Blue_Opossum

Morning of November 11, 2016. Friday.



I find myself on a beach in daylight but possibly towards early evening. In the first segment of my dream, there is a focus on a blue kite that is near the shore but over the ocean. Who it belongs to is undetermined. The end of the string is apparently caught in some large jagged rocks and cannot be reached. I decide that it might be mine, although that may not matter since I do not see anyone attempting to retrieve the reel. Still, my “mission” seems to be to get the kite.

While standing near the rocky area I look back and notice an allosaurus in a doorway. The size orientation does not make sense as I get the impression it is a normal doorway (even though it is out of scale relative to distance), yet the allosaurus is also supposedly large. It looks like a model of one, such as the one from “Land of the Lost” (1970s television series) but is “walking” against an invisible barrier so that with every step forward it sort of slides back. It is almost comical. I do not want to miss out on my kite retrieval but I also do not want to be caught by surprise though I eventually decide it is no threat. The implications do not make much sense. The wall that the doorway is in seems incompletely rendered and not fully in the immediate setting, fading out around the top and ends.

Looking out towards the ocean, and at the same level of the blue kite (and to the left of it by about ten feet perhaps) I see a small man with wings wearing only a dhoti. He is very quickly (to an unrealistic extent) scribbling random unfamiliar symbols (except for a spiral) onto his chest and wings. I notice most of the supposed writing continuously falls off (which of course is not really that logical), becoming ash or ash-like. I feel a sense of both amusement and puzzlement.

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Morning of November 10, 2016. Thursday.



I am in a van being driven by my brother-in-law Bob. Most of my family members are with me in the back except for Lorenzo (middle son). Looking to my left, I see that an unfamiliar female passenger in another vehicle (probably a van as a car would be lower) somehow holds onto the top of the driver’s side window of Bob’s van, which I think is a very foolish thing to do. (This seems to be a preconscious factor, at least potentially, but the situation eventually fades.) The vehicle has four chubby and aggressive females, probably in their late thirties. My brother-in-law does not respond. I eventually yell at them. They soon drive on ahead.

We eventually arrive at an unfamiliar shopping mall near a mountainous area. It now suddenly shifts to nighttime, around eight o'clock. I suddenly feel concerned that Lorenzo is not with us, as I feel he should not be left alone (at our house) for the two or so hours we will probably be here (seemingly for shopping and a movie). I decide to quickly fly back to make sure he is okay, though on one level, I feel silly about flying all the way back after just arriving here, as it apparently took a long time for Bob to drive out here. However, because a parking lot symbolizes liminal space (a higher state between dreaming and waking), I somehow get “stuck” right on the perimeter. I am flying but not making much forward progress (a very rare event for me, but I have rarely attempted flight over a parking lot in dreams). I almost manage to fly above the roof of a nearby house. Instead, I decide to teleport to my bed (false awakening) and I am glad I am now able to check on Lorenzo.

Almost immediately, I am with Lorenzo and the rest of our family in the front yard in Cubitis. It now seems early afternoon. It seems there are several people trespassing, close to the bedroom windows. I get angry but my family and I end up leaving, walking southward (with no destination in mind). I shout several rude remarks back at them as well as making rude gestures. They do not seem intimidated. Curiously, they are mostly all seated on the ground in formal meditation positions, including an unknown toddler (male). I get the impression that the oldest male (about sixty), who is thin and wearing coveralls, had been working on a car, but I do not see a car anywhere.

Soon, I am walking with Zsuzsanna and an unknown female with dark short hair. As we walk along, there is mention of the van event that occurred in the first part of my dream (as this female apparently had trouble with the four from the vehicle as well). I eventually enter a very subtle lucidity, but not active lucidity. This is where I am not lucid but manifest, mostly through pretense at first, the idea of a secret area to explore (commonly recurring since early childhood).

Even though it is mostly an outside area, we come to floor-length curtains (subtle lucidity sign, akin to going onto a stage). Going through the beige curtains, we enter some sort of secret abandoned park with a zoo theme. I am at first somewhat startled by a male and female lion (just to my left and past a doorway we come out from), and I am concerned for a short time that they may jump over the fence. However I soon realize that they are animatronic animals that have not been maintained for a long time as some of the sections of fur are missing and metal and plastic can be seen through certain areas. We continue along a beautiful garden path. The sidewalk, always with a continuous hedge on each side, turns at ninety degree offsets fairly often, but is not really maze-like. Although I am aware of several other animatronic animals, I do not see them due to dense shrubbery. I feel very happy and relaxed.

We somehow end up in a kitchen, which is a little like the one on Stadcor Street. I am, for a short time, aware of a group of people walking by outside the large windows, but I do not actually see them through the curtains. I only hear them and they seem cheerful. There are soon unusual implications in the immediate setting. I see the year 2002 on a small calendar magnet on the refrigerator as well as seeing it on a couple documents. Zsuzsanna and the other female do not seem to “realize” the implications. To me, based on seeing “2002”, it seems like we are in the present. I feel that there is a pretense that the park had been closed for many years even though the date (false assumption) reflects the present (and even though by dream implications we are fourteen years in the past). Still, I feel a sense of harmony and peace.

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Being in the kitchen in the last scene represents light hunger during sleep. A lion is often the coalescence factor (return to consciousness) as it can swallow the imaginary dream self (and is an association with “The Sleeping Gypsy” 1897 oil painting). The curtains were the same color as the lions, so this was a type of subliminal expectation, though the lions turned out to be mechanical (and not any sort of threat) in this case. My puzzling over the date and not knowing the present year is quite common in my dreams. The personified subconscious (dream self) has no concept or understanding of time in the majority of my non-lucid dreams. For example, I am often much younger or in a different or mixed up time period that combines different time periods. I do not like conflicts or conflict-related challenges in dreams, though the preconscious biologically needs to be aggressive to push the dreamer to activate waking (via RAS) even though coalescence consent (such as hugging a dream character as also has recurred since childhood) would be much better, though the personified subconscious (dream self) typically sees the preconscious state as a threat (especially when there is a subliminal desire to sleep longer), both with negative daybreak types (or end of the world events) and various forms that chase the dreamer, rather than allowing time to indulge in sustained dream exploration as here.

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Morning of November 9, 2016. Wednesday.



I find myself standing in an unknown mostly featureless room as I have just shifted into the beginning of my lucid dream. I mostly find myself gazing at the blue sky through a closed sash window. (I am not sure of directional orientation. If it is implied to be our bedroom window I would be looking west.) An unrealistically large bird, but otherwise the kind called a kite, is seemingly flying directly towards the window.

Before the bird gets too close and crashes into the window, it slows down and becomes an actual white kite but is still moving down towards the window. Strangely though, the window still breaks (without the kite hitting it), glass flying inward, towards me. At this point, I experience the back spasm event and nearly go flying off our bed. (Ordinarily, back spasm dreams are a premonitory sequence where something seemingly jabs me in my back in physical hypnopompia, a recurring dream event from very early childhood. It does not seem as if this was the case this time, as the flying glass shards came from in front of me, although it was triggered by a sudden awareness of Zsuzsanna’s body behind mine as I was lightly sleeping on my right side. Still, the timing of the imagery was not correctly aligned with the physical event, which I find hilarious, like a movie that was incompetently dubbed.)

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A breaking window simply symbolizes dream cessation in real time (as does losing teeth, which also usually has no waking life meaning). (This metaphor is even used in the 1971 TV movie “The Deadly Dream”).

The imagery in this dream has a thread of prescience. Zsuzsanna had checked out “Tommy” from the library, which features a longer scene near the end with Tommy on a white hang glider that looks very much like a large white kite. I had no way of knowing she would be checking it out at this time.

Otherwise, kites, birds, airplanes, and virtually anything associated with flight or wings (including birds that cannot fly) are associated with the floating sensation typically experienced upon falling asleep. Over one in five of my dreams for over fifty years have had this dream state dynamic, but are always unique, and sometimes, as with this dream, contain literal prescience.

The “back jab” event is based on biology, and only happens in a particular stage of sleeping or waking as a result of spontaneous neural energy. It is completely unrelated to real life dynamics, just as the hypnopompic kick is (although the hypnopompic kick is more pronounced when I do more walking on a particular day).

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Morning of November 2, 2016. Wednesday.



In my dream, I find myself in an unfamiliar room in an unknown setting that has the appearance of an efficiency apartment (though my dream self does not perceive it as unfamiliar). Dennis (older half-brother on my mother’s side, of whom I have not seen in real life since 1994) is present but appears as he did in the 1970s. There is also an unknown and unfamiliar male present of about Dennis’s age, presumed (by my dream self) to be either his visiting friend or flatmate. However, it remains uncertain if my dream is otherwise implying the apartment to be mine.

Dennis and I enter into an argument when I play “Nights in White Satin” (a song by the Moody Blues) on a cassette player that sits atop a low-set chest of drawers that faces the foot of the bed, though more to the right. Dennis says it is not the original version. I tell him and the other male that they must have only heard later shortened versions. One point made is that Dennis says there are no helicopter sounds in the original version. I tell him that he is wrong. (However, I am thinking of the movie “Apocalypse Now” and the “Ride of the Valkyries” score and somehow confusing it with “Nights in White Satin”, though the similarity between these two recordings is otherwise minimal.)

I am able to sarcastically, with amusement, vocalize the background motif in inverse (that is, with the staff flipped upside-down so that any sequence of increasingly higher notes go down in pitch and decreasing notes go higher in pitch). I am fully aware of how it would sound as such. The other two look on, seeming annoyed, as I repeat that this is the correct version while implying they may have heard the inverted one. I awake with a sense of joy and an instant recognition of my dream’s meaning.

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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: Transmutation of our bed as a subliminal dream state indicator, created as a result of the subliminal memory of being asleep.
• Dream state indicators: The bed and the song “Nights in White Satin”.
• Liminal space symbol: The beach (unseen yet implied), which represents the neural space between sleeping and waking. The relationship to the flight symbol is that the helicopters (in the movie) fly towards the beach and over land from the water (water of which symbolizes sleep and the circadian rhythms dynamics of the dream state and the glymphatic system).
• Preconscious factor: My dream self is already in the emergent consciousness role, which is validated by my subliminal recognition of both dream state indicators. It is otherwise the preconscious that is dominant over the dream self to initiate waking.
• Interconsciousness factor: The unknown male in the background of whose presence does not otherwise trigger a known dream state component.
• Liminal space cessation trigger: The line “Just what the truth is, I can’t say anymore” from “Nights in White Satin”. The liminal space cessation trigger is that which begins to break the illusion of the dream state, sometimes symbolized by a jigsaw puzzle or a breaking window.
• Flight symbol to dream exit point (symbolic waking transition): The (unseen) helicopter as “returning” me to my bed, symbolized in my dream by the unfamiliar bed of the efficiency apartment. (Note that I sit on the foot of the bed, right side, just as I do with my real bed in waking life.) The helicopter rotor system symbolizes kinocilia in the same way as a tornado in the dream state. (However, at a spiritual level, for those who follow the path, it also represents the Merkaba as a tornado also does.)
• Waking symbolism is typically oriented to the right, which is the location of the cassette player as perceived from the bed.

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Morning of October 30, 2016. Sunday.



The first part of my dream is somewhat uneventful and relates to sorting laundry for different members of my family. The setting shifts into different layouts that are reminiscent of several different locations. Firstly, we seem to be at the Barolin Street house in Australia but the bedroom extends somewhat into where the kitchen would be. Later, the unfamiliar room otherwise around a closet area is reminiscent of the northeast room of the King Street boarding house.

A small pile of clothes in the closet slowly transforms into an unknown demigod. It is birthed from one of Zsuzsanna’s dresses as well as a pair of my pants, but includes other clothes of different family members. I am somewhat wary of this but there is never a threat. In fact, the situation shifts to where members of my family and I, as well as a few unknown people, are playing a game within a very large playing field. The demigod also plays the game without expressing any emotion.

The game involves building miniature towns. At first, it seems to be meant to be medieval times. However, the game’s contents inexplicably change to modern architecture, which annoys me somewhat. I say how the game is not working correctly and is rendering the “wrong era”. There are even miniature sections of sidewalks to place on the floor. I watch an unknown chubby boy off to my right building a greenhouse on the floor (Zsuzsanna being between us and working on a miniature modern house). He is putting green screen or downsized shade cloth over the top of it, though by tearing holes in it to fit over miniature wooden posts, yet which is not really problematic. I am not sure if the game even has a purpose or supposed winner. It is more like just playing around constructing model buildings.

Later, I go into an unusual unfamiliar kitchen with an unknown male of about forty. He seems to think that the refrigerator has changed, mostly regarding the odd constructs around it. On my left is a feature somewhat like a cross between a horizontally sparsely grilled gate and a turnstile. It is made of metal and swings over to fit into another section which has curved recesses. The path to the refrigerator is almost like a grocery store checkout area but with very odd metallic features, one part which looks like a 1950s car bumper. The whole area is very unusual. The refrigerator itself seems to have problems. I open the freezer door at the top. It is an unrealistically small compartment. There are a couple vegetables in it as well as a dented can of soda (Sunkist I think) which I take out and consider drinking. Bubbly liquid is sizzling at the bottom (some of it apparently from the vegetables), so apparently the refrigerator is malfunctioning and heating up certain sections instead of freezing them. As we walk back, I look back and notice a section of the floor is also bubbling and sizzling even though it is not an area inside the refrigerator - yet I still “know” it is caused by the refrigerator malfunction and is supposedly still part of the refrigerator.

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• The demigod (who symbolizes conscious self identity as being above the extremely limited dream self) being birthed from the pile of laundry seems to be a dream sign of the whole conscious self and the physical body getting out of bed, which is an event that my dreams continuously metaphorically render.
• The supposed game seems to be a feature that implies non-lucid dream control, something I have experienced continuously all my life (but oddly have never read about anywhere); that is, I somehow know I am “creating my world” yet have no memory of what a dream is or even where I am in time or space. The changes from previous eras to later ones relating to the game relates to both circadian rhythms and an association with “The Age of Empires”, one of the only computer games I have ever played to any extent.
• The bubbling, which sometimes has nuances of sizzling (“electrical” activity of emergent awareness), represents emergence from sleep as analogous to a scuba diver returning to the surface. It has occurred as a waking precursor in a number of previous dreams back to early childhood.

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Morning of October 23, 2016. Sunday.



In my dream, I am only about twelve years old. I had missed my school bus and I decide that I will walk to school (regardless of the fact that it would take far too long in reality). There is no memory of my current conscious self identity.

On my way, I go through what I consider to be a part of the supposed normal school bus route but in actuality it is through a few unfamiliar areas. In one area, there are about four features (not close together) that look like oversized birdhouses that seem to be for some sort of ritualistic purpose or perhaps are implied to be small wayside shrines. There is a sense of nonthreatening eeriness to the region. The birdhouses’ entrances look like tree silhouettes, which adds to the eeriness. I remain uncertain of whether or not I have to acknowledge these seemingly important artifacts before moving on, but I decide to keep walking.

The last part of my journey involves walking through a field of grass that is up to my knees. However, off to my left, is a long perimeter of higher grass (about six feet high) and weeds and thin shrubs. An unrealistic number of insects (not venomous) continue to swarm out over me and the rest of the area, making a buzzing sound. Although this is a somewhat difficult situation in that so many flying insects are slowing my progress towards an area where other students are standing around near the school, I am not annoyed. In fact, I am focused on the extreme vividness and seeming beauty of the area as I walk along, becoming lucid in the final moments, though letting my dream fade.

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The main reason for this dream was from looking at a number of school bus dreams from the 1970s yesterday, so much of my residual thoughts were focused on that and were eventually rendered into the typical autosymbolic journey that leads back into consciousness, waking life, and the conscious self identity. The birdhouse-like structures represent the usual flight symbol factor from autosymbolism relating to vestibular system dynamics that occurs in over twenty percent of my dreams (averaging out to about two dreams per normal sleeping period), and subliminal associations with our own bedroom and being home (rather than being out walking around as my illusory dream implies). The eerie tree silhouettes in place of the birdhouse doors is a subliminal association with my physical body not moving in sleep, with the whole birdhouse-like feature with a vague subliminal anticipation of the common hypnopompic kick or waking start. I also tend to dream about long grass when I am subliminally aware of the bed sheet pulling on my legs more than usual. The buzzing insects at the end were autosymbolic for the subliminal perception of increased neural activity, which also triggers certain types of lucidity as here. This dream is similar to a number of other dreams since childhood, including “Wayside Shrine” from January 1, 2002.

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Morning of October 19, 2016. Wednesday.

Dream #: 18,202-07. Reading time: 45 sec.



I am in the Cubitis house’s living room in the morning. The setting puzzles me, but I do not consider it is the wrong location. (I have not lived there since 1978.) I feel tired and decide to nap. I absentmindedly flop down atop a birdcage about three feet high. At the same time, our oldest son does something with one of its doors followed by a strange vocalized “Eeeeee”. I am unsure if there is a bird in the cage, but it serves as my unlikely mattress frame. It is in the southwest area of the living room in a space that would not be big enough to be lengthways against the west wall from the corner as my bedroom’s door was there in reality.

My dream had a precognitive layer (despite its typical processing dynamics where a cage represents my lack of physical movement while asleep and flight associations stem from a lack of viable discernment of my physical body while sleeping). A male lovebird we had for years somehow opened its cage door, and got out. Our oldest son tried to catch it, but it escaped.

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Morning of October 18, 2016. Tuesday.



My wife Zsuzsanna and our children as we appear now are living in the Loomis Street house, though I have no memory of my relatives who actually lived there. We hear loud voices from upstairs a few times. It turns out to be at least two young males, possibly college students.

I am outside near the (south) side of the house when I hear some yelling in the upstairs apartment but I do not see anyone. Just as I go back into the house via the front door, one of the unknown males is suddenly there yelling as if he thought I was spying on him just by me being outside. This is the personified preconscious but I am fully non-lucid and do not recognize the essence at this point.

I soon go outside when he is no longer present. I am carrying my large barbell bar. I end up getting my second one because I soon see that the other two males have a couple near the back of the house, sticking out through the door of the laundry room (which is not logical as it is our living area not theirs) though they do not pick them up when they come into the backyard. I hold both my bars up as if for a sword fight. I decide to steal their two barbells, and, along with my two, put them in a (fictional) attic in the house where they cannot get to them. I tell them this directly. The attic is full of features that I falsely recall are mine, including bed frames (dream sign).

We get into a fight and I knock one of them out; the one who had been yelling at our front door earlier (personified preconscious). While the other male stands on the back concrete step for the back door, I end up putting a dagger horizontally through his neck. Still, I feel a little bad about this because he is much younger than me.

Still in the backyard, I place his body in a bucket that is full of water (which of course is very unrealistic as how could someone fit in a bucket). Somehow, the water does not spill out. I decide I will resurrect him.

After I focus more, with the intent to bring the character back, I look down and notice a skull in the bucket (not logical as he was not in skeletal form when put in). Soon however, a long white balloon with a sketchy skeleton design on it slowly rises up from the water as if being pumped up with a bicycle pump. This seems a bit strange to me but does not puzzle me a lot or trigger any significant thoughts. I get the impression that the character goes back to normal in vague liminal space during the waking stage.

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Because this involves water induction and resurrection, I will assume that this character is my personified conscious self (as it had been determined long ago that the personified preconscious is sometimes a partner to the personified conscious self as a precursor to resolved emergent consciousness in a non-lucid dream, the dream self being the personified subconscious regardless of the “I am” identity - this being obvious because the personified subconscious or dream self cannot remember much at all, unless of course more threads of the conscious self are present). On one level, this could be subliminal reinduction (especially as water is involved); an attempt to “bring my dream back to life”.

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Morning of October 17, 2016. Monday.



The time seems to be early afternoon in all the outdoor scenes. In the first scene I am in our residence but I am not sure where it is implied to be. Our youngest son Oliver has a large terrarium that extends from floor to ceiling though it looks like an aviary. It is directly in the corner of the left side of the room, about two and a half feet square. He seems cheerful. Zsuzsanna is concerned about him seeing the turtle he had brought home the day before. I look in and notice that the turtle seems propped against the back of the cage on the right. It is on its right side and a bite had seemingly been taken out of it, shell and all, probably by another animal in the cage. I am not sure what to do with it but Oliver does not notice.

My attention falls on weird animals in the cage. There are a few spiders with black disk-like bodies, the bodies of which are almost as big as my fist, though their legs are nearly three feet long. The legs are thin and closely paired so that it looks like they have four legs instead of eight. One seems positioned head down, its legs on two different large branches so that I mostly view it from the top of its body. I look to the right side and notice that the cage, at least on that side, is designed more like the front of a jail cell with the bars sparse enough for any of the animals to easily leave the cage. The side facing me does not seem of this appearance. I comment on how they could get out, but it does not bother me that much.

In the second scene, the personified preconscious appears as an unknown male of about my age and is presently sitting in another area of the room, though does not yet attain a more dominant presence. I watch three mole crickets crawling about on a pillow. Two are their natural color but the smallest of the three, in the middle, is pure white. I reflect on the idea of them possibly crawling on a person in their sleep, but there is not that much concern. A mole cricket is a tertiary dream sign that symbolizes going deeper into sleep in real-time, two of them symbolizing Zsuzsanna and I but the white one in the middle representing moon induction (circadian rhythms factor) and shared dreaming on the spiritual level as analogous to the Blue Pearl event (inviolable telepathy between soulmates, specifically twin flames as Zsuzsanna and I are).

The personified preconscious points to an unrealistically large detached crab spider head facing us from the right side of a pillow across the room on a bed perpendicular to the bed I had been looking at near the center of the room. “Something should be done about that head on the pillow,” he says. Despite this incredibly obvious dream sign of him directly exposing his role as the personified preconscious, my dream self remains completely clueless and no lucidity is triggered.

In the next scene, we end up in a small dimly lit room which has the essence of liminal space (even though I am not near waking yet). He sits on a wooden chair while I seem to sit cross-legged on the floor. I am facing him as he talks about money but he seems sarcastic about a certain business I do not know the name of (although he had apparently said it a few times but my dream self remains unaware of some of what he says). He seems to mimic advertisements and promotional gimmicks. “Make lots of money,” he says, mocking the original supposed speaker and waving his arms around seemingly in frustration. “Have you heard of Amway?” I ask him after watching and listening to his routine for several minutes. He glares at me as if I am unbelievably stupid and had not heard a word he had said, as Amway is apparently what he had been talking about all that time. I feel embarrassed but try to explain that I had heard him, though my pretense is not very convincing.

In the next scene I find myself near an intersection having apparently mowed our front lawn recently. My (fictional) house is on the street that is perpendicular from where I am standing near a bus stop. I contemplate how I have to mow this whole area, but after a short time, I realize that it is not my responsibility and the city council will do it at a later date. Despite being near the bus stop, I am not interested in (subliminally) shifting consciousness. However, five young people get off. They do not regard me at this time.

Despite my cursory faux memory and brief acknowledgement of my dream house (which seems vaguely based on the Loomis Street house though the rest of the area is not as such), I soon go into the backyard of our present house, though the gate is on the wrong side; at the north end of the fence near the southwest corner of our house instead of the south end near the northwest corner of our shed. A young unfamiliar black woman, who seems to be a teacher, is there with Zsuzsanna. Zsuzsanna has seemingly been given something that was stealthily taken from the personified preconscious. It seems conspiratorial. There are apparently two batches of mail-order pills. I take the two packages from Zsuzsanna’s left hand. One of them is a C4 manila envelope (yellow) padded with bubble-wrap and the other is a white C8 envelope with lesser bubble wrap. I open the larger package to find that it contains several cylindrical prescription bottles of pills of some kind. (None of us take prescription pills in real life.) There is also a receipt. I look at it and read it closely. “These pills cost eighty-six dollars a fortnight,” I say, seeing the total price listed as $86.00 under $79.95 and the shipping and handling fee of $6.05. “It's eighty-six.”

I fail to recall that eighty-six is the number implemented when the personified preconscious gives up on my non-lucid dream self (having “eighty-sixed me”), thus no coalescence, implicit or not, at the waking stage. This is validated by the fact it comes in the mail, which represents communication between dream self and whole conscious self identity.

The preconscious essence flows into the five children (and I do not focus on the fact that we have five children although these children are unfamiliar) who had gotten off the bus earlier and so naturally they approach our home to impose upon us to try to get me to either wake or become lucid. Zsuzsanna and I are sitting on chairs outside of our fence, our backs to it, our youngest daughter and youngest son sitting between us (which is not something we had ever actually done). A boy somehow throws a large mattress fairly high into the air above our heads (probably subliminally associated with our youngest son now sleeping on the top bunk of a bunk bed), but it misses us in coming down, landing immediately to Zsuzsanna’s right. I get the impression that he had been trying to throw the mattress over our fence (beyond liminal space and out of the immediate level of consciousness). I still do not grasp such an obvious dream sign. “Are you trying to kill someone…such as a baby?” I yell angrily at the boy.

The entire orientation soon changes without a clue on my part. We are now all in our backyard on our side of the fence yet the five children (who must have teleported with us) are now leaving through the gate, the boy somehow carrying the mattress again (which does not at all resolve logically from a conscious viewpoint since he is seemingly carrying it on his right side as he would a textbook). I am so angry that I decide to follow them. As soon as I step outside of the gate, my consciousness shifts into the waking stage and I realize I had been had.

Morning of October 12, 2016. Wednesday.



There are some events related to family interaction but I eventually focus on a large toy that runs on batteries and is somewhat like a roller coaster. However, there are at least two toy cars of about the size of Matchbox Cars, but lighter.

At the bottom of the toy, atop the base, there at least five different batteries that must go in a couple different sections before the entire toy works though different features of the toy might be relevant to different battery compartments. Some seem to be size AA, though at least two are half the length of the first one put in on the leftmost side.

After I put a few batteries in, working from left to right on the base, I push a button and a car moves around from one side to the other and closer to me. Another car, lower down, also moves about. Curiously, in the middle, there is a large flat male figure (in profile) of at least twice the scale of the cars. This figure sort of rolls diagonally downwards (from my right to my left) as if it was implied to be on roller skates, though moves somewhat slowly. It seems to be dressed as either a policeman or a mailman.

A young girl who may be our youngest daughter (though does not look or seem much like her and is seemingly a couple years older), while standing, tips water out of a glass near one corner of the toy on the other side to my left (apparently just to see what happens) as I remain seated on the floor. I warn her not to do this, making a claim about “electricity” possibly harming someone if it gets in contact with water, saying that they would “disappear”.

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Electricity or lightning is typically neural energy or rising in consciousness. The presence of water, since it signifies sleep and the dream state itself, vivifies my dream for a short time, thus the young girl who is present, although a function of RAS, is more likely to be the personified unconscious than personified preconscious, the former being more of an induction factor as is the toy male figure going down from right to left. More so, she is on my left, which is also most often a personified unconscious and induction factor. The waking transition is ambiguous here, but it is my dream self in this case that atypically initiates it or at least “warns” of it, especially as I am putting the batteries in from left to right (typical waking symbolism orientation). Additionally, pushing a button relates to an attempt to focus (not necessarily wake, it might also vivify the dream state into full lucidity, though does not in this case).

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Morning of October 2, 2016. Sunday.



I am in our front yard at our present address in late morning. Three of my fictitious sons and one real one (the youngest; Oliver) are present. They are in a group facing each other. There are also a few unknown children, both male and female, closer to the curb. No one is perceived as mischievous.

I absentmindedly tell a fictitious son, “I told you not to stand around at the front of our house”.

Immediately after this, I am facing a young girl and it is implied that she thought I had said this to her. The sudden location shift, as if I had unwillingly rapidly turned counterclockwise as my fictitious son only moved slightly to my right so that I now suddenly faced the girl, does not strike me as impossible or trigger any realization that it could only be a dream.

I inform her that I was not talking to her but was saying this to my son in the hopes of not offending her. I am not sure why I am making an implied apology to the preconscious avatar, but this situation seems a bit backwards, as it would make more sense to tell strangers not to hang around at the front of our house rather than our own children (whether they are only a dream state denizen or not).

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This dream is not symbolic of, or literally relevant to, any recent real-life event and I would certainly not talk to any of our children this way in real life. It is typical waking transition autosymbolism that often involves the preconscious avatar (the unknown girl in this case) initiating a return-to-consciousness trigger, in this case, because I had been asleep on my right side (which I consider unhealthy, as it results in lighter and less restful sleep). In this case, it is a precursor to rolling over in bed (counterclockwise as in my dream), in the direction Zsuzsanna is sleeping (on my left).

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Morning of October 1, 2016. Saturday.



This dream scenario, where I am part of a group of spies or people conducting surveillance, is the second recent and clearer dream of this situation. I seem to be on an airplane, seated on my own on the left side, though this is somewhat ambiguous as it seems more like an odd library setup at one point (though still with the layout of an airplane relative to seating and certain environmental features).

As in my other recent dream of this characterization I have a briefcase that contains both cryptography and communications technology, though is of a different design than with my other dream. At one point, I hold up a large rectangular green and silver printed circuit board, though which has a small rectangular LCD display in the upper right corner. I push various parts of the circuit without any real clue to what I am doing (even though I seem to know) and which activates something on the display. The imagery and motions of my right hand (as well as the sense of touch on my fingertip) is extraordinarily vivid and stable as I move my hand randomly about touching various points. I hold it up vertically in front of me, as if deliberately showing it off to the other people present (even though they are members of the general public who would likely not know what it is).

Eventually, I am looking at my open briefcase with the computerized equipment. There is a set of rolling cylinders in the upper right. There also seems to be a password panel where small rollers are set, similar to a bicycle lock. There is a section on the left that is for displaying names of groups within the communications ring. Curiously, it presently displays a phrase which includes “pink pussy”. As I contemplate what my mission might be, an unknown female (of about eighteen) approaches and takes a cellphone out of its compartment in my briefcase. She seems annoyed at the person attempting to make contact with me and who is using country code fifty-four (though I am not sure if she is implied to be a stewardess as she is informally dressed in blue jeans and a plain blouse).

“I know all about this,” she says, “Country code fifty-four is America” (which is incorrect as it is actually Argentina but I do not remember this in the dream state though I do recall that Australia is sixty-one). After telling me this she walks away and towards the back of the airplane, though sitting down on the right side about four seats behind me. I hear her talking in an annoyed but authoritative manner and, in addition to other issues, she seems to be telling them off about their usage of the term “pink pussy” as part of an international spy ring name. I start to realize that the person on the other end probably has no idea what she is talking about or what is going on, or maybe does not even speak English as I had heard at least a few Spanish phrases. I am not that concerned and remain passive.

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This seems to once again confirm that the preconscious personification (though which does not directly appear in all dreams) cannot ultimately be fully controlled or scripted as every other dream setting, feature, and character can be. My present guess is that it is because it serves a special function in liminal space between sleeping and waking and is somehow directly linked to circadian rhythms and likely another biological function (likely the waking mechanism itself, somehow personified to prevent staying asleep for too long, my best guess at this time). However, in apex lucidity (and in certain other dream types), I seem to wholly “replace” this character. I still have not worked out all the specifics even in fifty years of dream work (although it is something I have not studied quite as much as other components). Saying that country code fifty-four is America confirms the usual wrongness of how this character communicates, which is also a bit of a puzzle. However, thanks to a number of very similar dreams over the years, some clues have emerged. The preconscious personification does not appear to like me having a telephone or other method of communication (which symbolizes access to my conscious self or possibly even the collective unconscious or collective conscious). This seems to imply that it is “against” the dream self (the dream self being the subconscious personification) attaining lucidity - though this may be relative to the specific timing or segment of the dream (which is always the last part); very curious since the “unity hug” instigates this communication or at least coalescence of the dream self into full consciousness, what dreams are naturally designed to represent with virtually countless metaphors. (Then again, a telephone symbolizes indirect communication while a hug is actual “physical” communication. I suspect there is much more to this.)

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Morning of September 23, 2016. Friday.



I am in the Loomis Street house in the living room. It seems to be late morning (as the room has a natural light source coming in through the east and south windows). Zsuzsanna and our youngest son are also in the room. There is a bed that extends out from the south wall of the living room (where there never was such a feature in real life). Oddly however, it is meant to be the holographic projection of a television show.

I approach the bed from the left (west) side. In it, on her back, head oriented south, is an unfamiliar female with a matte gold face. I get the impression that it is a hospital bed, though I am uncertain of the situation or the status of the female’s health. I am unsure of what genre this “movie” is.

I absentmindedly find myself reaching out to touch the left side of her face even though I firstly see it as an intangible hologram. It is as if I am testing an expectation to “make something real” or to “bring something out of a projected image or picture” (which has occurred in numerous dreams since early childhood).

Some of her “skin” moves out from her face to wrap around my hand with a feeling much like bread dough that moves under its own will. This “dough” moves around through my fingers with no sense of wetness or stickiness; just a smooth, soft feeling as it slides comfortably over my skin. I find it fascinating and talk about this with Zsuzsanna and Oliver. Oliver finds it somewhat amusing. Upon looking at her face, I notice that it unrealistically sags so that her mouth is much lower than it should be. Her eyelids also appear to have expanded to flow down over the rest of her face so that there are no discernible eyes. Perhaps this is a science-fiction “movie” we are watching on “television”. I touch the left side of her face again (the previous “skin” seeming to have become a part of my own hand) and a larger piece of “dough” wraps around my hand, almost snakelike (though not disturbing or annoying in any way, just a bit curious). It again smoothly crawls between my fingers, around my wrist, and about my forearm. I place it in a heap on the floor next to a plastic container.

I explain how I am able to take things out of pictures, even though I have no lucidity. I say how I can take money out of a picture or television broadcast, though this comes with a recurring dream backstory related to how I do not want to create duplicates of bills (which are numerically unique), though coin duplication does not have this concern. I have a small plastic container with compartments. I find myself sitting on the floor with Zsuzsanna and Oliver, moving two-dollar Australian coins from one compartment to another, some compartments seeming to be “in another world” and resulting in my moving them into “this world” even though there is no indication of either a picture or an implied “portal” or which compartments are implied to be in which “world”. It simply appears as a plastic box with coins in different compartments. There are also very small Lego pieces mixed in with the gold coins, including miniature swords.

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This last part was visually precognitive. Oliver was actually working with Lego pieces (including small swords) in a plastic container with compartments soon after without any way of me knowing that this is what he would be doing at this time.

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The bed is a dream state indicator (the most obvious one possible) and my waking transition is sustained.

Other than the typical short-term prescience, there seems to be a link to Zsuzsanna related to sharing sentience within the dream state (as otherwise unknown females in some dreams have an autosymbolic connection to Zsuzsanna, especially in regarding the bed DSI as here). It also seems influenced by a movie we had seen prior to sleep, where a female expected to die becomes conscious (without a medical explanation) and seemingly healthy after a group of people pray for her (“The Genesis Code” from 2010).

Variations of yellow and gold typically symbolize sentience, intellect, and instinct as analogous to sunrise and dawning conscious awareness.

Coins in a dream as a collective rendering relate to three main concepts; coalescence (dream self flowing back into whole self), a play on “cents” (sense), and a play on “change” (which may be a play on the waking precursor in “changing” from the skewed dream self viewpoint and identity to the whole conscious self viewpoint and identity).

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Morning of September 22, 2016. Thursday.



I am in Africa on a long expedition. My wife Zsuzsanna and our children and some unknown people are on the journey. Curiously, the “vehicle” we are using to travel in is only a tent that is somehow moving over the savanna without any apparent explanation (as it does not seem to have wheels; it somehow slides slowly over the ground). I have seven pet lions, at least three being male. They walk along with us on our journey without incident.

A male lion is inside the tent at one point but is not a threat. I am also in the tent for a time to “sleep” and also to look at a treasure map. As we travel over the savanna, I watch the scene from above for a time but I am eventually back in my physical form. We are seeking some sort of magical or at least special material, a roll or piece of cloth with special properties, the location of which is apparently indicated on the map.

We reach an isolated outdoor market where there are several African cashiers, at least three of them females around forty years of age. They seem to be selling the special cloth we had been seeking. There are two counters set up on each side of an outside area I enter. I examine a cloth which I first feel may be what we are seeking. A cashier tells me that it is a thousand dollars for a yard of it. I am not so sure this situation will work out. I go to the opposite counter to look around a bit.

One male lion walks around near the counters, being as tame as a dog, and I pat its head. Other people do not seem to be at all concerned about my lions.

Eventually, I notice a piece of cloth that I expect is the one we need. It is uneven though and is not quite a yard. The cashier tells me this one is also a thousand dollars if I want it. I almost express my annoyance to her but I do not. I take out my wallet and pull out one fifty-dollar bill after another, materializing the money out of thin air just at the point my hand is in the wallet, deliberately doing this and realizing this, but without dream state lucidity. I assertively hand her the money which I just mentally willed out of my wallet, twenty fifty-dollar notes, which I know is exactly a thousand dollars. She happily gives me the material.

The cloth’s design shows a repeating pattern (in mostly bright orange, yellow, and sepia saturated hues) of a scene of two lions (male and female) lying in the savanna in front of a boulder and a tree and the sun on the horizon in the background at their left. I pick up the supposed special cloth from the counter and we are on our way. Of course, this represents Zsuzsanna and I sleeping together during the sunrise, the cloth being a literal association with bed sheets and pillow cases.

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Lion autosymbolism has already been explained in many of my past entries, but here is a brief rundown: Factor one is coalescence (potentially being “swallowed” back into whole consciousness) and factor two is the augmented domestic cat association as being a “witness” to the dream state and the nature of liminal space (that is, the autosymbolic waking process). This dream is based on a partial association with “The Sleeping Gypsy”, an 1897 oil painting by French Naïve artist Henri Rousseau. The association transforms into the ending autosymbolism of this dream of which also represents art and the nature of sleeping and dreaming, as dreams are autosymbolic of the nature of the dream state and waking process itself. The cashiers and the checkout scenario are autosymbolic of the dream state’s implied exit point.

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Morning of September 22, 2016. Thursday.



It seems to be late at night and I am walking with Zsuzsanna in an unfamiliar small town. Somehow I get distracted and find myself on my own in an area vaguely similar in some ways to an area near a church in Bundaberg (though I do not consider my location or have any concern about being in an unknown place). Even though I am not lucid I try to focus on a large stone water fountain as if I am subliminally aware of the nature of water induction to increase the depth and clarity of the dream state.

An unfamiliar priest approaches and seems to want me to move on or is there to tell me what to do as perhaps he does not like me being here so late at night. He tries to impress me by causing a moonbeam to create a glowing circle on the surface of the water. In a way, it seems rather eerie to me, though I vaguely recall it as a circadian rhythms factor (again, even though I am not lucid) and relative to moon or moonlight induction.

“So what,” I say. “I can make the sun come out in the middle of the night.” (I say this without realizing that the sun represents consciousness or the conscious identity within the dream state and thus I am actually talking about lucid dreaming without being lucid.) The area that the priest and I are standing now seems to be a storefront. I move my hands with a level of mental certainty and expectation that the sun will rise at my command, though again not being lucid at this point. Instead, a small sunbeam reaches my feet. At least I accomplished something based on my claim.

I decide to turn around and use whatever sunlight there is to mock the priest by making various shadow forms on the outer wall of the store. A circle of light (almost like a spotlight on a stage) of about a foot and a half in diameter appears on the concrete block outer wall. I lift my left hand up and make an incredibly realistic monkey shadow (after a few false starts with rabbit and dog heads), complete with legs, arms, and a tail, and moving about like a real monkey, almost as if suspended on its own. “Chee-chee-chee-chee,” I utter, happily making my version of a monkey sound. The priest seems to feel insulted as well as outdone by my miraculous abilities and thus he walks off. Even though I am still not at the lucid stage, shadow play is fairly common in certain vivid lucid dream types. Typically, the shadow symbolizes the dream self as “casting” conscious self identity into the dream state (at least when it is a human “duplicate” of the dream self though here, my dawning consciousness is apparently very playful), though this situation does not yet trigger my lucidity.

As I walk, the sun finally rises fully at my subtle command and with no “glitches”. As a result, my consciousness becomes more fully integrated into the dream state in a lucid sense, though not quite apex lucidity (full automatic control with enhanced senses and full body awareness even with full weight and momentum discernment). Just as I turn left around a corner I am at full conscious clarity, which I immediately find very thrilling. I notice a young version of Zsuzsanna (probably as she was a few years before we first wrote) standing on a garden wall of about four feet high, though I do not question this oddity. Several others (all unfamiliar) are standing around, possibly waiting for a bus. Zsuzsanna may also be waiting for the bus even being up on this wall. I hover and move up to stand on the wall with her. She does not seem to recognize me yet and takes on the essence of the preconscious personification.

“This is my dream, so we will get together and have some fun,” I boldly state. “I don’t care about these other people standing around.” She seems to slowly agree or at least lets me hug and kiss her passionately for a long time. Becoming more and more stimulated I indulge in various sensual events (the sense of touch augmented), though meanwhile, three times, for no particular reason, I decide to shoot large masses of spiderweb out of my right hand. One car becomes fully covered in my web, the imagery of which I find amusing when I look back. A couple people are swept back and stuck onto buildings but are not harmed.

Eventually, I notice a large unusual-looking airplane flying in the sky (from right to left). Its wings are up and back almost like a butterfly form and I feel a sense of beauty. Curiously, I do not mentally register it as the “return flight” waking transition symbol even though I have experienced the same metaphor thousands of times in various dream types (though not in the majority of lucid dreams). I notice a very unusual bookshelf-like structure on the other side of town and which seems to be atop a mountain. I focus on this. Although it vaguely reminds me of “Hollywood Squares”, the platforms (or seating areas) are at different levels. There are at least nine demigods in yellow Tibetan monk robes sitting and standing within the structure. I assume they are perhaps thirty feet tall or more. The visible forward edges of the skewed “Hollywood Squares” structure are mostly cream-colored, orange, and yellow. The demigods begin singing to Zsuzsanna and me very loudly and with love and happiness. The music is very clear and rhythmic and very enjoyable (though of an unfamiliar melody which I may record at a future date). They are singing something about tilling and gardening, something like, “In the morning when you wake up, till the soil with love…” and another phrase with “tilling” in it and something about “the next morning you will find”. It goes on for several minutes and as I hold Zsuzsanna, I slip into a less vivid and non-lucid false awakening as the airplane reaches the midpoint of my perspective, over the seemingly divine structure. (Of course, this structure symbolizes the sunrise and waking as non-lucid dreams typically do in the last segment - even though I am still semi-lucid - and a cheerful conscious coloring of my day ensues.)

In the false awakening I am with Zsuzsanna sitting on the floor of our present home. Our youngest son is present. He seems to have gathered seven unusual creatures (there are seven in our family). They seem to be some sort of unlikely composite of seashell, caterpillar, beetle, and chrysalis. For some reason, I point out to Zsuzsanna that they are “brains”, although I add to their number (starting with three, I think) as I notice more and more of them (though still a total of seven). Their shells are very complex in coloring, with mostly thin bands and paisley-like patterns of browns, yellows, and cream colors. There are two different shapes, the two largest being somewhat cylindrical and the others like trapezoidal prisms.

I look at a magazine page that Zsuzsanna is looking at. At first, I see the same airplane as from my previous dream, though as a silhouette in a full page sky photograph. As I tell Zsuzsanna about the dream I just had (the most common false awakening scenario for me other than actually attempting to write it out and soon seeing that my writing changes or that I had written nothing), I tell her how this looks just like the airplane from my dream. I find that unusual but when I look again, I see that it is an upside-down helicopter silhouette (a second “return flight” transition that actually represents my false awakening and how one of the first things I ever heard Zsuzsanna say on her first cassette which she mailed to me being “so if it sounds a bit upside-down, it’s from down-under), which I find rather curious - and from here I actually wake.