A common DMT experience is finding oneself in a vaulted dome structure. In DMT lexicon, ‘The Chrysthanemum’ is a gigantic, rotating, fractal flower that has a dome-like appearance. Terence McKenna said you could either pass through ‘The Chrysthanemum’ and enter hyperspace or stay put (if you didn’t take enough DMT). However, many DMT users also say the vaulted dome space is a revered destination and it’s where you go during a ‘breakthrough’ dose of DMT. McKenna himself called this post-Chrysthanemum place “the dome”, adding:
It’s softly lit, indirectly lit, and the walls—if such they be—are crawling with geometric hallucinations: very brightly colored, very iridescent with deep sheens and very high reflective surfaces. Everything is machine-like and polished and throbbing with energy.
It has been suggested that geometric hallucinations are a projection of the structure of our brain, stimulated in a variety of ways (e.g. drugs, conditions like migraine and epilepsy, near-death experiences, sensory deprivation, fasting, hypnagogia, and so on).
I do agree that Islamic art and architecture are some of the finest traditional examples of this kind of aesthetic expression. Their striking similarty and resemblance to psychedelic experiences certainly suggests that they may have been inspired by entheogenics.
Graham St John (PhD) is Senior Research Fellow at the University of Fribourg, Switzerland. He is a cultural anthropologist specialising in event-cultures and entheogens. Take a few minutes and read his article The DMT Trip and the Mysteries of Hyperspace Travel on Chacruna, a Northern California group who strive to produce quality anthropological research on plant medicines and help propagate academic knowledge.
The finest part of matter is air, of air, soul, of soul, Nous, of Nous, God. CH 6.11
We have known that plants have a respiratory system, in History of Plant Respiration Meirion Thomas tells us of Marcello Malpighi (1628 – 1694) who was an Italian Biologist and who’s theories and experiments in London in 1686 formed the basis of much of the nineteenth century work on respiration in plants. Later discoveries about the composition of air, and about gaseous exchange between plants and the surrounding atmosphere were made in the late 1700’s. Plants do breath.
… therefore nous has taken soul as a cover and the soul, being itself divine, uses breath as fire and the breath governs living things. CH 10.17
…, but all the living (beings) which are endowed with voice have breath and souls, since all that decreases and increases is a living (being). Definitions 4.1
CBC Radio blog posting Indigenous stories lead scientist to discover plants can hear refers to a new study by Dr. Monica Gagliano, a research associate professor adjunct in Evolutionary Ecology at the University of Western Australia, who has demonstrated that plants can indeed hear. Plants can sense and move towards moisture in the soil, Dr. Gagliano tested whether they could find water using sound. What she found was that plants will send their roots towards the sound of running water, even a recording of running water. Here are a few CBC Radio hyperlinks for other interesting facts:
Therefore, the movement of the cosmos and of all living material turns out not to arise from that which comes from outside the cosmos but from what is within, which moves outward: from the soul, from the breath of life or from incorporeal being. CH 2.8
The Project Augustine theological blog have a great post Plant Theology: Do Plants Have a Soul? (Plant Neurobiology), what I liked about their experiment was the respect shown to the plants, it appeared that there was no negativity directed at the plants during the recording. Plants can sense their environment and move.
Therefore all is immortal: matter, life, spirit, soul and Nous, from which every living creature has been composed. CH12.18
.. since all that decreases and increases is a living being. DH 4.1
The Zero Point Field gets some coverage in The Perfect Discourse, here Hermes discusses The Void.
I consider that there is no void, there never could have been a void and there never will be a void. All parts of the cosmos are totally full, so that the cosmos itself is full and complete with bodies that differ in both form and quality; and each has its own appearance and size. One may be larger than another and one smaller; one may be more dense and another more subtle. Those that are more dense are more easily seen, as are those which are larger. Those that are smaller or subtler can only be seen with difficulty and sometimes not at all. These we know of only by keen attention.
Reading G.R.S. Mead’s Hymns of Hermes ‘Ecstatic Songs of Gnosis’, he asks the question of who is actually capable of singing God’s praises when it requires the whole universe and the countless universes of all that is, to sign the praises of God in any truly adequate manner?
Who, then, what man, has the understanding wherewith to praise God fitly, when through in his separated consciousness he knows not who he is, he yet begins to realise that “who he really is” must inevitably be God and no other?
In what manner can the Divine sing praises of itself as of some other than itself, when ‘I’ and ‘Thou’ must essentially be one, and the utterance of praise as of some other one seems to be a departure from the blessed state of that Divine intuition.
The fourth dimension is an abstract concept derived by generalizing the rules of three-dimensional space. It has been studied by mathematicians and philosophers for almost two hundred years, both for its own interest and for the insights it offered into mathematics and related fields.
The figures are generated by applying the rules of vectors and coordinate geometry to a space with four dimensions. A vector with four elements, such as the geomantic figures, can be used to represent a position in four-dimensional space.