Time will perfect matter.

I think the real test of psychedelics is what you do with them when you're not on them, what kind of culture you build, what kind of art, what kind of technologies... What's lacking in the Western mind is the sense of connectivity and relatedness to the rest of life, the atmosphere, the ecosystem, the past, our children's future. If we were feeling those things we would not be practicing culture as we are.

[DMT] raises all the questions in a hurry. It's so intense and so oriented toward the other and the visual and the hallucinogenic that it isn't really like a drug. It's more like an event that you ran into. You just came around a corner and there was the unspeakable.

If you sit down with a person, or a watermelon for that matter, when you're stoned and sing into it, the quality of the hallucination is such that there is a way of thinking about it where you could say, 'This is an acoustical hologram of the interior of their body.'" I don't say that.I just say, "My goodness isn't it strange that I seem to be able to see inside of the watermelon when I'm doing this.'

Nature is actually the goal at the end of history.

There is this persistent theme in all of these notions that death is made more easy, whatever that means, if you've learned the territory before you get there. And you know, in the Mahayana Buddhist situation it even becomes as extreme as saying; 'life is essentially a preparation for death, a studying of the maps of a learning of the skills a packing of your picnic basket so that when you get out there and demons are sniffing you up one side and down the other you don't bungle your mantras'.

This is the key. If you get into deep water with these substances, this is true of psilocybin as well, you don't want to clench, you don't want to assume the fetal position and stop breathing. You want to sit up straight and breathe, and sing, and sing it back, and it will step back. You can take control of your situation ... most of the time.