Geometry

Typical frame of complex visual geometry

Geometry can be described as the experience of a person’s field of vision being partially or completely encompassed by fast-moving, kaleidoscopic, and indescribably complex geometric patterns, form constants, shapes, fractals, structures and colour.

Geometry never stands still at any point and is often extremely fast-changing and self-transforming in terms of its shape and style. During this process, the geometry naturally drifts laterally or radially across the visual field to create overlapping webs of many arising and decaying geometric patterns, all of which are visible within a single perceptual frame.

Within the psychedelic experience, there are eight different levels of visual geometry, each one increasingly complex and incomprehensible. These are defined and documented below:

1. Visual Noise – This is the most basic level of geometry and can be experienced in a completely sober state. It can be described as visual noise or static combined with random light and dark red regions that can be seen under the eyelids.
2. Motion and Colour – This level is also easily obtainable without hallucinogens and can be described as the appearance of unstructured regions of fleeting flashes and clouds of colour.
3. Partially Defined Geometry - At this level things start to get distinctively psychedelic as complex indescribable shapes and patterns begin to show themselves. At this level, however, the patterns can be described as strictly 2-dimensional. They are fine, small, and zoomed out in size with a dark colour palette that 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 field across a flat veil of geometry, but are significantly more detailed with the eyes closed or within dark environments.
4. Fully Defined Geometry – This is the level where the detail in which the geometry displays itself becomes profoundly complex but remains strictly 2-Dimensional. At this point the visuals become large in size and extremely intricate in detail with a colour palette that is 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 in front of the eyes, remaining significantly more detailed with the eyes closed or in dark environments.
5. 3-Dimensional Geometry – At level five, the geometry will become fully 3-dimensional in their shape and position across the visual field. This adds a whole new layer of visual complexity and leaves them sprawled out across the surfaces, walls, objects and furniture of ones environment instead of displaying themselves across a basic and flat veil in front of ones visual field.
6. Partially Overriding Visual Perception – At this point the geometry has become so intense, vivid and bright that it has begun to block out and replace the external world. At level six the environment begins to be replaced by geometry, with objects and scenery transforming into sprawling masses of geometry or simply being blocked out and covered by them in a way that partially impairs the use of ones normal vision.
7. Fully Overriding Visual Perception – As the geometry continues to become more intense, vivid and bright it now completely blocks out and replaces the external world as ones sense of normal sight becomes completely impaired. This creates the sensation that one is no longer within the external environment but has broken through into another reality.
8. Level 8A and Level 8B - Once the geometry reaches its eighth and final level, there is not one singular pinnacle of visual geometry but two. It seems that depending on subtle environmental factors and the substance consumed, geometry is capable of forking off into two separate versions of their highest possible level. This means that level eight geometry will have to be separated into two distinct categories of equal intensity. These are known as levels 8A and 8B. Once visual geometry reaches level 8A or 8B, they begin to become structured and organized in a way that presents genuine information to the person experiencing them far beyond the preceding seven levels. This happens through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain. At this point, concepts can be seen as not just embedded within ones closed or open-eye visual field, but simultaneously felt through complex physical and cognitive sensations.

8A - Exposure to entirety of neurological structure

As this effect reaches its highest possible point of intensity at level 8A, it begins to feel as if one is being exposed to an infinite mass of geometry comprised entirely of innately readable geometric representations which simultaneously convey every single internally stored concept, memory, and neurological structure stored within the subconscious mind all at once. This results in a profound and overwhelming sensation which is consistently interpreted by people who undergo it as experiencing the entirety of existence, everything, the universe, all that there ever was and all that there ever will be in a single instant.

This experience is not just perceived as visual data but also physically felt in an incomprehensible level of detail throughout every point across itself as complex and innately understandable tactile sensations which occur across the body. These convey an equal amount of identical information as that which is experienced through ones sense of vision and occurs simultaneously along side of it.

At the lower side of level 8A, this effect is something that fluctuates wildly and remains neither constant nor consistent in its intensity. Instead it is temporarily triggered by the experience of a concept. For example, if somebody were to say the word “internet” to a person who is currently undergoing this state, they would see the mind's concept of the internet immediately manifested in a geometric form amidst the very centre of their visual field. This form quickly branches out from itself in a fashion similar to an ineffable spider diagram. It expands to envelops the concepts which one associates with the internet and then branches out again to include the concepts one associates with those before repeating the process of branching out further to represent the concepts associated with these ad infinitum. Within 2 - 3 seconds, this exponentially expands within a sudden perceptual flash to include every single internally stored concept within the subconscious memory banks of ones mind simultaneously.

Once this occurs, the sensory overload temporarily disconnects the tripper from their external environment and results in simultaneous ego death before re-stacking them back into the room, until something triggers the process again (usually immediately). The effect snaps trippers in and out of the room repeatedly and the process is triggered continuously. It's worth noting however that at this level it can to a certain extent be held at bay through continuous physical movement. This is because movement stops the process from branching out into everything by not giving the effect the time it needs to lock onto a concept.

As dosage is increased, the process becomes easier and easier to trigger whilst extending in its length and duration. This eventually results in a stable state of complete disconnection from the external environment alongside of sustained ego death and a lasting sense of experiencing the entirety of ones neurological structure.

7B - Exposure to inner mechanics of human consciousness

This level can be described as the profound feeling of becoming completely detached from the external environment and falling into a place that is universally interpreted by anybody who undergoes the experience as “the inner workings of the universe”. This is a place that feels as if you have literally entered the inner mechanics of reality or the very source of existence itself, with the underlying programming of the universe and the true nature of our consciousness presenting itself to the tripper in an array of innately readable geometric forms.

It can be broken down into two basic sub-levels:

7BA - Becoming the inner mechanics of the conscious mind,

At the lower end of level 7B visual geometry, the experience manifests itself as becoming and being able to feel and see the organization and structure of your current thought stream. This is presented to trippers in the form of a fast-moving and infinite web or network of condensed visual geometry that branches off of itself in a level of organization and intricacy far beyond any possible arrangement that could be experienced within the external physical world.

The ever-shifting network follows the pace and rhythm of your internal dialogue perfectly. This creates and manifests new connections in a way that is both physically felt through a powerful sensation, and seen embedded within your visual field every time any piece of new insight or knowledge is gained.

This vast network of visuals that represents a person's thought-stream contains within it innately understood and thought-stream-relevant geometric representations of specific and abstract concepts, embedded into each and every one of the connecting points across itself. The experience of these innately readable geometric representations triggers the mind’s eye to envision the concept perfectly on an internal visual field which exists separately from this one.

7BB - Becoming the inner mechanics of the subconscious mind,

At the higher end of level 7B visuals, the experience manifests itself as a newfound and consistent ability to physically feel, see, and become one with the architecture of the subconscious mind. This is presented to trippers in the form of extremely vast, complex, and self-transforming geometric mechanisms which are immediately interpreted by anybody who undergoes the experience as the inner workings of the universe, reality or consciousness.

This state is capable of bestowing specific pieces of information onto trippers regarding the nature of reality and human consciousness through the simple experience of them. These specific pieces of information are always immediately felt and understood to be a profound unveiling of an undeniable truth at the time, but are often found to be ineffable afterwards due to the limitations of human English or are nonsensical due to the disorientation of the accompanying cognitive effects.

Occasionally, however, genuine lessons or coherent messages are innately interpreted through the experience of becoming and descending down into the subconscious faculties of the brain. It’s extremely important to note, however, that the scientific validity of these lessons are very uncertain and should never be immediately accepted as fact without an extremely thorough and sober analysis.

Variations

• Intricate vs. Simplistic – Geometry will either present itself as incomprehensibly intricate and complex in their appearance or simplistic and comprehensible even at higher dosages.
• Algorithmic vs. Organic – In terms of their content, geometry will either appear to follow mathematical rules and logically consistent geometry, often resulting in high amounts of fractals and semi predictable shapes. In contrast to this, geometry can also be completely random in their geometry and appearance in a way that contains infinite amounts of completely unpredictable variety.
• Structured vs. Unstructured – Geometry will either present themselves across a flat veil of geometry or they will form into an infinite variety of 3-Dimensional mechanistic rotating and ever-shifting structures that are comprised out of a material based on condensed geometry.
• Colourful vs. Monotone – The colour scheme that geometry follow will range from extremely varied and-multi coloured in style to consisting almost entirely of blues and greys regardless of how high the dosage may be. Below this, geometry will consist of dark purples and blacks that are difficult to make out from their background.
• Flat colours vs. Glossy colours – This is separate from the variety of colour contained within geometry. Colours will either be flat and bright or glossy with high lights and shading regardless of the dosage consumed.
• Sharp edges vs. Soft edges – Geometry could have sharp edges which are extremely well-defined around their perimeter (sometimes with thick black outlines around their edges). In contrast to this, they can also be soft and blurred around their edges, merging seamlessly into each other in a way that does not affect their intricacy.
• Large vs. Small – In terms of their size, geometry can be extremely large and zoomed in or fine and zoomed out in a way that does not affect their level of intricacy.
• Fast vs. Slow – Movement wise, geometry can shift and morph so fast into themselves 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 in a much higher level of detail.
• Round corners vs. Angular corners – Geometry will either have mostly rounded and circular corners or mostly sharp corners with pointed and angular geometry.
• Immersive vs. Unimmersive – Geometry can be manifested in front of your face on a field of vision that feels separate from you as if it was being presented on some sort of television screen or they can feel as if you are completely immersed in and surrounded by them. Psychedelics usually generate unimmersive geometry but are capable of becoming immersive at appropriately high dosages. Dissociative geometry, however, seem to be strictly immersive even at mild to moderate levels of tripping.
• Level 7A vs. Level 7B – At their sixth and highest level of experience, geometry are capable of branching off into two different directions of equal intensity. The first of these is level 7A – exposure to entirety of neurological structure and the second of these is level 7B – exposure to the inner mechanics of human consciousness.

• Examples of visual geometry within psychedelic artwork
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  Abstract by Matt W. Moore
• 
  Wail to god by Anthony F. Schepperd (0:50)
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  Untitled by Anonymous

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• Examples of visual geometry found within Fractals
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  Untitled by Anonymous
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  Natural Fractal - Close-up by Windy Power
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  Trippy by Anonymous

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• Visual geometry found within Shipibo textiles
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  Untitled by Shipibo-Conibo people
• 
  Untitled by Shipibo-Conibo people
• 
  Untitled by Shipibo-Conibo people

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See also

• Subjective effects index
• Psychedelics - Subjective effects
• Dissociatives - Subjective effects
• Deliriants - Subjective effects