non-lucid

Morning of December 3, 2016. Saturday.



In the hour before dawn, I find myself in an unfamiliar setting. It is a parking lot of which may be that of a restaurant. A 1969 bronze green Land Rover Series IIA Station Wagon is the only vehicle present in the semi-darkness. Areas beyond the parking lot and building remain indiscernible.

Two unknown Caucasian males of about forty, wearing sage safari jackets, are attempting to coax two male lions into the back of their Land Rover. My dream self does not consider how foolhardy or unlikely this is, including the probable lack of space for the lions inside their vehicle. I do not feel threatened by the presence of the lions.

Over time, one of the men somehow manages to get one of the lions into the Land Rover and onto the back seat. A short time passes and I no longer see the man. The other lion is eventually behind the Land Rover. I begin to get the impression that a lion will swallow the remaining man, which may have been the fate of the other man. I begin to feel somewhat wary but not in immediate danger. The other man is standing near the back of the Land Rover and I am viewing the scene from the front of the Land Rover, to its right side.

Just as the lion that is still outside the Land Rover seems to consider perhaps killing or swallowing the man, non-lucid dream control begins…

The male lion transforms into my wife Zsuzsanna. She is wearing a long white flowing gown. The man seems to disappear as Zsuzsanna approaches me to give me a hug. Joyful coalescence is the waking factor.

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My dream is clearly explained here in a more detailed resupplementation (rewritten on Friday, 22 June 2018):

The outcome of this dream is that the reticular activating system modulation factor (the lion) transforms into the emergent consciousness factor (my wife Zsuzsanna) because of non-lucid dream control (because of my advanced understanding of the dream state since early childhood). A lion’s essence in the dream state is an autosymbolic composite of two factors. The main factor is coalescence. (This means that I see a lion as having the potential to swallow my illusory dream self back into whole consciousness). The lesser factor, as with a domestic cat, is being “witness” to the dream state and the nature of liminal space. You will see the same autosymbolic processing factors in hundreds of my online entries, but always unique.

The parking lot setting is a common form of autosymbolism for a specific level of consciousness during the waking transition as a result of subliminal association with the physical body being inactive while asleep. (In contrast, moving vehicles represent a liminal awareness of vestibular system correlation concerning the physical body while asleep.) The Land Rover is an autosymbolic association with my physical body, as most singular vehicles are in dreams. Ultimately, the parking lot’s autosymbolic nature lacks the more defined anticipatory factor of the waking process and suggests a subliminal desire for returning to deeper sleep (and as such, serves as ultradian rhythm autosymbolism).

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These are the layered causes of this dream:

The television series “Daktari”, which originally aired from 1966 to 1969.

Clarence, the Cross-Eyed Lion, from the aforementioned “Daktari” series. (I was sometimes called “Clarence, the Cross-Eyed Lion” in elementary school. This was solely because my middle name is Clarence.)

Early childhood dreams of my dream girl in a flowing white gown, originally influenced by “Isle of the Dead”, a 1945 Boris Karloff horror film, certain scenes of which fascinated me in a romantic sense, rather than frightening me, at age four.

Erin Moran, as in the aforementioned “Daktari” series, resembled my real-life schoolmate, friend, and neighbor, Brenda. My first known euphoric waking transition, also the result of a hug, featured Brenda in the final scene. This astounded me and, because I was only eight at the time, I did not know what it was biologically until a few years later. Brenda was also validated as the prescient stand-in for my wife Zsuzsanna when my dream girl was not more efficiently rendered (that is, looking and sounding exactly like Zsuzsanna before we knew of each other in waking life).

“The Sleeping Gypsy”, an 1897 oil painting by French Naïve artist Henri Rousseau. Rousseau described his painting as follows: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect, very poetic.”

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In decoding my dream, the autosymbolic dreaming and waking processes reveal the following sequence: Brief contemplation of “Daktari”, my childhood dream of hugging Brenda, subliminal awareness of being asleep, emerging awareness of my conscious self identity and that I am sleeping with Zsuzsanna, liminal recall of “The Sleeping Gypsy” mixed with romantic non-lucid dream modulation related to “Isle of the Dead” (and its analogy to being in the dream state), liminal perception of my wife as a “sleeping gypsy” (as she is Hungarian Romani), and finally, transmutation of the lion of coalescence (being “swallowed” into waking consciousness) to euphoric coalescence (being hugged, which is a more positive analogy of being “swallowed”), which is otherwise of the same autosymbolic foundation.

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Morning of November 27, 2016. Sunday.



I become aware of exploring isolated areas in my pretense as a biologist who works for the government. (This pretense is based on non-lucid dream control, as there is no lucidity, only the knowledge of making and controlling my world and my experiences.) I find myself on this journey with growing curiosity. I intend to remain friendly, enjoying new depths of exploration.

In late morning, I wander into a dense cypress swamp of which has the appearance of the beautiful area I lived in in Florida when very young. There is an old wooden building on the bank of a river. An old unfamiliar black male lives here. I explain to him that I am getting samples of the water as well as samples of the flora and soil. He is cheerfully friendly, unsuspicious of me. Before I leave, I explain to him that our world is badly polluted, which surprises and concerns him. I pretend to conspiratorially catch myself in this “accidental” revelation and “stop myself from saying more”. (Non-lucid dream control is like simultaneously being an actor and director of a movie, with staunch pretense in scenarios, yet with no in-dream recall of what a dream is.)

I soon find myself in Australia, without contemplating that one cannot quickly walk from Florida to inland Australia (and I do not recall teleporting). There is an unknown female who runs a refuge for wild animals in an isolated area. I explain the nature of my work to her as I conduct tests on several kangaroos that had been standing in a circle.

I next find myself in an unknown man’s house. He has at least one son and daughter, both young. I apologize for my intrusion and explain that I am continuing to another location that can only be reached by way of a hidden door in his house. He trusts me and he and his children follow me into the area. It is a large bunker that had been built by the government. There is a laboratory and supposedly (at first) enough food to last for weeks. I look at the contents of a box of cereal. The multicolored cereal is unusual in appearance but tastes sweet. It resembles twigs of various colors with blue honeycomb-like football-shaped pieces.

I look outside through large windows and see what I first think is Sydney Harbour. However, what I first perceive as the Sydney Opera House changes ambiguously into a lighthouse and then a hotel. I see several children, mostly boys, climbing over rocks on the shore, in front of the windows of the bunker. Even though the area appears to be open at this point (without an outer wall on this side of the bunker), I reason that it is a holographic projection that looks and feels like rocks but only from the outside (similar to the scene from “Star Trek: Insurrection”). As I am leaving, I look back and see the unknown man and his kids looking in cabinets under the laboratory counter. I now see that they are empty (even though they seemed full previously). I see that the man and his son are amused that the government apparently does not have the resources to stock this supposedly important bunker with weapons, laboratory equipment, or additional food and supplies. I do not feel embarrassment or concerned as I am on my way elsewhere.

I next find myself in an unknown region near the ocean. I am with an unfamiliar male in our task force. We supposedly have a large motor yacht with a lot of special equipment. We are going to conduct tests on ocean life, including plankton. However, as I illogically set about to push what first seems like a large motor yacht into the water, it becomes a small skiff with no outboard. It quickly starts to sink. This annoys me and I try again by non-lucidly resetting my dream. I make at least three attempts, but I become frustrated. My pretense is no longer viable to non-lucidly continue my dream.

The ocean begins to lower and starts to become the tiled floor of my Cubitis bedroom (where I have not been since 1978). My task force partner points out that they are making a movie of us, but our roles are being played by Bill Murray (as he appeared in “Ghostbusters”) and Alan Hale Jr. (as he appeared on “Gilligan’s Island”). They are fighting and rolling around under a bed and biting each other on the ear. This is supposed to be comedic and relevant to the movie’s plot. I wake as I am looking under the bed watching them bang their heads together. (There is a sense of bilocation; of being outside on a beach and within my Cubitis bedroom at the same time. As such, the area under my bed also has a vague essence of being under a low-set boardwalk.)

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Features and events of this long intriguing dream explained here:

Dreaming process autosymbolism defined by:

Unconsciousness personified as black male living by the river.

Glymphatic system and immune system integratingly personified as my subconscious self (validated by the references to the river, government, pollution, and biology).

Subliminal thread of my wife Zsuzsanna as unknown female at the animal refuge.

Subliminal thread of my conscious self identity as man with children.

Non-lucid dream control personified as Alan Hale Jr.

Liminal space divider rendered as enigmatic window of bunker and shoreline simultaneously. (This is autosymbolism for my dream self’s subliminal recognition of the outside world of which is not aware of the existence of my dream self.)

Waking process autosymbolism defined by:

Preconscious personified as Bill Murray.

Water lowering waking symbolism (very common).

RAS modulation rendered as Alan Hale Jr. vs. Bill Murray. (Non-lucid dream control and otherwise sustained dream continuity modulated by consciousness reinitiation. Bill Murray is a regulatory “ghostbuster” modulating the illusion of the dream state by way of biological necessity to wake from the dream state.)

Correlation of physicality as shrinking and sinking boat. (All primary singular vehicles; boats, cars, airplanes, etc. often represent correlation of physicality, in this case representing the potential “sinking” of my body into deeper sleep and thus of which is immediately followed by autosymbolic RAS modulation as the preconscious waking process.)

Correlation of cortex activity as shoreline (liminal space divider) transmuting to “return” to bedroom (subliminal to liminal awareness of being asleep). I have always typified this element as a dream state indicator, as it is a literal factor, not autosymbolic.

Liminal vestibular system correlation as ear biting.

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Abridgement and simplification for the casual reader on Thursday, 7 June 2018. Feel free to let me know when there is a dream thread or detail in an entry of mine of which you cannot correlate the autosymbolism’s cause or meaning. Thank you for reading. I wish you well.

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Morning of November 19, 2016. Saturday.



The roads are lightly flooded, though not to an extent that makes Toby’s driving problematic. Toby cheerfully talks of continuing to drive straight on the present road to where we may be arriving at a shopping mall, though he turns left instead after giving information to a traffic cam that he will not be turning. This puzzles me and I am not sure of his motive. I consider that he may not like the idea of being tracked by GPS and may believe that what he said will somehow fool the cam despite the GPS.

We go up a gradient after turning left and of which is somehow more flooded than the main road and turn off, which of course is not possible as the water would flow downward. The sense of motion in going through the shallow water is very relaxing and peaceful.

Soon, Toby is suddenly near a building in the distance, as if he had teleported from his car. There are a few times after this scene when the car seems to be driving itself. It is my task each time to bring the car to Toby. The very lightly flooded streets bring a sense of calmness to the location, though there is a slight annoyance at times over Toby teleporting from the car while driving and then us having to find him to take his car to him. At one point, he even seems slightly annoyed when he teleports to the end of a street and has to wait for us to bring his car to him.

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Understanding the real reasons for dream features and events:

My dream state initiation autosymbolism for this dream is water induction, my most common form, at least one dream per sleep cycle for over fifty years, as water is autosymbolism (as well as an auto-scripting factor from an understanding of the dream state) for the essence of sleep, muscular release, and the absence of emotion in unconsciousness.

Toby is the driver and in this case is my personified unconscious (which is not as common as the personified preconscious for biological reasons, as most people naturally fall asleep but in contrast require RAS mediation or RAS modulation to wake), and as we are moving through water, it is autosymbolism for my physical body requiring more sleep, as it is not fully a boat. Toby being the driver has no waking life significance in this case and is rendered as a deeper induction thread, as I have not seen him in real life since we were teenagers. (In fact, Toby is rendered as such because he does not represent a factor of waking life, to prevent flawed neural gating and false memory association.)

Is turning left and going up a gradient significant? Yes, as typically autosymbolism being oriented to the left is reinduction (when I sleep on my left side). However, going up implies an emergent consciousness factor. As a result, the traffic cam can only represent RAS mediation itself, and the water being illogically deeper higher up is based on a subliminal attempt to suppress the emergent consciousness factor. My dream plays out a skewed reinduction loop, somewhat like the opposite of a false awakening. My body wants to sleep more deeply, but there are subliminal environmental or biological distractions. That is basically all this dream signifies. Thank you for reading. Anything that you feel needs additional explaining, feel free to ask.

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Morning of November 18, 2016. Friday.



I non-lucidly become aware of being in the northeast bedroom of the Loomis Street house in La Crosse. (This means that my synaptic gating has held my memory of having fallen asleep, but not held my memory of my current location, thus my dream self accepts this erroneous location as current. In my dream, I have no focus on any relatives who lived here. I had not lived here since February 1994.)

No east window is present, an error my dream self does not regard as incorrect. (This is due to synaptic liminal space gating being closed at this point and also why Zsuzsanna appears in my dream with me but as a younger incorrect rendering. Thus far, there are two literal threads, memory of having fallen asleep and partial recall of Zsuzsanna.)

Over time, I slowly become aware of the evidence of an unthreatening haunting, which firstly only relates to marks appearing on the east wall, though it eventually seems like writing. This supposed ghost seems more like the real Zsuzsanna, though I am not directly aware of this fact in my dream. (This means that factors of my emergent consciousness are becoming active by way of RAS mediation. Threads of recall of who Zsuzsanna really is are becoming more dominant as I grow closer to waking. Well-known lifelong autosymbolism is rendered; “a wall as a liminal space divider”; that is, the precursory synaptic gating between dream self identity and conscious self identity. “Ghost writing” is utilized by way of RAS to augment language and reading skills, which typically do not viably exist in the non-lucid dream state.)

Eventually, I go outside via the Loomis Street house’s back door, though I am then in the backyard of the Stadcor Street house in Brisbane. My dream self does not consider this impossible location change as erroneous or worthy of attention. (Synaptic gating has brought about a focus on a more recent location I had lived, but not my current address or viable conscious self identity.)

There is a shed in the backyard which is similar to the Loomis Street house’s shed although it is also associated with the shed at our present address but mirrored. (A shed is typically autosymbolism for a specific type of memory recall and storage.)

It seems to be early morning at this time. The haunting continues, in two-dimensional dynamics, on the outer wall of the shed that faces the back of the house (west, relative to the Stadcor Street house). The ghost seems to remain contained within the wall, but she communicates with writing and eventually speech. (This means that my emergent consciousness is becoming more active than before to where more viable threads of my physical status of being in bed with Zsuzsanna are extant.)

A few random unknown people are eventually present near the shed. I notice that the ghost now has the power to direct lightning into the television antenna. I say “look at that” and point. Long thin bolts of lightning intriguingly jump about on the antenna. This causes me to feel somewhat wary. I think that the ghost may now become three-dimensional and perhaps even emerge from the television by going through the antenna and into the house. (This is autosymbolism for the waking transition in my dream’s final stage. It indicates subliminal awareness of Zsuzsanna’s neural energy as metaphorically coalescing with mine - I use “metaphorically” for people who cannot accept the existence of telepathy. The antenna is autosymbolism for serotonin receptors as well as synaptic efficacy. This is very similar autosymbolism as in dreams such as “Not my Fault”, a childhood dream from May 1971.)

This type of haunting dream stems from the biological factor of being unconscious, though perception of vestibular system ambiguity is minimal here (as there is no association with flying, falling, or other implied movement). The reason for this dream, along with its meaning, has been validated in its correlation with thousands of occurrences of identical autosymbolism in RAS mediation in dreams since early childhood.

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Morning of November 2, 2016. Wednesday.



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

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

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

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Decoding template follows:

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

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Morning of October 30, 2016. Sunday.



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

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

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

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

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

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Morning of October 23, 2016. Sunday.



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

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

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

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

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Morning of October 19, 2016. Wednesday.

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



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

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

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Morning of October 17, 2016. Monday.



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

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

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

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

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

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

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

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

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

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

Morning of October 12, 2016. Wednesday.



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

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

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

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

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

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Morning of October 2, 2016. Sunday.



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

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

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

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

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

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Morning of October 1, 2016. Saturday.



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

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

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

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

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

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Morning of September 23, 2016. Friday.



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

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

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

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

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

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

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

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

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

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

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Morning of September 22, 2016. Thursday.



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

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

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

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

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

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

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

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Morning of September 18, 2016. Sunday.



I seem to be outside at a fair in an unknown location (though it may be the Bundaberg Showgrounds) though there are not that many people. It seems to be late morning. I am playing an electric guitar in an unusual way, though it does not seem to be connected to an amplifier. I seem to be sitting on the ground and crouched down, though in actuality, in order to get the perspective I maintain here, I would have to be lying on my stomach. The guitar is lying on its back, its headstock pointing southward based on the Bundaberg Showgrounds orientation. I am mostly using an unrealistically large plectrum (pick) that is a little like a banjo pick but flatter. It seems to be broken near the middle but not completely. The crack or “crease” allows it to fold over my finger at times without it being that problematic. I use it differently at different points, including possibly upside-down or backwards.

At one point, an unfamiliar female looks on. My music sounds very cohesive and interesting (though somewhat harp-like) and I am actually aware of each note in each series even though my focus and playing is based on distance between notes (such as thirds and fifths relative to the frets, which would be the case anyway if I were using a capo though which I am not) rather than a direct focus on the notes themselves. Still, the sounds seem to be very precise. (It is quite unusual to have such a clear awareness over what is being played relative to use of both hands simultaneously and with the sound seeming correct. I believe that this is the first time such clarity and precision has occurred in this way.) Nothing unexpected or unlikely happens; that is, the guitar itself seems to not be problematic in any way or have loose strings as is often the case in such dreams.

I eventually stand up and walk to another area which is mostly undefined. This unfamiliar and unknown area seems to be inside in a large featureless room even though I had not gone through a doorway.

Soon, a miniature Darth Vader who seems like a child in a costume is present. It first seems that the guitar may have been his but this soon seems to not be the case. Although I get the impression that he is a teenager of perhaps sixteen or seventeen his size and demeanor is more like that of a six-year-old and there is somewhat of a sketchy cartoon essence about him. Since he is dressed like Darth Vader I do not see his face at any point.

Soon, I hear guitar playing that sounds like rapid heavy metal riffs. A very tall chubby male (about three times the height of little Darth Vader and perhaps a foot taller than me) with curly white hair comes in. He is playing the guitar as he is walking towards us but his right hand is moving very unrealistically as he is playing, almost like he is continuously and quickly doing karate chops, though with all the tips of his fingers aligned towards himself, palm up. It looks very odd and it would not be possible to play a guitar like this in reality. He is dressed in a weird costume (almost like a woman’s ball gown in some ways) and reminds me of Melvin Belli as he appeared as the Gorgon in “Star Trek” in the “And the Children Shall Lead” episode. (Although our youngest son was Darth Vader at a “Star Wars” event at the mall and has shown an interest in playing the guitar, there does not seem to be any relevant connections here at all curiously enough.)

He starts complaining about the miniature Darth Vader (who is possibly his son though this is not certain). He claims that “Darth” had damaged the guitar by “bending its spine”. This does not really make any sense. The guitar’s “spine” is implied to be the entire length of the back of the guitar (including the neck). Even though I sense that the little Darth Vader is an obnoxious brat (who reminds me of a neighbor from when we lived in Brisbane), it also seems the Gorgon may not understand guitars all that well and as such, the guitar may not be damaged (even though I had thought it might have been me that caused the damage, though I do not actually see any damage).

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As Darth Vader and the Gorgon both relate to space flight on one level, I have included the relevant flight symbol tags. Still, sometimes I seriously wonder how my dreams come up with this weird stuff. Although the Gorgon appears as the last dream character, he does not seem to have any essence of the otherwise common preconscious personification, especially as my dream becomes much duller at this point rather than much clearer (which does not happen very often).