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    Lucid Dreams

    1. Hyper-Tactility

      by , 11-08-2018 at 08:43 AM
      Morning of November 8, 2018. Thursday.

      Dream #: 18,952-02. Reading time (optimized): 2 min. Readability score: 63.



      I become aware in non-lucidity of being in an unknown room in semidarkness. Marilyn (half-sister on my mother’s side, deceased) is watching something on a big screen. (I do not recall that she had died in February 2014, and I had not seen her in real life since February 1994. She appears as she was in the 1960s.) It is not discernible at first. A slide projector and another device are near me. The image on the screen is mostly sky, but there is a fuzzy pale rendering of a broadcast tower. I make some remarks about it. (Eventually, there had been some unusual thoughts about which times near the end of the year that Marilyn had been alive and when she had not, which makes no sense. My non-lucid dream self must have forgotten the definitions of “death” and “life.”)

      Over time, I turn a dial on the device and the image of the broadcast tower becomes clearer. Soon, the imagery changes and is taking up the entire screen as a lattice of a broadcast tower. Simultaneously, my dream becomes more vivid. I realize that I can now create and control imagery, but I am not yet lucid.

      I bring about the imagery of a tunnel to my right. It is holographic and about four feet up from the floor. It is a corrugated metal culvert pipe. My cat Smokey from over twenty years ago comes through, and I pet her. I explain to Marilyn what cat it is even though she would have known. There is something within my mind about summoning a denizen from the nexus, the space between dreaming and waking, which the cat represents. I realize that the broadcast tower was a deliberate creation to augment the dynamics of my current conscious self identity in the dream state and so I enter apex lucidity, where the dream state is wholly mine. Looking at the broadcast tower lattice, it now appears to have pieces of pillow stuffing in equidistant patterns in certain corners.

      I summon a young Zsuzsanna as when we first met in 1994. She shines with internal energy. The tangibility reaches hyper-realistic forms, indistinguishable from waking life other than being more defined than would be possible in reality. We indulge in making love for a considerable time. There is a point where she floats above me, glowing internally, and rushes at me, this stemming from deliberate anticipation. There is a notion of a vampire theme (in a role-playing context, though horror movie scenarios have remained difficult to make as I have gotten older), initiated by typical lucid dream state frisson, but I cannot sustain the concept, as my thinking skills are too active.



      Certain levels of apex lucidity are such a different experience and level of perception and control it is like a different level of existence. The broadcast tower of enhancing the dream state seems as viable as the opening of a door (or opening a wall like a door) or the use of a staircase.


      Categories
      lucid
    2. Ralph Waite Leaves on a Giant Sparrow

      by , 11-07-2018 at 12:08 PM
      Afternoon of November 7, 2018. Wednesday.

      Dream #: 18,951-07. Reading time: 40 sec. Readability score: 60.



      Ralph Waite as on the 1980s television series “The Mississippi” is the main speaker at a meeting in a business-like environment in a large office, though he sits at a desk while speaking. He is wearing a dark suit.

      I am semi-lucid, and in the back of my mind, I had been contemplating more precise terms for common induction, dreaming, and waking processes for statistical reasons. One of these was considering the statistical variation between male and female vestibular system simulacrums to see if there was a significant difference when part of the flight symbol subset.

      Ralph’s talk seems to be about the nature of dreams and laws regarding them, but I do not discern the content of what he is telling the other males. He has a hardcover book open and refers to it now and then.

      There is a slight change of mood, and Ralph sits atop a giant sparrow (suddenly outside the building) and flies off on it.



      male vestibular system simulacrum (in flight), (Ralph Waite)

      literal dream space thread


      Categories
      lucid
    3. I cannot create a monster

      by , 11-03-2018 at 05:03 PM
      Morning of November 3, 2018. Saturday.

      Dream #: 18,947-02. Reading time (optimized): 2 min.



      I enter my dream in a very unusual way for a morning dream. The process is so slow that I am hardly aware of the distinction between my waking thoughts and the dreamscape slowly coming into existence. (This usually only occurs in the first stage of a sleep cycle.) My conscious self identity remains fully aware. I walk into an isolated area that looks like a construction site with minimal detail.

      I decide to find Zsuzsanna (even though she is physically close to me in reality). There is a trailer home oriented lengthwise in the middle of a dirt road. I walk around to the other side, deciding that she will be in it. The door is too small for me to go into the structure, so I mentally will the whole wall to vanish.

      After she comes out, I stand with Zsuzsanna, kissing her. My state of apex lucidity is slightly glitchy. Although it is otherwise very realistic, her face glows at times and seems transparent. There is a curious quivering effect.

      Later, I start to throw knives at random unknown people whom I see as intruding into my dream space. They mostly go into chests and sometimes heads. There is no blood or gore.

      I eventually reach a point where the setting solidifies to where I am looking at a window screen (liminal space divider). It now seems to be dark out. I cannot believe how perfect and even the screen is. It defies my imagination with its evenness and perfections and remains stable until I wake. I try to create a monster to come up (to whatever building I am in) from the other side of the screen - to press its face against it.

      I imagine an ugly gargoyle coming up to the screen from the darkness outside. There is no change in the window or the screen’s detail. The screen remains perfect, and no monster ever appears. I get annoyed, trying to force my imagination as much as I can to come up with the ugliest monster possible, and start growling loudly to encourage the process. Nothing happens. I continue to make loud growling sounds while anticipating the appearance of a horrifying creature. Nothing appears. I realize my conscious self identity is too integrated within the dream state to allow something implausible to manifest at this point. If I were less lucid, I would probably have more dream control. A window screen represents the essence of the preconscious function (reticular activating system), so ultimately it is pointless to bring something imaginary from the other side of it. I have absentmindedly attempted this in many past dreams without success.



      The part with the knives seemingly stems from Zsuzsanna looking at a Deadpool knife block recently, but she had not told me about it. (They were in his head.) At least one dream per sleep cycle is telepathic (for lack of a better word), often with more precise detail depending on the nature of the feature or event.


      Updated 08-27-2019 at 03:16 PM by 1390

      Categories
      lucid
    4. The “Patches” Odyssey, Part Three

      by , 11-02-2018 at 07:36 PM
      Morning of May 24, 1970. Sunday.

      Dream #: 1,252-01. Reading time (optimized): 2 min. Readability score: 73.



      A sense of timelessness permeates my offset dream of me “sleeping” in the southwest Cubitis house’s bedroom. I see myself lying on my back (as if seeing “me” from the left side of the bed) looking up at the window (though the me in bed would not be able to see the detail of the sash window as my dream view does). Three bats flutter in and out through the missing window panes of the highest row. They move slowly and slightly erratically like butterflies more than bats. They seem to be important in a way that projects into my future well-being, many years from now.

      I become aware of what I first think might be a coffin to the left of the bed. (There is a vague association with the opened coffin in the Barbara Steele movie “Castle of Blood.”) However, I then perceive it as an electric reed organ.

      From the song: “Down by the river that flows by the coal yards”… “He says a girl name of Patches was found, floating face down in that dirty old river.” My childhood self (age nine) did not wholly understand the song. I knew Patches had drowned and that it related to love, but little else. Still, the magical beings had resurrected her in my dream.

      In my dream’s final scene (May 24, 1970 version), I felt myself rising into the air while watching “me” walking with Patches (Brenda) down a footpath (away from my direct view). It seems to be morning. There is a winter wind implied (even though it is summer in reality) and dead leaves blowing around. There is a strange feeling of destiny as the three entities (bats, fairies, butterflies, moths, now birds) are still watching us. I see a closeup on my right of three small birds huddling together in a supposed cold breeze. Beyond, I see “me” and Brenda walking as my dream self rises higher. I wake with a sense of deep peace and even nostalgia.



      After moving to Australia, Google Maps revealed the Cubitis house had become as it was in my dream. I have included the image; top, from years ago; bottom, as it is now.

      The bedroom was also as it was only in my dream years later while I was still living there. The bed would be in the same location, and my father had bought an electric reed organ (the kind of which a fan blows through reeds) and placed it in the same location.

      Zsuzsanna’s father had caught three bats in a jar when she was young and kept them for a short time.

      The Port Kembla Coal Terminal (near where Zsuzsanna was born) became a key coal exporting facility on Australia’s east coast.

      Zsuzsanna was involved (when younger) with a church of which she did not want to be.

      Brenda (Patches) was a stand-in in many dreams, though sometimes my “mystery girl” accurately appeared as Zsuzsanna long before I met her in waking life, even with the unlikely Hungarian-Australian accent.


      Updated 11-03-2018 at 09:42 AM by 1390

      Categories
      lucid
    5. The “Patches” Odyssey, Part Two

      by , 11-02-2018 at 05:02 PM
      Morning of May 24, 1970. Sunday.

      Dream #: 1,252-01. Reading time (optimized): 2 min. Readability score: 73.



      In Part One of “The ‘Patches’ Odyssey,” I described the beginning of my dream, of which was like watching the opening credits of the animated musical “Gay Purr-ee” (1962). “Opening credits” had been a part of many other dream state beginnings in my childhood, but this was clearer and brighter than usual. There were several different versions of the “Patches” dreams (later ones by intent), though with the same main segments.

      After the alligators had flipped our canoe, they drag Brenda to the opposite side of the river from where Toby and I had been in the cypress trees. In addition to the “alligator king” character being influenced by “Turok Son of Stone,” the scenario itself was from an influence of the cover of the January 1968 issue.

      Toby and I are later on the opposite bank of the river. We discover that Brenda is on her back, presumably having drowned, draped over a tree stump, with water dripping from her shoes (which are dark blue with silver buckles). I am kneeling before the dramatic scene on one knee. There is no blood or gore. Eventually, three bats fly around and seem to mourn the scene. I am also aware that they are fairies which may be able to heal her at a later date. (This stems from earlier dream segments about three fairies changing into different forms, including bats, birds, butterflies, and moths.) They sing the Dickey Lee song “Patches” with different lyrics, which oddly distort to “down by the sea” (instead of “down by the river,” even though the setting is near the river and not the ocean). Her resurrection is a result of otherworldly magic.

      In another dream segment, Brenda is missing. She had been kidnapped by a man who sells Holy Bibles from a small market stall. I follow the three entities (that are now butterflies that become moths as evening approaches). I discover that Brenda has been tied up and gagged and kept behind the market stall on the lowest shelf facing the inside. The unfamiliar man (who presents a mean visage) is selling small King James Bibles with both black and white simulated leather covers. I untie and rescue her when he is elsewhere. Red silk bookmarks of the type sewn into the Holy Bibles were sewn together and had been used to tie her up. (There may be an association with snakes, as such bookmarks are narrow and red as well as forked on the outside end.)

      In an offset segment, a literal bed space strand occurs. I see myself as sleeping in the southwest bedroom (my parents’ bedroom that my father later used for music). The head of the bed was against the west wall, where there was a row of three big jalousie windows in reality. In my dream, however, there was only one sash window in the middle of the west wall. It has twelve small panes. The top three are missing.



      End of Part Two. There will be one more main part.


    6. The “Patches” Odyssey, Part One

      by , 11-02-2018 at 12:13 PM
      Morning of May 24, 1970. Sunday.

      Dream #: 1,252-01. Reading time (optimized): 2 min. Readability score: 63.



      At about two o'clock in the morning on May 24, 1970, I enter the dream state in passive semi-lucidity. I watch the bright and colorful opening credits for the animated musical “Gay Purr-ee” (1962). It seems to be playing in a peaceful private place within my mind rather than on television or in a movie theater. So far, I am aware that I am in my bed (Cubitis house).

      Over time, I decide it will become the beginning of a long dream that has the essence of a movie. I soon see starring “Toby T_____,” “Brenda W_____,” and my name, integrated with various panels of different visuals (in the same style as the opening of “Gay Purr-ee” and with similar music). My father’s role displays as the “King of the Alligators.” (In real life, my father often sang Smiley Burnette’s “Don Juan of Sevillio,” which had the line “I’m known as the king of the matadors.” In a later version of this dream over a year later, his dream role was “The Alligator King;” an influence from a “Sesame Street” short.)

      I become aware of a recurring dream state induction process (which began in early childhood) - the presence of a water body. I slowly lose my semi-lucidity, but not my conscious self’s identity. I am in a canoe with Brenda (schoolmate, neighbor, and friend) and Toby (schoolmate and friend). The three of us are on a journey that seems to be occurring at night. We are traveling in a canoe on Peace River (Lettuce Lake area). The scene is peaceful and enjoyable, but I absentmindedly focus on my dream becoming dramatic, even thrilling.

      A man on the riverbank commands three alligators to attack our canoe. (It is my father acting in this imaginary role, though I am not wholly lucid in this version of my dream even though I “wrote the script” for this scene, not because of any associations with my father being perceived as such, even metaphorically, but to fill the imaginary role with a familiar character as with a school play.) He is wearing a cape made of alligator hide. (I am vaguely aware of the cypress knee lamps he used to make in real life when we lived in Fort Ogden. The clothing imagery was an influence from characters in Gold Key’s “Turok Son of Stone” comic book.)

      As we watch, the alligators approach and flip our canoe. That triggers a vestibular correlation event, where I fly through the air and land in a tree about ten feet from the ground on the opposite side of the river as the alligator king. Toby is clutching to the trunk of a nearby tree. At first, I view this event as comedic. However, I notice that Brenda is being pulled (on her back) over the surface of the water by an alligator.



      I end part one here. Part two continues with additional important scenes and segments from other dream versions with the same foundation, which occurred over about two years (1969-1971).


      Categories
      lucid
    7. The Fall

      by , 10-12-2018 at 04:12 PM
      Afternoon of October 12, 2018. Friday.

      Dream #: 18,925-02. Reading time: 15 sec.



      I had fallen asleep on the couch while sitting up. Zsuzsanna was out with our children at the time. The television was on, and it was fairly loud. I could hear it through the veil of sleep. It was a man’s voice talking continuously. As soon as he stopped talking, and there was silence for about two seconds, I experienced a typical falling dream (waking start).


      Updated 11-09-2019 at 03:19 PM by 1390

      Tags: falling
      Categories
      lucid
    8. Thunderbird 2 Beaches Itself

      by , 10-02-2018 at 09:15 AM
      Morning of October 2, 2018. Tuesday.

      Dream #: 18,915-01. Reading time: 52 sec. Readability score: 42.



      Dream state induction slowly begins as a stormy sea, though my dream self feels calm, peaceful, and cheerfully observant. Vestibular system correlation and water induction become integrated, though my dream self remains seemingly incorporeal.

      Thunderbird 2 flies over the scene. Eventually, I see it on a rocky shore, oriented upwards at about a 20-degree angle. I perceive it as being only about three feet in length. Many tiny people walk around on the rocks, possibly checking its status, some of them probably from the model aircraft, though certainly not marionettes as they only seem about an inch high. There is no implied danger from the splashing waves.

      There is an ambiguous transformation where I watch an ocean liner in the same orientation as Thunderbird 2 in the previous scene. It seems like a real ocean liner but is miniature, only about three feet in length.

      I consider that the amusing ambiguous scenes are ultimately uninviting, so I semi-lucidly pull my orientation into a different state.



      The liminal association from a television series with marionettes (despite their replacement by tiny people) is an amusing transformation of the otherwise usual summoning of dream state denizens in the water induction stage, as a marionette implies subliminal, liminal, or lucid creation and control of dream state denizens by threads of the conscious self’s will.


      Categories
      lucid
    9. Dancers from the other side

      by , 09-25-2018 at 01:14 PM
      Morning of September 22, 2018. Saturday.

      Reading time: 1 min 22 sec. Readability score: 62.



      I am sitting in a wooden chair that is first in a mostly undefined featureless room, though with a vague essence of our present home. It is possibly late morning at first. The passage of time seems unusual at the beginning. Several years may have passed very quickly with a brief awareness of different seasons. Soon, it is in an overgrown field. A Twin Wasp engine is on the ground, a few weeds growing around it. It seems to be golden at one point.

      The rest of the airplane is elsewhere in the field. There is a 1940s feeling, though based on movies of the time. It seems my task is to fly two ballet dancers (male and female, about thirty years of age), in white, from the area, where they have been for a very long time, living in the minimal ruins of an unknown region. They have still been able to thrive somehow.

      Although they sit in the back of a small airplane, they seem to be mentally flying it as I sit in the pilot’s seat. There is a sustained awareness of motion. We move through liminal space of only vague definition as the sky. When I look back at the waking point, they are no longer present.



      Vestibular system avatars sometimes have attributes associated with dancing as a result of the subliminal, liminal, or lucid control of, or focus upon, the illusory physicality of the dream state, the fluidity of adapting to changes in consciousness as well and anticipation of the waking start, even through hypnopompic transitions when they occur. I began to realize this when I was four years old. Airplanes and virtually all flight-related factors (including flying under my own will) are a common dynamic of the process, being present throughout every sleep cycle for over fifty years. Not counting flying under my own will, mechanical forms of flight, such as airplanes, helicopters, and spaceships, when compared with birds, seem to occur with about equal frequency.

      Gold always correlates with dream state vivification and the emerging consciousness factor.


      Categories
      lucid
    10. “You’re Johnny Blaze” (Fantastic “Ghost Rider” Dream)

      by , 09-18-2018 at 02:31 PM
      Morning of September 18, 2018. Tuesday.

      Reading time: 2 min 52 sec. Readability score: 70.



      Still aware of where my physical body is as I sleep, my illusory dream body rises and floats into our lounge room. I remember to focus on our porch for liminal space vivification (enhancement and sharpening of the midpoint between dreaming and waking). However, when I get to the entrance of the lounge room, there is no porch. My dream self is now implied to be corporeal but has distorted physicality. My legs are not viable, so I both fall and partly hover over the stairs, yet I do not wake. I get the impression of another physical form hovering above the ground, of which I bump. It seems to be an unfamiliar male, not very well defined. He is soon gone.

      My dream is extraordinarily vivid but does not shift to the highest level of lucidity. The neighborhood is of a different appearance. Directly across the street to the north are more houses. On the west side of the intersection, I see a flaming man on a flaming motorcycle of which is traveling quite slowly. He is going south. The imagery is eerie but wondrous. I feel a sense of otherworldly awe. The fire is beautiful and increases my awareness of the dream state.

      I anticipate his approach, as I think he will turn around and come back. He does, but eventually, the fire goes out, and he is walking with his motorcycle on my side of the street. As he is walking to the north side of the intersection, I boldly call out, “You’re Johnny Blaze.” He seems puzzled, and crosses back to my side of the street, approaching me. He is wearing a blue motorcycle racing jumpsuit with white stripes down the sides.

      He stands close to me to become Ghost Rider again. I realize he will be able to look deep into my soul and know all there is to know about me. The experience is incredible. It is as if the universe itself is looking into all areas of my existence and personal history. He is a man again, though his eyes are glowing with eternity, infinity, and universality. I notice that flakes of my skin seem to be falling away from the scar on my right thumb, as I look down at it. There is no pain or implied threat.

      Instead of any potential threat, he starts whimpering in appreciation of the life I have lived up to now. He hugs me and seems like a new friend. From here, my level of awareness shifts. I become less lucid as my dream changes into a different form, though the Johnny Blaze character is still present.

      My mother is present, but I do not recall that she had died years ago. She asks me what is going on. I say, “I knew it was a dream, so I went from there,” regarding my description of falling out the door into a vivified scenario. That is very odd though, as I am no longer lucid (yet saying “I knew it was a dream.”)

      As the waking transition starts, Johnny Blaze is no longer carrying the interconsciousness within the rendering. Still, I say, “Watch this,” only loosely expecting Ghost Rider to appear one final time.

      Instead, a wall, like that inside a house, intersects the street, and a door appears in it. There is the common indoor-outdoor ambiguity (the sense of being inside and outside at the same time). Some other dream characters, including my mother, Zsuzsanna, and me, go over to the doorway. Beyond it from our side, we see that Johnny had crashed into a row of wheelie bins and fallen over, though I realize he is not the same character as before, as the interconsciousness had left the dream state right after hugging me (in temporary coalescence and unification). He is on the ground, mostly on his back and turned a bit to the left, looking somewhat surprised and annoyed. I wake quickly from here, finding myself in the same physical position as Johnny had been.

      I should point out that I had held no thoughts of Ghost Rider, either the comic book or movie for a long time. Johnny Blaze was nothing like Nicolas Cage (or any other known actor) in my dream. He was an unfamiliar man of a more athletic build.


      Categories
      lucid , memorable
    11. Setting the Preconscious Avatar Afire

      by , 09-16-2018 at 07:01 PM
      Morning of September 09, 2018. Sunday.

      Reading time: 1 min 18 sec. Readability score: 63.



      I do not usually set the preconscious avatar on fire. It depends upon my acceptance of, and resonance with, the waking process (or how annoyed I might be about waking up in contrast to the more positive willingness) and whether or not vestibular system correlation is a factor of the transition.

      My conscious self identity is not present at the beginning. It starts with a typical bedroom induction. The bedroom is a variation of Gellibrand Street in Brisbane, where we have not lived for many years.

      Curiously, there are several other people in our bed with us, though I do not perceive them as intruders. (Our bed would need to be unrealistically wide to accommodate them, but I do not perceive it as such.) I am aware that the door into the bedroom is open, but it is to the left rather than in the middle of the opposite wall. (I am atypically sleeping on my right side, with my left more exposed to my real environment).

      Two unknown males step into the bedroom. I do not know their intent, but I assume it is intrusive. Having a vague memory of my conscious self identity but not my real-life status, I consider what I should do.

      Becoming aware that I am in the waking process of a dream, I become annoyed (as I had not used the induction process to sustain lucidity). I take hold of what is left of my dream self’s side of liminal space and create the intersection process, which is otherwise the choice to reenter deeper sleep or to wake. However, the feature is two rivers that cross each other perpendicularly rather than streets (though they are about the same size as urban streets). I mentally tie the preconscious avatar and his partner to a post where the rivers cross, mentally douse them with gasoline, and set them on fire. I deliberately fly up and out of the dream state much to my satisfaction.


      Tags: bed, fire, rivers
      Categories
      lucid
    12. “Baby Driver”

      by , 09-15-2018 at 05:35 AM
      Night of September 13, 2018. Tuesday.

      Reading time: 1 min. Readability score: 62.



      Vestibular system correlation begins as my dream begins, which is semi-lucid but allowed to render randomly, as I do not make a willful attempt to orient or give willful detail to any of the patchy space. However, a common thought at this stage is choosing the setting of being on a bus, which is not as expansive a process as a helicopter or airplane (or flying unaided).

      So the setting stabilizes as a bus, seemingly in late afternoon, but I am not corporeal, as I have not fully “stepped in,” though I am on the right of the bus driver’s seat. There is no driver. An empty child safety seat (baby car seat) is atop the empty bus driver’s seat, closer to the steering wheel. The bus is moving in a setting that seems like an ambiguous mix of a bullring (bullfighting arena) and a Nascar venue. Although it is driving itself, my dream self is still liminally controlling its direction and speed.

      The Paul Simon song, “Baby Driver,” is loudly playing from an undetermined source, diffusing through the environment. There is an enhanced awareness of energy and activity. I start to feel very amused and cheerful by the absurdity of the scenario. Most members of the audience are cheering and throwing confetti as the bus circles the area.

      I start to wonder why the Paul Simon song emerged, as I had not heard or thought of it in years. Still feeling cheerful, I decide to come out of my dream.


      Categories
      lucid
    13. Comic Strip Strangeness

      by , 09-11-2018 at 03:11 PM
      Morning of September 11, 2018. Tuesday.

      Reading time: 1 min 6 sec. Readability score: 63.



      I still had traces of the flu during this period. Vestibular system correlation took on a rather odd form in the otherwise typical transition, an atypical combination of internal and projected awareness. I was semi-lucid but did not maintain focus.

      I enter the world of Barney Google and Snuffy Smith by liminal intent. Snuffy has a daughter of about my youngest daughter’s age. Snuffy’s daughter (fictitious as relevant to the real comic strip) walks through a doorway and my dream shifts rather than the doorway association serving as an exit. I then realize it is my daughter standing in the room in real life, but I shift back into the dream state.

      Now I am viewing a Hi and Lois comic strip. It features Chip and an unknown girl (partially based on a real comic strip I had just seen previously - see image). They are riding a subway. The girl is on Chip’s left, so this is a typical rendering modeling (in real time) of how I am sleeping with Zsuzsanna with her on my left. On the left of my view of the comic strip are a few odd sketchy characters with stop signs for heads (though otherwise drawn like a Hi and Lois character).

      The surreal comic strip is a result of my ongoing semi-lucid thoughts. Eventually, within a larger version of the comic strip, is an insert displaying the external movement of a real subway (like the film of a passing train, although I view its side as if from above). I say “look at that,” (even though the preconscious avatar is not visibly present) and wake slowly, feeling the illusory movement in my body.


      Updated 09-22-2018 at 11:14 AM by 1390

      Categories
      lucid
    14. Making and Moving a Planet, Inhaling Medusa‘s Jewelry

      by , 09-03-2018 at 02:04 PM
      Night of September 2, 2018. Sunday.

      Reading time: 2 min 28 sec. Readability score: 64.



      I decide to create an earth-like planet (a typical exercise) and, within my implied position in outer space, pull it towards me and push it away from my view several times. It relates to a specific type of dream state perception where passive observation and creation are ambiguously the same. For example, I may “pull” the background closer to me rather than enter into it.

      In an undefined but “patchy” unlit space, I practice rotating the view to the right about 45 degrees, then to the left. I shake it side to side rather than attempt to move my head. I push and pull the “patchy” undefined space towards me and push it back as I did with the planet exercise. I create a solid green square and make it go side to side (leftmost and rightmost) with little effort. I mentally shake it until it breaks up into smaller squares. There is the usual segment where diamonds rapidly flip over each other.

      I create a castle. I open an outer brick wall about two storeys up to practice the manipulation of liminal space division. The hole in the outer wall is diamond-shaped. I mentally pull out the bricks and put them back into the wall several times, with no effort, only expectation of what I want. I spin individual ones in midair while turning all of them in rotation like a tank tread before they uniformly join into a solid wall again. While the hole is there, an unidentifiable female avatar remains motionless inside that room.

      I create a rainy alley scene, like out of a 1940s gangster movie. A black 1947 Cadillac Fleetwood pulls up. Three unfamiliar men get out. I decide to make the scenario into something different. Now, three young girls in 1970s jumpsuits approach. The one in the middle ahead of the other two pauses and turns around. I notice her hair moves in the wind like a fire. The imagery begins to spin and shine, the helicopter rotor effect, and turns into a stained-glass spinning kaleidoscopic view, expanding into a different state of awareness, though is three-dimensional rather than a flat field. I joyfully watch this surreal imagery for several minutes.

      I hover and fly over beautiful rocky landscapes with rivers of mist.

      I start playing around with a four-feet-high egg in the same way I did with the brick wall earlier. Similarly shaped pieces of the eggshell break out and move about in the air in a circular pattern, reminiscent of a mosaic taking itself apart and rebuilding itself, but I will them back into place several times as if the egg had never started to hatch. Each time, only a pair of human eyes is visible from inside the egg, though different each time. (This stage of dreaming has occurred on a regular basis for over fifty years. Eyes are usually the most realistically defined imagery.) I then start to realize that an egg, at least in some manifestations, is the same type of perceptual liminal space division as is a brick wall; pieces of the egg, bricks of the wall, break out, reconstruct.

      Eventually, a young version of Medusa is present upon my summoning. I focus on the intricacy of her hair. Hundreds of tiny snakes move about atop her head. There is no fear or concern. I marvel at the detail of her costume and headband. Eventually, the snakes are intricate braids of human hair. A turquoise stone is in her headband. I deliberately suck in and inhale its essence as a mist that has healing properties.

      I create another earth-like planet. It cracks into smaller pieces at the top, and I pull cotton out of it.


    15. Stump in the Center

      by , 09-02-2018 at 01:04 PM
      Night of August 30, 2018. Thursday.

      Reading time: 57 sec. Readability score: 53.



      Water induction brings about an association with fishing. However, in semi-lucidity, I focus on something else, and the potential fishing backstory fades along with my rod and tackle. It is a tree stump arising from the center of a lake. (It is the only feature above the surface.)

      I start to conceptualize it as something important, but I am not sure of what relevance it is. I think it possibly represents old age. After a time, the water becomes lower.

      Over time, I think about the tree becoming whole again, but I do not deliberately try to force the event. The water lowers to where the lake is gone. I become distracted by a shifting of awareness where I now see a bicycle rack as if a feature in an urban public park. The landscape slowly rotates around me.



      Despite the implication of the stump being in the ground at the lake’s bottom, it stems from the Old Man of the Lake, a Crater Lake feature, which vertically floats. The bicycle rack blends the typical association of the liminal space barrier as a fence (otherwise dividing dream self and conscious self presence) with a more linear vestibular system correlation anticipated (in contrast to flight, rising, or falling), though no bicycle is present. Instead, I wake with the entire landscape slowly rotating around me (clockwise) like a bicycle wheel, in addition to water lowering waking symbolism (ultradian rhythm and decrease of melatonin).


      Categories
      lucid
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