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On The Dmt Experience

Terence McKenna / audio 9:59 ~9 MB opus 133 kb/s

Terence McKenna presents a detailed, first-person account of the DMT experience, from the technical aspects of smoking the substance through the phenomenological stages of the journey. He describes the visual progression toward breakthrough, the encounter with non-ordinary entities he characterizes as conscious beings, and the properties of this space as he perceives them. McKenna emphasizes that DMT leaves the mind unchanged even as it radically alters perception, and he details the bizarre gifts these entities offer and their insistence that the voyager participate in creative acts. The recording captures the peculiar mix of precision and bewilderment that marks McKenna's approach to these matters. A lucid and compelling record of one of the most intense and enigmatic altered states known.

transcriptmachine-transcribed, unedited

Hash smokers are greatly favored in this endeavor because you really need leather lungs for this.

The great problem is that people will cough or not be able to hold it in.

You take two hits in a situation where your clothes have been loosened and you can just flop backward when you need to.

You take two hits.

Now, many people miss the point because after two hits, you feel completely peculiar.

You feel as though your body is undergoing some strange kind of anesthesia.

All the air has been pumped out of the room.

This is the visual acuity thing I talked about last night.

The colors jump up.

The edges sharpen.

And at that point, people say, whoa, wow, it's really coming on strong.

And then what you have to do is you have to take one more enormous hit.

And this separates the intrepid from the casual, believe me.

Because most people, and the facilitator doesn't want to lean on the person.

You say, you know, damn it, take the third hit.

And they're saying, no, I feel completely weird.

I know you feel weird, but take the third hit.

Well, if you can coax somebody into that, then what happens is you close your eyes and you see the ordinary warm brown back, you know, closed eyelid scenario.

And then these colors begin racing together and it forms this mandalic, floral, slowly rotating thing, which I call the chrysanthemum.

This is a place in the trip that you want to see as you go by it.

The chrysanthemum forms and you watch it for like 15 seconds.

If it doesn't give way, then you didn't do enough.

You have to do more.

One more hit usually will do it.

Well, then what happens is it like physically propels you through this chrysanthemum-like thing.

And there's a sound like a saran wrap bread wrapper being crumpled up and thrown away.

You know, you know, that crackle, a friend of mine says, this is your radio interlecky leaving through the anterior fontanel at the top of your head.

And I don't know what it is, but it's something is being.

Yeah, right.

That's what it is.

And then there's this very, very defined sense of bursting through something, a membrane.

And on the other side, and this is now, remember, my experience.

On the other side, as you break through, there's a cheer.

There's a whole bunch of entities waiting on the other side.

And they, you know that Pink Floyd song, the gnomes have learned a new way to say hooray.

Well, it's that place.

It's those gnomes.

And you burst into this space.

And they're saying, how wonderful that you're here.

You come so rarely.

We're so delighted to see you.

And the, one of the things about DMT that's really puzzling is, in a sense, it doesn't affect your mind.

In other words, you don't change.

For instance, if you take ketamine, the first thing you notice, the very first thing you notice before the trip hits,

is you notice that you no longer are anxious about having taken ketamine.

You just sort of, anxiety leaves you.

That means it's affecting your mind.

It's doing something to the judgmental machinery.

DMT doesn't lay a hand on the judgmental machinery.

You break through into that space exactly who you were before breaking through.

And the usual reaction of most people is something like, you know, you think, God.

Heartbeat, normal.

Pulse, normal.

Oh, everything's normal.

Yeah, everything's normal.

Oh, God.

Because these things are there.

And they're hammering at you.

And they come forward.

They're like jeweled, self-dribbling basketballs.

And there are many of them.

And they come pounding toward you.

And they will stop in front of you and vibrate.

But then they do a very disconcerting thing, which is they jump into your body.

They jump into your body.

And then they jump back out again.

And the whole thing is going on in this very high-speed mode where you're being presented with thousands of details per second.

And you can't get a hold on, you say, you know, my God, what's happening?

And these things are saying, don't abandon yourself to amazement, which is exactly what you want to do.

You just want to go nuts with how crazy this is.

They say, don't do that.

Don't do that.

Pay attention.

Pay attention to what we're doing.

Well, what are they doing?

Well, what they're doing is they're making objects with their voices.

They're singing structures into existence.

These things are, and what they will do is they'll come toward you and then, and you have to understand, they don't have arms.

So we're kind of downloading this into a lower dimension to even describe it.

But what they do is they offer things to you.

Say, look at this.

Look at this.

And as your attention goes toward these objects, you realize that what you're being shown is impossible.

It's impossible.

It's not simply intricate, beautiful, and hard to manufacture.

It's impossible to make these things.

The nearest analogy would be to the Fabergé eggs or something like that.

But these things are like the toys that are scattered around the nursery inside a UFO or something.

Celestial toys.

And they are, the toys themselves appear to be somehow alive.

The toys themselves can sing other objects into existence.

So what's happening is there's just this proliferation of elf gifts.

And the elf gifts are moving around singing.

And the whole thing is directed toward, they're saying, do what we are doing.

And they're very insistent.

They say, do it.

Do it.

And you feel like a bubble.

And now this is subjective.

I mean, only 5% report this.

But it happens to me.

You feel like some kind of bubble inside your body that's beginning to move up toward your mouth.

And when it comes out, it isn't sound, it's vision.

You discover that you can pump stuff out of your mouth by singing.

And they're urging you to do this.

They say, that's it.

That's it.

Keep doing it.

And the whole thing is like, you know, we're now at minute 4.5 with this stuff.

And you speak in a kind of glossolalia.

There's a spontaneous outpouring of syntax unaccompanied by what is normally called meaning.

It's sort of, you know,

And this is accompanied by a modality.

Something seen.

And they're saying, yes, do it.

Do it.

And then after a minute or so of this, the whole thing begins to collapse in on itself.

And they literally begin to physically move away from you.

And usually their final shot is they actually wave goodbye.

And they say, deja vu.

Deja vu.

Which makes no sense at all if you analyze it.

So then you come down.

And you're now at minute 6 to 7.

And you come down.

And it's like being more loaded than you've ever been.

It's like about a 700-mic acid trip.

But you embrace it as totally down.

You say, I'm totally down.

I mean, you look like a termite from Arturus and the room is decorated in Amish quilts.

But I'm completely back.

And then over a minute or a minute and a half or so, the room just comes right back together.

And four minutes after that, some people can give no account of it whatsoever.

They just say, you know, I don't know.

It was the weirdest thing that ever happened to me.

And I can't remember it now.

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