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”).
Afternoon of May 24, 2018. Thursday. Vestibular system correlation is the most common cause of the autosymbolism of the dream state. Vestibular system correlation is the result of the illusory dream self lacking the discernment of the physical body during the first stages of consciousness reinitiation by way of RAS (reticular activating system) mediation and modulation. This is a biological correlation, yet also inclusive of liminal anticipation of the waking process. In this series, I will be including my original date codes rather than dream titles, as each event described and explained in this series is only part of a particular dream’s autosymbolic process. The date code is year (four digits), month (two digits), day (two digits), and the hour of the sleep cycle in which the dream occurred (two digits). This is the only viable way to order dreams, which I first used at the beginning of fifth grade. The order here will be entirely random as I look back and choose particular dreams. As I have tens of thousands of dreams and their causes and meanings not yet posted anywhere online, I am considering new methods of dream journal entries, such as sets of 25 to 50 dream events in a singular entry with summaries that are more concise, with their causes and meanings. 1) (1966122301). This was a series of dream sequences based on resets by way of liminal dream control (though of which partial lucidity was present at times, though lucidity and dream control are unrelated despite popular misconceptions). The most vivid event resulted in being saved from a fall from the Rose Street apartment’s roof by a “Shadow Cat” (from “Gay Purr-ee”, a 1962 American animated film musical). Based on the foundation of liminal anticipation of hypnic jerks (which I call “hypnopompic kicks” when they occur at the end of a dream), the scenario developed out of the unexpected disappearance (in my dream only) of the external staircase at the back of the building while seeking to use it to enhance my dream. (Since I was a toddler, I knew that staircases were autosymbolic of the dreaming and waking process, so I typically used them to vivify and sustain a dream.) Why I chose the “shadow” (in the form of a bizarre anthropomorphic cat silhouette, though in my dream seemed more like a helpful human adult, probably modeled after my father in this case) from an animated movie I had seen only hours previously is interesting. Most people see the “shadow” as eerie or even malevolent, yet the form comes from the preconscious, not the unconscious as so many erroneously believe. I have only ever seen the “shadow” as either a loving entity or a thread of my conscious self identity being rendered within the dream state for my illusory dream self to acknowledge and find validity and stability in (as the dream self lacks a real physical body, which vestibular system correlation is all about). (There is also a hidden factor regarding cats, in that they supposedly “always land on their feet”.) 2) (1964070506). At age three, floating, flying, and falling dreams were at their peak. In this recurring series, I sometimes chose Woody Woodpecker to be the factor of falling out of the dream state, depicted as driving my brother-in-law’s car with Knothead and Splinter as front seat passengers. The event was Woody Woodpecker driving off a steep embankment with a sustained scene of them in the car (as viewed by hovering in front of the scene) rolling down the hill, screaming, and waving their arms with their eyes bulging. This was loosely modeled after real-life experiences, one influenced by a road in Florida that was so wavy in shorter distances it was like going up and down on a rollercoaster, another influence from riding in a car up to Grandad Bluff, and another from the steep ride to Chipmunk Coulee, where we lived. Ultimately, from what others have written about dreams, these were not even technically nightmares. Fear was minimal and it was more like watching a curious impersonal scene. There were versions of this dream where they were people, not cartoon woodpeckers, but the rendering was still not very realistic. Vestibular system correlation autosymbolism occurs in different forms. This was more of a projected form rather than a directly experienced form. 3) (1965110203). This dream was lucid, though I did not seek to alter it. A gigantic bat flies over Carol (older half-sister on my mother’s side) on Chipmunk Coulee, though it is mostly only seen in shadow against the late night sky. There is no fear on my part, though she appears startled by the event. This dream vividly repeated many years later while I was otherwise awake and walking to another sister’s house just before Carol had a heart attack (but recovered from it) and coincidentally having moved to a location near the original dream setting. This certainly does not indicate that my original dream was premonitory, but that my mind “borrowed” and vividly repeated it while awake to designate prescience of the event. Additionally, I never saw large bats (flying foxes) in real life until many years later when I moved to Australia. 4) (1972020407). The song “Aquarius/Let the Sunshine In” by the 5th Dimension mainly influenced this dream. I titled it “When the moon is in the Seventh House” (the first lyric of the song), which featured the moon turning into a giant animated crow and falling into the closet of the southwest bedroom of the Cubitis house as the waking alert factor. (This is the closet I went to get my clothes to get ready for school this year.) As is often the case, this was projected vestibular system correlation rather than directly experienced. (There was also influence from a liminal focus on the January 30 1972 lunar eclipse.) 5) (1968111508). In this dream, I watch a giant eagle-like silhouette flying across the sky, between two clusters of cypress trees as tall as skyscrapers. There is an extraordinary sense of timelessness and nostalgia. This dream was influenced by three main factors; the Pogo Possum comic strip by Walt Kelly, the swampy Fort Ogden area in Florida where I lived when I was very young, a deck of educational cards that, when flicked through, display an animation of wild animal silhouettes with a bird silhouette flying above them. (Another deck featured a rabbit hopping into a hat, the hat rolling around, and a dove flying out.) 6) (1981112904). I see an oversized shadow of a raven (though I do not actually see a raven) move up and to the right (in a diagonal path) in the house in Cubitis upon the wall between the kitchen and the entrance to the hallway. It seems very late at night. There is a very vivid sense of timelessness and isolation, though not in a negative sense, only as if I am the only person in the region or in this realm. It is as if I am viewing time itself in the form of a bird. 7) (1988021308). With much of my conscious self identity extant, I find myself in the backyard of an unfamiliar residence. About five men are inside but soon come outside. One man comes out pushing a bicycle, down the steps and into the backyard, and I focus on how the bicycle seems an exact “duplicate” of mine. I say, with a sudden clarity, “How is this possible?” and he says with a very friendly tone, finishing with my first name as if he knows me very well, “Parallel ground Claude”. Thus, some RAS personifications (even though they always maintain the same underlying essence) seem wary of the waking process while others embrace it, though the ultimate purpose is to initiate consciousness. What defines the differences, or is it just incidental? Both a bicycle and an airplane are autosymbolic projections of the liminal awareness of the physical body while in the dream state. In this case, RAS even explained the meaning to me. His explanation of “parallel ground” is a perfect analogy to vestibular system correlation, where the illusory nature of the imaginary dream body correlates with the discernment of the physical body in the final moments of waking. 8) (2014030706). In this situation, I am back in my room in Cubitis in late morning. A large bird, which resembles a pelican, is standing on a chair near the west windows. There is no other furniture in my room. There is no danger, and it seems very majestic. It seems to have the essence of a very old mystical being and I think of the mythical phoenix. In my dream, as in many other dreams, I seem much younger, probably only about fourteen. However, unlike with many other non-lucid (though very vivid) dreams, I have a very vague awareness of my current conscious self. 9) (1971011502). This was a very enjoyable dream despite the implications. In late night, I wander out onto the carport (liminal space autosymbolism) and see that the house is apparently floating high up within a tornado. I watch debris fly by to my left (beyond the carport) and I am amazed by the vividness. I do not feel alarmed at all, only puzzled. On the east end of the carport, a large bird flies down to gaze at me, as if to offer help, though remains directly on the end of the carport. It seems very “wise” and has the essence of a very old “teacher”. I sense that it is “king of the birds” and it is even wearing a crown. I see that it is exactly my height. Although I associate it with a hawk, it was influenced somewhat by the Woggle-Birds from “Jack and the Beanstalk” (a 1967 TV movie), though far more “realistic” if still somewhat sketchy. 10) (1967122702). This extraordinarily vivid dream was directly influenced by photographs from a book; the Time-Life Nature Library “The Birds”, which I had gotten for Christmas at age seven. (The photograph was taken the day before my dream occurred on December 26, 1967.) My dream was a curious shift of RAS modulation (the primary form being a snake as the biological waking alert factor) turning quickly into vestibular system correlation. I was walking on a dirt road near an isolated cornfield very late at night, with stalks about twice my height. I had a curious “realization” of being followed by a snake though it is not crawling very fast. Soon, a large owl flies down and attacks the snake and I no longer feel wary. As with many of my childhood dreams, I had no clear awareness of my parents or my age
Updated 05-25-2018 at 08:52 PM by 1390
Afternoon of April 30, 2018. Monday. This entry is required reading for anyone who wants to develop a better understanding of dreams and the various causes of dream content and inherent meanings. In this entry, I will be writing more about the nature of vestibular system correlation. This is my most common form of autosymbolism throughout the tens of thousands of dreams I have studied and decoded for over fifty years since early childhood. It can occur in a few different dreams per sleep cycle. Ultimately, it is my main recurring factor of dream state transition, even in lucid dreams, and is augmented in some auto-scripted dreams, as deliberately auto-scripted dreams have unavoidable though incidental stark contrasts with circadian rhythms dynamics, a main factor of sleeping and dreaming. Since childhood (around age nine), I have tried to determine causes of different types of vestibular system correlation, which, while in a dream, ranges from subliminal to intrusive; for example, dreams of falling and even a dream where an intruder tried to force me to grow a bird of prey’s talon from my right thumb. By way of RAS mediation, a simulacrum of vestibular system correlation is created in one of several different ways, including specialized preconscious personification or even features such as a bird as a “teacher” or a “villain” depending on the concurrent dynamics of the particular state (including the subliminal willingness to wake or continue sleeping). For example, in the most vivid dream I have ever had, a resplendent quetzal flew down to become the partner of an earthbound bantam silver sebright rooster (the one I had as a pet in childhood but long dead in reality). RAS personification may be “friendly” or “invasive” depending on the status of the dream self’s attention, which may not be related to waking life or the conscious self identity or experience at all, but the progression of the waking stage and the status of current dream self awareness and depth. Vestibular system correlation comes in many different forms. In some cases, it depends on sleeping position. Sleeping position has a major influence on both depth of sleep and the nature of the dream state and the types of dreams that result. Waking life vestibular system ambiguity results in dizziness, although in dreams this is more about subliminal anticipation of the waking process, the main factor of a non-lucid dream’s autosymbolism. The processes relating to vestibular system correlation comes from the dream self’s virtual vestibular system being separate from the real vestibular system of the physical body in REM sleep. To put it simpler, the subconscious self does not have a viable awareness of the real physical body while sleeping. This is what causes the sensations of flying, falling, rising, and movement in general, which of course, is an illusion. (On a side note, dizziness in waking life is of course an illusion as the room is not literally spinning around you as you are discerning it as such.) The description of REM sleep muscle atonia by Jouvet and Michel (1959) helped to presage the idea that dreaming was constituted by virtual perception and movement. Real (waking) perception and movement were actively blocked, while the brain was forced to generate a virtual simulacrum of waking consciousness. (“Virtual reality and consciousness inference in dreaming”, Front Psychol. 2014; 5: 1133.) This does not mean that dream state indicators (such as the appearance of a bed or being undressed) or other subliminal awareness of being asleep does not come into play as a thread in a dream’s hodgepodge. Vestibular system ambiguity can flow from passive to dominant (dream self is moving toward consciousness) or from dominant to passive (dream self is slipping back into sleep). It does not make any sense to “interpret” autosymbolic biological factors, but this is what many people do. It is important to understand that dreams, contrary to popular belief, do not symbolically “represent” waking life, but are meant to occasionally borrow waking life factors to initiate the return to consciousness. In the case of the specific factor discussed in this entry, it is not possible to consciously control vestibular system ambiguity in the dream state, lucid or not, though an aspect of it can be held, for example, in flying dreams (both lucid and non-lucid) where the real vestibular perception of the physical body does not dominate the liminal state or space. Some people seem to believe that falling dreams are a result of waking life anxiety. I have never seen any personal evidence of this. The vividness of falling dreams increases exponentially after I have had a lot more exercise, especially with more time spent walking. Such a dream is also more likely if I had been in an elevator that day, and I have no anxiety regarding elevators in waking life. My most vivid falling dream occurred during the night after experiencing the log flume ride at Busch Gardens earlier that day. Falling dreams (in addition to the talon dream mentioned above) are also sometimes caused by environmental noise. Even in waking life, high levels of noise may stimulate the vestibular system and thereby cause disturbances in the balancing mechanism. Babies apparently experience falling dreams by way of the Moro reflex, which I have often seen in my own children when they were babies. Understanding the nature of vestibular system correlation and dream state and waking process autosymbolism in general will help you to easily dismiss the nonsensical psychobabble and superstition concerning dreams of which is virtually everywhere, but of which is a great disservice to present day society (at least for people who have never held the desire of looking into the causes of their own dreams). One of the most important aspects to understand about dreams is, just as with sequences of waking life thoughts, a dream is not just one event. Even though I typify dreams based on their main factor, there are always threads of other processes integrating into the dream state, again, just as with waking life thoughts. This is why saying that a dream relates to one thing makes no sense - any more than claiming every singular thought in a period of twenty minutes is “about” the same thing. Dreams are a result of many different types of threads coming together in a synthesized composite. Until that is understood, there is no hope of discerning the nature of the dream state. On a side note, some people apparently do not dream of flying very often or at all, when the majority of my dreams have this potential. I effortlessly take to the sky as perceiving it in the same way as I do walking in waking life in both lucidity and non-lucidity. The highest level of apex lucidity however, does not have this potential, as the discernment of physicality is too augmented, complete with the extremely realistic feeling of weight, movement, and momentum (impetus). On a final note, I should point out that falling can also serve as induction into a more vivid dream, though this is rare for me (though I prefer creating and using a difficult door for an astounding increase in vividness). Some people do not seem to believe this because of the ludicrous myth about dying in a dream if you do not wake up before your fall completes. It is one of many nonsensical myths propagated by people with virtually no dreaming experience.
Recent Comments
