1. Visual noiseAt the lowest level, which may be experienced in a completely sober state, geometry is perceived as visual noise or static, combined with stray light and dark red regions that can be seen under the eyelids.
2. Motion and colourAt this level, which is also obtainable without hallucinogens, the effect can be described as the appearance of unstructured regions of sudden flashes and clouds of colour. These are typically referred to as phosphenes and can often be experienced in a sober state by rubbing or applying pressure on or near the closed eyes.
3. Partially defined geometryAt this level, relatively complex shapes and patterns with a vague structure begin to form. These patterns remain strictly two-dimensional. Geometry at this level is fine, small, and zoomed out in size with a dark colour palette that typically 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 fields across a flat veil of geometry. However, they are significantly more detailed with the eyes closed or within dark environments.
4. Fully defined geometryAt this level, the detail in which the geometry displays itself becomes profoundly complex and fully structured, but still remains strictly two-dimensional. At this point, the geometry becomes larger in size and extremely intricate in detail with a colour palette that is nearly 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 before a person's eyes, remaining significantly more detailed with the eyes closed or in dark environments.
5. 3-Dimensional geometryAt this level, the geometry has become fully three-dimensional in its shape and position across the visual field. This adds a new layer of visual complexity and leaves the geometry sprawled out across the surfaces and objects of a person's environment instead of merely displaying themselves across a basic and flat veil in front of one's visual field.
6. Partially overriding visual perceptionAt this level, the geometry has become so intense, vivid, and bright that it has begun to block out and replace the external world. The visual perception of a person's environment begins to be replaced by geometry, with objects and scenery either transforming into complex geometric structures or simply being blocked out and covered by them. This occurs in a manner that drastically impairs the use of a person's normal vision. From this level of geometry onwards it is even possible to view geometry which is perceived to be four-dimensional or created from new, ineffable, non-euclidean, or nonsensical geometrical principles, although this is more common at higher levels.
7. Fully overriding visual perceptionAt this level, the geometry continues to become more intense, vivid, and bright as it begins to completely block out or replace the external world and a person's sense of normal sight become completely impaired. This creates the perception that one is no longer within the external environment, but has "broken through" into another reality of extremely complex and otherworldly geometric forms.
Level 8A and level 8BAt the highest level, geometry is capable of forking off into two separate levels of equal intensity known as level 8A and 8B. Environmental factors, a person's state of mind, and the substance consumed may determine which level a person experiences. 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 relatively meaningless, although complex, shapes and colours. This occurs through the perception of innately understood geometric forms that feel as if they depict specific concepts and neurological processes that exist within the brain. Although this is also possible to a much lesser extent at lower levels it does not occur as consistently, and the intensity of it at levels 8A and 8B is significantly higher. At this point, concepts can be seen as not just embedded within a person's closed or open eye visual field, but can also be simultaneously felt through indescribably complex physical and cognitive sensations. It is worth noting that there are particular attributes of psychedelic substances which tend to result in a higher likelihood of level 8A over 8B and vice versa. Psychedelics which are stimulating in physical effects and contain low amounts of hallucinatory content typically result in level 8A. For example, hallucinogens which tend towards causing level 8A include LSD, 2C-B, and 4-HO-MET. In contrast, psychedelics which lead to level 8B are typically sedating in physical effects and contain high amounts of hallucinatory content. For example, hallucinogens which tend towards causing level 8B include psilocybin, LSA, DMT, 2C-C.
8A - Perceived exposure to semantic concept network
8B - Perceived exposure to inner mechanics of consciousness
- 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 dissociatives 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 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 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 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. For example, the geometry associated with dissociatives 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 grays, purples and blacks
- 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 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 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 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 steadily rise in complexity.
- Level 8A vs. 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 Level 8A – exposure to semantic concept network and the second of these is Level 8B – exposure to the internal mechanics of consciousness.
Visual geometry was the aspect of the psychedelic experience that most quickly convinced me that these substances are incredibly profound and essential tools for humanity. Almost a decade ago as a young 17-year-old undergoing my first couple of hallucinogenic experiences, I found myself immediately fascinated by the sheer incomprehensibility of the beautiful patterns which my mind was producing. Not only were these geometric patterns complex beyond anything I had ever seen, but they were so impossible in their forms that I genuinely believed if even a short recording of high-level geometry could be somehow brought back to the real world, it would change the face of society forever. One aspect I’ve found very intriguing is that mine and other people's experiences of psychedelic geometry follows the aesthetic themes of various artwork and writing styles from historical societies such as Aztecs, Mayans, Tibetans, etc. Based purely upon my own potentially flawed speculation, there are a couple of relatively plausible explanations behind this. Perhaps our culture simply associates psychedelia with ancient societies in a manner which results in these themes displaying themselves within our collective experience of psychedelic geometry. Or, perhaps these societies experienced the very same imagery under the influence of psychedelic plants and took inspiration from this within their artwork, architecture, and alphabet. Or maybe, psychedelic geometry manifests itself in a manner which is on some level, a visual representation of the same neurological processes which allowed ancient humans to create language and artwork, thus generating a variety of somewhat consistent aesthetic themes throughout the humans that experience them, regardless of their cultural or historical context. Based on my personal experiences, I firmly believe that geometry is not simply another form of hallucination, but is instead a result of neurological signals and processes from various regions of the brain bleeding into the visual cortex and then being reinterpreted as complex geometric forms in a manner which is comparable to that of synaesthesia. This would explain multiple aspects of the effects behaviour, such as the way in which geometry commonly feels as if it is an innately understandable visual representation of one's emotional state, sensory input, and even complex concepts or thoughts. If this is true, it implies that psychedelic geometry is the profound experience of being able to indirectly see the hidden architecture and complex programming of human consciousness.
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