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Geometry: Difference between revisions
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[[File:Switch by Sam Perkins.png|250px|thumb|right|''Switch by [https://www.flickr.com/photos/thecubb/5132746341/ Sam Perkins]'' - This image serves as an example of a single frame of typical level 4 [[psychedelic]] geometry.]] | [[File:Switch by Sam Perkins.png|250px|thumb|right|''Switch by [https://www.flickr.com/photos/thecubb/5132746341/ Sam Perkins]'' - This image serves as an example of a single frame of typical level 4 [[psychedelic]] geometry.]] | ||
'''Geometry''' can be described as the experience of a person’s field of vision being partially or completely encompassed by fast-moving, | '''Geometry''' can be described as the experience of a person’s field of vision being partially or completely encompassed by fast-moving, colorful and indescribably complex geometric patterns, [[form constants]], [[phosphene]]s, shapes, [[fractal]]s, structures and color. These geometric forms can also become structured and organized in a way that presents genuine information to the person experiencing it far beyond the perception of meaningless, although complex, shapes and colors. This happens through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain in a manner that is extremely detailed. | ||
Geometry never stands still at any point and remains extremely fast-changing and self-transforming | Geometry never stands still at any point and remains extremely fast-changing and self-transforming regarding its shape and style. During this process, the geometry naturally drifts laterally or radially across the visual field to create overlapping webs of many arising and decaying geometric patterns, all of which are visible within a single perceptual frame. | ||
There are eight different levels of visual geometry, each one increasingly | There are eight different levels of visual geometry, each one increasingly sophisticated and challenging to comprehend. These tend to depend on the dosage but can also fluctuate widely in their intensity due to external triggers such as the [[set and setting]]. The individual levels are defined and documented below: | ||
====='''1. Visual noise'''===== | ====='''1. Visual noise'''===== | ||
This is the most basic level of geometry and can be experienced in a completely sober state. It can be described as visual noise or static combined with | This is the most basic level of geometry and can be experienced in a completely sober state. It can be described as visual noise or static combined with stray light and dark red regions that can be seen under the eyelids. | ||
====='''2. Motion and colour'''===== | ====='''2. Motion and colour'''===== | ||
This level is also easily obtainable without [[hallucinogens]] and can be described as the appearance of unstructured regions of | This level is also easily obtainable without [[hallucinogens]] and can be described as the appearance of unstructured regions of sudden flashes and clouds of color. | ||
====='''3. Partially defined geometry'''===== | ====='''3. Partially defined geometry'''===== | ||
At this level, complex indescribable shapes and patterns begin to show themselves. However, the patterns can be described as strictly 2-dimensional. Geometry at this level is fine, small and zoomed out in size with a dark | At this level, complex indescribable shapes and patterns begin to show themselves. However, the patterns can be described as strictly 2-dimensional. Geometry at this level is fine, small and zoomed out in size with a dark color palette that limits itself to only a few different shades such as blacks, reds and dark purples. They are displayed in front of both the open and closed eye visual field across a flat veil of geometry but are significantly more detailed with the eyes closed or within dark environments. | ||
====='''4. Fully defined geometry'''===== | ====='''4. Fully defined geometry'''===== | ||
This is the level where the detail in which the geometry displays itself becomes profoundly complex but remains strictly 2-Dimensional. At this point, the geometry becomes larger in size and extremely intricate in detail with a | This is the level where the detail in which the geometry displays itself becomes profoundly complex but remains strictly 2-Dimensional. At this point, the geometry becomes larger in size and extremely intricate in detail with a color palette that is limitless in its possibilities. They are displayed on both the open and closed eye visual field across a flat veil of geometry that floats directly in front of the eyes, remaining significantly more detailed with the eyes closed or in dark environments. | ||
====='''5. 3-Dimensional geometry'''===== | ====='''5. 3-Dimensional geometry'''===== | ||
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====='''6. Partially overriding visual perception'''===== | ====='''6. Partially overriding visual perception'''===== | ||
At this point, the geometry has become so intense, vivid and bright that it has begun to block out and replace the external world. At level six, the environment begins to be replaced by geometry, with objects and scenery transforming into sprawling masses of geometry or simply being blocked out and covered by them in a manner that drastically impairs the use of one's normal vision. From this level of geometry onwards (although this is more common at higher levels), it is possible to view geometry which is perceived by the tripper to be four-dimensional or above | At this point, the geometry has become so intense, vivid and bright that it has begun to block out and replace the external world. At level six, the environment begins to be replaced by geometry, with objects and scenery transforming into sprawling masses of geometry or simply being blocked out and covered by them in a manner that drastically impairs the use of one's normal vision. From this level of geometry onwards (although this is more common at higher levels), it is possible to view geometry which is perceived by the tripper to be four-dimensional or above or created from new ineffable, non-euclidean or nonsensical geometric principles. | ||
====='''7. Fully overriding visual perception'''===== | ====='''7. Fully overriding visual perception'''===== | ||
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====='''Level 8A and level 8B'''===== | ====='''Level 8A and level 8B'''===== | ||
Once the geometry reaches its eighth and final level, there is not one | Once the geometry reaches its eighth and final level, there is not one single pinnacle of visual geometry but two. It seems that depending on subtle environmental factors, one's own state of mind and the substance consumed, geometry is capable of forking off into two separate versions of its highest possible level. This means that level 8 geometry will have to be divided into two distinct categories of equal intensity known as levels 8A and 8B. | ||
Once visual geometry reaches level 8A or 8B, it begins to become structured and organized in a way that presents genuine information to the person experiencing it far beyond the preceding seven levels of meaningless although complex shapes and colours. This happens through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain. Although this is also possible at lower levels, it does not occur consistently in the same way that it does at level 8A and 8B. At this point, concepts can be seen as not just embedded within one's closed or open eye visual field but can also be simultaneously felt through indescribably complex physical and cognitive sensations. | Once visual geometry reaches level 8A or 8B, it begins to become structured and organized in a way that presents genuine information to the person experiencing it far beyond the preceding seven levels of meaningless although complex shapes and colours. This happens through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain. Although this is also possible at lower levels, it does not occur consistently in the same way that it does at level 8A and 8B. At this point, concepts can be seen as not just embedded within one's closed or open eye visual field but can also be simultaneously felt through indescribably complex physical and cognitive sensations. | ||
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*'''Intricate vs. simplistic''' - Geometry can either present itself as incomprehensibly intricate and complex in its appearance or simplistic and comprehensible even at higher doses. For example, the geometry associated with [[dissociative]]s tends to be consistently simplistic in complexity while most psychedelics are significantly more intricate. | *'''Intricate vs. simplistic''' - Geometry can either present itself as incomprehensibly intricate and complex in its appearance or simplistic and comprehensible even at higher doses. For example, the geometry associated with [[dissociative]]s tends to be consistently simplistic in complexity while most psychedelics are significantly more intricate. | ||
*'''Algorithmic vs. abstract''' - Geometry can either appear to follow mathematical rules and logically consistent forms in its shape (which often results in high amounts of fractals and semi-predictable shapes). In contrast to this, however, geometry can also be completely abstract or random in its appearance in a way that contains infinite amounts of completely unpredictable variety. | *'''Algorithmic vs. abstract''' - Geometry can either appear to follow mathematical rules and logically consistent forms in its shape (which often results in high amounts of fractals and semi-predictable shapes). In contrast to this, however, geometry can also be completely abstract or random in its appearance in a way that contains infinite amounts of completely unpredictable variety. | ||
*'''Organic vs. synthetic''' - Geometry can either feel organic and natural in its visual style or it can feel synthetic and digital. | *'''Organic vs. synthetic''' - Geometry can either feel organic and natural in its visual style, or it can feel synthetic and digital. | ||
*'''Unstructured vs. structured''' - Geometry can either present itself as completely disorganized and unstructured or it can form and condense into an infinite variety of 3-dimensional | *'''Unstructured vs. structured''' - Geometry can either present itself as completely disorganized and unstructured or it can form and condense into an infinite variety of 3-dimensional mechanical and ever-shifting structures which are comprised out of and based upon condensed geometry. | ||
*'''Dimly lit vs. brightly lit''' - Geometry can either present itself as extremely dark and hard to make out from its background or, in contrast, it can be brightly lit and extremely easy to distinguish from its background. | *'''Dimly lit vs. brightly lit''' - Geometry can either present itself as extremely dark and hard to make out from its background or, in contrast, it can be brightly lit and extremely easy to distinguish from its background. | ||
*'''Multicoloured vs. monotone''' - The | *'''Multicoloured vs. monotone''' - The color scheme that geometry follows can range from extremely varied and multicolored in style to consisting of little (if any) color variety such as blues and grays or purples and blacks | ||
*'''Flat shading vs. glossy shading''' - This is separate from the variety of | *'''Flat shading vs. glossy shading''' - This is separate from the variety of color contained within geometry. Colours can either be flat, bright and simplistic or glossy with depth, highlights, and shading. | ||
*'''Sharp edges vs. soft edges''' - Geometry can have sharp edges which are extremely well-defined around its perimeter (sometimes with thick black outlines around its edges). In contrast to this, they can also be soft and blurred around the edges, merging seamlessly into each other in a way that does not affect its intricacy. | *'''Sharp edges vs. soft edges''' - Geometry can have sharp edges which are extremely well-defined around its perimeter (sometimes with thick black outlines around its edges). In contrast to this, they can also be soft and blurred around the edges, merging seamlessly into each other in a way that does not affect its intricacy. | ||
*'''Large vs. small''' - | *'''Large vs. small''' - Regarding its size, geometry can be extremely large and zoomed in or fine and zoomed out in a way that does not affect its level of intricacy. | ||
*'''Fast vs. slow''' - In terms of its speed, geometry can shift and morph so fast into itself that the amount of information presented to the tripper in extremely short periods of time becomes incomprehensible to process. In contrast to this, they can move slowly and comprehensibly, swirling and shifting into themselves to present ever-changing geometric forms that can be observed | *'''Fast vs. slow''' - In terms of its speed, geometry can shift and morph so fast into itself that the amount of information presented to the tripper in extremely short periods of time becomes incomprehensible to process. In contrast to this, they can move slowly and comprehensibly, swirling and shifting into themselves to present ever-changing geometric forms that can be observed at a much higher level of detail. | ||
*'''Smooth vs. jittery''' - In terms of its motion, geometry can be smooth in its motion with a high frame rate or it can be jittery in its motion with lag and a low frame rate. | *'''Smooth vs. jittery''' - In terms of its motion, geometry can be smooth in its motion with a high frame rate, or it can be jittery in its motion with lag and a low frame rate. | ||
*'''Round corners vs. angular corners''' - Geometry can either have mostly rounded and circular corners or mostly sharp corners with | *'''Round corners vs. angular corners''' - Geometry can either have mostly rounded and circular corners or mostly sharp corners with sharp and angular geometry. | ||
*'''Non-immersive vs. immersive''' - Geometry can be manifested in front of one's face on a field of vision that feels separate as if it was being presented on some | *'''Non-immersive vs. immersive''' - Geometry can be manifested in front of one's face on a field of vision that feels separate as if it was being presented on some screen without a distinct sense of size or distance attributed to them. In contrast, geometry can feel as if one is completely immersed in and surrounded by them with a distinct sense of attributed size and distance. | ||
*'''Consistent vs. progressive''' - Geometry can be manifested as consistent and steady in its intensity, complexity and visibility regardless of disturbances within the external environment. In contrast, however, it can manifest as progressive in its intensity which means that disturbances and sensory input such as bright lights, loud noises and distractions within the external environment will prevent or cut off the intensity, complexity and visibility from building up to its limit whilst darkness will cause it to | *'''Consistent vs. progressive''' - Geometry can be manifested as consistent and steady in its intensity, complexity and visibility regardless of disturbances within the external environment. In contrast, however, it can manifest as progressive in its intensity which means that disturbances and sensory input such as bright lights, loud noises and distractions within the external environment will prevent or cut off the intensity, complexity and visibility from building up to its limit whilst darkness will cause it to rise in complexity progressively. | ||
*'''[[8A Geometry|Level 8A]] vs. [[8B Geometry|level 8B]]''' - At its eighth and highest level of experience, geometry is capable of branching off into two different directions of equal intensity. The first of these is [[8A Geometry|Level 8A – exposure to semantic concept network]] and the second of these is [[8B Geometry|Level 8B – exposure to the | *'''[[8A Geometry|Level 8A]] vs. [[8B Geometry|level 8B]]''' - At its eighth and highest level of experience, geometry is capable of branching off into two different directions of equal intensity. The first of these is [[8A Geometry|Level 8A – exposure to semantic concept network]] and the second of these is [[8B Geometry|Level 8B – exposure to the internal mechanics of consciousness]]. | ||
There are particular attributes of psychedelics which tend to result in level 8B over level 8A and vice versa. Psychedelics which are stimulating in physical effects, synthetic in style, algorithmic in appearance, sharp and angular in corners, flat in shading, unstructured in organization, [[analysis enhancement|introspection dominant]], and contain low amounts of hallucinatory content usually result in level 8A. In contrast, psychedelics which lead to level 8B are | There are particular attributes of psychedelics which tend to result in level 8B over level 8A and vice versa. Psychedelics which are stimulating in physical effects, synthetic in style, algorithmic in appearance, sharp and angular in corners, flat in shading, unstructured in organization, [[analysis enhancement|introspection dominant]], and contain low amounts of hallucinatory content usually result in level 8A. In contrast, psychedelics which lead to level 8B are typically sedating in physical effects, abstract in appearance, organic in style, rounded and soft in corners, glossy in shading, structured in organization, [[analysis enhancement|outrospection dominant]], and contain high amounts of hallucinatory content.</onlyinclude> | ||
===Psychoactive substances=== | ===Psychoactive substances=== | ||