lucid

Morning of July 26, 2018. Thursday.

Reading time: 1 min 24 sec. Readability score: 66.



I am driving an unfamiliar car. The driver’s side is on the left (implying America). Brenda is on the passenger side. There are no threads of my conscious self at this point. We are going north on Highway Seventeen (the original one).

An outdoor seminar on dreaming is occurring in an area we pass to my right. Brenda cheerfully points and says, “Bobbleheads.” (This is what I call people who talk or write about dreams or their so-called meaning while having no understanding of the dream state.) Something about the scenario seems off, and I try to consider what it is. Brenda’s head is now slumping forward. Her head is Betty Boop’s. I wonder if she is a clockwork girl that has suddenly malfunctioned. For a moment, I consider I may get into trouble for stealing or taking advantage of a movie prop. Her forehead seems to have an electrical outlet (the American type).

Glancing at Brenda (or Betty Boop) again later, I see her changing into different dream characters at the rate of about two per second, cycling through many diverse personas. Finally, “she” becomes George Harrison and continues to talk about Bobbleheads.

We continue on our road trip with a cheerful disposition. We arrive at a music studio. George has a meeting with several music producers. Once in the room, however, it seems to be a class on economics. Going up to the front, where a chart on an easel displays an upward trend (a linear representation of the waking process), I see that all the students are equidistant identical ceramic chicks (yet still living entities), which turn their heads left to look at us. They chirp similar clouds of small triangles, circles, and squares, mostly of red, blue, green, and yellow, of which float about above their heads for short periods of time. They seem to be asking why most humans are unable to communicate with them. (This is emerging consciousness simulacra of which first occurred around age three. What wonderful nostalgia.)

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(Zsuzsanna and I were talking about “Route 66” yesterday, though she has never seen the show.)

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Morning of June 28, 2018. Thursday.



One very curious factor of my dreams has been the effortless creation of interesting fictitious names. These names are most often female and sometimes implied to be that of a celebrity. Usually, this fictitious character is either a part of a vivid lucid experience or is a part of a specific type of non-lucid dreaming that is unlike other dream types and features the presence of a broadcast of the essence of watching television, though me being passively present in the broadcast setting at times (typically with a sense of ambiguity or of being incorporeal). In this case, it seemed to be an unlikely blend of television and Internet in its design as an unrealistic composite.

I am looking at information about a popular 1960s actress whose name was supposedly Spectra Lee. It appears on one part of the webpage as “Spectra.Lee” as the title of her website and related contact information. She appears in a number of 1960s photographs, some black and white. She is wearing a headscarf and sunglasses in most of them.

I suspect it is a play on “spectrally”, as I have been doing more sound engineering lately, though it could also apply to the nature of dreams and liminal space. However, after waking, I had a brief association with Elektra, the female Marvel Comics character (and of course Stan Lee).

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Morning of June 25, 2018. Monday.



I am watching a scene of which I am not directly a part. It is an unknown house of which is being renovated by a few unknown males.

There is a slight awareness of needing to use the bathroom, but I am uncertain if a bathroom is available nearby. I am also thinking about working on some music.

A voice calls out, possibly about an unfinished kitchen or bathroom renovation, “There is nothing in there but earaches and pancakes”. I simultaneously find this both startling and clever in my semi-lucidity.

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It is typical of the preconscious to call out with random rhyming gibberish or bizarre surreal phrases near the end of a dream. This is similar to how the creative process works.

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Early evening of June 23, 2018. Saturday.



I am looking at a desert scene of which is virtually identical to the image with this entry. I sense industrial activity going on behind me, likely in a factory, though I do not turn around to verify this.

An unknown male voice calls out, “Just the back feet are shut down”. I consider what this may mean. It puzzles me when I see it as regarding human anatomy. I then consider it means “feet” as a unit of measurement even though there is no numerical value.

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As dreams, regarding their autosymbolic nature, are mainly related to the nature of the dream state and waking process rather than real life (unless prescient or literal), “back feet” is a typical distortion regarding how I was briefly and lightly sleeping on my back. I rarely sleep on my back in my normal sleep cycle. The fact that the back of my feet was the only part of my feet that was in contact with the mattress is likely the reason for this dream, though it may also have an analogy to an animal’s back feet as an indication that parts of my mind are still active in sleep. Additionally, a desert is a biological factor that usually indicates a need to drink more fluids.

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Morning of June 22, 2018. Friday.

Dream #: 18,813-02. Reading time: 1 min 23 sec.



The first part of my dream presents a shopping situation in an unfamiliar store. There is significant visual detail in what I am buying, mostly food. After finishing our shopping, Zsuzsanna and I (and our children) walk along what vaguely reminds me of the King Street area in America.

Silas Weir Mitchell, the American character actor, is with us, though my dream self does not recall him as either a celebrity or a character he had played. He is an implied friend.

We approach an intersection, though it seems a challenge to continue. Snow covers an embankment though there is no awareness of winter or being cold. Where the end of the sidewalk joins the curb, one must first go up and over the embankment before crossing the street. I am pushing a shopping cart full of groceries. Silas is helping me, although he soon seems to be annoyed.

Upon going over the embankment, there is a sudden drop of about two stories, with the street far below. I look down and see that Silas has fallen with the trolley, though seems uninjured. There is annoyance at my lack of progress in getting home with our food as the groceries are now strewn on the street far below.

I soon realize it is a dream and that it is the usual vestibular system correlation of the waking process. As a result of this emergence of dream state awareness, I mentally reset it, and immediately, Silas and the shopping cart are back near me on the sidewalk, but I still decide to wake.

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In this dream, Silas is the vestibular system personification, a projected simulacrum of the waking process (which typically comes with an imaginary perception of flying, falling, or rising as a result of not fully discerning the physical body or its orientation while asleep). An intersection is autosymbolism for RAS (reticular activating system) mediation and synaptic gating, that is, the choice to wake or return to dreamless sleep (or attempt to continue the dream).

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I explain this dream type in “Dreams of Type PRECONAV-VSCPCEL, 01-15."

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Morning of June 15, 2018. Friday.



In my dream, I am in a mostly undefined setting of which cannot be determined to be indoors or outdoors, though it does not have the typical essence of bilocation. It seems near late morning. I am involved in adding to an ongoing model and story about a journey by sea, though the features of this model sit on the picnic table or hover in the air slightly above it when implied to be within the ocean depths. Other people seem to be present watching and listening to my narration, but I do not actually see anyone else.

The ship seems to be a schooner, sailing from left to right in my view. I talk about the dangers that might be encountered. I slowly add an unrealistic number of rocks. The model schooner is about four inches in length.

As my dream nears its end, I add more and more squid, which hover in the air (though implied to be below the ocean’s surface in this model) which are slightly bigger than the ship. A couple of them roll up (left to right) and transform into snails that continue to hover in the air in the seascape’s implied depths. I slowly become aware that I am dreaming and had been non-lucidly testing vestibular system correlation, which I have been doing more of in my dreams in the last few months. (This correlates with another recent dream with different autosymbolism based on the same dynamics, where a solid pipe became a hose, and the eardrum was represented as a hissing valve I “popped”, more related to the illusory “ears” of the dream self.)

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The majority of my dreams since early childhood have vestibular system correlation autosymbolism of several different types. (This includes flying, falling, hovering, and rising dreams, which are unrelated to waking life, despite the multitude of people who continue to propagate falsehoods about “symbolism” without understanding that dreams are autosymbolic.)

Although this could be considered an extension of the usual water induction process, there is no water present (though WLWS is implied). It additionally includes the hovering factor of vestibular system correlation as well as the visual rendering (by way of the virtuous circle effect of developing a deeper and deeper understanding of dreams and clarity of mind stemming from both lucid and non-lucid dream control).

The vestibular system correlation is represented by the transformation of squid into snail and visual analogies to the inner ear; that is, semicircular canals, vestibular nerve, and cochlea.

What little waking life relevance (always literal) is present is based on my youngest son’s friends recently to leave the region on an oceangoing yacht, where they have otherwise lived for a long time.

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Night of June 3, 2018. Sunday.



This brief vivid lucid dream was triggered by a lapse into unconsciousness while I was contemplating liminal space while still semi-conscious. I was actually thinking about a telephone and its autosymbolic meaning in representing potential communication between dream self and conscious self, though was visualizing a rotary telephone sitting on a table with my dream self in the room and my conscious self on the other side of the wall. It is rendered as a simple sketchy diagram (with the correct waking orientation layout, the dream self room with the telephone on the left and my conscious self’s room on the right).

Eventually, I am within a vivid lucid dream. Zsuzsanna’s cell phone is sitting on the top of the couch and very soon catches on fire for no discernible reason. I find this intriguing and immediately wake.

No mystery here, as waking processes of shorter dreams since early childhood have often involved fire suddenly starting as consciousness initiation autosymbolism, not quite as common as vestibular system correlation though sometimes combined in waking process synthesis with such as a meteor or falling and burning airplane and many more forms of inherent autosymbolism of which is unrelated to waking life in most cases (other than when prescient or as a literal carryover).

This is additionally validated by the cell phone being in the fictitious location atop the couch where I had just otherwise had my head in reality prior to going to bed (thus my lucid dream self was focusing on the last place my physical brain was before being in bed in addition to thinking about communication through liminal space of which the cell phone represented).

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Morning of June 1, 2018. Friday.



One dream just had threads from “Time Trap” (2017), mainly the scene where the outside world is shown as changed into a desert in the supposed distant future. It is interesting but uneventful. This type of dream (depending on what time during the sleep cycle it occurs) often has no autosymbolism or even RAS mediation, probably because reflecting on a movie is a specific process with no personal analogies to either waking life or the biological dreaming process and at semi-lucidity, waking process autosymbolism (unless there is a genuine immediate need to wake such as having to use the bathroom or to investigate the cause of a noise) is not a main factor. Most movies, I do not reflect on much later on, but this one actually held my interest at another level. It reminded me a little of the original “Land of the Lost” (1974) and “Journey to the Center of the Earth” (1959). There is no space station present (in the sky) as in the movie, so there is no vestibular system correlation evident.

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Morning of May 28, 2018. Monday.



On my way back to waking reality by way of a passenger train (autosymbolism for both the induction and waking process), I decide to walk after remaining in passive lucidity. I hover above my seat and phase through the train as in past dreams (though in this case, actively flying ahead to phase through the front of the train rather than just letting it phase through me while I hover in a fetal position) and walk through an isolated grove, feeling a deep sense of peace and love as both my returning memory and realization of Zsuzsanna being near me in bed breaks through the liminal space barrier of the illusory dream state.

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I first developed an understanding of the illusory nature of the dream state at age three (probably why I rarely have “bad” dreams unless related to health by way of transpersonal premonitory threads). Since then, I have phased through hundreds of vehicles, including the roofs of taxis, usually entering lucid omnipresence as here. This is all about vestibular system correlation and a vehicle being an autosymbolic illusory projection of the physical body in REM sleep. However, even walking is not what I am doing in reality, as I am asleep at the time, but walking is closer to the preconscious transition than riding a train is.

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Morning of May 27, 2018. Sunday.



Typical RAS modulation autosymbolism was going strong in this non-lucid dream but still did not activate the waking process, so I slept a couple hours longer than I usually do (even though Zsuzsanna and our children were up and in the lounge room with the television on at one point). If I cannot rely on RAS to wake me at a certain time with unique dream content (which is what a dream’s autosymbolism is inherently for) at the top of an ultradian rhythm, then I consider that very unusual.

In the first part of my dream, the setting is a unique new variation of the King Street mansion, the second-floor apartment in the middle of the east side of the house. My non-lucid dream self does not care that it is an impossible setting. I happily sit around on the floor for awhile listening to bizarre fictitious music (on a record player yet) where the lyrics make no sense at all. The “music” seems to have rock elements, but the male vocals are mostly randomly spoken phrases. I hear the audience cheering, so it must be a live recording. At one point, he chants slowly but loudly and clearly, “Yellow bathroom”. (This is a biological hint to my dream self, but I do not feel the need to use the bathroom in my dream.)

I notice my curtains are open, and I see an unfamiliar male lying on his left side on a ledge, in his underwear, enjoying the wind and smiling. It seems to be late morning. Apparently, he is enjoying the music I am playing. (Of course, this is a liminal projection of how my real physical body is as I sleep.) I am annoyed that neighbors can see in, so I attempt to close the curtain. (In reality, this scene could not be possible either, as the windows had only a view of the front of the house across the street, so there was no side of a house right near the King Street house, though what does my non-lucid dream self care, from a lack of any viable connection with either the unconscious mind or my conscious self.)

I hear an unfamiliar girl’s voice yelling about my music, and their music is turned on more loudly, even though the male was enjoying my music. (I did not think my music was loud at all.) A different male argues with her and there is yelling for a short time. I go into a different room and I am now in the lounge room of the Stadcor Street house (which only has the first floor) with Zsuzsanna. Now, the events are shifted to the first floor in the house next door as well (and as usual my dream self does not notice the impossible change). I mention something to Zsuzsanna about the music and an unfamiliar male, who can see into our house through our window from his window, loudly says, “You think you can beat me?” I reply by yelling, “Why don’t you leave us alone?” I then yell at no one in particular, “I’m tired of crazy people always living next door to us!”

I go out to the front yard and bash several unfamiliar males on the head with my Olympic barbel (no weights) and swing it around like a baseball bat until no one else is standing or moving. My dream shifts into reinduction rather than the waking process during the RAS modulation event and I now find myself riding in a skiff tied to the back of a small motor yacht. Curiously, I do not recognize this scene for what it is and no lucidity is triggered, only an elevated vividness. I am now a female (of about twenty-five), though not a female I have any conscious knowledge of. A man tells me to tie an additional length of rope from my boat to the back of his motor yacht (as the previous one had apparently came off and I am now drifting over the ocean). I somehow do this even though the distance would not logically allow it. I throw the rope and pull it lightly, but a large knot seems to make itself with no effort on my part (to my left; reinduction orientation and stabilizing). “That’s a good knot,” says the unfamiliar captain from the other boat. A few other unfamiliar people look on.

After a time, I am “myself” (though only about twenty-five) and another (unfamiliar) male is sitting to my right. We are still on a skiff on the ocean, but there is no other boat now. We go through an ambiguous area where it seems I am inside a house for a short distance even though we are also on the ocean. I notice many large sharks swimming below us. The water is unrealistically clear. I am wondering if there is any danger, though I do not feel concerned. The other male denies there is any danger and tells me how sharks only eat things that are at its own level in the water. I do not feel any fear, more like cheerfulness (almost comedic) even though there seem to be hundreds of sharks below us.

Soon, the scene shifts and I am walking with the same male and an unfamiliar female. We are in an unfamiliar town near mostly commercial buildings. After we walk a short distance, the male vanishes. We look back to see someone running in the distance. Suddenly, I am aware that we will be blamed for the kidnapping of the male that vanished. We are carrying small plastic bags. We stop to look inside them. The girl’s bag has the ID of the male that vanished. I know that the police will be here soon and that we are being framed by an unknown person. I take the ID and throw it behind a soda vending machine thinking it will not be found and that I am being careful and intelligent in my action.

The police arrive and I am still holding one of the small plastic bags. The scene somehow shifts to where I am in a police station (though of more of a restaurant appearance). The police officer is looking at the supposedly kidnapped man’s credit card (made of cardboard), a large sparse clump of hair, and some other items. The officers do not seem to think I had anything to do with anything, but I still tell them we were framed. (The girl is soon no longer present.) “Can you take fingerprints from plastic bags?” I ask. I say, “I know my fingerprints are on them, but they will probably also have the fingerprints of the kidnapper.”

“Can you take fingerprints from hair,” I ask. “Can you take prints from paper?” A police officer at a counter looks at me as if he is wondering why I am still here. Two other officers look at me annoyingly as well. They are not interested in me at all. I decide to finally leave my dream (in a liminal state, as I am not viably lucid until the last moments) and finally wake as I step through the door. (This last part is quite odd. I am liminally trying to force RAS modulation by way of my conscious self, but nothing happens, probably because the process is often transpersonal in origin in its natural form. On one level, something similar occurred recently, where I learned I was not in trouble for “killing” an unknown male, though my dream self had the opposite focus as to this one and I did not seem to be as fully modulating it myself.)

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Afternoon of May 22, 2018. Tuesday.



I am hovering above a scene of Ursula (from the “Little Mermaid” movie, though she appears as a “real” person instead of a cartoon). She seems to have been enslaved to work in a factory (on land and owned by humans), which looks like it involves capping bottles in a circular system of levers and a rotating mechanism she is strapped within (as she rotates horizontally as well). Even though she seems to be at the mercy of whoever runs the factory, she laughs weirdly, “Huh huh HA ha…,” and seems cheerful, and continues to work.

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This short surreal dream was influenced by seeing a “robot fail” video with a robot hand failing at its task of picking up bottles. An additional influence was from the typical water induction (though no water body occurs here) as a fictitious sea denizen as an octopus woman, which also has an association with our youngest daughter’s sticker books and coloring books as such.

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Morning of January 6, 2013. Sunday.



In a mostly featureless field, there is a dead tree with sparse branches seen in early evening, apparently just after sunset, and in semi-lucidity. In touching the tree, I ground myself without a focus on the anticipation of vestibular system ambiguity. I am fully in my fictitious dream body for the duration.

I vaguely recall previous dreams of living trees reaching out to stroke my face with the tips of their branches, in seemingly expressing love as an essence of nature itself.

I notice movements across the bark on the side of the tree, a shifting of kite-shaped patches of golden “skin”, which sometimes feature a singular eye. I notice that part of the tree is breathing, a part of its bark moving out and back in with the same overall size as a person’s abdomen. Eventually, I become aware of a female Buddha looking at me somewhat blankly, perhaps puzzled by my presence.

There is a change of awareness and temporality, a “blind spot” of which I do not pay full attention, a very common factor of the dream state when full lucidity is not present. A female Beetlejuice modulates my dream from here, though she is not threatening in any way (as preconscious modulation sometimes is when the need to wake and attend to real needs is greater). For a moment, I consider how serious it seems, even with a link to the spiritual, though I eventually come to terms with how silly the scenario is. I recognize the waking transition as it is rendered as an outdoor wooden staircase (as relating to vestibular system autosymbolism), which does not seem connected to a building. I faithfully use the stairs without slipping or falling (or the staircase changing form or collapsing), noticing the steps are rendered rather well. It all comes down to the usual vestibular system correlation with the personified preconscious (and additionally in this case as the vestibular system personification as the female Beetlejuice accompanying my subconscious self at this point), an extension of RAS mediation, passively leading the way in a liminal space where the religious fantasies wrought by others, and the movie fantasies wrought by others, are ultimately equal.

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Additional notes on the cause and meaning behind this dream: Way back when I was four years old and vowed to myself to understand and master the dream state, I came to realize that seeing eyes moving in a dream, especially when isolated, is primarily based on liminal awareness of being in REM sleep (though was also influenced from “sleep watching” the “Outer Limits” episode of “Don’t Open Till Doomsday” at age 4). There have been many dreams with this detail. In the eyes being on the tree, the tree in this case, especially in being in the mostly featureless field, represents the static (unmoving) status of my physical body during sleep.

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Morning of August 21, 1965. Saturday.



In early morning, I am walking through an outdoor maze-like area in an undetermined location with about six other children of whom are unfamiliar. On each side of the old and broken sidewalk are various unusual plants in flower boxes of about two feet high of which are adjacent to the sidewalk. Some of the plants are as high as about three feet, but many seem to be drying out, some stems almost straw-like. Some of the plants seem like oversized sandspurs (Cenchrus), though a few have attractive flowers. The area is possibly an abandoned plant nursery or the forgotten large garden of someone who had moved. There is conversation, but I mostly had only recalled a girl saying something about “the garden bed”.

Someone’s forgotten private garden may more likely be the case, as we eventually seem to be in the unmaintained backyard of a suburban residence.

There seems to be the presence of an unusual odor, firstly thought to be coming from some pale flowers.

We all walk closer to the back of the house. A girl in our small group opens the back door of this house. There appears to be something moving in the darkness in the center of the room. It is seemingly a skunk, but we can only see the white part of it very clearly. I suddenly become aware that it is startled and puzzled by our presence, and curiously, and very interestingly, the white part (body and tail) quickly form a question mark. The formation of the question mark, which seems to hover in the air (though I am still aware that a skunk is there) creates an intriguing sense of awe and surprise upon waking, as if the skunk’s surprise and puzzlement are my own; as if I am the skunk being awakened by the girl in the doorway.

At this last point, I am seemingly also immediately (without implied to have walked here) near the center of the dark room, looking at the white vertical question mark while seeing the girl’s silhouette in the doorway. I eventually consider that it is my mother coming in to look in on me as I am sleeping (a puzzling transformation of the girl around my age suddenly becoming an adult as well as briefly perceiving myself as a skunk).

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This is one of many childhood dreams that taught me that dreams were based on the autosymbolic nature of the dream state and waking transition rather than having a waking life “interpretation”. The phrase “garden bed” in this case is an indicator that I am asleep and dreaming, though I do not become lucid here other than in the final moments.

The transition of the preconscious shifts from my dream self’s perspective to seeing the skunk as my emergent consciousness. As with many other dreams, the autosymbolism is directly based on the puzzlement of becoming aware that I am dreaming. (This is inherent to the foundational meaning of all waking process autosymbolism.)

The unknown girl in the doorway establishes this as doorway waking autosymbolism (a very common waking process). The door is autosymbolism for the impending exit from my dream in the final scene as well as the door to my real-life bedroom (and in fact, I have often used this knowledge for both liminal dream control and deliberately vivifying the dream state). It is a girl around my age due to the downscaling of my mother (who is usually the one to wake me while standing in my doorway).

The skunk and its intriguing transformation into a question mark represents my puzzlement in liminal space (dark featureless room in this case rather than a more defined autosymbolic liminal space construct such as a porch or parking lot), as well as a form of defense against the preconscious factor in my liminal focus of not wanting to get out of bed just yet even though my dream self’s vague intent is to find my way back to my conscious self identity (which is basically what a dream is).

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I believe that this dream also had a precognitive thread, first validated in 1978 when my parents and I moved back to Wisconsin. The backyard and the back of the house in my dream seemed to match, in appearance, color, and orientation and distance (relative to the 901 Rose Street building we lived in on the second floor years previously), to the house my sister Marilyn (who had lived in the apartment across from my parents and I on Rose Street) was living in years later. (This is curious, as the majority of my dreams otherwise have unique fictitious composites as a setting.) Additionally, my father built cinder block flower boxes (similar to those of my dream) onto the front of our house after we had moved to Florida in 1967.

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Morning of May 8, 2018. Tuesday.



I allow the awareness of my physical body to become autosymbolic in the rendering of a silver van. I recognize the essence of water as dream state induction, the gentle beautiful rain splashing lightly on me at times from my left through the open window of the van. The van is driving itself without incident even though I am behind the steering wheel. Zsuzsanna is to my right in this dream (and I am sleeping more down on my stomach, so she is to my right side in reality, though I most often sleep on my left side). The van was meant to move through rain, which is the essence of well-being and healing factors, the brain and heart about 73% water at that. We go through a sparse forest of young trees; the trees on each side pass by in both directions. I do not reflect much upon such impossibility. We phase through a chain-link fence.

I enjoy going down the escalator of Hinkler in the van, with brief puzzlement of what may or may not be a car wash as we go elsewhere. Other people are walking around, shopping. Miniature cars drive above me, on the ceiling, upside-down, their headlights creating a harmonious awareness. The van drives itself through a hall in an unknown building that is just big enough for it to move through. Then in a more augmented vestibular awareness, we fly far above a lake near early evening.

Rain upon me in the dream state is so pleasing. Whatever vehicle my body becomes auto symbolically, car, van, airplane, boat, there is still flight potential.

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Morning of January 28, 1994. Friday.



In the continuation of my lifelong focus on establishing a higher understanding and control of the dream state and to vivify settings and experiences, dream control becomes a viable factor. (On the 1 to 5 scale, I am about 80% lucid until the last scene, where I become 100% lucid, and additionally lucidly omnipresent in becoming the dream state itself and my dream is greatly vivified. However, dream control and lucidity are unrelated as, through the virtuous circle effect and lifelong knowledge of autosymbolism, I liminally modulate many of my dreams without my dream self being aware I am dreaming.) It results in a setting that is much like Daisy’s first-floor apartment (yet also has an ambiguous association with the owners’ downstairs living area of the King Street boarding house). (Daisy was an elderly lady that my mother knew. We used to go to her restaurant and have hamburgers when I was young. We also visited her first-floor apartment of which was part of a commercial building near the middle of town. She had a sister who ran a record store where I got all my 45s when growing up.)

Borrowing the concept of the three witches from “Macbeth”, as well as Wendy the Good Little Witch’s mean aunts - especially as an older vivid childhood dream had been influenced by them (and I often like to borrow content from my older dreams to develop a greater clarity of mind), I willingly set the plot in motion. The witches are more like Halloween witches, though more realistic as reasonable people than in movies or television (or comic books). There is a vague association with Daisy and her sister for two of them, but they do not have their identities. The landlady of the King Street boarding house also seems partially borrowed for the persona of the third. Despite the setting being modeled after Daisy’s apartment in Florida, it actually seems to be located in La Crosse, Wisconsin in my dream’s final scene.

There is a white door (of which did not exist in real life in either facet of the composite setting) in the north wall of the living room. This is my challenge. In opening it, I will supposedly face “my greatest fear” (that is, my greatest possible dream-related fear, not a real life association) according to the information given by the three witches. They also say it is to be my greatest challenge. There is an atmosphere of sustained respect and intent. Meanwhile, the witches seem to be sewing and knitting things from spiderweb, including a sweater and larger afghan or shawl. They mostly take turns sitting on a couch that faces east.

Eventually, I go to the door (oriented to the left of their courch, though slightly west of it so that one would have to turn about to their left to see it on the north wall). I am wondering how I will (instinctively) react. I am wondering how the witches will respond to how I react.

When I open the door, my dream vivifies rather than serving as typical doorway waking autosymbolism. I open the door and walk through and suddenly find myself enjoying a sweet breeze and immediate “rush” of clarity and very pleasant and soothing summer sounds, as if I had stepped into a different dream and different level of unconsciousness. I am on the south side of the street in the 900 block of Main Street in La Crosse (a block north of the King Street boarding house even though it seemed I had just been on the first floor of that building, though again, also ambiguously modeled after Daisy’s apartment as part of the composite). The historical Christ Episcopal Church (of La Crosse) is off in the distance to my left. I hold a vague awareness of wondering if I will see my lifelong “dream girl” (precognitive identity of Zsuzsanna long before we met in real life - and she had made contact with me in real life in March of 1994, about two months after this dream). Nothing happens after this and no one else is around other than a few unknown people in the distance. It seems to be morning (even though the prior situation seemed to be taking place in early evening). I stand there enjoying the warmth and clarity and feel a deep sense of peace, which remains with me as I wake.

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In my intentional practices since I was a toddler, to modulate the dream state with allowance for RAS modulation when biologically necessary, it can easily be determined why RAS was passive here as the three witches. I was already on my way to what would otherwise be doorway waking autosymbolism, though there was no aggressive waking alert factor. Over time, this has remained a factor of both lucidity and liminal dream control, yet I was completely open to facing “my greatest fear” and this is how my dream naturally turned out without attempting to modulate the outcome as in many past dreams.

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