Non-Lucid Dreams
Morning of August 20, 2018. Monday. Reading time: 53 sec. Readability score: 74. I am closer to the liminal space of the waking process, but there are no threads of lucidity. My clueless infra-self is in bed at our present address. Threads of my conscious self do not make much effort to create detail. I see only an expanse of floorboards, implying a much larger area beyond our bed than exists in reality. Vague ideas about dogs and how they represent control of the dream state occur. (Again, I am not lucid, so this is infra-control.) A black dog’s head pushes up through the floorboards and moves left to right almost as if it is swimming like a person (as the other floorboards make way for it). I only ever see its front half. After a time, it becomes an unfamiliar man, seen from the chest up, who begins reading cheerful poetry from a small book he is holding. In real life, neighbors’ dogs sometimes used to run under our house and bump their heads against the bottoms of the floorboards (though now we have a fence across all areas). One of our cats was making noise under the house recently as well. The concept of reading (though usually regarding me trying to read) is an attempt to achieve more awareness while in the dream state. It is something I have practiced since early childhood.
Updated 08-23-2018 at 04:29 AM by 1390
Morning of August 21, 2018. Tuesday. Reading time: 2 min 22 sec. Readability score: 65. I am with Zsuzsanna and our family but living on Loomis Street (where they have never been in reality, and yet my dream self does not detect the setting as incorrect). My brother-in-law Bob is sitting in his armchair. My mother-in-law is present, and Zsuzsanna is annoyed by her and goes into the bathroom. However, it is the Barolin Street house’s bathroom. We are all standing in here against a different wall. Zsuzsanna is the closest to the door. I tell my mother-in-law that she is the same as ten years ago even though she is not aggressive. (It has been over twenty years. We have not seen her much in reality.) Distracted, I decide to go to the park. The house is again the Loomis Street house before I leave. I walk north to where no park exists in reality. In my dream, it is a large area. I am eating pieces of bread. (My throat is drier than usual as I sleep.) I become aware of wanting to fly (common liminal perception of vestibular system correlation). I look up to a structure that I want to fly up onto (before flying elsewhere), but I notice that a man and woman are seated there on a bench. An unknown male walks to my left. While talking to me, the man soon takes his real left leg off as if it was detachable. He throws it several feet ahead. He asks me how he did, as apparently, he is practicing for an Olympic event. “There was a lot of evenness in your throw,” I reply, not knowing what else to say. He then retrieves it and deliberately throws it onto the left shoulder of an unfamiliar woman sitting at a picnic table (about twelve feet away) with others. That act seemed more like a cheerful prank. The woman seems only slightly annoyed. I do not know if they know each other. I am ready to fly, but there is a subliminal awareness that the physical body in the dream state is not real. That idea projects into another dream character as throwing the leg of their illusory body (left side is usually dream-oriented while the right is directed more toward waking perception as I sleep on my left side), implying that walking is pointless in the dream state. The earlier scene seemed preparatory for RAS (in an apparent need to wake and use the bathroom as Zsuzsanna was to the right of the door from inside the room), as both my brother-in-law and mother-in-law have annoyed me in the past (emotional trigger to cause waking). From there, I liminally created the porch buffer to vivify my dream on the way to vestibular system correlation (flight in this case), which transformed atypically. It is typical for my dreams to mix up settings, never in the same way more than once even in tens of thousands of them, and the endless variation has fascinated me since childhood. Ultimately, this is to prevent my non-lucid dream self (infra-self) from subliminally perceiving my dream setting as a real location. That is also why many events and ideas are incorrect or the opposite as I would have them in waking life other than when biological, literal, or prescient (which reveals one of the many problems with so-called interpretation), or reactive representation of the processes in REM sleep. It fascinates me when people claim that their dream correctly rendered where they lived or have lived, as I have never experienced this in my life even in lucid dreams.
Morning of January 1, 2018. Monday. Reading time: 1 min 28 sec. Readability score: 61. I find myself in an unfamiliar, unknown movie theater where most of the audience is wearing 3-D glasses, though I am not wearing any. I see no one I recognize. In the movie, two serpentine dragons face each other, each of them unwilling to either move aside or to strike at the other. Eventually, I do not discern any movement on the movie screen. I think about leaving, as I consider this still scene will last about 2 hours, which will be an unreasonable waste of time. From the middle of the row in about the fourth row back, I get up and walk to the left to another area, ending up behind the movie screen in what looks like the inside of a warehouse. I perceive it as “my” bedroom. The mattress is worn and has no sheet. The headboard has horizontal wooden planks that are in a slightly irregular arrangement. Bette Davis comes in and asks me if I know where her husband is and rolls her eyes at me, also quickly glancing left and right, and walks away before I say anything. Puzzled, I slowly wake. This dream occurred because: My infra-self, having been satiated in previous dream sequences of apex lucidity, chooses to remain passive and non-lucid for a time, and so my dream space becomes a movie theater where I only watch. By not wearing 3-D glasses as most of the other patrons are, I am subliminally declining the potential for realism as well. (The movie is part of “Dragon Wars” from 2007.) However, RAS activity eventually pauses by way of emerging infra-control from subliminal intent. From here, subliminal awareness of being asleep in bed increases to passive liminality and I enter the warehouse area, which represents the temporary storage of transitory ideas that occur in REM sleep. I subliminally summon Bette Davis as the dream’s preconscious avatar as an influence from the song “Bette Davis Eyes” as an association with REM (Rapid Eye Movement) sleep. She is not “looking for her husband” but seeks to initiate my waking-life identity (which is what RAS mediation is). Aware that the bed “behind” me is the bed I am already in, in sleep, I wake.
Morning of August 19, 2018. Sunday. Reading time: 2 min 39 sec. Readability score: 55. In my dream, I am walking through an unknown neighborhood at night. My dream self believes I am in America (even though I currently live in Australia). I have a false memory that I am supposed to go to a radio station to work as an announcer as well as perform live music on the air. At least two of my older brothers, Dennis and Jim, are already supposedly there. (In real life, Dennis is still alive, but Jim is deceased.) When I reach the building, it is mostly unlit. There seems to be activity inside at first. Over time, I become very annoyed, because it is presently only serving as a relay station rather than a radio broadcasting station. I hear loud voices from inside that sound like my brothers, but the broadcast is on loudspeakers inside, and from an unknown location. I walk around the building, and a few unknown residents tell me the station is closed, and that no one is there. I still yell near the building in case anyone is there. All of the doors are locked. I am very annoyed. Looking at the street from the front of the building, I see a police car arrive. The police are probably here to tell me to leave and to stop yelling. However, my infra-awareness shifts to where I non-lucidly transform the vehicle into a white semi-truck without a trailer. The preconscious avatar, still in a precursory mutable form, changes from a male police officer into the semi-truck driver. The cab is tipping forward, and he seems to be working on the engine. He does not look in my direction. Soon, preconscious dynamics shift into a more dominant form for the waking process. An unknown woman opens the front door of her house, becoming the emerging consciousness factor (in the usual doorway waking autosymbolism). When I tell her of my situation, she looks at me and says that my Australian accent sounds unusual. I am annoyed by her comment and tell her that it is not an Australian accent as I am American. That triggers awareness of my conscious self and dissolves my fictitious dream self’s identity, which causes me to wake (rather than to become lucid). What is a relay station in the brain? The thalamus is the deep-seated part of the brain that relays incoming sensory information. The brain’s outer cerebral cortex coordinates responses to this input. The most important process of a dream is to bring about awareness of the conscious self as preparatory to waking (or in contrast, becoming lucid while remaining asleep). People who are “against” lucid dreaming because of misconceptions about control do not seem to understand that lucidity and dream control are separate factors. (The preconscious distorts threads of the unconscious with synaptic gating, to prevent false memory. In other words, the non-lucid dream self does not even have viable access to the unconscious mind, revealing that the theory that dreams are related to memory processing is asinine. For me, infra-control, or non-lucid dream control, often brings about full conscious awareness, but lucidity is not required to control a dream and people who make this claim have no credibility. To quote Stephen LaBerge, “Lucidity is not synonymous with dream control. It is possible to be lucid and have little control over dream content, and conversely, to have a great deal of control without being explicitly aware that you are dreaming.”) Although I did not become lucid here, while threads of my conscious self were temporarily locked (the closed relay station), I still controlled my dream’s autosymbolism in non-lucidity by changing the potentially annoying police scenario into a non-event (which did not trigger viable lucidity). The man working on the engine is an analogy to becoming more aware, both physically and mentally. RAS modulation commenced, but with a less annoying context. A door did eventually open, to remind me of who I am, and that is the subliminal, liminal, or lucid quest of the dreamer.
Morning of August 19, 2018. Sunday. Reading time: 1 min 21 sec. Readability score: 49. In my dream, my family and I as we appear now are living back on Barolin Street (though the house is no longer there in reality and our youngest daughter never lived there). It seems to be late morning. She is looking out into the front yard. A white plastic bucket (contents unknown, if any) rises from the ground in about the center of the front yard and hovers in the air to about five feet and floats slowly from north to south. The scene resets and repeats several times. I think that an invisible whirlwind is causing it. It does not pose a threat, and my daughter sees it as a joyful event. It is not a tornado dream, but it is a basis for the ultradian rhythm process (in addition to VSC). Tornadoes stem from a specific type of vestibular system correlation at the peak of ultradian rhythm. Even so, I have often controlled their manifestation and direction in both non-lucidity and lucidity. Here, my infra-awareness (with non-lucid dream control) mediates the event as being cheerful and soft. It represents ultradian rhythm being less dominant in the projected contemplation of my illusory fictitious dream body, also affected by the level of natural melatonin. The white bucket likely represents a specific measurement of it. From a biological standpoint, water and how it occurs in dreams is autosymbolism for the level and dynamics of sleep and levels of melatonin. I have “water symbolizing sleep” as appearing 350 times in my main online journal (though water induction/melatonin begins all sleep cycles). As I have written often, dream “symbolism” is not symbolism in the conventional sense, as it is not even viable in non-lucidity despite popular misconception. The association, although I never take medication as such, probably stems from the following extract: “When it’s nighttime and melatonin levels are high,” says Dr. Wurtman, “taking melatonin supplements is like putting a drop of water into an empty bucket; when it’s daytime, it’s like putting a drop of water into a full bucket.”
Morning of August 13, 2018. Monday. Reading time: 1 min 40 sec. Readability score: 64. In my dream, I am about 14 years old again. I am living in Cubitis, with my parents, though the usual ambiguity comes in later, where I have at least a few threads of my current conscious self identity, and I am aware of my oldest son, though perceived as younger than he now is. However, I have no recall of our current address as is often the case and my presumed age in my dream is not in conflict with my real current age even though my son would be older than me if my dream self’s age is correct. The north area of the living room has a large table. My parents are selling fruit, and members of the public come into our house to buy it. An unfamiliar older woman comes in to get persimmons. However, she mentions that they have bruises, and I see that most of them are in a bowl and probably overripe. She seems very cheerful and friendly but leaves without buying anything. Later, my son seems upset, and a strange yellow fluid flows out of his right eye, on the right side as he cries, almost building up like a wave of cake icing. It seems bizarre to me, and I know something is not right, which causes me to wake up rather than resolve it while still in my dream. For now, I am going to assume there is no precognitive thread here related to health. Yellow is what I use (both in infra-awareness and lucidity) to initiate clarity of consciousness in the dream state (and have done so since around age three). Coming from the right side of his right eye, it is a direct association with moving toward the waking side in REM (Rapid Eye Movement) sleep. (I sleep on my left side for the most part.) Autosymbolism integrating subliminal, liminal, or lucid awareness of REM itself is not nearly as common as the vestibular system correlation from balance or imbalance of the illusory fictitious dream body with the real physical body in sleep. The rest of the content comes from two different events, one being Zsuzsanna’s mother leaving overripe fruit on our porch that spoils, the other from having so many passionfruit, that some are becoming overripe. When I lived with my parents in Cubitis, they had a store for a few years. Business was on the carport or in the shed (where my father also raised and sold rabbits and fishing worms), not inside our house.
Morning of August 16, 2018. Thursday. Reading time: 1 min 33 sec. Readability score: 61. My dream starts out in what is a rare type of rendering with the factors contained in a “box” as separate from the dream self, but subliminally chosen by the dream self. (This stems from the “Don’t Open Till Doomsday” episode of “The Outer Limits,” which I saw at age 4. I had been in and out of various vivid dreams and inexplicable states of consciousness, and have been fascinated with them ever since.) Theodore Bikel appears in a Christmas scene within this “box.” It has the essence of “The Night Before Christmas” Whitman punch out diorama that I put together each year as a boy. He is singing a Christmas song, though I do not recognize it. It is a tradition. Someone is playing a piano on the other side of the room from him. Family members are present. There is much joy. After a time, I am absentmindedly putting another box “into” it. The process is abstract without a way to resolve it in conscious terms. The second box is similar to the previous, except that someone is playing a smaller and tinny-sounding keyboard. It is about two-thirds “into” the first box, moving in at an angle from above, before my dream’s level of focus changes. Now I am looking at another “box” of entertainment. In the background is an unknown male wearing a Christmas tree costume (though most of his face is visible), with a yellow five-pointed star as a cap. In the foreground and to the left is a young girl (unfamiliar) sitting in an armchair and wearing all of a bird costume except for the head. In her right hand, she operates a bird hand puppet. The association with birds, airplanes, or unaided flight as the vestibular system correlation of the waking process has occurred in at least one dream every sleep cycle for over fifty years, but this instance is more unusual than usual. The hand puppet signifies dream control (and VSC mediation) and resultant VSC RAS modulation without lucidity in this case. The unknown young girl is this dream’s typical preconscious avatar and VSC personification, and as usual, guiding my return to consciousness without RAS conflict (or the biological falling start). The male is my essence, a tree (physical body not moving in sleep) with the yellow star (emerging consciousness factor).
Morning of August 16, 2018. Thursday. Dream #: 18,868-02. Reading time: 2 min 15 sec. In subliminal mode (dream creation and control without lucidity), my dream self chooses to ride in the back of a car. (This is the same stem of subliminally desired vestibular system correlation that otherwise creates flight events but with less anticipation of the biological process that results in a falling start). After creating this scene as a passive transition, I watch the scenery to my right. I am uncertain of who the driver is. (It is the preconscious avatar of course, but I remain unsure of its identity in this segment, but I vaguely perceive it is female, probably a thread of conscious self identity implying Zsuzsanna, as she is sleeping on my left at the time.) It seems to be late morning. It is a beautiful sunny day under blue skies. We go past an enormous cow pasture on our right. There is not much definition of the driver on the left. It is an American car. (I am subliminally choosing not to augment my dream, as I sleep on my left side). Despite its size, there are only a few cows here and there, which I find puzzling. They are all black-and-white Holstein cows of a very similar appearance as if my dream utilized the Photoshop clone stamp tool. Eventually, we come to crossroads (which represents reticular formation mediation). I look back and see that one end of the cow pasture (on the road perpendicular to the one we are on) is unfenced. There are several houses along that area with large side yards. I start to wonder if cows sometimes get out through that area. (This is a very passive changeover of liminal space division, which a fence otherwise represents. Of course, this scene also causes my dream to jump into a different stage.) I am now inside a big featureless room that is not well lit. An unfamiliar male climbs a rope up to a square cage hanging from the ceiling that is almost touching it. A bobcat is sitting inside the cage. The man, who reminds me of the essence of a magician, opens the door of the cage and starts petting the bobcat. It seems very tame. The man and the bobcat start hugging and kissing. I soon wake. Climbing a rope (whether or not it is the dream self or projected into an avatar) is usually the final metaphorical representation of vestibular system correlation during the waking process, though it is less common than flight-related events. A cat is a form of the preconscious as a “witness” to the dream state, while the man is a transition of the dream self and an emerging consciousness factor. It is a unification (coalescence) process. My dream’s model is typical (though again, not as common as flight-related vestibular modulation), for example, “Climbing a Vine” (March 4, 2017), uses the same model, only it is integrated rather than projected. Additionally, that dream perceives the reticular formation as a possible threat rather than resolving liminal space with unification. The dynamics behind this dream stem from having watched “Sabretooth” (2002) with Zsuzsanna last night. It transmuted the negative unification factor (as the cat in the movie attacked and ate people) into a more harmonious unification factor. It is the desired waking process rectification other than when the immune system is under attack (as in my “Night of the Rat” dream from April 8, 1978).
Updated 09-24-2019 at 07:20 AM by 1390
Morning of August 15, 2018. Wednesday. Dream #: 18,867-03. Reading time (optimized): 3 min 30 sec. My dream begins with a non-lucid focus on “searching while sleeping,” which stems from the subliminal choice to appease the preconscious (which does not dominate this dream at any point, only several mutable precursors) in the mode of infra-awareness and infra-mediation (vivified dream self presence and dream creation and control without awareness of being in the dream state). My dream’s template and progression have occurred many times since early childhood, and its essence is established and familiar. The purpose of the dream self is to find its way back to conscious identity for reunification and waking life temporality (sense of time and viable physicality) while investigating the dynamics and artifacts of sleep (for which digging is a metaphor). I am aware of others looking for small gold nuggets on a riverbank (yellow or gold is an emerging consciousness precursor), though the water induction factor is not perceived. (The river is understood to be there, but I never see it. I am mostly facing away from it.) By digging in the soft dirt with my hands, I find what I think might be small pieces of gold, but the others claim that there is no gold where I am looking. The area I am digging in in a later scene is like the face of an embankment, a virtual cabinet of dirt. I find some big oblong crystals, including matte yellow, transparent blue, and colorless transparent - implied to be silver, but they tell me it is not gold and is probably without monetary value. I consider keeping them because of how beautiful they are. I dig into an area and reach what seems to be the surface of a floor (even though I am still on the river bank), only about three feet down. I uncover a swag. I perceive it as belonging to one of the inmates of the prison that has been underground for many years. I open the cloth bundle to find several items. One item is a 15 cm ruler of thin metal and a central open area to each edge. There are a few small engravings on it, one featuring two soldiers walking. The number 1086 appears near one corner. I first think that might be the year it was produced but then consider it could not be. I am somewhat annoyed that what I am finding is probably from the 1940s or later. One of the unknown men, sitting on the riverbank, says he will give me $20.00 for it. I accept his offer. I find an unusual long panel with three celebrity images. One of them is Aretha Franklin (with an obituary). Another is Mama Cass Elliot. The third is Frankie Laine. I tell one of the men that the year seems to be 1968. He says, “I’ll give you $7.00 for it.” It is lower than I expected, but I accept it. I continue to dig. With difficulty, I use a thin sheet of metal to dig what now seems like compact beach sand. The scene changes again, and digging becomes easier. Next, the preconscious precursor is female. I dig up several convict bodies from when the burying of the prison occurred. She seems perplexed and goes to get the authorities upon this discovery. (This is illogical as the area’s contents are already known.) The bodies are of miniature people, the size of big dolls, no more than two feet in height. (The “corpses” are dream state indicators, reactive representation of taking the self out of deeper sleep, which a doll also represents as autosymbolism for my body being inactive while asleep.) I find many more items and sell some of them. Numerous members of the public sit on the riverbank. I look at two stacks of what seem to be Mad Magazines but are erroneously from Warren Publishing. Even though I had every Mad Magazine and Warren publication from 1969 to 1979, it seems many of the issues are unfamiliar. An unknown man shares my interest. There is no damage from being in the ground so long. The man cheerfully comments “1979,” as we discuss what he is reading. I am in the emerging consciousness stage. Finding books or magazines reflects my desire to be able to read (cognitive arousal). (Its original purpose was to remain in a dream with conscious awareness to intentionally read.) Dream state indicators reach the first level. The next item found is an old mattress that belonged to a prisoner. There is a cylindrical hole in the center of it. A man (from the previous scenario) and I joke about how the prisoner used it to satisfy his desires. I dig more and find a small plastic ride-on toy that seems to be a blue futuristic motorcycle. (It is projected vestibular modulation. It is the same cue as a flight symbol in thousands of other dreams.) My dream reaches the ambiguous indoor-outdoor amalgam stage. Even though I am on a riverbank, I am simultaneously in a house with a wooden floor. There are many compartmentalized shelves opposite the river in a big area with wooden blocks for children in each shelf compartment. It all seems to be mine to sell now, though I remain puzzled. Many people start making offers as I slowly wake.
Updated 09-24-2019 at 10:24 AM by 1390
Night of August 12, 2018. Sunday. Reading time: 1 min 29 sec. Readability score: 73. I had made a music video of one of my songs. An unknown male happily praises my work, saying how “perfect” it is. I had supposedly not seen it for a long time. The video recording is somehow on an audio cassette. (I have not recorded on audio cassettes for years.) I notice that the tape, in a cassette deck about three feet below the monitor and vertically oriented, had been left near the middle and I remember that not having a cassette tape rewound when not in use exposes the surface and might cause wow and flutter and damage the area. I start to play it, but it is about a minute into the song, so I rewind it to the beginning of the video. “My” song turns out to be a strange version of “Sloop John B.” It mostly features me standing and singing in front of the sides of old ships. I am singing out of key. My voice is wavering and is annoying. Not all the words are the same as the original song, but I eventually make out, “So hoist up the John B’s sail. See how the mainsail sets.” In the last scene, I notice a cannon pointed towards the viewer, on the right of where I am standing in a closeup shot from my chest up. It appears to be protruding from behind a tarpaulin. My dream is a typical mix of associations that are unrelated. The main idea comes from sailing, as I had been using the word “oneironaut” (“dream sailor”) in some dream-related essays I had recently been writing. (Boats and water occur regularly in my dreams as it is.) Another word I had been using recently is “canon,” though related to known facts about my dreaming history. (In contrast, there are photographs from when I was about four, where I sat astride a cannon in a park.) Being the video’s last scene, it is the reactive representation of the cessation of the dream state. (Additionally, it may be a phallus association that reflects a need to wake and use the bathroom). In real life, I had recently made a video of a recent track of mine, but there are no vocals.
Morning of August 11, 2018. Saturday. Reading time: 50 sec. Readability score: 66. I am in an unknown bank, though the area is not very defined. I do not discern any walls, only “blank” space beyond. I am firstly standing in a long queue, but then I decide to sit down. There are many chairs as if arranged to watch a play, facing the teller stations. A lot of other people are present and sitting in chairs. The area with the tellers also has an unusual alcove to the rightmost of my view. An unknown man goes ahead of the others waiting in line. An unfamiliar woman at the end of the line becomes annoyed. The man goes into the alcove and is no longer visible. I do not know how their system works. I comment on the event to imply that I understand her frustration, but consider my comment is probably annoying to her as well. The event is like a typical checkout scenario, which is common in my dreams and is a reactive representation of the waking process (leaving the dream state in an obvious metaphor). The man going into the alcove is a projection of my emerging consciousness, in which I am subliminally planning on going back to sleep after waking, analogically duplicated by me sitting down in a chair to rest.
Morning of August 11, 2018. Saturday. Reading time: 1 min 42 sec. Readability score: 59. I enter a very unusual bathroom wake-up call state (which also includes the reactive representation of vague hunger), which is ambiguous and lacking my conscious self presence in most of the continuity. Even though I am back in Cubitis in my dream (where I have not lived since 1978), and my father is alive, and of a young appearance (as in the 1950s before I was born), there is a singular thread of awareness of opening our refrigerator in my present home. I open it, and there is a black snake inside. It crawls up to hide in back behind the freezer section. Later, I go into the Cubitis bathroom. There is a small black snake on the edge of the bathtub closest to the wall. I soon see a bigger black snake near the faucet. I decide to go and tell my father about this. He is in the room he built (that extended into the carport, though this was my mother’s room in the year before moving to Wisconsin). I tell him that the house is full of snakes (an exaggeration). At this time, an ambiguous thread of current conscious self identity is present. I am also aware of Zsuzsanna (and her relationship to me) even though I am fourteen in my dream. I had talked with Zsuzsanna about the snakes possibly being the most venomous ones around (assuming Australia). They are gone when my father looks around. This type of ambiguity and error is common. The black snakes in our yard and house were not harmful when I lived in Florida. My dream self has the distorted perception of being in America and Australia at the same time. Only some dreams have this. Distorted temporality is common. The dream self is not the conscious self. Dual identity and emerging consciousness distortion is also a factor. The belief that dreams are related to memory processing or memory consolidation (or even viable content from the unconscious mind) is utterly nonsensical. They are mainly reactive representations in real time, based on subliminal, liminal, or lucid awareness of being in the dream state and maintained by the preconscious in sleep (as dreams evolved out of a need to be aware of environmental factors and biological needs while sleeping). Although a snake is often a metaphorical representation of the reticular formation as a waking alert factor (as likely in all primates), there are other associations, as with the human intestine (stomach cramps or bowel movements), frayed electrical cords, pins and needles in an arm, or pain in a finger.
Morning of August 6, 2018. Monday. Reading time: 1 min 13 sec. Readability score: 76. My dream begins as a typical bathroom wake-up call dream. The location is unknown. It seems like the essence of the King Street mansion (boarding house I last saw in 1994), though downstairs. There are others with me who also have to use the bathroom. After looking at different toilets in the open areas of a large room, I decide to leave the house. My focus is ambiguous. I notice fresh roses in the clear water of the bowl. (That is the opposite of other wake-up calls, where a dream’s bathroom is too dirty to use, unavailable, or oddly distorted, though it still triggers the subliminally emerging realization that one has to wake and answer nature’s call.) After walking to a bed, an unknown male stands near it. A “ghost” rushes into his body. I am not a part of the scene and am only vaguely aware of the autosymbolic tie with the emerging consciousness factor. The mood changes. I have focused again. There is a more vivid awareness. Now I am leaving the King Street house, walking west along King Street. It seems late at night. Looking back, I see my brother Earl and his wife Cindy (both deceased). They are smiling and standing at the window. (The lights in the house are on.) The window is like that of a large storefront. (That house has no such feature in real life. The porch would be in that location in reality.) Earl had three different wives. His age as related to Cindy’s is incorrect here. The scene with the “ghost” jumping into the male near the bed correlates with my shift in consciousness, a type of brief potential reinduction in contrast to a thread of vague conscious self identity reminding me I should get out of bed and not go back into deeper sleep.
Morning of August 8, 2018. Wednesday. Reading time: 47 sec. Readability score: 80. In my dream, there is a backstory related to a new 3D printer we have, which is presently being used to make some Hot Wheels tracks and other toys for our youngest son. My dream’s setting is a slight variation of our current home. It seems to work well at first. The track emerges like paper from a printer does. A length of a race track is on the bed, as long as the bed (oriented from foot to head), with the 3D printer near the foot of our bed. Soon, I notice the bottom of the track is messily melting into the blanket and bed sheet. It is like glue. It is also stuck on clothes and other items. I become very annoyed and start to remove it, thinking that the material is too fresh and has not cooled enough yet. Perhaps it is all defective. As a boy, I had both a lot of Hot Wheels track as well as Matchbox track with accessories for both. They had a slightly different design and color (yellow in contrast to orange), but I still jammed them all together sometimes for a setup in the large Cubitis living room.
Morning of August 8, 2018. Wednesday. Reading time: 1 min 8 sec. Readability score: 72. In my dream, I am focusing on a computer screen, which has the construction field of a computer game that you can partly design yourself. Mostly, it involves driving a car from an overhead view. The straight road appears vertically on the screen at first. There are not many other features. There are some options where I can make the road curve. Just driving the virtual car around does not seem much of a challenge. Over time, I have snippets of a dream within a dream to utilize in my original. In a virtual workspace in the second dream, I want to have a large oval area on the left. In that area, I want it to be ground only, with several ostriches that randomly come out from the wayside onto the road so that I can be challenged to drive through without hitting any of them. I go back to my main dream to look for “Ostrich” in the context menu of the game to place them in the area I had already cleared. I look through it several times, assuming it is in alphabetical order, but cannot find “Ostrich” and become very annoyed that I cannot make the design I want. Instead, I find “Österreich.” There is a large icon on the right within the context menu itself that features the Mariazell Basilica as on a set of postage stamps I had many years ago. (“Österreich” is the German name for Austria.) That will place a church in the playing field if I select it (by drag and drop), but I wake before I look through other options on the context menu. Non-lucid dreams with such extraordinary, surprising cleverness keep me intrigued.
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