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Morning of June 15, 2018. Friday.



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

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

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

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

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

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

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

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I am going on a trip with some other people—vague impressions of preparation, of using a computer in a lab to take care of some paperwork I need for it—some kind of registration, maybe.

It seems to be a long trip. We are traveling by car, and after a while, we stop at a gas station. I go inside to find something to eat and am pleasantly surprised to discover they have marzipan here. I pick out a couple small bars of it, along with some other food for the road.

A little while later, I’m in a room belonging to my friend Nina—it seems to be in the same building, with the gas station just on the other side of a door. I’m examining some small statues on the shelves. The statues illustrate the “eight ways of dying”—which actually seems to signify ways of living, the idea being that they’re lifestyles that don’t really deserve to be called living.

There are two complete sets of the eight, and they both go about illustrating them in different ways. I looked at all of the statues, but the only one I remember vividly was the eighth one of the second set, which I was looking at as I woke up. The key symbol seems to be a snail, representing an unthinking, animal-like life. But while the sculptor of the first set has just portrayed the snail, the sculptor of the second—who seems to have a more fanciful take on things in general—has portrayed the snail crawling over a human corpse in a colorful stage of decomposition. Where’s Nina so I can ask her about these, I wonder.

I can also vaguely remember a couple other statues, also from the second set. The second statue showed a woman lying on a massage table surrounded by jars and bottles and things, and the fourth didn’t seem to have any living figures at all, but looked like a mineralogist’s work table might—rocks of various kinds scattered over it and a jar of rocks in the center.

15.4.18

(Note: I think the Buddhist ideas here are pretty clear, but it may be less obvious that it’s also drawing pretty heavily from Plato.)