Evening of July 4, 2018. Wednesday. This entry contains brief details in a list of complete online entries for 15 fascinating dreams that meet the criteria for designated type: PRECONAV-VSCPCEL. This entry’s internal code is PRECONAV-VSCPCEL-01-15, for personal statistical records in over 50 years of studying and resolving tens of thousands of my dreams. The entries are not listed in any order. They include the specific causes of each dream’s autosymbolism, meaning, and outcome. To hold the PRECONAV-VSCPCEL code, a dream must meet the following criteria: The preconscious avatar during waking process autosymbolism must be a celebrity, in their real-life identity, a character they play, or their appearance without my dream self’s recognition as either (for example, erroneously perceived as a relative, friend, or member of the public of which would not imply their celebrity status). Both celebrities and unknown or unfamiliar people are common preconscious avatars, as neither is a part of waking life (other than when literally prescient threads exist). Vestibular system correlation of RAS (reticular activating system) mediation or modulation and the mediating or modulating personification of vestibular system correlation as such must be the primary basis for, and cause of, my dream’s autosymbolism and outcome in both lucid and non-lucid transitions and in both controlled and passive dream state scenarios. It must be as a waking process factor (in its autosymbolism) rather than an induction factor as in other cases, though some induction autosymbolism is typically present to render the particular dream’s foundation. To understand the causes and meaning of this dream type requires the intelligence and experience of knowing that dreams are mainly autosymbolic of the sleeping, dreaming, and waking processes, including concurrent biological dynamics and ultradian rhythm factors as well as environmental circumstances. This dream type, depending on the dream, is a result of subliminal, liminal, or lucid awareness in anticipation of the waking process as well as various levels of non-lucid and lucid dream control based on the knowledge of dream state autosymbolism. Although flying, falling, and rising are a biological factor of dreaming and waking (inherent in vestibular system correlation on how the dream self cannot viably discern physicality while in REM sleep), the preconscious often serves as an additional factor of RAS mediation and modulation as an anticipatory projection of the subconscious self. The main factors behind this type of autosymbolism are in the desire of having both a helper (in the anticipated “fall” from the dream state) and a witness (and companion) of the waking process. I began to understand much about dreams at age four and by age six, had an astounding level of both lucid and non-lucid dream control. This dream type, like most others, may include obvious dream state indicators, such as a bed or being undressed (in subliminal realization that my physical body is usually undressed when I am sleeping in bed). 01] Fictitious Lloyd Bridges Movie. March 10, 1978. My preconscious avatar is actor Lloyd Bridges, serving as the virtual replacement for my subconscious self that is otherwise only a witness (to the fictitious movie titled “Bridges”). This mainly stemmed from a nostalgic focus on the TV movie, “The Deadly Dream”, first viewed in full on September 25, 1971. This dream even ends with ending movie credits rolling as I wake. While the real movie was based on a dream that turned out to be real, my dream is autosymbolic of the dreaming and waking process and includes the play on “bridges” as representing the concurrent changes through different levels of consciousness in REM sleep. “I just hope he comes down all right” is a reference to the waking process and the biological anticipation of “falling awake” (waking start). 02] Shopping with Silas Weir Mitchell. June 22, 2018. My preconscious avatar is actor Silas Weir Mitchell, serving as helpful companion to my subconscious self. I reset my dream while semi-lucid after he falls off the curb two stories down to the street (which is impossible) but then I decide to wake. This was a different form of the first dream of virtually every sleep cycle for over fifty years but which involves me directly. I take a step while walking on the sidewalk and trip (with an unusual misstep) or fall off the curb and experience the vestibular system correlation and hypnopompic kick of the waking process. However, this process is far more vivid after I had walked a lot more on that day. This otherwise stemmed from the association with the character he plays on the TV series “Grimm”, which is Monroe. I lived on North Monroe Street as a child. This same association has triggered other dreams of Silas walking down the street near me. The intersection is autosymbolism for RAS mediation and the choice of waking for the day or returning to deeper sleep for a time (ultradian rhythm factor). 03] Dancing High (with Jordan Gavaris). June 1, 2015. My preconscious avatar is actor Jordan Gavaris, serving as a parallel avatar to my subconscious self. This dream stemmed from nostalgic associations with my “Money Cat Minion Saves Me from Falling from Roof” from 1966 (age 6). Jordan starred on TV series “Orphan Black” as Felix, and I associated that name with cats and supposedly “always landing on their feet”. (Cats have often served as witness to the dream state in liminal space autosymbolism and as a form of the preconscious avatar in both lucid and non-lucid dreams, including in cases where a cat, including such as a lion or a tiger, becomes a person in my dream’s final scene). With this dream, there were resets back into the same elevated scene, both lucidly and non-lucidly. 04] The Flying Carpet (with Lucie and Desi Arnaz, Jr.). March 23, 1973. My preconscious avatar is actress Lucille Ball, serving as a liminal emergent consciousness precursor. The song “Magic Carpet Ride” is a dream induction influence (especially as its first line is “I like to dream”). It also takes on the dream state indicator analogy of being like a bed. A parking lot is dream state autosymbolism that represents the physical body being inactive in sleep. 05] The Tiny Man and the Apocalypse (with Gregory Hines). April 12, 2017. My preconscious avatar is actor and dancer Gregory Hines, serving as a catalyst for the waking process of a very long dream. In this dream, a sketchy version of Gregory was rendered as impossibly sliding down the side of a building (though of which was ambiguously in what was perceived as also an indoor setting as in many past dreams). 06] Ralph the Airplane Fixer (with Mary Canfield). December 13, 1969. My preconscious avatar is actress Mary Canfield, serving as helpful companion to my subconscious self. Mary played the character “Ralph Monroe” in the TV series “Green Acres”, and as explained above, this (North Monroe Street) is an association with where I lived as a boy. The rest is a bilocated essence of autosymbolism of the dream state itself (flight) as my bed also somehow being a flying wooden airplane (even though I remain in my bedroom). 07] Amusing Helicopter “Rescue” (with Pierce Brosnan). May 19, 2016. My preconscious avatar is actor Pierce Brosnan, serving as summoned helper to my subconscious self. In silliness, I place a miniature model of me as meant to represent me being asleep and dreaming. I associate Pierce Brosnan with James Bond, which relates to spies and a loose association with detectives, which are a preconscious factor of liminal space, in needing to understand the transitions from sleeping to dreaming to waking. 08] Yet Another “Uhny Uftz” Dream. August 4, 2015. My preconscious avatar is actor and comedian Dick Van Dyke, serving as a virtual replacement for my subconscious self. This was based on a nostalgic association with an episode of “The Dick Van Dyke Show” titled “Uhny Uftz”, first watched in full on September 29, 1965, though in my dream, it is a “real” flying saucer rather than a toy as in the TV episode. This dream brought about an elevated sense of peace and love. 09] Nichelle in a Small Rocket. March 8, 1997. My preconscious avatar is actress Nichelle Nichols, serving as a virtual replacement for my subconscious self. This association comes from “Star Trek” but also links to the concept of communication in liminal space (as she plays the communications officer), between dream self and conscious self (as well as the dream self with the transpersonal interconsciousness). 10] Saul Rubinek and the Airplane Crash. May 28, 2015. My preconscious avatar is actor Saul Rubinek, bringing attention to the nature of the vestibular system correlation of the dream state. This dream was partly a result of environmental noise as well as the usual vestibular system correlation autosymbolism that renders in virtually infinite ways. I associate Saul as a good avatar due to his association with the TV series “Warehouse 13”, as warehouses are autosymbolism for memory processing in REM sleep (even though non-lucid dreams themselves rarely have any form of accurate memory or viable intelligence). 11] Talking About a Dream from a Don Knotts Movie. May 3, 1998. My preconscious avatar is actor and comedian Don Knotts, serving as witness to my liminal awareness of the dream state and my appreciation of the surreal nature of dreams. I am very vaguely lucid and relating to the nature of autosymbolism of vestibular system correlation, which is linked to flight symbols, in this case, the surreal scene from the movie where the stealth bomber transforms into a manta ray (one of my favorite and most nostalgic movie events). 12] Russell Johnson and The Cane Toad War. October 6, 2013. My preconscious avatar is actor Russell Johnson, serving as helpful companion to my subconscious self. This was the typical hovering and floating around near the ceiling dream, though no lucidity came about in this case. As with Josh Holloway, my association with Russell is as being a castaway on an island (the dream state). 13] Female Robotic Suit (with Barbara Bain). August 22, 2014. My preconscious avatar is actress Barbara Bain, serving as both vestibular system correlation and as an autosymbolic representation of my annoyance with my real environment. Barbara was an association with my perception of Zsuzsanna being annoyed by the noise next door as well, and the association with needing “protection” as such while sleeping. (Barbara Bain shares my wife Zsuzsanna’s birthday of September 13 in addition to playing Helena on “Space 1999”. Helena is Zsuzsanna’s mother’s name. Barbara’s character was also a doctor on this show, hence the associations with needles and medical features.) 14] Helicopter to Spaceship to Helicopter to…. June 9, 2016. My preconscious avatar is actor and model Josh Holloway, serving as helpful companion to my subconscious self in the last scene. After a dull and sustained focus on vestibular system correlation in a faux sleeping scenario outside on the ground, my dream begins to progress toward the presence of the preconscious, who shows up as Josh. I mainly associated Josh as being “Tom Sawyer” as a castaway on an island (an analogy to being in the dream state, especially as associated with water induction). 15] People of Powder. September 18, 1990. My preconscious avatar is actor and comedian Don Knotts, serving as a parallel witness for my subconscious self. “Can’t be…there aren’t any airplanes anymore”, which he says upon hearing an airplane flying in the sky outside while we remain in the ruins of a commercial building in New York, comes from his role in “The Reluctant Astronaut” and how he was afraid of being on an airplane or in space. (However, it also tied in with threads precognitive of the September 11 attacks in 2001 and the grounded airplanes after that event, the 2001 anthrax attacks, as well as my as-yet-unknown-of upcoming marriage.) Additional notes as correlation samples: Associations with dream state induction: Lloyd Bridges (“Sea Hunt” - water induction, being like a fish), Silas Weir Mitchell (werewolf-like character as analogous to dreaming and waking), Russell Johnson (isolated on island, dreaming), Josh Holloway (isolated on island, dreaming), Don Knotts (“The Incredible Mr. Limpet” - water induction, becoming a fish). Associations with outer space (augmented ambiguous vestibular system factor): Lloyd Bridges (“Stowaway to the Moon”), Dick Van Dyke (“Uhny Uftz” episode of “The Dick Van Dyke Show”), Nichelle Nichols (“Star Trek”), Barbara Bain (“Space 1999”), Don Knotts (“The Reluctant Astronaut”). Transitional autosymbolism (liminal space): Lloyd Bridges (play on “bridges”), Gregory Hines (cop in “Running Scared”), Pierce Brosnan (James Bond movies), Barbara Bain (“Mission Impossible”), Saul Rubinek (curator in “Warehouse 13” - secret service agents also feature in this show). Enhanced vestibular system correlation: Lloyd Bridges (“Sea Hunt”), Jordan Gavaris (dancer), Lucille Ball (dancer), Gregory Hines (dancer), Nichelle Nichols (dancer), Barabara Bain (dancer), Don Knotts (as an animated fish in “The Incredible Mr. Limpet”).
Morning of June 22, 2018. Friday. Dream #: 18,813-02. Reading time: 1 min 23 sec. The first part of my dream presents a shopping situation in an unfamiliar store. There is significant visual detail in what I am buying, mostly food. After finishing our shopping, Zsuzsanna and I (and our children) walk along what vaguely reminds me of the King Street area in America. Silas Weir Mitchell, the American character actor, is with us, though my dream self does not recall him as either a celebrity or a character he had played. He is an implied friend. We approach an intersection, though it seems a challenge to continue. Snow covers an embankment though there is no awareness of winter or being cold. Where the end of the sidewalk joins the curb, one must first go up and over the embankment before crossing the street. I am pushing a shopping cart full of groceries. Silas is helping me, although he soon seems to be annoyed. Upon going over the embankment, there is a sudden drop of about two stories, with the street far below. I look down and see that Silas has fallen with the trolley, though seems uninjured. There is annoyance at my lack of progress in getting home with our food as the groceries are now strewn on the street far below. I soon realize it is a dream and that it is the usual vestibular system correlation of the waking process. As a result of this emergence of dream state awareness, I mentally reset it, and immediately, Silas and the shopping cart are back near me on the sidewalk, but I still decide to wake. In this dream, Silas is the vestibular system personification, a projected simulacrum of the waking process (which typically comes with an imaginary perception of flying, falling, or rising as a result of not fully discerning the physical body or its orientation while asleep). An intersection is autosymbolism for RAS (reticular activating system) mediation and synaptic gating, that is, the choice to wake or return to dreamless sleep (or attempt to continue the dream). I explain this dream type in “Dreams of Type PRECONAV-VSCPCEL, 01-15."
Updated 01-21-2019 at 04:52 PM by 1390
Morning of April 12, 2017. Wednesday. In the first part of my dream, I have the ability to “do anything” and I am clearly aware of this (even though I am not lucid at any point), of which becomes a focus on an unfamiliar Solntsevskaya Bratva boss (reminiscent of an older Mikhail Baryshnikov though more like Semion Mogilevich in the last moments of the scene, though Mikhail is possibly the man at the teacher’s desk and near the tree in later scenes) and his younger associate wanting me to find gold. Semion is at a desk in the last scene of the first segment. I explain that I will only find the gold that is not in a secured location or kept by others. I tell him that there is at least one large gold nugget twenty-five miles away. (This indicated that my dream would last twenty-five more minutes as gold typically represents emerging consciousness as well as sunrise). To me, this seems like too long of a drive, but he seems to be interested in getting it. I explain that I could find gold coins that had been lost (symbolic of subliminally seeking conscious self identity), but the focus remains on the gold nugget. No events related to this scenario occur after this. In another scene (which seems to be the same unfamiliar room as in the first scene), I get two chocolate Easter eggs from my mother (having no memory that she had died years ago). They are like Kinder Surprise eggs (and with the same wrapper imagery) but about twice the size. When I go to eat one as I am lying on the floor (on my side), there seems to be one inside the other, as I end up eating at least half the foil from the one on the inside (but I do not spit it out). My mother is present and I mention this. She says that she had forgotten to unwrap it (and the second egg is probably like this as well). This does not really make sense, as how would one unwrap a chocolate egg that is fully inside another one? The toy inside the plastic “egg” (of which there is only one inside the second wrapped layer) is hard to discern. It may be some sort of tiny plastic outrigger model, the pieces attached in one frame (and I see the small strip of paper with instructions as well). There is a tiny man, only about three inches high, who I talk to several different times throughout the rest of my dream. There is interest in where he may have come from. I ask him where he lives, naming about three locations, finally asking him if he lives under tree roots and he seems offended. He talks to another male (of normal height) at a desk. The other male asks me something about receiving a check. The layout of the room now reminds me somewhat of one of my high school basement classrooms, with a square column on each side of his desk. I notice that I am in pajamas and as it is the middle of the day I feel slightly embarrassed. (I do not wear anything when sleeping in real life, though this is just a first-level dream sign, that is, a subliminal non-lucid awareness of being asleep and dreaming.) I take them off and put a shirt on, but then I see that I already had a shirt on (even though I had not actually put the first one on) so I am now wearing two shirts and notice that they are different colors (blue and pale orange I think, the blue on the outside). I think about whether I should just button up the second one but consider that it may be too warm. Eventually, it is seen that the tiny man actually had been living in a small cave under a large tree (just as I had first thought and asked him about though which seemingly offended him), accessible via a tiny doorway between the tree roots. I see two tiny women dressed as fishwives standing just outside the door. They seem to be wondering where the tiny man went. I want to talk to them, but they are wary of human beings of normal height. A group of other people, some of them relatives, curiously approach the tree (including Tina, which is possibly the first dream she has ever appeared in - I see her full name on a small piece of paper near the tree with a couple other names I do not discern). They seem to question whether or not tiny people really exist. One unknown male (Mikhail? - though vaguely like my brother Leonard) places about six or seven odd plastic animal figures near the door as “bait”. They are not to scale and include a frog, cow, horse, dragon, owl, and other animals, all about two inches tall. The tiny women somehow get the figures inside and the figures come to life. The frog tries to eat the cow but fails. Other figures try to eat each other in a chaotic scene but the scene changes. (I am viewing this as if the scene is magnified and I am perceiving from within the tiny cave, though this viewpoint changes in the next scene.) The tiny man returns and goes inside the cave under the tree. I had wanted to talk to him more. Soon, a young Gregory Hines (February 14, 1946-August 9, 2003) is present. Apparently, he is the ruler of the kingdom of the little people even though he is of normal height. He now plans on eliminating everyone but the little people (and himself). As such, he calls another copy of himself to aid in the end of the world. A sketch of Gregory Hines “slides” down a miniature skyscraper (though which is still about ten feet tall) that has the external surface of a flat disco ball. I watch as it nears ground level, each square shifting as the parts of the drawing “slide” down the side of the building. The drawing becomes three-dimensional and soon becomes the second “real” Gregory Hines but he is dressed differently than the first - in an unusual vertically pinstriped (dark gray and white) dance costume. I pick him up and throw him over my right shoulder (his head in back of me) and he kicks his legs. The first Gregory Hines looks on with annoyance. I am not sure what to do. I do not want everyone to be killed but I do not feel like carrying the second Gregory around or hurting him. This is the first time that my preconscious and emergent consciousness (not fully coalesced but still physically touching me and over my right shoulder) were both Gregory Hines. The two shirts event seems redundant of the concentric chocolate eggs event. It may relate to layers of consciousness within the sleep cycle or an unusual waking transition metaphor that requires a second prompt for coalescence (as I was in the dream state much longer than usual). The personified unconscious was the tiny man (validated by the fact he lived underground under a tree, a tree being analogous to the human brain only in some cases). This dream is atypical with regard to the miniature people factor. Most such dreams trigger lucidity and extreme vividness but not in this case. The high school basement classroom is a factor of the unconscious. The fall (or “slide”) down the outer wall of the disco ball building (also a “moon cessation” factor symbolizing the change in circadian rhythms) seems to be the otherwise common precursor to the “fall” of the emergent consciousness and vestibular system correlation. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 12:22 PM by 1390
Morning of May 19, 2016. Thursday. Just when I go on about how many different variations non-lucid dreams use to render the same basic meaning throughout a lifetime (that is, as a thought process for waking from sleep rendered in metaphor), along comes a dream with much of the same theme as one from April 6th’s “Helicopter Landing (resolved flight waking transition)”. There had been previous focus on one of my favorite Bob Marley songs, “So Much Trouble in the World”: “Don’t leave another cornerstone, standing there behind, we’ve got to face the day, come what may”. I am checking a cornerstone of a building to make sure it is in place. However, I soon end up atop that same building apparently “trapped” with several (unknown) others. There is the idea of gang activity below, about five or more stories down. I see a possible gang member running off to the left and around the building. Although the others seem somewhat fearful I am not at all bothered. There is talk of rescue but when seems uncertain. After time passes, a small helicopter approaches from my left. James Bond is the pilot; that is, actor Pierce Brosnan. The only problem is that he is only about five inches high and the helicopter is way too small to even think about getting into. (My hand would barely fit into it.) The other people do not seem to notice that the helicopter is miniature but it seems I am the first to be rescued. James Bond indicates cheerfully for me to get into the helicopter and I am not sure what to do. I cannot grab onto it to hang from it, so something else comes to mind. I take out a small very thin pillow shaped like a human body and place it to his right, barely able to get my hands through the opening. The “pillow” is so thin that it easily bends into sitting position and for a moment is more like a thin piece of light blue material cut from a blanket. From here, I wake, recognizing I am seeing a “little me” as somewhat of a model of me sleeping in my bed - though the waking transition has already begun and I do not jump into greater lucidity. (Again, I really have to buy new pillows. My present ones are just too thin and it is almost as if I am being sarcastic to myself in my acknowledgment at the waking point.) The cornerstone symbol occurred as far back as age four and relates to the “corner” concept in general and was a main focus of very early childhood dreams (and I may make a compilation entry on this on a later date). It relates to both hide-and-seek as well as much earlier “peekaboo” games with toddlers (and the deep memories from childhood). A cornerstone unites walls going in two different directions, one relating to the liminal space farther into the dream state, the other the liminal space farther out of the dream state. Being atop a higher building means being closer to full consciousness and as such is often the clearest part of a dream. The middleman in this case is obviously James Bond. However, there is a very odd ambiguity here where my dream self also has the essence of the middleman as I am the one who “puts myself” into the “return flight symbol” (natural consciousness displacement of the dream state) to be “rescued” (and of course being rescued means finding your way out of the dream state back into whole consciousness). I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 03:40 PM by 1390
Night of August 4, 2015. Tuesday. Even though I have only seen the “Uhny Uftz” episode of “The Dick Van Dyke Show” a few times in my life (the first occasion being September 29, 1965 on my sister’s television on Rose Street), it sometimes surfaces in my dreams as the autosymbolic model of vestibular system correlation. In my very vivid dream, I am in the same setting and scene as the image with this entry, and mostly lucid and in a very peaceful state. I recognize immediately what is going on, and, although the scene is a bit eerie, it shifts dramatically. Instead of Dick Van Dyke continuing to remain pressing nervously against the windows of his office to see if he can make out the flying saucer presumed to be out in the night sky, he is suddenly on board the flying saucer (apparently alone, though this is uncertain, as I am watching the scenario while incorporeal) looking out over his building and city (even though in the show’s episode, it was only a toy flying saucer). He appears as he did around this time period (though he is now eighty-nine years old in real life). There is an amazingly comfortable sense of peace (even though I sense that he may not fully realize where he is or perhaps reflect he is dreaming). He remains standing and smiling and gazing out happily over the city below. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 03:54 PM by 1390
Morning of June 1, 2015. Monday. I deliberately semi-lucidly reset my dream about four times. The way I did it involved having to be on my left side and mentally focusing on an area above the center of our bed, which is similar to a routine relating to my more abstract dream sequences. I have often deliberately gone back into the same dream scenario throughout my life by semi-lucid intent and typically made both lucid and non-lucid changes for each version prior to waking for the day. Jordan Gavaris of “Orphan Black” is in an unusual production of “Swan Lake” with unfamiliar people (other than a younger version of my wife Zsuzsanna) and at one point is wearing a white bodysuit (though people seem to change costumes quickly while still on the stage). The stage is mostly like a large platform that is elevated and centered very high above the audience and access is via one corner that is much like a circus trapeze setup. I do not seem to be directly involved in the performance even though I am on stage most of the time. Unused stage props and equipment remain on the stage at all times. The only way that any members of the audience far below could see the stage is by way of monitors near ground level, though I am not directly aware of any cameras nearby. Although I am somewhat wary of the edges of the stage, it seems safe enough. At one point, Jordan and a few others ride in a sleigh-like vehicle that looks like a white swan, which is being pulled by a rope by a machine on one side of the stage. I am perceiving and copying (to a lesser extent) Jordan’s mood in his wariness about being too close to the edge of the platform at times, but he does not fall. In one of the last resets, an unknown male climbs up to the platform from far below. I am not sure if he is involved in the production though he watches for a time. Oddly, I get the impression he may also be a known serial killer (something to do with his appearance seeming slightly familiar as such) but I am not that worried, because there are so many other people around. In all versions of my dream, I begin to feel an intense exhilaration at being so high up even though there is a vague sense of the whole setup possibly being precarious and an awareness that people could easily fall to their death at any moment, especially in going near the edges of the platform. In the last reset, the platform seems higher than ever. When I look down at one area, the audience is so far away, I can barely discern individual people. It seems somewhat like a football stadium at this point (though about four times the distance from the center), with the platform elevated from the center of the field. The curious sensations of giddiness and exhilaration continue, though not enough to be disorienting. I do not become fully lucid at any point even though I was aware enough to reset my dream a few times. Additionally, there is the typical indoor-outdoor ambiguity, where I seem to be in an indoor and outdoor setting simultaneously. For example, the “curtains” which seem to be at a distance and impossibly large, also seem integrated as the “sky” at times. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 11:00 AM by 1390
Morning of May 28, 2015. Thursday. In this dream, I am living with my wife Zsuzsanna and children in, I believe, Brisbane, in a more populated area and where the houses seem closer together. Over time, there is vague concern over some sort of military conflict. I notice a Cessna (possibly a 172 Skyhawk, though it also seems part of a military airplane composite and with a few clearer 1950s features) flying around above the neighborhood. For some reason, I sense that it will crash, possibly onto our house. It does eventually crash after we hear a bomb go off above, but on a nearby neighbor’s house. Looking closely, I see that the right wing of the airplane (which is facing where Zsuzsanna and I are standing) has a large somewhat trapezoidal hole around the central area, with some thin wiry metal about the perimeter of the hole. This seems to be the only damage to the airplane at this point, the other wing being whole. I soon notice that Saul Rubinek (as he appears on “Warehouse 13”, the science-fiction television series) is being held and led away by federal agents in blue, all younger, and all of the men having just been on the airplane and then just walking casually away from the crash without the slightest injury or sign of stress. Apparently, Saul had caused the bomb to go off and damage the plane. I immediately recognize the actor and wave and make a mention to the spectators near the crash site. He looks back at us and smiles and waves and seems cheerful regarding his situation and yet this does not seem to be relevant to a movie or television show being filmed. Apparently, he actually did set off the “real” bomb on the plane even though he is allowed to pause for a moment now and then to say hello to a spectator as if he was presently in an actor’s role. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 09-11-2019 at 07:08 PM by 1390
Morning of May 3, 1998. Sunday. In my vivid dream, I meet Don Knotts. Curiously, he is young and assertive and not like typical characters he has played in movies. I tell him how much I enjoyed his movie “The Incredible Mr. Limpet”, especially the scene where he is dreaming and the stealth bomber transforms into a manta ray (possibly one of the eeriest surreal scenes I have seen in any movie, and for me, very nostalgic). We remain in cheerful conversation as I wake. (I enjoyed the mood of this dream very much.) Format of dream: Water induction (implied) to rendering of preconscious avatar (Don Knotts) to the waking autosymbolism of vestibular system correlation as the flight-related event, also liminally associated with the surreal transformations that often occur in dreams. Of course, the fact that I am describing a dream in my dream is a dream state indicator. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 05:19 PM by 1390
Morning of March 8, 1997. Saturday. I had a dream about Nichelle Nichols (Uhura of “Star Trek”). My dream was extraordinarily vivid. She remains (as her Uhura character) in a small powerful rocket moving above Earth. It seems that Doctor McCoy is the one that put her in the rocket as an experiment, though for an unknown purpose. She bounces around in the interior of the rocket without getting injured. It seems as if I am present, though incorporeal. It does not seem to be part of a movie as in similar dreams, but is implied as a “real” event. An association relates to her appearance in Star Trek V, which had a surreal moon induction scene and featured a “cat dancer” in another scene. Another connection relates to a vivid dream from 1966 which was influenced by the somewhat anthropomorphic cat dancing as in “Gay Purr-ee”. Additionally, a similar essence was in “Cold Hands, Warm Heart”, an “Outer Limits” episode which starred William Shatner (also of “Star Trek”). See the composite image for how similar the essence of these images are, which my nonconscious correlated over many years (or I would never have consciously made the personally eerie connections). In addition to the typical vestibular system correlation, there is also the factor of rolling around in sleep. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 04:39 PM by 1390
Night of December 13, 1969. Saturday. Ralph the Carpenter from “Green Acres” (played by Mary Canfield) is in my room in the middle of the night. She needs to do work on my bed (obvious dream sign) but which is also a wooden airplane (flight symbol and typical autosymbolism for vestibular system correlation) that apparently flies. She apologizes for waking me after I absentmindedly look up at what sounds somewhat like hammering. The boards are at different angles including several over my head but apparently my airplane is still okay to fly. She says something about the school bus (or catching the school bus) at one point (even though it is the weekend - which I try to recall the nature of in the back of my mind) and something about my cat Snowball. Soon, I am aware my bed is flying - with not that much concern (or focus) over her probable incompetence, though that is only a very loose association as I do not feel much movement and I am seemingly still in my room in the same position. I hear a soft engine which sounds in the distance (or underneath me and not very loud) though it is somehow meant to be “my airplane” of which I am supposedly in. I am not doing anything (that is, I am not acting as a pilot) even though my “airplane” has eventually supposedly gone a far distance. I am in bed as I was, with my eyes closed wondering where I am going. There is the typical essence of indoor-outdoor ambiguity (somehow being simultaneously indoors and outdoors). I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 03:25 PM by 1390
Morning of March 10, 1978. Friday. My dream features a fictitious Lloyd Bridges movie that is about a man driving on unusual bridges and overpasses. The title is “Bridges”. It features a surreal psychological theme. The main setting seems to be Port Charlotte, Florida. The movie explores a man’s obsession with his need to drive over every bridge and overpass in America at least once, regardless of its condition or if construction has completed. He spends most of his time in his goal. He has stress from not getting enough sleep and spending so much time driving. He uses dangerous methods that stem from his desire to create more of a challenge, getting his car airborne at times. My dream includes divided screens of different sizes with inset videos of his activities. I do not seem to be an active character in my dream at any point, though I do seem present during many of the events, including the last scene. In the movie’s last scene, he drives fast onto an unrealistic steep overpass which seems dangerous and apparently incomplete. I hear one man say loudly to another (speaking above the noise of traffic), “I just hope he comes down all right”. These unfamiliar men are standing near the side of the road below the overpass. I seem to be looking at the overpass from above just prior to waking, though I had also seemed incorporeal while flying and viewing Lloyd from the side of his car as he was driving it. There is no indication of harm coming to him. I see the movie’s credits rolling as I wake, though the movie’s ending is not resolved. Dream influences and other notes: The main influence was a dream state indicator, though it did not bring about lucidity. This was a liminal and nostalgic focus on “The Deadly Dream”; a TV Movie that first aired on September 25, 1971 and starred Lloyd Bridges. Concerning Lloyd Bridges (January 15, 1913-March 10, 1998), note the curious date correlation of twenty years after my dream. “I just hope he comes down all right” is a reference to the process of vestibular system correlation as part of the natural waking process. I explain this dream type and meaning further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 08:13 AM by 1390
Morning of March 24, 1973. Saturday. I am standing on a large red “flying carpet” (vaguely associated with the saying “rolling out the red carpet” while in my dream) with golden tassels. I am with the adult son and daughter of Lucille Ball; Desi Arnaz, Jr. and Lucie Arnaz. (Lucille Ball seems vaguely present at times, but this is more like a dream within a dream.) Everything is seemingly going well at first. The flying carpet has an additional part that is like a large pillow on one end. We mostly stand as we ride on it high in the sky, mostly going west in my dream. In the end, the magic carpet must be left behind, as it somehow gets stuck in the ground or between rocks near a parking lot of a shopping mall (which seems to be an area of the school grounds by way of real life association). I see a diagram that is like some sort of X-ray view of how it is partly oriented within the ground, including orientation relative to the direction it was going at the time (south), and with technical notes on how it ended up there. This dream is a result of typical dream state autosymbolism by way of vestibular system correlation. Of course, the song “Magic Carpet Ride” is a dream induction influence (especially as its first line is “I like to dream”). It also takes on the dream state indicator analogy of being like a bed. A parking lot is dream state autosymbolism that represents the physical body being inactive in sleep. I explain this dream type further in “Dreams of Type PRECONAV-VSCPCEL, 01-15”.
Updated 07-04-2018 at 11:37 AM by 1390
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