Author Topic: a storey beyond story  (Read 145 times)

Offline free-range

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a storey beyond story
« on: November 08, 2019, 01:36:23 AM »
The MO of 5-MeO-DMT

modus operandi: (1) a particular way or method of doing something ; (2) the way in which something operates or works

James Oroc describes 5 functioning at the 7th energy centre/chakra. This is not within the physical body but within the energetic body, of which the perimeter is outside the physical body’s limits. Biologically speaking, Thomas Ray has identified that the depth and breadth of the molecule’s interaction with neuroreceptors is greater than any other (only N,N, DMT has a similar depth and breadth). Identifying the depth and breadth at which substances interact with how our system receives transmissions (as the molecular compound is a transmitter of neurons) is a way that we can recognise their function.

Why is it important to understand how 5 functions?
Because to hold it in a way that does not recognise how it functions would be a misunderstanding. A miss. The mark is missed. This is the etymology of sin. And for an experience so sacred, so precious, so divine, to approach it with sin would be, well, a sacrilege.

Beyond stor(e)y
Imagine an elevator. The building it’s in—let’s call it the Shushumna Tower—is so high that one cannot see the top of it. In the elevator there are buttons, much like the glass elevator in Charlie in the Chocolate Factory. Each button has a specific label and will take you to that ‘floor’, ‘level’ or storey.
There are buttons that invoke technologies that offer specific and non-specific states of consciousness: Peyote (mescaline), iboga (ibogaine), different breathing control techniques, meditation, frenetic movement, prolonged activity (such as long-distance running), LSD, psychoactive mushrooms (psylocibin, amanita), …..
Some buttons simply have life experiences marked on them: becoming a parent, falling from great heights, losing a close loved one, having your heart broken, purchasing a home, ecstatically professing your love for someone, a concussion, a powerful orgasm, and so on.

These levels to which the elevator takes us offer us different vantage points. I imagine myself navigating the ‘floor’ from where the elevator door is to the windows looking out. Once I get through all the material that the experiential level beholds, I get to see what the world looks like from that stor(e)y, from that vantage point. Chances are, I can see further out than when I had been on a different stor(e)y, often one that was below or closer to where I began entering the building.
The building, of course, is life itself. Our life as a human. And 5 reliably takes us to the penthouse—and beyond. Perhaps just like Oroc describes as the 7th chakra. All levels before the Penthouse are the stories.

And that’s what 5 does, doesn’t it? It takes one ‘beyond’. Beyond what? Beyond the seeing. Beyond the navigating of the content of another story. It’s trans-human, trans-story—transitory but yet eternal. The place where there is no content, just a sensation of the ride that cuts through all the Tower’s stories—and so effectively.

At the Penthouse, one is still on the ‘edge’ of being in the building and being beyond it. It’s the final veil, the margin between the physical body (the tower, and the top levels the 6th chakra) and the energetic body just beyond (the sky or the ‘heavens’, the 7th chakra). the Crown of the Tower, from which no horizon can even be seen, all his there. But if we’re looking for a horizon at the farthest reaches of the infinite landscape, then there’s more!

That elevator is actually designed to take us to not just the top floor, but it blasts right through the roof, disintegrating as it loses touch with its multidimensional host, the Tower. The tower now has no connection. The tower is gone. The elevator is gone. The content in the elevator is gone with it. Gone where? EVERYwhere! Horizon?
Infinite?
It?
I?
This is object becoming subject. Or subject unbecoming object. Or some other seemingly witty way to describe the ineffable in its own beautifully unique effing ways. What countless others have already described over millennia.
It’s this. This becoming. This beyond. This actual elimination of polarised perceptivity. Because with any other medicine, you’re always on a stor(e)y in ShuShumna Tower. Maybe it’s tranquil, maybe it’s geometric, maybe it’s personified, demonified, angelic, In any case, there’s a dimensionality as long as there is a ‘you’ experiencing it, as long as you perceive a story.

How do we ensure we get to the Penthouse and beyond?
Maybe if there was enough fuel in the elevator’s rockets, such as in the submission approach. Or maybe if the elevator’s load was lightened (such as with the surrender approach), it’d get through past the penthouse, beyond any story that the Tower housed.

And if we pressed 5 but pretended we were on the Nth floor, like a 128th story walk-up, wake-up, we’d miss the point. Like we pushed the penthouse button but tried to get out on the way up.

Misaligned
In other words, why use 5 like you would use any other medicine. This is not operating at the level of other medicines. So, just like a tool has a specific function, it may not need to be applied to a task that it is not designed for. A soup is not met well with a fork; a spoon is the greater tool. The fork does the spoon no harm; the spoon applies better. Even the bowl is the more appropriate and relevant container.

If a practitioner doesn’t recognise what 5 does, they risk missing the opportunity to assist people who have dissolved into the All while they were assisting on another storey with a particular story.
Imagine thinking we need to do something for the person going on the elevator, missing the point that they’re not IN the elevator, they’re not just the elevator, they’re not even just the building, they’re the entirety of what the concept and structure of a building could even be. And more.

The elevator shaft can be very precise, a tight container and passageway to—if the 5 button were pressed—the Source. A practitioner’s alignment with the vertical perfection of the shaft is elemental so that their own story is not keeping the elevator at a level other than the button that was pressed.

If a practitioner’s particular way or method is not in sync with the way in which 5 operates, their MO is misaligned. The practitioner is dimensioneer-ing at the Source of all dimensions.
—surrender completes us—