Afternoon of July 26, 2015. Sunday.

Although these days, I usually know and reflect upon immediate meanings or “interpretations” behind most (personal) dream events, I sometimes discover unexpected parallels and associations from older dreams, some of which are just too unexplainable at some levels to ignore.

Recently, I once again find more television and movie influence than I ever expected, oddly precise, which is somewhat frustrating. While it is true that precognitive layers have come before seeing a particular show or reading or knowing of a certain book (including comic books though basically anything seen or read including catalogs), there seems to be unexpected layering even relative to certain dates over many years. Finding out just last night that “I do not think that I want to be a tree” (September 13, 1979, the “prototype” from September 13, 1970 prior to my vivid “Tornado” dream), which had precognitive tie-ins with my wife-to-be and was also on her birthday, was, unexpectedly, based on influence from a repeated episode of “My Three Sons” (amusing since I have three sons) just hours before (and I may have already known this as a boy but did not always document this when it occurred, even with “The Pink Planet”, which was loosely based on “When Worlds Collide”).

What interests me is what mechanism determines what is used and what is discarded in non-lucid and unscripted dreams (as I now can have whatever dreams I want through focused imagery and very light mental affirmation sessions thus activating the so-called Tetris effect, though which would be pointless to post online), regardless of any influence or personal experience (or even conscious beliefs), aside from whatever mechanism is responsible for precognition and remote viewing. What is it that so precisely takes from fictional portrayals (television, movies, and books) yet also shapes them into something different, yet I have also discovered that most of the patterns that seem to have been influenced by movies or television also had personal prototypes before the concept was on a television show, which also puzzles me. In the “It’s a Woman’s World” episode of “My Three Sons” as related above (aired the night of September 12, 1970), the main character has to play a tree in a school play (against his better judgement) for Dodie, the theme being “females are instinctive manipulators”, an idea which is inherently wrong since everyone has such a capacity. My prototype dream, which eventually became the “final” version nine years later to the date and just happened to fall on Zsuzsanna’s eleventh birthday, had some of the same inferences, but quite different in other ways. Of course, my dream involved “real” magic and a “real” (but remaining in silhouette and shadow) witch. My becoming a leafless tree was possibly a self-sacrifice to free the young witch that had been a tree all that time at the top of the hill (and this had real-life associations too detailed to get into here). Though the television episode and my dream’s plot are very similar at one level (“I have to be a tree for this girl to be happy or free of setbacks”), they are very different in others, including the unexplainable foreshadowing of my long-term future. However, it is rather hard to believe that something like the title “My Three Sons” could actually result over time, in me having three sons. It just sounds a bit too preposterous.

Also just recently, I unexpectedly (while looking for an image for this entry which I had first intended for part two of my recent seven-part symbol set) had the “flash” of the source of a fairly short dream from February 21, 2014 (“White Noise” Staircase). Sometimes it is hard to believe that so much layered detail can be stored in the mind and unfold in seemingly enigmatic dreams. Of course, the “white noise staircase” (which even had the same light audio as the movie scene, in retrospect) was the staircase from “The Other”, which had been covered in cattail fluff (meant to represent “heavenly” clouds, I assume) and was metaphorical for seeing the “angel” near the last part of the movie at the top of the stairs (before she throws herself into the fire while Niles/Holland escapes). This seemed (only based on the movie’s theme) that each person has “two sides”, good and bad, although that is probably an oversimplification, as “good” and “bad” is not inherently empirical at times, which is obvious to any culture that has been conquered or decimated by supposedly “good” Christians or those of other “good” faiths. Even so, this dream was perhaps telling me that it “wasn’t my time” (to be “engulfed” by either the universe, negativity, society, faux religion, or possibly death) thanks to having “unlocked” certain information about my life’s path (though Niles/Holland “cheated” by sawing the lock off previously, before his potential demise). I will get into more potential meaning behind this in my next (part two of seven of the symbol sets) journal entry.

Another realization that flashed was how “The Imp” (September 9, 1977 for the clearest version, it seems) was finally resolved to be influenced by all things, by “Josie and the Pussycats in Outer Space”, the first episode of the original “Josie and the Pussycats” airing, oddly enough, September 12, 1970 (same day as “It’s a Woman’s World” described above). However, “The Imp” was seemingly influenced from the first episode of the “in Outer Space” version, from “Where’s Josie?” - aired on September 9, 1972. I think it is interesting how features (however previously unresolved) in dreams look more by “design” the more you look. The fluffy imp from my dream was finally resolved to have been modeled after “Bleep” (as in “What the bleep is going on?”), the otherwise “forgotten” character from the show, also looking somewhat like a mobile little cloud (the Johnny Ray song, “The Little White Cloud That Cried” also seems relevant). Overall, as “Josie” (symbolically) was the neighbor girl who had recently moved (even more relevant as she actually played Josie in our role-playing games), the imp from “Pandora’s box” (appearing as an old jewelry box in the ashes where the bonfire was often set in reality) represented a more solid transition to my real wife-to-be. (The episode’s synopsis: “Josie is kidnapped by an alien named Karnak, a deposed ruler who is intent on reconquering the populace of Zelc.”) In my teenage mind at one level, “Josie” was also “taken”, but Bleep was “out of the box” (“cat out of the bag”?) to represent my transition, as this was also less than a year prior to my family’s move back to Wisconsin. Being that it also seemed to be very vaguely associated with Pandora’s box (though jewelry boxes were almost always lightly associated as such for whatever reason), it also represents eventual major change (not necessarily negative, though).

Also, “The Imp” is probably a distortion of the influence from my extremely long lucid dream from November 5th (to November 6th), 1965 in my older sister (deceased) Marilyn’s apartment while I relaxed on the couch, which was a very intriguing experience I still reflect on with gratitude. This lucid dream occurred, and was influenced by, watching (apparently a repeated episode of “Outer Limits”) “Don’t Open Till Doomsday” which at age four greatly intensified my interests in different states of consciousness. There were states where I was able to see the television very clearly yet could not hear anything at all but pure silence, particularly where the creature (from another dimension) in the box approaches the “eye in the sky” metaphorical image. The actual words I read from the newspaper at this time were: “A woman waits for a mortal to exchange places with her bridegroom entombed for 35 years”. (It was about 34 years from birth when I married.)

Learning more and more about subliminal and not-so-subliminal meanings and transitions is very satisfying for me - especially as it goes so far beyond the fake “interpretations” by people who pretend to understand dreams yet have no clues whatsoever as there is no possible way (other than by admitting to telepathy as a feasible communication) that someone could know the past transitions and associations or unique memories of another person (or personal unique symbols and metaphors either). However, it does not really solve certain inherent mysteries regarding the Source or Universal Mind, the one that has blessed me with my beautiful wife Zsuzsanna and all that I have experienced since birth.