Some Faerie Metaphysics

This article is an amalgamation of some previous posts at deadbutdreaming, a shorter version of which was recently published by New Dawn Magazine. It probably raises more questions than it gives answers, but I wanted to put these ideas in one place before moving on to any further Cosmic interpretations of what the faerie phenomenon might really be about. There has been an upsurge of interest in the potential ontological realities of the faeries in the last couple of years, and it seems as if folklore, Forteana, science, paranormal research and philosophical metaphysics may be beginning to draw together to tease out what has previously been hidden or unimagined. But the faeries remain elusive; always at the periphery of our cultural vision. They are not going to divest their secrets easily – and that’s perhaps as it should be.

What are the faeries? Where do they come from and where do they go when they’re not interacting with their human observers? Faeries have been an important part of the folkloric repertoire for hundreds (perhaps even thousands) of years, and while they are portrayed in the popular imagination through faerietales and have become disneyfied through the 20th century, their main presence is in the myriad of folktales and anecdotes from every part of the globe. They usually (though not always) take a humanoid form, and interact with human societies as amorphous supernatural entities, appearing in our world to both co-operate with people and as general arbiters of mischief, while also living in their own Otherworld, sometimes accessible to humans either through accident or abduction. While the phenomenon is ancient, the belief in these metaphysical beings continues, and there are thousands of encounter reports from all over the world every year, as demonstrated by the recent survey by The Fairy Investigation Society, which includes c.500 testimonies.

But folklorists are usually ambivalent about the faeries; they are likely to keep their distance from them, so to speak. While happy to record and discuss the beliefs of people who tell stories and anecdotes about them, most folklorists speak the language (at least in official publications) of the reductionist, materialist worldview that has held sway in Western civilisation for the last few hundred years, and they’ll often be reticent about assessing the potential actual reality of metaphysical beings. In the materialist’s world, faeries simply cannot exist. They must be reduced into a categorised cultural belief system, and any discussion of them will usually be couched in the accepted language of scientific rationalism. This creates a problem for any folklorist (or anybody else) who wants to look behind the stories and investigate the possibility that the faeries can be incorporated into our consensus reality as a genuine phenomenon.

But the reductionist scientific orthodoxy has been challenged recently by a range of philosophical hypotheses such as Idealism, backed up by quantum mechanical theory and experiment, which reinstates consciousness (not matter) as the primary mover and creator of reality. When this is done, entities such faeries are allowed back into the universe as an authentic phenomenon, and if we start to look in the right places, we begin to find that they are indeed everywhere… we just need to know where to look, or perhaps more accurately, how to look.

John Anster Fitzgerald, ‘The Intruders’ (c.1870)

The Electromagnetic Spectrum, Dark Matter and Dark Energy

Our normal waking consciousness experiences less than 0.5% of the entire electromagnetic spectrum, with visible light being less than 0.1% of this. If we take into account the current (mainstream) scientific hypothesis that this electromagnetic spectrum itself composes less than 8% of the universe, with the mysterious Dark Matter and Dark Energy taking up the rest, then we are at a good starting point to understand that our version of reality is extremely compromised. We may have the technology to utilise the unseen wavelengths in the spectrum, but they are not accessible to our ordinary consciousness, whilst Dark Matter and Dark Energy are totally inaccessible to our technology, and remain for the moment, nothing more than theory based on the by-product of mathematical equations. We also have to take into account the recent theoretical mind-bender that the universe may actually be a virtual reality hologram, put in place by (depending on who you listen to) a supreme being, aliens or future versions of humans, the latter option coming from NASA scientist Dr Rich Terrile. With this level of uncertainty about the reality we inhabit, and in order to gain an understanding of the world in which we live (and the unseen entities that may exist alongside us), we might be advised to fall back on the only known certainty allowed us: consciousness.

The Origins of the Faeries in Altered States of Consciousness

Cave painting from Altamira, Spain, c. 20,000 BCE

Our earliest known artistic portrayals of the world, and how human consciousness interacted with it, come in the form of cave paintings from all parts of the globe, starting c.35,000 BCE. Many of these cave paintings include humanoids and therianthropes, otherworldly entities that have been recorded alongside geometric imagery, stylised animals and landscapes. They are in effect our earliest known folklore. But what state of mind were our Palaeolithic ancestors in when they were painting these strange entities in often difficult to access caves and shelters?

The anthropologist David Lewis-Williams has made the convincing argument that these cave and rock-shelter paintings were produced by shamanic cultures to represent reality as perceived in an altered state of consciousness. Twenty years ago this idea was anathema to anthropologists, but since the work of Lewis-Williams, and many others, the theory has tipped over to become an accepted orthodoxy. There are hundreds of motifs in the cave paintings that correlate with the visionary states of people in an altered state of consciousness, brought about most especially by the ingestion of a psychotropic substance. The basic premise is that the shamans of these Palaeolithic cultures transported themselves into altered states of consciousness and then painted the results of their experiences on the walls of caves and rock shelters — experiences that frequently included therianthropic beings and supernatural humanoids that correlate in many ways with later faerie types.

‘The Mimi’ from prehistoric rock shelters in Kimberley, Australia,c.10,000 BCE

In his 2005 book Supernatural, Graham Hancock vividly utilises Lewis-Williams’ work to discuss the continuity through time of entities experienced in altered states of consciousness, coming to the conclusion that the faeries of our historic period are one and the same as those portrayed in prehistoric caves. And writers such as Carlo Ginzburg and Emma Wilby have argued that there is a direct link between prehistoric shamanic storytelling and the folklore embodied in classical, medieval and later periods, that often incorporate entities such as nymphs and faeries; supernatural beings that interact with humanity when the conditions are right. Those conditions may well be reliant on the human participants undergoing an altered state of consciousness as a result of the ingestion of psychotropic compounds. There is certainly a preponderance of mushroom imagery associated to historic depictions of faeries, most especially the highly psychedelic red and white Amanita Muscaria (fly agaric) mushroom, and the psilocybin mushroom, both prevalent in Europe and Asia. If these historic folkloric manifestations of interactions with supernatural entities can be linked to the cave art of prehistory and preliterate societies, then we have a continuation of relationship with an alternative reality, accessed through altered states of consciousness, over a very long period of time.

17th-century English woodcut with faeries dancing in a circle, burial mound (hollow hill with door), fly agaric mushroom and the face of a ‘spirit’ in the tree

Many of the European faerie motifs repeated in stories and anecdotes through the centuries to the present day were already in place during the medieval period. When folklorists began to collect these stories in earnest from the 19th century onwards, they found a belief in faeries amongst rural populations that was probably very close to the medieval belief and understanding of what faeries were and how they interacted with humanity. Many of the stories include situations where the protagonist interacts with the faeries in what seems an altered state of consciousness: Faerieland doesn’t comply to Newtonian physics, it is consistently inhabited by strange humanoids and therianthropes (the faeries), and there are lots of recurring story motifs that are highly suggestive of an autonomous reality being described. But this is not consensus reality, this is the folklore recording stories from people operating outside consensus reality. The folktales about faeries have been overlain with much allegorical storytelling, but at their root the realities they describe are of people in altered states of consciousness, perhaps not too far from the realities experienced by the Palaeolithic cave painters and shamanic practitioners.

WY Evans-Wentz, Rudolph Steiner and Metaphysical Nature Spirits

When the folklorist WY Evans-Wentz travelled around the Celtic world at the beginning of the 20th century, collecting stories and anecdotal experiences about the faeries, it was clear that most of his interviewees rated clairvoyance as the best way of altering the conscious state to a position where it could interact with the faeries. Seership or second-sight was the method of entering, or at least viewing, an alternative reality inhabited by a relatively consistent cast of characters, usually recognised as the faeries. He met one such (un-named) Irish clairvoyant in Rosses Point, County Sligo. This seer talked about various types of faeries that inhabited the landscape of Sligo, “making them sound like a cross between nature spirits and mystical visions.” But Evans-Wentz was just as interested in the mechanics of interacting with the faeries as he was with the stories themselves. How did the seer interface with them?

“I have always made a distinction between pictures seen in the memory of nature and visions of actual beings now existing in the inner world. We can make the same distinction in our world: I may close my eyes and see you as a vivid picture in memory, or I may look at you with my physical eyes and see your actual image. In seeing these beings of which I speak, the physical eyes may be open or closed: mystical beings in their own world and nature are never seen with the physical eyes.”

The rural people interviewed by Evans-Wentz consistently affirmed that clairvoyant alteration of consciousness was the best sure-fire way to see the faeries. By the time Evans-Wentz visited these communities, there was a sense that the number of people gifted with second-sight was dwindling; cutting down on communication with the faeries. But at the same time as these rural communities were feeling the increasing pressures of modernism there was a reaction by organisations such as The Theosophical Society (first founded in 1875), which attempted to incorporate metaphysics into an understanding of reality. And their prime metaphysical technology was clairvoyance. The Austrian Theosophist Rudolf Steiner attempted to explain the mechanics of clairvoyance, when a person must transform their usually passive thought forms into something more dynamic. In normal consciousness, thoughts:

“… allow themselves to be connected and separated, to be formed and then dismissed. This life of thought must develop in the elemental world a step further. There a person is not in a position to deal with thoughts that are passive. If someone really succeeds in entering the world with his clairvoyant soul, it seems as though his thoughts were not things over which he has any command; they are living beings… You thrust your consciousness into a place, it seems, where you do not find thoughts that are like those in the physical world, but where they are living beings.” Rudolf Steiner, Perception of the Elemental World (1913).

Steiner described the specific elemental animating forces at work in the natural world, when perceived clairvoyantly, in what he calls the Supersensible World. For Steiner the elementals in the Supersensible World existed as a range of beings, from devas, which are responsible for entire autonomous landscapes, through to the smaller nature spirits charged with the growth of vegetation. Steiner (basing his epistemology on that originally developed by the 15th-century alchemist Paracelsus) divides these entities into four main types corresponding to earth (Gnomic), water (Undines), air (Sylphs) and heat/light (Salamanders). This is the faerie realm, existing as a non-material autonomous reality that crosses over with ours, and which can be accessed via a clairvoyant altered state of consciousness. Steiner thought everyone has this innate ability, but they had to be taught how to use it… it had somehow become almost forgotten amongst humanity.

This idea finds common ground with the recent work of biochemist Rupert Sheldrake, who proposes that morphogenetic fields are the formative causation allowing life on earth. Sheldrake’s description of this organising principle behind the natural world is issued in the language of biochemistry, but in effect, what he postulates is the same as Steiner’s vision of nature spirits in action. There are invisible forces that are as essential in ordering life on earth as accepted non-material forces such as gravity. Sheldrake calls these morphogenetic fields ‘the memory of nature.’ In effect, Steiner saw nature spirits as anthropogenic representations of these morphogenetic fields, imposed upon them through the thought forms of the observer, who perceives them clairvoyantly.

The Faeries and DMT

But what allows this access to otherworldly realms and the entities that seem to exist there? What allows for clairvoyance, or second-sight? The answer may lie with the substance called N, N-Dimethyltryptamine – DMT. This molecule is one of the main active ingredients in the Ayahuasca brew used by Amazonian shamans, but it is also produced endogenously in everyone’s brain, potentially (but not definitely) in the pineal gland. It’s usually safely dispersed around the brain and body for functional duties, but it seems that under certain circumstances, it can be released in higher quantities, causing an altered state of consciousness. This would require the DMT to be released in conjunction with Monoamine Oxidase Inhibitors (MAOI), which inhibit naturally occurring enzymes in the human body. This inhibition leads to increased levels of chemicals such as the neurotransmitters serotonin and dopamine. By slowing their metabolism, MAOIs can allow a surge of DMT production to have full effect and create radically transformed states of consciousness.

Illustration of Anne Jefferies, from Robert Hunt’s Popular Romances of the West of England (1865)

There is some evidence that this can happen during a frontal lobe epileptic seizure. This may be the root of the well-documented 17th-century Cornish story of Anne Jefferies’ abduction by diminutive faeries when she suffered a ‘convulsion fit’ and was transported (at least in her mind) to a numinous world inhabited by the faeries. The author Eve LaPlante has used historic and contemporary examples to demonstrate that Temporal Lobe Epilepsy can provide access to an altered state of consciousness where the human mind participates in a reality several steps removed from the consensus material world. This often includes full immersion in alternative landscapes and contact with non-human intelligence.

The late and great Terence McKenna was an enthusiastic user of the synthesised form of DMT to access different realities, and coined the term ‘self-transforming machine elves’ for the creatures he regularly found there. As if to confirm Terence’s assertions, a research study conducted between 1990 and 1995 in the General Clinical Research Center of the University of New Mexico Hospital, by Dr Rick Strassman found that volunteers on the study injected with varying amounts of DMT underwent profound alterations of consciousness. This involved immediate cessation of normal consciousness and transportation to a different realm of reality with divergent physical properties, and inhabited by a range of creatures described as elves, faeries, lizards, reptiles, insects, aliens, clowns (yes, clowns) and various therianthropic entities. One woman even describes a pulsating entity that she called ‘Tinkerbell-like’. The experiences, especially at higher doses, represented to the participants a parallel reality that was ‘super real’, not an hallucination, not a dream, but a substantial built reality with full sensory interaction + telepathy.

The experience reports from the study are irrational, absurd, frightening, illogical and surreal. There is no question of any of the volunteers physically leaving the hospital bed during their experiences, but for all of them (without exception) the DMT-world was every bit as real as the one their minds left behind. After the injections participants frequently talked about ‘blasting through’ or ‘breaking through a barrier’ after which they found themselves in a realm with its own laws of physical space and movement, and its own inhabitants.

There are dozens of recorded experiences from the study, and the participants are all engaging in a non-physical reality directly with their consciousness, seemingly separated from their physical selfs. Some of the experiences agree in type to certain aspects of the faerie phenomenon. But what the research demonstrates is that under the right conditions, human consciousness can operate within a distinct and separate universe inhabited by a range of apparently autonomous entities. These entities may be one and the same as the metaphysical beings recorded in prehistoric cave art and historic folklore, by people who were describing the beings encountered during various types of altered states of consciousness, brought on either actively or passively. The faeries may change superficially through time, adapting to the expectations of the culture they are part of, but if it is human consciousness they are interacting with, this is no surprise. Underneath the cultural masks, the faeries begin to reveal their true selfs.

Materialism vs Consciousness

There are many reasons why folklore about the faeries exists, and it certainly seems that interacting with them during an altered state of consciousness is one of them. Are they real experiences? They are subjectively real, but what is the objective reality? A Theosophist clairvoyant would suggest that we need to override our five senses with a dynamic type of consciousness that commands prominence over the material world. They would probably agree with Aldous Huxley’s description of a universal consciousness being ‘Mind at Large’ and that the brain is a ‘reducing valve transceiver’, that can be retuned by a variety of methods. Huxley did this with Mescaline (and later LSD), describing the experiences in his 1954 book The Doors of Perception.

The brain certainly gives us a very limited view of what is actually going on around us. Altering the transmission to the brain seems to allow non-material consciousness more of a free rein. As in a dream, an altered consciousness is able to construct metaphysical realities. It is able to communicate with the entities it finds there, and bring back a report. The relative consistency of the inhabitants of this alternative reality may suggest that they live there all the time, non-physical, and only able to interact with our physical world when conditions are right for an individual’s consciousness. This is the crux: does consciousness create physical reality, or is consciousness an epiphenomenon of the brain? If the former, then the realities experienced in altered states of consciousness can be accepted as true, with their own autonomous existence. If the latter, then while entities such as the faeries may be subjectively real, they do not exist objectively within the electromagnetic spectrum. This is the materialist/physicalist view. Although even physicalism has to adhere to its own rules and allow for the hypothesis that over 90% of the universe consists of non-physical form: Dark Matter and Dark Energy. Maybe that’s where the faeries are; waiting to be found.

Faeries and Aliens

But the ontological reality of faeries (in whatever form) has in recent decades become linked to other ‘paranormal’ activity types, primary of which is the intrusion into our consensus reality of entities usually known as aliens. The first person to suggest a definitive link between the the reports of faerie experiences and alien encounters was the astronomer and computer scientist Jacques Vallée. In his 1969 book Passport to Magonia he put forward the theory that the faeries were one and the same as the alien beings who had been purportedly abducting people around the world for a couple of decades by that date. His hypothesis is that there is a commonality to the experiences reported in alien abduction scenarios, and the reports of interactions with faeries in folklore. He suggests the aliens and the faeries are essentially the same phenomenon, tuned through the cultural receptors of the time and then interpreted accordingly. He makes special reference to the regular motifs in faerie-tales of the abduction, by various means, of humans by faeries. There’s a lot of data here – it’s the commonest motif in faerie folklore, and continues to be reported in anecdotal testimonies. For a variety of reasons humans are taken to an alternative faerie reality, either as midwives or nurses for faerie children, as servants to the faeries, for sex, as punishment or reward, or just because the faeries feel like it. These motifs, of course, coincide with many aspects of the consistently strange phenomenon of alien abductions, reports of which have grown at an exponential rate since the early 1950s. Vallée uses a range of evidence to tie-up faerie abductions from folklore and alien abductions from modern reports, and goes as far to state:

“… the modern, global belief in flying saucers and their occupants is identical to an earlier belief in the fairy-faith. The entities described as the pilots of the craft are indistinguishable from the elves, sylphs and lutins of the Middle Ages. Through the observations of unidentified flying objects, we are concerned with an agency our ancestors knew well and regarded with terror: we are prying into the affairs of The Secret Commonwealth.”

The Secret Commonwealth was the term coined for the faeries by the Reverend Robert Kirk in a manuscript of 1691, which includes a detailed description of their appearance, habits and exploits, gleaned from both his own experiences and those Scottish Highlanders purporting to have second-sight, or clairvoyance. As Vallée points out, Kirk’s descriptions of the faeries and their modus operandi bear more than a passing resemblance to the alien visitors of the 20th and 21st centuries.

Among their attributes was an ability to float through the air with insubstantial and fluid bodies, that they could make appear and disappear at will. This allowed them to ‘swim’ through the air and carry off mortals, usually to large circular abodes, that Kirk presumed were underground, and which were lit by a dim, unknown illumination. They even had ‘ætheriall vehicles’ to carry them around the sky. Kirk also asserted that the faeries had a nature intermediate between humans and angels. Their habit of abducting humans was usually for the purpose of wet-nursing faerie children or as midwives; a theme that fits in with the deluge of recent alien abduction reports (subsequent to Vallée’s investigations in 1969) that would suggest one of the main reasons for abduction is to obtain both parents and wet-nurses for hybrid human-alien offspring. Vallée quotes the 19th-century folklorist Edwin Hartland’s suggestion that such a programme of hybridisation was a primary reason for faerie abductions:

“The motive assigned to fairies in northern stories is that of preserving and improving their race, on the one had by carrying off human children to be brought up among the elves and to become united with them, and on the other hand by obtaining the milk and fostering care of human mothers for their own offspring.”

In 2005, Graham Hancock followed Vallee’s lead and took the comparison of faerie and alien abduction much further in his book Supernatural (after dealing with the elements of prehistoric shamanic cave-painting depictions of entities, discussed above). He compiled a range of faerie abduction reports from various time periods and geographical locations and set them against modern-day alien abduction events. He pays special attention to the faerie abduction of young women, such as Mrs Sheridan, an Irish woman, who seems to have spent much of the last decade of the 19th century being whisked off by the fairies for wet-nursing duties:

“Where they brought me I don’t know, or how I got there, but I’d be in a very big house, and it was round, the walls far away that you’d hardly see them, and a great many faeries all about… but they wouldn’t speak to me nor I to them.”

These ‘long-faced’ faeries had a definite purpose for kidnapping her and weren’t too concerned with her tearful appeals to release her – she had a job to do, and that was feeding their faerie babies. The correlation between these types of folkloric encounters and the alien abductions of women is striking. Hancock surveys the work of the late Harvard psychiatrist John Mack and the cultural historian David Jacobs, who have made extensive studies of people who claim to have been abducted by aliens, often using hypnotic techniques to extract memories from amnesic events. It’s a minefield subject (mostly due to the vagaries of extracting memories from hypnosis), but John Mack in particular is a convincing advocate of the notion that whatever the experiences represent, they are genuinely real to the participant. The abductee, after being floated or beamed aboard the UFO is taken to a part of the ship where there seem to be drawers or tanks of hybrid alien-human babies, which they are expected to nurse. There is a consistency to these experiences (there are tens of thousands of them) that provides a dataset of testimony that Mack and Jacobs insist must be taken seriously as a phenomenon. For the abductees, the experience is often highly traumatic (Mack states that the best psychiatric diagnosis for many abductees is post-traumatic stress disorder), and no wonder, when they are confronted with alien hybrids often described as more like foetuses than babies. One abductee described to Mack their appearance, which is fairly typical:

“Their bodies were short for their heads. Their heads seemed oversized. They had very blue eyes. They had very thin, wispy hair… I would say they were probably three and a half feet tall, but they all looked the same age. ‘You’re our mother and we need you,’ they said.”

The evidence presented by Jacques Vallée and Graham Hancock makes a convincing argument for the tight relation between faerie abductions in folklore and alien abductions in the 20th/21st century. It is a relation that has been skilfully investigated by Joshua Cutchin in his 2018 book Thieves in the Night: A Brief History of Supernatural Child Abductions, where he uses a wide range of folkloric, historic and modern testimony data to investigate child abductions by supernatural entities, coming to the conclusion that:

“The parallels between aliens and faeries are remarkable and extend deeply into the lore surrounding paranormal child abduction. The means and motivations behind both phenomena imply a shared ontological reality…”

The experiences are culturally coded to time and place, but the correlations and similarities are intriguing, and suggest the possibility of a common source for the phenomena. But what is that source? Is it purely a metaphysical attribute interacting at the non-material level of consciousness, or is there a physical dimension? Perhaps more importantly, can we make the differentiation between consciousness and material reality?

Ontological Faeries

This brings us back to the ontology of faerie experiences; what are these entities that have been a part of humanity for thousands of years, and where do they come from? They may be adapting to cultural codes, even evolving into new forms, but at what level of reality do they exist?

An answer may be to utilise David Luke’s three-part interpretation for metaphysical entity contact. He used it to assess a study into the otherworldly beings (many of which had faerie-attributes) encountered by people who had altered their states of consciousness with DMT, but it is also a valid tool to evaluate what may be happening to anyone who reports a numinous experience that includes interaction with non-ordinary entities such as the faeries:

1. They are hallucinations. The entities are subjective hallucinations. Such a position is favoured by those taking a purely (materialist-reductionist) neuropsychological approach to the phenomena.
2. They are psychological/ transpersonal manifestations. The communicating entities appear alien but are actually unfamiliar aspects of ourselves, be they our reptilian brain or our cells, molecules or sub-atomic particles.
3. The entities exist in otherworlds and can interact with our physical reality. A numinous experience provides access to a true alternate dimension inhabited by independently existing intelligent entities in a stand-alone reality, which exists co-laterally with ours, and may interact with our world when certain conditions are met. The identity of the entities remains speculative.

Of course, all three interpretations may be true at different times and under various circumstances. From a materialist-reductionist standpoint, all faerie experiences could be reduced to hallucinatory events. There is no physical residue as an after-effect of the interactions, and the reports are all limited to visual and audio experiences. While the specific adjuncts allowing for the hallucinations to take place cannot be properly analysed, seeing them all as aberrations of visual and audial fields remains one legitimate interpretation.

This explanatory model is reliant on the theory that consciousness is an epiphenomenon of the brain. The implication is that the brain, for whatever reason, is simply misconstruing sensory input from a physical world where things like faeries simply do not exist. This is the hard and fast materialist-reductionist standpoint, which is deeply embedded in Western culture. But, as discussed above, it is a standpoint that is now challenged at a fundamental level not only by religious and mystical traditions, but also by the recently reinvented philosophy of Kantian Idealism and by a growing number of quantum physicists, who (using a wide range of methodologies) suggest that the brain is a reducer of consciousness, not a creator of it. This model sees consciousness (not matter) as primary; it is everywhere and it is everything, and individual human (and animal) brains are merely conveying it within the remit of what then becomes physical reality. For the most part, this physical reality has a closely defined rule-set, but under certain conditions the usual laws break down and metaphysical events can occur. These supernatural occurrences are thus as legitimate as any natural occurrence. The philosopher Jeffrey Kripal describes this in relation to traumatic episodes that cause apparently non-ordinary experiences in his 2017 book written with Whitley Streiber, The Super Natural: A New Vision of the Unexplained:

“The body-brain crafts consciousness into a human form through a vast network of highly evolved biology, neurology, culture, language, family, and social interactions until a more or less stable ego or ‘I’ emerges, rather like the way the software and hardware of your laptop can pick up a Wi-Fi signal and translate the Internet into the specificities of your screen and social media. The analogy is a rough and imperfect one, but it gets the basic point across. Sometimes, however, the reducer is compromised or temporarily suppressed. The filtering or reduction of consciousness does not quite work, and other forms of mind or dimensions of consciousness, perhaps even other species or forms of life, that are normally shut out now ‘pop in.’ In extreme cases, it may seem that the cosmos itself has suddenly come alive and is all there. Perhaps it is.”

While most faerie encounters are not the result of trauma, this helps us to perhaps understand preternatural faerie experiences as something metaphysical being allowed to ‘pop in’ from either a greater, transcendent form of consciousness, or from an alternative reality to which humans do not usually have access. This would fit with either of David Luke’s second and third interpretations for supernatural entity contact. Simply put, a numinous zone has been entered and the participant is able to make contact with what usually resides external to their ordinary consciousness.

Experiences in numinous zones could be extended to a variety preternatural encounters, from ghost apparitions through to Near Death Experiences and UFO abduction scenarios, but it would seem that the faeries, as an ontological taxonomic, remain a consistent, even persistent, form of entity that interact with our consensus reality. While reports of the faeries from history have often been turned into folkloric stories (frequently with a moral lesson inserted into the plot line), modern encounters usually take the form of anecdotal testimony. But the phenomenological types of faeries retain an adherence to their folkloric roots. They can receive an updated appearance, and cultural coding, but they remain recognisable as faeries. Graham Hancock has summed up what may be happening if we allow the faeries some type of metaphysical reality:

“If we are prepared to set aside the automatic scepticism and reductionism of our age, and if we spell out the problem in plain language, then we find that we are contemplating the existence of highly intelligent discarnate entities belonging to an order of creation fundamentally different than our own… it really is almost as though the beings we are dealing with have been changing and developing alongside us for thousands of years, and that they therefore cannot simply be mass delusions, but must have a definite, independent reality outside the human brain.”

Whatever their true nature, it seems that for the faeries to make contact with humanity they require our consciousness to become loosened from the usual restraints, and to enter a numinous zone. If the model of reality affirmed by Idealism is correct, then this zone may be allowing us to access a greater Over-Mind, where exist entities that represent either a stand-alone autonomous class of their own, or perhaps aspects of the human collective consciousness (as explicated by Carl Jung), which is usually filtered out through the reducing valve of the brain. Either way, it appears that the faeries are here to stay, functioning in some nebulous region where any interpretation of them is reliant on us finding a way to incorporate consciousness into physical reality. This is something that has eluded both philosophers and scientists for millennia, and so perhaps it is no surprise that the faeries – whether nature spirits, inter-dimensional beings, aliens, or products of our collective imagination – for the moment, remain an intangible part of our cultural zeitgeist.

The cover image is by the reliably supernal artist Ylenia Viola, whose artwork can be found at Fairytalesneverdie. Thanks to Ylenia for her permission to reproduce this image called ‘This is a Work of Fiction’.

‘Visions and Pablo Amaringo’ by Loes Modderman

Here’s an article by the Dutch artist and writer Loes Modderman, which takes a look at the Ayahuasca-inspired visions of the late Peruvian shaman Pablo Amaringo. As with everyone who partakes of this potent psychedelic brew, Amaringo was able to touch diverse metaphysical realities, and interact with entities there, several steps removed from anything in our consensual physical material world. His large body of artwork is testament to what he found within these realities. Loes ties in Amaringo’s visions and art with a discussion of plant consciousness, UFOs, out-of-the-body experiences and Charles Bonnet Syndrome. All of this this relates to the faeries and their otherworld at a deep level. When consciousness is altered from its normal state, we can experience beings that appear to have an autonomous non-physical existence, and which interact with our material reality when certain conditions are met. Sometimes they appear as faeries, sometimes not. But whatever they represent, the ontology of the entities that are regularly experienced in altered states of consciousness demands investigation and interpretation.

The article was first published by The Fairy Investigation Society. Thanks to Loes for agreeing to allow deadbutdreaming to republish it here.

Plant Consciousness

On the question of how the Shamans of the Amazon know that certain plants contain exactly the right chemical components to induce otherwordly visions, these shamans tell us that they know it from the plants themselves. ‘The plants tell us’ sounds crazy in the ears of Western scientists. Or used to. But the subject of plant-plant and plant-human interaction has been explored by a lot of people, in the wake of the groundbreaking 1973  book by Tompkins and Bird: The Secret Life of Plants. That plants are endowed with a particular kind of consciousness that makes them aware of us and able to respond to stimuli like attention, voices and music has been proven. They even compose their own music, as experiments in the Italian ecological community Damanhur seem to indicate. Plants also have empathy. Whoever reads the book Primary Perception (2003) written by lie- detector specialist Cleve Backster may still have a kind of guilty feeling whenever they slice a carrot or peel a potato. I have, time and again, but we have to eat, haven’t we?

In the longstanding Scottish community of Findhorn miracles happened. The barren ground in the harsh climate of north eastern Scotland was magically transformed into green gardens that yielded enormous vegetables and lots of flowers during the 1960s. Eileen Caddy (1907- 2006), one of the three people who started the community in the years after their arrival in 1962, was a clairvoyant, who talked to the plant spirits , just like the shamans of the Amazon and everywhere else in the world do. Nature spirits, caring for the plants, as is their given assignment, worked with Caddy and the results were not a question of belief, but of obvious fact. Caddy was able to see the spirits, which facilitated communication. They told her how to, and how not to. In this light the simple remark of a shaman is utterly believable: ‘the plants tell us.’

What is commonly known as ‘Ayahuasca’, a brew from a vine growing in the Amazonian rainforest, is actually made from two different plants, which supplement each other in making it work on our brains. The active substance is DMT – Dimethyltryptamine. This chemical compound differs from most other mind altering drugs: it takes the user into a different reality. And here it gets interesting, for in this reality there are elves as well as UFOs, and a lot of other real and mythical creatures. People using Ayahuasca in the forest or pure DMT in the laboratory come up with the same experience of having been somewhere outside normal space and time. Their experience is real and transformative, different from LSD or the more common psychoactive chemicals that manipulate this reality.

The Visions of Pablo Amaringo

Pablo Amaringo (1938-2009) was an ‘Ayahuasquero’, a simple Peruvian who took the brew regularly and transformed his visions into colorful paintings of exquisite beauty and multi-layered symbolism. Amaringo painted hundreds of them, and in his later years taught others. Spaceships and Faeries are intimately connected in Amaringo’s family of paintings. The first time Pablo took Ayahuasca he saw a huge UFO. Manuel, Pablo’s older brother, is a curandero, a healer. He employs mostly one special icaro – a sacred song rooted in the ‘music of Creation’ – which he learned from a faerie, named Altos Cielos Nieves.

In 2011 an exceptional book was published, The Ayahuasca Visions of Pablo Amaringo (parenthesised numbers relate to the indexed images in this book), which sadly Amaringo never held in his hands while still being in this world. The book is a true legacy of the artist and his philosophy. Every painting is commented on and explained by Amaringo himself, and there are also several articles from Dennis McKenna, Jeremy Narby, Graham Hancock and other ‘psychonauts’ with DMT experience. Amaringo roamed many worlds. Reading through the explanations of his paintings and looking at them, one is overcome by the feeling that here is a reality more real than ours, and we ‘normal people’ are the ones living in a dream world.
 The interconnectedness of everything is the central theme; the universe is alive, there are multiple dimensions, plants and animals are conscious beings, conveying deep wisdom to the shaman. Amaringo’s Ayahuasca world is populated with mythical beings, the kind we have banished to faerie-tales or religion. There are many mermaids, shapeshifting animals, talking birds and dolphins, spirits of place like the undines, salamanders and sylphs of Paracelsus or the Comte de Gabalis. There are Angels, Devas, enlightened beings and extradimensional visitors. Heavenly, as well as under water cities exist in this visionary world.

‘Yana Huaman’ by Pablo Amaringo

Essential to all life are the Icaros, according to Amaringo, being ‘the sound of the Universe – the planets, stars, comets, Everything is created by music, by vibration, by sound. Icaros is the music of creation’ (172). Here many other traditions come to mind, and one is reminded of the Music of the Spheres, an old concept, which lately came to life again with the discovery of the sounds planets and the sun make and on which even electronic compositions were based. The painter sang Icaros into the paintings when working, which, he said, ‘makes them alive and endows them with healing powers’.

‘Pagoda Dorada’ by Pablo Amaringo

As for the UFOs he painted so colourfully: ‘Extraterrestrial ships visit Earth frequently. They come from parallel universes with Sumirunas (human beings that attained mastery over land, air and water) aboard them to understand the mysterious forces of electromagnetism and gravity that maintain the cosmos’ (128). In his explanation of the painting ‘Pagoda Dorada’ (145), Amaringo says: ‘In in the corner are extraterrestrial ships carrying beings who visited primitive peoples on earth in prehistoric times, and gave them laws and spiritual teachings.’ A repeatedly painted subject is the transformative power of shamans and living things. Matter is not something static, spirit is what determines its shape. ‘You see extraterrestrial ships arriving from a celestial city to teach sumirunas and banco sumis (maestros who have attained the level of an angel) the science of the transformation of physical matter’ (147). And: ‘The Incan masters transformed themselves into machaco runas (a being with the head of a human and the body of a serpent) with ease, and in this form were able to traverse the great distances between the galaxies at the speed of thought. These great maestros developed extrasensory abilities that allowed them to explore other dimensions and celestial realms’ (147). In another painting (149) Amaringo explains: ‘Here you see the flower of toé, a plant sometimes combined with Ayahuasca to intensify your visions. With toé you can learn what a person is thinking, and it can enable you to see spirit beings as they are in their natural form. Shamans use toé to help them delve into profound mysteries. They may be assisted by extraterrestrials, coming from Mars and Jupiter, and from other galaxies (150).’

‘Sumac Icaro’ by Pablo Amaringo

When the Shaman is in the process of healing someone from the influence of a malignant spirit, he sings the sublime sumac icaro. ‘The spirits always accept the invitation, and nymphs, dryads, faeries and hamadryads who live in the trees , and elves and sibyls all come to listen to the sumac icaro. Spirits arrive in spaceships from far away galaxies to see if someone needs them’ (151). In one painting Amaringo states: ‘There’s an extraterrestrial craft radiating a blue beam, which transmits knowledge from other dimensions’ (153). In one of the last paintings in the book, Misterio Profundo, a space ship has a central position. He explains: ‘The spaceship that has arrived from a distant galaxy brings spiritual beings to teach the sumiruna (far advanced humans), muraya (master with the ability to live under water) and banco sumi (master of wisdom, as wise as an angel) in their ceremony. They warn of the imbalance of the biosphere caused by man’s destruction of the rain forest. Through negligence, ignorance and greed, humans have prejudiced the delicate web of life on which we depend. The beings are giving shamans’ energy to heal the planet with icaros and soplos (smoke used in rituals and healing)’ (159).

‘Misterio Profundo’ by Pablo Amaringo

It is clear from these fragments that in the wisdom obtained by regularly drinking Ayahuasca no clear distinction is made between different realities. The idea is that multiple realities overlap and in fact fill the same space, only at different vibrational levels. Amaringo’s descriptions of what ‘extraterrestrials’ are doing in his paintings is seemingly as much part of our own abduction lore (the environmental warnings, the extraterrestrial origin on other planets) as it is of interdimensional origin, as described in the interaction with nature spirits, shamans and holy humans in an extradimensional space-time setting. Some elements also sound reminiscent of our own UFO lore: the shapeshifting abilities, the sudden appearance when being called, the ancient astronaut analogies and even the disappearances under water. Amaringo says that these vehicles may take many shapes, are able to attain infinite speed, and can travel under water or under the earth. The beings travelling in them are like spirits, having bodies more subtle than ours, appearing and disappearing at will. They belong to extraterrestrial civilizations that live in perfect harmony. Great Amerindian civilizations like the Maya, Tiahuanaco, and Inca had contact with these beings. Pablo says that he saw in his journeys with Ayahuasca that the Maya knew about this brew, and that they left for other worlds at some point in their history, but are about to return to this planet. In fact he says that some of the flying saucers seen by people today are piloted by Maya wise men. Just wondering: could the amazing frequency of UFOs seen in the heavens and on the grounds of the Latin American continent have any connection with their being ‘called’ and contacted by Ayahuasquero and shamans? Or do otherworldly beliefs and practice like those of the Candomblé and Umbanda religions in Brazil have any influence? If UFOs really are (sometimes) liminal objects, between ‘real’ and psychic, this could be a possibility.

‘Llullun Llaki Supai’ by Pablo Amaringo

Ayahuasca, OBEs, Faeries and DMT

Ayahuasca doesn’t yield its wonder-world easily. One has to grow into the experience and in this it is no different from moving to another country: one has to learn and adjust before one can easily find the way. What makes the Ayahuasca different from other drugs is that in time one encounters beings that seem to be aware of you being there. They react, and talk to you. There is interaction. How strange is that? No more strange than what Ingo Swann, the late psychic and Remote Viewer encountered when he visited the dark side of the Moon. He saw beings there, buildings, saucers, and they saw him too (Penetration, 1998). Imagine the power of the human mind, which allows us to project our consciousness over enormous distances and take an astral shape that can be seen, and talked to. Ingo Swann didn’t let that happen, he was simply afraid and left. What’s the difference between inner and outer space when Remote Viewing as well as Ayahuasca allows the psychonaut to have a conversation with beings from other worlds or other dimensions, while physically sitting in his easy chair? The late Terrence McKenna in True Hallucinations (1993) wrote: ‘A UFO is essentially this hyperspatially mobile psychic vortex, and the trip may well involve contact with some race of hyperspatial dwellers. Perhaps it will be an encounter similar to a ‘flying lesson’: instruction in the use of the transdimensional stone, how to navigate in hyperspace, and perhaps an introductory course in Cosmic Ecology tending.’

People having Out of Body Experiences are doing the same thing, and some of them mention encounters with other OBE-ers, or frightening encounters with less agreeable astral beings. Probably the air around us is alive with astral junk, and not being able to see them is a gift. ‘Only with DMT do people meet up with them, with other beings in a nonmaterial world’, writes Rick Strassman in his book DMT – The Spirit Molecule (2001). No other drug has this effect. From 1990 till 1995 Rick Strassman carried out government sanctioned research at the University of New Mexico (normally DMT is a scheduled drug) with 60 volunteers, by injecting them with various doses of pure DMT. Karl, a 45 year old blacksmith, described his experience: ‘This was real strange. There were a lot of elves. They were prankish.(…) They commanded the scene, it was their terrain! They were about my height. (…) one of them made it impossible for me to move. There was no issue of control; they were totally in control. (…) I heard a giggling sound – the elves laughing or talking at high speed volume, chattering, twittering’.

Elves were met by Terrence McKenna too, on his regular DMT trips. He calls them ‘machine elves’. Some of them, seen by him and others, wear pointed hats and green elf- garb and are around one metre in height. Aaron, another of Strassman’s guinea pigs gave the following description: ‘An insectlike thing got right into my face, hovering over me as the drug was going in. This thing sucked me out of my head into outer space. It was clearly outer space, a black sky with millions of stars.’ In the next experiment Aaron felt helpless and being watched by reptilians. This all sounds very much like an alien abduction scenario, only nobody was abducted – not in the flesh, anyway. A guy named Lucas said: ‘There was a space station below me and to my right. There were at least two presences, one on either side of me, guiding me to a platform. I was aware of many entities inside the space station – automatons, androidlike creatures, except that they were living creatures, not robots.’. Experiences get increasingly strange and the whole hodgepodge of beings from faerie folklore and abduction scenarios are encountered. But if there are many dimensions, there is no reason to assume that every user of DMT end up in the same dimension. Some experiences are good and warm, others are extremely frightening, but all are absurdly weird. For almost every person who participates, these experiences are among the most impressive and unforgettable of their whole lives.

Jacques Vallée has done pioneering work in Passport to Magonia (1969), in which he explores the many similarities between folklore and Ufology. He was the first to study this subject scientifically, though not the first to pay attention to the phenomena in this way. Many followed, among them the Fortean writers John Keel and Jerome Clark. I’m not going into Vallée now, everyone should read this book. Vallée never mentioned DMT though. In the light of the DMT related visions we can safely assume that the world of spirits and elementals, and the world of UFOs are somehow connected by inter-dimensional strings. How, we don’t know. Maybe all dimensions are endowed with the same ‘magic’ and the same characteristics. Something really fascinating is going on.

A Postscript – Charles Bonnet Syndrome

‘CBS’ by Cecil Riley

People with a form of macular degeneration, known as ‘Charles Bonnet Syndrome’ lose sight at the centre of their vision. But in some cases that is not all that happens. Some of them, maybe many, start hallucinating. They see all kinds of beings parading through their rooms and in the street. Some are ‘extra’ people or animals, others are characters that seem to be out of faerie folklore. Ophthalmologists are quick to point out that this is one of many tricks our brains play on us, when there is lack of visual stimulants. Our minds tend to fill in the blanks. Oh, is that so? I always have the feeling that some scientists can’t think straight, because of all the eye woes that people suffer – cataract, inherited bad eyes, you name it – Charles Bonnet Syndrome is the only one where the brains seem to produce ‘replacement’ stimuli in this particular way. Strangely enough, this theory is the accepted one. Clifford Pickover, who talks about Charles Bonnet Syndrome extensively in his book Sex, Drugs, Einstein & Elves (2005) compares the Bonnet experience with DMT visions. Elves, strange midgets with pointed heads, angels, ghostly figures, aliens, floating processions of the damned parade where they should not be. Small wonder that the sufferer thinks he is raving mad, and is reluctant to mention his visions to his family. DMT is a substance that naturally occurs in our brains: it makes you wonder why it is forbidden in many countries! Just a thought: could it be that the brains of people with Charles Bonnet Syndrome are somehow opening up, or producing more of the chemical for some unknown reason, rending the veil between dimensions? Are there always, in every Charles Bonnet patient, the same sort of visions? Somehow these visions are triggered. Somehow these visions must be real, somewhere. Maybe these people are compensated in a very unusual way for the partial loss of sight.

***

The cover image is ‘Sumac Ňusta’ by Pablo Amaringo. He describes her thus: Sumak Ňusta – Hermosa Doncella. She is a faerie from the Aquarius constellation and she stands in front of a celestial temple inspiring love, beauty, and gentleness. In her hand she holds a jar of aromatic balsam, and flowing from this are iridescent waves that transmit the sublime fragrance of flowers. She is a specialist in the extraction and distillation of balsams, scents, and incenses from flowering plants found only on earth. Her delightful perfumes are a source of joy and contentment for these extraterrestrial beings.

Loes’ artwork can be found at her website here. She also has a blogsite ParaVaria. Prints of Pablo Amaringo’s original artwork can be viewed and purchased here.

Frightening and Enlightening: The Phenomenology of Modern Faeries

“If we are prepared to set aside the automatic scepticism and reductionism of our age, and if we spell out the problem in plain language, then we find that we are contemplating the existence of highly intelligent discarnate entities belonging to an order of creation fundamentally different than our own… By whatever name we know them – spirits, faeries, aliens – it really is almost as though the beings we are dealing with have been changing and developing alongside us for thousands of years, and that they therefore cannot simply be mass delusions, but must have a definite, independent reality outside the human brain.”

Graham Hancock, Supernatural (2005)

As Graham Hancock suggests, the faeries seem to have acculturated themselves alongside humans for a long period of time, adapting their phenomenology to our cultural creeds, but all the while maintaining their own specific metaphysical identity. They appear in folklore through cultural lenses that are distinguished by the worldview of the particular time. This might manifest through prehistoric cave paintings of hallucinogenic supernatural entities, Classical reliefs of human-like nymphs, Christianised medieval tales of marvels, the shapeshifting familiars of Early-Modern witches, or the array of liminal characters only slightly removed from consensus reality into a magical world recorded by 19th- and early 20th-century folklorists. But their presence is persistent. Despite concerted efforts to downgrade the folklore into tales for children during the late 19th and 20th centuries, belief in the ontological reality of faerie entities continues into the 21st century, albeit coded to modern sensibilities. And just as in the faerie folklore of the past, the modern phenomenology of these otherworldly beings is both diverse and elusive – frightening and enlightening.

Modern Faeries

Modern faerie sightings and experiences tend to pass under the mainstream cultural radar. The idea that there may be a parallel species of discarnate beings inhabiting our world and occasionally interacting with us is anathema to the dominant materialistic worldview. And as with anything outside the conventional reality-box, such phenomena are usually dealt with through disparagement – think of the final item on a TV news bulletin with the presenters smiling knowingly at the absurdity of a story. Faeries are particularly susceptible to such treatment due to their debasement into entities that simply do not exist except in the minds of children. However, in recent years – partly due to the internet enabling an exponential growth of alternative information – a new understanding of what the faeries are has begun to emerge, suggesting that their presence through history is not just the product of over-imaginative storytelling, but that rather they are deeply embedded within our collective consciousness, and are able to surface into consensus reality when certain conditions are met.

Part of the problem in tracing modern faeries is that the conditions of their appearances are not usually controllable, and so accounts of interactions with them tend to be anecdotal and unverifiable. Such is the case in what is probably the largest collection of faerie encounters in the 20th century: Marjorie Johnson’s Seeing Fairies, first published in English in 2014. Johnson (acting on behalf of the Fairy Investigation Society) collected over 500 anecdotal descriptions from people who claimed to have seen or interacted with faeries, and compiled them together with her own experiences. Some of her correspondents were Theosophists, with an avowed history of clairvoyance. But the majority were not, and their honest appraisals of seeing faeries are usually singular events in their otherwise non-clairvoyant lives. Their subjective anecdotes remain contentious as scientific evidence, but they are a fascinating collection of experience reports. The faeries described range from traditional folkloric types to metaphysical nature spirits, occasionally morphing into the delicate, genteel winged faeries of Victorian invention. Two examples give a flavour of the reports, both from the 1950s; the first (transposed into the third-person by Johnson) from Kent, England by Felicity Royds recounting an experience from when she was nine years old:

“Felicity found she had left some object – her coat or a toy – in the rose garden, and was sent back alone to fetch it. The rose garden was surrounded by thick yew hedges, and at the end of it was a cast-iron gate leading into a thicket of rhododendrons. The object, which she had gone to fetch, was on the grass near this gate, and she had just retrieved it and was turning away, fearful of what may come out of the bushes, when she saw coming through the gate a small man leading a light brown horse. The man was shorter than Felicity and appeared to be wearing a blue tunic with something white at the neck. His skin was very brown, browner than his hair. The pony was about the size of a Shetland but very slender. Although she did not feel frightened, Felicity did not look at the man directly, only out of the corner of her eye. He put his hand on her wrist, and his touch was cool, not cool like a fish or a lizard, but much cooler than a human touch. He led her out of the rose garden and onwards until they were within sight of the house, and then stood still while she went in. She said that she was not musical, but while he held her hand she seemed to be aware of a strain of music that was sweet and high but sounded rather unfinished.”

The second example (slightly abbreviated) is from a Mr Hugh Sheridan, whose encounter was in Ballyboughal, Co. Dublin, Ireland, in 1953. He was walking across fields between his workplace and home at dusk:

“… and when nearing the corner of one of the fields I heard a tittering noise. At first I thought it was some of the other men who had gone on before me and who might be intending to play some prank. However, I noticed immediately afterwards what looked like a large, greenish tarpaulin on the ground, with thousands of faeries on it. I then found there were a lot more around me. They were of two sizes, some about four feet high, and others about eighteen or twenty inches high. Except for size, both kinds were exactly alike. They wore dark, bluish-grey coats, tight at the waist and flared at the hips, with a sort of shoulder cape… the covering of their legs was tight, rather like puttees, and they appeared to be wearing shoes. I started on the path towards home, and the faeries went with me in front and all around. The largest faeries kept nearest to me. The ones in front kept skipping backwards as they went, and their feet appeared to be touching the ground. There were males and females, all seemingly in their early twenties. They had very pleasant faces, with plumper cheeks than those of humans, and the men’s faces were devoid of hair or whiskers… None of the faeries had wings. They tried to get me off the path towards a gateway leading from the field, but just before I reached it I realised they were trying to take me away, so I resisted and turned towards the path again. [After slipping into, and getting out of a dry a ditch, still surrounded by the faeries] I moved towards home with the faeries round me, and they kept the tittering noise all the time. In the end I got to a plank leading across a ditch from one field to another, and suddenly all the faeries went away. They seemed to go back with the noise gradually fading. At one time I had reached out my arms to try to catch them, but I cannot be sure whether they skipped back just out of reach, or whether my hands passed through them without feeling anything. They were smiling and pleasant all the time, and I could see their eyes watching me. When I got home, I found I was about three-quarters of an hour late, but I thought I had been delayed only a few minutes [my emphasis]. While the faeries were with me, I had the rather exciting feeling like being on a great height, but I was in no way afraid. I would very much like to meet them again.”

Most of Johnson’s accounts are from the mid 20th century, but the new incarnation of the Fairy Investigation Society (from 2013) has recently carried out a new survey into faerie sightings, using a standardised recording form. Whilst still reliant on anecdotal reports, and the honesty of participants, this census has currently compiled nearly 500 accounts of faerie encounters and the results will elucidate contemporary patterns of sightings in a searchable online format.

The Wollaton Park Gnomes

One of the more bizarre modern faerie encounters happened at Wollaton Park in Nottingham on 23 September 1979. It includes various traditional folkloric faerie motifs, but is overlain with some strange and anomalous features, which give it an edge of authenticity, especially as it was reported by a group of seven children between 8-10 years, who stuck rigorously to their story even when separated and questioned by their headmaster. The consistency of their testimonies is particularly impressive, despite some of the aberrant qualities of the account. Their testimonies were recorded on tape by the headmaster a few days after the event, and the transcriptions can be found here, recorded for posterity by Simon Young.

The incident happened during the early evening, just as it was getting dark. The children were playing close to a fenced-off marshy area of the park with ponds (how many children of this age would be allowed to wander around on their own in such a location at dusk today? But this was the 1970s). Without warning, there appeared about thirty small cars, each containing two gnome-like creatures, that is, with ‘bobbled nightcaps’, beards, wrinkly skin, and dressed in coloured jerkins. One of the older children described them as: ‘about half the size of me and they had long white beards with red at the bottom and they had little white and red cars and they were chasing us.’ The cars were silent and seemed able to defy the laws of physics by floating over logs on the ground. Although the gnomic cars chased the children they were consistently described as being friendly and the whole encounter seemed like a game with the gnomes laughing, although when the two youngest children fell over in the marsh they became frightened. One of the only discrepancies in the testimonies is that five of the children said the gnomes were, apart from laughing, consistently silent throughout, whereas two children described them as talking in some type of foreign language. The cars were described as having triangular lights and some sort of button instead of a steering wheel. After about fifteen minutes, soon after the two youngsters fell in the marsh, the children ran off and the gnomes disappeared back into the trees.

One of the children’s renditions of the Wollaton Park gnomes

The gnomes in this encounter seem to adhere to a fairly traditional folkloric appearance, but, of course, their levitating cars give them some modern cultural coding. If the incident is taken at face-value it could be seen as an updated version of many folklore anecdotes and stories that involve wizened gnomic faeries, behaving in a slightly irrational manner. Their manifestation in woodland and at dusk also locks in with the usual habitat and aphotic preferences of folkloric gnomes. Their materialisation to children is also important. The transcripts clearly demonstrate that the children, whilst startled by the encounter, were able to accept it without the rationalisation that might be expected of an adult. They viewed it as weird, but not unnatural. Perhaps this was simply a case of the children tuning into to the gloaming, woodland atmosphere and experiencing a non-material reality, acculturated for them by their watching (the very hallucinogenic) Big Ears and Noddy on the television.

Interestingly, Marjorie Johnson includes two more anecdotes of gnomic faeries (sans cars) in Wollaton Park in Seeing Fairies. The first detailed account is by Jean Dixon from the 1950s, where she explains how a group of gnomes led her around the park, showing her the natural features that they helped to maintain. This episode relates like an altered state of consciousness (see below) with the protagonist described as being ‘in a pensive mood’ prior to the experience, and perhaps liable to drift into a daydream state conducive to metaphysical visualisation. The second encounter happened in 1900 when a Mrs George “was passing Wollaton Park gates when she saw some little men dressed like policemen… They were smiling and looking very happy. They hadn’t any wings, and as far as I can remember they were between two and three feet in height.” It would seem that this particular park may be a significant place, where human consciousness interacts with something incorporeal if freed from the learned cultural constraints of reductionism.

Psychedelic Faeries

Such constraints can also be purposefully lifted by direct intervention into human states of consciousness – usually with the aid of a chemical agent. Most especially the psychedelic compounds tryptamines, phenethylamines and ergotamines reliably alter human consciousness and can enable it to interact with discarnate beings. There is a growing literature on this phenomenon, and it is clear that many of the psychedelically encountered entities can be classed ontologically as faeries. Terence McKenna was an enthusiastic advocate of these substances and wrote extensively about the landscapes and inhabitants of the otherworld invoked by mind-altering substances. He coined the term ‘self-transforming machine-elves’, to describe the entities that seemed to reside consistently in this chemically-induced world:

“Yes, first come the dancing mice, the little candies, the colored grids, and so-forth and so-on. But what eventually happens, quickly, like ten minutes later, is there is an entity in the trance, in the vision. There is a mind there, waiting, that speaks good English, and invites you up into its room… I come into a place. It’s hard to describe. It’s a feeling. And the content of the feeling is, ‘now the elves are near.’ But they won’t appear unless I invoke them… Trying to describe them isn’t easy. On one level I call them self-transforming machine elves; half machine, half elf. They are also like self-dribbling jeweled basketballs, about half that volume, and they move very quickly and change. And they are, somehow, awaiting. When you burst into this space, there’s a cheer! Pink Floyd has a song, The Gnomes Have Learned a New Way to Say Hooray. Then they come forward and tell you, ‘Do not give way to amazement. Do not abandon yourself.’ You’re amazingly astonished. The most conservative explanation for these elves, since these things are speaking English and are intelligent, is that they’re some kind of human beings. They’re obviously not like you and me, so they’re either the prenatal or postmortal phase of human existence, or maybe both.”

This quote is included in Jon Hanna‘s extensive 2012 survey of people who have contacted metaphysical entities while under the influence of a variety of psychedelics, most especially Lysergic acid diethylamide (LSD) and N,N-Dimethyltryptamine (DMT).

‘Invaders’ by Naoto Hattori

Hanna’s survey, using experience reports from the website Erowid, found that 1,159 of 22,640 reports included mention of contact with entities or beings. A large proportion of these entities are what might be termed, ontologically, as faeries. Some of the reports chime with McKenna’s description of machine-elves, creatures that, while matching some of the qualities of folkloric faeries, often appeared mechanical and artificial. This might be another example of the faeries updating themselves to our cultural expectations; transforming themselves into a new technologically revised version of their former selves.

This certainly seems to have been the case in what remains the most rigorous study of entity contact by research participants injected with the potent psychoactive compound DMT. The research study was conducted between 1990 and 1995 in the General Clinical Research Center of the University of New Mexico Hospital, by Dr Rick Strassman. It found that volunteers on the study injected with varying amounts of DMT underwent profound alterations of consciousness. This involved immediate cessation of normal consciousness and transportation to a different realm of reality with divergent physical properties, and inhabited by a range of creatures described as elves, faeries, lizards, reptiles, insects, aliens, clowns (yes, clowns) and various therianthropic entities. One woman even describes a pulsating entity that she described as ‘Tinkerbell-like’. The experiences, especially at higher doses, represented to the participants a parallel reality that was ‘super real’, not an hallucination, not a dream, but a substantial built reality with full sensory interaction + telepathy. Strassman published the results as DMT: The Spirit Molecule, and there is a 2010 documentary of the study, presented by Joe Rogan.

The experience reports from the study are irrational, absurd, frightening, illogical and surreal. It’s worth reading the book or watching the documentary to get the full range of what are incredible records of accessing very different realities. There is no question of any of the volunteers physically leaving the hospital bed during their experiences, but for all of them (without exception) the DMT-world was every bit as real as the one their minds left behind. After the injections participants frequently talked about ‘blasting through’ or ‘breaking through a barrier’ after which they found themselves in a realm with its own laws of physical space and movement, and its own inhabitants. Here is an abbreviated version of one of the volunteer’s description of his experience; 50 year old Jeremiah. After hurtling through a void he found himself:

“… in a nursery. A high-tech nursery with a single Gumby, three feet tall, attending me. I felt like an infant. Not a human infant, but an infant relative to the intelligence represented by the Gumby. It was aware of me but not particularly concerned… Then I heard two or three male voices talking. I heard one of them say “he’s arrived.” … I was in a big room… there was one big machine in the center, with round conduits, almost writhing – not like a snake, more in a technical manner. The machine felt as if it were rewiring me, reprogramming me… This is real. It’s totally unexpected, quite constant and objective… an independent, constant reality… I’m lucid and sober.”

In his 2011 review of the phenomenology and ontology of entities experienced on DMT, David Luke uses Strassman’s findings, but also expands the remit to include a wealth of other literature on the subject. Luke makes it clear that there seems to be an ubiquity of faerie-type creatures in the DMT-world: “Encounters with elves, gnomes, pixies, dwarfs, imps, goblins and other ‘little people’ (though clearly not human people), are extremely prevalent. Indeed on my first experience with DMT, unaware of virtually all lore associated with it, I found myself, eyes closed, being stuffed full of light by what I can only describe as little elves.”

But is it real? Building on a study carried out by Peter Meyer in 1994, Luke gets to the crux of the issue of psychedelically-induced faeries (and by extension all faerie encounters) and suggests there are three interpretations for what is happening:

1. They are hallucinations. The entities are subjective hallucinations. Such a position is favoured by those taking a purely (materialist reductionist) neuropsychological approach to the phenomena.
2. They are psychological/ transpersonal manifestations. The communicating entities appear alien but are actually unfamiliar aspects of ourselves, be they our reptilian brain or our cells, molecules or sub-atomic particles.
3. The entities exist in otherworlds. DMT provides access to a true alternate dimension inhabited by independently existing intelligent entities in a stand-alone reality, which exists co-laterally with ours. The identity of the entities remains speculative.

Of course, all three interpretations may be true at different times, but whatever conclusions are drawn, there does appear to be a pantheon of faerie-types accessible to people who retune their consciousness with psychedelic compounds.

The Faeries as Aliens

These three explanations may apply equally to the most extreme examples of potential faerie acculturation – the consistently bizarre phenomenon of alien abductions. Whilst abductees are seldom reported as having taken any psychoactive substance, one hypothesis is that their experiences are generated by an endogenous increase of DMT in their brains. David Luke explains that the production of DMT in the body is speculated to occur through the conversion of the simpler molecule tryptophan into tryptamine and then into DMT, the tryptophan being available from the diet as an essential amino acid. Such bio-synthesis has been observed in plants and is speculated to occur in humans, but it remains unknown where, for certain, this bio-synthesis occurs. One hypothesis holds that DMT manufacture occurs at the pineal gland, but this remains unproven. Wherever it comes from, if released in larger amounts than usual, it may be the natural psychedelic that allows the abduction scenarios, which often show marked similarities to folkloric faerie encounters (usually labelled under the Aarne-Thompson motifs F.324 and F.329). The alien greys may be simply high-tech faeries, updated for our modern sci-fi tastes, and accessed via an altered state of consciousness.

Indeed, in his 1969 book Passport to Magonia, the astronomer and computer scientist Jacques Vallée – whilst holding back on any definitive conclusions about the objective/subjective nature of alien abductions – put forward the theory that the alien beings who had been purportedly abducting people around the world for a couple of decades by that date were one and the same as the faeries of European folklore. Vallée uses a range of evidence to tie-up faerie abductions from folklore and alien abductions from modern reports, and goes as far to state:

“… the modern, global belief in flying saucers and their occupants is identical to an earlier belief in the fairy-faith. The entities described as the pilots of the craft are indistinguishable from the elves, sylphs and lutins of the Middle Ages. Through the observations of unidentified flying objects, we are concerned with an agency our ancestors knew well and regarded with terror: we are prying into the affairs of the Secret Commonwealth.”

The Secret Commonwealth was the term coined for the faeries by the Reverend Robert Kirk in a manuscript of 1691. Vallée points out that Kirk’s descriptions of the faeries and their modus operandi bear more than a passing resemblance to the alien visitors of the 20th and 21st centuries. Amongst Kirk’s faerie attributes were an ability to float through the air with insubstantial and fluid bodies, that they could make appear and disappear at will. This allowed them to ‘swim’ through the air and carry off mortals, usually to large circular abodes, that Kirk presumed were underground, and which were lit by a dim, unknown illumination. They even had ‘ætheriall vehicles’ to carry them around the sky. Kirk also asserted that the faeries had a nature intermediate between humans and angels.

Their habit of abducting humans was usually for the purpose of wet-nursing faerie children or as midwives; a theme that fits in with the deluge of recent alien abduction reports (mostly unknown to Vallée in 1969) that would suggest one of the main reasons for abduction is to obtain wet-nurses for hybrid human-alien offspring. In 2005, Graham Hancock followed Vallée’s lead and took the comparison of faerie and alien abduction much further in his book Supernatural. He compiled a range of faerie folklore from various time periods and geographical locations and set them against modern-day alien abduction events. He pays special attention to the faerie abduction of young women, such as Mrs Sheridan, an Irish woman, who seems to have spent much of the last decade of the 19th century being whisked off by the fairies for wet-nursing duties:

“Where they brought me I don’t know, or how I got there, but I’d be in a very big house, and it was round, the walls far away that you’d hardly see them, and a great many faeries all about… but they wouldn’t speak to me nor I to them.”

These ‘long-faced’ faeries had a definite purpose for kidnapping her and weren’t too concerned with her tearful appeals to release her – she had a job to do, and that was feeding their faerie babies. The correlation between these types of folkloric encounters and the modern alien abductions of women is striking. Hancock surveys the work of the late Harvard psychiatrist John Mack and the cultural historian David Jacobs, who have made extensive studies of people who claim to have been abducted by aliens, often using hypnotic techniques to extract memories from amnesic events. It’s a minefield subject, but John Mack in particular is a convincing advocate of the notion that whatever the experiences represent, they are genuinely real to the participant. One common motif involves the abductee, after being floated or beamed aboard the UFO, being taken to a part of the ship where there seem to be drawers or tanks of hybrid alien-human babies, which they are expected to nurse. There is a consistency to these experiences (there are thousands of them) that provides a dataset of testimony that Mack and Jacobs insist must be taken seriously as a phenomenon. For the abductees, the experience is often highly traumatic (Mack states that the best psychiatric diagnosis for many abductees is post-traumatic stress disorder), and no wonder, when they are confronted with alien hybrids often described as more like foetuses than babies. One abductee described to Mack their appearance, which is fairly typical: “Their bodies were short for their heads. Their heads seemed oversized. They had very blue eyes. They had very thin, wispy hair… I would say they were probably three and a half feet tall, but they all looked the same age. ‘You’re our mother and we need you,’ they said.”

The evidence presented by Vallée and Hancock makes a convincing argument for the tight relation between faerie abductions in folklore and alien abductions in the 20th and 21st centuries. Once again, the encounters are culturally coded to time and place, but the correlations and similarities are intriguing, and suggest the possibility of a common source for the phenomena, however the participants arrive at their experience.

The Faeries as Nature Spirits

Alien abductions are most often terrifying experiences for the participants, and do correlate with some of the more malicious episodes in faerie folklore. But modern faerie contact can take an altogether more benign and constructive form when the faeries are engaged as nature spirits. There is a long tradition of the faeries representing non-material forces of nature, essential to the propagation of nature. The 15th-century alchemist Paracelsus developed an epistemology of these beings, but it was not until the incorporation of these ideas through the Theosophist movement in the late 19th century that the concept of a metaphysical realm responsible for the wellbeing of the natural world gained a wider understanding. One of the prime-disseminators of the nature spirit hypothesis was the Austrian Rudolf Steiner. In a series of lectures between 1908 and 1924 he outlined his hypothesis of how a range of supernatural entities (usually termed elementals) acted within nature and how a human observer might interact with them. Once again, this was dependent on altering consciousness. In this case the metaphysical technology was clairvoyance; an ability to perceive a non-material reality existing alongside, but in constant synergy with, the material world. Steiner attempted to explain the mechanics of clairvoyance, when a person must transform their usually passive thought forms into something more dynamic. In normal consciousness thoughts:

“… allow themselves to be connected and separated, to be formed and then dismissed. This life of thought must develop in the elemental world a step further. There a person is not in a position to deal with thoughts that are passive. If someone really succeeds in entering the world with his clairvoyant soul, it seems as though his thoughts were not things over which he has any command; they are living beings… You thrust your consciousness into a place, it seems, where you do not find thoughts that are like those in the physical world, but where they are living beings.” Rudolf Steiner, Perception of the Elemental World (1913).

Steiner goes on to describe the specific elemental animating forces at work in the natural world when perceived clairvoyantly in what he calls the Supersensible World. The elementals in the Supersensible World exist as a range of beings, from devas, which are responsible for entire autonomous landscapes, through to the smaller nature spirits charged with the growth of vegetation. Steiner (basing his epistemology on that of Paracelsus) divides these into four main types corresponding to earth (Gnomic), water (Undines), air (Sylphs) and heat/light (Salamanders). This is the faerie realm, existing as a non-material autonomous reality that crosses over with ours, and which can be accessed via a clairvoyant altered state of consciousness. Steiner thought everyone has this innate ability, but they had to be taught how to use it… it had somehow become almost forgotten amongst humanity.

Ylenia Viola – ‘Spring Awakening’ Fairytalesneverdie.com

But Steiner’s vision of the faeries as nature spirits has found many adherents in modern times, and a brief perusal of recent literature and websites devoted to the faeries seems to confirm that a majority of people interacting with these entities do so using some form of clairvoyant ability, and that when they do, the faeries are nature spirits. A good example is Marko Pogačnik, a Slovenian artist and ‘earth healer’, who travels the world to connect with the nature spirits, in order to communicate with them and heal damaged landscapes. His overview of how he works with the intelligence in nature is best found in his 1996 publication Nature Spirits and Elemental Beings, where he describes tuning into the morphogenetic fields surrounding landscapes and individual components within them. One of the ways he heals these landscapes is through what he calls lithopuncture, art installations of standing stones, meant to act upon the earth in the same way as acupuncture works on the human (or animal) body. This links us clearly to prehistoric morphological designs, such as stone circles and rows. Marko suggests that our prehistoric ancestors were full-time collaborators with the nature spirits, and were using their own lithopuncture partly to induce harmony and regulation to their surrounding environments. Post-industrial ignorance of the invisible intelligence in nature has created a disconnection with natural landscapes, much to the detriment of all life and the earth’s biosphere itself:

“The rational scientific paradigm has, during the last two centuries, imposed upon humanity a pattern of ignorance towards those beings and dimensions of life that do not know physical appearance and yet are inevitable for life processes to run and to evolve. My effort as an artist and a human being is to get intimate experience of those invisible dimensions and beings, and share the experience and knowledge about the invisible worlds of Earth and Universe with my fellow human beings to change that extremely dangerous pattern that ignores the sources of life itself.”

Pogačnik’s meditative clairvoyance penetrates the materiality of nature and sees what is happening at a metaphysical level; a level where the elementals appear in a vast variety of forms, but usually adhering to the general forms outlined by Steiner. Pogačnik’s incisive, easy and honest style of description allows for a deep insight into the cosmic reality of the mechanisms of interaction with these faerie nature spirits. He describes how seemingly innocuous changes to the natural environment can cause a potentially negative impact on the elementals who constitute the metaphysical aspect of that environment. His natural clairvoyant abilities enable him to contact the faeries and to resolve issues with them – even something as simple as moving a compost heap in a garden might force the elemental inhabiters of the compost to an unfamiliar environment, where they might cause mischief as a reaction to their perceived persecution. He suggests that these beings of a different order are unable to follow our rationalised thinking: “Their consciousness works on the emotional level. They think the way we feel, and the opposite is also true: our mental level is like a foreign language to them.”

Marko Pogačnik’s rendering of some unhappy fire spirit faeries (salamanders) displaced to the top of an apple tree from their compost heap

Like Steiner, Pogačnik suggests that all humans have the congenital ability to enter a state of consciousness that will allow interaction with the nature spirits, but that this requires a lowering of the mental threshold. If we want faerie interaction our ingrained reductionist belief system needs to be dissolved or suppressed, and we must enter a meditative state, free from the usual intrusions of normal rational thinking. Perhaps one reason why it is children who so often see and interact with faeries is that this rationality is as yet not fully formed and ingrained; their consciousness is simply more able and prone to slip into a daydream state, where there is less separation between the physical and the metaphysical.

Locating Modern Faeries

It would seem that modern faeries are potentially as diverse as their historic folkloric counterparts. They have survived the downgrading into harmless children’s fables and re-emerged in a variety of forms that continue to defy straightforward explanations or interpretations. Indeed, there is the possibility that there is a straight evolutionary line from the supernatural entities decorating prehistoric caves to the abstruse creatures that make up the modern folklore of alien abductions. This apparent acculturation of the faeries over time might be put down to the development of our own psychogenetic outlook, or it may be predicated on them adapting to us, if they constitute part of a stand-alone metaphysical reality.

This brings us back to Meyer and Luke’s three-part interpretation of what these discarnate entities might represent: subjective hallucinations, transpersonal psychological manifestations, or otherworldly beings interacting with our own material reality on their own terms. It would seem we are unlikely to come to a definitive conclusion about what they really are any time soon; the faeries continue to elude us, remaining, as they have always done, on the liminal bounds of human consciousness, sometimes frightening, sometimes enlightening, but never leaving us alone.

***

For discussion and dialogue on the phenomenology of modern faeries, readers might be interested in visiting the Facebook page Modern Fairy Sightings.

Terence McKenna’s ‘Self-Transforming Machine Elf’

The Art of Faerie

“Faerie is a world of dark enchantments, of captivating beauty, of enormous ugliness, of callous superficiality, of humour, mischief, joy and inspiration, of terror, laughter, love and tragedy. It is far richer than fiction would generally lead one to believe and, beyond that, it is a world to enter with extreme caution, for of all things that faeries resent the most it is curious humans blundering about their private domains like so many ill-mannered tourists. So go softly – where the rewards are enchanting, the dangers real.” Betty Ballantine from the foreward to Faeries by Brian Froud and Alan Lee.

This is a chronological trawl through the multifarious artwork that has attempted to visually display the faeries. This art is so diverse and wide-ranging that I can only hope to incorporate a small fraction of the whole, but it will hopefully give a flavour of the changing nature of the artistic representations of these ultra-dimensional entities, that appear to have been flitting around our collective peripheral vision for millennia. Much of it has been produced by people who have, in one way or another, managed to alter their states of consciousness to see beyond the material world, dispatch their rational mindset, and experience the surrogate realities that occasionally coincide with the sensory world we usually presume to be the real one. From prehistoric cave art to modern depictions of amorphous nature spirits… it’s quite a trip…

Prehistoric Cave and Rock Art

Our earliest known artistic portrayals of the world, and how human consciousness interacted with it, come in the form of cave paintings from all parts of the globe, starting c.35,000 BCE (see Shamanic Explorations of Supernatural Realms: Cave Art – The Earliest Folklore for a detailed look at cave paintings as folklore). Many of these cave paintings include humanoids and therianthropes, otherworldly entities that have been recorded alongside geometric imagery, stylised animals and landscapes. But what state of mind were our Palaeolithic ancestors in when they were painting these strange entities in often difficult to access caves and shelters?

‘The Mimi’ from prehistoric rock shelters in Kimberley, Australia

The anthropologist David Lewis-Williams has made the convincing argument that these cave and rock-shelter paintings were produced by shamanic cultures to represent reality as perceived in an altered state of consciousness. Twenty years ago this idea was anathema to anthropologists, but since the work of Lewis-Williams, and many others, the theory has tipped over to become an accepted orthodoxy. There are hundreds of motifs (such as entoptic swirls, dot patterns and spirals) in the cave paintings that correlate with the visionary states of people in an altered state of consciousness, brought about most especially by the ingestion of a psychotropic substance. The basic premise is that the shamans of these Palaeolithic cultures transported themselves into altered states of consciousness and then painted the results of their experiences on the walls of caves and rock shelters — experiences that frequently included therianthropic beings and supernatural humanoids that correlate in many ways with later faerie types.

Petroglyph, Vernal, Utah (Fremont Culture)

In his 2005 book Supernatural, Graham Hancock makes extensive use of Lewis-Williams work, as well as his own ethnographic studies, to investigate further into the concept of cave art as shamanic recording of different realities through altered states of consciousness. Hancock suggests it was no accident that these cave paintings began to

Therianthropes in a ‘sky boat’, Harrismith, South Africa

appear when they did, that is between 30-35,000 years ago, just as anatomically and neurologically modern humans asserted their predominance across the Palaeolithic world. He goes as far as to propose that the cultures these peoples instigated were fundamentally predicated on an understanding of the world and reality brought about by mind-altering psychedelic plants and mushrooms. A reductionists’ view would assert that whilst shamanic cultures may be accessing a subjective hallucinogenic reality, this reality is simply delusional, the result of neurophysiological changes brought about by chemical changes in the brain, as a result of the ingestion of psychotropic compounds. The ‘entities’ portrayed in the cave paintings are all simply conjured up by compromised human minds. But recent research (with Graham Hancock at the forefront) disputes this view. There is a growing body of evidence to suggest that much historic folklore can be related intimately to the type of stories being told in cave art by Palaeolithic shamans, with which the descriptions are often remarkably similar.

Cave painting from Altamira, Spain, c. 20,000 BCE

This preliterate artwork could be seen as the earliest folklore,  encapsulating stories and experiences now lost to us. The entities represented in caves and rock shelters throughout the world certainly meant something to the artists creating them, and would have been recognised by all who viewed them as part of the reality they inhabited, in whatever state of consciousness that might have been.  We can perhaps imagine the caves and rock shelters as places where folk-stories were conveyed, using the imagery as a medium to enhance the tales, made especially effective in some of the caves, where the only light would have been from the flames of torches. The difficulty of access to many of these spaces suggests that whatever these images represent, they must also have had a highly significant ritualised purpose to the people viewing them. Whilst we cannot retrieve the stories they told, we can recognise that the artwork must have been fully integrated into the cultures of which they were a part, especially as we are probably seeing only the surviving fraction of what originally existed.

Classical and Medieval Faeries

Dancing nymphs sculpture from Bulgaria, 2nd century BCE

Votive relief with dancing nymphs, Greece, 3rd century BCE

In Ancient Greek culture there was a well-classified pantheon of nature spirits, sometimes termed Dryads (Δρυάδες) and Hamadryads (Ἁμαδρυάδες), but often given the general term of Nymphs (νύμφη). They were female tree spirits, that were usually recognised as being one with the tree, protecting it with their vitality and receiving symbiotic protection and life in return. Pausanias, in his 2nd-century Description of Greece, although distancing himself from the belief, says: “Those Dryads who in days of old, according to the story of the poets, grew out of trees and especially out of oaks.” Some Hamadryads life spans were directly related to the trees, and although usually temperate and kind in nature, they would deal retribution on any person destroying or damaging their trees and habitats, often with the help of the gods.

Most surviving depictions of nymphs are from stone reliefs and statues (and occasionally in mosaics), often shown as dancing or in relation to gods and goddesses, most frequently the nature god Pan, whose pan-pipes were even part-fashioned from the shapeshifted nymph Syrinx, who had been turned into a reed by her sisters to avoid his amorous advances.

The three sisters of the nymph Syrinx dance to Pan’s pipes, Greece, 330 BCE

It is clear the ancient Greeks (followed by the pre-Christian Romans) regarded these named and categorised nature-entities as metaphysical representatives of an otherworld, who would only interact with humanity during certain conditions. In this they are faeries in all but name – seen through the cultural lens of classical Greek and Roman civilisations.

Such statuary and reliefs are important to the radical but intriguing theory put forward by the philosopher Julian Jaynes in his 1976 book The Origin of Consciousness in the Breakdown of the Bicameral Mind. Jaynes asserts that consciousness did not arise far back in human evolution but is a learned process based on metaphorical language. Prior to the development of consciousness, Jaynes argues humans operated under a previous mentality he called the bicameral (‘two-chambered’) mind. In the place of an internal dialogue, bicameral people experienced auditory hallucinations directing their actions, similar to the command hallucinations experienced by many people, such as schizophrenics, who hear voices today. These hallucinations were interpreted as the voices of the gods or other metaphysical entities, such as the nymphs. In Jaynes’ theory the visual images of otherworldly beings were fundamental as conduits for providing instructions and oracular advice to bicameral people:

“… early civilisations had a profoundly different mentality from our own, that in fact men and women were not conscious as we are, were not responsible for their actions, and therefore cannot be given the credit or blame for anything that was done over this vast millennia of time; that instead each person had a part of his nervous system that was divine, by which he was ordered about like any slave, a voice or voices which indeed were who we call volition and empowered what they commanded and were related to the hallucinated voices of others in a carefully established hierarchy.”

Roman mosaic showing Pegasus, the god’s winged horse is fed by a nymph; in the middle Three Graces, goddesses of joy, charm and beauty; on the right a Satyr pursuing the Nymph, 3rd / 4th century CE, Villa romana de Fuente Alamo, Spain

With the Christianisation of Europe in the Middle Ages the faeries became co-opted by the Church as representations of demonic entities on Earth. In order to counter an evident vernacular belief in faeries, the Church’s official line was that the faeries were the result of delusions orchestrated by the Devil and his evil minions for various nefarious purposes. This was (from 1184) reinforced by The Inquisition, which could include questions in its commissions about any interactions with the faeries, aimed at weeding out heretical beliefs and punishing the perpetrators. Hardline preachers were very clear on what people needed to believe when it came to the faeries:

“There are also others who say that they see women and girls dancing by night whom they call elvish folk, or faeries, and they believe that these can transform both men and women or, by leaving others in their place, carry them to elf-land; all of these are mere fantasies bequeathed to them by an evil spirit.” Wycliffite sermon c. 1390.

15th-century illustration showing a demon conducting a changeling baby swap

Richard Firth Green, in his 2016 book Elf Queens and Holy Friars , digs deep into the medieval vernacular belief in faeries, mostly by utilizing the surviving texts of mystery plays, to demonstrate that there was a widespread acceptance of the faeries as a supernatural race of beings who interacted with humans on a regular basis. He makes the convincing argument that this was a popular cultural reaction to the ecclesiastical conception of faeries as minor-demons. Many of the mystery plays (which were performed in villages and towns throughout medieval Europe) incorporated faeries as plot devices, with the assumption that the audience would know exactly who they were, and that they were not demons, but rather arbiters of a supernatural realm that was neither heaven nor hell. However, the faeries rarely made it into medieval artwork without being mutated into demons. It took the Renaissance to reestablish them as an integral species of otherworldly characters within works of art.

Early Modern Faeries and Witches

17th-century English woodcut with faeries dancing in a ring, burial mound (hollow hill with door), fly agaric mushroom and the face of a ‘spirit’ in the tree

Between the 16th and 18th centuries both ecclesiastical and secular authorities throughout Europe conducted a concerted effort to prosecute those people deemed to be practicing witchcraft (see Faerie Familiars and Zoomorphic Witches). This persecution generated much artwork devoted to portraying events such as the witches’ sabbath and the various zoomorphic attributes of both the witches and their faerie familiars. Whilst much of this activity appears to have been metaphysical in nature, artists were not shy of outing the underground cult, often delighting in the more macabre details for the purposes of tabloidesque outrage amongst good Christians.

Frontispiece to Richard Bovet’s Pandaemonium, or the Devil’s Cloyster (1664)

‘A Witches’ Sabbath’ – Tableau de l’inconstance des mauvais anges et demons by Jan Ziarnko, c. 1600

However, despite usually (but not always) being portrayed alongside witches and/or the Devil, the faeries begin to reassert their own artistic space during this period. Alongside the more benign reimagining of faeries in plays such as Shakespeare’s A Midsummer Night’s Dream, the faeries of literature – and the artistic visuals that accompanied this literature – begin to appear as autonomous entities, partially removed from demonic connotations. This is nicely illustrated by the 1639 cover to Robin Goodfellow His Mad Prankes and Merry Jests, which matches the japery of the text by portraying a distinctly mellow-looking Devil (complete with comedy codpiece) conducting a faerie circle dance.

This rehabilitation of the faeries began to bring them back into line with their folkloric roots, as supernatural entities with ambiguous morals but a more playful relationship with humanity and consensus reality. However, when we reach the 19th century, the art of faerie becomes transformed, and they become something else altogether.

The 19th-Century Reinvention of the faeries

In fact, the faerie artistic renaissance was underway by the later 18th century, inspired in part by the esoteric artwork of William Blake, who turned Shakespeare’s faeries into “the rulers of the vegetable world.” Blake’s style represented an innovative new representation of the faeries, and is perhaps the earliest (post-Antiquity) artistic rendering of them as sexual beings with an explicit connection to the fertility of the earth.

William Blake’s portrayal of Oberon, Titania, Puck and dancing faeries from A Midsummer Night’s Dream (1785)

However, it took another generation of British Victorian artists to bring about the full-blown faerie revival. In her 1999 book Strange and Secret Peoples, Carole Silver details the socio-cultural reasons for this burgeoned interest in extracting the faeries from their shadowy past and putting them in the artistic spotlight:

“That the Victorians were utterly fascinated by the fairies is demonstrated by the art, drama, and literature they created and admired. Their abiding interest shows in the numerous, uniquely British fairy paintings that flourished between the 1830s and the 1870s – pictures in part inspired by nationalism and Shakespeare, in part as protest against the strictly useful and material, but in either case, as attempts to reconnect the actual and the occult.”

The revivalists were firmly rooted in the Romantic tradition, and whilst continuing Blake’s naturalistic visions of the faeries, they began to introduce new elements into their portrayals, not necessarily based on any folk traditions. For the first time the faeries attained wings, associating them with insects (especially butterflies and dragonflies), and many appeared as children, perhaps to accentuate their role as innocents amidst nature. There is a long list of Victorian British artists who jumped on the faerie bandwagon: John Anster Fitzgerald, Thomas Heatherley, Richard Dadd, John Duncan, Sir Joseph Noel Paton, John Atkinson Grimshaw, Richard Doyle (uncle of Sir Arthur Conan Doyle) to name just a few. All added their unique slant on things, but there was a consistency in their enchanted imagination, and they were responsible for cementing the idea of what faeries really were in the popular cultural imagination.

John Anster Fitzgerald, ‘Faeries in a Bird’s Nest’ (1860)

Richard Dadd, ‘Puck’ (1841)

Sir Joseph Noel Paton, ‘The Reconciliation of Oberon and Titania’ (1847)

Richard Doyle, ‘Dancing Faeries in the Moonlight’ (1869)

John Atkinson Grimshaw, ‘Spirit of the Night’ (1879)

Gustave Doré, ‘The Fairy Circle’ (1867)

In the second half of the 19th century, just as the main phase of the revival was waning, there was a shift to a new style of faerie art. Artists such as Gustave Doré and Aubrey Beardsley began to plug into the Arthurian mythos revival, being made popular in literature at this time by Alfred Tennyson, Matthew Arnold, Algernon Charles Swinburne et al. There were plenty of faeries to capture from the legends, and Doré and Beardsley both created their own highly stylised imagery that added a new dimension to faerie art, which locked them into a mythic past, distinctly removed from the Victorian present.

Entering the mythic past was also the remit of the pre-Raphaelite school of painters, although in his concise article ‘Pre-Raphaelite Fairy Painting‘, Richard Schindler suggests they had a consistently more ambiguous relationship with faerie subjects than their more conventional artistic contemporaries. The folkloric qualities were almost entirely removed from this school of painting, making way for darkly sexualised imagery and the celebration of minute detail. In some ways the pre-Raphaelites almost took the faerie out of faerie art.

‘Hylas and the Nymphs’ (detail) by John William Waterhouse (1896)

Arthur Rackham, A Faerie Ring from illustrations for A Midsummer Night’s Dream (1908)

But at the end of the 19th century and into the early 20th century one artist in particular recaptured the folkloric realism in faerie art and produced a large and much-loved corpus of art that took the faeries back to their roots. Arthur Rackham was born in 1867 and began illustrating for books such as The Ingoldsby Legends and Fairy Tales of the Brothers Grimm in the 1890s. He continued to produce illustrations, mostly in ink and watercolour, for the rest of his life (he died in 1939), many of which portray the faeries from a vast range of folklore sources. His style is immediately recognisable and his copyright-free images can be found illustrating much modern online faerie content, suggesting his authoritative knowledge of traditional faerie-lore, and his ability to render it visually, has continued to strike a chord in the popular imagination. Of particular note are his illustrations for a 1933 edition of Christina Rossetti’s poem Goblin Market, where he fully realised the hallucinogenic earthy goblin faeries conjured up in this dark and sexually charged piece of literature. They look like emergent nature spirits, who don’t necessarily have the best interests of humans in mind, matching perfectly the ‘slightly dangerous’ faeries of folklore.

Arthur Rackham from a second edition of illustrations for Grimm’s Faerie Tales (1909)

Arthur Rackham from his illustrations for Goblin Market by Christina Rossetti (1933)

20th-Century Flower Faeries

During the early 20th century, however, there was another artistic movement afoot, which managed to derail any Rackhamesque faerie realism by transforming the faeries into characters for children. Taking the lead from some of the more gentle Victorian faerie artwork, artists such as Helen Jacobs and Margaret Rice Oxley turned the faeries into benign entities, fit for children’s faerie-tale book illustrations. The most influential artist of this time was Cicely Mary Barker, whose 1923 publication Flower Fairies, cast the faeries as innocent diminutive children, with each faerie allocated to a type of flower with an associated poem. Ironically, Barker’s illustrations were partly informed by the recent popularity of the Theosophical Society, and its ideas about the faeries as elemental beings essential for the wellbeing of nature and who were contactable through the altered state of consciousness most often known as clairvoyance. But any such metaphysical components were extracted from Barker’s illustrations, and we are left with the charming whimsy of the flower faeries.

An example from Cicely Mary Barker’s Flower Fairies (1923)

It was Barker’s reimagining of the faeries that eventually morphed into the cinematographic faeries unleashed by Disney, and which continue to inform popular ideas about what they are: harmless, benevolent creatures, which exist to teach children morals and to delight us with their twinkly cuteness. Fortunately, on the back of the artistic counter-cultural renaissance of the 1960s, the faeries were rescued from expulsion into children’s books and films by the dynamic imagination of two artists who had rediscovered the folklore connection, and were willing and able to remind us what the faeries were really all about.

Froud and Lee Faeries

In 1978 Brian Froud and Alan Lee published the illustrated book Faeries, basing their descriptions and artwork on the folklorist Katherine Briggs’ An Encyclopaedia of Fairies, which had been published two years earlier. It has since been republished many times, and is without a doubt, the bestselling book about faeries. In the preface to the 2002 edition Brian Froud describes some of his thinking whilst putting together the original version:

“Faeries is a reminder of a world in which we all once lived, where we were connected to the earth itself and could acknowledge its spiritual manifestations. There we recognised the souls of trees and rocks and rivers and had a direct relationship with the faeries – and to do otherwise was to court disaster. Faeries needed to be properly propitiated or else loss would be experienced – loss of objects, loss of time, loss of health, and even loss of life…

There is an intimacy of emotion expressed in the colour washes and a directness of meaning in the pencil and pen lines that delineate the faery forms.”

A Brian Froud Green Man with faerie friends

Brian Froud, ‘Faerie Goblins’

Faeries does indeed take us back to a naturalistic conception of what these entities are, but it’s also strongly rooted in the centuries old traditions of named and recognised faerie types, giving an encyclopaedic run through the varieties of these metaphysical creatures who have existed beside humanity, but always at the periphery of reality. Their faerie renderings are sometimes beautiful, sometimes frightening, and often amusing. But they plug into a deep understanding of a supernatural species that is intimately connected with human consciousness and the way it interacts with the natural environment, perhaps helping us to see that consciousness and external reality are one and the same thing. Froud and Lee’s illustrations have certainly had a far-reaching influence on subsequent artists of faeries as well as filmmakers – Froud has collaborated with Jim Henson, and Lee was drafted in by Peter Jackson to help recreate the creatures, atmosphere, artefacts and architecture of the Lord of the Rings trilogy. And modern imaginers of faerie worlds seem to intuitively incorporate many of their stylisms into their art. Perhaps this is because Froud and Lee have gotten closer than any other artists to the reality of the faerie world – they’ve pinned it down for what it really is… or at least as close as we can get to it.

Caught in a faerie ring by Alan Lee

Some faeries with mushrooms by Brian Froud

Alan Lee’s Orcish Redcap

The New Faeries

Froud and Lee’s faeries were primarily taken from British and Irish sources. In the 1992 book The Complete Encyclopaedia of Elves, Goblins and Other Little Creatures by Pierre Dubois, the artists Claudine and Roland Sabatier, evidently inspired by the artwork in Faeries, produced a compendious selection of global faeries. It’s a beautifully playful book that covers faerie traditions from every part of the world, once again claiming back the more sinister and uncomfortable aspects of the faeries. Before the advent of the internet this was the go-to book if you wanted a visual introduction to the faeries outside of Britain and Ireland, and it remains (alongside Faeries) a benchmark for contemporary artists who want to attempt bringing these entities into visual range.

But it is the internet that has facilitated an exponential growth in new faerie art. Type ‘faeries’ into any image search engine and you will be deluged by a massive range of artwork, of every imaginable style, that depicts them as a distinct species of entity. A lot of it will be specifically for children, and often follows in the Flower Fairies tradition, but there is an enormous amount of innovative and charismatic faerie art being produced that looks at the phenomenon from a very wide spectrum. Artists such as Amelia Royce Leonards, Mia Araujo, Josephine Wall, Virginia Lee and Iris Compiet are helping us to see into the luminous, yet shadowy faerie-world in new ways; always respecting the artwork of the past but also bringing their unique visions to the table. It is a form of disclosure; the faeries being made manifest from the consciousness of talented artists who are able to tap into the metaphysical realm where they exist.

‘Huldras’ by Amelia Royce Leonards

Artwork from ‘Faeries of the Faultlines’ by Iris Compiet

‘After the Faerie Ball’ by Josephine Wall

‘Faeries and Trees’ by Virginia Lee

Finally, this post wouldn’t be complete without some visionary art by someone who has definitely met otherworldy beings in an altered state of consciousness with the aid of a psychedelic compound, in this case the Amazonian brew Ayahuasca. Pablo Amaringo was a Peruvian shaman (d. 2009) whose talent for illustrating his Ayahuasca experiences is unsurpassed. As Graham Hancock has eloquently described, Ayahuasca takes the human mind to radically different alternate realities, where reside many entities that correspond with faerie types. They exist – we just need to be able to tweak our everyday consciousness in order to interact with them. Fortunately, there have been many artists throughout prehistory and history who have been able to show us who they are and what they are.

Pablo Amaringo, ‘Ayahuasca Vision’

The cover image is ‘Forest Healer’ by Mia Araujo http://art-by-mia.com

There are several hundred faerie images collected at Melissa Green’s Pinterest page here.

You might also enjoy the historic and contemporary images on my Facebook page The Faerie Code.

“Aliens, Insectoids, and Elves! Oh, My!” by Jon Hanna

“You give DMT to ten people. They’ve never had DMT before, and you tell them only that they might see something. If nine out of ten of them come back with descriptions of elves, and four of them use the word elves unprompted, we think you should investigate the phenomenon of elves seen on DMT.”
Zarkov “Coming Out of Left Field with Gracie and Zarkov”, High Frontiers 3 (1987)

Here’s something a bit different. I found this article on the exemplary Erowid website when I was writing my recent blogpost Altered States of Consciousness and the Faeries. It’s an assessment of ‘entity contact experiences’ taken from people who have tweaked their consciousness with a variety of psychedelic substances, most especially N,N-Dimethyltryptamine, or DMT. It includes an analysis of encounters culled from the Erowid ‘Experience Vaults’, which demonstrates that many of the entities invoked by these psychonauts match closely the faeries of folklore. It’s a long and detailed piece, but helps, I think, in an understanding of the components of what these metaphysical creatures are, and where they might reside.

It’s written by all-round good bloke Jon Hanna, best known as the producer of Mind States – a conference series that explores various methods for altering consciousness. He has spoken internationally on the topic of visionary art and entheogens, showcasing collections of psychedelic art and hallucinatory animation at events in Brazil, Canada, Costa Rica, Germany, Jamaica, Mexico, Portugal, and Switzerland.

Author of the Psychedelic Resource List, Jon is considered somewhat of a ‘psychedelic consumer advocate’, highlighting reputable vendors as well as exposing companies, events, and individuals that have less than scrupulous records. He has written articles, columns, and reviews for Entheogene Blätter, The Entheogen Review, Erowid, Heads, High Times, the MAPS Bulletin, Morbid Curiosity, The Resonance Project, and Skunk.

More details about Jon and his work can be found at his website mindstates.org Thanks to Jon for his permission to republish the article here at deadbutdreaming…

When writing about spiritual matters, it is important to be upfront about one’s biases from the start. I was raised without religion. My father was an atheist; my mother is agnostic. I can count on one hand the number of times that I went to church as a child. In my teens and early twenties, I became fascinated with studying world religions, looking for clues that might help me better understand my psychedelic experiences. Although I never adopted any specific religion, I resonate most with ideas from Hinduism. There was a time in my life when I probably believed in God, in the idea that humans have souls, and in the concept of karma. These days, I’m a die-hard agnostic and devil’s advocate.

In this chapter, I’ll largely avoid proposing personal theories regarding the origin or meaning of entity contact experiences. I have no idea what the truth of the matter is in these situations. Such experiences are powerful enough that they’ve influenced paradigm shifts in some people who have had them. Speculation and debate about entity encounters have occurred over the years, and I’ve compiled a few interesting articles on the topic in the chapters that follow. Inclusion herein should not be interpreted to imply that I am promoting any particular ideas; I am not.

Throughout history, humanity has described contact with “others”: angels, demons, spirits, elves, aliens, etc. A girl raised on tales of the Brothers Grimm may believe in faeries; a boy brought up on Edgar Allen Poe stories may believe in ghosts. Children of Hindu households may worship a pantheon of deities, while Muslim kids may bow to a single God. Staid atheists may be “born again” into Christianity. And so on. Individuals’ ideas regarding the truth or “reality” of the existence of non-material beings, including gods or God, may change multiple times over the courses of their lives. Such beliefs can fade, disappear entirely, or be replaced by beliefs in the existence of other non-material beings.

Psychedelic plants have been employed for thousands of years as spiritual tools, due to the perception that they can provide an experience of non-material realms–be they heavenly, hellish, or anything in between. Traditional ethnographic use of these plants for such purposes inspired the coining of “entheogen”, a word that means to “generate God within”. It is not uncommon to hear stories of agnostics or atheists “finding God” during their psychedelic trips and subsequently changing their views on the reality of spiritual realms and beings. Direct experience can be mighty persuasive. Even if that experience takes place solely within a mental landscape. Even if one were on drugs at the time. Under the influence of psychoactive plants or drugs, users have reported experiences of watching, receiving messages from, communicating with, and/or interacting with “non-human intelligent beings”, hereafter described as “discarnate entities”.

For some, the word “discarnate” may solely evoke ghostly specters of indistinct form. Here, the word is used to describe perceived beings that do not have a physical body within consensus reality, yet often do have a form that gives an appearance of physicality. Those who perceive them may be able to describe what they look like and/or sound like, sometimes what they feel like, and on rare occasions even how they smell and/or taste. However, a video camera wouldn’t be able to record images or audio of them. “Entities” conveys that for those who perceive them, they seem to be independent beings.

“Discarnate entities” should be considered to encompass angels and aliens, demons and dragons, faeries and felines, elves and insectoids, ghosts and goblins, harlequins and humanoids, plant teachers and other creatures–even morphing machine minds and fractalline Fabergé footballs, as long as they’re non-physical and seem sentient.

In his 2001 book DMT: The Spirit Molecule, author Rick Strassman presents first-person accounts from subjects who participated in his DMT studies between 1990 and 1995. Over the course of his work during these years, Strassman was surprised to discover that “at least half” of his subjects experienced some manner of contact with: “entities,” “beings,” “aliens,” “guides,” and “helpers” […]. The “life-forms” looked like clowns, reptiles, mantises, bees, spiders, cacti, and stick figures.”

Although Strassman located brief mentions of entities in a couple of DMT reports from the scientific literature of the 1950s, he related that he had: “…been unable to locate any similar reports in research subjects taking other psychedelics. Only with DMT do people meet up with “them,” with other beings in a nonmaterial world.”

Invaders by Naoto Hattori

Strassman’s remarks seem odd, since visions of discarnate entities generated via numerous other psychedelics certainly aren’t absent from writings in the field. In a chapter titled “The World of the Non-Human” from their 1966 book The Varieties of Psychedelic Experience, authors Robert Masters and Jean Houston describe such visions: “These images are usually seen with eyes closed. They are almost always vividly colored and the colors typically are described as rich, brilliant, glowing, luminous, or “preternatural”–colors exceeding in their beauty anything the subject has ever seen before.”

The images are most often of persons, animals, architecture, and landscapes. Strange creatures from legend, folklore, myth, and fairy tale appear in wonderful surroundings. Masters and Houston go on to provide several examples of specific visions; one was from a male subject who had consumed the peyote cactus (Lophophora williamsii): “A platinum snail about twelve feet high and studded with rubies was pulled along on its wheels by a much smaller and brightly painted dwarf carved from wood. The curious couple was closely followed by a host of metallic, gem-covered insects–grasshoppers and beetles, bumblebees, and mosquitoes, all of fabulous size and brilliantly gleaming, gliding or walking or hopping with the precision of wound-up toys. These then were followed by strange creatures from some wildly imaginative bestiary–all converging upon a lush oasis in the golden desert where the foliage seemed to have been created by Rousseau.”

Another example is presented from a four-year-old boy, “S”, who had unwittingly consumed an LSD-dosed sugar cube from his mother’s refrigerator: “Among the first hallucinations to appear were a number of crustaceans, especially (as it could be gathered) crabs and lobsters. […] S also hallucinated a whole array of “monsters”–apparently creatures such as elves, dwarfs, and other small, deformed human-like beings. Fearful at first, he gained confidence when his mother encouraged him to “make friends with the monsters” […]. After some of his anxieties were disposed of, several of the “monsters” came and sat on S’s knees and in the palm of his hand and he talked with them. Others danced around him and made faces. From time to time, S’s fears would return; then, with his mother’s help, he would overcome his fears again and enjoy playing and talking with the hallucinated beings.”

Masters and Houston compare this child’s experience to that of philosopher Jean-Paul Sartre, who took mescaline under the supervision of a psychiatrist. At one point Sartre described that he was: “…fighting a losing battle with a devil fish and [he] mentioned a number of other disturbing experiences. He reported umbrellas changing into vultures and shoes changing into skeletons, faces became hideous, and crabs, polyps, and “grimacing things” that he saw from the corner of his eye.”

Even after the drug had worn off, some weeks later Sartre complained of being “on the edge of a chronic hallucinatory psychosis” and said that he was “being followed by lobsters and crabs” and “assorted other monsters”.

Jerry Richardson, an insurance underwriter from San Francisco who participated in Bernard Aaronson’s LSD research in the 1960s, wrote: “I saw goblins in green and yellow and blue; red devils with sinister, twisted faces; and then bodies, faces, ghostlike creatures in white, coming out of nowhere, rushing toward me, tumbling over each other, and disappearing into the back of my mind in a seemingly endless procession of ludicrously grotesque imagery. […] Opening my eyes stopped the mental imagery. Around the room, everything was now bathed in a curious yellowish-warm, glowing radiance. An ordinarily rather nondescript, somewhat messy, and ugly room had been transformed into something out of a fairy tale.”

In his May 12, 1955, lecture “Mescaline and the ‘Other World'”, presented at the annual meeting of the American Psychiatric Association, Aldous Huxley commented on the discarnate entities that may populate humanity’s mental geography:

“Through these landscapes and among these living architectures wander strange figures, sometimes of human beings (or even of what seem to be superhuman beings), sometimes of animals or fabulous monsters. Giving a straightforward prose description of what he used to see in his spontaneous visions, William Blake reports that he frequently saw beings, to whom he gave the name of Cherubim. These beings were a hundred and twenty feet high and were engaged (this is characteristic of the personages seen in vision) in doing nothing that could be thought of as being symbolic or dramatic. In this respect the inhabitants of the mind’s Antipodes differ from the figures inhabiting Jung’s archetypal world; for they have nothing to do either with the personal history of the visionary, or even with the age-old problems of the human race. Quite literally, they are the inhabitants of “the Other World”.

This brings me to a very interesting and, I believe, significant point. The visionary experience, whether spontaneous or induced by drugs, hypnosis or any other means, bears a striking resemblance to “the Other World,” as we find it described in the various traditions of religion and folklore. In every culture the abode of the gods and souls in bliss is a country of surpassing beauty, glowing with color, bathed in intense light. In this country are seen buildings of indescribable magnificence, and its inhabitants are fabulous creatures, like the six-winged seraphs of Hebrew tradition, or like the winged bulls, the hawk-headed men, the human-headed lions, the many-armed, or elephant-headed personages of Egyptian, Babylonian and Indian mythology. Among these fabulous creatures move superhuman angels and spirits, who never do anything, but merely enjoy the beatific vision.”

John Lilly, the famous dolphin researcher and inventor of the isolation tank, recounts his first LSD experience: “I saw God on a tall throne as a giant, wise, ancient Man. He was surrounded by angel choruses, cherubim, and seraphim, the saints were moving by his throne in a stately procession. I was there in Heaven, worshiping God, worshiping the angels, worshiping the saints in full and complete transport of religious ecstasy.”

D.MentiTies by Vibrata Chromodoris

In later experiences, both aided and unaided by drug consumption, Lilly contacted a pair of discarnate entities who told him that they were his guardians and who appeared to give him some instruction on the nature of the universe. In contemplating these experiences, Lilly remarked: “In my own far-out experiences in the isolation tank with LSD and in my close brushes with death I have come upon the two guides. These two guides may be two aspects of my own functioning at the supraself level. They may be entities in other spaces, other universes than our consensus reality. They may be helpful constructs, helpful concepts that I use for my own future evolution. They may be representatives of an esoteric hidden school. They may be concepts functioning in my own human biocomputer at the supraspecies level. They may be members of a civilization a hundred thousand years or so ahead of ours. They may be a tuning in on two networks of communication of a civilization way beyond ours, which is radiating information throughout the galaxy.”

During some of Lilly’s later experiences, under the influence of the drug ketamine, he believed himself to be communicating with discarnate entities who shared with him knowledge about humanity’s future–a time when the planet would be taken over by a malevolent “solid-state entity”. In an interview on May 14, 1998, ketamine researcher Karl Jansen asked the 83-year-old Lilly about his contacts with entities:

Jansen: Many persons do not encounter Beings when they take ketamine, or coincidence control officers. How do you explain this in terms of your theories?

Lilly: You don’t have to have any concept of Beings. When you take the drug you enter into their consciousness. You don’t have to see them or know them as Beings. They engage your mind. Before matter, energy, there was consciousness without an object. Out of that came Beings.

Over his lifetime as an author and lecturer, Terence McKenna often discussed the topic of entity contact in conjunction with the mental effects of high doses (five grams) of psilocybin-containing mushrooms: “Yes, first come the dancing mice, the little candies, the colored grids, and so-forth and so-on. But what eventually happens, quickly, like ten minutes later, is there is an entity in the trance, in the vision. There is a mind there, waiting, that speaks good English, and invites you up into its room. […] And what it is, is it’s a voice in the head […]. I come into a place. It’s hard to describe. It’s a feeling. And the content of the feeling is, “now the elves are near.” But they won’t appear unless I invoke them.”

How often do psychonauts see or interact with entities? Within the framework of documenting the kind and frequency of “religious” images that occurred among their 206 subjects, Masters and Houston reported that 58% saw figures such as Christ, the Buddha, saints, godly figures, and William Blake-type figures, while 49% saw devils and demons, and 7% saw angels.

My Own Entity Encounters

The topic of psychedelic-induced “contact” has interested me since 1987, when I had my own initial discarnate entity encounter while on a couple hits of LSD. I was attending college in Stratford-upon-Avon via a program run through San Francisco City College, where I’d been studying art. As strange chance would have it, I happened to run into a friend from SF who was passing through England on his way to Germany. He slipped me two gel-tabs. One night I dropped both tabs and went out walking with a few new friends from school. Lacking any foreknowledge of how my companions felt about illicit drug use, I kept the fact that I was tripping to myself. The acid came on, and I was enjoying our walk and discussions, during which it came out that one of the women with us was a practicing Wiccan. After we turned down an old deserted Roman road, our group fell quiet for a moment. It was late in the evening, and the only sound was the crunching autumn leaves beneath our feet. As we walked, a wind blew down the road, releasing more leaves from the trees and whirling them into a sort of tunnel above our heads. The Wiccan woman began to sing in Gaelic–a language that I’d never heard before. Despite the fact that I couldn’t understand the words, the minor tones of her song were hauntingly beautiful. At the first note she sang, some of the airborne leaves transformed into about a dozen faeries–exactly the sort of traditional winged pixie-like creatures painted by the artist Brian Froud. I had never seen anything like this before on acid. While luminous and sparkly, they appeared quite solid and each seemed to have an independent existence, as they playfully darted amongst the swirling leaves. It was truly magical. I was transfixed. As the final note of my friend’s song sounded, I watched all the faeries morph back into wind-blown leaves. Being the only one of us on acid at the time (to the best of my knowledge), I presumed that no one else had experienced the profoundly moving vision that I had seen. Our group remained respectfully quiet for a moment. Then someone asked our vocalist the name of the song that she’d just sung, and she replied, “Oh, that one is known as ‘The Song to Call in the Faeries’.”

About a decade later, I was camping with three friends at Island Lake near Nevada City, California. A couple of us decided to take heroic doses of Psilocybe mushrooms one evening. I chewed down four grams, retired to my tent, closed my eyes, and got horizontal on my air mattress. As the effects of the ‘shrooms came on, my inner vision revealed what looked like a dank moss-green hospital emergency waiting room. I seemed to be sitting on a bench in this room, and it occurred to me that it was odd that there were no patients being wheeled in or out. Kinda quiet for an ER. After some time, I noticed a few off-white football-sized larvae floating three or four feet off the ground in various spots. Following one of these with my eyes, I then saw an insectoid entity about the size of a small dog, whose back was facing me. It had a long mosquito-like proboscis that I could only partially see. Suddenly, it turned, and–realizing that I saw it–it made a high-pitched buzzing/shrieking sound. (I got the impression that it was sending out a warning alarm.) The entity then initiated telepathic communication with me, explaining that it was quite surprised that I could see it, as this usually didn’t occur. It said that it lived by extracting human thought/emotion. Human thoughts were both the currency of its species, as well as their sustenance/energy source. (The needle-like proboscis was looking less friendly by the minute.) I was given the impression that–as the coin of its kind–different types of thought/emotion were valued differently; those with a more intense energy charge, such as fear or love, were worth more. The entity explained that it existed in another dimension so that it could feed off of human thought unhindered. (I got a feeling that the relationship wasn’t symbiotic; perhaps these “thought drainers” somehow suck life energy from humans, along with the mental energy.) It claimed that it was the psychic equivalent of an actual insect that feeds on blood, skin, etc., with regard to the extent of any damage it might do to those on whom it fed. Yet I had a nagging feeling that it might not be telling me the whole truth. Maybe these creatures had some influence on inciting wars or disasters in the human realm? The experience left me feeling unsettled for some time afterwards. Indeed, the diversity of “beings” encountered in DMT space leads one to think that everyone can’t really be describing the same “creatures”…

Moving even further into unpleasant entity contact realms, there was my one (and only) trip on 3 mg of DOB (2,5- dimethoxy-4-bromoamphetamine). I was attending Burning Man, where my wife and I had pitched our tent near a camp called Disturbia. In retrospect, the camp’s name should have been a sign that this might not be the right place to first try a potent phenethylamine that can last up to 24 hours. The Disturbia folks had kindly set up a loudly amplified theremin for public use. The theremin is an electronic musical instrument that is played by bringing one’s hands into varying proximity to its metal antennas without actually touching them. Manipulated by a novice (and, well, everyone on the playa appeared to be new to the instrument), it sounds like a beehive in a slinky. It was approximately right after the DOB had fully kicked in that I became aware of the theremin, when someone started “playing” it, thereby attracting more folks who wanted to “play” it–for hours on end. It was bumming me out. At one point, when my wife could tell that I was not doing so well, she tried to comfort me by saying, “I’m here, honey. Just focus on me, and you’ll be okay.” As I looked into the eyes of the person I love most in the world, I watched cockroaches crawl out from under her eyelids and swarm over her face. Buoyed by the buzzing theremin, the “bug” theme continued. I was confronted by several human-sized chitinous Gigeresque entities that spent the rest of the evening probing me and performing invasive “physical” experiments on my immobile, unhappy body. It was pretty much the classic alien abduction scenario, sans space ship. After a long night, there was at least a beautiful (and quiet!) sunrise the next morning.

Actual Contact by JWA Tucker

Most of my psychedelic experiences over the past three decades have not featured any manner of discarnate entity contact. In New Orleans, I got a weird ghostly dwarf thing once on the combination of psilocybin-containing mushrooms and Peganum harmala. Nitrous oxide revealed dimensional doppelgangers and WALL-E-style robots. Ketamine has ponied up a pygmy shaman, proto-human ape-like creatures, and some tentacled cephalopods. DPT (dipropyltryptamine) has provided tiny cartoon-like insectoid creatures. Once on the combination of ketamine and DPT, I witnessed two distinctly different discarnate entities seemingly thrust into each others’ realms for the first time. Both of these aliens were infused with a bad-ass attitude reminiscent of denizens of the Mos Eisley Cantina in Star Wars. They brokered a deal–one of them passing a small unidentifiable item into the other’s hand while mentally shooting me a warning that I had fuck-all idea of what I was dealing with–and I was left with the strong impression that I should consider myself lucky that they let me off the hook, since it was my chemical cocktail that had drawn the three of us together in the first place. On 2C-B, I’ve also sometimes encountered small insectoids. On ayahuasca, I’ve gotten large insectoids. And yes, on smoked DMT, I’ve entered the trans-linguistic alien dimension populated by McKenna’s mercurial and mischievous mutating machine elves. (A realm well-captured by the artists Naoto Hattori, JWA Tucker and Vibrata Chromodoris.) According to McKenna: “It is true, that when you smoke DMT, for example, in a sufficiently high and prepared dose, you get elves–everybody does. All you need do, is inhale deeply three times, and you know… You want contact? You want elves? You want alien intelligence? You’ll have that up the kazoo.”

For some who’ve seen DMT elves, the beings looked similar to traditional faerieland creatures. But many users describe them differently. Indeed, the diversity of “beings” encountered in DMT space leads one to think that everyone can’t really be describing the same “creatures”, and that the space must be populated with a multitude of discarnate entities: typical sci-fi extraterrestrials, humanoids, jellyfish, insectoids, clowns/Pierrots, reptilians, robots, octopods, and other sorts of beings have been mentioned. Author D.M. Turner had apparently catalogued at least nine distinct types of entities that he’d encountered. In discussing these with a fellow DMT psychonaut, Turner found that his friend had experienced four of the exact same entities, plus two others that Turner had never seen. With rigorous review, one might create a Bestiarum Vocabulum, charting which entities appear, and with what frequency, in response to the consumption of various psychedelics.

McKenna was gifted at painting a picture of the DMT entities and proposing theories about what they might mean:

“Trying to describe them isn’t easy. On one level I call them self-transforming machine elves; half machine, half elf. They are also like self-dribbling jeweled basketballs, about half that volume, and they move very quickly and change. And they are, somehow, awaiting. When you burst into this space, there’s a cheer! Pink Floyd has a song, “The Gnomes Have Learned a New Way to Say Hooray.” Then they come forward and tell you, “Do not give way to amazement. Do not abandon yourself.” You’re amazingly astonished. The most conservative explanation for these elves, since these things are speaking English and are intelligent, is that they’re some kind of human beings. They’re obviously not like you and me, so they’re either the prenatal or postmortal phase of human existence, or maybe both […].

They are teaching something. Theirs is a higher dimensional language that condenses as a visible syntax. For us, syntax is the structure of meaning; meaning is something heard or felt. In this world, syntax is something you see. There, the boundless meanings of language cause it to overflow the normal audio channels and enter the visual channels. They come bouncing, hopping toward you, and then it’s like–all this is metaphor, they don’t have arms–it’s as though they reach into their intestines and offer you something. They offer you an object so beautiful, so intricately wrought, so something else that cannot be said in English, that just gazing on this thing, you realize such an object is impossible. The best comparison is Faberge eggs. […]

The archetype of DMT is the three-ring circus. The circus is all bright lights, ladies in spangled costumes, and wild animals. But right underneath, it’s some fairly dark expression of Eros and freaks and unrootedness and mystery. DMT is the quintessence of that archetype. The drug is trying to tell us the true nature of the game. Reality is a theatrical illusion.”

In his pioneering article ‘Apparent Communication with Discarnate Entities Induced by Dimethytryptamine (DMT)’, author Peter Meyer presents a number of possible theories regarding the true nature of these experiences. In November 1989, a year before Strassman obtained final government approval to start his DMT studies, Meyer sent a draft of his article to Strassman, sparking a discussion of the topic of communication with the alien DMT entities that some people have reported from their visions. In his response, Strassman agreed that assessing the significance of “alien communication” was important, noting: “I’ve interviewed about 15 people who have smoked DMT, and have found several who describe “alien contact.” I’m not quite sure what to make of such reports.”

While Strassman felt that the phenomenon needed much closer investigation, in a follow-up letter, he remarked: “With respect to the alien contact phenomenon, I do wonder about the power of suggestion. McKenna’s ideas have been so widely promulgated that it’s hard to find someone who hasn’t heard of him or his ideas before smoking DMT. On the other hand, there are many who know McKenna and his ideas well, have smoked a lot of DMT many times, and have had no alien contact experiences.”

On the surface, it is easy to agree with Strassman’s sentiment. McKenna’s comment, “you get elves–everybody does”, is clearly not a universal truth, as evidenced by the following dialogue about the DMT experience between comedian/actor Joe Rogan and author Daniel Pinchbeck:

Rogan:  Describing it in words always feels so fake. It’s like, there’s no words that have been invented that are going to describe that experience, you know?

Pinchbeck:  You didn’t like “hyper-transforming machine elves”?

Rogan:  It wasn’t like that to me, you know…

Pinchbeck:  It wasn’t like that to me, either.

Rogan:  I heard [them say] some things that McKenna said, like, “look at this”. They say, “look at this” a lot. And I heard them say, “Don’t give in to astonishment”. But I was wondering, is that because I knew that McKenna [had] said that, and…

Pinchbeck:  Right, right, right. He set the template. […]

Rogan:  But it didn’t seem to me to be like hyper… what did he call them, uhm… self-transforming machine elves. […] They didn’t seem like elves to me. It seemed like… what I always describe them as is these complex geometric patterns that are made out of love. That’s how I describe them, you know. And that means nothing. Those are just a bunch of words. You know what I mean? It’s just like, I try to say it in a way that’s interesting and funny. But you know, [in] reality, what is it? There’s just some incredible patterns that you can’t even really look at. It’s like they’re too beautiful to take in, and they’re changing all the time.

I’ve known numerous people who have never experienced any sort of contact with discarnate entities from smoking DMT. While I don’t know how familiar these people were with McKenna’s descriptions of the experience, by the late 1980s, I had certainly come across mentions of “DMT entities”. It is indeed hard to imagine that many of the “required-to-have-been-experienced-with-psychedelics” subjects volunteering to take DMT in Strassman’s studies wouldn’t have already been aware of the “elf phenomenon” that had been–as Strassman characterized it–“so widely promulgated” by that time. And these days, with ubiquitous Internet access, it seems increasingly unlikely that a DMT user would never have heard sound bites of McKenna on the topic. The belief that McKenna’s ideas have either directly or indirectly affected the kinds of visions that people have, in any case, seems fairly common.

However, after Strassman actually began administering DMT in late 1990, he changed his mind about the scope of awareness of Terence McKenna’s ideas and the power of suggestion as factors influencing reports of discarnate entities among his research subjects: “[…] volunteers were uniformly shy and uncomfortable discussing their strange being encounters. Neither were Terence McKenna’s lectures and writings especially popular when we first started hearing these unusual reports from our research subjects. I often asked volunteers about being familiar with popular accounts of DMT-mediated encounters with elves or insectoid aliens. Few if any were. Thus, I don’t think these reports were a type of mass hysteria or a self-fulfilling prophecy.”

In DMT: The Spirit Molecule, Strassman presents a number of intriguing speculations regarding the origin and meaning of discarnate entities. In discussing entity contact, Masters and Houston remarked that: “The hallucinated monsters are the monsters of childhood, the forms fear takes when one regresses to feelings of childlike helplessness.” Within that context, consider the following DMT trip report:

“[…] I arrive in a place filled with intense white light where hideous, bodiless, pointed-eared, purple and green entities bound toward me and they laugh, jeer and ridicule me; where these grotesque elf, joker or clown-like caricatures rush at me one at a time and in clusters; where they curl their hideous, clown-like mouths and wag their tongues in my face; where I relive every real and imagined humiliation I suffered in childhood; where a great sorrow and disappointment fills me as they come at me faster and faster; where I start to crumble under their onslaught, so I open my eyes but still they come; where I realize I have to face them, so I close my eyes and focus on my breathing, and the demonic forces back off […].”

Psychedelic researchers Bernard Aaronson and Humphry Osmond have stated that these drugs “make available exotic and forbidden landscapes. In these landscapes, the images of nightmare from which we have fled since childhood, move and take shape.” If true, this could go some way toward explaining the current preponderance of visions featuring extraterrestrial beings and advanced technology. Since the 1980s, the scare stories from fairylands have been solidly supplemented with alien abductions and tales of Transformers. Science fiction is widely accepted as a more plausible genre than fantasy. Contemporary society’s fears have been captured in movies such as the Alien series (1979-2012), They Live (1988), The Lawnmower Man (1992), eXistenZ (1999), The Matrix series (1999-2003), and TV shows such as Doctor Who (1963-2013) and The X-Files (1993-2002).

Several times, Strassman mentions a “nursery/playroom theme” brought up by his research subjects, and spring-loaded wind-up toys such as the perennially popular Jack-in-the-box may contribute to the common childhood fear of clowns. Fear of arthropods (arachnids, crustaceans, and insects) is widespread, and understandable on a variety of levels. From the warm-blooded perspective of fuzzy mammals, arthropods seem hard, cold, unfeeling, parasitic, robotic, and alien. A universal symbol for death is the human skull–all that’s left when the tissue reflecting each of our unique lives has been stripped away. With their fleshless exoskeletons, arthropods inherently carry an intimation of death so fear-inducing to some humans that their gut reaction on seeing a spider, an ant, or some other small arthropod, is to smash and kill it. Beyond their symbolic “otherness”, we have a long history of fighting them off of the crops we’ve cultivated for food, clothing, and shelter. Our species’ battle against arthropods is so prevalent that we’ve come to refer to any small, potentially damaging microorganism (such as a virus or bacteria) as a “bug”–our common name for tiny arthropods. Cold-blooded reptilians and cephalopods are also very “other” to us, so the appearance of discarnate entities resembling such life forms wouldn’t be surprising as additional “forms fear takes”.

Yet fears aren’t the only visionary inspiration to shockingly explode in our mind fields; mental geography is a complex, fractal, holographic space where unconscious “memory” continually serves up amazing realities on the fly. We commonly believe that we see the world as it exists, but–in reality–many of our perceptions of “the world out there” are just approximations filled in from our mind’s unconscious memory. The “double take”, a shift in perception based on the flip from a “fill in” to a more accurate perception of external reality (or vice versa), can happen with any of our five senses.

Consider the viewpoint expressed in “Virtuality” by Teafaerie, wherein she proposes a possibility for her DMT visions that is “simultaneously the most boring and the most exciting explanation” that she could come up with:

“The mind is absolutely dripping with untold processing power, and it can instantly generate a full-scale masterwork alien spaceship from scratch, complete with all the trimmings. It can furthermore simultaneously create and animate a number of fully interactive non-player characters, who are often described as possessing an uncannily intense sense of “presence” (whatever that means). In this model, my amazing brain can do all this while very powerful drugs are scrambling the bejesus out of it, and it can do it without any awareness or deliberation on the part of the hopelessly unsophisticated frontman program that plays the role of the astonished psychonaut. On the surface this one sounds like the most parsimonious hypothesis, and I tend to return to this view in the long intervals between big trips. It’s not all that different from dreaming, I reason, and I don’t have too much trouble believing that my unconscious mind designs most of my dreams. I always end up denouncing this viewpoint from on high, though; somewhere I think that I actually have a recording of myself saying something like, “I’m looking at this stuff right now and I’m TELLING you that there is no…possible…way…that the person who I think of as myself could ever in a million years be generating all of this content this fast. That would be like saying that I could produce all of the most amazing art in the entire world in every single millisecond without even thinking about it…”

What is mind? No matter… What is matter? Never mind

By definition, discarnate entities have no physical bodies. Could this mean that they are only able to exist within minds? Is it possible for several discrete intelligences to inhabit a single brain? Can mind(s) exist without matter? Does curiosity collapse probability into actuality, materializing the meat of the matter, seeding a substrate, creating consciousness, promulgating the paradoxical process, forever and ever, amen? Bootstrapping at its best? Chicken and egg? I have no answers to such questions. Yet my agnosticism doesn’t negatively impact my wonder, amazement, and fascination with the experience of discarnate entities–whether they are only mental or whether they have some external, other-dimensional, or spiritual basis.

Terence McKenna seemed inclined to believe that DMT space is an independent reality populated with intelligent discarnate entities. Peter Meyer appears to have also come to this conclusion. He feels that his collection of 340 DMT Trip Reports provides objective evidence of the existence of entities “within what seems to be an alternate reality.”

Early in the DMT dialogue, Meyer proposed that DMT may provide access to a post-death realm. Of the 340 reports that he’s collected, he has marked 226 of them (66.5%) with an “entities” tag, due to their mentions of “experience of one or more apparently independently-existing beings which interact in an apparently intelligent and intentional way with the observer.” Meyer suggests that folks should read ten reports each day, think about them, and at the end of 34 days reflect on what his collection of first-person accounts implies about the nature of reality. This excellent exercise may result in raised eyebrows from at least a few skeptics.

Yourself, his ET… The elf is yours!

While some of those who “are experienced” lean toward the “external existence”

Filigree by Vibrata Chromodoris

viewpoint, others find such a perspective illogical and frustrating. Consider Martin Ball’s screed, ‘Terence on DMT: An Entheological Analysis of McKenna’s Experiences in the Tryptamine Mirror of the Self’, published by Reality Sandwich. Ball’s rant against McKenna–as a flawed individual and as the promoter of flawed ideas–is largely a conglomeration of insults, straw-man arguments, and ironic egotism. (Ball’s dogmatic refrain focuses on projections of McKenna’s ego, painfully oblivious to those of his own.) Despite dismal dialectic, Ball brings up a couple of points worth thinking about. The first is that “all contents of entheogenic experiences are projections of the self” (Ball’s remark might win over more supporters if it were expressed as “all contents of entheogenic experiences could be projections of the self”. I’ll refer Ball to the Bill Maher quote above, “Doubt is humble.”). The second point worth contemplating, brought up by Ball only in passing, is his total dismissal of the concept of a “soul”. In a world where some entheogen evangelists would like nothing better than to set their iPhone alarms for the final 8:12 p.m. sunset and fly off through DMT-induced double rainbows on their winged unicorns, Ball’s monism is, at least, a refreshing alternative perspective.

In “The Case Against DMT Elves”, James Kent presents a neurologically based theory regarding the origin of discarnate entities. Kent proposes that these experiences are a product of individual human minds, rather than an interaction with independent external intelligences. However, Kent backpedals a bit, claiming that, “The ‘Gaia consciousness’ that infuses the experience is undeniable,” and entertaining the possibility “that this ancient plant consciousness actually exists and is attempting to make itself known through the DMT-enlightened mammal brain.” He later states, “I also believe in samsara [reincarnation] and the transmigration of souls, which makes the notion that these entities could be ‘disembodied souls’ floating around in hyperspace very tempting to latch onto.” I’m not sure why a theoretical external “plant consciousness” rates as being any more plausible than a theoretical external “elf consciousness”, and within my own discarnate entity encounters I have never experienced anything remotely describable as a: “Gaia consciousness” (although I recognize that some other people have reported this). But I wholeheartedly agree with Kent’s later remark that “none of [what any entities have said to me] points definitively to any deeper truth about what they are or where they come from.”

Setting aside speculations regarding “what they are or where they come from”, a more accessible question may be: How often are entity contact experiences the result of any particular psychedelic?

More Entities on DMT?

Clearly, Strassman’s statement that this phenomenon only occurs with DMT is not accurate. In addition to the few examples provided above, contemporary trip reports published in print, and in numerous places online, bear testament to the fact that this is not solely a phenomenon that occurs with DMT consumption. But is DMT more likely to generate such experiences than other psychedelics?

Strassman stated that at least 30 out of his 60 subjects reported having such experiences. Meyer says that 266 of the 340 DMT trip reports he collected mention some manner of discarnate entities. Together, these two sources suggest that perhaps 50-66.5% of those who consume DMT may experience discarnate entity contact. This falls roughly in line with the 49-58% that Masters and Houston reported8 as having had visions of devils, demons, Christ, the Buddha, saints, godly figures, and William Blake-type figures. However, the Masters and Houston percentage range can’t be compared directly to Strassman’s or Meyer’s percentages for two reasons. First, with a narrower focus on specifically religious entities, the Masters and Houston figure may be slightly lower than it would have been if they had also included other categories of beings. Second, Masters and Houston lump all 206 users of psychedelics together in one group, with no distinction made based on what specific chemical each of them consumed. Presumably at least some of their subjects had their entity experiences as a result of DMT consumption. (Indeed, in one such report included in their book, the DMT user describes encountering “the face of God” as that “of a very wise monkey!”8) Without access to more details from Masters and Houston’s data, it is not possible to know how many of their 206 respondents experienced entities while under the effects of DMT and how many of them experienced entities after taking other psychedelics.

Actual Contact by JWA Tucker

In order to solicit input from “seasoned heads” for this chapter, a handful of people were directed to an online survey. Participation was anonymous, and about half of the people who were contacted responded. Potential participants were believed to either (1) have a solid amount of personal experience with DMT, and/or (2) have “sat” for others experiencing DMT trips. Eight people completed the survey. All of them answered “yes” to the question of whether or not they had ever experienced anything that seemed like contact with a discarnate entity. However, one potential participant, who declined to fill out the survey, did offer:

“I saw all sorts of things in my trips: dancing skeletons, jaguar priestesses, bee aliens, dancing rats, cartoon characters, and so on, for many years. I never thought of them as “discarnate entities”; they were just hallucinations. Then I heard Terence McKenna and began looking for “discarnate entities” in my trips. And suddenly, I began seeing “discarnate entities” instead of hallucinations. My point is, humans are so suggestible, they will believe of their hallucinations whatever you tell them to expect. If I am expecting cartoons, I see cartoon characters. If I am expecting “discarnate entities”, then suddenly those cartoon characters have more “meaning” or “value” because I call them “entities” instead of “cartoons”. In other words, Terence was a master of semantic bullshit.”

To preserve anonymity, questions about gender and age were not included on this survey. Respondents expressed a variety of spiritual beliefs, including atheism. Responses to a question about approximately how many times they had experienced entity contact ranged from 2 to more than 100. Year of first contact experience ranged 46 years, from 1961 to 2007. Four people’s first contact resulted from DMT, one from LSD, one from psilocybin-containing mushrooms, another from mushrooms in combination with Peganum harmala, and the final person’s occurred at age four closely following a head trauma.

When asked to name any substances that had resulted in entity contact experiences, the following drugs were mentioned (number of mentions indicated in brackets): DMT [7], ayahuasca [6], psilocybin-containing mushrooms [5], mescaline [2], and Salvia divinorum [2]; 5-MeO-DMT, Brugmansia, Cannabis, ketamine, LSD, nitrous oxide, psilocybin-containing mushrooms with Peganum harmala, S. divinorum, and P. harmala were all mentioned a single time.

The number of times each respondent had smoked/vaporized/injected DMT ranged from “maybe 6” to “probably less than a thousand”. Respondents were also asked how many times they had introduced others to smoked/vaporized/injected DMT; three of the eight answered in the 3-5 range, two answers were in the hundreds, and the rest fell in the middle. When asked how many of the people who they had turned on to DMT had mentioned some manner of “discarnate entities”, the answers were: 1%, somewhere less than 10%, 15%, 30-40%, 50%, 75%, 75%, and there was one non-response. Several questions were asked regarding the possible external reality of discarnate entities. Expressing an opinion shared by a few people, one respondent answered: “It’s made me question my rational, scientific worldview; I had to admit that there’s much we don’t know about these questions; an open mind is needed without abandoning critical thinking.”

Echoing the remark of the person who declined to complete the survey, another respondent asked: “What is meant by “entity” and how is that defined? I’ve met people for whom all voices in their head belong to someone or something else and for whom almost anything they see after using DMT is a McKennaesque entity. Mainly because they read McKenna telling them that this is what [one sees] when [one smokes] DMT. […] For me to think of something as an “entity” there has to be a clear sense of “other”and a clear sense of it being something fully conscious and interactive.”

It is inarguably true that different people will have differing standards for what constitutes contact with discarnate entities. Among the responses to this tiny survey, DMT and ayahuasca were most often associated with entity contact experiences, followed closely by psilocybin-containing mushrooms, with mescaline and Salvia divinorum trailing.

A Larger Data Set

In the Erowid Experience Vaults, entity contact is associated with nearly a hundred different substances, although over half of those substances have only one or two entity-related reports.

The total number of reports for any given substance may, to an extent, represent that substance’s popularity (and availability). However, it is reasonable to presume that people are more likely to be inspired to write experience reports following a powerful experience than they are following a mundane one. For example, there are a large number of daily tobacco smokers, but only a small number of tobacco reports on Erowid. No one would suggest that LSD is consumed by ten times the number of people who use tobacco, despite the fact that the Experience Vaults contain ten times more LSD reports than tobacco reports. At the time this chapter was written, the five drugs with the largest number of experience reports written about them were psilocybin-containing mushrooms, Cannabis, Salvia divinorum, MDMA, and LSD.

As of mid-October 2012, there were 22,640 published experience reports on Erowid. Of these, 1,159 were categorized by Erowid as mentioning Entities/Beings (representing about 5% of all reports).

Correlating the use of any individual psychoactive drug to entity experiences within the Vaults immediately runs into a challenge: psychonauts often consume more than one drug at a time. Common “add on” drugs–such as Cannabis, alcohol, tobacco, and caffeine–may not be terribly contributive to many entity experiences. But what about an entity experience that occurred while under the influence of psilocybin-containing mushrooms, methoxetamine, and 4-hydroxy-N,N-ethyl-methyltryptamine? Or one induced by nitrous oxide, Salvia divinorum, and 5-MeO-DMT? Or MDMA, dextromethorphan, GHB, cocaine, and mushrooms (plus, of course, Cannabis and alcohol)?

When examining experience reports for mentions of entity contact, those categorized as involving more than a single substance were excluded. Because of their similar chemistry, reports for Brugmansia and Datura species were combined. The number of single-substance reports for each of the ten substances that were analyzed ranged from approximately 150 to approximately 1,300. These substances, sorted by the number of reports mentioning entities [noted in brackets], are: Salvia divinorum [314], DMT [76], Brugmansia/Datura [74], psilocybin-containing mushrooms [68], ayahuasca [66], LSD [25], mescaline-containing cacti [16], diphenhydramine [15], ketamine [14], and dimenhydrinate [11].

Dividing the number of entity contact reports for a given substance by the total number of reports for that substance provides a rough estimate of the frequency of entity contact by substance: DMT [38%], ayahuasca [36%], Brugmansia/Datura [29%], Salvia divinorum [25%], mescaline-containing cacti [10%], diphenhydramine [9%], ketamine [9%], dimenhydrinate [7%], psilocybin-containing mushrooms [5%], and LSD [3%].

There are limitations to any interpretation of this data. People may be more inclined to write about their DMT experiences, because the effects are both powerful and short. After a grueling voyage on DOB, for example, one may be less inspired to sit down and write a novel about what one went through. Also, entity contact may play a smaller part in a longer psychedelic trip, and it could be that–for the psychonaut–other aspects from their experience seemed more important to record. There are also certainly publication biases; reports with particular keywords or for particular substances may be published sooner than others, or Erowid reviewers may be more likely to focus on topics that they personally find interesting.

Surveying Erowid Visitors

To gain another perspective on the subject of entity contact, I ran three short surveys on

Existengine by Vibrata Chromodoris

Erowid.org. All three surveys asked for gender and age. After removing invalid responses, there was a variation of 3% or less between surveys: 84% of respondents were male and 15% were female, with 1% transgender. The age ranges were: 18-22 [47%], 23-29 [23%], 15-17 [14%], 30-39 [9%], and 40-79 [7%]. As gender and age were fairly consistent from survey to survey, one might envision the average respondent as a male 18-29 years old, who has computer access and an interest in psychoactive drugs. Right off the bat, this provides an identifiable bias regarding the data generated: Respondents are from a specific niche that does not represent the general population, though the demographics are consistent with the demographics seen in several previous surveys on Erowid.org.

The idea with Survey #1 was to see how often entity contact is reported for a few well-known psychoactive drugs. The first question was, “Have you ever (sober, high, or in any state) experienced contact with a non-human, intelligent, discarnate entity (angel, faerie, alien, spirit)?” This allowed respondents to indicate how often any such contact might have occurred. The second question offered the choice of eight specific drugs that the respondent might have been on when the entity contact happened; respondents could also select “other drug”, “multiple substances”, “multiple occasions with different substances”, “no drug/sober”, “don’t know/not sure”, or “prefer not to answer”. A final question asked about the respondent’s religious inclination.

Among 4,910 valid responses, nearly 37% reported having had contact with discarnate entities, while slightly over 8% said that they didn’t know or weren’t sure whether they had experiences that would qualify. Atheists and agnostics were more likely to report “never” having had an entity contact, whereas the highest percentage of entity contact was reported among people who gave their religious inclination as “other mystical/spiritual”.

Of those who reported having had an entity encounter (either sober or after having taken a drug), and given the option of eight drugs to select from as the drug they may have been on when entity contact occurred, respondents reported: DMT [11.7%], psilocybin-containing mushrooms [9.8%], LSD [9.0%], Salvia divinorum [7.4%], Cannabis [5.7%], ayahuasca [1.5%], ketamine [1.1%], mescaline [0.6%], other drug [9.5%]. Additionally, 15.4% reported they were sober during the experience, 20% said that their experiences happened on multiple occasions with different substances, and 8.4% reported an experience while on multiple substances.

One immediate challenge to this survey is that the results don’t take into consideration how common use of any given substance is among the group being surveyed. Ayahuasca, for example, is widely reported to occasion entity contact. A recent study of 131 North American ayahuasca users, who had a combined total of over 2,267 sessions, found that 74% believed that they had a personal relationship with “the spirit of ayahuasca”, which was “most often described as a wise teacher, grandmother or healer from a higher spiritual dimension and intelligence”; some ayahuasca users also reported a “belief in the sentience in plants and in spirit entities from other realities.”30 Yet because of its relative rarity, only 1.5% of those reporting an entity contact experience in Survey #1 mentioned ayahuasca as an inspiration for that contact. At the same time, the propensity for Cannabis to induce contact with discarnate entities is undoubtedly fairly low, while it certainly has to be the single most-used drug of those that the survey mentioned. Therefore, the 5.7% figure for Cannabis is at least partially the result of a vastly larger number of users and drug exposures than for ayahuasca.

Survey #2 sought more information about which of the above-mentioned drugs are more popular among Erowid users. Of 11,464 valid responses, 96% had used Cannabis, 70% mushrooms, 60% LSD, 28% DMT, 26% ketamine, 17% mescaline, and 6% had used ayahuasca. This survey also asked the approximate numbers of use instances for each of these substances. For example, Cannabis users, who represented around 96% of respondents, were most likely to report (48.6%) that they had used it “1,000 or more” times; whereas only 6% of respondents reported having ever tried ayahuasca and, of those, half said that they had used it a single time, and about a third “2-5 times”. With DMT, there were 1,067 people [9.3%] who said that they had used it “once”, 1,203 people [10.5%] who said they had used it “2-5 times”, and 370 people [3.2%] who said they had used it “6-10 times”. That’s a total of 4,767 DMT trips split between 2,640 people–not even two trips per person on average. Just a handful of people could easily match that number in pot highs.

As noted earlier, 15.4% of respondents were not high at the time of their entity contact experience–a larger percentage than reported for any individual drug. To get a better sense of the sorts of sober situations that result in contact with discarnate entities, Survey #3 entirely avoided mentioning psychoactive drugs. It included an open comments field, to solicit users’ own descriptions of their contacts with discarnate entities.

The question was posed: “Have you ever experienced contact with a non-human, intelligent, discarnate entity (angel, faerie, alien, spirit)?” Among the 5,717 valid responses, 26.9% said they had experienced at least one entity contact, while another 11.7% said that they didn’t know or weren’t sure whether they had experiences that would qualify. Compared to Survey #1, this is a 10% lower reporting of entity encounters along with a 4% rise in uncertainty. The bracketed number following categories of entity or activity below shows how many people mentioned it, based on manual evaluation of the open field comments.

Within Survey #3, discarnate entities in the forms of aliens [105] and UFOs [32] were mentioned most often, and the idea that interaction with these provided access to novel information came up repeatedly: “On high doses of psilocybin, I achieve contact and communication with an entity that appears alien. It possesses knowledge beyond my imagination and uses concepts that are vast in scope.”

Contact with God/gods/goddesses [104] was mentioned at a level similar to aliens: “My most intense and directly revelatory conversation with God was my first, and was of the LSD-inspired variety. I asked God why it created the universe. The answer, “The one became many, that I may know myself.” Six years later, this is still the cornerstone of my faith.”

Ghosts (deceased loved ones/haunted houses) [93] were reported slightly less frequently than gods; such experiences often occurred when the individual was a young child, or the experiences were related to contact made via dreaming. Contact sometimes happened immediately before, during, or just after sleep [79], with sleep paralysis, night terrors, out-of-body experiences, nightmares, and lucid dreaming all described as contributing factors. About a dozen reports mentioned astral projection. Sometimes more than one of these sleep-related conditions was presented as being causative: “In my dreams, when I have OBE or when I am lucid during sleep paralysis.”

Many people mentioned seeing a figure standing somewhere near the bed. Such sleep-related accounts sometimes described ghosts, aliens, demons, and angels, though faerie folk were rarely mentioned.

Prayer 007 by Naoto Hattori

A small number of respondents expressed their opinions that the survey’s focus was either entirely hogwash (i.e.,”none of these things exist”), or at least partially so: “The terms angel and faerie make this question less credible. Aliens objectively exist, however; just ask the government. “Spirit” or “entity” would suffice for the other terms.”

Despite this vocal minority of naysayers, faeries (elves, gnomes, etc.) [59], angels [52], and demons [41] all got a number of mentions: “I saw an angel with a 64-mile-long OG Mudbone erect cock” was less typical than “When I was five an angel took me in my sleep out of my body and showed me the world. Then it dropped me back into bed and said goodbye.”

Several people [26] expressed the feeling that the entities were guardians or guides that allowed them access to a bigger picture: “It was a being made of light, which I’d describe as a spirit guide. I was floating through the fabric of existence, and it brought me to a viewpoint from which I could observe all of time/space. It was rad. I watched my favorite pornstars take showers.”

Though less common, people also mentioned reptiles/reptilians [25] and orbs/balls of light [25], with even fewer describing insects/insectoids [15], cephalopods [11], and shadow people [11]. The remaining categorizable discarnate entities were: tree or plant spirits [10], fractal beings [9], clowns, jesters, harlequins [9], felines/cats [9], Satan/Lucifer [8], Jesus [7], white light experiences [7], Buddha [6], dragons [6], Gaia [5], ancestor spirits [4], entities wearing all-in-one wet- or motorcycle suits [4], faceless beings [3], and machine elves [3]. Many of the entities described did not easily fit into any categories.

Meditation [35] played a part in some people’s experiences, and a few folks [8] said that a Ouija board facilitated their contact experience. Several people felt it was important they expressed that they were currently atheists: “I don’t think any of them really happened, but I’ve seen and spoken to God, aliens, demons, sexy demons, 300-foot Frankenstein, and once I saw my dead friend’s rotting corpse behind me in the mirror at a friend’s house. Despite all of that, I’m still not a believer in aliens or UFOs or God or anything supernatural. I love hallucinogens, but I also know it’s a chemical show in your mind, nothing more. I humor myself and interact with my made-up world under the influence, but I understand it’s unreal and of no consequence. Knowing all this lets me stay safe; no matter how much acid I drop, flapping my arms and flying is impossible. Is any of this weird?”

Although the agnostic viewpoint wasn’t entirely missing: “I had a vision of the God of Doubt, who said that I had too much faith in Him. His message was, “Doubt Me.”

While in numerous cases the experiences were described as having happened while the respondent was sober, descriptions specific to certain drugs were more common: With various ayahuasca preparations, entities seem to be either (1) doorway guardians who decide whether one is ready to proceed further, (2) random benign or mischievous entities who happen to drop in to have a look and seem curious about one’s presence in the “space” beyond the doorway, (3) teacher or guiding entities within the ayahuasca space. Ayahuasca entities can be anything from harlequin clown-scary, to laughing goblins attempting to relax [the observer], to angelic ethereal beings, to snakes/spiders who just seem to be there in the background, to alien and indescribably complex insect-like forms. Using chewed Salvia divinorum leaves, the entities can seem to be from childhood; there’s a sense of “having always known them”, and they can be elf-like or take on bizarre qualities for which there are no words/concepts. With psilocybin, there are occasional entities with elf-like essences but a futuristic metallic-like form who tend to be of a guide or teacher type. While there are many forms, it is the subjective feeling of their existence outside of just being a creation of the mind, which is the common feature of all entity encounters.

Drugs mentioned in the comments field of Survey #3, without prompting, included DMT [233], LSD [87], Salvia divinorum [87], psilocybin-containing mushrooms [81], dextromethorphan [35], ayahuasca [29], ketamine [22], Cannabis [17], methoxetamine [15], and mescaline/cacti [13].

While we might get a general sense of the sort of drugs that are likely to produce such effects by counting which drugs are named most often, as discussed above, such an approach doesn’t control for the fact that some drugs may simply be more popular, more frequently consumed, or more available than others.

Survey #3 also asked the question, “Do you know who Terence McKenna is?” While the notion that McKenna’s ideas have influenced the type or interpretation of visions that other people have probably has some truth to it, almost half of the respondents to the survey would have been 6-10 years old at the time of McKenna’s death in 2000. The audio samples of his lectures in popular electronic music and his strong influence on contemporary authors make it difficult to assess how much influence his views have among current psychedelic users. Strassman’s DMT book, which has sold over 102,000 copies and been made into a documentary, might now have more of an influence on generations coming of age after McKenna’s death.

Including a question about McKenna inspired some comments from individuals less than enamored with his ideas, as well as some comments from his fans. A few people remarked that their own entity experiences “pre-dated [their] knowledge of McKenna and his entities”.

In fact, 54% of survey respondents indicated that they had some knowledge of Terence McKenna. Of the people who had never heard of McKenna, 73% also said that they had never had contact with a discarnate entity. Of the 27% of the survey respondents who indicated that they had experienced contact with a discarnate entity, nearly 69% of those had heard of McKenna. In the end, it’s not clear that this tells us too much.

It feels appropriate to close out this chapter with some text from one respondent’s description of his sole “entity” encounter:

“I was in the woods with two friends, passing along a tale that I’d just heard about Terence McKenna. It was a story about a tree in his back yard with a vine growing on it. He had noticed that the vine wouldn’t grow on one of the dead branches of the tree. As he was observing this, the dead branch fell. It was almost as though the vine knew that this was bound to happen, so it stayed away from that branch. But just as I was telling the exact part of the story about how the branch had fallen from the tree while Terence had been thinking about it, a branch in the tree right next to us simultaneously fell off. I believe it was Terence’s spirit that made this branch fall, as a way of telling me he appreciated that I was sharing his story.”

McKenna was fond of paraquoting the British geneticist J.B.S. Haldane, who wrote in his 1927 book, Possible Worlds (imagine here, Terence’s nasal twang repeating the following): “Now, my own suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose.”

I wholeheartedly concur.

References

Aardvark D. The Entheogen Review. 1998-2008.

Aiken JW. “The Church of the Awakening”. In: Aaronson B, Osmond H (Eds). Psychedelics: The Uses and Implications of Hallucinogenic Drugs. Anchor Books. 1970. 165-182.

Anonymous. “DMT Entities”. The Entheogen Review. 1995;4(2):6-7.

Aaronson B, Osmond H (Eds). Psychedelics: The Uses and Implications of Hallucinogenic Drugs. Anchor Books. 1970.Beifuss W. Personal communication. 1995.

Ball MW. “Terence on DMT: An Entheological Analysis of McKenna’s Experiences in the Tryptamine Mirror of the Self”. Reality Sandwich. Realitysandwich.com/terence_dmt. 2010.

Care Control. “A One-Time Atheist Found God: Experience with 2C-I”. Erowid.org. Erowid.org/exp/25486. 2003.

DeKorne J. The Entheogen Review. 1992-1997.

Dev N (Meyer P). “Apparent Communication with Discarnate Entities Induced by Dimethyltryptamine (DMT)”. No publisher listed. 1991. Republished in: Lyttle T (Ed). Psychedelic Monographs and Essays 6. 1993. 29-69.

Erowid. Experience Vaults. Erowid.org. Erowid.org/experiences.

Grey A. Sacred Mirrors: The Visionary Art of Alex Grey. Inner Traditions. 1990.

Grof S. LSD Psychotherapy. Hunter House. 1980.

Haldane JBS. Possible Worlds and Other Essays. Chatto & Windus. 1927.

Harris R, Gurel L. “A Study of Ayahuasca Use in North America”. Journal of Psychoactive Drugs. 2012;44(3):209-215.

Huxley A. “Mescaline and the ‘Other World'”. In: Cholden L (Ed), Lysergic Acid Diethylamide and Mescaline in Experimental Psychiatry. Grune & Stratton. 1956. 46-50.

Jansen K. Ketamine: Dreams and Realities. Multidisciplinary Association for Psychedelic Studies. 2001.

Kent J, Pickover C. “The Case Against DMT Elves”. Tripzine. Tripzine.com/listing.php?id=dmt_pickover. 2004.

Lilly JC. The Center of the Cyclone: An Autobiography of Inner Space. Julian Press, Inc. 1972.

May 2012. Erowid.org. Erowid.org/columns/teafaerie/2012/05/31/virtuality.

McKenna TK. “Terence McKenna the Entity and the Elves of Psilocybin”. Audio excerpt from unspecified lecture; posted Jul 15, 2009 to YouTube by “planetunion”. http://Youtube.com/watch?v=KfgRWZx7Q00″. No Date.

McKenna TK, Leary TF. “You Get Elves, Everybody Does”. Audio montage sampling unspecified lecture(s); originally aired on The Trip Receptacles radio show, KPFA Berkeley. Web.archive.org/web/20020817175817/www.nvo.com/cd/nss-folder/tripreceptaclemp3s/SH1PT7.MP3. No Date.

Masters REL, Houston J. The Varieties of Psychedelic Experience. Holt, Rinehart and Winston. 1966.

Meyer, P. 340 DMT Trip Reports. Serendipity.li/dmt/340_dmt_trip_reports.htm. 2010.

Miller S. “Interview: Terence McKenna”. Omni. 1993;15(7):69-70, 74, 90-92.

Oroc J. Tryptamine Palace: 5-MeO-DMT and the Sonoran Desert Toad. Park Street Press. 2009.

Pinchbeck D. “2012: Time for Change Presents: Joe Rogan”. Reality Sandwich. Posted Apr 6, 2010, Realitysandwich.com/video/2012_tfc_presents. No Date.

Richardson J. “Who Am I, and So What if I Am?”. In: Aaronson B, Osmond H (Eds). Psychedelics: The Uses and Implications of Hallucinogenic Drugs. Anchor Books. 1970. 50-58.

Ruck CAP, Bigwood J, Staples D, Ott J, Wasson RG. “Entheogens”. Journal of Psychedelic Drugs. 1979;11(1-2):145-146.

Strassman R. “MSP 93, Rick Strassman Papers”. Archives and Special Collections, Purdue University Libraries. 1989-1991.

Strassman R. DMT: The Spirit Molecule. Park Street Press. 2001.

Teafaerie. “Virtuality”. Teatime: Psychedelic Musings from the Center of the Universe.

Turner DM. The Essential Psychedelic Guide. Panther Press. 1994.

The original article can be found here on the Erowid website.

Altered States of Consciousness and the Faeries

“Our normal waking consciousness, rational consciousness as we call it, is but one special type of consciousness, whilst all about it, parted from it by the flimsiest of screens, there lie potential forms of consciousness that are entirely different.” WILLIAM JAMES

Physicalism vs Consciousness

What are the faeries? Where do they come from and where do they go when they’re not interacting with their human observers? Folklorists are usually ambivalent about the faeries; they are likely to keep their distance from them, so to speak. Whilst happy to record and discuss the beliefs of people who tell stories and anecdotes about them, most folklorists speak the language (at least in official publications) of the reductionist, materialist worldview that has held sway in Western civilisation for the last few hundred years, and they’ll be nervous about assessing the potential actual reality of metaphysical beings. In the materialist’s world, faeries simply cannot exist. They must be reduced into a categorised cultural belief system, and any discussion of them will usually (but not always, as we shall see) be couched in the accepted language of scientific rationalism. This creates a problem for any folklorist (or anybody else) who wants to look behind the stories and investigate the possibility that the faeries can be incorporated into our consensus reality as a genuine phenomenon. The philosopher Bernardo Kastrup calls this outlook Physicalism, and suggests, in a recent article: The Physicalist Worldview as Neurotic Ego-Defense Mechanism, that it has created a disconnect in our ability to truly understand reality, due to its insistence that consciousness is secondary to matter:

“A worldview is a narrative in terms of which we relate to ourselves and reality at large. It is a kind of cultural operating system that gives us tentative answers to foundational questions such as ‘What are we?’ ‘What is the nature of reality?’ ‘What is the purpose of life?’ and so on. Although many different worldviews vie for dominance today, the academically endorsed physicalist narrative defines the mainstream, despite its many difficulties. This reigning worldview posits that physical entities outside consciousness are the building blocks of reality. Consciousness, in turn, is supposedly an epiphenomenon or emergent property of certain complex arrangements of these entities. As such, under physicalism, consciousness must be reducible to physical arrangements outside and independent of experience.”

Kastrup also suggests this has created a schism and conflict between academics trained in the belief system of Physicalism and large sections of society who have been effectively railroaded into accepting an orthodoxy that denies their intuitive understanding of reality based on consciousness. This orthodoxy is well entrenched, especially when it comes to supernatural entities such as the faeries, but researchers such as Kastrup,  Graham Hancock, Rick Strassman and Serena Roney-Dougal have begun to challenge conventions by reinstating consciousness as the primary mover and creator of reality. When this is done, entities such faeries are allowed back into the universe as an authentic phenomenon, and if we start to look in the right places, we begin to find that they are indeed everywhere… we just need to know where to look, or more accurately how to look.

The Electromagnetic Spectrum, Dark Matter and Dark Energy

The Electromagnetic Spectrum

As David Icke is always reminding us, our normal waking consciousness experiences less than 0.05% of the entire electromagnetic spectrum, with visible light being less than 0.1% of this. If we take into account the current scientific hypothesis that this electromagnetic spectrum itself composes less than 10% of the universe, with the mysterious Dark Matter and Dark Energy taking up the rest, then we are at a good starting point to understand that our version of reality is extremely compromised. We may have the technology to utilise the unseen wavelengths in the spectrum, but they are not accessible to our ordinary consciousness, whilst Dark Matter and Dark Energy (which, remember, supposedly make up over 90% of the universe) are totally inaccessible to our technology, and remain for the moment, nothing more than theory based on the by-product of mathematical equations. We also have to take into account the recent theoretical mind-bender that the universe may actually be a hologram, put in place by (depending on who you listen to) a supreme being, aliens or future versions of humans, the latter option coming from NASA scientist Dr Rich Terrile. With this level of uncertainty about the reality we inhabit, and in order to gain an understanding of the world in which we live (and the unseen entities that may exist alongside us), we might be advised to fall back on the only known certainty allowed us: consciousness.

The Origins of the Faeries in Altered States of Consciousness, from c.35,000 BCE

Our earliest known artistic portrayals of the world, and how human consciousness interacted with it, come in the form of cave paintings from all parts of the globe, starting c.35,000 BCE (see Shamanic Explorations of Supernatural Realms: Cave Art – The Earliest Folklore for a detailed look at cave paintings as folklore). Many of these cave paintings include humanoids and therianthropes, otherworldly entities that have been recorded alongside geometric imagery, stylised animals and landscapes. They are in effect our earliest known folklore. But what state of mind were our Palaeolithic ancestors in when they were painting these strange entities in often difficult to access caves and shelters?

Therianthropes in a ‘sky boat’ from cave paintings in Harrismith, South Africa

The anthropologist David Lewis-Williams has made the convincing argument that these cave and rock-shelter paintings were produced by shamanic cultures to represent reality as perceived in an altered state of consciousness. Twenty years ago this idea was anathema to anthropologists, but since the work of Lewis-Williams, and many others, the theory has tipped over to become an accepted orthodoxy. There are hundreds of motifs in the cave paintings that correlate with the visionary states of people in an altered state of consciousness, brought about most especially by the ingestion of a psychotropic substance. The basic premise is that the shamans of these Palaeolithic cultures transported themselves into altered states of consciousness and then painted the results of their experiences on the walls of caves and rock shelters — experiences that frequently included therianthropic beings and supernatural humanoids that correlate in many ways with later faerie types.

Rock shelter paintings from Kimberley, Australia, c.15,000 BCE

Cave paintings at Pech Merle, France, c.25,000 BCE

Lewis-Williams’ research includes collected data from laboratory experiments with people who had taken various psychedelic substances to alter their states of consciousness. The close correlation between the visual imagery recorded during these sessions, and the Palaeolithic cave art convinced him that there was a fundamental link between them,

Petroglyph, Utah, US, no date

manifesting through consciousness itself. Most prevalent were the entoptic images, typically experienced during the early stages of a psychedelic episode. These are most often dots, spirals and geometric patterns that appear within the visual range of the tripper, but also include time-lapse imagery, most often termed tracers. Cave paintings are replete with this entoptic imagery, suggesting a universality of neuropsychological experience across time and geographical areas. Lewis-Williams sees this as convincing evidence that our prehistoric ancestors were using psychotropic plants and mushrooms in order to gain a state of consciousness that was fundamentally important to them.

Cave painting from Altamira, Spain, c.20,000 BCE

In his 2005 book Supernatural, Graham Hancock makes extensive use of Lewis-Williams work, as well as his own ethnographic studies, to investigate further into the concept of cave art as shamanic recording of different realities through altered states of consciousness. Hancock suggests it was no accident that these cave paintings began to appear when they did, that is between 30-35,000 years ago, just as anatomically and neurologically modern humans asserted their predominance across the Paleolithic world. He goes as far as to propose that the cultures these peoples instigated were fundamentally predicated on an understanding of the world and reality brought about by mind-altering psychedelic plants and mushrooms. A Physicalist view would assert that whilst shamanic cultures may be accessing a subjective hallucinogenic reality, this reality is simply delusional, the result of neurophysiological changes brought about by chemical changes in the brain, as a result of the ingestion of psychotropic compounds. The ‘entities’ portrayed in the cave paintings are all simply conjured up by compromised human minds. But recent research (with Graham Hancock at the forefront) disputes this view. There is a growing body of evidence to suggest that much historic folklore can be related intimately to the type of stories being told in cave art by Palaeolithic shamans, with which the descriptions are often remarkably similar. Writers such as Carlo Ginzburg and Emma Wilby have argued that there is a direct link between prehistoric shamanic storytelling and the folklore embodied in classical, medieval and later periods, that often incorporate entities such as nymphs and faeries; supernatural beings that interact with humanity when the conditions are right. Those conditions may well be reliant on the human participants undergoing an altered state of consciousness as a result of the ingestion of psychedelic compounds. There is certainly a preponderance of mushroom imagery associated to historic depictions of faeries, most especially the highly psychedelic red and white Amanita Muscaria (fly agaric) mushroom, and the psilocybin mushroom, both prevalent in Europe and Asia. If these historic folkloric manifestations of interactions with supernatural entities can be linked to the cave art of prehistory and preliterate societies, then we have a continuation of relationship with an alternative reality over a very long period of time.

17th-century English woodcut showing faeries dancing in a circle outside their hollow hill, with the fly agaric mushroom prominent, and the face of a ‘spirit’ in the tree

Historic Faeries from Altered States

Katherine Briggs pointed out in The Fairies in Tradition and Literature, that many of the British faerie motifs repeated in stories and anecdotes through the centuries to the present day were already in place during the medieval period. When folklorists began to collect these stories in earnest from the 19th century onwards, they found a belief in faeries amongst the rural population that was probably very close to the medieval belief and understanding of what faeries were and how they interacted with humanity.

Preacher telling off people for believing in faeries, c. 1390

Many of the stories include situations where the protagonist interacts with the faeries in what seems an altered state of consciousness: Faerieland doesn’t comply to Newtonian physics, it is consistently inhabited by strange humanoids and therianthropes (the faeries), and there are mountains of recurring story motifs that are highly suggestive of an autonomous reality being described. But this is not consensus reality, this is the folklore recording stories from people operating outside consensus reality. They may have got there by a variety of means apart from the ingestion of psychotropic plants or mushrooms, many of which are part of the plot device in the stories: dancing in circles, sitting out on cold hillsides, crying emotional tears, becoming panicked whilst lost… there are many ways these stories drop clues as to what’s really going on. The folktales about faeries have been overlain with much allegorical storytelling, but at their root the realities they describe are of people in altered states of consciousness, perhaps not too far from the realities experienced by the cave painters.

When WY Evans-Wentz travelled around the Celtic world at the beginning of the 20th century, collecting stories and anecdotal experiences about the faeries, it was clear that most of his interviewees rated clairvoyance as the best way of altering the conscious state to a position where it could interact with the faeries. Seership or second-sight was the method of entering, or at least viewing, an alternative reality inhabited by a relatively consistent cast of characters. He met one such (un-named) Irish clairvoyant in Rosses Point, County Sligo. This seer talks about various types of faeries that inhabit the landscape of Sligo, “making them sound like a cross between nature spirits and mystical visions.” But Evans-Wentz was just as interested in the mechanics of interacting with the faeries as he was with the stories themselves. How did the seer interface with them?

“I have always made a distinction between pictures seen in the memory of nature and visions of actual beings now existing in the inner world. We can make the same distinction in our world: I may close my eyes and see you as a vivid picture in memory, or I may look at you with my physical eyes and see your actual image. In seeing these beings of which I speak, the physical eyes may be open or closed: mystical beings in their own world and nature are never seen with the physical eyes.”

Evans-Wentz then asked him what sort of state was he in when he saw the faeries…

“I have seen them most frequently after being away from a city or town for a few days. The whole west coast of Ireland from Donegal to Kerry seems charged with a magical power, and I find it easiest to see while I am there. I have always found it comparatively easy to see visions while at ancient monuments like New Grange and Dowth, because I think such places are naturally charged with psychical forces, and were for that reason made use of long ago as sacred places. I usually find it possible to throw myself into the mood of seeing; but sometimes visions have forced themselves upon me.”

The rural people interviewed by Evans-Wentz consistently affirm that clairvoyant alteration of consciousness was the best sure-fire way to see the faeries. By the time Evans-Wentz visited these communities, there was a sense that the number of people gifted with second-sight was dwindling; cutting down on communication with the faeries. But at the same time as these rural communities were feeling the increasing pressures of modernism, The Theosophical Society (first founded in 1875) was reacting against the rise of Physicalism, by attempting to incorporate metaphysics into an understanding of reality. And their prime metaphysical technology was clairvoyance. The Theosophist Rudolf Steiner attempts to explain the mechanics of clairvoyance, when a person must transform their usually passive thought forms into something more dynamic. In normal consciousness thoughts:

“… allow themselves to be connected and separated, to be formed and then dismissed. This life of thought must develop in the elemental world a step further. There a person is not in a position to deal with thoughts that are passive. If someone really succeeds in entering the world with his clairvoyant soul, it seems as though his thoughts were not things over which he has any command; they are living beings… You thrust your consciousness into a place, it seems, where you do not find thoughts that are like those in the physical world, but where they are living beings.” Rudolf Steiner, Perception of the Elemental World (1913).

Steiner goes on to describe the specific elemental animating forces at work in the natural world when perceived clairvoyantly in what he calls the Supersensible World. The elementals in the Supersensible World exist as a range of beings, from devas, which are responsible for entire autonomous landscapes, through to the smaller nature spirits charged with the growth of vegetation. Steiner (basing his epistemology on that originally developed by the 15th-century alchemist Paracelsus) divides these into four main types corresponding to earth (Gnomic), water (Undines), air (Sylphs) and heat/light (Salamanders). This is the faerie realm, existing as a non-material autonomous reality that crosses over with ours, and which can be accessed via a clairvoyant altered state of consciousness. Steiner thought everyone has this innate ability, but they had to be taught how to use it… it had somehow become almost forgotten amongst humanity.

This idea finds common ground with the recent work of biochemist Rupert Sheldrake, who proposes that morphogenetic fields are the formative causation allowing life on earth. Sheldrake’s description of this organising principle behind the natural world is issued in the language of biochemistry, but in effect, what he postulates is the same as Steiner’s vision of nature spirits in action. There are invisible forces that are as essential in ordering life on earth as accepted non-material forces such as gravity. Steiner saw nature spirits as anthropogenic representations of these morphogenetic fields, imposed upon them through the thought forms of the observer, who perceives them clairvoyantly.

Inspired by the Theosophist movement, Marjorie Johnson (acting on behalf of the Fairy Investigation Society) collected over 500 anecdotal descriptions from people who claimed to have seen or interacted with faeries, and compiled them together with her own experiences in the book Seeing Fairies.  Some of her correspondents were Theosophists, with an avowed history of clairvoyance. But the majority were not, and their honest appraisals of seeing faeries are usually singular events in their otherwise non-clairvoyant lives. Their subjective anecdotes may be contentious as scientific evidence, but they are a fascinating collection of experience reports. Noticeable is how often the person writing about their experience includes details about their state of mind at the time. This is frequently (though not always) a non-usual state: they were out of breath, sleep deprived, depressed, afraid, ill, etc., before their experience. Muriel Golding, for example, was living in Leeds in 1927 and suffering from insomnia after a bout of flu. Whilst unable to sleep one night: “she saw on her pillow a little creature of goblin type, not more than a foot high. He seemed to be wearing blue and white pantaloons and a little jacket, and he had a curious small, mischievous face. He was laughing at her, but she couldn’t believe that he was really there and shut her eyes. When she opened them, there he was still, and he kicked up the bedclothes, put his face on the pillow, and winked at her. Then he vanished.”

Marjorie’s collection strategy wouldn’t cut the mustard with a modern folklorist, but the anecdotes are examples of human experiences with faeries, many of which have close correlations with altered states of consciousness. The question remains, what are the faeries? If they are metaphysical beings, how does human consciousness interact with them, and where is the meeting place?

The Faeries and DMT

The answer may lie with a substance called N,N-Dimethyltryptamine – DMT. This molecule is one of the main active ingredients in the Amazonian Ayahausca brew, but it is also produced endogenously in everyone’s brain, potentially (but not definitely) in the pineal gland. It’s usually safely dispersed around the brain and body for functional duties, but it seems that under certain circumstances, it can be released in higher quantities, causing an altered state of consciousness. There is some evidence that this can happen during a frontal lobe epileptic seizure. The late and great Terence McKenna was an enthusiastic user of the synthesized form of DMT to access different realities, and coined the term ‘self-transforming machine elves’ for the creatures he regularly found there. He can be heard talking about them here: Terence McKenna and the self-transforming machine elves.

As if to confirm Terence’s assertions, a research study conducted between 1990 and 1995 in the General Clinical Research Center of the University of New Mexico Hospital, by Dr Rick Strassman found that volunteers on the study injected with varying amounts of DMT underwent profound alterations of consciousness. This involved immediate cessation of normal consciousness and transportation to a different realm of reality with divergent physical properties, and inhabited by a range of creatures described as elves, faeries, lizards, reptiles, insects, aliens, clowns (yes, clowns) and various therianthropic entities. One woman even describes a pulsating entity that she described as ‘Tinkerbell-like’. The experiences, especially at higher doses, represented to the participants a parallel reality that was ‘super real’, not an hallucination, not a dream, but a substantial built reality with full sensory interaction + telepathy. Strassman published the results as DMT: The Spirit Molecule, and there is a lucid documentary summarising the study.

The experience reports from the study are irrational, absurd, frightening, illogical and surreal. It’s worth reading the book or watching the documentary to get the full range of what are incredible records of accessing very different realities. There is no question of any of the volunteers physically leaving the hospital bed during their experiences, but for all of them (without exception) the DMT-world was every bit as real as the one their minds left behind. After the injections participants frequently talked about ‘blasting through’ or ‘breaking through a barrier’ after which they found themselves in a realm with its own laws of physical space and movement, and its own inhabitants. Here is an abbreviated version of one of the volunteer’s description of his experience; 50 year old Jeremiah. After hurtling through a void he found himself:

“… in a nursery. A high-tech nursery with a single Gumby, three feet tall, attending me. I felt like an infant. Not a human infant, but an infant relative to the intelligence represented by the Gumby. It was aware of me but not particularly concerned… Then I heard two or three male voices talking. I heard one of them say “he’s arrived.” … I was in a big room… there was one big machine in the center, with round conduits, almost writhing – not like a snake, more in a technical manner. The machine felt as if it were rewiring me, reprogramming me… This is real. It’s totally unexpected, quite constant and objective… an independent, constant reality… I’m lucid and sober.”

A DMT World

There are dozens of recorded experiences from the study and, like Jeremiah, the participants are all engaging in a non-physical reality directly with their consciousness, seemingly separated from their physical selfs. Some of the experiences agree in type to certain aspects of the alien abduction phenomenon, which does indeed hold many similarities to certain faerie motifs (discussed in more detail here: Shamans, Faeries, Aliens and DMT and in David Luke’s article Discarnate entities and dimethyltryptamine (DMT): Psychopharmacology, phenomenology and ontology). But what the research demonstrates is that under the right conditions, human consciousness can operate within a distinct and separate universe inhabited by a range of apparently autonomous entities. These entities may be one and the same as the metaphysical beings recorded in cave art and folklore, by people who were describing the beings encountered during various types of altered states of consciousness. The faeries may change superficially through time, adapting to the expectations of the culture they are part of, but if it is human consciousness they are interacting with, this is no surprise. Underneath the cultural masks, the faeries begin to reveal their true selfs.

Physicalism vs Consciousness II

There are many reasons why folklore about the faeries exists, and it certainly seems that interacting with them during an altered state of consciousness is one of them. Are they real experiences? They are subjectively real, but what is the objective reality? A Theosophist clairvoyant would suggest that we need to override our five senses with a dynamic type of consciousness that commands prominence over the material world. They would probably agree with Aldous Huxley’s description of a universal consciousness being ‘Mind at Large’ and that the brain is a ‘reducing valve transceiver‘, that can be retuned by a variety of methods. Huxley did this with Mescaline and LSD.

The brain certainly gives us a very limited view of what is actually going on around us. Altering the transmission to the brain seems to allow non-material consciousness more of a free rein. As in a dream (though not the same as a dream) an altered consciousness is able to construct metaphysical realities. It is able to communicate with the entities it finds there, and bring back a report. The relative consistency of the inhabitants of this alternative reality may suggest that they live there all the time, non-physical, and only able to interact with our physical world when conditions are right for a consciousness. This is the crux: does consciousness create physical reality, or is consciousness an epiphenomenon of the brain? If the former, then the realities experienced in altered states of consciousness can be accepted as true, with their own autonomous existence. If the latter, then whilst entities such as the faeries may be subjectively real, they do not exist objectively within the electromagnetic spectrum. This is the Physicalist view. Although even Physicalism has to adhere to its own rules and allow for the hypothesis that over 90% of the universe consists of non-physical form: Dark Matter and Dark Energy. Maybe that’s where the faeries are, waiting to be found.

~~~

The featured images at the top and bottom of the article are made by a Dutch artist called Dalila Ammar. Her innovative and thought-provoking art can be found here: Lilamar Art Facebook Page and here: Lilamar Art website. Please check out her wonderful artwork…

After writing this article I came upon Jon Hanna’s analysis of metaphysical entity contact amongst people who had definitely altered their state of consciousness, through a variety of psychedelics. It’s an interesting read and It can be found here: Aliens, Insectoids and Elves! Oh, My!

Shamanic Explorations of Supernatural Realms: Cave Art – The Earliest Folklore

Here is a new article on Ancient Origin‘s Premium site. The full article requires subscription but there is an extended preview on the free to view site. It investigates the nature of Palaeolithic cave art, its folkloric motifs, and the altered states of consciousness that ancient shamans used to access supernatural realms, bringing back with them messages that were encoded within the cave art…

Around 30-35,000 years ago there was an explosion of symbolism in Paleolithic human culture around the world, primarily represented by cave art. This cave art is usually located in hard to access underground spaces that must have had significant meaning for the artists and those who would have experienced these strange images by torchlight; And strange they are. Whilst many of the images are naturalistic images of humans, mammals and birds, there is also extensive representation of therianthropic beings, that is part human, part animal shape-shifters. There are also many beings that seem to be distorted humans, perhaps better described as humanoid. These images suggest that the Paleolithic artists were attempting to tell stories and incorporate messages and meaning within the stories, which they deemed important. The fact that many of the beings represented in the cave art are of a supernatural quality is symptomatic of what we might call folklore.

Here is the link:

Shamanic Explorations of Supernatural Realms: Cave Art – the Earliest Folklore

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Neil Rushton’s author page on Ancient Origins

 

 

Shamans, Faeries, Aliens and DMT

Who are the faeries? In 1969, the astronomer and computer scientist Jacques Vallee, in his book Passport to Magonia, put forward the theory that they were one and the same as the alien beings who had been purportedly abducting people around the world for a couple of decades by that date.

His hypothesis is that there is a commonality to the experiences reported in alien abduction scenarios, and the reports of interactions with faeries in folklore. He suggests the aliens and the faeries are essentially the same phenomenon, tuned through the cultural receptors of the time and then interpreted accordingly. He makes special reference to the regular motifs in faerie-tales of the abduction, by various means, of humans by faeries. There’s a lot of data here – it’s the commonest motif in faerie folklore. For a variety of reasons humans are taken to faerieland in the stories, either as midwives or nurses for faerie children, as servants to the faeries, for sex, as punishment or reward, or just because the faeries feel like it. They were also keen on abducting babies, and replacing them with changelings; wizened old faerie creatures who would usually die before the end of the story if a ruse to return the human baby wasn’t discovered. These motifs, of course, coincide with many aspects of the monumentally strange phenomenon of alien abductions, reports of which have grown at an exponential rate since the early 1950s. Vallee uses a range of evidence to tie-up faerie abductions from folklore and alien abductions from modern reports, and goes as far to state:

… the modern, global belief in flying saucers and their occupants is identical to an earlier belief in the fairy-faith. The entities described as the pilots of the craft are indistinguishable from the elves, sylphs and lutins of the Middle Ages. Through the observations of unidentified flying objects, we are concerned with an agency our ancestors knew well and regarded with terror: we are prying into the affairs of the Secret Commonwealth.

The Secret Commonwealth was the term coined for the faeries by the Reverend Robert Kirk in a manuscript of 1691. Rumour is that Kirk himself was taken by the faeries for revealing too many of their secrets, but not before leaving us with a detailed description of their appearance, habits and exploits. It’s a remarkable and deeply strange (in a good way) book that was evidently produced by a man either psychologically disturbed or psychically enhanced… or both. A full version of the book with an introduction is here: The Secret Commonwealth, and there is a fuller investigation of Kirk and his writings in another blog post here. But, as Vallee points out, Kirk’s descriptions of the faeries and their modus operandi bear more than a passing resemblance to the alien visitors of the 20th and 21st centuries.

Amongst their attributes were an ability to float through the air with insubstantial and fluid bodies, that they could make appear and disappear at will. This allowed them to ‘swim’ through the air and carry off mortals, usually to large circular abodes, that Kirk presumed were underground, and which were lit by a dim, unknown illumination. They even had ‘ætheriall vehicles’ to carry them around the sky. Kirk also asserted that the faeries had a nature intermediate between humans and angels.

Their habit of abducting humans was usually for the purpose of wet-nursing faerie children or as midwives; a theme that fits in with the deluge of recent alien abduction reports (mostly unknown to Vallee in 1969) that would suggest one of the main reasons for abduction is to obtain wet-nurses for hybrid human-alien offspring. Vallee quotes the 19th-century folklorist Edwin Hartland’s suggestion that such a programme of hybridisation was right up the faerie’s street:

The motive assigned to fairies in northern stories is that of preserving and improving their race, on the one had by carrying off human children to be brought up among the elves and to become united with them, and on the other hand by obtaining the milk and fostering care of human mothers for their own offspring.

In 2005, Graham Hancock followed Vallee’s lead and took the comparison of faerie and alien abduction much further in his book Supernatural. He compiled a range of faerie-tales from various time periods and geographical locations and set them against modern-day alien abduction events. He pays special attention to the faerie abduction of young women, such as Mrs Sheridan, an Irish woman, who seems to have spent much of the last decade of the 19th century being whisked off by the fairies for wet-nursing duties.

Where they brought me I don’t know, or how I got there, but I’d be in a very big house, and it was round, the walls far away that you’d hardly see them, and a great many faeries all about… but they wouldn’t speak to me nor I to them.

These ‘long-faced’ faeries had a definite purpose for kidnapping her and weren’t too concerned with her tearful appeals to release her – she had a job to do, and that was feeding their faerie babies. The correlation between these types of folkloric encounters and the alien abductions of women is striking. Hancock surveys the work of the late Harvard psychiatrist John Mack and David Jacobs, a cultural historian, who have made extensive studies of people who claim to have been abducted by aliens, often using hypnotic techniques to extract memories from amnesic events. It’s a minefield subject, but John Mack in particular is a convincing advocate of the notion that whatever the experiences represent, they are genuinely real to the participant (this is a good overview presentation of the phenomenon: John Mack on alien abduction). The abductee, after being floated or beamed aboard the UFO is taken to a part of the ship where there seem to be drawers or tanks of hybrid alien-human babies, which they are expected to nurse. There is a consistency to these experiences (there are thousands of them) that provides a dataset of testimony that Mack and Jacobs insist must be taken seriously as a phenomenon. For the abductees, the experience is often highly traumatic (Mack states that the best psychiatric diagnosis for many abductees is post-traumatic stress disorder), and no wonder, when they are confronted with alien hybrids often described as more like foetuses than babies. One abductee described to Mack their appearance, which is fairly typical:

“Their bodies were short for their heads. Their heads seemed oversized. They had very blue eyes. They had very thin, wispy hair… I would say they were probably three and a half feet tall, but they all looked the same age. ‘You’re our mother and we need you,’ they said.”

The evidence presented by Jacques Vallee and Graham Hancock makes a convincing argument for the tight relation between faerie abductions in folklore and alien abductions in the 21st century. The experiences are culturally coded to time and place, but the correlations and similarities are intriguing, and suggest a common source for the phenomena. But what is that source? Are there really faeries and aliens who are able to abduct humans at will? And if there are, where do they hang out when they’re not on abduction duty? This is where things need to get deeper… much deeper.

Cave paintings from Hunan Province, China, c.10,000 BCE

Not content with suggesting that alien abductions are modern folkloric faerie-tales for our technological age, Graham Hancock puts forward the hypothesis that the shamanistic cultures of the Stone Age were also interacting with these beings. Around 50,000 years ago there was an explosion of symbolism in human culture, primarily represented by cave art. This cave art is usually located in hard to access underground spaces that must have had significant meaning for the artists and those who would have been experiencing these strange images by torchlight. And strange they are. Much of the cave art represents therianthropic beings, that is half human, half animal shape-shifters. There are also many beings that seem to be distorted humans, sometimes even suggesting the ‘Greys’ of alien abduction reports. And this gets to the core of the subject. Hancock makes the convincing argument that these cave paintings were produced to represent reality as perceived in an altered state of consciousness. Twenty years ago this idea was anathema to anthropologists, but since the work of the anthropologists David Lewis-Williams, Thomas Dowson and many others, the theory has tipped over to become an accepted orthodoxy. There are motifs by the hundred in the cave paintings that correlate with the visionary states of people in an altered state of consciousness, brought about most especially by the ingestion of a psychotropic substance. Lewis-Williams’ exhaustive study of this phenomenon is nicely summarised here: Art, Shamanism and Entoptic Images. The basic premise is that the shamans of these stone age cultures transported themselves into altered states of consciousness and then painted the results of their experiences — experiences that frequently included therianthropic beings.

Cave painting showing entoptic imagery from Pech Merle cave, France, c.25,000 BCE

Rock shelter art from Nawarla Gabarnmung, Australia, c.30,000 BCE

These works of art are manifest throughout the world over a vast prehistoric time period and demonstrate a universality of experience, from the entoptic images (dots, spirals and geometric patterns) frequently seen by trippers, through to the imagery of time-lapse perception, often called tracers. It is convincing evidence that our prehistoric ancestors were dabbling with psychotropic plants and mushrooms in order to gain a state of consciousness that was fundamentally important to them. The cave paintings could be seen as the earliest folklore, told in pictures. Further investigation into the cultures of modern indigenous tribes confirms the importance of induced changes in conscious perception, to what are still shamanistic peoples. The best example is the extensive use of the substance Ayahausca by Amazonian tribes. Here is a brew that might make you projectile vomit and clean out your bowels, but which also reveals a reality that includes many non-human intelligences (usually called simply ‘spirits’ by the shamans), that can be interacted with directly. There is usually a highly-charged feminine element to the Ayahausca experience, but reports will also consistently describe therianthropic beings, reptiles, the ability to fly and yes, even grey humanoids with big black almond eyes.

This brings us back to the source of all these experiences. If shaman spirits, faeries and aliens are all part of the same phenomenon, what is that phenomenon? The evidence from modern and archaic shamanistic cultures confirms that an altered state of consciousness was/is required to access the places where the ‘spirits’ lived. It’s more difficult to prove that faerie-tales were generated from information gathered in an altered state, but there is a predominance of mushroom imagery historically associated with the faeries, most especially the highly psychedelic red and white Amanita Muscaria (fly agaric) mushroom, and the psilocybin mushroom, both prevalent in Europe and Asia. These may have been responsible for purposeful or accidental psychedelic trips, but there are a range of other triggers for altering states of consciousness (such as sleep deprivation, trauma, illness etc.) that may also have contributed to people travelling to faerieland and bringing back the experiences as faerie-tales.

17th-century woodcut showing faeries dancing outside their dwelling to the tune of the fly agaric mushroom

As discussed in a previous post The Deeper Meaning of Faerie-tales, most faerie-tales contain dream-like situations, where the laws of physics are suspended and the experienced reality is different than the usual five-sense reality. It’s no accident that the tales are often described as trippy. They can be seen as  basically describing events from a participatory altered state of consciousness, that have then gestated and formed into oral faerie-tales until fossilized into literature by folklorists at various times in the 19th and 20th centuries. So what about alien abductions? They represent an outrageous transformation of reality, but what is causing them?

The answer may lie with a substance called N,N-Dimethyltryptamine – DMT. This molecule is one of the main active ingredients in the Amazonian Ayahausca brew, but it is also produced endogenously in everyone’s brain, probably (but not definitely) in the pineal gland. It’s usually safely dispersed around the brain and body for functional duties, but it seems that under certain circumstances, it can be released in higher quantities, causing an altered state of consciousness. There is some evidence that this can happen during a frontal lobe epileptic seizure. So are abductees thrown into their experiences through a flood of DMT in their brain, which takes them into an altered state of consciousness, where reside alien beings, not altogether unlike the faeries and shaman ‘spirits’? The late and great Terence McKenna was an enthusiastic user of the synthesized form of DMT to access different realities, and coined the term self-transforming machine elves for the creatures he regularly found there. He can be heard talking about them here: Terence McKenna and the self-transforming machine elves.

As if to confirm Terence’s assertions, a research study conducted between 1990 and 1995 in the General Clinical Research Center of the University of New Mexico Hospital, by Dr Rick Strassman found that volunteers on the study injected with varying amounts of DMT underwent profound alterations of consciousness. This involved immediate cessation of normal consciousness and transportation to a different realm of reality inhabited by a range of creatures described as elves, faeries, lizards, reptiles, insects, aliens, clowns (yes, clowns) and various therianthropic entities. One woman even describes a pulsating entity that she described as ‘Tinkerbell-like’. The experiences, especially at higher doses, represented to the participants a parallel reality that was ‘super real’, not an hallucination, not a dream, but a substantial built reality with full sensory interaction + telepathy. Strassman published the results as DMT: The Spirit Molecule, which has been made into a documentary here: DMT – The Spirit Molecule.

The experience reports from the study are irrational, absurd, frightening, illogical and surreal… much like alien abductions and (sometimes) faerie-tales. It’s worth reading the book or watching the documentary to get the full range of what are incredible records of accessing very different realities. Unlike the alien abductions, there is no question of any of the volunteers physically leaving the hospital bed during their experiences, but for all of them (without exception) the DMT-world was every bit as real as the one their minds left behind. After the injections participants frequently talked about ‘blasting through’ or ‘breaking through a barrier’ after which they found themselves in a realm with its own laws of physical space and movement, and its own inhabitants. Here is an abbreviated version of one of the volunteer’s description of his experience; 50 year old Jeremiah. After hurtling through a void he found himself:

… in a nursery. A high-tech nursery with a single Gumby, three feet tall, attending me. I felt like an infant. Not a human infant, but an infant relative to the intelligence represented by the Gumby. It was aware of me but not particularly concerned… Then I heard two or three male voices talking. I heard one of them say “he’s arrived.” … I was in a big room… there was one big machine in the center, with round conduits, almost writhing – not like a snake, more in a technical manner. The machine felt as if it were rewiring me, reprogramming me… This is real. It’s totally unexpected, quite constant and objective… an independent, constant reality… I’m lucid and sober.

This brings us finally to the crux of the matter. If there is a common source for these experiences of shaman ‘spirits’, faeries, aliens and the creatures in DMT-world, that can be accessed via an altered state of consciousness, are the experiences real? The crux is; what is consciousness? A reductionist materialist would tell us that consciousness is an epiphenomenon of the brain, and so whilst they might accept that all these experiences happened subjectively, due to an altered state of consciousness, they can all simply be reduced to the brain making it up. Brain chemistry changes, experience is imagined in the brain, stories are told about that imagined experience. Simples. But to dismiss the subjective experience is to dismiss consciousness itself. There is a reason reductionist materialists call consciousness the hard problem – it’s because consciousness is all we have and nobody has ever captured it. It exists purely as a subjective experience in a closed system. As the old metaphor goes; looking for consciousness inside the brain is like looking for the radio announcer inside the radio. S/he isn’t there, s/he is an electro-magnetic projection being tuned into by the receiver.

Aldous Huxley called the brain a ‘reducing valve for Mind at large’. We are transceiving consciousness not producing it. This corresponds with the philosophy of Idealism, beautifully articulated in recent times by Bernardo Kastrup, and just about every Oriental spiritual movement for the last several thousand years. Put shamanism and Gnosticism into the mix and we find a cohesive hypothesis for consciousness creating reality, not the other way round. But what trumps everything is direct, personal experience. This is the only true route to understanding existence – what Zen masters call direct pointing at reality. And that’s exactly what is happening in shaman journeys to the spiritworld, faerie-tales, alien abductions and DMT trips. They are experiences, accessed through altered states of consciousness, that are direct participations in Huxley’s Mind at large, a reality that exists to the consciousness of the observer but which is at the same time greater than the observer. But only by experiencing these realities through direct encounter can they be understood to be real. Nobody can tell you about them, you have to know them. Perhaps, for our benefit as a species, we need to take more notice of the stories that are brought back.

Graham Hancock summarises many of the ideas expressed here at: Graham Hancock – ancients and altered states of consciousness. Well worth a watch.

Ongoing consciousness research by Rick Strassman can be found at Cottonwood Research Foundation.

Aboriginal cave painting from Kimberley, Australia, c.5000 BCE

The cover image is Pablo Amaringo, ‘Ayahuasca Vision’