lucid

Morning of July 21, 2017. Friday.



In my last dream of this date, I enter a vivid scene, looking down at two features. There is a small monkey on the left and a miniature wooden Tiki totem pole on the right, both implied to be about the same height but in horizontal positions on an unknown surface.

At first, I assume the monkey has died. However, in the last moments prior to waking, there is a loud “hoo hoo ha ha” sound as the monkey moves his head, firstly looking at the totem pole on his left, appearing to be slightly puzzled, and then rolling to his left side (towards the totem pole). The implied monkey sound echoes out of the residual essence of my dream as I then instinctively make the same movements as the monkey and roll to my left side to become more comfortable (as I was having lower back pain while sleeping on my back, which I do not do very often due to occasional situational apnea).

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Note that in this case, both the monkey and totem pole are lying down as “in bed” (a first-level dream sign, that is, a real-time indicator of being asleep and in the dream state). The orientation of the two features is the same as Zsuzsanna and I as we are sleeping, assuming the resurrected monkey represents my waking and turning over as I perceived it was. Note that the totem pole does not move or come to life, which indicates that my dream self was aware that Zsuzsanna was still asleep while I was waking.

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Morning of July 6, 2017. Thursday.

Dream #: 18,462-05. Reading time: 1 min 52 sec.



I am on a pirate ship. There is a cheerful mood. As time passes, there is evidence of a treasure chest at the bottom of the ocean. One man finds a note with instructions from a pirate who had died years ago. On it, with the latitude and longitude of the marker’s location, it specifies what time to retrieve the chest, implying any other time might result in the treasure being lost or resulting in a threat.

The ship sails to the location the lost treasure supposedly is. There is a marker floating on the ocean’s surface. Someone pulls the rope that has its other end tied to the treasure chest below. Briefly, I consider, if the timing is wrong, there might be a sea monster or gigantic fish on the other end of the rope, but this does not occur. For a time, I see an underwater view as one of the pirates pulls up what first seems to be a small but weighty chest.

I watch the chest coming up out of the mud on the ocean’s bottom. Close to where the rope connects to the chest, I see the remains of a human arm entangled in it. This arm is tossed aside without concern when bringing the chest aboard.

After the chest is on the ship in the center of a large cabin, about five or six pirates remain nearby. At this time, there is a bilocation of being in the kitchen of our present house.

The captain opens the treasure chest, and at first, there appear to be piles of gold and silver coins as well as jewelry. He takes out some of the coins, which seem stuck together. He gives a few pieces to a few different pirates, though I get the impression it is not an equal division. They may work out how much each man receives later.

One of the pirates snaps his horizontal cluster of fused supposed gold coins in half. It turns out to be fake and made of plaster. Another pirate does the same with the silver coins. The mood changes to disappointment, but the outcome does not seem that important.

I approach the chest and find a hidden compartment under a false bottom. There is anticipation amidst the group of perhaps there being a treasure underneath. I lift it to see several brochures for a modern casino. There are also three notes of foreign currency (possibly Indonesian) as a gift to use in the casino. The situation results in amusement.

I carry the bills in what is now the kitchen of our present home (without my dream self recognizing it as such) as I walk towards our back door. The pirates are still with me.

“It’s three dollars,” I say. There is a sense of amusement rather than disappointment.

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Morning of June 13, 2017. Tuesday.



I find myself wandering in a distorted version of Cubitis, seemingly in the morning at first. The area within and near the carport is expanded to at least twice its real size. I am walking easterly and happen to look back to see two shadows, male and female. They are not deliberately following me, just going in the same direction I am, it seems, but something in the back of my mind, in dawning lucidity, makes me perceive them as Zsuzsanna and I as a precursor to being in the state just prior to waking.

Over time, my lucidity increases until it shifts into full apex lucidity. A young version of Zsuzsanna is present, appearing to be around the age when we first met. We stand in semidarkness in an unfamiliar bedroom. An unknown male stands off to my left. I am not concerned. He does not seem to be an active precursor of the preconscious, so I mostly ignore him while indulging in foreplay with Zsuzsanna. The sense of touch is extraordinarily augmented. We kiss, and I place my hands about her shoulders. Everything is perfect.

Eventually, my awareness increases even more, but I hear Zsuzsanna now whispering things to me that seem different from what my own mind is focused on. My fingers move over her skin, down over the small of her back. I am trying to work out what she is saying but some of the words are not clear. I ask her questions, but eventually only vividly hear her say what I take to be “sore”. I then assume she has physical soreness and I am somewhat disheartened. However, as I shift into full waking, I realize the word was meant to be “soar”, as in the very common waking symbolism of “return flight”. (I see a flash of a childhood dream from November 1968 where I watch a giant eagle-like bird flying.)

Over twenty percent of the tens of thousands of my dreams I have studied and decoded since early childhood contain the return flight waking symbolism of the hypnopompic biological event (of various degrees of subliminally anticipated intensity). This major naturally premonitory precursor is somehow always unique even though the meaning is basically always the same, simply symbolizing the return to full consciousness. It is however, often curiously mixed with other dynamics, sometimes even precognitive (such as my detailed dreams relating to the missing Malaysian flight).

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In lucid dreams, the nature of shadows sometimes comes into play as threads of dawning consciousness (since you cannot have a shadow without light, light representing the day and the conscious self identity). As the sun would symbolize the present whole conscious self identity (which is why strange things occur with the sun in non-lucid dreams - because the conscious self is not coherent or lucid), a shadow would indicate threads of conscious self awareness growing in the dream state (which strangely, at least apparently for some people, the non-lucid or fictional and incomplete dream self sometimes fears). My own shadow usually only appears in vivid lucid dreams and sometimes I indulge in moving to see if my shadow moves with me, which is always amusing, though if I am in a lucid dream where it seems I am deeper within sleep or the unconscious realm, my “shadow self” appears at more of a distance away, sometimes even on a bridge (which symbolizes the transitions between levels of consciousness in real time).

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Night of May 25, 2017. Thursday.



I enter into a state of (visual) hypnagogia and eventually decide to go into a “Snuffy Smith” comic strip when the opportunity presents itself. I wait for the sketchy rendering of the drawing of a river and a forest rather than a “real” setting to “step into”. I think it is a marvelous idea to visit Hootin’ Holler - as I want to spend some time with the amusing and friendly “people” there even though they are not real. (I did not yet script out a foundation for this concept. Note that I never post scripted dreams or those of certain levels of lucidity, as there would be no point.)

My dream is not consciously fully thought out. I find myself in Snuffy’s shack (seemingly in late morning) and get the idea that if he or Loweezy sees me, they will probably just take me to be an imposer or even a thief. I walk around in the dark featureless room and see gaps in the wooden floorboards as well as thin vertical gaps in the wall where thin slivers of light shine through. I also remember that nails stick out from random areas (including on his porch) and I do not want to poke myself (especially as my dreams often have an extremely enhanced sense of touch).

Snuffy appears in the doorway in silhouette (initiating the very common threshold dream type scenario). I remember that his house is near a cliff and decide to jump out of my dream. I walk out to the back without being seen. The valley below seems rendered as “real” trees. Perhaps Snuffy has a rifle and wants to shoot me for trespassing (though this is not based on evidence within my dream). I consciously jump with only a soft hypnopompic jerk.

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Morning of May 23, 2017. Tuesday.

Dream #: 18,418-03. Reading time: 32 sec.



I am near a variation of the Cubitis house in the backyard. However, when I go into the house, I am near our bed at our current address. There is an unknown male present, but I do not see him as imposing.

I had taken four dream journals from the area beyond our backyard, near the railroad tracks (Cubitis). They seem like unlikely composites of my childhood notebook dream journals and my stamp album binders. The Senior Statesman stamp album design is in photographic negative; pink and blue rather than green and copper.

The dream journals belong to four unknown girls. Somehow, they are also mine. I want to check if they synchronize with my main dream journal. (Despite the ambiguity, it seems ordinary. It probably relates to comparing and contrasting my dream journal with Zsuzsanna’s.)

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Morning of May 17, 2017. Wednesday.



I was experimenting with a different type of induction last night. Needless to say, it had a very odd influence. Only the last scene is partly based on a conscious script.

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In the first scene, I am in bed in our present home but not lucid. I am aware that we have a 3D printer in the lounge room. Zsuzsanna tells me about making something with it and I assume she means something like a figurine, perhaps a cat or teddy bear knickknack.

Instead, she brings over what she made and it turns out to be a section of teal-colored embossed cardboard of about A3 size. It is somewhat shiny and the design is made up of equidistant curled leaves with S-shaped lines connecting them.

The personified preconscious appears, but curiously does not dominate the scene or initiate any familiar waking symbolism. He seems to be wearing some sort of large orthodontic headgear, like a metal frame slightly higher than his head and sitting on his shoulders. We sit facing each other. I see “him” as some sort of unusual “partner” who may actually be female. I vaguely think of my mother (though my father as well for a short time), especially as the setting seems to be a version of the northeast corner of the Cubitis living room - but I seem to think we are the same age even though “he” seems to be around eighty years old. I try to project deep love into his (her?) eyes. We might even have been married for fifty years or so. The eyes knowingly gaze back at me and I sense both weariness and incredible persistence despite the state of their health. I try to be sincere in my love, regardless of how bizarre this entity appears. I want to make sure that this entity is aware of my love for them. I keep staring at “him” and slowly, it seems that she is going to go shopping.

I stand up and look down at her as she is still sitting and facing me. The inside of her head is mostly hollow, somewhat like a container. It seems very strange to me that there is no discernible brain. In fact, the back of her head is mostly missing. When she looks up at me, a lot of white and red fluid flows from the back of her head (over the lower edge of the open space) onto the floor. I am puzzled as to whether this could be problematic and whether it relates to some sort of left-over brain energy. I tell her of this but she seems slightly annoyed over my concern for her and gets up to go shopping. At this point, the area seems to be somewhat like the second floor of the King Street boarding house, the second room back from the front (north) of the mansion. However, it turns back into the Cubitis living room in the next scene.

I am in the semidarkness now but a doorway is discernible from where some light is coming through. It is a bit east of where the hidden door was in reality to the room my father built (which blended in perfectly with the knotty pine wall as it was the same piece from the wall).

I go over to it and look out and see that it seems to be late morning. There is a slight lucidity, which begins to grow. I absentmindedly create several random dream characters that walk about in the yard between the orange grove and the carport. Despite doing this, I am not fully lucid (and still consider whether I am dreaming or not). I feel slightly annoyed that the doorway does not seem wide enough to suit me (even though it is). I use my right hand and arm to actually move the entire right door frame so that it slides back like a sliding door (even though it is not a sliding door). (Despite my age, I do not presently recall doing this specific act before in a dream, as potential re-induction is usually only based on opening a door, not causing the doorway and wall to change).

I walk over and sit on the ground and have a younger version of Zsuzsanna stand over me and we soon indulge in lovemaking. An unknown young Asian male, in some sort of Darth Vader costume (though without the mask) stands too close to us for a time. I push him away, though not making him fall over. There is a soft awakening, but quite different than the blissful one of one of my dreams from yesterday.

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This is apparently the first time that re-induction was subliminally initiated by the “brains” of the preconscious persona spilling out of the back of “his” head onto the floor. Whatever next. (This level of subliminal control over the transpersonal is amazing, I think.) At least it delayed my waking transition for about ten minutes.

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Morning of May 16, 2017. Tuesday.



This dream shifts into apex lucidity with automatic but unintentional re-induction from an ongoing non-lucid dream. It is not scripted. (I do not yet post scripted dreams of most types and I usually do not post sexual dreams, at least more graphically, regards of numerous ones in a sequence on a typical night, which are sometimes triggered by the Tetris effect.) For the record, this is also why I never “answer challenges”. It is too easy and unfair to people who do not understand what dreams or different levels of consciousness are, since dreams can so easily be scripted (on at least three different levels - visually, situation-based, and core affirmations), especially when one fully understands both induction and waking symbolism (of the same type used in hypnosis and guided meditation). However, I have always held a greater interest in documenting non-lucid dreams even if they are mostly only induction, dreaming, and waking symbolism (other than the common day-to-day remote viewing and precognitive features).

My dream starts in a non-lucid form. I am with a young version of Zsuzsanna (who appears as she did in 1994, when we first met). I do not take conscious notice of this. We are living in an unknown second-floor apartment. For some reason, I have to go somewhere. I find myself carrying two suitcases (of the same color and design I had when arriving in Australia, that is, there are two copies of the “same” one). This is not possible of course, but I still do it. The two identical suitcases, I somehow carry by the handles in my right hand at the same time. I go down a staircase and through a door at the bottom.

Of course, going down a staircase (of about sixteen steps) in a dream is a common real-time re-induction event and automatically shifts my consciousness (just as in hypnosis and guided meditation). My conscious self identity starts to increase more and more (and going up a staircase often does the same thing, though going down is usually induction or re-induction while going up is waking).

Stepping through the door is an additional “kick” into greater conscious self awareness (though which more often serves as waking symbolism as the actual waking prompt itself). In fact, as I turn about to go into the (unknown) backyard, the suitcases seem to dissolve (though up to that point, I could still clearly feel them and I was even aware of them bumping together - again, regardless of how carrying them this way would not be possible in reality). I reach such an augmented level of conscious self awareness that I am puzzled (that is, I fully know that I am dreaming, but it does not seem possible for a dream to have this much clarity regarding real-life perception even though I have experienced it all my life since around the age of two). There is no difference in how I feel and perceive from waking reality, other than deeper, smoother breathing and less body weight. I remain puzzled because I am trying to decide what to do. It is nighttime and the area is unfamiliar. Our fictional second-floor apartment seems near the back of a building and is near a commercial area, although there is a field on one side.

For now, I start walking, amazed by how real it seems. I look across the unfamiliar street and see a Cat Excavator on display in a storefront window. Of course, this is a metaphorical association with “digging deeper” (that is, looking into old memories, which is really not that important to me at the time). I notice an unfamiliar man and woman walking by the front of the store. From across the street, (by mental will) I “wipe” the excavator display from the store window. I do not see anything to read (such as the store’s name) and then start to consider how much time I have before circadian rhythms start to kick in (as this is my last dream of the morning).

Of course, I instantly think of indulging in sensuality, as, in dreams, sexual acts transmute into high levels of spiritual awareness and blissful, expanding coalescence factors in addition to the increased sense of touch. (This of course is because the dream body is not actually physical - something many people seem to completely lack the understanding of, which is why many of my dreams switch back and forth in phasing, from being incorporeal to being in my fictitious dream body).

I decide, at first, to will numerous dream characters into the field and watch them walk around. There are probably about twenty or so. I change their age and sex for several minutes. (This is similar to the non-lucid beginning of apex lucidity in some cases, where a dream character will switch identities at a rate of two per second, until my conscious awareness kicks in, which I then augment by going through a door for full control.) I am doing it here at a rate of about two per second. However, I decide to stop messing around and bring the version of Zsuzsanna that was in the apartment up to me. She approaches and lowers to give me oral pleasure. It does not matter that twenty other “people” are walking around in the semidarkness. It is just a dream. There is no symbolism in this type of dream, as lucid dreams are made by the self (though instinctual dreaming is as well).

From here, instead of a climax, layers of bliss start to flow over me almost like layers of “additional skin”. I awake with no discernible shift in consciousness; just a subtle “wave” of “ghost skin” rapidly dropping away from my body. This is an atypical way to wake (probably my “softest” waking to date), as even in scripted dreams there is often a hypnopompic event that kicks more than in a normal dream.

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Morning of May 5, 2017. Friday.



I am in an unfamiliar forest setting and I feel good about the imagery and location. Over time, two deer are ready to engage in a fight. There is a raccoon that is apparently some sort of referee that stands on the sidelines like a person (that is, upright on his hind legs). He seems like a real raccoon otherwise. He is standing between what looks like two wooden “walls”, possibly of natural design.

The deer headbutt each other and soon become like a sideways tornado, with hardly any discernible imagery other than swirls of color. An oversized raccoon tail appears in the swirling imagery, which could be an additional raccoon that had been closer to the deer and got caught up in their ruckus.

The deer fight within their whirlwind until there is no sign that they are still there. The raccoon referee stands without moving, looking at the spot they had vanished from, apparently having disintegrated each other. There is the usual feeling of waking symbolism, a bit more accelerated than usual, and a slight sense of amusement and clarity. The deer vanishing is a waking prompt caused by my sudden lucidity, where dream features are more easily quickly rendered or dissolved, though I did not deliberately create this effect with my conscious mind (as it was automatic).

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Night of May 4, 2017. Thursday.



I become aware of a window, but I do not know the location. The window has ice on the bottom in the form of vertical columns of different heights. Over time, I see that it almost looks like a cityscape.

Eventually, I see that it actually is a miniature cityscape of ice, with some three-dimensional associations. Over time, I move my hand “into” this city and take out toys and objects, such as small metal cars, tiny dollhouse furniture, and unknown items. I absentmindedly pull out a man of about half an inch high. He squirms in my hand and I apologize and put him back. However, I put him back on the “public sidewalk”, not back through the high window of a very tall building. He stands and looks up at it, puzzled as if uncertain how to get back. (This of course is not logical. I would assume he would just go through the entrance and take the elevator.)

After this, I continue to take out more items, even small vases of flowers.

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Most dream scenes of non-lucid dreams (although I become lucid here, eventually) are either re-induction symbolism or waking symbolism. This part contains the re-induction symbolism, where the highest building symbolizes my conscious self in real time. Putting the miniature man on the sidewalk is a subliminal attempt to sustain my dream. (There was no “protest” from the preconscious due to this dream not being near one of the last dreams of the sleeping period, where the preconscious otherwise has more and more dominance relevant to the biological need to wake.)

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Night of April 22, 2017. Saturday.



I am on a ship out at sea though unsure of the time (though there is daylight). It seems like an older wooden ship as from a movie, though there is also a large fishing net set up on a pulley, seemingly at the front of the ship. The men are dressed somewhat like pirates but do not seem rowdy or aggressive.

A giant mermaid, with the face of a young Zsuzsanna, and about fifteen feet in length, rises up from the ocean at the (I assume) front of the boat. For a moment, it seems that she may be partly entangled in the net. She has unusual fins around her shoulders which also seem somewhat like wings. There seems to be no threat to me, but many of the men are gathered up in the net by her and she just holds it up. (This seems to happen at least a couple times.) It does not seem she will hurt them. She is also at the side of the boat (port side) at one point. She does not seem angry at any point, just curious and amused. The men are let go and roll across the bow, some whose feet are still caught in the net.

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Night of April 10, 2017. Monday.



I am someone else and connected to the sales or delivery of a centrifuge. Knowing its overall appearance, it is not that hard to associate it with a poker chip carousel. There is ambiguity over time, in fact, upon deciding what it really is or what is really going on. The first scene is of men in white lab coats using the centrifuge. Still, cowboys from another time gather, apparently in a tavern. For a moment, a cowboy seems to be wearing a lab coat over his trail-worn clothes.

It is a questionable situation. There are about five cowboys sitting at a round wooden table playing poker in an old west environment - yet these same men are also somehow simultaneously standing outside in the street, but it can not be discerned if they are planning mischief (either inside or outside) or simply involved in social events with other residents. Only mild anticipation ensues. It seems to be morning. Birds are singing outside beyond the batwing doors.

Morning of April 8, 2017. Saturday.

Dream #: 18,373-03. Reading time: 1 min 46 sec.



Zsuzsanna and our family as we are now are at a futuristic craft fair. There is a big round table that rotates as it displays different sections of holograms of various craft projects such as teddy bear kits, stuffed owls, and clothing items. At times, they almost seem to solidify, and I get the impression that some of them do with a purchase. There is one point where “real” pins and needles seem to be on the table. The imagery is beautiful. I am thinking of what items I could get for Zsuzsanna.

I enter a mode of thought where I know I can create and control events but without dream state awareness. I mentally try to complete a Hot Wheels race track. It is difficult but a section at a time appears and eventually covers a long table. (The first part starts as a loop.)

I focus on an overhead view of several different kinds of candy bars displayed on a panel, possibly an advertisement on the tabletop. I try to cause the image to become “real” candy bars for us and our children. I become annoyed when my will does not seem to be strong enough. I slap the image with my right hand, and as a result, all of the candy bars become “real.”

Soon, I vaguely become aware that I am dreaming. Zsuzsanna and I are then on a big bed in a room filled with them. While on my back, we make love, with Zsuzsanna over me, leaning forward. Many other people are around, though most are in a different room.

There is an enhanced and sustained sense of touch. I do not want to allow RAS mediation to dominate as I am closer to lucidity. Still, the preconscious simulacrum appears as an unknown male of about forty, walking in from the left side of the big room. (All other dream characters remain on the right side of the setting.) He approaches the right side of the bed. I imagine a gun into my right hand and shoot him several times in the head and chest as the waking transition is already underway.

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There is a precognitive tag here as I did not know I would soon be seeing a scene from “The Scorpion King” where a rotating table of the same size and height as the one from my dream is featured. It might be a “message” in that the movie scene features a test with a sorceress putting her hands in various vases with a random placement of cobras. She pulls one out but controls it, thus displaying even more power (and control) than previously.

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Morning of April 6, 2017. Thursday.



For a short time, it seems that I may be at some sort of lecture (with an unknown backstory). The one talking is the Temperance Brennan character from the “Bones” television series. She is wearing a white lab coat. Curiously, there is a wall halfway to the left side of the scene where she seems to sometimes speak from behind it at an angle.

She leans out and mentions something about “flying colors” (in a serious tone) which I perceive as an important phrase.

A female cartoon character, who vaguely reminds me of a Peanuts comic strip character in overall appearance (though not any specific one), jumps up to the left and yells “Ee-glah!” at her. Temperance Brennan backs up in surprise and annoyance to go back behind the wall.

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Directly after waking, I am thinking that “flying colors” is not really a common expression as first perceived and that my dream was just generating gibberish. However, looking it up, I remember that “with flying colors” means “with great success”, though I do not recall hearing it much.

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Last checked and enhanced Tuesday, 25 July 2017: On “failed flight waking symbolism”, I have repeatedly stated that waking symbolism of this type, being inherent to the real-time dynamics of the dream state, is unrelated to the conscious self and real life for the most part. Despite the fact that the preconscious initiates the waking transition by saying something about “flying colors”, which means “with great success", the emergent consciousness factor (as a cartoon) forces her back behind the wall (which relates to metaphorical divisions of consciousness). It may seem contrary or contradictory to use “with great success” with a negative phrase such as “failed flight”, but in this scene, it is how it is rendered in the context of my dream and actually implies success (or otherwise I would not have awakened, get the picture?).

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Morning of April 3, 2017. Monday.



My dream begins with the usual water induction (which at least one lucid or semi-lucid dream of every night since early childhood begins with). A group of about seven unidentifiable female forms (though typically variations of Zsuzsanna) appears reflected in silhouette on the surface of the slowly rising water, but rather than any type of cheerful ritual (including healing affirmations or those of several other types), my dream shifts into where they are eventually on a boat. There is some sort of backstory regarding the journey but it is not clear. I “remember” that they are from the 1920s.

My dream shifts into a (false) waking stage (which includes minor physical anticipation of the falling sensation) though my lucidity becomes more instinctual (and shifts into non-lucid dream control after the next scene) even though my dream remains vivid. The liminal waking expectation fades and I shift back into my dream (without a false awakening - only the continuation of the original ocean theme).

I then see a few men from the 1920s on some sort of unlikely open train in the distance. I seem to be hovering above the ocean in an incorporeal state. The rickety train is carrying livestock and supplies. They are going up a very steep railway bridge but which is actually a rollercoaster rising up from the ocean. The top is incredibly steep, but the train somehow makes it over the peak safely and begins to slowly go down the other side. (I do not recognize that it is a rollercoaster and continue to associate it as a railway bridge.) This event is metaphorical for the false waking expectation - that is, going up a slope but then going over the other side with no mishap, fall, or collapse. As a result, I focus on the boat of girls again (of whom I now associate with relatives or ancestors), but soon realize that their boat is not present. I notice a number of other boats. I wonder if they have become lost (which of course is analogous of losing my lucidity).

I am then on a couch in a very distorted version of the Loomis Street house. For example, a bathroom replaces the small northeast bedroom and the couch is near the center of the living room facing south. The large television is against the south wall (though in reality it was always out from the east wall with the couch’s back against the south wall). Zsuzsanna is on my left as well as our two youngest children on her left. Very curiously, my brother Leonard (half-brother on my father’s side), of whom I have rarely dreamt of in my lifetime, is on my right. There is a very unusual loud squawking noise. It turns out to be a brownish pterodactyl crawling on a cliff made up of clusters of smooth boulders (though which looks more like boulders near the ocean shore). I am trying to work out if I am seeing this on the television or if we are somehow looking through a hole in the wall into the past. I contemplate whether or not the pterodactyl will fall off the cliff, as it is getting closer and closer to the edge. Something within my mind makes me realize that this is a waking prompt symbol (just as with the rollercoaster railway bridge in the previous scene) and my dream shifts without me being lucid for the second time (though this is likely because there is an ocean association, which can cause reinduction).

Soon, there is a scene of Egyptian “gladiators”. I think it odd that a sticker book Zsuzsanna and our children are looking at has images that exactly match the design of what the “gladiators” are wearing on the television. Leonard points out the advertising on the armor that a few of the Egyptians are wearing. I do not consider how ludicrous it is that ancient warriors would have modern commercial symbols and English writing on their armor. One of the symbols is the McDonald’s logo engraved on the armor just above the warrior’s waist. This is curious as it is made up of two upward and downward slopes so could be seen as a waking precursor symbol just as the earlier rollercoaster railway bridge of the similar shape. The phrase “phone home” is also engraved lower down on the armor. (This is hilarious as it symbolizes communication between dream self and subliminal threads of conscious self identity, yet once again, I do not catch the dream dynamic).

My dream then shifts into vivid liminal space. I find myself walking out onto the porch (most common liminal space setting and often the last setting in a dream due to its nature). A group of unfamiliar people wearing fancy clothes from the 1920s are seated in at least three locations. Still, one male closest to the open living room door (on the right of it) seems to be dressed more as if from the late 1700s. I decide to ask what year it is. The unfamiliar male near the doorway starts reciting curious (but unremembered) poetry, with something like “three years beyond 1921”, soon informing me clearly that it is 1924. Looking out at the street (through the porch windows), I notice a number of cars from the 1920s, yet I do not see the car that the girls are supposed to be arriving in.

The other male gets up and needs to use the bathroom. He seems very cheerful and friendly. Because the porch is a “different space” apart from the main dream setting, he seems very much in awe when going into the living room and to the bathroom door since that part of the house is “my time” (as in contrast to this dream’s personified emergent consciousness), though I remain on the porch, watching him through the doorway. However, the bathroom door is locked from the outside and he does not know how to use a knob lock. He returns to the porch, still in awe yet seeming very happy. I tell him that I am from 2016 (not remembering it is actually 2017). I tell him that I will unlock the bathroom door for him. Instead, he starts touching my face, hands, shoulders, wrists, and arms, pressing his fingers against me as if he thinks I am not quite human, me “being from the future”. I tell him (at least twice) that I am a “hologram”. (This is technically correct. The personified subconscious, always the dream self in first person when not lucid, as it certainly is not the conscious self identity, is technically a type of hologram, especially as the dream self certainly does not have a real physical body either.)

He continues to push his fingers against my face and begins to smell me, while remaining very cheerful. The sense of touch is extremely enhanced and “accelerated” here. Coalescence (dream self unity of all other dream characters - where all the dream characters quickly merge into the dreamer like blobs of pale light into a swimming pool) soon occurs and of course it is me who has to actually wake up to use the bathroom.

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Understanding dreams and dream dynamics:

• Water remains my most common form of induction (and real-time symbol for sleep) and this is apparently true for the whole of society, as the majority of commercial relaxation, meditation, and self-hypnosis tapes have included the sound of the ocean, a river, or a waterfall.
• The metaphorical waking precursors (especially the rollercoaster railway bridge where I actually felt a slight physical shift into liminal space even though I was nowhere near it) not completing and instead bringing me back into the dream state is not that common (especially when I have to wake to use the bathroom). Instead, it took my personified emergent consciousness to bring me out directly (though still oddly sustained). (I assume he was not my personified preconscious even considering the porch setting as he was not aggressive or confrontational in any way and there was no additional shift other than last-stage coalescence.)
• I presently associate my brother Leonard with fake news (which he is continuously posting on Facebook). This is likely to be a dream sign here, “fake news” being analogous to being in a (non-lucid or subliminally lucid) dream. Also, he is on my right, and the emergent consciousness precursor often has its event horizon on the right. (This is developed out of reading from left to right and a number line being oriented left to right, not on the disproved concept of left-brain and right-brain.)
• The seeming contradiction of the waking precursors not completing is likely biological and based on circadian rhythms. Even with a need to use the bathroom, the body still requires a certain amount of rest. (It is also possible that the anticipatory muscle states being mixed, that is - both whole body and bladder pressure - were responsible for the atypical dynamics and truncated symbolism.)
• This dream utilizes an altered setting based solely on dream state and waking dynamics, where the emergent consciousness goes towards the bathroom, which replaces the real bedroom. This is directly symbolic of me needing to leave my bed and go to the bathroom. The door is locked, so I still need to physically wake to use it (though often dreams render peculiar bathrooms or annoying situations as a trigger to deliberately bring the dreamer out of sleep).

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Morning of April 1, 2017. Saturday.



I am at first floating over an early evening scene (though it is still daylight) of 1940s gangsters driving around, possibly in Chicago. Being semi-lucid, I automatically perceive the foundation of the dream state as a “blissful flood” (and have since very young), with water flowing in slowly, with beautiful vivid reflections. As water symbolizes sleep and the dream state (even as in the “Little Nemo” comic strip), I feel relaxed, even though some of the gangsters now sit on the roofs of their cars, appearing frustrated that their activities were interrupted. My semi-lucidity fades slightly and I then absentmindedly wonder if this is part of a movie where things had gone wrong with the set due to water from another set (perhaps for a Navy movie) going past a barrier.

Having been incorporeal, I now seem corporeal. The gangsters eye me suspiciously but do not seem dangerous. I ride with Zsuzsanna in a Venetian gondola, though I do not see the oarsman. Our boat slowly moves past them as they sit on the tops of their 1940s cars to our left, the water halfway up over the windows. Zsuzsanna and I are intimate as my dream moves toward the waking transition (and waking transition symbolism in contrast to dream induction symbolism).

The water seems more shallow as we go through a tunnel. At first, I am wary of going into a tunnel. It appears that some sawhorse traffic barricades fall over from water coming in from “over itself” at the end of one part of the tunnel (which makes no sense - as if the water was halfway up but somehow solid or remaining in place even at the opening (perhaps somehow jellified), with some “normal” water moving over the original level somewhat like a small waterfall).

There is light ahead and I get a very vague memory of when Pinocchio was inside a whale, though I do not think that is the case with us. “That’s it, over there,” I say as I point. There is a loose association with the television show in April of 1986 about Al Capone’s vaults (“The Mystery of Al Capone’s Vaults”).

A young Geraldo Rivera sits on straw on a slightly damp surface inside a larger hollow area. He has a bottle of wine (possibly meant to represent the sole bottle of bathtub gin originally found in the vault). I look very closely at the bottle of wine because there is writing on it. I need to read it and understand its meaning. The brand name of the wine seems to be “Cortex”.

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Even though the preconscious (when it is personified) is almost always a different character, it is easily recognizable by additional clues (often either direct or subliminal identification as the waking prompt and the particular level of consciousness just prior to waking, as the role of the preconscious is to make the dreamer more aware of the fallacy of his temporarily skewed dream self identity and bringing the dreamer out of the dream state) as well as mood, shift in the clarity of a dream, and dominance in many cases. In this case, the common water induction transmutes to the waking symbolism. “Cortex” is a direct clue; “the outer layer of the cerebrum, composed of folded grey matter and playing an important role in consciousness”.

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