obese (as Jim was throughout the 1980s).

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Morning of December 5, 2017. Tuesday.



I become aware of being in a scenario where a small nuclear missile is being carried on a vehicle that is apparently going west (based on my subliminal impression of how I am oriented while sleeping in our bed). I am somehow in charge of the situation and of the missile. It is only about five feet long. There are a few other (unknown) people with me.

We approach a wide river that runs north to south. At this point, I start to become wary about being near a nuclear missile. My awareness and contemplation of the scenario is not realistic. I decide to throw the missile into a river, where there are additional unknown people near, and I know it may eventually go off, but I consider that I will have time to outrun it.

Despite the size of the missile, I somehow fling it with one hand to the opposite side of the river. There is no explosion, but I expect one to come eventually. I and the others start running the opposite direction (east). I am aware of the minutes counting down.

Although we are running across an outdoor landscape, there are identical low-set tables that we reach every twenty seconds or so. I suddenly have an infinite supply of decks of playing cards, whereby I then toss several cards to each side of me where there are always about three or four random unfamiliar males present to grab the cards. This has something to do with survival, as I am aware that some of the cards can be traded for food. This event repeats a number of times. Just prior to waking, I turn to see the mushroom cloud emerging from the horizon and realize that I am now safe and that about three minutes and twenty-seven seconds had passed from the time it landed in the river.

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This dream is a typical attempt at subliminal reinduction. The missile can otherwise be viewed as a flight symbol (RAS and inner ear dynamics relating to the waking prompt), though I throw it into the river as water symbolizes sleep (and potential dream state deepening and sustaining in this case; symbolism I have experienced on a day to day basis and understood for over fifty years).

The playing card scenario is a bit odd, though it, along with the missile, likely relates to continuously hearing about the North Korea threat, almost as if it was like some sort of deranged poker game between two so-called leaders while the rest of the world looks on in passive bewilderment.

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Morning of December 4, 2017. Monday.



I am in bed in our present home, though as usual, the appearance is different. Our bed is oriented as it was prior to the devastating storm that tore our roof off.

Over time, I become aware that rain has possibly been coming through the ceiling (as it had in real life before the tarpaulins were placed over our house). (Note that it was raining in reality at the time of my dream, which I had become aware of through partial awakenings.)

I notice that the ceiling has unusual downward bulges, especially in one area where it almost resembles the shape of a complex vase. The ceiling is not of narrow boards (of their original wood appearance) as it is in reality, but is lower and constructed of white ceiling tiles. I get up and tell Zsuzsanna to leave the area near our bed, as the ceiling might collapse.

Between the dining room (which we use as our bedroom) and kitchen, a part of the wall (which does not exist in reality) and ceiling falls. It is more like an unusual curtain rod with some sort of odd elongated plumb-bob-like features hanging from across it. (This probably relates to an association with vertical evenness.) An identical feature on the other side also partly comes down. While looking towards our bed area, I also see a number of thin boards sticking randomly out from the left edge of the wall at various angles, which was apparently part of the inside of the wall.

I am then in the room of our two youngest sons. Eventually, one of our daughters, a fictional character however, as in my dream there is a false memory of having at least five daughters around nine years old, comes in and talks to Zsuzsanna (with the girl standing near the south wall of the room and facing Zsuzsanna). She is Hispanic with darker skin. She seems worried. When I look at her, I notice something on her neck, the front lower area. I first worry that ceiling debris had gotten into her neck, possibly going through her neck from behind. Puzzling over this, I also worry for a short time that it is an actual bone slightly protruding from above her skin. Eventually, I decide that it is just a large droplet of water below her neck and I gaze directly at it for a few minutes, noticing a slight quivering effect. (This is liminal dream control in trying to reinduce my dream with water induction, especially as it appears on the neck of the precursory form of the personified preconscious, though it also relates to transferred associations with Zsuzsanna’s throat and the soothing of it, as she had been coughing in real life prior to my dream.) No longer worried about her status, I go back into our kitchen. Still, looking back, I notice that the preconscious form (as our fictional daughter) is looking up, blinking quickly, and moving her eyes side to side (symbolizing the REM factor of the waking transition). I ignore the RAS manifestation (which also foreshadows my hypnopompic illusion that comes after this dream ends) and as a result, my dream lasts a minute or two longer.

While standing near the center of our kitchen again, I notice that the walls below the windows have large jagged holes directly leading to our backyard (representing the emergent consciousness factor with subliminal realization of being unconscious yet still being able to look deeper into my mind), the perimeter of these holes made up of splinters of wood. However, this area of our kitchen is rendered incorrectly. It is more like the inside of the residential turret of the northeast room I used to sleep in (on the second floor) in the King Street mansion or the first-floor bay window area on the south end (dining room) of the Loomis Street house. I consider that there is too much damage for our house to remain livable; as I also consider someone could easily crawl through a hole into our house if entering our backyard through our gate.

After a short time, I see that bed sheets are now covering the holes and that they might also be smaller than I first thought. As I am thinking about this, I wake, realizing I am focused on the curtain that divides our bed from the kitchen area and listening to the rain and that I had been partly creating my otherwise non-lucid dream with vague threads of my conscious self’s will.

As I am not fully awake, I am then looking up at our real ceiling. I see a hypnopompic illusion of large raindrops hanging everywhere across our ceiling. I blink my eyes a few times, but the illusion remains for a minute or two. (There is actually nothing present to create the illusion of water droplets. It is just an atypically sustained hypnopompic illusion with concern about when it did have water droplets present, though never as dense as in my illusion.)

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