The profound impact of hallucinogens on the brain has been laid bare by the modern brain scans of people high on the consumption of them. The images of the alteration in the connectivity of the neurotransmitter systems that are involved in the regulation of a wide range of psychological, emotional, and cognitive processes, have given an insight into the neural effects produced by the use without any inhibition of the most known hallucinogens compounds of today in the world market.
The hallucinogens unleash a wave of changes that alters the activity and connectivity across the brain creating visual hallucinations and a false sense of oneness with the waves that comes from regions that are segregated and never speak to one another. The usual connections in the brain called the visual cortex at the back of the head that forms a network of information that normally processes the visual information become more separated in a change that accompany the users feelings of oneness but in this case the oneness with the network that controls the world in a dangerous and at the same time an unseen reality. The user senses a profound effect of loss of personal identity becoming a wanderer in a process called "ego dissolution".
In the Spiritual way of healing the concept of using hallucinogens is in a totally different scenario.
First it is derived from spiritual and religious practices that are bound by laws that are fundamental in the dealings with the aspects of human nature and consciousness.
Second, the engagements in psychological and mental changes as a result of fasting, overnight dancing, extensive singing, drumming, the use of beverages, etc., help people in their process of understanding and respecting mutual laws. The whole process give us an insight of the profound change that people are going to experience. The person in charge of it is with enough authority to represent us in a world that is unseen to us, and our souls and identities are protected in every angle without the risk to become a wanderer in a world that we do not know.
Third, the effect underlies numerous mechanisms that provoke alterations of consciousness in an elicit way integrating all the waves produced by the mechanism of operation in an integrative mode of consciousness that enhances processes of ancient brain systems.
Fourth, the responses obtained in this way provide adaptive effects in moderating emotions and enhancing integration in the pursuit of the normal unconscious brain processes.
Sunday, December 9, 2018
Saturday, December 8, 2018
THE MEANING OF THE NAZCA LINES.
The Nazca lines are ancient geoglyphs located in the Ica region, in the Palpa and Nazca valleys, 280 miles South of Lima. They are drawn across the deserts and hills along the Eastern coast of Peru at the edge of the Western Andes at 2,000 feet above sea level. To reach them by road, travelers can take inter-provincial buses from the cities of Lima, Arequipa and Cuzco. There are no scheduled commercial flights to Ica.
The interesting figures of different designs on the surface of the desert, made over several centuries, are been related to an astronomical map that deals with an agricultural calendar that indicates sacred routes between Nazca religious sites. The weather was essentially important in their religious beliefs and vital to successful agriculture in their arid plains. They were very aware of the forces that were active in the universe and the required balance needed between them in order to preserve the force of life through the proper established time to harvest crops and the arrival of the rainy season. The only way of communication that the astronomers of the ancient Nazca people found available was through the performance of rituals over the sacred shapes that took the form of animals, plants or geometric patterns.
The lines were made remarkable easily by removing the oxidized surface rocks which lay closely scattered across the lighter colored desert pampa floor. They can easily be made by a single individual in a few days. One experiment illustrated that a small team could clear 16,000 square meters of desert in a week. The aridity of the desert has preserved them and many can still be seen today. The lines appear in great number closer to settlements and river courses. Most designs are only visible from the air but some were made on hillsides that are able to radiate and so made them visible from the ground (62 such points have been identified). They were made with the purpose of directing travelers to the proper religious paths that needed to be walked repeatedly during their religious rituals, specially the trapezoids shapes that usually point in the direction of sacred water sources.
The creation of such large and impressive figures that are between 165 and 985 feet long, is made possible by carefully increasing the proportions taken from a small scale model. The mystery of these geoglyphs lies in the complexity of the process used to create them on the ground; they are very stylized and each is drawn with a single unbroken line. In total, more than 300 examples of geometric, animal and human figures have been identified and collectively cover over 640 square kilometers of desert land. The shaped lines never cross each other and usually have a different starting and ending point. Many of the designs also appear on Nazca textiles and pottery decoration.
The hummingbird figure is the most well known of all the geoglyphs, due to its harmonic dimensions. The wingspan of the hummingbird is around 216 feet.
The first researcher to study the Nazca lines was Julio Cesar Tello, a Peruvian archaeologist, who in 1929 described them as "sacred highways." Maria Reiche, a German archaeologist, interpreted the Nazca lines and geoglyphs as a gigantic solar and lunar calendar for ancient Peruvian astronomers.
The interesting figures of different designs on the surface of the desert, made over several centuries, are been related to an astronomical map that deals with an agricultural calendar that indicates sacred routes between Nazca religious sites. The weather was essentially important in their religious beliefs and vital to successful agriculture in their arid plains. They were very aware of the forces that were active in the universe and the required balance needed between them in order to preserve the force of life through the proper established time to harvest crops and the arrival of the rainy season. The only way of communication that the astronomers of the ancient Nazca people found available was through the performance of rituals over the sacred shapes that took the form of animals, plants or geometric patterns.
The lines were made remarkable easily by removing the oxidized surface rocks which lay closely scattered across the lighter colored desert pampa floor. They can easily be made by a single individual in a few days. One experiment illustrated that a small team could clear 16,000 square meters of desert in a week. The aridity of the desert has preserved them and many can still be seen today. The lines appear in great number closer to settlements and river courses. Most designs are only visible from the air but some were made on hillsides that are able to radiate and so made them visible from the ground (62 such points have been identified). They were made with the purpose of directing travelers to the proper religious paths that needed to be walked repeatedly during their religious rituals, specially the trapezoids shapes that usually point in the direction of sacred water sources.
The creation of such large and impressive figures that are between 165 and 985 feet long, is made possible by carefully increasing the proportions taken from a small scale model. The mystery of these geoglyphs lies in the complexity of the process used to create them on the ground; they are very stylized and each is drawn with a single unbroken line. In total, more than 300 examples of geometric, animal and human figures have been identified and collectively cover over 640 square kilometers of desert land. The shaped lines never cross each other and usually have a different starting and ending point. Many of the designs also appear on Nazca textiles and pottery decoration.
The hummingbird figure is the most well known of all the geoglyphs, due to its harmonic dimensions. The wingspan of the hummingbird is around 216 feet.
The first researcher to study the Nazca lines was Julio Cesar Tello, a Peruvian archaeologist, who in 1929 described them as "sacred highways." Maria Reiche, a German archaeologist, interpreted the Nazca lines and geoglyphs as a gigantic solar and lunar calendar for ancient Peruvian astronomers.
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