Geometry: Difference between revisions

Line 58:

===Variations===

*'''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, basic and comprehensible even at higher doses. For example, the geometry associated with [[dissociative]]s tends to be consistently overly simplistic in form 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 design (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 an infinite amount 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 subjectively 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 mechanical and ever-shifting structures which are comprised out of and based upon condensed geometry.

*'''Unstructured vs. structured''' - Geometry can either present itself as completely disorganized and unstructured or it can form and condense into a 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. For example, the geometry associated with [[dissociative]]s tends to be consistently darker in appearance while most psychedelics are significantly brighter.

*'''Multicolored 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

*'''Multicolored 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 grays, purples and blacks

*'''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.

*'''Flat shading vs. glossy shading''' - The shading of geometry can either be flat, bright and simplistic or glossy with depth, gradients, 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 manner which does not affect its intricacy.

*'''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 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 move smoothly 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 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 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.

*'''Non-immersive vs. immersive''' - Geometry can be manifested in front of one's face on a in a manner which feels separate and as if it was being presented on some screen without a distinct sense of size or distance attributed to it. In contrast, geometry can feel as if one is completely immersed in and surrounded by it 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 rise in complexity ~~progressively~~.

*'''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 steadily rise in complexity.

*'''[[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]].

*'''[[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]].</onlyinclude>

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===

@@ Line 58: / Line 58: @@
 ===Variations===
-*'''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, basic and comprehensible even at higher doses. For example, the geometry associated with [[dissociative]]s tends to be consistently overly simplistic in form 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 design (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 an infinite amount 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 subjectively 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 mechanical and ever-shifting structures which are comprised out of and based upon condensed geometry.
+*'''Unstructured vs. structured''' - Geometry can either present itself as completely disorganized and unstructured or it can form and condense into a 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. For example, the geometry associated with [[dissociative]]s tends to be consistently darker in appearance while most psychedelics are significantly brighter.
-*'''Multicolored 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
+*'''Multicolored 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 grays, purples and blacks
-*'''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.
+*'''Flat shading vs. glossy shading''' - The shading of geometry can either be flat, bright and simplistic or glossy with depth, gradients, 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 manner which does not affect its intricacy.
 *'''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 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 move smoothly 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 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 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.
+*'''Non-immersive vs. immersive''' - Geometry can be manifested in front of one's face on a in a manner which feels separate and as if it was being presented on some screen without a distinct sense of size or distance attributed to it. In contrast, geometry can feel as if one is completely immersed in and surrounded by it 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 rise in complexity progressively.
+*'''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 steadily rise in complexity.
-*'''[[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]].
+*'''[[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]].</onlyinclude>
-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===