Concerning matter we have been all wrong. What we have called matter is energy, whose vibration has been so lowered as to be perceptible to the senses. There is no matter.
This iconic painting by Monet shows very accurately how I perceive the “physical reality.” Putting aside the fact that I am shortsighted, this blurry vision can be better explained by referring to Jung’s psychological types. I am introverted and intuitive, which in Jung’s typology means that my vision is directed inwards, towards the world of the archetypes, while the outside world of “hard matter” is often mysterious, hazy and hard to navigate.
Without getting on the high horse (OK, maybe a little bit), I felt avenged when I encountered the ideas of quantum physics and of the mystics of various epochs. What they all seem to claim is that hard reality is not the actual reality. The universe is vibration, and the constantly changing energy fractals weave our space together. We are surrounded by a timeless world of waves – solidity is an illusion. We may speak of the sound and the dance of the universe. External forms, seemingly solid, are in a state of constant flux, they are transient, shifting, transforming, moving about. The god Shiva is a cosmic dancer, the lord of the dance who orders the universe with his graceful movement. He dances out the creation of the world. With his drum he beats the rhythm of creation.
Shiva Nataraja, The Lord of the Dance
In my last post (https://symbolreader.net/2013/08/23/cartography-of-the-deep-human-psyche-1/) I introduced the subject and addressed the ethical concerns of LSD research. Today I am focusing on the shortest chapter of Grof’s report, where he describes the initial stages of the LSD procedure. The author himself dismisses this part as not so important and rather superficial, which is quite surprising to me because I found it extremely significant.
In short, the first thing that often happens after taking LSD is the experience of the animation of the visual field.
Occasionally, the colourful and dynamic mosaic of the entoptic field can be perceived as indistinct and fleeting images of fantastic and exotic scenery, such as visions of mysterious jungles, luscious bamboo thickets, tropical islands, Siberian taigas, or undersea kelp forests and coral reefs. (Grof, Realsm of the Human Unconscious)
Subjects frequently reported seeing abstract geometric designs such as mosaics or arabesques that were accompanied by dynamic colour transformations with the colours described as bright, penetrating and explosive. Very characteristic was “ornamentalization and geometrization of human faces, animals and objects.” Objects ceased being solid but they fluctuated, transformed and vibrated. These were real “orgies of visions,” as Grof puts it.
Alhambra, via http://www.nationalgeographic.pl
Pablo Picasso, Portrait of Wilhelm Uhde
Louis Wain, Progression
Another common experience was hypersensitivity to subliminal sounds accompanied by synesthesia (hearing colours, for example). A lot of subjects claimed to have been able to really hear music for the first time in their lives.
What I gather from all this is that LSD gave the participants an inner eye vision, enabling them to see the true nature of reality; as if the veil had dropped and the universe was revealed to them as a pulsating, vibrating, throbbing field of energy that is all there is. When Shiva grows tired of dancing, he lapses into inactivity and the universe falls into chaos. What follows is destruction, followed by creation, followed by destruction in an endless cycle. The initial stages of the LSD experience seem to show the collapse of the illusory solid structures that our minds erect; it takes us back to the initial stage of creation where the building blocks of reality are floating in the primordial ocean. Change and transformation become possible when rigidity is overcome and fluid consciousness is acquired.
Stanislaw Grof, Realms of the Human Unconscious: Observations from LSD Research
Rachel Storm, The Encyclopedia of Eastern Mythology