BIZARRE DIMENSIONS OF THE 3rd EYE AND BEYOND

SHOWCASING CREATIVE EXPRESSIONS OF THE SPIRIT MOLECULE DMT

Wednesday, December 2, 2009

Shpongle - No Turn Unstoned

Monday, November 16, 2009

The Galactic Toad

The Galactic Toad
by Queen of Fables


Visit Queen-of-Fables at deviantArt

Izapan Stela Series 2
Work In Progress
Stela 6, Izapa

Observe Stela 6 from an early Maya site in southern Mexico called Izapa. This is a classic depiction of the shamanic journey into the underworld, into the raging maw of unknown dimensions of time and space, within the deep psyche yet buoyed on the undulating waves of the celestial seas.

Gong - How To Stay Alive video clip


All I can say folks is WOW. I am utterly amazed at how much this is representative of the hyperspace dimension. This is a new song from the band GONG, who has been making psychedelic music since the 60`s. The newest album came out in 2009 and is called 2032. The machine elves are `PHP-Pot Head Pixies` a song off Flying Teapot originally released in 1973. Co-titled "Radio Gnome Invisible Part 1", it is the first of the Radio Gnome Trilogy of albums.


DMT Mountian by ~mearone

DMT Mountian
by ~mearone

5meoDMT

5meoDMT
by ~Kinakusai

Saturday, November 14, 2009

Fractal Flight - a fractal zoom animation

Wednesday, October 21, 2009

The 2012 Enigma by David Wilcock

Great Video about the Pineal Gland and DMT

Wednesday, October 7, 2009

BY: Koalacid
by ~CorpusCallosum

Wednesday, September 9, 2009

Maps Dot Org - (Drug Text) - Creativity 2000 - Psychedelics and Creativity

Maps Dot Org - (Drug Text) - Creativity 2000 - Psychedelics and Creativity

Tuesday, September 8, 2009

ELECTRIC SHEEP

ELECTRIC SHEEP

The name Electric Sheep comes from Philip K. Dick's novel Do Androids Dream of Electric Sheep. It realizes the collective dream of sleeping computers from all over the Internet. Electric Sheep is a distributed screen-saver that harnesses idle computers into a render farm with the purpose of animating and evolving artificial life-forms. The project is an attention vortex. It illustrates the process by which the longer and closer one studies something, themore detail and structure appears.

Each variation, called a “Sheep,” is created by the combination of 150 different variables, so the permutations are many. Using a central server, each instance of the software submits its own sheep to a pool where it recombines with other sheep, in a process not unlike sexual reproduction.

The most successful sheep (determined by humans who press the up arrows to vote for their favorite sheep) are more likely to reproduce, so over time the pool of sheep has become quite wonderful and beautiful.

The Electric Sheep project's main page
Wikipedia, the free encyclopedia

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Thursday, September 3, 2009

Izapan Stela Series #1

Izapa Stela #11
by Queen-of-Fables


The stigmata christ figure rises from the 5-meo-DMT toads mouth, sun rays emit from him, the sky ceiling is above him. The toad ferrys a boat made of gods through the Milky Way

The December Solstice sun in the dark rift, a visual portrayal of the astronomical alignment of December 21, 2012.

Sunday, August 23, 2009

Terence Mckenna describes DMT Trip in Detail


DMT: The Spirit Molecule (trailer)

Monday, July 20, 2009

BLUEBERRY (Ayahausca Trip Clip)

video

The best visual representation of a hallucinogenic trip. Great Visuals.

From WIKIPEDIA: Blueberry (Blueberry: L'expérience secrète) is a French movie adaptation of the popular Franco-Belgian comic book series Blueberry.

PLOT: U.S Marshal Mike Donovan (Vincent Cassel) (referred to as Broken Nose by the native tribe; unlike in the comic he does not have the nickname Blueberry) has dark memories of the death of his first love. He keeps peace between the Americans and the natives who had temporarily adopted and took care of him. The evil actions of Blount, a "white sorcerer" lead him to confront the villain in the Sacred Mountains, and, through shamanic rituals involving native entheogens, conquer his fears and uncover a suppressed memory he would much rather deny.

Sunday, July 19, 2009

Entheogenic Shamanism Ancient Astronauts History

Saturday, July 18, 2009

FRACTAL ELVES by QUEEN-OF-FABLES

FROM WIKIPEDIA: Machine elves (also known as fractal elves, self-transforming machine elves) is a term coined by the ethnobotanist, writer and philosopher Terence McKenna to describe the apparent entities that some people claimed to become aware of after having taken tryptamine based psychedelic drugs, especially DMT.[1] References to such encounters can be found in many cultures ranging from shamanic traditions of Native Americans to indigenous Australians and African tribes, as well as among Western users of these substances.

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Maya Shamanism and 2012: A Psychedelic Cosmology

By: John Major Jenkins

Shamans understand that the human brain “is modeled after the celestial vault and the human mind functions according to the stars, which are the ventricles and sensoria of the cosmic brain ... there exists a close relationship between astronomical observations, cosmological speculations, and drug-induced trance states.”
—Gerardo Reichel-Dolmatoff (1982:176)

Part 1. Shamanism and Astronomy at Izapa
Observe Stela 6 from an early Maya site in southern Mexico called Izapa. This is a classic depiction of the shamanic journey into the underworld, into the raging maw of unknown dimensions of time and space, within the deep psyche yet buoyed on the undulating waves of the celestial seas.

What’s going on in this 2,000-year-old carving? Prominently, we see a frog or toad with its neck craned back and mouth open. In Maya symbology, the mouth of the frog, jaguar, or snake (or cave, even) symbolizes the door to the underworld. Its forked tongue sticks out and appears to jostle a tiny figure in a canoe. Shamans, traditionally, go on a journey into the underworld, and this carving clearly depicts precisely that. But there’s more going on here. Notice the little dots or holes on the toad’s shoulder. These are what scholars call “vision scrolls.” This toad has been identified as the Bufo marines species, whose parotid glands, located on it back and shoulders, secrete a powerful hallucinogen: 5-Meo-DMT. This compound is a relative of the better known DMT, but modern explorers of consciousness have reported unequivocally powerful experiences with the 5-Meo relative. It’s sometimes described as being abysmal, shredding all identity back to the unconditioned void, leaving the aspirant gazing into the bottomless maw of emptiness. Psychonauts like Terence McKenna who prefer hypnogogic, image rich hallucinations, have confessed to not liking the 5-Meo relative. Still, one can suspect that shamans of a certain gonzo bent would appreciate having access to this yawning abyss.

The shaman and the DMT toad at Izapa Diagram 1. Stela 6, Izapa

We don’t know how the early Maya shaman may have prepared the gland secretions, to enhance or purify the effects. One assumes that the substance was smoked, since ingestion requires an MAO inhibitor to be orally active. (The South American brew, Ayahuasca, is imbibed orally and consists of a DMT-containing plant mixed with an MAO plant.) However, chocolate was, and still is, grown at Izapa. Modern cacao has mild MAO inhibiting properties. Like tobacco, the ancient species of cacao was much more powerful. Perhaps there was at ancient Izapa a visionary shamanism fueled by toad juice potentiated by chocolate, what we may call cacaohuasca.

At the very least, Stela 6 preserves evidence that the Izapan shamans used a powerful hallucinogen. In addition, ritual mushroom stones have been found in this part of southern Mesoamerica, dated to Izapa’s heyday (400 BC – 50 AD). Although psilocybin mushrooms are reportedly no longer found in the region, there is documentation that they were once prevalent. A surviving mushroom cult among the Mixe and Mazatec Indians in the state of Oaxaca (further up the Pacafic coast from Izapa) may provide clues as to what the ancient Izapan mushroom religion was like.

The monuments of Izapa provide clues about how shamanism leads to profound cosmological models. The little shaman sailing into and out of the maw of the underworld on Stela 6 is amplified on

Stela 67: Diagram 2. Stela 67, Izapa The Sun Deity Reborn at the end of the Age

The human figure on this carving is identified as a sun god, probably First Father (One Hunahpu), of Maya Creation mythology. He’s in a canoe which represents the Milky Way. This carving is located in the middle of the north wall of Izapa’s ballcourt. In Maya art, ballcourts represent the Milky Way. The little seating declivity in which First Father sits is a feature that is located along the bright band of the Milky Way in the region of Sagittarius – a dark rift caused by interstellar dust. This feature also figures prominently in Maya mythology, where it is called the Xibalba be – the “road to the underworld.” First Father deity (also known as the first shaman) sits in this portal.
FULL ARTICLE: http://www.realitysandwich.com/maya_shamanism_and_2012_psychedelic_cosmology

Tuesday, July 14, 2009

Shpongle remix --- Divine Moments of Truth with Joe Rogan

Monday, July 13, 2009


Entheogen - Awakening The Divine Within



A New Documentary Film by Critical Mass Productions

About The Film:
Entheogen: Awakening the Divine Within is a feature length documentary which invites the viewer to rediscover an enchanted cosmos in the modern world by awakening to the divine within.

The film examines the re-emergence of archaic techniques of ecstacy in the modern world by weaving a synthesis of ecological and evolutionary awareness,electronic dance culture, and the current pharmacological re-evaluation of entheogenic compounds. Within a narrative framework that imagines consciousness itself to be evolving, Entheogen documents the emergence of techno-shamanism in the post-modern world that frames the following questions: How can a renewal of ancient initiatory rites of passage alleviate our ecological crisis? What do trance dancing and festivals celebrating unbridled artistic expression speak to in our collective psyche? How do we re-invent ourselves in a disenchanted world from which God has long ago withdrawn? Entheogen invites the viewer to consider that the answers to these questions lie within the consciousness of each and every human being, and are accessible if only we give ourselves permission to awaken to the divine within.

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Sunday, July 12, 2009

Just a Wee Bit More About DMT by ∞Ayes


Consciousness is very flexible. Like a gas, it will fill any container in the form of that container. It is as ubiquitous as the universe, subsuming and interweaving with the fabric of nothingness, matter, and energy. This fabric is a naturally evolving pattern out of which we and the cosmos are woven. This for me is the level on which DMT functions. We can focus on any part of this pattern, minuscule or cosmic, depending on our orientation, environment, expectations, fears, and if we are dedicated to having a transcendent vision, our intention.

By and large, it strikes me that intention is the basic formative influence on the type of vision one will experience on DMT. Of all the psychedelics, DMT might be the most visionary one. I have many reasons for this declaration: DMT is produced by the body; it is found in hundreds of different plants and animals all over the planet; its tryptamine structure is woven into numerous important psychedelics (psilocybin/psilocin, LSD, ibogaine, the ß-carbolines, etc.); and it is one of the most purifying and curing of the psychedelics. It is also very close in structure to serotonin, possibly the most important nerve impulse facilitator. This is not to say that mescaline, LSD, psilocybin, et al., are not important; it just strikes me that DMT is the touchstone of the psychedelics. The body and consciousness recognize DMT and work with it almost instantaneously. The visions it produces are here and gone in a matter of minutes by clock time, but by our existential clock, time has been transformed—by the concentrated and incredible fullness of the experience—into eons. All this and only 15 minutes have passed? Wow!

We create our reality. We are all individually responsible to ourselves for the reality we create, whether we are miserable or joyous, this is our choice—our design. We are not alone; we exist as an integral part of all life, breathing, pulsating, vibrating, giving off plant food, absorbing animal food, in a multi-level fabric of incredibly beautiful designs and patterns. This is what DMT shows us—those patterns, as much as we can absorb at one time—to realign us to the sacred design of which we are a part. DMT works with the energy that surrounds and enters you. If you are an artist, you are likely to see an array of color and design that will fascinate and delight you. If you are a psychiatrist, you may interpret what is happening according to the psychological fashions or, perhaps, as a model of psychosis. Demons, doctors, elves, guardians, magicians, guides and Gods are the manner in which we sometimes manifest this paradigm- revealing substance. Is it we who are choosing the manifestation, or the DMT? Where do these creatures come from? Why do we see them? To what good effect can we put these visions? These are a few of the questions that I needed to answer for myself during the 40 years in which I made and used DMT. From the first time I made it and took it, I knew I had discovered something so deep, so magnificent, so profound, that it blew away everything I had ever experienced before. Period.

READ MORE:
http://www.serendipity.li/dmt/weebit2.pdf
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jaguar tastes the hallucinogenic effects of yage

Sunday, July 5, 2009

by: Fabián Arturo Jiménez Gally
www.Farboart.com
Visit Farboart @ deviantART

Fabián is a personal favorite artist of mine.
His style unique, chunky, hieroglyphic, fresh
, visionary, quantum and hyper-dimensional
built upon an ancient, traditio
nal, Aztec/Mayan foundation.
RIGHT WHERE IT BELONGS
"Fabián Arturo Jiménez Gally, also called as Farbo, is a multimedia artist from México City. His artwork is a reflection of the shades and colors that he grasped when finding a prism that could distort the normal wave patterns of perception, developing an intuitive search of the form and sound. Farbo's music and visual artworks are in constant refinement of technique and purpose, using a well rooted pack of symbolism and abstract manifolds of psychedelia, exploring new techniques in order to push the envelope of his creative process. Farbo's visual techniques can range from traditional media like drawing, painting, photography and drypoint etching to digital media."



The Spice Expands Consciousness

By: Queen-of-Fables

S.H.E. Synchronised Hyperspace Event

The pervasive and recurring sense of Placeness that one feels during The Experience has led to the notion of a “Hyperspace”. Hyperspace is much like cyberspace metaphor. The rules and restrictions of 3 dimensions don’t apply anymore and the only limit is often our imagination. Cyberspace has allowed people from all over the world to coordinate with each other for various purposes. This site is dedicated to the coordination of Hyperspace Experiences across the globe in order to explore these new realms as a collective and attempt to reach a consensus on this strange reality.

The question of whether hyperspace is “real” or not, is really a question of whether we can come to a consensus about the phenomena that we experience. To do this many have come up with different experiments to perform which are described below. These experiments are optional for those who wish to participate in the Synchronized Hyperspace Event. Participants are encouraged to write reports of their experiences and even develop their own personal “maps” of hyperspace to share. VISIT ENTHEOGENIC-PORTAL.COM

The next Synchronised Hyperspace Event is scheduled at:

July 11th, 14:00 GMT

Here are some local times for the event:
07:00 LA - USA

10:00 NY - USA
14:00 GMT

15:00 London - UK
16:00 Amsterdam/Berlin - Europe
22:00 Perth - Australia
00:00 Canberra/Melbourne - Australia (effectively July 12th)

Monday, June 29, 2009


DMT TRIP ACCOUNTS @ Tribe.net

A compilation of detailed DMT trip report's. There are currently 313 individual reports. A great source of written documentation. READ HERE:

Excerpt: "Next everything in my surrounding vision started to vibrate with life and energy. Then suddenly, it was if a flash had gone of in my head, and I left my body. Now I was in a very different place. I could still see the room, but now I was looking at it from a different dimension. I remember thinking to myself, “This is how things really are”. The DMT dimension is not any more or less real than our ‘normal’ world. It is simply different.

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Sunday, June 28, 2009

EMPFAENGNIS DES HEILIGEN SAFTS
by: Dennis Konstantin

MIMOSA HOSTILIS

Ananda M. Bosman's presentation for the 4th Shamanism Conference in Iquitos Peru 2008 . Smoking the frog, Mayan Toad.

Thursday, June 25, 2009

THE SPICE IS VITAL TO SPACE TRAVEL by: Queen-of-Fables

Visit Queen-of-Fables Gallery

The DMT molecule is shown on the side of the hovercraft/spaceship as the rider is strapped in with his pine cone (pineal gland/3rd eye) helmet on. He looks a bit suprised, probably wasn't expecting this!!


Wednesday, June 24, 2009

Some Thoughts on DMT Art
By Steve Beyer • Aug 22nd, 2008 • Category: Creativity

A number of artists have attempted to render the striking visual experiences that occur after ingesting ayahuasca or DMT. In the Upper Amazon, there are both indigenous artists, whose traditional work consists largely of abstract patterns, such as those found on the now well-known pottery, clothing, and other household goods of the Shipibo; and visionary artists, mostly mestizo, whose work is characterized by detailed representations of spirits, trees, animals, objects, and participants in ayahuasca healing ceremonies. These latter works fall almost paradigmatically within what has now come to be called outsider art, sometimes naïve art, and sometimes visionary art — direct, intense, content-laden, narrative, enormously detailed, personal, idiosyncratic, two-dimensional, and brightly colored. While indigenous artists work for the most part in anonymity, their work stigmatized as craft rather than art, the work of mestizo visionary artists has become much better known, largely through the publication, fully annotated and sumptuously reproduced, of the visionary paintings of former shaman Pablo César Amaringo.

Outside the Amazon, artists not born into or raised in indigenous or mestizo ayahuasca-using cultures, including such well-known visionary artists as Alex Grey, Robert Venosa, and Martina Hoffmann, have also rendered visual experiences attributed to the ingestion of ayahuasca or DMT. For want of a better term, I will call this body of work DMT art.

There are some remarkable convergences between DMT art and the abstract representations of the ayahuasca experience in indigenous Amazonian art. The indigenous work on the left, below, by Cashinahua artist Arlindo Daureano Estevão, represents the different worlds of the ayahuasca vision as houses with doors to be entered and paths linking the different contained spaces. This type of design is called nawan kene pua, or stranger’s design, since it is a map that keeps one from getting lost in the ayahuasca world. This abstract representation is strikingly reflected in the work on the right, below, entitled DMT, by photographer Peter Kosinski. It is difficult to say whether such convergences are due to acquaintance with indigenous art or to similarities in the visionary experience.

Arlindo Daureano Estevão, Nawan Kene Pua Peter Kosinski, DMT

Similarly, on the left below is a traditional Shipibo woven cloth, whose design represents a sacred pattern derived from a cosmic anaconda whose skin embodies all possible designs. Shipibo shamans employ these patterns to reorder the bodies of persons who are sick. Certain diseases are thought to be caused by harmful, messy designs on the wsick body, which the shaman must magically unravel and replace with orderly designs. After drinking ayahuasca, the Shipibo shaman sees a luminous design in the air. When this design floats down and touches the shaman’s lips it becomes transformed into a song the shaman sings. Different elements of the song relate to different elements of the design; for example, the end of each verse is associated with the end-curl of a design motif. When the patient is cured, the design has become clear, neat, and complete. Again, this abstract representation is strikingly reflected in Vibrata Chromodoris’s Emergence, below on the right.

Anonymous, Shipibo Woven Cloth Vibrata Chromodoris, Emergence

However, most DMT art is representational rather than abstract, and taps into the work of mestizo Amazon visionary artists. The first painting below is by mestizo artist Pablo Amaringo; the remaining pieces are DMT art by artists from outside the Amazon, all working with content recognizably similar to that of Amaringo, although not necessarily in the same naïve outsider style.

Pablo Amaringo, Ayahuasca and Chacruna (Detail) Robert Venosa, Ayahuasca Dream (Detail)
Cyril Lanier, Ayahuasca Vision of the Blue Perfume Michael Jacobs, Ayahuasca Dream

But even more striking, I think, are two motifs that appear with some frequency in DMT art but not in the indigenous or mestizo artistic traditions. The first of these I will call The Face — that is, a recognizably humanoid face with eyes, a nose, and a mouth, often filling the entire frame, and often constructed from smaller units, either geometric figures or dots. These figures are often described as a being, an entity, or a visitation. For example, Robert Essig says of his painting DMT Entity, below on the right, “This image was inspired from my first unnatural encounter with the spirit molecule. An Entity that seemed extremely real and intelligent appeared before me with terrific precision and speed. It dissipated as soon as I imposed my will upon it.”

Alex Grey, Ayahuasca Visitation Robert Essig, DMT Entity

Indeed, The Face often appears in works that are not conceptually about The Face. In Luke Brown’s Pineal Feline, for example, below on the right, the titular face is that of a cat, at the bottom center of the painting; what then makes up The Face are floral arabesques and ornamentation of the cat’s face, almost entirely buried within — indeed, reduced almost to a decorative adornment of — The Face. Similarly, in Martina Hoffman’s La Chacruna, below on the left, The Face decomposes, upon closer inspection, into arabesques, including snakes and elephant heads, elaborated upon the relatively small face of the goddess, in the upper middle of the painting.

Martina Hoffmann, La Chacruna Luke Brown, Pineal Feline

Sometimes The Face is deconstructed to simpler, rather than more complex, elements. At that point, we can begin to see the basic patterns from which complex Faces are constructed.

Dennis Konstantin, DMT Entity Nisvan, Ayahuasca Vision (Detail)

What is interesting here is that underlying The Face is a relatively simple symmetric pattern, not unlike the abstract patterns of indigenous Amazonian ayahuasca art, but here cognitively assembled into a recognizable human face. Perhaps that is why Essig’s Face dissipated as soon as he imposed his will upon it; attempting to control the image distracted the perceiver from its imposed structural coherence.

Another recurring motif we can call the wingspread. This is a pattern very similar to the wings of a moth or dragonfly. Below, for example, is a more or less typical moth — actually, the tobacco hornworm moth (Maduca sexta):

Wingspread Moth

We can see this wingspread motif reproduced with increasing elaboration in the following pictures:

Strikingly, this wingspread pattern is often hidden rather than explicit, providing a formal structure rather than any content; look, for example, at the wingspread position of the hands in Alex Grey’s Light Weaver, especially in conjunction with, say, Robert Venosa’s Yagé Guide, above. The wingspread pattern underlies the purely formal similarity between Mariela de la Paz’s Ayahuaska at the Gates of San Pedro and Alejandre Segrégio’s Presente Divino. Indeed, sometimes this structure is so deeply embedded as to be difficult to discern, until the pattern suddenly emerges, as with the darker rock formation in Olga Spiegel’s Rendezvous.










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