A Quote by Rick Doblin

Students of the psychedelic realm know that one's expectations are a powerful determinant of the direction, content, and outcome of the experience. So, we should say at the outset that the experiences recounted here were preceded by careful preparation, where the trip was presented as a learning experience and a process of self-discovery. They all took place in safe, supportive environments. They generally did not fit the stereotypical model of teenagers dropping acid at a rock concert, looking for awesome visuals and good vibes.
Important element is deeply understanding our curriculum. Most teachers know what they're going to cover this week or this term. Few of us can specify precisely what students should know, understand, and be able to do as a result of any particular learning experience or set of learning experiences. Without that specificity, alignment between content, assessment, and instruction is weak.
The Gaian mind is what were calling the psychedelic experience. Its an experience of the living fact of the entelechy of the planet - and without that experience we wander in a desert of bogus ideologies. But with that experience the compass of the self can be set.
The process of writing can be a powerful tool for self-discovery. Writing demands self-knowledge; it forces the writer to become a student of human nature, to pay attention to his experience, to understand the nature of experience itself. By delving into raw experience and distilling it into a work of art, the writer is engaging in the heart and soul of philosophy - making sense out of life.
The sine qua non for obtaining a psychedelic experience is humbling yourself to the point where you admit that you must submit to the experience of the plant or the drug. This act of surrender is the major technical function you will be called upon to perform during the psychedelic trip.
The psychedelic experience is the beginning of the spiritual path. That's why it's not important that yogas' claim that they can deliver you the psychedelic experience, because it begins with the psychedelic experience, and then you go from there.
But let me say this about learning experiences: they're weird. Or put it this way: what you learn from a learning experience is generally something else.
As a teacher with over thirty years of experience, I've found that students are hungry for material that goes beyond simply learning tune after tune. In fact, my students suggested a good portion of the material presented here. This lesson should be an indispensable aid to the aspiring bluegrass banjoist.
That authentic experience that happens both in the artist and in the audience you can classify as a mystical experience. You can classify it as aesthetic shock, or even a psychedelic experience. Some people seek to recreate that experience through drugs. But the other way that you can do it is through art, and through spectacle. We have those experiences when we go to rock shows, or when we listen to a piece of classical music, or read a particular poem, or see a painting.
If I should certainly say to a novice, 'Write from experience and experience only,' I should feel that this was rather a tantalizing monition if I were not careful immediately to add, 'Try to be one of the people on whom nothing is lost.'
If a concert film is an experience of the musicianship without critiquing it, then this, too, is dropping you into a world and letting you experience it.
The central point about the psychedelic experience is the content of the experience. And this has been occluded or obfuscated by the behavioral and statistical and scientific methods that have been brought to bear to study hallucinogenic experience.
Most teachers of self-discovery have two types of students. They have students they deal with in a more exoteric way than the esoteric students. Esoteric truths are presented to usually a smaller group of students.
When there's a good fit between skills and expectations, there's what we call compatibility, and we would expect a good outcome. When there's a poor fit between expectations and the capacity of the kid, there is incompatibility, and that's when we see people exhibit challenging behavior.
Conversely, the most powerful thing an actor can say is "no." If something is presented and it's a stereotypical role or something, you can say no to that, and that's very powerful.
It's my belief that one of the unconscious reasons which underlies the odd attitude of the establishment toward hallucinogens is the fact that they bring the mystery to the surface as an individual experience. In other words, you do not understand the psychedelic experience by getting a report from Time magazine or even the Economist. You only understand the psychedelic experience by having it.
I know by experience that Jesus Christ is a very powerful spirit - I know by experience that he is probably the most powerful spirit in the universe. I know by experience he is not a mere human being. He is something beyond that.
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