A Quote by Terence McKenna
Within the context of the alchemical vocabulary, the psychedelic experience, as brought to us through plants long in the possession of Aboriginal people, appears to be the identical phenomena.
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At its best, Aboriginal art has been effective in translating an entire culture and the understanding of an entire continent. Indeed, the more we interpret Australia through Aboriginal eyes, through the experience of their long and epic story, the more we allow ourselves to understand the land we share.
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.
I think the entire message of the psychedelic experience, which is basically the sine qua non of the rebirth of alchemical understanding, the very basis of that understanding is that nature seeks to communicate.
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.
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.
What is the relationship of the obvious things that we see around us to the things that we believe we understand within ourselves? This is the ancient alchemical formula: "as above, so below, as within, so without."
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.
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.
Devising a vocabulary for gardening is like devising a vocabulary for sex. There are the correct Latin names, but most people invent euphemisms. Those who refer to plants by Latin name are considered more expert, if a little pedantic.
In one African myth the word for God is even identical with skill and capacity. The Godhead is defined as that thing which appears in man as the mystery of an unusual skill or capacity. It is something divine, a spark of the divinity in him, not his own possession or achievement, but a miracle.
The possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention.
A lot of people around the world were, like, very frustrated, you know "Why don't you just release the name? Why is it taking so long?" But the cool thing is that it brought people together, like you said, it brought our fans into the experience, it sort of exposed us, exposed the process, and I think it welcomed Mike Magini, because people saw what happened to get to that point.
There are many realities. There are many versions of what may appear obvious. Whatever appears as the unshakeable truth, its exact opposite may also be true in another context. After all, one's reality is but perception, viewed through various prisms of context.
I am surprised by the word psychedelic. João Gilberto Noll does not accept realism in a straightforward way, but I am more inclined to call Quiet Creature a realist text than I am to call it a psychedelic one. The transcendent aspect of the psychedelic experience is totally absent.
It should come as no surprise to readers of the MAPS Bulletin that psychedelic plants are used as a sacrament by many native cultures all over the world. It may not be so obvious that these same plants are often incorporated into the coming-of-age ceremonies of these various societies.
Rain falls, wind blows, plants bloom, leaves mature and are blown away; these phenomena are all interrelated with causes and conditions, are brought about by them, and disappear as the causes and conditions change.
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