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    About Blue_Opossum

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    Date of Birth
    December 20
    About Blue_Opossum
    Biography:
    Born in Punta Gorda, Florida; married (and moved to Australia) in 1994. We have five children. Really enjoy (old style) dub reggae. I am of a mixed racial background including Native American (although people thought I was Asian during my school years - that's the South for you) and wife is Roma/Romani authentic older gypsy clan from Hungary. The world is strange and contrary and I do not "get" it at all. Ha. I don't believe in anything occult or New Age (or even psychological for that matter); in fact, rarely believe anything I read, yet we enjoy life on this crazy backwards planet. I've followed my path and learned a lot of how dreams are far beyond what most people think they are and wouldn't have done it differently for anything. I mostly do legitimate work in education as well as my own music.
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    Computers, music, logic puzzles, mathematics, paranormal
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    Education networking, educator, sound engineering
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    Only you can interpret your dream as you are the only one with your mind.

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    Recent Entries

    The Rain

    by Blue_Opossum on 08-10-2020 at 11:38 AM
    Morning of August 10, 2020. Monday.

    Dream #: 19,593-02. Reading time: 2 min 50 sec.



    While comfortably re-entering light sleep by choice, I summon my favorite scene - a light rain in an urban neighborhood. It is in the late morning. As I float into the extraordinarily vivid setting, flying slowly about four feet above the street, I choose to remain incorporeal, without summoning and integrating imaginary physicality. Even so, imaginary kinaesthesia becomes a factor of my navigation through the fictitious environment. I indulge in the astounding detail and beauty of raindrops falling into puddles.

    Eventually, there is an incidental recall that Zsuzsanna and I had briefly discussed the Netflix series “The Rain” last night while scrolling through the content. (We had only seen the first episode weeks ago.) Two people (implied to be from the series) walk into the previously unpopulated setting, strolling off to my left, eventually no longer in view. I consider whether my dream will amalgamate the backstory of the series in implying the rain is dangerous.

    American actor Jack Albertson (June 16, 1907-November 25, 1981) is lying on his left side on the ground (concurrent with my sleeping position). He is inside a fenced area not much longer than his height, the top of his head directed to the sidewalk. The fenced area is otherwise for either recyclables or junk from the adjacent service station. I wonder if sleeping in the rain will be problematic for him during my distracted association with “The Rain.” His eyes roll up with his visage like Elise Rainier’s from “Insidious: The Last Key” Zsuzsanna and I watched last night.

    Soon, the young Elise Rainier forms from droplets of rain flowing over a tree and hovers in the air about three feet from the sidewalk (typical reinduction as the Naiad factor common since childhood) and vocalizes the melody (with only tenuto “oo” sounds) of Jim Reeve’s “The Blizzard.” (My dream self does not make the association with that song or its implications during my dream.) This factor stabilizes the original peaceful essence of the dream state.

    Even so, after about fifteen minutes, cerebral nuances begin to activate wakefulness, resulting in text of various colors appearing on the street in paint and chalk. (Despite the rain, it does not wash away.) I float over an area where the word “leveling” features in white paint. I focus more on my usual seeking of text in this mode, but nothing relevant is in my view after this. I see what I first think might be a word, but it transforms into a series (about five of them) of the letter “i.” I see the character “o” in a set of three. Probably every letter of the English alphabet, in various colors, features at varying angles to each other on the street’s surface.



    Notes on this dream’s no-brainer causality:

    The essence of water (both summoned and spontaneous) begins the majority of my dreaming experiences in this mode as virtual melatonin. The Naiad factor is the pineal gland personification but also has mystical implications with the so-called third eye (as well as the Eye of Providence).

    Note the incidental play on “Elise Rainier” as “release rain” (“produce more melatonin to sustain my dream”).

    “Leveling” is concurrent with the transition from the imaginary kinaesthesia of floating into legitimate physicality without myoclonus. (There is probably an association of the balance between serotonin and melatonin).

    Jack Albertson’s role as this dream’s sleep simulacrum ties with several threads of dream state causality. Firstly, he remains in bed in the first scenes of “Willy Wonka & the Chocolate Factory.”

    Secondly, that association was recalled from me posting an image of Willie Talk (a ventriloquist dummy) on Twitter yesterday, a doll being the signification of the absence of mental and physical viability while sleeping.

    Thirdly, his visage is as Elise Rainier’s in a trance (yet another play on sleeping and dreaming).

    Fourthly, the fenced area signifies both the virtual division between dream space and the threshold of wakefulness and, in this case, is also indicative of how the physical body is restricted in its movement while sleeping.



    Everything in this dream stems from the same causation factors as the tens of thousands of other dreaming experiences I have studied and resolved daily for over 50 years. Even so, the uniqueness each time is surprisingly admirable.


    Categories
    lucid

    The New Design (and morphing / liminality modulation)

    by Blue_Opossum on 07-28-2020 at 11:12 AM
    Morning of July 28, 2020. Tuesday.

    Dream #: 19,580-02. Reading time (optimized): 2 min 30 sec.



    I am dreaming in an instinctual mode that transitions to moderate liminal modifications that define my emergence from illusory dream perception to the threshold of wakefulness and precursory physicality. My waking-life identity is irrelevant and absent throughout this process.



    I am sitting on the couch in the living room of the Loomis Street house (unseen in waking life since February 1994). I have no recall of its history as my dream starts with a fanciful theme, with morphing content. The narrative initiates emerging physical awareness by first acknowledging and defining the immobility of my physical body while sleeping (a fundamental dreaming process).

    My dream’s narrative begins with the creation of miniature walls (about a foot in height) with the appearance of the front of a barn (the quantization of the virtual division between dream space and waking space), featuring a hayloft door and barn doors. An unfamiliar male character of about twenty years old had been creating them under the management of British actor Mark Sheppard (this dream’s sleep-wake manager) who remains a passive witness, as my dream self is initiating the waking transition in this instance.

    I instinctually continue the process by mentally creating a new version of the little wall. Its appearance differs from the original design only in that it features four miniaturized drawer spaces (without drawers), of equal size, beneath two adjacent doorways (where the barn doors had been). They are in two columns of two, and the feature matches the width of the barn’s entrance. A narrow column evenly divides the two doorways, directly above the division of the two drawer space tiers. (This feature instinctually acknowledges the compartmentalization of neural activity while in REM sleep, though with the anticipation of achieving consciousness.) Mark looks on as I feel cheerful about this more elaborate design.

    The modulatory process (co-occurrent with progressing towards wakefulness) continues with a change in the feature. The area where the drawer spaces were is magnified and isolated while the rest of my dream’s environment becomes undefined. I see two miniaturized gray boom gates that mirror each other, facing the center. This feature instinctually anticipates the exit point of the dream state. As a result, somatosensory dynamics initiate. I push down on the tip of the little boom gate on the right, and it springs back up (sleep atonia to myoclonus).

    My instinctual awareness of my immobility while sleeping (sleep atonia) integrates into the next change in the feature. Mark remains, but I do not look at him. The little boom gates transform as the area is now over twice the size as previously. They are now tonearms that face each other (similar to those of a 1950s record player).

    I become aware that there is motorized clockwork higher within this feature, though I wonder if the tonearm on the left is redundant or if it might interfere with the function of this device. I move the right tonearm in the manner of how I would use it when placing it on a record. The left tonearm only slightly moves on its own as I do this. Mark says he does not think there will be any problems with the new design.



    Even though this dream utilizes the usual processes, I found this particular sequence fascinating in its uniqueness and inventiveness.



    Factors not explained in the main entry:

    Hayloft door (quantized in the miniature wall): Instinctual anticipation of the vestibular system ambiguity as a result of being in REM sleep. A recent variation of this occurred in “Conspiratorial Murals (‘Tickle Me’ Influence),” where my dream self even made a vocal acknowledgment of the process.

    Tonearms: Correlation with liminally becoming aware of the physicality and potential mobility of my arms during the waking transition (sleep atonia to myoclonus).


    Categories
    non-lucid

    A Unique Military Operation

    by Blue_Opossum on 07-18-2020 at 07:07 AM
    Morning of July 18, 2020. Saturday.

    Dream #: 19,570-02. Reading time (optimized): 2 min.



    My waking-life identity is absent throughout this dreaming experience. My dream’s backstory emerges as an atypical narrative where I am pretending to be a high-ranking military officer. I have an unfamiliar younger male partner who is working with me. Even so, the outcome is to result in delivering something to a genuine naval ship or a high-ranking officer.

    The narrative otherwise firstly links as a precursory factor to the usual instinctual summoning of imaginary kinaesthesia to vivify the dream state. In this case, the vehicle resembles a WWI US Standard B Liberty Army Truck, though with the driver’s side on the right. My partner and I are trying to convince an unknown civilian male to give us items from a research laboratory that relate to recent discoveries in molecular biology. He is uncertain if we are legitimate but decides to cooperate with us. He wants to ride with us as well, reflecting that he hoped he had put his trust in the right people.

    My partner drives the truck as my dream vivifies, and night becomes day. The streets and high embankments are all white sand as we travel. At one point, the vehicle goes onto a small wooden raft, and it simultaneously takes us across a river as if the momentum of the truck put it in motion. We travel around for a few minutes on a battleship that has areas that make it appear more like a cargo ship.

    The three of us stand outside a military base. A general walks out to greet us, and I salute him. He seems to recognize my partner and me but greets me as a “French pig.” I do not take it as an insult, but I am puzzled because I am supposed to be an American officer. The man we brought here does not seem to notice this contradiction. A private appears and will lead us to where we are to give what the other man took from the small town laboratory to the general.

    My dream vivifies as imaginary kinaesthesia and physicality exponentially increase when I focus on my walking I try to maintain as a formal swagger.

    We sit on what seems to be part of a dock. The general sits down farthest from the water’s edge. An unknown woman is nearby, and I consider I should show my identification. I intend to hold up my badge, but instead, hold my left hand up in a C shape as if holding an invisible one, as my summoning did not work. She does not say anything but appears slightly puzzled.

    We give the general the item. It is a resealable sandwich bag containing chocolate chip cookies. After he eats one, he takes notice of one that is bigger and of a lighter color than the others. Baked within it is microfilm. He holds it up to the light and studies one section of exposed microfilm in a thinner area of the cookie. “This is what I expected,” he says, and thanks us.


    Categories
    non-lucid

    Solid Tin Coyote vs. Imperial Walkers

    by Blue_Opossum on 06-18-2020 at 12:32 PM
    Night of June 17, 2020. Wednesday.

    Dream #: 19,539-14. Reading time (optimized): 2 min 30 sec.



    Before deliberately letting go of my conscious awareness and recognition of being in the dream state (see note one below), I watch the typical rapid morphing of surreal imagery until it begins to slow into something with which I can integrate. I become aware of an audio snippet from “The Solid Tin Coyote” that accompanied the scene where it is striding. (It is a very familiar and nostalgic sound going back to age five when I first saw it in a drive-in theater with my sister Marilyn and her husband.)

    I focus on the imaginary sound, and this results in a vivid vestibular response of being the solid tin coyote. However, during my dream, my viewpoint changes. At times, I am the solid tin coyote, cheerfully striding through a field. At other times, I am inside its head at a panel reminiscent of an aircraft. Additionally, I am sometimes watching it from an incorporeal perspective.

    Soon, Imperial Walkers (AT-AT walkers) from the “Star Wars” franchise appear on each side. They are slightly shorter than the solid tin coyote. As the solid tin coyote, I happily push them over and avoid their attacks.

    Eventually, when cerebral cortex nuances rise above vestibular cortex nuances (that is, thought cohesiveness beginning to overtake the imaginary physicality of the dream state because of higher liminality and more predominant duality), a Boston Dynamics robot dog struts into the scene from the opposite direction. “Mind your social distancing,” it says in a strange synthetic voice, yet while walking even closer to my solid tin coyote form.

    “Here’s your social distancing,” I say, and kick the Boston Dynamics robot dog over a pole vault bar about a city block’s distance away.

    After this, vestibular dynamics rise above cerebral, resulting in seeing a herd of zebras running to the horizon. (See note two.)



    It is important to emphasize that this is my first liminal to instinctual dream where a pandemic term was perceived, though it still did not trigger any dream state recall of the pandemic itself.



    Note one: In contrast to “becoming lucid” while dreaming (though I have always been spontaneously lucid in the first half of a sleep cycle since I was a toddler, a fact that most people can neither seem to comprehend nor accept), I often utilize the opposite technique. After building a foundation of repeated specialized affirmations (though I never post more definitively scripted dreams online), I deliberately release my conscious presence, so my dream becomes instinctual (without conscious bias, allowing my dream’s narrative to render naturally), which is more intriguing and unique than by way of liminal modulation. (This term includes the sustaining of the duality and knowledge of causal factors between dream space and waking space.) It is overwhelmingly evident that most people lack any understanding of the dream state or its processes, but I try to write as clearly and as honestly as I can. I use specialized software to utilize as low a grade level (concerning readability) as possible for the content, making multiple passes. Despite my AI-reported performance, typically 100% (correctness, clarity, engagement, and delivery), that does not guarantee that my writing is entirely free of errors or ambiguity.

    Note two: Anything in my dream resulting from vestibular-cerebral handshakes and their instinctual, liminal, or lucid management, for example, a car, horse, robot, and so on, vary with which cortex is concurrently most active.

    Robots correlate more with cerebral cortex integration (and my liminal awareness that the physicality of the dream state is wholly imaginary). Physical forms such as animals (in this case, the zebras) correlate more with vestibular-cerebral passivity as I release my hold on liminality. I have experienced these results in thousands of my dreams since childhood, so there is no mystery as to their causal factors.


    Categories
    lucid

    Reluctant Sorcerer

    by Blue_Opossum on 06-13-2020 at 12:54 PM
    Morning of June 13, 2020. Saturday.

    Dream #: 19,535-03. Reading time: 2 min 56 sec.



    Although parts of this dream have influences from coronavirus associations as read in the media in waking life, there is, as usual, no dream self recall or concern about the pandemic, only three compartmentalized threads unlinked in my dreaming experience. The first is a reference to someone having a sore throat, the second relating to the claim I read in an article that bugs in a dream are “symbolic” of COVID-19 (and yet people have always dreamt of bugs long before this), and the third relating to stores being abandoned and boarded up (associated with media reports about rioting and looting as well as COVID-19).

    My dream self is a sorcerer in this imaginary scenario. My waking-life identity is absent even though I am in what is possibly a variation of the Hinkler Centre shopping mall though it also has the vague, ambiguous essence of my middle school and a shopping mall in La Crosse. An unfamiliar man and woman approach me. The man claims he got a sore throat from me. I tell him, “I never had a sore throat in my life.” (My dream self has no recall of ever having one, anyway.) I had supposedly been in service to them as a sorcerer, though I am unsure as to what he had wanted from me. He reminds me by giving me a card (about one and a half times bigger than a business card) that supposedly has their requests on it, though I do not read it.

    Even so, I am annoyed. I do not want to deal with these people, so I summon scarab beetles in their direction, though only a few crawl towards them. (This event is similar to one in a dream from April 14, 2020, though that was with comedic, sarcastic intent with ants.) I decide to leave the scene, now recalling I should be wearing different clothes (instinctual awareness of being undressed as I sleep).

    I walk out to the parking lot (liminality management) and notice most of the windows of the shopping mall are boarded up (another type of dream state liminality management, though with a more defined division between dream space and wakefulness). I want to get something from a store. I eventually find one store at the other end up the shopping mall that is not boarded up and is open. It is a grocery store with many shoppers. After I go in, I look around and realize I am not here to buy anything but to retrieve my clothes. (It makes no sense other than as specific co-occurrence with preparing to wake by being near a checkout with the association of getting dressed after getting out of bed. Once dreams are understood for what they are, there is no doubt as to their translation.)

    Instead of waking with this otherwise familiar process, my dream becomes exponentially more vivid. The vestibular-cerebral handshake kicks in to an extreme degree, and I find that I seem to be a young boy scout (and dressed the part, including with khaki shorts) even though I also have the recall I had been a sorcerer in the previous transition. Three men tower over me like giants, though I do not feel threatened or insecure. They are going on a fishing trip and are waiting for the man I wanted to avoid in the first dream segment. He eventually arrives and is huge. However, I summon a fireball and disintegrate him. The other “giants” do not seem to care and behave as if they are glad to be rid of him.

    Even so, I decide to instinctually initiate the next process. I turn and walk through the wall of a nearby building into a dark bedroom. However, one of the men from the previous scenario walks in, though he is now normal size, as I am. He is thankful for me getting rid of the other man but patronizes me by giving me a card addressing what he wants from me by way of sorcery. Soon, another man comes in and also gives me a card with his requests.

    I am then on the porch of my present home (liminality management) and wonder if I should wait for the third man to approach me in case he also has a card. Even so, I begin to feel that my dream is too ridiculous to continue, so I wake myself.


    Categories
    non-lucid