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Morning of August 12, 2002. Monday.



This is a recurring setting with very similar events in numerous other dreams. I am near the ocean and there is a part of the shore that turns off at a corner where there are more rocks in that direction as well as an upward slope. A lot of other people are around. Some people are there to swim or fish in certain areas but I begin to discover cardboard boxes just under the water that are somehow not ruined. This seems to be why I am here although I am surprised by the larger amount. These boxes, some of which are open (and the contents still not damaged in any way) contain books, board games, toys, and other “treasures”.

There are a few other people who apparently make a living gathering the contents of these boxes. I get the impression that parts of the area under the water are not that deep, and the boxes go out for quite a distance. It is not really that much like a dump under the water, though I am sure there is some junk that is not that useful or valuable. I gather several boxes and am interested in going down as far as possible. Perhaps there are more that have been buried under the ocean bottom over time. In a way, I think I am mentally teleporting the “treasures” to another location, likely to where I am living. (Of course, realistically, books under water for very long would be completely ruined.)

Morning of May 29, 1995. Monday.



This is a long dream of a factory that is mostly under the ocean but partly above it in some areas (and thus would be autosymbolism for the sleep cycle and the essence of different areas of consciousness in REM sleep). I go there in a boat after exploring a different building near the ocean. At one point, a shark keeps coming up through the bottom of my boat and roaring like a lion. This “shark” eventually becomes, or somehow always was, only printed on a small thin piece of cardboard. The bottom of my boat seems to be very thin cellophane-like plastic that allows you to see the motions of the water. (This is not the first time that a three-dimensional RAS modulation precursor was transformed into a two-dimension presence, thus a result of my dream self non-lucidly modulating the waking autosymbolism. It always happens in a liminal space buffer - “from under the boat” and in another dream “in the doorway”.)

Later, an unknown female near the factory is eaten by a “real” shark. There are female dancers on a high platform and a staircase that goes down several levels (implying a desired return to deeper sleep). The factory is later threatened by the intrusion of a giant alligator and a plesiosaurus and everyone in the factory goes down to the lower levels rather than evacuating the factory itself. (In other words, hiding from the waking mechanism of which in this case implies coalescence and consciousness unification, though in maintaining an unwillingness to wake yet, in a negative context).

This potential waking trigger does not cease (which of course is a good thing, as one cannot sleep forever). As a lion, a shark, and an alligator are all basically the same factor for this dream type, it is typical multiplicity here. Even the plesiosaurus represents the coalescence precursor here (as it has been in other dreams) though is often a lucidity trigger (as the long neck implies being above the essence of the dream state in the manner of being able to mediate it).

There is a large gun that is robotically linked to a duplicate one on a higher level. When one correctly aims at a projection of any creature above and shoots, the other gun automatically shoots the “real” creatures above on the surface. When I use the weapon, I get both monsters the first time. (This scene obviously represents non-lucid RAS modulation, that is - my dream self non-lucidly utilizing the essence of my conscious will without being directly lucid.)

The factory apparently produces a lot of different things made solely from sea salt and perhaps features of the sea bottom. I look around, as I finally allow my dream to fade under my (liminal) terms. (Even though I took control of my dream on one level by avoiding the waking precursors, which were violent coalescence metaphors, I still did not attain full lucidity.)

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Morning of November 23, 1991. Saturday.



Status: Solved

It was not until sometime around perhaps late 1991 that we (Zsuzsanna and I) began to realize that everything around us seemed encoded for whatever reason as we had already realized our own connections (and though certain other people were aware of this as well, they were quite manipulative). This was one of those really odd dreams I had to look deeper into and, interestingly enough, was more obvious than many others I had.

My dream starts out about as vividly and realistically rendered as a dream can be. I am lucid, but have a vague idea that I “really” am near the ocean in late morning somehow if only in my dream body (though the concern I sometimes have about where my real body is or what it is doing is far less pronounced). I sense the presence of an entity that seems to be nearby in the form of an “invisible” ball of water. After a short time, I ask the being what his name is.

“Isaiah!” he says, loudly and dramatically. I feel the energy of the ocean’s movement and it actually feels like a “superior” being is present (which is quite rare in my dreams relative to any level of uncertainty about how to proceed). I am very glad that this is occurring. I think about asking questions of this being since it seems to be very ancient and wise.

However, after a time, the vividness starts to decay and the presence lessens in perceived power somewhat, eventually becoming rather mundane in feeling and sounding more like an ordinary man speaking, albeit with slight authority. He starts talking about the Lord and various names of the Lord, using the word “holy” several times (and almost all of what he is saying seeming to be passages from the Bible, perhaps as related by a somewhat distracted televangelist), but clarity is beginning to fade and I become annoyed at how generic and impersonal his speaking becomes when compared to the seeming direct contact during the first part of my dream, though that was probably the fault of a consciousness shift.

As he is speaking more and more impersonally, I seem to jump to a different location and see continuous skewed imagery of a cow looking at me. Sometimes the imagery actually moves completely sideways as if I am watching a film that got scrambled (or a dynamic three-dimensional photograph that is rotating), as I am seemingly not moving at all - only the angle of what I am seeing is moving. It seems odd looking at this random cow while listening to someone quote random passages from the Bible - his voice seeming more hesitant and unsure as time passes - and it all begins to puzzle me as well as irritate me somewhat. I eventually wake thinking about how “pointless” the last part of my dream was. I mostly saw it as a warning against religion and in not becoming a cow as such and still stand by that interpretation at some levels.

What I had since learned is how easy it was to interpret. The cow of course, was a representation of Hathor, a variation of my wife’s surname. Also, silly me, I had not realized it came from “Sweet Dreams (Are Made of This)” by the Eurythmics (always wondered about that cow scene). The sledgehammer is the symbol of one of my family lines (”I’d rather be a hammer than a nail”). The Hammer is also the symbol of creation when the One struck the surface of the life pool and each droplet from the splash became an individual human consciousness, no longer “as one”.

Now, granted, I was doing a lot of other decoding and such at this time and did not really pay much attention to this dream. Even in noticing the title had “Dream” (“mirrored” in audio reversal) and “Sweet” (“twos” or “deuce” depending on how you want to hear it and being doubly layered with the heart symbol as such), I was not too interested. Of course, their other song at the time was “I Could Give You A Mirror”. Well, how obvious can you get? “The original recording’s main instrumentation featured a sequenced analog synthesizer riff, which Stewart accidentally discovered in the studio when he played a bass track backwards.” Oh…that obvious. Holy cow.

Night of August 15, 1990. Wednesday.



Prior to contacting my wife-to-be for the very first time in waking reality, I had a very vivid dream of two comets orbiting each other in a very close spiral pattern and becoming the Yin Yang symbol for a time. The feeling of Fall/Autumn seems slightly enhanced. The pattern of the two “comets” eventually turned into a Paisley design after moving apart again. I am also aware of one-half of the Yin-Yang symbol floating out over the ocean (seemingly from another country far away), like a sort of intelligently guided swirl - and I feel a sense of peace. It moves in a circle, but at times becomes comet-like again - leaving a trail of subtle sparks and brilliant wavy lines.

After several minutes, the swirling light becomes of human form and “lands” on the shore, near the ocean. (The original objects appeared to come to me from the south.)

It turned into a girl named Amelia (wearing a Paisley dress) possibly of about seven to nine years of age (no older than twelve), standing on rocks a bit out from the shore. I “knew” she was my future daughter Amelia (in complete contrast to when my “mystery girl”, that is, Zsuzsanna, appeared in a dream). She is seemingly wearing an old-fashioned dress with a blue and gold flower design.

There is also a curious feeling of peace and assurance that seems to be coming from some sort of “superior force” (of nature?).

The Paisley design represents another subtle form of the Yin Yang symbol for me. This was a fairly common “pre-anniversary” dream, where the date prior to the precognitive link matches (in this case, my real daughter’s birthday). My wife-to-be, without any clues or cues from me, told me that she liked the name “Amelia” and thus we decided on this as a first name before we even met.

Morning of September 11, 1979. Tuesday.



There were other versions of this dream but this is the most detailed version (not necessarily the longest) from September 1979. I had not seen Ann L (who I do not see in my dream much) for a few years. Ann L was the only familiar character (other than my “dream girl” of whom turned out to be real years later) from real life in most of my dream. She was a classmate for only a couple grades in middle school and high school. I did not really know her very well or interact with her that much. She was a mousy bookish type. This in fact, is one of my only dreams where she appeared and long after I had last seen her in waking life.

My dream’s plot vaguely resembles a Harvey comic book story of which I was familiar with (with Casper and Wendy as the main characters). It involves a ship that is similar to the Pacific Princess on “Love Boat” (which I have a false memory of having “seen” at a much earlier age which is likely associated with “Love American Style” from 1969 instead). However, there is also something about it that is also very military-like and the ship itself is greenish-gray, at least later on. Instead of moving normally across the ocean, it floats about three feet or so above the water’s surface (using some sort of advanced technology which America supposedly did not have in my dream), which seems slightly ominous (but still leaves a wake at times). The captain is Captain Badheart as in the comic story, which changes from Captain Goodheart.

There is something about Ann having a baby (not by me; possibly Barry R or the captain) as well as being locked in the captain’s cabin, but I do not follow her status that closely. It is almost like a secondary movie within my dream that is happening on the sidelines. I know the ship was designed to change after people boarded and kidnap them to keep them out at sea and serve the interests of a (fictional) small country or dictatorship. There is an original reference that I noted in which there is some association with “air ship”. There is a slight awareness of the “mystery girl” even from the beginning, but not quite as much as a much earlier dream of the liner. I now see a connection between “Pacific Princess”, “Love Boat”, and the fact that Australia is near the South Pacific.

The ship also has advanced weapons, some sort of multiple laser cannons in a series, something I might have associated with the original (1978-1979) Battlestar Galactica (especially as the ship seems to be called the Celestra at one point - the plot of that episode with that name is: “During a celebration honoring Commander Kronus, Starbuck recognizes an old flame of his, Aurora and breaks off a date with Cassiopeia to follow his lost love to the Celestra. On their arrival, Starbuck and Apollo find themselves in the midst of a mutiny” - IMDb), giving my dream a science-fiction-like atmosphere in the main scenes. There is a battle with the United States Air Force at one point. There is a precognitive layer (not quite as clear or multilayered as the liner dream of childhood) referencing my yet-to-experience journey to Australia and a loose connection to “The Man Without a Country”, which I saw in middle school. It has a similar mood.

The “mystery girl” still remains mostly in the background. I look for her during the troubles on board and I am frustrated at not finding her. Perhaps she has magic that will protect her from the foreign soldiers, but I still want us to get off the ship and back to civilization. At one point the ship is on the water when another ship is in the area so that no attention will be brought on to this strange ship that otherwise eerily floats above the ocean’s surface.

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A singular ship in a dream is an autosymbolic extension of the physical body and linked to a specific level of unconsciousness. This is made clearer here by the additional vestibular system correlation - the fact the ship is floating. Additionally, this (the military association) augments RAS mediation in this case, making my dream into an interesting adventure, but ultimately unrelated to waking life other than the prescient thread relating to my “mystery girl” (Zsuzsanna).

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Night of July 4, 1968. Thursday. (The image on the left is me on that day. The other is my wife in January of 1989 before we made real-life contact.)



Across the ocean “to the other side” (excluding Mexico) is in my thoughts and a real-life concept comes into play.

Many children probably notice this, but in real life, when you are on a wharf looking down, and with the water flowing under you past the pillars and such, it sometimes “feels” like you are on a merry-go-round even though, of course, you are not moving (for example, it “feels” like it is the dock that is “moving” while the waves only react to that imagined movement of the dock - focusing on this idea enhances the false perception of movement almost - in my case - to the point of getting motion sickness). Looking down, I separate myself from the land and the shore - it is a strange sense of freedom. Of course when the sun sets (a bit “too quickly” - but time moves at various speeds in dreams, as well as jumping through events completely), the fireworks are, on some levels, like the energies of a carnival when the time “rushes” to that point.

Being near the more dynamic ocean seems much more grand than the La Crosse carnivals I had been to not that long prior, where they have the little boat rides in a pool-like structure that is not much bigger than a few bathtubs in volume. This did not leave much impression on my dreams, it seems.

This is “my” carousel. I am the only one on it - a “giant carousel” of conquest of a sort - better than a battleship. I can somehow travel to the “other side” of the ocean (technically the Gulf of Mexico - but I will just fly over Mexico or “try to” as in another - much later - dream where I was probably considering that it was “just in the way”). (Of course, in reality, that would have been Port Kembla where my wife was to be born several weeks from that particular day - but is only partly related to all the other facets that “self-built” themselves on many levels). I am not nervous about the ocean. There had been the earlier dreams about the two fighting sea monsters (actual prehistoric animals - but over-sized in the dream) preventing the completion of my sailing trip. In that case, I was only on a sailboat and the idea of a “giant” carousel or merry-go-round seemed more workable at this point.

Not much happens. I get impressions of valleys and open skies and a sense of welcome solitude. I realize that I will have to cross “unimportant” land to get to open sea and start my “real journey”.

In another dream, I am seemingly on some sort of complex (abandoned) battleship or more likely an odd structure near shore. I cannot quite put words to it but it all seems very familiar. Everything is sort of a teal color and there are many different tiers and a sense of antiquity. No one else is around anywhere (even in the whole region, it seems - it is almost like “all people are gone”). Much of the walking area is like a sort of metal grill (also teal) but not all. Some of the doors have vents on them that are somewhat window-like. I wander around but there are no other features other than very sparse aspects of things I have seen in movies with older submarines and such. The parts are almost like a group of random small rooms set at various heights over various metal staircases (not in any logical order), all the same shade of teal. This was a precursor to similar dreams that were populated, so to speak. I may write on those later.

Morning of May 23, 1968. Thursday.

Dream #: 521-2. Reading time: 35 sec.



My dream renders a scene from “Peter Pan.” A schoolmate, Tina, is walking the plank on a pirate ship. I think the pirate captain making her do this is a teacher from our school, though he is unknown to me. He stays mostly in the background. However, when she falls (after being pushed by the tip of a sword), she does not land in the water. She had been caught and carried off to safety by a magical force, creating a mysterious mood, with me being responsible, though my direct corporeal presence is not in the scenario.

Later, I fly around above my town on my own, mostly in the dark, over various boats and buildings, including my school.

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Rescuing Tina from falling into the water is a typical vestibular system adaptation process. As a result, rather than experiencing the falling start, I begin flying around.

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Morning of August 3, 1967. Thursday.



This is probably my first vivid plesiosaurus dream. It mostly involves the “coming to life” of a two-page painting spread which I think was inspired by a book in real life previously (though I have not tracked down the source). It involved a very vivid and long event of a plesiosaurus fighting with an ichthyosaurus. There was a lot of color and well-rendered detail. I was seemingly not in any danger at any point; it was more as if I was floating about or hovering, watching the event as if it was some sort of amazing holographic movie. At times, I was aware of being in a large sailboat on my own on a calm sunny afternoon, though, and watching and feeling the movement of the big waves (caused by the fight) hitting my sailboat. There were times when I felt joy in looking up at these creatures from my sailboat. It seemed that no other person was around for many miles. This was like a special private enjoyment. There were minor degrees of semi-lucidity at times. The closest shore was seemingly west, though I had thoughts that I was traveling southeast.

Night of September 29, 1976. Wednesday.



In my dream, I am fishing at El Jobean in the afternoon. The weather is very nice at first. There are a lot of other people of various ages, some fishing, but not that close to where I am.

Over time, I notice that I get a bite now and then, but every time I reel in, it looks like a tiny piece of tin foil moving just under the water and is not there later on when all the line and hook comes fully out of the water, as if something is following my bait, which may be a minnow or tiny shiny fish. This annoys me somewhat. It seems to be a strange and growing mystery. Other people are not noticing what is happening and a few people are leaving now and then, as it is getting later in the afternoon. The scene is very vivid, yet I cannot work out the reason for the small tinfoil-like “creature” under the water or what sometimes seems like an actual gum wrapper section somehow moving in consistent patterns (or maybe someone is playing a practical joke).

Oddly, there is a utility pole to my left, with a three-digit number painted at an odd diagonal angle about chest-high and an additional mark of some kind. It seems sort of out-of-place near the beach.

It is getting darker and darker and time seems to be compressed a bit. Everyone has left the beach but me and it has grown slightly cooler.

Once again, the silvery, reflective form is under the water, but as the sun has just gone down, things change a bit. A very large and strange silvery manta ray, which is somehow walking like a person, “slimmer” than a real manta ray, and about as tall as a person (or a bit taller) is coming up from the shoreline with its “wings” out. I see it as potentially dangerous. It is very vivid (not quite lucid - but almost). I manage to back up and grab some sort of gig or harpoon with my left hand and am able to send it into the creature and kill it. I feel “heroic” somehow, as if I am part of a legend of some sort. There is a subtle sense of rain and motion of waves as if the scene is being “painted” by those aspects. It is an eerie scene, yet somehow not nightmarish to me.

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There is mostly only moon symbolism here. This includes the silver manta ray, the fact it came from deep levels of the ocean (unconscious mind), the fact that silvery “moonlight” was glimmering from under the water’s surface prior to its emergence, the fact that I was fishing (seeking connection with my unconscious state to resolve my eventual waking transition), and the fact that a telephone pole appeared in an unlikely place near the beach - as a telephone pole represents communication between different levels of consciousness while in the dream state. The nature of this dream firstly going from afternoon to nighttime is also obvious in this meaning as it is analogous to “the moon coming out”. This is validated by the fact that the manta ray is an intriguing flight symbol which represents a very specific level of consciousness. The rain adds to this effect as rain also represents communication from deeper levels of consciousness and flow of thought while in the dream state. To conclude, this is a circadian rhythms dream with adolescent factors.

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What was interesting about this is that the next afternoon, the utility pole near the highway (but still a part of our front yard area) had the exact same white paint markings as from my dream and at the same height. Unfortunately, I do not have a photo on hand and did not sketch out the somewhat oddly painted number (could not fully tell what it was - only that it looked the same as my dream image and had at least one six - or what looked like one). It had definitely not been there earlier (even my father mentioned it and confirmed it was brand new). This is one of those times where I just reflected on how curious that was (especially since there was no seeming connection with any “silver manta” in any way - and that part of my dream was quite “mundane” compared to the “epic battle”). It mostly seemed to me as if they had worked at “marking” the poles for when they were to put in the small green utility boxes relating to underground cables (which I did not hear about until later). It did look a little like a graffiti tag, but we were “in the middle of nowhere” and it had never happened before.

Morning of February 9, 1975. Sunday.



The original 1975 title for this was “It Didn’t Work”. This is the first time I have changed the title since then to be more descriptive.

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I travel with a friend and schoolmate, Kenneth Hill, to find my “mystery girl” who I am supposed to marry in Australia in a couple months. I keep going as far as I can to the southwest, thinking it is a short walk from my home, sometimes going southeast, such as towards where the train tracks and farms beyond are in real life (although some scenes and changes of direction seem like typical dream “resets”).

Along the way, his foot gets stuck under a railroad track rail, but I save him by pulling on his arms to help him get free prior to the train arriving. It seems to be afternoon at this point. (This actually seems to be just beyond my backyard, though I pull him westerly back towards the backyard, so our implied direction keeps changing.)

Time passes. We reach a door. Kenneth stands directly to my right. I open the door in a hallway - as it now seems as if we are still in my Cubitis home, the fictional door being on the west wall (but seemingly in a different area than the hallway closet door, more to the south) and I only see the ocean beyond, starting directly from the doorway.

“It didn’t work,” I tell him sadly as my dream fades.

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This dream occurred years before I knew my “mystery girl” existed in real life. This was also the date (in 1994) when I arrived in Australia. We married on April 9th, 1994 in the Hervey Bay Botanic Gardens in Queensland.

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• This dream is of the threshold type, which was more common in my childhood and young adult years. This type renders a doorway as a dream’s implied exit symbolism. (It may be less common now due to the fact that our bedroom does not have a doorway, being partly open to the kitchen and lounge room, though with a curtain over the kitchen side.)
• The other side of the fictional doorway in real life would have been the southwest bedroom. Although I had been “blocked” from my “mystery girl” by the ocean in other dreams (though not as a general occurrence) as an association with her being on the other side of the world, because water symbolizes the dynamics of sleep in real time, this seems like a logical ending (though typically, water lowers when waking, though the ocean being implied to be inside a house would make it not very deep other than relating to its seeming bilocated nature).
• The threshold dream type often renders my emergent consciousness as a different character or feature (though seemingly still linked to the preconscious factor). In this case, Kenneth seems to be the passive preconscious factor while it is my dream self that initiates the final symbolism. (The preconscious usually only dominates the dream’s last segment when there is no first-level dream sign or waking indicator, confirming one of the main dynamics and actual purposes of dreams.)
• Last check and update on Monday, 17 July 2017.

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Night of April 4, 1973. Wednesday.



I am on a four stacker ocean liner very late it night (or an hour or so before dawn) that apparently has left California (even though I live in Florida). There is firstly the idea that the liner is on its way to Hawaii (probably influenced by the Elvis special “Aloha From Hawaii” just aired at this time). However, I do not want to go to Hawaii, but feel I need to keep going all the way to Australia (though I knew little of Australia at the time). I become a bit concerned that the ship is not going as far as it “must” for me to get to my “mystery girl”.

It seems I deliberately jump from the ocean liner but then have a sense of having done something foolish, as the ship is very far from any land. I do not want to swim back to California (which is illogical thinking as I am still within range of the ship) but want to go to the other side of the world to meet the “mystery girl”. I feel a profound sense of sadness regarding my failure to be with my wife on the other side of the ocean - which is unusual in that I am not an adult in reality at the time, though I do sense I will “grow up fast” if I make it to my supposed destiny and important destination. There is a sense that I will likely eventually drown though I have no physical discomfort in-dream. There is an unusual melancholy impression (very vague) of music. It is a three-note progression, followed by a five-note progression, played on something that sounds somewhat pipe-organ-like but more distorted. The almost inaudible sound (which seems to project even more melancholy associations) seems to create or alter the motions of the waves at one point. The sorrow I feel in thinking I will never reach my soulmate (or destined partner in life) is one of the strongest it has ever been in a childhood dream. (This was long-term precognitive as it sounded just like the opening of the Fixx’s song “Reach the Beach”, which was not released until about ten years later in 1983. The album cover also strikes me as reminiscent of my dream. There is also a song called “Liner” on the album which has the lyric “Seen before, back in an infant’s dream” as well as "Liner, it was a fantasy sea cruise. It was a bet destined to lose. Across the waves, what was he thinking?” Therefore, it cannot help but be one of my favorite musical albums as there are numerous other personal associations even though the seeming personal connections are only subtly partial and not directly relevant to the song meanings in reality.)

There are layers of quite different linear formations of colors (mostly perpendicular to the direction I am swimming) representing the ocean - the surface of the ocean being almost continuously rainbow-like in a sense but also dark and very eerie, and I see myself from a distance with my arms up out of the water. I also get the impression that the beach will continue this pattern. Time seems to have “stopped” and the visionary impressions seem to last a long time even after waking.