Psychedelic art.

The Trickster is transcendent, while the Deceiver is limitless.

The Trickster manipulates people into doing good. The deceiver manipulates people into doing evil. Then it remains to answer the question of what is Good and what is Evil.

Influence without words, or implicitly, or ”between the lines”?
Flowers affect us. Nature affects us. Advertising affects us.

The platypus could just as well be a fairy tale animal, mythical or mythological; like the unicorn or the skvader.

The Archeopteryx as the Failing Link between Bird and a Lizzard.

We can roughly know how the signaling substances move between neurons, nerve cells, and synapses, but how could it both be described and experienced in the same moment.

From DMT and similar psychedelic drugs, humans can experience and see advanced mathematical patterns. Where, how, and when do these mathematical patterns arise? Is it the brain that constructs them and, if so, how?

How can mathematical fractals resemble psychedelic patterns?

Could the mathematical pattern, in e.g. a fractal, be the transmitter, signaling substance, via the neuron, the nerve cell, in the association path, experienced from the inside?

Can the Child experience Reality without limits, while the practicing Shaman, or the theoretical Mathematician, discovers Reality as in Transcending, over and overcoming, the limits?

Can the Fool experience the Game without limits, while the practicing Magician, or the theoretical Emperor, discovers Reality as in Transcending, over and overcoming, the limits?

”Among the work forerunners of psychedelic art, the following authors and artists can be noted: Lautreamont, Louis-Ferdinand Celine, Stanislav Witkevich, Antonin Artaud, Georges Bataille, William Burroughs, De Quincey, Terence McKenna, Carlos Castaneda. Mikhail Bulgakov is the first writer to describe narcotic hallucinations. In particular, art researchers Tim Lapetino and James Orok trace the connection of psychedelic art with Dadaism, Surrealism, Lettrism, and Situationism.[1][2]

The early examples of ”psychedelic art” are literary rather than visual, although there are some examples in the Surrealist art movement, such as Remedios Varo and André Masson. Other early examples include Antonin Artaud who writes of his peyote experience in Voyage to the Land of the Tarahumara (1937) and Henri Michaux who wrote Misérable Miracle (1956), to describe his experiments with mescaline and hashish.”