Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. This is the story about an undergraduate who is obsessed with two things: DMT and philosophy.
What follows is a transparent account of his psychedelic experiences coupled with various Platonic and other p This is the story about an undergraduate who is obsessed with two things: DMT and philosophy.
What follows is a transparent account of his psychedelic experiences coupled with various Platonic and other philosophical notions. Get A Copy. Paperback , pages. Published August 30th by Translinguistic Press first published August 28th More Details Friend Reviews. To see what your friends thought of this book, please sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details.
More filters. Sort order. Mar 24, Jonathan rated it it was ok. This should have been the most interesting book I have ever read, given the subject matter. Unfortunately, mainly because of the Turner's eccentric grasp of English and nigh-psychotic addiction to adverbs, it was not.
This is frustrating. The central idea, that the Platonic Forms are "the psychedelic", has potential; the related suggestion that the shamanic poetry of Parmenides is the result of a DMT trip, is intuitively plausible at least in the context of the work of Peter Kingsley, of whom t This should have been the most interesting book I have ever read, given the subject matter. The central idea, that the Platonic Forms are "the psychedelic", has potential; the related suggestion that the shamanic poetry of Parmenides is the result of a DMT trip, is intuitively plausible at least in the context of the work of Peter Kingsley, of whom the author, inexplicably given his education, seems never to have heard but the writing is so unnecessarily garrulous that, if the author himself even knows what he's talking about questionable he no longer seems able to communicate this to anybody else.
Almost entirely obscured by the shadow of Terence McKenna, Terence Turner lacks entirely the great man's verbosity and wit that made his ideas so compelling. A terrible shame. Saul Melo rated it it was amazing Aug 10, Marli Cool rated it really liked it Jun 26, Ben Villars rated it it was amazing Jun 20, Anthony rated it it was amazing Jan 08, Sometimes depicted as spiraling wormholes, other times fabulous archways pulsating in colors not of this world, hyperdimensional polytopes like rotating tesseracts, or fractal checkerboard vortices imbued with countless arcane sig- ils, thresholds are native to the DMT experience and its art.
Promoting the effects of DMT in public speaking engagements mostly in the US and UK through the s and s McKenna became the lead commentator on this threshold-popping moment, with his voice sampled more often than any other individual in psychedelic electronica St John b.
Yet the passage experience remains consistent. The sucking experience took over for a while then, driving the morphological acrobatics of spacelove that lay before me. There was something about it that makes me think of a voluptuous alien seductress with big, fat lips pulling me to her body in the weirdest feeling embrace ever. It felt like I was being smeared sensually and lustfully around the space in some sort of vacuum-tube funhouse.
All of a sudden, BAM! Yet this description offers nothing on the machinic contours of the space, as in the characterizations of McKenna. Were you there? Everything is machine-like and polished and throbbing with energy. In the interstices between prescribed roles and responsibilities, from the coming of age rituals of the Ndembu of Zambia to modern stage theatre, liminars i. In traditional passage rites, including those associated with coming of age, conversion, or initiation, novitiates are exposed, in the fashion outlined by scholar of the Greek Eleusian and Orphic mysteries Jane Harrison , to the ultimate values of a culture— its sacra.
First of all, there are the rituals of exhibition. Many hyperspace travelers report being shown objects of great significance. In a report published on Erowid, Binkie provided an account of a visitation in a Hollywood Hills bungalow in Within a short time from smoking DMT, Binkie was greeted enthusiastically by beings that appeared to be unfolding themselves from all- pervasive geometrical light patterns.
They pulled things into existence, as if from pockets of vacuum space within themselves, like beautifully jeweled liquid light revolving eggs, that transformed into and out of themselves like rolling smoke infused with layer after layer of brightly coloured electrical information. The objects looking like flash drive tickets, seemed to be information storage devices, full of infinite potential. The female being got in my face and communicated to me not in words look at whats ON the pedestal!
I looked up and saw a diamond shaped object that was made of similar stuff to the walls but infinitely more brilliant, more dazzling, more unspeakably awesome.
And as my smile grew and total awe and amazement filled me, this female being began flying around the object at great speed, keeping her eyes fixed on me. She was doing flips and sharp turns and cheering as though she was celebrating the fact that she had the chance to show me. She kept communicating to me, Look at it! Look at it! This continued, and I kept my eyes on that unbelievable object as the scene began to fade. I was filled with overwhelming feelings of womanly love and sensuality.
I looked down and was very surprised to see myself dressed in filmy harem pants and no shirt on. I had a beautiful copper-colored female body— breasts and all. I had many bangles on my arms, and ankle bells on my legs. I looked around and found that I was dancing a seductive love raga to the two musicians facing me playing sarod and tabla. We were performing in the courtyard of a beautiful Indian temple similar to Bubhaneshwar Temple, famed for its erotic sculpture and soaring towers.
The visibility of language was a noted feature of the DMT trance as reported by Gracie in the mids. Here is an exemplary report: They were everywhere jabbering in indecipherable tongues, juggling incandescent neon microworlds of dancing beings, and morphing with a zen-like, diaphanous fluidity that remains a primal miracle no matter how often you lay your all too human eyes on it.
The primordial intelligence being manifest before me was palpable, undeniable, transcendently amazing—it shook me to my core in a more-than-real gleeful profundity. All I could do was sit there in divine liquid awe, my soul gaping wide open, and stare at the incalculable proportions of bizarreness and the downright weird that lay before me. What is the sacra conveyed to the DMT user? The next second. While the precise nature of what is shown, done, and said in the DMT trance is notoriously ambiguous, as repeatedly apparent in user reports, the transmissions hold significance to enthusiasts.
In this virtual space, experients appear to be offered a direct connection, not so much to the actual meaning of things seen, done, and heard but to the inherent feeling of the sacred itself, to which the virtually experienced are exposed, which is felt more than known or is known because it is felt. That there is a common perception that one is without language capable of identifying the experience that is nevertheless ontologically significant suggests that the three modes of transmission are lim- ited in their application to experiences that test the boundaries of sensory per- ception.
In response, practitioners have invented terminology to explain what they have encountered. If the transmissions native to DMT hyperspace constitute information evok- ing or revealing the ultimate concerns of users, the content is esoteric, parag- nostic, and potentially subversive. Such lexigraphical and iconographical depictions enable users to navigate their tryptamine liminality, articulated in an accumu- lation of expressions comprising a storehouse of knowledge shared among a virtually networked milieu.
Unlike traditional or conventional rites of passage, this ritualization is private, internal, subversive, and yet possesses initiatory characteristics and is given public expression by way of mostly anonymous experiential reports published on the Internet. What can we learn of the ultimate concerns of the DMT user by way of the content transmitted in the liminoidal visions of the trypta- mine trance?
While the content of such visions presents a problem for social researchers, perhaps it is not the content that warrants our attention here so much as the ontology of othering implicit to the nonordinary state. To put this otherwise, the DMT user not uncommonly encounters the alien character of the self, a self-othering that appears integral to the experience and is reportedly of great significance to the user.
While the nat- ure of this alien self may be disputed, that which it serves becomes clearer as we recognize that entheogens have a function consistent with other practices, techniques, and tools from yoga and trance dance, to extreme sports like sky- diving serving the goals of the human potential movement: self-realization and growth.
Further research on the practice and ontology of DMT use and the negotiation of otherness implicit to travails in tryptamine hyperspace will shed more light on the parameters of virtual liminality and its role in the formation of identity for growing numbers of users. For a discussion of the integral role of virtual reality cyberspace in the rhetorical trans- mission of DMT virtualization i. Asprem, Egil. New York: Routledge. Bell, Art. Byron, Robert.
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