Visual Mimicry, Fake Eyes, Sound Imitation in Nature

Link to The Eye as Religious Symbol
Link to Elephants Painting Elephants

 

https://www.google.com/search?q=demon+orchid&hl=en&site=webhp&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj5qsia6a7QAhUDLSYKHWxrDA4Q_AUICCgB&biw=1229&bih=589#imgdii=1BeSqSdFPfRdDM%3A%3B1BeSqSdFPfRdDM%3A%3B4XBNfdgZrJXZgM%3A&imgrc=1BeSqSdFPfRdDM%3A

EMBED DEVIL ORCHID pics and Angel like flowers as well

Embed all flowers which look like faces, animals, or insects, or other objects

 

What are genes really doing here?

 


Xylophanes tersa and Pellicia arina—two species of tropical caterpillars that sport eye-like spots. (Credit: University of Pennsylvania)

Caterpillars use fake eyes to stare down birds – Futurity.org
addquotes

Owl Eye Butterfly
From Metafilter.com

http://www.wired.com/wiredscience/2010/09/fractal-patterns-in-nature/?pid=174


Predator and Prey Direct Nature’s Synchronicity – Futurity.org

“Vasseur and Jeremy Fox, professor of biological sciences at the University of Calgary, searched for a way to tease out the factors that are most important in creating spatial synchronicity.

The close relationship in the rise and fall of populations, for instance, has been well documented in Canadian lynx and snowshoe hare populations. Changes in the abundance of lynx and hare measured at one location are closely mimicked over the entire continent.”

“Predators fundamentally change the way that their prey vary through time, creating a cyclic pattern that is quickly synchronized across many locations with only small amounts of dispersal,” Vasseur says. “The loss of these cycles, either through species extinctions or global change, may have drastic consequences for the stability of ecosystems and the persistence of species.”

The presence of predator creates a cyclic pattern nearly identical to that found in other examples of synchrony in nature.

“This synchrony is achieved in the same manner as many other naturally synchronizing phenomena,” Fox says. “Cyclic systems, from flashing fireflies to lynx and hares, are like kids bouncing up and down on a trampoline. Adding predators is like making them hold hands, so they all have to bounce together.”

post my own photos

 

Collect fake eyes on bugs, caterpillars, butterflies etc..

Collect sound imitation examples..

 

 

 

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-, uh, 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 fifteen or twenty thousand years [some audience laughter]. Now, this is an incredible claim. This is why I make it. [audience laughter]

“As I was getting into all this my interest was Jungian psychology and art history. The fields which set you up for being able to recognize motifs, trace them through time, and understand how the various art movements of whatever centuries your looking at fit together and plus a deep faith in the archetypal foundations of human imagery and so forth. None of that was there. It was, as I said, a Niagara of alien beauty. It was beyond anticipating. It was that I, Jo Nobody, in an hour seemed to be seeing more art of higher quality than the human family had produced in the last thousand years. And for me it was an absolute aesthetic ecstasy to see that much stuff, to hit the main frame and then say, ‘Oh I see, this is what their talking about.’ Not all that babbling about looking at the folds of your trousers but this, this is something. This is civilization shattering stuff. I don’t see how they keep the lid on it.” ~ Terence McKenna, Psychedelic Salon Podcast 440 – ” The Tao of the Ancestors

 

 

All plants have auras, all plants have songs which can be extracted out of them, they are living literally in some other dimension

 

THERE MAY BE A BETTER STATEMENT OF THIS FLOW OF HISTORICAL AND NATURAL “MOTIFS or STYLES” IN THE FIRST 5 HOURS OF THE TREE OF KNOWLEDGE SPEECH, maybe listen for it again to get the spot

BREAK UP QUOTES

-(commentary) “I’d like to play devils advocate if I can for a minute about this whole idea of certain plants or certain substances have certain attributes or certain places that they…I’ve had the variation that you’re talking about the visualization of the cats, the jungle, the pyramids, the whole lion aspect jungle and shamanic routine On LSD, on mushrooms, on ibogane, and on yahe and I’ve had clients who have had the same (observation) doing breathwork”

Yes it raises a real question, one of the things, I don’t understand exactly how this works I will join your side for a moment because there’s a phenomenon that I’ve noticed and some of you have heard me talk about it, it’s possible to do this on psilocybin, it’s really easy to do it on ayahuasca. Ayahuasca in a way is somehow more open to suggestion, these other things have their own agenda, ayahuasca will work with you. One of the bizarre things you can do on ayahuasca is you can suggest a period, like lets say Italian Baroque, you just say it in your mind and paintings, altar pieces, architectural spaces, balustrades, vehicles, armament, saddlery, clothing, serving utensils, bowls, pewter, candelabra, all of this stuff will being drifting towards you And it is high Baroque, it’s more Baroque than the Baroque its obviously what they were shooting for, you know. Then you just say “Dynastic Egypt”

And you get a hawk-headed guy. Then you say “Art deco” and thousands of cigarette lighters, coffee tables, (laughter) yes More intensely realized than when you encounter these things in real life. Well what does that mean?  I have no idea first of all, the possibilities seem to be that what we call “styles” or what we call “motifs” are actually categories in the unconscious.  But the amazing thing about it having looked at the Italian Baroque, Dynastic Egypt, and Art Deco you can also say to it…”so surprise me” And suddenly it can surprise you 100%, it can show you objects that you can not place to any set of motifs, any historical period, past present or future. And you can say to it “surprise me again” and it gives you surprise B which is completely different from surprise A and also not related to any known style. So then you say “are styles categories in the unconscious? How many of them are there? And what does it mean then for a group of people in 1680 or 1930 to suddenly find one of these places and punch into it?” And then another question is “Is there a necessary historical progression, or is it by chance?” in other words “could the political world of the 16th century have lived with the design motifs of Art Deco?” Could we have had Columbus arriving in America in a ship consonant with the best cannons of Bahaus design? Strange questions friends. Is the necessary succession in style or are these things pure chance? I don’t know. Returning to and responding to your demonic advocacy it may be that going to Tihkal preconditions you and that pushes the buttons, and then when you take the psychedelics you realized that the high-Mayan, the classic-Mayan button had been set. Then you find all of this stuff. It’s a little more bewildering to have it happen in your living room. -(commentary) “my feelings about it is that those experiences are available to anybody at various states with various ways to get there And I don’t feel that it is mutually exclusive to say that some substances seem to have a certain predilection for certain kinds of experiences I’ve had both feelings about it, that the range of the experience is available and some things are more likely to put me there than others”

We Have To Send Artists – Terence McKenna

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