sprout
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or time to seem to pass more slowly; it is common for
events to fit more smoothly into this slowed time: "Events and thoughts flow more smoothly; the succession of
events in time is smoother than usual" (12%, 16%, 38%, 20%, 11%). This begins to occur at Moderate levels
(8%, 30%, 31%, 13%, 1%). The Therapy and Growth group has to be more intoxicated to experience this
increased smoothness of flow (p <.05, overall).
The converse common effect, "Events and thoughts follow each other
jerkily; there are sudden changes from one thing to another" (13%, 23%,
35%, 19%,5%) occurs at significantly higher (p <.001) levels of
intoxication (6%, 13%, 34%, 19%, 7%), as illustrated in Figure 9-3.
Meditators experience jerkiness in the flow of time less often than
ordinary users (p <.05) or than the Therapy and Growth group (p <.05).
Users of Psychedelics need to be more intoxicated to experience this
jerkiness (p < .05).
Here-and-Now-ness
(4 of 9)4/15/2004 7:06:17 AM
On Being Stoned - Chapter 9
Figure 9-3. FLOW OF
EVENTS IN TIME
Note.—For guide to interpreting
the
"How Stoned" graph, see note on
Figure 6-1.
Two time phenomena may be alterations in the perception of time per se
or possibly consequences of some of the changes described above. A
characteristic effect is "I give little or no thought to the future; I'm
completely in the here-and-now," and a related very common effect is "I do
things with much less thought to possible consequences of my actions...";
both are dealt with fully in Chapter 15.
Déjà Vu
"While something is happening, I get the funny feeling that this sequence
has happened before, in exactly the same way. Even though I logically
know that it couldn't have happened before, it feels strange, as if it's
repeating exactly (this is called a déjà vu experience and should not be
confused with a false memory)" is a common experience (21%, 23%, 37%,
16%, 3%), which occurs at the middle level of intoxication (4%, 16%,
27%, 20%, 7%). While this is a phenomenon of memory by conservative
standards, it would certainly influence a user's view of the nature of time.
Some users, for example, interpret déjà vu as evidence for reincarnation.
Similarly ostensible precognition (see page 100), while occurring rarely, could also strongly influence a user's
view of the nature of time.
In terms of a human experience, and particularly a marijuana user's experience, the common physical view
of time as an impersonal abstraction flowing along at a constant rate, with only the present being real, is
inadequate, for some people may experience: (I) the past and future as being as real as the present at times; (2)
the rate of time flow changing radically; (3) time stopping (archetypal time); and (4) events fitting smoothly or
jerkily into the flow of time.
Note also that all memory effects (Chapter 14) are relevant to time effects, but they will not be discussed
here.
LEVELS OF INTOXICATION FOR TIME PHENOMENA
Figure 9-4 presenMarijuana Seeds Online
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tingent event. What society selects as crucial to
perceive about drugs, and what it ignores, tells us a great deal about its cultural fabric.
The scientist makes a distinction between those questions that can be answered
empirically and those wholly in the realm of sentiment. The question of whether
marijuana causes crime is answerable, but the question of whether marijuana is evil or not
is intrinsically unanswerable, within an empirical and scientific framework. It depends
completely on one's perspective. However clear-cut this distinction is in the scientist's
mind, as a tool for understanding the disputants' positions in this controversy, it is
specious and misleading for a variety of reasons.
(3 of 16)4/15/2004 1:03:47 AM
The Marijuana Smokers - Chapter 3
The strands of value and fact intersect with one another so luxuriantly that in numerous
reasoning sequences they are inseparable. What one society or group or individual takes
for granted as self-evidently harmful, others view as obviously beneficial, even necessary.
In crucial ways, the issue of harm or danger to society as a result of the drug pivots on
moot points, totally unanswerable questions, questions that science is unable to answer
without the resolution of certain basic issues. And for many crucially debated marijuana
questions, this modest requirement cannot be met. In other words, before we raise the
question of whether marijuana has a desirable or a noxious effect, we must first establish
the desirability or the noxiousness to whom. We must concern ourselves with the
differential evaluations of the same objective consequences. Many of the drug's
effects—agreed-upon by friend and foe alike—will be regarded as reprehensible by some
individuals, desirable or neutral by others. Often antimarijuana forces will argue against
the use of the drug, employing reasons which its supporters will also employ—in favor of
its use. We have not a disagreement in what the effects are, but whether they are good or
bad. This is probably the most transparently ideological of all of the platforms of debate
about marijuana. Three illustrations of this orbit of disputation suffice.
Were marijuana use more prevalent than it is today, there would come the billowing of
a distinct aesthetic. The state of marijuana intoxication seems to be associated with, and
even to touch off, a unique and peculiar vision of the world. That the marijuana-induced
vision is distinctive seems to be beyond dispute;5] that it is rewarding or fatuous is a
matter for endless disputation. Inexplicably, the drug seems to engender a mental state
which is coming into vogue in today's art forms. An extraordinarily high proportion of
today's young and avant-garde artists—filmmakers, poets, painters, musicians, novelists,
photographers, mixed-media specialists—use the drug and are influenced by the
marijuana high. Some of the results seem to be the increasing irrelevance of realism; the
loss of igreenmanmarijuana-joint
smoking marijuana seeds
tingent event. What society selects as crucial to
perceive about drugs, and what it ignores, tells us a great deal about its cultural fabric.
The scientist makes a distinction between those questions that can be answered
empirically and those wholly in the realm of sentiment. The question of whether
marijuana causes crime is answerable, but the question of whether marijuana is evil or not
is intrinsically unanswerable, within an empirical and scientific framework. It depends
completely on one's perspective. However clear-cut this distinction is in the scientist's
mind, as a tool for understanding the disputants' positions in this controversy, it is
specious and misleading for a variety of reasons.
(3 of 16)4/15/2004 1:03:47 AM
The Marijuana Smokers - Chapter 3
The strands of value and fact intersect with one another so luxuriantly that in numerous
reasoning sequences they are inseparable. What one society or group or individual takes
for granted as self-evidently harmful, others view as obviously beneficial, even necessary.
In crucial ways, the issue of harm or danger to society as a result of the drug pivots on
moot points, totally unanswerable questions, questions that science is unable to answer
without the resolution of certain basic issues. And for many crucially debated marijuana
questions, this modest requirement cannot be met. In other words, before we raise the
question of whether marijuana has a desirable or a noxious effect, we must first establish
the desirability or the noxiousness to whom. We must concern ourselves with the
differential evaluations of the same objective consequences. Many of the drug's
effects—agreed-upon by friend and foe alike—will be regarded as reprehensible by some
individuals, desirable or neutral by others. Often antimarijuana forces will argue against
the use of the drug, employing reasons which its supporters will also employ—in favor of
its use. We have not a disagreement in what the effects are, but whether they are good or
bad. This is probably the most transparently ideological of all of the platforms of debate
about marijuana. Three illustrations of this orbit of disputation suffice.
Were marijuana use more prevalent than it is today, there would come the billowing of
a distinct aesthetic. The state of marijuana intoxication seems to be associated with, and
even to touch off, a unique and peculiar vision of the world. That the marijuana-induced
vision is distinctive seems to be beyond dispute;5] that it is rewarding or fatuous is a
matter for endless disputation. Inexplicably, the drug seems to engender a mental state
which is coming into vogue in today's art forms. An extraordinarily high proportion of
today's young and avant-garde artists—filmmakers, poets, painters, musicians, novelists,
photographers, mixed-media specialists—use the drug and are influenced by the
marijuana high. Some of the results seem to be the increasing irrelevance of realism; the
loss of i