SLEEP PARALYSIS, OBE'S AND THE DMT HYPERSPACE

SLEEP PARALYSIS, OBE'S AND THE DMT HYPERSPACE
BY: QUEEN OF FABLES

I have suffered from sleep paralysis for 15 or more years. always upon falling asleep, never upon waking. there's a great article called "The Ominous Numinous: Sensed Presence and 'Other' Hallucinations" by J.Allan Cheyne. Here's the link to the PDF file http://cabinet.auriol.free.fr/Documents/ParalysieSommeil/cheyne.pdf

For years it was horrible, the twisting and shouting and all that escapes the lips is a low moan, the struggle to get that one pinky finger moving, and the painful wrenching of pulling physical movement and feeling back into body. just to slip into its clutches over and over.

I've researched this place, weird black and white realm of strange entities, sometimes visual, the auditory whirling sound that feels like your standing next to a plane firing up in a very tight space and lets not forget the crushing feeling of flipping backwards into space.

then a couple years ago i was researching OBE's and heard mention of people trying to bring on the sleep paralysis state. So the next time i fell into the paralysis (if your mind is awake, then you know when its coming) i seized control, making sure i was flat on my back, and i willed my consciousness out of my body. First i made it an inch, and fell back down, but i kept trying, and each time i got a bit further out of my body until i eventually hit the roof, and of course fell down into body. i eventually "broke thru" the roof where i was able to soar above my building looking down into the other apartments as if the roofs and walls were invisible. It was amazing.

From the research I learned the easiest way to bring on the sleep paralysis state. Upon laying down for bed, get yourself really comfortable, lay face up, arms and legs spread apart nicely. as you are drifting off to sleep your mind will send signals for your body to shift, to slightly reposition itself in some way. Usually when our mind is awake the body will respond immediately. when the signal is ignored the mind figures that we are asleep and kicks into the REM stage where all motor functions are suspended, hence the sleep paralysis state. So all one needs to do is ignore the signal, when you feel like moving, shifting or repositioning just IGNORE it, stay completely still and the effect is immediate. The audio humming will come as well as the vibration of separation from the physical realm. It is all exploration after that point. It may take a bit of practice and taking control as soon as it begins is best or else one can get sidetracked by the things of this in-between realm.

I think that this realm and its entities are part of the DMT hyperspace. Since our pineal gland does produce a small quantity of DMT during REM. I did find another post on the nexus about this https://www.dmt-nexus.com/forum/default.aspx?g=posts&m=85866

Apparent Communication with Discarnate Entities Induced by Dimethyltryptamine by Peter Meyer

by Peter Meyer
from PM&E #5

collected by Thomas Lyttle

1. Tryptamine psychedelics
2. DMT usage
   1. Shamanic usage
   2. Professional and accademic research
   3. Amateur and extra-mural research
3. Dosage and duration of effects
4. Subjective effects of smoking DMT
5. Personal reports
6. Levels of experience
7. Interpretations of the experience
8. DMT and hyperspace
9. The "elves"
10. DMT and the death state
11. Further research needed
12. Bibliography

---

DMT (dimethyltryptamine) is the most powerful and fast-acting of the tryptamine class of hallucinogens. After smoking DMT users regularly report fantastic trips to other dimensions and conversations with intelligent alien life forms. Meyer outlines DMT usage, pharmacology, mythology and occult application, including shamanic uses. He also presents fascinating anecdotal material regarding DMT "alien contact." Materials from DMT researchers Terence McKenna, Gracie and Zarkov, and dozens of other correspondences are included, providing clues to deciphering the DMT "hyperspace" state.

...and in search for answers people have feared to place
themselves on the line and to actually wrestle with life and
death out there in those strange, bardo-like dimensions, not
realizing that there is no other way to win true knowledge...
- - Terence McKenna - - (Psilocybin and the Sands of Time)

CONTINUE READING FULL ARTICLE:
http://www.lycaeum.org/leda/docs/16370.shtml?ID=16370

Changa: The Evolution of Ayahuasca

By Chen Cho Dorge

It has been over 53 years since Ayahuasca's introduction to western entheogen enthusiasts, and in that time Ayahuasca has evolved. What began as a synergistic plant combo among specific cultures of the Amazon rain forest has evolved and become something new. The sacred medicine that has historically provided incredible transformations in those who drink it, has itself transformed. It has become Changa.

It has been well over 53 years since Ayahuasca's (also known as cipó, caapi, hoasca, vegetal, daime, oni, yajé, natem, mama, Shori, and aya affectionately by westerners) introduction to western entheogen enthusiasts, and in that time Ayahuasca has evolved. What began as a synergistic plant combo known as Ayahuasca among specific cultures of the Amazon rain forest, has evolved to become something never seen before in the history of entheogens. Ayahuasca has transformed and become something new, radically different from what it once was. The sacred medicine that has historically provided incredible transformations in those who drink it
has itself transformed. It has become Changa.

Changa is quite possibly one of the most amazing innovations in the technology of the sacred in our lifetime. The smoking blend is a combination of banisteriopsis caapi leaves (commonly known as the ayahuasca vine) and a natural extract of DMT. Ayahuasca itself is a tea of B. Caapi vine sections boiled down with perhaps other medicinal or psychoactive admixtures and a DMT, or 5meo-DMT-containing admixture plant, often Psychotria Viridis or Chacruna. Since the advent of western exploration of what has been called the ayahuasca effect or the ayahuasca complex, many new botanicals have been utilized and added to make a powerful brew that creates the ayahuasca effect. The ayahuasca effect is simply the inhibition of enzymes in the body that normally degrade ingested DMT, allowing the DMT to pass though the body altering consciousness without being destroyed by the body's enzymes.

CONTINUE READING: http://www.realitysandwich.com/changa_evolution_ayahuasca

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

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

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

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

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)

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.