I dreamed that entheogen scholar Richard Carrier, I was at a house in other room overhearing him talking to another person or two about Hatsis and Letcher, and all his points exactly agreed with my points!
He mentioned articulately all the same points I’ve been making. eg he said Letcher was excusable as a pop outsider, not a solid entheogen scholar.
He seemed like a new gen cohort of Hatsis.
I felt that the field of entheogen scholarship was in good hands.
He realized exactly the situation and was calling for heavy distinction, moving forward, between Amanita vs. Psilocybin mushrooms.
He was the good aspects of sharp ahistoricity scholar Richard Carrier, cast as an astute entheogen scholar.
Fortunately he was recording all his speaking on a cassette deck, so we got it all on dream tape.
Then I started recording my same statements, but a vacuum cleaner disrupted.
Then I was meeting with church guy like by a lake, he needed an extra tape I had.
then i went with church guy to a big church room and he put on my tape playing it before the service, with me talking about amanita madness psychosis overemphasis in the state of the field, criticizing Hatsis and the state of the field.
I wondered why he put on my tape.
No one commented on the content of my recording playing before the church service.
I was heading out, not staying for the service, because my mainstream church became taken over by bunk politics.
But this group was implicitly a large gathering of my collegiate house church, which was solidly bible-focused.
in reality, my recordings of Egodeath Mystery Show were playing; I may have been hearing my own discussion.
I’m sort of annoyed by my failure/ delay to put some images side-by-side, when clearly, it should be crystal clear that there’s every benefit in the world of putting two images side-by-side.
therefore I should do a series of webpages that compare and contrast two images
line up the 10 best images and pair them and do exercises: discuss the common motifs that are common between these two images.
In this panel, all 3 trees’ branches under cap (= gills + veil, to depict block time non-branching) have Right branch cross-behind; visually {cut right branch}. Like Dancing Man.
Irvin’s 2008 Book The Holy Mushroom Tries to Force Blue Cap to Be Red Hue and Irvin 2009 SMC Doesn’t Correct Ruck’s Assertion that It’s Red
Irvin 2008 The Holy Mushroom misrepresents the image as extremely red-shifted.
Irvin 2009 doesn’t correct Ruck in Fungus Redivivus appendix of Sacred Mushroom & The Cross when Ruck says about this image: “One example alone should suffice to silence the art historians … a typical mushroom-tree beside him. The mushroom has a red cap spotted with white“
My Tight Crop (Ludicrous-Res) from Zooming at Bodleian Site
Dancing Man you better not let me down, wasting my server space.
This is ridiculous, I might as well use Hatsis’ jpg or my png of it, probably 10% the server size, and a perfectly good crop. It’s the principle of the thing?
But I want *MY* crop!
I found Hatsis’ original PDF of his article, much better than his new formatted page, much more complete.
Would-Be Historian Hatsis Disvalues His Own Articles’ Publication Dates and Their Content
I don’t mean to pressure Hatsis about his priorities, but I’m surprised and had to do a lot of unnecessary extra work to find his real article and real date and real title.
Scholars in this field have reason to criticize this strange half-removal and degradation of his article.
Evidence for Roasting the Salamander (Hatsis 2013) Date of Publication
Hatsis\ article actual publishing date of 2013: No Later than August 18, 2013 🎉 yay it’s good to have a more serious date than his “2017”
We Have a Date for Roasting Irvin Article: No Later than August 18, 2013 – that is my official date for the Roasting Irvin article!
oh interesting, he changed the title later! Orig title:
Original Title of Hatsis Article: ROASTING THE SALAMANDER: MUSHROOM CULT THEORISTS VS. CRITICAL HISTORICAL INQUIRY (<= August 18, 2013)
Findings:
His article was PDF with actual footnotes, not a pretty/stupid dumbed-down webpage format with awkward, nonstandard, non-portable (non-citable) “footnote” popups.
His article had two appendixes, both good and substantive, missing now.
His article was not infantilely titled Roasing Jan Irvin; it had a more serious, proper title.
His article is not 2017, as the dumbed-down version states (I was posting about his article years before then (in the Egodeath Yahoo Group: Dec. 24, 2015)); it’s no later than August 18, 2013. I need to cite his article, and I know that “2017” is wrong.
Why does Hatsis treat his article so carelessly, without scholarly reverence? He’s busy. 🤷♂️
Evidence for Roasting Irvin article actual publishing date: No Later than August 18, 2013 🎉 yay it’s good to have a more serious date than his “2017”
Interp/evidence: the earliest archive of the home page is dated August 18, 2013:
Hatsis’ PDF is SO much more complete than his truncated web article, I cannot believe it. Important arg’n from Hatsis is hidden ONLY in the PDF, not at his new domains.
I made a couple new captures from Bod lib:
My Capture of the Entire Image at Bodleian Digital Library
“Salamander-Bodleian-Library-MS-Bodl-602-fol-027v.png” 6.5 MB [7:30 p.m. February 16, 2023]
my png version of hatsis’ jpg, that I’ve been using since late 2020:
That’s my derivative, 2nd-gen .png (not .jpg) WordPress gallery copy of the image (linked to my page covering it). Got from Hatsis site’s .jpg, suspect WordPress converted to it .png. Gallery date: Nov. 14, 2020.
I uploaded the dancing man image right when I was starting my huge breakthrough applying my Christmas 2015 decoding (tent. hypoth. that awaited testing) of {right leg} in Dancing Man to successfully decode Eadwine’s leg-balancing mushroom tree (thus fully & ideally confirming/proving my 2015 hypothesis about {right leg} = eternalism-thinking).
Interesting note from Hatsis’ article: “I only have the black and white edition of THM.”
The Holy Mushroom, Irvin 2008
I bet the hyped-color photograph might be taken by Hatsis, in PDF, of the full page. His other images are surely evidently captured from Bod digital lib.
Footnote 27 confirms something I’ve been unsure about, when I constructed an interesting challenge of “even if mushroom, you can’t know psycehoactive, for religious expeirencing” – well ACKSHUALLY, you can! I have! via Eadwine, handedness, non-branching, etc.
Hatsis’ long footnote 27 ends:
“Thus, even if Holy Mushroom theorists did present us with legitimate shroom art, the morsels might denote nourishment, fire kindle, or poison, and not necessarily a psychedelic trip.”
External, upstream link to where I got the image file: (best resolution): Where did Hatsis get this color image or image file? [ans: certainly Bod. digital lib.]:
was key to my decoding of the Canterbury image in 2020, and
my Canterbury 2020 decoding was key to decoding the salamander image’s tree in 2022.
Recognizing the cut… at 5:22 a.m. I just remembered my thought-chain:
At 4:00 am, I thought “But why is there no cut branching stumps on this tree??” At 5:23, I remembered that, as I elaborated exactly what aspect of this tree I decoded today.
At 4 a.m., I decided to zoom and inspect the salamander tree to look for any broken cut branch stumps b/c there were none (I so wrongly thought), and it was bugging me, that morphology lack/deficit/ shortcoming/ omission.
[8:54 a.m. February 16, 2023]: I wonder if by this time of present post, better colors were at hi-res site (no, the above is dull). Compare last night’s fresh capture’s color brightness:
Here’s how sound the would-be historian Hatsis is when putting forth the DUMB argument that the Bestiary mushroom “doesn’t count” b/c “secular” document:
This is an elementary argumentation f*ck-up from “medieval historian” Hatsis. AS IF there’s a hardline distinction between religious vs. esoteric vs. secular, in the Middle Ages.
Hatsis acts like he doesn’t know the FIRST THING about Genre.
Probably chalk it up to sort of political ideology: mushrooms lower scholars’ IQ into the negative.
above: religious art
below: secular art
salamanders right paw touching cap, man’s right hand on head. paw locks-in the orientation: right paw touches left branch of the tree; the right branch of tree is cut
I have never seen fit to note or mention this right side stump before. FAIL!
I didn’t note the stump, because it SEEMED MEANINGLESS, like an accidentally broken branch “stylization”
Today I have now achieved connecting right vs left leg, with L vs. R of the tree.
L vs R motifs in the tree were missing from my analysis of this image, before today.
todo: read my posting, get date from yahoo group post
but this is “secular” art, per the beginner psychedelic witch 👶🧙♂️
Todo: Canterbury Article: add Salamander image, pointing out the cut right branch and standing right foot
this latter aspect – without yet perceiving former – was the key to 2020 decoding of Canterbury.
its bizarre and strange how decoding works over the years weaving back-and-forth
only in 2022 I finally went back to the 2016 [sic ; xmas 2015] sal image and completed the decoding of it by asking “why isn’t there cut Branch in this image?” and I had failed to see that all the way until 2022!
so working decoding the images crossed back-and-forth between them to complete both images Decoding eventually
left tree branching, right tree non relatively branching, 4:20 am April 13 2022 noticedcut branching noticed explicitly 4:12 am 4/13/22 – note two distinct / both of the archetypal motif branching features are present: 1) added branches/branching, 2) cut branch.
Content Moved from Samorini 1997 Plaincourault Article Page
Has color pictures I gathered, a linked TOC, and section headings, unlike Samorini article.
My page also links to his book (.pdf) that contains a later, Italian copy of the article.
Content to Organize
Today, Feb. 26, 2023, I was improving my original, 2020 Samorini article page, and I experienced the problem of keeping Samorini’s article images and paragraphs differentiated from my enhancements and color pictures and commentary.
March 21, 2022 is the milestone date where I coined “branching-message mushroom trees” in discussion with Brown of Marcia Kupfer’s passage about “youths in trees cutting branches”.
At present [8:17 a.m. February 16, 2023], I know that the breakthrough period was around March 15-May 15, 2022, which would put this posting/page in the middle of that period.
This is my main page about the Dancing Man image.
April 13, 2022: Salamander Mushroom Tree Right Side Cut New, findable title: Salamander Mushroom Tree Right Side Cut (Dancing Man; Roasting Salamander Bestiary Image) https://egodeaththeory.wordpress.com/2022/04/13/salamander-mushroom-tree-right-side-cut/ In that page, I added the full image from Hatsis site & prep the image for ideal annotated copy/paste.
The above article in fact is where we first [Feb 26 2023 correction: no; third, after Gettings (per Hatsis’ research) and after Bennett (per Samorini’s 1998 article)] and then see the roasting Salamander image in black-and-white – and I added color from copied from Hatsis webpage Article.
[8:36 a.m. February 16, 2023: Samorini cites Chris Bennett in 1995 Green Gold, as the first entheogen scholar to present/publish the image. Samorini’s article is 1st place *I* saw the dancing man/ roasting salamander image, perhaps in 2004 – merely in b/w, not color.]
List of Scholars Who Treated the Bodleian Salamander Bestiary Image
Section added Feb. 26, 2023
Hatsis’ 2013 original .pdf article at Archive.org (arspsychedelia.com home page earliest snapshot), genuinely/originally titled “Roasting the Salamander”, lists as the first esoteric scholar covering this image, before Bennett: a 1987 book by Gettings:
Gettings 1987
Bennett 1995
Samorini 1998
Irvin 2008
Hatsis 2013
Cybermonk: milestone posting at the Egodeath Yahoo Group Dec. 24/25, 2015, conjecturing that {standing on right leg/foot} means relying on eternalism-thinking.
Cybermonk ~Nov. 2020. Confirmed {standing on right leg} = eternalism, by successfully using that hypothesis to decode Eadwine initiation image fragment uploaded by John Lash in 2008.
Cybermonk Spring 2022: Fully decoded the Salamander image. eg. noticed the cut right trunk and which parts of salamander touch which parts of mushroom tree.
And also toward the bottom is the side-by-side Amanita Mushroom Trees versus the psilocybin Mushroom trees.
In Figure 20 (the table) of Samorini’s 1998 article, he includes Roasting Salamander in the Amanita column and of course Plaincourault fresco and one other in that column.
I glean that Samorini & as late as 2008, Carl Ruck still didn’t have the color copy, b/c Hatsis caught Ruck falsely (in typical Ruck fashion) stating that Dancing Man mushroom cap is red & white.
It is totally not red & white, as Hatsis points out. This is a huge WTF error on Ruck’s part. How could this even happen?
But anyway, against Samorini, I note the triangular Liberty cap.
I classify Roasting Salamander as how? I reject these two columns; I would not have arranged data this way, or proposed this breakout (regardless of whether I had the privilege of the color image of Dancing Man).
well first of all we need to give proper attention to the cut right trunk is a major feature.
Imagine two mushroom trees side-by-side with the right hand one depicted as missing.
The roasting Salamander Mushroom tree has a triangular Liberty Cap with spots like amanita, so it combines those two features
In the Canterbury Psalter, an individual Mushroom tree will combine features of four distinct types.
In the front page of Canterbury, they begin by announcing the four distinct classifications of mushrooms.
I have in ~ Nov. 2020 identified the plants which God creates in the above Eadwine panel: left to right: Panaeolus, Liberty Cap, Cubensis, Amanita. {vine-leaf tree} is a 5th Pilzbaum type in the Great Canterbury Psalter.
I used Brinckmann’s 1906 book to extract/develop the concept, to identify the motif, of {vine-leaf tree}, around Nov. 2020.
Golden Munich Psalter’s (from my Feb. 2023 [this week’s] research) “God Creates Plants” panel:
As the top-credibility entheogen scholar, I have in Feb. 2023 identified the plants which God creates in the above Golden Psalter panel: left to right: Panaeolus, Liberty Cap, Cubensis, hybrid Panaeolus/ Liberty Cap/ Cubensis/ Amanita. 😑
God creates the plants, and he creates four of them:
In the Great Canterbury Psalter, Eadwine deliberately re-combines these distinct four types, and 5) also he includes vine leave trees, {vine}, meaning non-branching per eternalism experiencing in the psilocybin loose cognitive state.
The mysterious fantastical leaf shape it is meant to be read as a hybrid of Ivy leaf and grapeleaf, representing the general concept of {vine} = non-branching.
Todo
incorp content moved from Samo 1997 Plaincourault article page.
[8:47 a.m. February 16, 2023] – added key words to page title. Added headings/ page structure, fresh capture of Eadwine’s leg-balancing mushroom tree.
Due to its high visual appeal combined with low efficacy, Amanita is forever cursed to be the face of ingesting Psilocybin.
Cybermonk
it’s been surprising how I seem to get better and better results – for voice recordings , very much including leading edge idea development, that is effective for me to listen back to ) more and more easily and quickly, by avoiding certain approaches & certain mistakes, and continuing to work on various aspects
things come together eventually
a constraint in 1995 and now in 2022 is that i cannot, or should avoid, talk loudly for hours every day
It was taking forever to get the medium of voice recording to be as useful for idea development and rapid idea capturing as hand writing and typing.
I tried in 1995 to use voice recording for idea development, and I haven’t really listened to those recordings, because the playback was low quality and inconvenient, and the content didn’t really seem that good – it can’t hold a candle…
I doubt that It can hold a candle to my latest results, but who knows?
I’ll have to produce Episode number -80 (April 12, 1995) and we’ll see if it’s anything there worth listening to.
Technique: have a large assortment of microphone equipment
mix it up and have fun with all the different gear
have various good mike stands/mounts and Mike equipment & various options all available
even if a single setup would work fine, that doesn’t really click with me
my goal is not to get a single setup, but rather to master the equipment in general.
Technique: no pop filter and no monitoring
accomplish that through having extreme amount of r&d experimenting experience and knowing what to avoid, being highly conscious of what will produce bad results and good results at the Mic
The latest thing since maybe 2011 to factor in also is voice dictation; voice to text.
but this page is not about voice dictation for rapid idea capturing –
although there is one exception: my most recent experiment, of doing voice dictation while recording the voice at the same time, which actually proved to be kind of a lifesaver, because the voice dictation malfunctioned and lost data
but I had the full session recorded, and so it went out as a episode of the Egodeath Mystery Show just fine.
And the data (word spoken content) still exists in that form, so I could patch the broken incomplete voice dictation if I wanted.
Technique: stay further from the mics and feel free to use multiple mics and move around a lot
however this is advanced technique
you have to know what you’re doing (performance experience/ mindedness)
have to know all the tradeoffs involved
and know what to try to avoid
be ready to defend the trade-offs the result you have to relax the ultra polished production to enjoy the huge benefits of this mix this mixture of low effort and great content resulting
and great content results and very good and effectively great seeming audio
Technique: always master pronunciation/ elocution/ enunciation, even though constraints will not permit getting some ideal vocal sound in all ways
clean delivery and being in control, to eg:
avoid under enunciation, and avoid over enunciation
avoiding erring in this direction and avoiding erring in the other direction
the more in control, the more experience, it eventually pays off, even though by a harsh judgment, there will always be theoretically improvements that “ought” to be done.
but all things considered, the rewards eventually come together.
Technique: use multiple separate recordings – avoid mixing multiple types of content that would need to be disentangled/ sifted during production
tips and tricks-
changes that I have made that have made voice recording 10 times easier with 10 times better of result and 10 times more effective at developing ideas
after all these years of working on trying to make fast idea development through voice recordings trying to make that work
I finally been able to improve my policies for creating the initial recordings and then improving my techniques of production to be faster and better more automated
by strategic coordination of producing or creating a set of recordings that doesn’t need intensive production repair but that is combines good quality content with good quality voicing and not containing lots of problems that have to be fixed
Technique: avoid junk utterances, and be very silent, very often, while recording
I have learned how to be silent while talking in between words or phrases
don’t say any junk words or make any noise at all
then during production, you’re good to go for automated production, and the results are great.
avoid producing any junk utterances, and go ahead and be quiet as much as you want , as long as you want,
be quiet while recording, don’t insert any junk, and then you are totally good to go for automated production, it’s awesome!
Amanita does not imply ingesting Amanita but rather Psilocybin. that’s true today, and that’s true in the year 1200 by the very same token.
I worked out the solution in a couple of different media in the email reply to Dr. Brown and then talking it through on voice recordings .
it sounds counterintuitive and hard to believe but when you talk it through and work at through the answer is:
due to its efficacy profile, Amanita is forever cursed to be the face of psilocybin use!
Technique: understand that speech at different times of day is bound to sound different
Technique: automatic removal of silence
Technique: stack multiple separate recordings of different type end-to-end, then export MP3
Technique: a reading-based, prompting approach
Trick one: read read my materials or read something else. the funny thing is , I read two sentences and then I stop reading and I do a monologue for an hour, then I read two sentences, and do another monologue for an hour.
it takes only the tiniest bit of reading material and I’ll go off and it is really amazing some of the idea development that I’ve done and discovered worked out ideas that I could never have planned ahead, Like I never would’ve predicted that I would figure out a solid argument of why Amanita is always given pride of place visually yet in all errors it is never used people don’t use it people have never used it and
I actually figured out why this is
By talking it through I actually figured out how we use Amanita without using it , without ever ingesting it , and why this is-and we’re not even aware of it.
it explains the parallel argument by the same token of why we know that in art, Amanita does not mean ingesting Amanita, any more then then we do when we talk about “magic mushrooms” and we draw red and white, but we never ever ingest amanita.
that exactly explains why amanita in religious art does not imply ingesting Amanita!
a head shop decoration of amanita absolutely does not imply in the slightest ingesting Amanita
go to a head shop and count the number of amanita
now go to people taking mushrooms and how many of these customers of the head shop are taking Amanita? answer: 0%
why is that? now package that explanation of why that is , then send it in a time machine back to the year 1200, and you’ve answered your question, Dr. Brown: why amanita in Christian art does not imply ingesting Amanita but rather, ingesting Psilocybin.
maybe I should make myself a voice recording about this but anyway
it seems surprising to me how how well I’ve been harnessing voice recordings lately and
I have to think about why the rewarding success and ease lately
not just good results but every bit as important, ease.
in the past few recordings or episodes I’ve been not only getting great valuable results , but I’ve been doing so more easily produced
these two things go hand-in-hand
and I need to continue heading in that direction
Technique: construct a collection of intro and Outro material so that you never have to spend time on that during routine episodes
avoid the bad anti-pattern I’ve learned that
when it comes production time you extremely do not want to have to listen or search through an entire recording
this is probably the biggest improvement I’ve made, the biggest misstep that I have corrected in my approach
it turns out for ease of production, you absolutely do not want a given recording to contain more than one type of information, That you have to disentangle during production totally avoid any having to disentangle things you absolutely want to avoid that like the plague
you do not want to have to listen to a long in-depth content recording before you ship it! For example to sneeze it is literally better to terminate the recording then to have to go locate the sneeze afterwards if you can do you want to have any junk wanna make sure there’s no junk in the middle of recording always do whatever it takes so that any junk is at the end or beginning in that way here is a reasonable compromise you do have to check the beginning and check the end of each recording but you do not need to listen to the middle that is the key :
avoid having to listen to the middle of a recording during production.
for example if I switch to voice dictation mode while recording speaking that’s OK but I need to start a separate recording to isolate that type of content because it will need special processing during production
but you really want to hand to the production phase you want to handover lengthy content recordings that contain 100% content and not random junk that Hass to be removed and searched during production
that is the worst
you want any junk like the fire alarm going off at the end or beginning but not ever in the middle of a rec’g
avoid mode-switching in the middle of a recording
and so I need to continue breaking ending one recording and starting a separate recording when I switch to a different type of material
you definitely want shorter especially uniform content type the the point is not the length although you get the impression the short length is better but that’s not the point
regardless of the length of the recordings the key is don’t mix Primo Content with other type of material though I suppose station identification is innocuous
I am still forming the dues and don’ts Regarding creating the initial tracking Recordings – this makes an enormous ramification for how hard how time consuming the production process and above all whatever you do do not handover recordings that require sorting out good quality content from material that will be cut I mean look at the difference between
my verbose long freeform episodes and then the massive massive work that I had to do to excise the so-called “core” material from that
you extremely want to do that distinction upfront while recording too hot the core content Recording holt stop halt and terminate halt halt
you think I don’t know how to pronounce words with this stupid voice dictation my pronunciation is impeccable and differentiating words yet this voice dictation still can’t handle it halt and hold our pronounced entirely different
another great thing that has worked very well and things have really come together I could probably rattle off for major changes that have worked together to produce much better content and much less having to sort through and deal with timestamps and micro editing and all that time consuming processing lately I’ve been
Technique: Skip preparation by having a pile of backlog of ideas and reading material to prompt an excess of topics to cover
i’ve only had to do 10% of the preparation as before and then I’ve only had to do 10% of the processing that I used to have to do are used to have to do 10 times as much preparation and then 10 times as much clean up
so what are the tricks I’ve done and pull together lately??
My very latest is backing away from the mic means are no longer chained to one tiny fixed spot were you become all rigid
this does mean accexcepting more hiss
The jury is still out it’s too early to say but:
I really I’m really feeling pretty psyched enthused about this wildly asymmetrical dual miking which should not work at all, yet it’s producing good results so far, depending on what type of speakers I play back on
I thought Max was crazy using stereo and allowing room reverb but-
well I just threw away my the voice dictation just threw away my transcription of course has bad luck playing audio in the background at the same times foolishness
never do what Max Freakout does: use a stereo mic in a reverb room. unless…
but I’m approaching stereo miking differently , and I’ve done a ton of research on it ,
and I really like that-
it’s amazing completely breaking the rules well breaking some of the rules, but I am an expert at the rules , and so even when I bend the rules, I’m doing it at an expert level
I guess I’m enjoying the privilege of being able to exercise all kinds of different options and knowing what the trade-offs are
and I can access different configurations that a beginner would consider bad technique and not feasible
but it all depends , if you know how to play the trade-offs
I know all too well what it’s like it’s awful when you’re locked in one tiny position in the microphone
it’s like being chained with shackles in place
and now by miracle I’m able to do the exact opposite and move all over the place and it doesn’t necessarily sound awful if you just play it right
You can kind of get away with it and get a pass
it really depends on defining what your goal is a friend thought that my result was a failure until I explained that my goals are different than his assumed familiar professional production goals
I am doing live radio broadcast – it defines “success” as a different formula and I have the privilege of accessing different miking configurations different philosophy combination a different combination of philosophies about panning in room reverb and being on axis knowing all of these trade-offs at an expert level enables accessing certain combinations and emancipating from the shackles of being locked into one little rigid position in front of the mic
that intern that freedom that emancipation frankly standing up and standing back from the mic and moving around opens up so much it opens up a different alternate state of consciousness different different breathing different voice different character different tone and mood
as one little example: the much hated pop filter 😡 – don’t need no stinking stupid 6 inch dumb plastic garbage blocking my head.
know your angles, know your distances
and also frankly strategically plan on one plosive error per five seconds, and then you’re good, as long as you’re not continually plosive popping the mic
and then stand back further back and yell above the hiss
his theme, one of his master themes, of the wild versus the cultivated :
when people ingest mushrooms and experience non-duality from a naïve inexperienced, they are unstable and wild and go out of control and unstable, like the horses , centaurs
then when they learn the non-branching model and conform to it , then they become cultivated , civilized and stable; gain control stability in the new, transformed configuration.
Wild-Ruck focuses the field of entheogen scholarship on the mere sheer presence of plants.
Ruck’s focus is on plants, the immature wild uncultivated and unstable with control instability the naïve possibility Branching model of the world and our agency control steering power within that world
Become cultivate become mature and developed and transformed
don’t focus on the plants Mythology does not describe the plants primarily
focus on the experience of the plants mythology primarily focuses on the experiencing produced by the plants-
the transformation from wild to cultivated , from unstable to stable, from possibility Branching thinking to non-Branching monocoursal thinking and world model
Cultivated-Ruck actually comprehends the real message of mythology And is cultivated and reaches the other side, which is control stability, transforming the mental model in conformity with the mushroom experience of the frozen future control thoughts in a snake shaped path existing in the future already with non-Branching of possibilities and with control frozen into a rail , the king a rock marble statue frozen
in april 12 pm Egodeath Mystery Show i mention ruck reduc’ic treatment of serpent mytheme, shed skin, i forgot to include forgot my othere usual point, his expl that snake has venom like an entheogen .
when reading mythology in entheogen books 1999-2002, i said no, those are reduc’ic expls. why snake is key in myth is its actually the morpholgy, per all serpents depictions in world myth , which never show venom or shedding, but only show serpent’s shape , often contrasted against a branching tree.
Today’s 2-hour Egodeath Mystery Show, April 12, 2022:
Listen to today’s Egodeath Mystery Show for details and examples. dl the mp3 from “idea devmt page 13 ” at this site.
I reject for my main article and I reject for Dr. Brown’s database project the notion that it is to convince anyone that there are mushrooms in esoteric art
this is a non-goal
that is an immature childish goal and a stunted development level on which to ask questions
after adopting a mature adult level of conversation, the questions still remain: in what sense, or to what degree, is that a mushroom?
but we are entirely changing the context
we are firmly rejecting the context of the isolated question ” are there visionary plants in religious art ?”
we must stop asking that as an isolated question
that’s immature and childish and stunted and goes nowhere and cannot succeed
My main article will still continue to ask “is this particular item a mushroom , or to what degree ?” – but it is to be understood that the entire world of religious art is a mushroom world through and through.
We are asking: in what way is item X a Mushroom, given that the entire context of meaning is depictions of mushroom experiences
Religious art, as a genre, is depictions of mushroom experiencing
that is the context, the correct mature context, in which we ask “in what way is item X a Mushroom?”
I will rewrite my article to delete any hint any indication where a question or debate is couched from the context of the isolated immature question
I will make it a non-goal for the article to ask “is it a Mushroom” as an isolated field of questioning
I will change the wording and basis context of what we are debating and interpreting. proof not that there are msh in Christian art, but rather, prove that the way Christian art depicts psychedelic religious experiencing is via non-branching.
compelling evidence not that Christian art contains msh (that is the data obvious given), but that Christian art contains depictions of effects
Cyberdisciple gave overcomplicated mutant threefold non binary types of evidence: two levels of depictions of PLANTS, and one level of depictions of EFFECTS of plants.
Focus on latter, prove latter, give evidence of latter.
Former (plants themselves) is strictly in a support role; else it is a non-goal.
I will establish that the premise from the very start of the article, the reader and author will assume that we all agree throughout the entire article that:
The purpose of religious art and the genre of religious art mystic esoteric mystical art the genre is depictions of psychedelic experiencing.
then the entire effort of the article will be within that given self-evident premise, context.
eg art historians call them msh trees; use that as a symbol.
the Salvation Salesmen know perfectly well they are msh;
their concern is to cover up the self-evidently obvious and pretend to not believe what they believe and pretend to not recognize what is perfectly, self evidently obvious.
Of course these liars know that they represent Mushrooms
that’s exactly why they call them Mushroom Trees
don’t play into their bluffing lies
just expose them and called them liars to their faces and reveal their conflict of interest
call them out publicly on their conflict of interest
they are bluffing
they are phony
they are frauds
they don’t believe what they pretend to believe
they’re trying to con everyone and swindle everyone when they know perfectly well that the mushroom trees represent Mushrooms
identify for example the crucifixion nails are slightly mushroom shaped, so that asks for interpretation
here is the adult mature level of interpretation to fulfill Dr. Brown’s project definition at a mature adult level, to move the field forward from its infantile childish stunted development stage regressive
describe how the result of mushrooms causes a crucifixion experience of being fastened like
my 2006 articleegodeath.com my main article describes the experience of being fastened to the space-time block
this is adult level of so-called Interpretation
my partly immature and partly mature main article at this website too often talks about convincing people
but convincing them of what?
and convincing which people?
we should not be concerned at all with convincing people whether religious art depicts psychedelic experiencing
we should take that as a given data
and then within that paradigm, within that explanatory framework skeleton, we fill in the flesh
we do our convincing
we do our persuading and
we do our interpretation
within that adult mature paradigm.
we are not critiquing the broken inferior past previous theory
we are not here to convince people to switch from the child childish old theory to the new mature theory
rather we are here to develop the adult and fill-in the new theory, the new explanatory framework
The article will take pains to differentiate these two different concepts of Dr. Brown’s database and art Interpretation committee
we are not here to interpret whether our includes any mushrooms or not
rather we are here to recognize the given data that art describes psychedelic experiencing, and then begin our interpretation on that adult basis
we need to move the conversation forward out of its developmentally stunted Carl Ruck stage gang
in childish fashion they try to define the field of Entheogens Scholarship as Spot the mushroom
my main article includes for Dr. Brown a chapter near the end calling for attention to experience instead of the physical plants
The coral Ruck groups approach paradigm is a childish paradigm that presents us with a childish version of mythology and entheogen Scholarship.
because Ruck , despite the word ‘consciousness’ in his book title, is only about physical science, not about cognitive science / phen’y.
we need to move the field of entheogen Scholarship from the childish level of physical science “look mommy there’s a mushroom” to the developed, mature, adult developed form of cognitive science
make good on his falsely advertised book title with the word ‘consciousness’
the field of scholarship here is not plants
we are not here to identify plants
that’s not our driving motive; that is merely an incidental motive
given that mythology is about the visionary plants, yes we do need to do some good identifying of plants
but we are not here for the ultimate purpose of identifying plants
that is Carl rock’s regressive definition of the field of entheogen scholarship as an infantile, developmentally stunted game of “spot the plant”.
we need to stop being driven and limited to a mere “spot the plant” kiddie game.
that needs to be a minor instead of the ultimate goal.
that needs to be merely a minor, supporting topic to support a new , higher level goal.
I am announcing that the new , higher-level, mature, developed, sophisticated, adult version of the field of entheogen scholarship does integrate mythology like coral Ruck has done, but this is adult-level Mythology, not child-level Mythology.
like Carl rock is childish, saying ivy must have been psychoactive, while he fails to look at the morphology, the non-Branching tendency of ivy – that is the cognitive-experiential message.
this is an example of how the Carl rock gang stunts and retards the field and keeps it at a childish level by saying that the goal and driving motivation of the field of Entheogen Scholarship is a regressive, developmentally stunted, adult-child game of “spot the mushroom”, and that’s all – It needs to be a game of “spot the experience description”, not “spot the plant”.
he needs to make good on the title of his book which has the word ‘consciousness’ , he failed to follow through on.
that is the whole purpose and real true goal of studying Mythology in combination with visionary plants.
The real concern of the field of entheogen scholarship & religious mythology is not to merely “spot the plant”, but rather, spot the psychedelic experiencing description, the plant experience, to explain in what specific way mythology and religious art describes the cognitive experiencing that’s induced by the plants.
5 articles about Eadwine’s images in the Great Canterbury Psalter.
3 articles about Wasson.
Right now my main set of such links is in my “Wise as Serpents” page, but they point to possibly outdated versions at Archive.org, and should first point to http://metahistory.org if available there.
I think I have backups in some form, of all 9 articles, eg saved webpages.
A Partial Copy of the Webpage Where Lash Uploaded the Cropped Mushroom Tree with Two Men and a Sword
“To scholars, the presence of psychoactive mushrooms in religious art is a closed subject, a revelation too outrageous to admit; but for this self-taught scholar it was the discovery of a lifetime.” “It appears that religious scholars practice intentional blindness when it comes to this extraordinary work of sacred art.” Lash continues:
“A recent trip to Paris afforded me the chance to visit the National Library of France and acquire some inkjet reproductions of the Paris Eadwine Psalter. [Huggins corrects some authors about conflating titles of psalters, but it’s complicated, as we see Lash explaining here.] With a couple of exceptions, where the source is wrongly attributed to “the Canterbury Psalter,” this material appears exclusively on the Internet on metahistory.org. Gaze and wonder!”
[re: my 2006 Gallery page at Egodeath.com in support of my Wasson article: http://egodeath.com/christianmushroomtrees.htm#_Toc134497563 has a different image than below. I’m trying to find more info about scope of my gallery, dates and sources of my images.]
[Lash’s image circa 2008 is cropped to only show a portion, missing some of the ten pilzbaum. Lash’s image is faded, fewer colors (narrower color range spread) than the actual image.]
“Here is the same folio page shown in another view with color values adjusted to how it looks on microfilm – rather faded. I have not yet seen or handled the original MS so I do not know if its colors correspond to the gloriously preserved tones of the other version, or if this is a Photoshop effect.”
“In November 2006 [when my main & Plaincourault articles were finished at Egodeath.com -Cybermonk], shortly after the publication of my book Not in His Image [pdf of book], where I describe entheogenic rites in the pagan Mysteries at Eleusis and elsewhere, I made a long-awaited visit to the National Library in Paris.
“Upon acquiring a membership card I was able to consult the archives for Greek and Latin manuscripts, of which the BNF (Bibliotheque National de France) has an impressive collection.
“I was in quest of a very particular item, Latin MS 8846, the Paris Eadwine Psalter. This is the single and unique illuminated MS of the 12th century, the only one of its kind in the world.”
“I was not able to handle the actual MS, but I examined the color microfilm made from it. My session of three hours in the microfilm booth left me with wide eyes, a slack jaw, and unsteady feet. I literally staggered out into the Rue de Richelieu.”
“For rest of the evening I remained in state of astonishment, totally stunned by the images I had seen rolling across the microfilm screen.” [missing “the” at start, even at Lash site]
Psychedelic Bible
“The Paris Eadwine Psalter is an oversize bound book of about 184 sheets, about 367 pages counting both sides.
The cover page is stamped Volume No. 174, 10 October 1873, presumably the day it was acquired or catalogued. It opens with five full-page panels divided into twelve sections, lavishly colored and detailed.
“The panels show incidents from the Old Testament, running from the creation of Adam and Eve to the life of the Patriarch Jacob. There immediately follow many half-page and full-page illustrations of the Psalms interspersed with Latin commentary. After about 100 pages come four more twelve-section panels resuming the story of Jacob, then the illustrations jump to the Ark of the Covenant, David and Goliath, and John the Baptist.”
“About 45 pages further on there is a unique page composed of eighteen panels celebrating JesusChrist, followed by two more twelve-panel pages illustrating events in the life of the Savior.”
“All this is totally Biblical narrative, larded with pious commentary and directions for song and prayer. The Eadwine MS is after all a psalter, intended for use by a choir or congregation in reciting prayers.”
“What is far from routine, however, is the way the book is illustrated. Blue-staining mushrooms and mushroom-like omphali occur in lavish form in the first 100 pages. Dozens of pages display versions of a stylized tree with a blue trunk, depictinghow psychoactive mushrooms grow from the trunk of a single “fruiting body” that sprouts from the mycelium.“
“Often the mushroom trees are integrated into dramatic scenes showing humans interacting with angels and demons.“
The Egodeath theory 
