HaCKeRz Kr0nlcKLeZ 1/HaCKeRz Kr0nlcKLeZ.iso/drugs/visible.language

Text File | 1996-05-06 | 9.9 KB | 185 lines

GRACIE'S "VISIBLE LANGUAGE" CONTACT EXPERIENCE
. . . a note from underground
by "Gracie and Zarkov"

Copyright March 1985 by Gracie and Zarkov Productions. We believe that in
a truly free society the price of packaged information would be driven
down to the cost of reproduction and transmission.  We, therefore, give
blanket permission and encourage photocopy, quotation, reprint or entry
into a database of all or part of our articles provided that the copier
or quoter does not take credit for our statements.

We each had taken 150 mg of pure MDA.  The differences from MDM are
striking:  MDA is more hallucinogenic with noticeable closed eye imagery,
is a much greater aesthetic enhancer, especially of people and of music;
is more euphoric; more "drug-like", a heavier and more obviously
body-involved trip.  Tactile sensation is more powerful, erotic and
noticeable on MDA.  Physical effects are more up-front: gastric upset,
pupil dilation, water retention, limbic arousal.  On the whole, we find
MDA a more enjoyable and interesting trip; longer lasting and more
sexual/sensual.  Our favorite characteristic is that one retains an
interesting psychedelic ideation on MDA, rather then the
feeling-oriented, but rather idealess thinking of MDM.

That evening we were very taken with the musical enhancement -- we are
both avid listeners -- and had found MDM to actually interfere with our
enjoyment of music.  MDA goes especially well with second-rate classical
music:  the lushness and color of Strauss, Lizst, Rimsky-Korsakov,
Smetana and other ethnic and minor romantic composers are very compatible
with the sensual fantasy aspects of MDA. We were playing Smetana, "The
Moldau", a tone poem about the major river in Czechoslovakia.

During the past several weeks, I had had several episodes of allergic
reaction which were unusual for me.  Possible causes included the spring
weather and flowers, gardening, adjustment to the West Coast, and six
months of regular DMT use.  While the music was playing, I noticed
increased allergic symptoms.  This is unusual on MDA, which as Andrew
Weil points out, is one of the most powerful allergy suppressors around,
and so it has always affected me in the past.

Along with the allergic response, I began to note the familiar
"Goddess-possession" phenomenon which we had first encountered on MDA-LSD
trips, and which led us to our first profound trips and contact
experiences.  This time it was subtle, perhaps because no LSD was
involved.  At the same time, a series of flashes, "false memories" or
"past life" reminiscences occurred, having to do with rivers and my
riverine ancestry, triggered by the content of the music.

This is a characteristic of MDA experience which we had not encountered
on MDM, where memories are more personal and less archetypal/symbolic.
With MDA memories one can become caught up in an associative web of
ancestral material.

During this whole period, I had continuing allergic symptoms. Zarkov felt
fine and was having a great time.  This dichotomy is even more noticeable
since Zarkov is usually the one with allergy problems. I showered off and
washed my face but I still felt uncomfortable and uneasy.  We have noted
on several occasions that allergic reactions had preceded profound
contact trips.

About hour 4, I decided to try smoking some DMT.  My blood pressure and
pulse were only slightly elevated, but I still felt restless and uneasy.
The week before I had reset an MDM trip with DMT.  The DMT seemed to have
had a calming and healing effect.

I smoked about 40 mg in 4-5 tokes.

As it came on, I asked the DMT entities for help and guidance.

I kept my eyes open until the visual changes became overwhelming.  The
whole room was being transformed into the characteristic DMT
"crysthanthemum" pattern.  I closed my eyes and fell back into the
trance.

The first thing I saw was the "visible language"!  The words, the shapes,
the "music" (the "music" refers to the DMT auditory effects, not music in
this reality and the stereo was off during this part of the trip) and the
voices all carried the same message: "Strong, safe, strong, safe; help,
ok, ok, help; safe, safe, alright"! The "elves" appeared.  They sang/I
saw/read/felt/heard.  They are "made out" of the visible language.  The
message is conveyed by the medium itself in several simultaneous sensory
modalities.  Vision, heard speech, read language, music, song, images and
pictures all happen at once, so that the meaning is multi-dimensional.

For example, if one were to "see" a cat in this state it would be
communicated in many ways at once:  one would see a picture or cartoon of
a cat, made out of writhing, colorful strips or segments which are words
-- "cat, cat, cat, pussy, kitty, pussy, meow, tail, ears, cat, cat, kitty
. . ." and the picture would be accompanied by a musical description of
the cat (like "Peter and the Wolf," only more descriptive and precise)
and by voices singing "cat, cat, kitty, kitty, meow, puss, kittycat . .
." which would match the text.

This time I saw the "elves" as multidimensional creatures formed by
strands of visible language; they were more creaturely than I had ever
seen them before.  The message was changing from the initial "ok, ok,
safe, safe . . ."

The word changing suggests that this was a time-linear process. I don't
think this is the case.  I believe that during the trance the whole
message and its variations were there at once, from the start. There is a
different meaning to time in the DMT state and the notion of linear
temporal order that we usualiy believe is not valid or useful.  All the
information is always immediately there and the idea of linearity comes
from our linear habits of attention and the fact that we do not yet know
how to see/hear/perceive several messages simultaneously and consciously,
so we string them out for perceptual convenience.

The elves were dancing in and out of the multidimensional visible
language matrix, "waving" their "arms" and "limbs/hands/fingers?" and
"smiling" or "laughing," although I saw no faces as such.  The elves were
"telling" me (or I was understanding them to say) that I had seen them
before, in early childhood.  Memories were flooding back of seeing the
elves:  they looked just like they do now:  evershifting, folding,
multidimensional, multicolored (what colors!), always laughing,
weaving/waving, showing me things, showing me the visible language they
are created/creatures of, teaching me to speak and read. (Are they are
linguistic programs made manifest and personified?  This throws an
entirely new light on Terence McKenna's remark at Esalen about language
being the "most alien artifact" we have!)

Following is a paraphrase of the message content -- all conveyed in the
multimedia way described earlier (to emphasize, the entire message was
conveyed via "visible language!")

They "read-protect" their contact with children.  "No-no, bye-bye, uh-uh,
don't tell," is the phrase they used to keep me from remembering or
telling the grown-ups.  They come to you when you are a child.  My
younger brother and I saw them when we were very young. They lived under
the bed, they played with us, but they only came out when our parents
weren't around.  They showed us things, they showed us meaning and
language.  My brother say them more clearly (perhaps because he was
younger) then I did.   They taught us words - I read earlier than normal
because of their help.

When I was frightened or anxious, I would crawl under the bed to where it
was safe, because the "elves" were there.  "Bye-bye, uh-uh, don't tell,
we'll be back," they used to sing.

"I've been seeing it all along," I thought, "the chysthanthemum pattern
is the elves is the visible language is the message." (however, true
visions on DMT, like those on mushrooms, are different from these
patterns, they are real, like seeing with "normal" vision; more like a
movie or a very vivid dream than like the pattern/cartoon/visible
language.)

The personal reality of these creatures seems indisputable during the
contact, but that interpretation runs into my normal skepticism when I am
out of contact.  Is the notion that these are beings merely the obvious
interpretation of these phenomena by the human mind?  Or is something
else going on that we can only understand by interpreting it as an
encounter with an alien being?

The visible language and the multidimensional nature of the forms seems
so clear, but the relationship of these phenomena to me as an individual
and to the human race in a species-history sense is less clear.  I am
always afraid of repeating the errors of misplaced concreteness (thinking
the "creatures" are "real") and the dogmatic fallacy (thinking that I
know what I saw).  The most honest answer is that I don't know what I saw
(do we ever?), but that the description above is my attempt to
communicate some of what I thought I saw.

The encounter felt profound, exhilarating, and filled with warmth,
excitement and protection.  I was not afraid, but was comforted by the
experience.

And, after the encounter had ended, I found my allergic symptoms had
disappeared.  I was no longer agitated, but felt calm.

The visible language phenomenon was most interesting -- I felt curious,
excited, and peculiarly self-confident while experiencing it -- a
childlike delight and a consuming desire to see and know more.  I only
saw part of what was going on, and I only remember part of what I saw,
and I can communicate only a little of what I remember.

When, dear reader, you have similar experiences, try to see/perceive as
much as you can, remember as much as you are able (take notes or talk
into a recorder) and attempt to write down your trip.  It is hard to do,
the results are always less than you hope, but we must all try to express
these things if we are ever to build a descriptive consensus or even a
start at understanding!

Stay High and Stay Free,

Gracie and Zarkov