OPENING THE DOORS OF CREATIVITY -TERENCE MCKENNA

the theme that unites these lectures is creativity  and the techniques by which the artist can   refine his or her vision expand the vision  communicate the vision and before i get into that   issue i thought i would talk just a little  bit about my notion of creativity per se   what is it uh in and of itself and when i think  like that of course i cast my mind back to nature   nature is the great visible engine of creativity  against which all other creative efforts   are measured and creativity in nature has a  curious uh distribution it's something which   accumulates through time if we stand back and  look at the universe we see that at its earliest   moments it was very simple it was a plenum  it was without characters or characteristics   it was what in hindu mythology is called the  turaya which is described as attributeless and   naturally if something is without attribution  you can't say much about it it takes a while   for it to undergo a declension into more creative  realms and these creative realms are distinguished   as domains of difference the precondition  for creativity is i think disequilibrium   what mathematicians now call chaos and through the  life of the universe as temperatures have fallen   more and more complex compound structures have  arisen and though there's been um you know many a   slipping back in this process over very large  spans of time we can say that creativity is   conserved that the universe becomes more creative  and out of that state of creative fecundity   more creativity is manifest so that from that  point of view the universe is almost what we   would have to call an art making machine an engine  for the production of ever more novel forms of   connectedness ever more exotic juxtapositions  of disparate elements and out of this i believe   arises implicitly a set of principles that we can  then apply to the human artist in the human world   nature's creativity is obviously the wellspring  of human creativity we emerge out of nature   almost and this idea i think was fairly present  close to the surface of the medieval mind   we emerge out of nature almost as its finest work  of art the medieval mind spoke of the productions   of nature this is a phrase you hear as late  as the 18th century the productions of nature   and human creativity uh emerges out of that  whether you have a model of the aristotelian   great ladder of being or a more modern  evolutionary view where we actually   consolidate emergent properties and somehow  bring them to a focus of self-reflection now   i'm sure that we couldn't carry  out a discussion of this sort   without observing that the prototypic figure  for the artist as well as for the scientist   is the shaman the shaman is the figure at  the beginning of human history that unites   the doctor the scientist and the artist into a  single notion of caregiving and creativity and   i think that you know to whatever degree art  over the past several centuries has wandered   in the desert it is because this shamanic  function has been either suppressed or forgotten   and we've a different images of the artist have  been held up at different times uh the artist as   a artist zan the artist as a handmaiden  of a ruling class or family the artist as   designer for the production of integrated objects  into a civilization this notion of the artist as   mystical journeyer as one who goes into  a world unseen by others and then returns   to tell them of it was pretty much lost in  the post medieval and renaissance conception   of art up until the late 19th century or early  20th century where beginning with the romantics   there is a new permission to explore  the irrational this really is the bridge   back to the archaic shamanic function of the  artist permission to explore the irrational   the permission for the irrational imagery of the  unconscious surrealism and german expressionism   make use of this permission always the idea being  to somehow destroy the idols of the tribe dissolve   the conceptual boundary of ordinary expectation  well in order to do this it seems to me   there is a precondition for the creation  of art which i call understanding   and i don't mean this in an intellectual sense i  mean it in the sense that alfred north whitehead   intended when he defined understanding as  the appreception of pattern as such as such   there's nothing more to it than that you see  if we were to look at this room and we were to   squint our eyes and i'm doing  this right now and i see   that the room divides itself into people  dressed in red and people dressed in blue   this is a pattern and it tells me something about  what i'm looking at now i shift my depth of field   now i'm looking at where men are sitting and where  women are sitting this is a different pattern and   it tells me more about what i am looking at the  number of these patterns theoretically present in   any construction is infinite that says to me then  that the depth of understanding cannot be known   it cannot be known everything is imminent william  blake makes this point you know that you can see   infinity in a grain of sand so understanding  then is the pre the precondition for creativity   and this understanding is not so much  intellectual as it is visual visual and in thinking about this i realized what  an influence upon my own ideas in this area   aldous huxley was not the huxley  that we might ordinarily associate   with my concerns the huxley of the doors of  perception and heaven and hell but the huxley   of a very modest book that he wrote in the  early 50s called the art of seeing the art of   seeing and in that book he makes the point  that a good art education begins with a good   drawing hand that to be able to coordinate the  hand and eye and to see into nature to see into   the patterns present as such is the precondition  for a kind of approach to the absolute now out of this process of seeing which i'm  calling understanding the creative process   ushers in novelty and many of you have  heard me speak of novelty in another   context in the context of nature as a novelty  producing engine of some sort and ourselves   almost as the hand the handiwork of nature but  this same handiwork of nature which we represent   we also internalize and re-express  through the novelty of the human world   well now if we take seriously the the shamanic  model as a basis for our thin authentic art   then certainly in the modern context what we  see missing from the repertoire of the artist   are shamanic techniques and it's for the  discussion of these shamanic techniques i believe   that i was brought here this evening so i  want you to cast your mind back to a great seminal moment germinal moment in the history  of human thought which was about 25 000 years   ago the great glaciers that had covered most of  the eurasian land mass began to melt and human   populations that had been islanded from each other  for about uh 15 millennia began to re-contact each   other and reconnect and out of this comes  what is called the magdalenian revolution   from 18 000 to 22 000 years ago and what it is  is nothing less than a tremendous explosion of   creativity and aesthetic self-expression on  the part of the human species we find uh the   for the first time bone and antler technology  takes its place along with stone technology   musical instruments appear over a wide area  and cave paintings some paintings in areas   and recess is so remote from the surface of the  ground that it takes several hours to reach them   are painted and set up in dramatic tableaus  specifically designed to bring together   sound light and dance in herophonies  extravaganzas of aesthetic output that invoke   a kind of transcendent other that human beings for  the first time are trying to come to grips with   and make some kind of cultural statement  about and this pulling into matter   of the ideas of human beings first you know in  the forms of uh uh bead work and chipped stone   and carved bone within 20 000 years ushers  into the kinds of high civilizations that   we see around us and points us toward the  kind of extraplanetary mega civilization   that we can feel operating on our own present  like a kind of great attractor now this whole   intellectual adventure in exteriorization of ideas  is entirely an aesthetic adventure until very   recently utility is only a secondary consideration  the real notion is a kind of seizure by the   tremendous by the other which then forces us  to take up matter clay bone flint and put it   through a mental process where we then excrete  it as objects that have lodged within them ideas   this seems to be the special unique  transcendental function of the human animal   is the production and condensation of ideas  and what made it possible for the human animal   is language you're seeking the thumbprint  of the transcendental on the on the myriad   phenomena that compose life on this planet to  my mind the place to look is human language   human language represents an ontological break  of major magnitude with anything else going on   on this planet i mean yes bees dance and dolph  and squeak and chimpanzees do what they do   but it's a hell of a step from there to wallace  stevens let alone william shakespeare uh   language is the unique province of human beings  and language is the unique tool of the artist   the artist is the person of language and i've  you know given a lot of thought to this because the work that i've done with psilocybin mushrooms   and the observations of psychedelic plant  use in the amazon centered around ayahuasca   lead me to the conclusion that it is  the synergy and catalysis of language   that lies behind not only the emergence of  human consciousness out of animal organization   but then its ability to set a course for a  transcendental dimension and pursue that course   against all the facilities of biology and history  over 10 or 15 000 years language has made us more   than a group of pack hunting monkeys it's made  us a group of pack hunting monkeys with a dream and the fallout from that dream has given  us our glory and our shame our weaponry   our technology our art our hopes our fears  all of this arises out of our own ability   to articulate and to communicate with each other  and i use this in the broadest sense i mean for me   the glory of the human animal is  cognitive activity song dance sculpture   poetry uh all of these cognitive activities when  we participate in them we cross out of the domain   of animal organization and into the domain of a  genuine relationship to the transcendent as you   know shamans in all times and places uh gain their  power through relationships with helping spirits   which they sometimes call ancestors sometimes  call nature spirits but somehow the acquisition   of a relationship to a disincarnate intelligence  is the precondition for authentic shamanism   now nowhere in our world do we have an institution  like that that we do not consider pathological   except in the now very thinly spread tradition  of the muse that artists alone among human beings   are given permission to talk in terms of my  inspiration or a voice which told me to do this   or a vision that must be realized the the thin  the thin line the thin thread of shamanic descent   into our profane world leads through the office  of the artist and so if society is to somehow   take hold of itself at this penultimate moment  as we literally waver on the brink of planetary   extinction then the artist like ariadne  following her thread out of the labyrinth   is going to have to follow this shamanic  thread back through time and you know one   of the most disempowering things that has been  done to us by the male dominant culture is to   brush out our footprints into  the past we don't have a clue   as to how we got here most people can't think  further back than the first nixon administration   let alone you know the arrival of the vikings the  fall of chatalya york the melting of the glaciers   so forth and so on we have been disempowered by  a rational tendency to deny our irrational roots   which are a kind of embarrassment to science  because science is uh the special province   of the ego and magic and art are the special  province of something else i could name it but   i won't it prefers to be unnamed i think so how  seriously then are we to take this um i'll call   it an obligation to follow the shamanic thread  back into time well i i think that it is uh   a matter of saving our own souls that  this is the real challenge you know   i love to dig at the yogans by saying nobody ever  went into an ashram with their knees knocking in   fear over the tremendous dimension they know  they were about to enter through meditation still truer and sadder still more true  and sadder is the notion that very few   of us pick up our sculpting tools or our  airbrush with our knees knocking with fear   because we know we are invoking and  acting with the muse at our elbow   and somehow I think the artists need  to recover this sense of mystery one of the most depressing things to me about the  art scene and i had a chance to reconnect with   this because i was just in new york is it now has  a kind of directionless quality you can go into   a gallery and you cannot tell whether it is 1990  1980 1970 or 1960 because a kind of eschatological   malaise has settled over art all notion of  any forward movement toward a transcendental   ideal has been put aside for the exploration of  idiosyncratic vision and i grant you this is a   a a tension and perhaps in the question period  we can talk about this there is a tension   between the individual vision and uh the notion of  an attractor or or a collective vision which wants   to be expressed but to my mind this is the same  dichotomous tension that haunts the individual   in his or her relationship to dao you know we  don't want to be lost in ego but on the other hand   if we completely express the dao we have no  sense of self the ideal seems to be a kind of   coincidencia positorum a kind of literalizing  of a paradox where what we have is dao   but we perceive it as ego and in the application  of this notion to the art problem i would say what   we need is a situation where schooling if you want  to put it that way or a tendency toward a coherent   vision expressed by many artists is spontaneous  each artist imagines that they are pursuing their   own vision yet obviously they are in the grip of  an archetype which is rising through the medium of   the unconscious now the last time we saw this  in american art was an abstract expressionism   which was probably in terms of the values in  terms of tension and the amount of emotional gain   between one artistic moment and another the break  between abstract expressionism and what preceded   it was the most radical break in american  art in this century abstract expressionism   actually carried us in to a confrontation with  what the quantum physicists were telling us that   the universe is filled upon field of integrated  vibration that there is no top level there is no   bottom level that the ordinary structures of  provisional space time are simply that that if   we can rise out of the human dimension then we  discover these larger more integrated dimensions   where mind and nature somehow interpenetrate  each other a vision like that a coherent vision   has yet to announce itself here in the uh  post-history pre-apocalypse phase of things well i guess i have a kind of reactionary side when i  think about the creative endeavor i believe that   the psychedelic experience as encountered by  each of you in the privacy of your own mind   or as encountered by a pre-literate society  somewhere in the world that that psychedelic   experience is in a way the rosetta  stone not only for um understanding the   encryption that our own lives represent each  to ourselves but it's also a rosetta stone   for uncoding the historical experience art  is this endeavor to leave the animal domain   behind to create another dimension orthogonal  to the concerns of ordinary history   and this orthogonal domain to my mind is glimpsed  most clearly in the psychedelic experience   the psychedelic experience shows you more art  in an hour and a half than the human species   has produced in 15 or 20 000 years now this  is an incredible claim this is why i make it the the energy barrier which separates  us from this tremendous repository   of transcendental imagery is very low you know  it's a matter of a little personal commitment and   the substances which make the transition possible  the perturbation of brain chemistry is easily done   what is not so easily done is the assimilation  of the consequences of this act ordinarily   we assume that consciousness is channeled between  tremendously deep walls that there is no way to um   force a confrontation with the other or the  transcendent or the unconscious we tend to   assume that you know we're going to have to  do double duty at the ashram for three decades   before your vouchsafed even a glimpse into these  places this is not true culture and this is my   message to artists and to anybody else who cares  to notice culture is a plot against the expansion   of consciousness and this plot prosecutes its  uh its goals through a uh limiting of language   language is the battleground over which the the  fight will take place because what we cannot   what we cannot say we cannot communicate  and by say i mean dance paint sing meme   what we cannot say we cannot communicate we can  conceive of things that we cannot communicate but   and i think every one of us here has done that  and that's a thrilling thing that is uh the deep   homework the the psychedelic inner astronaut sees  things which no human being has ever seen before   and no human being will ever see again but in  fact this has no meaning unless it is possible   to carry it back into the collectivity and  what motivates me to talk to groups like this   is the belief that we do not have centuries of  gently unfolding time ahead of us in which to uh   you know gently tease apart the threads of the  human endeavor and create a bright new world   that's not our circumstance this is a fire in a  mad house and to get a hold on the situation i   think we are going to have to force the issue well  uh one one way of forcing the issue or a chemical   definition of forcing the issue when you're  talking about a chemical reaction is catalysis we want to catalyze consciousness we want to  move it faster toward its goals whatever those   goals are well i believe that to the present  moment language again in the broadest sense speech   dance musical composition language has just been  allowed to grow like topsy it's been a kind of   every man for himself situation now what we really  need as we see ourselves moving from one species   among tens of thousands of species on this  planet over the past 10 000 years we have   redefined ourselves and now like  it or not we are the custodians   of the destiny of this planet our decisions  affect every life form on the planet   what i'm hopeful for and what i actually  see happening i mean i think that we're   on the right track the birth of a new  kind of humanity is going to take place   but there are still a lot of decisions to be  made how violent shall this birth be what toll   shall it take upon our mother the earth what shape  shall the baby be in when it finally is delivered   these are the decisions that artists can  mediate and control most people are afraid   of the unconscious this is why you know you  can have a psychedelic compound like dmt   which is very much like ordinary brain chemistry  appears completely physiologically harmless   uh only lasts 10 minutes extremely powerful  and generally in this society you have no   takers this is because there has been a failure of  moral courage and the failure of moral courage is   uh perhaps most evident in our own community  the community of uh of the artists in a way   it's the poets that have failed us because they  have not uh provided a song or sung a vision that   we could all move in concert to so now we are in  the absurd position of being able to do anything   and what we are doing is fouling our own nest and  pushing ourselves toward planetary toxification   and extinction this is because the poets the  artists have not articulated and a a moral vision   the moral vision must come from the  unconscious it doesn't have to do   i believe with uh you know these um  post-meaning movements in art deconstructionism   and this sort of thing i mean i'm basically  putting out a very conservative but i think exciting program for art that art's task is  to save the soul of mankind and that anything   less is a dithering while rome burns because  if the artists who are self-selected for uh   being able to journey into the other if the artist  cannot find the way then the way cannot be found ideology is extremely alien to art political  ideology i mean and if you will but notice it is   political ideology that has been calling the shots  for the last seven or 800 years we can transcend   politics if we can put some other program in  place you cannot transcend politics into a void   and i believe that a world without ideology could  be created if what were put in place of ideology   were the notion of the realization of the good the  true and the beautiful you know the three-tiered   canon of the platonic aesthetic the reconnect the  notion of the good the true and the beautiful then   use psychedelics to empower the artists to go into  this vast dimension that surrounds human history   on all sides to an infinite depth and return  from that world with the transcendental images   that can lift us to a new cultural level the muse  is there the the dull maps that rationalism has   given us are nothing more than whistling past the  graveyard by the bad little boys of science you   only have to avail yourselves of these shamanic  tools to rediscover a nature which is not mute   as sart said in a kind of culmination of the  modern viewpoint nature is not mute it is man   who is deaf and the way to open our ears open our  eyes and reconnect with the intent of a living   world is through the psychedelics now as you know  biology runs on genes and genes are the units of   meaning of heredity but we could make a model of  the informational environment that is represented   by culture and in fact this is done a word has  been invented meme m-e-m-e meme a meme is not the   smallest unit of heredity a meme is the smallest  unit of meaning of an idea ideas are made of means   and i think the art community might function  with more efficiency in the production   of visionary aesthetic breakthroughs if we  would think of ourselves as an environment   modeled after the natural environment where we  as artists are attempting to create memes which   enter an environment of other means that are  in competition with each other and out of this   competition of memes ever more appropriate adapted  and suitable ideas can gather and link themselves   together into higher and higher organisms now in  order for this to happen there is an obligation   upon each one of us to carry our ideas clearly  because in the same way that a gene must be copied   correctly to be replicated or it will cause some  pathological mutation a meme must be correctly   replicated or it will cause a pathological  mutation what is this new level of creativity some of you may be familiar with the theme that  was very big in medieval religious art which was   the apocalypse of saint john or of  somebody there are a number of of these   apocalypses and i think that many of us may  come out of a kind of secular background   or have not given this kind of a religious  idea too much consideration but my uh   idiosyncratic conclusion based simply  on trying to be honest about the content   of the psychedelic experience is that human  history really is on a collision course with a   transcendental object of some sort it  is not going to be business as usual   into the endless unfolding confines of the future  the very fact that human history is occurring   on this planet the very fact that a primate has  left the ordinary pattern of primate activity   and gone into the business of running stock  markets and molecular biology labs and art   museums indicates to me the nearby presence in  another dimension of a kind of hyper organizing   force or what i call the transcendental object  and i believe that this transcendental object   is casting an enormous shadow over the human  historical landscape so that if you're back in   ancient judea you have an anticipation of the  messiah if you are at illusis at the height of the   practice of the illusionian mysteries you have an  anticipation of the dark god these anticipations   of an unspeakable transcendent reality that are  always clothed in the in the assumptions of the   individual artist and the society in which  he or she is working are in fact genuine   and that you don't have to give your own  yourself over to fundamentalist religion   to connect with the fact that human history is  an adventure and this adventure has a number of   startling reverses and sudden plot shifts that  are very difficult to anticipate and that we are   coming up on one of those the civilization  that was created out of the collapse of the   medieval world has now shown its contradictions  to be unbearable and though no one of us knows   what the shape of the new civilization will be  somehow in the singing of the ayahuasca songs in   the rain forest in the tremendous hyper metallic  transcendental off planetary flash of psilocybin   in the teaching of the self-transforming  machine elves that seem to dwell in the dmt   dimension we see that the ordinary linear  expectations of history are breaking down and that   the the truth of the imminence of the mystery is  breaking through all the structures of denial of   the male dominator paradigm that has been in place  so long the way to make this birth process smooth   the way to bring it to a conclusion that will not  betray the thousands and thousands of generations   of people who who suffered birth and disease  and migration and starvation and lonely death   so that we could sit here this evening the  redeeming of the human enterprise all lies   then in helping this thing come to birth and each  artist is an antenna to the transcendental other   and as we go with our own history  into that thing and then create   a unique confluence of our uniqueness and its  uniqueness we collectively create an arrow   an arrow out of history out of time perhaps even  out of matter that will redeem then the idea   that man is good redeem the idea that man is good  this is the promise of art and its fulfillment   is never more near than the present moment is it  that we are to transcend this world and go into   some titanic dimension of energy or spirit that  we can scarcely imagine is that what this birth is   is the only way we can grant peace to this planet  is to turn ourselves into uh you know electrons   moving in an ytterbium cube that we bury on the  dark side of the moon is it something like that   i'm troubled by that because i would like to keep  it all together i would like to see us as a part   of nature but i'm not so uninformed concerning the  historical adventure that i don't know that what   is called gnosticism is a very strong strain in  the human animal and especially in western thought   and gnosticism in its most severe form  can be boiled down to the proposition   that we are strangers here we don't belong here  this is not our world we come from a place made of   light and we will never rest until we return to it  now the problem with that formulation is it sets   us up for tremendous discontinuity and unhappiness  until we achieve that return to the realm of light   it's a kind of faustian thing you know and  yet the other possibility which i as the as   a co-founder of a botanical garden and a lover of  nature inclined to is isn't there some way that   we can make our peace with the earth isn't there  some way that we can have archaic and eat it too and i more and more to my own   discomfort conclude that there isn't that the  human adventure is a forward-going adventure   that we do close off options we never again  are going to be you know a small tribe of   hunter hunter-gatherers with our flocks on  the plains of africa enjoying our mushrooms   and our orgies at every full moon somehow  long long ago that option was cut off shucks but but i think that it's good to cultivate this  poignancy that if we're going to go storm our   tourists at least we should do so with some sense  of what has been left behind and not just turn   ourselves into a mechanical uh technocrats somehow  the living spirit has to be brought with us   and this is really the high task for shamanism  how can we who have always as shamans   had a relationship to the spirits of the earth  of the waters of the sky if we are setting out   for alpha in sagittarius or something like that  how can we do that and not leave our soul behind   well i don't think we should leave our human  soul behind somehow we have to internalize   the entirety of the biological world if we  are going to become a space-faring species   otherwise we are going to get out there  and discover that something vital was   left behind and this is a great tension between  ourselves and the earth between our destiny as uh   an energy using dream compressing space-faring  trooper kind of species i mean that's all male   dominance and male mentality talking and the  need to somehow fold that into a nurturing stance   a preserving stance a stance that recognizes  that the conservation of our archaic values   is really our only hope and those two things exist  in a dynamic tension this is maybe the issue that   the artistic community can clarify and that must  be clarified before we can make a definitive step   into the future right now we're uncertain  stewardship or angelhood which shall it be   what i'm proposing is more uh there's no man  in it it's the concrescence of the collective   soul of humanity that somehow i see history as  an alchemical task and process and the artist   as artificer it is the task of the  artist to complete this alchemical   concrescence and it's a kind of irrational  thing it is irrational it's that mind and matter   are approaching each other on a trajectory that  will bring them together with no um damage to the   quintessential nature of each and we can't imagine  that because for us things our mind or matter   we can't conceive of a coincidencia a  positorium and yet it's that which we   must hold in our mind if we want to see truth  i mean even in quantum physics they teach you   that the universe is composed of what they  call islands of boolean algebra embedded in   an ocean of ordinary algebra what they mean is  they're having their archaic and eating it too   they're trying to say that it's both and and this  it is an irrational process it isn't a nietzschean   program of realization it's a kind of an opening  something wants to be born the promptings of our   religions with all the irrational and hysterical  trappings that attend them nevertheless have   a core perception that there is between man  and nature a kind of compact and this compact is it's the it's it will be redeemed i mean i  really think that this is the psychedelic faith   that we are the prodigal species we have descended  into the inferno of matter to try and recover   the pearl of immortality the pearl of immortality  is the perfected and reconstructed earth   and somehow we are to be the critical  factor in this equation or the point   species we are not acting for ourselves  we are the energy manipulating species   that belie that i believe carries  the hopes of all life all nature   is watching this drama the life of our star  is finite the life of the planet is finite   but potentially self-reflecting understanding may  be in fact immortal and yet it is breaking out of   the trappings of matter and this is a process  so large so strange that i don't think a single   mind can encompass it within a single moment it's  something that we triangulate over and over again   and for me the psychedelic experience is how you  do that the psychedelic experience is literally   a rising into a higher dimension in the  geometric sense and from that higher dimension   the psychedelic voyager carries out a transecting  of the lower dimensional object which is the world   and in the same way that we can build up an image  of a cone out of an infinite number of ellipsoidal   uh transections we can build up a true  model of the world by carrying out a number   of these transections from a higher dimension   and then it shows us how the world really works  and when you understand how the world really works   i'm beginning to get just a  hint of it it works through love and dream and intention to connect through  love and dream and intention toward connection   and these are ultimately irrational values and  they ultimately must be irrationally embraced   because the momentum toward a rational  conclusion is tremendous but unfortunately   completely fatal and this is the invitation that  the artist has always extended toward a radical   break with the momentum of rationalism it's simply  that now in this moment of tremendous crisis when   the artist is at last called upon to perform  and there must be no stitches dropped because   this dance is the dance of transformation of the  planet itself this is the moment of empowering   this is what all the shamanism of the past built  toward this final magical invocation james joyce   said man will be dirgible that's simply a way of  saying that we will find a way to make our dreams   and the dreams of the planet and the life  that carries one dream and the way to do it   is to reconnect up to the guy and mind through the  channels of communication that were always there   but that have not been really taken up since the  late neolithic it's time for us to call home and   you know how to do it it's just a matter of  having the courage to do it to act and then   to have that empowering act spread back  through the psychology of the planet   i'm very optimistic i think we are awakening  to a new day from a long long night of the soul   but it must be done collectively gently  lovingly and with a complete faith that we are an infant held in the arms of nature that nature  wants this to happen that we are not an aberration   we are granted peculiar but we are not an  aberration we are a necessary oddness to   the completion of the whole and this is our  glory and this is why we've been graced with   self-reflection and we can redeem that tremendous  empowerment by going forward in love and faith   to save the world through art and the  pursuit of meaning thank you very very much

Channel: ARTNETWORKTV

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Keywords: TERENCE MCKENNA, PARAPSYCHOLOGY, METAPHISIC, QUANTUM MECANICS, SPIRITUALITY, OPENING THE DOORS OF CREATIVITY, CREATIVE PROCESS, METHAPYSICAL REALM, 'SHAMAN, TRIP, JOURNEY, DIMENSIONS, PLANTS, SUBSTANCES, DRUGS, AYAHUASCA, DMT, DIMETHYLTRYPTAMINE, PSILOCYBIN, MUSHROOMS, CANNABIS, CREATIVITY, ART, LANGUAGE, AWAKENING, CULTURE, SOCIETY, PHILOSOPHY, PSYCHOLOGY, BOTANY, ALCHEMY, CONSCIOUSNESS, WISDOM, KNOWLEDGE, TALK, LECTURE, BENY TCHAICOVSKY, PSYQUE, SACRED DIMENSIONS, SHAMAN, SHAMANISM

Id: R7tEDQFi7Po

Length: 60min 53sec (3653 seconds)

Published: Mon Dec 21 2020