Glossolalia
Rising Star
I've been making a few observations about DMT's effect on the mind.
As we know, it can induce visions, but it's not for the sake of visions that I ingest DMT. The visions, at least for me, are a synesthesiac merging of language, symbols, colors, and geometries. One of the amazing aspects is that these symbols/geometries take on a very specific form, which I believe is related to language.
While they are presented in what has the outward appearance of language, upon close inspection it seems to be syntactic communication devoid of meaning. (That is, by the way, a good definition for the term glossolalia.)
It's as if concepts and symbols and being juggled around following very specific rules (syntax) but without much regard to the overarching meaning of the message. What has come to my attention recently is the nature of some of these rules; i.e., the syntax of the DMT language.
It is my thesis that the DMT language takes on the form (sometimes) of joke motifs. What do I mean by "joke motif"? Take this as an example:
A comedian would find this structure pleasing. The fact that (B) is mentioned and then not mentioned again until the punchline is what you could regard as a small "callback." The joke also follows the rule of three, which stretches the joke out, but for some reason we're conditioned to find the whole affair funnier when we do that dance. And of course, it has to have a punchline.
Or even simpler,
The rule of three is not an absolute requirement, although the repetition lends a pleasing aspect to the telling. It becomes like a dance, a cadence that lets us merrily skip through the telling.
However, one aspect of all jokes is an absolute requirement: the punchline must be a surprise. In order to find a joke funny, you must not see the punchline coming, but once you realize it, it's hilarious.
Now I'm not saying DMT presents me with a rabbi-and-a-priest-walk-into-a-bar style joke, but it does present me with an incredibly cosmic joke. The joke has a syntax; not the ones I outlined above, but just as specific.
I wish I could put the lead-up of the DMT joke into words, however, I can tell you the punchline!
When the joke unravels itself, what the entire thing was leading up to, is ... me. This reality is the punchline. I am the punchline. The joke only works when you don't see the punchline coming, so DMT places me in a frame of mind where I do not see "this" reality coming. I am so far gone that I've forgotten about planet earth entirely. I'm just gone. While I'm gone, the narrative of the syntactic joke resonates through my being.
And then it all re-integrates: the punchline of the cosmic joke is revealed. Upon a silver platter, presented before me, is all of God's creation in all of its splendor. That's usually when the tears well up in my eyes.
Peace,
Glossolalia
As we know, it can induce visions, but it's not for the sake of visions that I ingest DMT. The visions, at least for me, are a synesthesiac merging of language, symbols, colors, and geometries. One of the amazing aspects is that these symbols/geometries take on a very specific form, which I believe is related to language.
While they are presented in what has the outward appearance of language, upon close inspection it seems to be syntactic communication devoid of meaning. (That is, by the way, a good definition for the term glossolalia.)
It's as if concepts and symbols and being juggled around following very specific rules (syntax) but without much regard to the overarching meaning of the message. What has come to my attention recently is the nature of some of these rules; i.e., the syntax of the DMT language.
It is my thesis that the DMT language takes on the form (sometimes) of joke motifs. What do I mean by "joke motif"? Take this as an example:
An (A) and a (B) walked into a bar. (A) told the bartender, ______. The bartender said ______. Then (A) told the bartender ______. Once again the bartended replied _______. Finally (A) told the bartender ________. The bartender said, a third time, _______!!! Just then, (B) looks confused and asks __________?
A comedian would find this structure pleasing. The fact that (B) is mentioned and then not mentioned again until the punchline is what you could regard as a small "callback." The joke also follows the rule of three, which stretches the joke out, but for some reason we're conditioned to find the whole affair funnier when we do that dance. And of course, it has to have a punchline.
Or even simpler,
A man is trying to _____ but can't. So first he tries ____. That doesn't work because of _____. Then he tries ____. That doesn't work because of _____. Finally he tries _____. That too fails. Suddenly it hits him: " ________!"
The rule of three is not an absolute requirement, although the repetition lends a pleasing aspect to the telling. It becomes like a dance, a cadence that lets us merrily skip through the telling.
However, one aspect of all jokes is an absolute requirement: the punchline must be a surprise. In order to find a joke funny, you must not see the punchline coming, but once you realize it, it's hilarious.
Now I'm not saying DMT presents me with a rabbi-and-a-priest-walk-into-a-bar style joke, but it does present me with an incredibly cosmic joke. The joke has a syntax; not the ones I outlined above, but just as specific.
I wish I could put the lead-up of the DMT joke into words, however, I can tell you the punchline!
When the joke unravels itself, what the entire thing was leading up to, is ... me. This reality is the punchline. I am the punchline. The joke only works when you don't see the punchline coming, so DMT places me in a frame of mind where I do not see "this" reality coming. I am so far gone that I've forgotten about planet earth entirely. I'm just gone. While I'm gone, the narrative of the syntactic joke resonates through my being.
And then it all re-integrates: the punchline of the cosmic joke is revealed. Upon a silver platter, presented before me, is all of God's creation in all of its splendor. That's usually when the tears well up in my eyes.
Peace,
Glossolalia