Excerpt from The Grand Illusion: A Psychonautical Odyssey Into the Depths of Human Experience by the cognitive scientist Steven Lehar (2010; pages 23-40).
Trip to Europe
I had two or three such experiences on my new batch of LSD, taking perhaps 2 or 3 “hits” (tabs) each time (presumed to be about  micrograms, or “mikes” per tab). And each time the experience became somewhat more familiar, and I learned to think more clearly under its influence. In July 1990 I took a trip to Europe with Tim, a colleague from work, because we were both presenting posters at a neural network conference in Paris, and the company where we worked very kindly funded the travel expenses. Tim and I took this opportunity to plan a little excursion around Europe after the conference, visiting Germany, Austria, Italy, and Switzerland touring in a rented car. When we got to Austria we bought a little tent at a camping store, then we hiked up an enormous mountain in the Alps, and spent the day sightseeing at the top. When I told Tim that I happened to have some LSD with me, his eyes lit up. It turns out he too had been a hippy in his youth, and had even attended the original Woodstock, so he immediately warmed to the idea of taking LSD with me on a mountain top, although he had not done psychedelic drugs in over a decade. So there in the most stupendous and idyllic setting of a mountain in the Austrian alps, early the next morning after camping overnight, we consumed five hits of LSD each, and spent the day in profound wonder at the glory of creation!
I made a few new and interesting discoveries on that mountain top in Austria. First of all, I learned to have a great deal more control of the experience in the following manner. I discovered that the effects of LSD become markedly stronger and more pronounced when you sit still and stare, and clear your mind, much like a state of zen meditation, or pre-hypnotic relaxation. When you do this under LSD, the visual world begins to break up and fragment in a most astonishing way. You tend to lose all sense of self, that is, you lose the distinction between self and non-self. This can be a very alarming experience for those who are prone to panic or anxiety, or for those who insist on maintaining a level of control and awareness of themselves and the world around them. But I also discovered that this mental dissociation and visual confusion can be diminished, and normal consciousness can be largely restored by simply looking around, moving about, and interacting actively with the world around you. Because when you do this, suddenly the world appears as a solid and stable structure again, and your familiar body reappears where it belongs at the center of your world of experience. This discovery greatly enhanced my ability to explore the deeper spaces of consciousness revealed by the drug, while providing an insurance against the natural panic that tends to arise with the dissolusion of the self, and the world around you. It allowed me to descend into the depths of the experience while maintaining a life line back to consensual reality, like a spelunker descending into the bowels of the deep underground cavern of my mind, while always able to return safely to the surface. And what a splendid and magnificent cavern it was that I discovered within my mind!
One of the most prominent aspects of consciousness that has puzzled philosophers and psychologists for centuries is the unity of conscious experience. We feel that we live in a world that surrounds our body, and that world appears as a single “picture” or volumetric spatial structure, like a theatre set, every piece of which takes its proper place in the panorama of surrounding experience. It has always been somewhat difficult to grasp this notion of conscious unity, because it is difficult to even conceptualize the alternative. What would consciousness be like if it were not unified? What does that even mean? Under LSD you can discover what non-unified consciousness is like for yourself, and that in turn by contrast offers profound insights as to the nature and meaning of unified consciousness. Again, the most interesting revelations of the psychedelic experience are not confined to that experience itself, but they reveal insights into the nature of normal conscious experience that might otherwise be missed due to its familiarity. In fact, I realized much later, even normal consciousness has aspects which are not unified.
The most familiar example of non-unified consciousness is seen in binocular vision. Under normal conditions the two eyes view the same scene and produce a three-dimensional “picture” in the mind that is a unified construction based on the information from both eyes simultaneously. But everyone knows the experience of double vision. For those with greater control over their own visual function, double vision is easily achieved by simply staring into space and relaxing the eyes. As a vision scientist myself, I have trained myself to do this so as to be able to “free fuse” a binocular pair of left-eye, right-eye images to create the perception of a 3D scene. For those who have difficulty with this, a similar experience can be had by holding a small mirror at an angle close in front of one eye, so as to send very different images into the two eyes. Whichever way you do it, the result is rather unremarkable in its familiarity, and yet when you think of it, this is in fact an example of disunity of conscious experience that is familiar to one and all. For what you see in double vision is actually two visual experiences which are seen as if they are superimposed in some manner, and yet at the same time they are also experienced each in its own separate disconnected space. It is generally possible to observe the correspondence between these two disconnected visual experiences, for example to determine which point in one eye view relates to a particular point in the other, as if viewing two slide transparencies that are overlaid on top of one another, although this correspondence is shifting and unstable, as the vergence between your two eyes tends to wander when binocular fusion is broken. But in fact it is more natural to simply ignore that correspondence and to view the two visual experiences as separate and disconnected spaces that bear no significant spatial relation to each other. When the images in our two eyes do not correspond, we tend to focus on one while ignoring the other, like an experienced marksman who no longer has to close his idle eye while aiming a gun. And yet, although the image from the idle eye is generally ignored, it has not left consciousness entirely, and with an effort, or perhaps more accurately, with an absence of effort or focus, it is possible to experience both views simultaneously.
In the trance-like state of yoga-like meditation performed under LSD, the entire visual world breaks up and fragments in this manner into a multitude of disconnected parallel conscious experiences, each one only loosly related spatially to the other experiences in the visual field. The effect is much enhanced by the fact that your eyes actually diverge or relax in this mental state, as they do under binocular fission, and this helps trigger the state of visual confusion as your mind gives up on trying to make sense of what it is seeing. As in Zen meditation, the LSD trance state is a passive or receptive state of consciousness that allots equal attention, or perhaps lack of attention, to all components of experience, which is why they appear in parallel as separate disconnected pieces. The state of normal active consciousness resists this kind of parallel confusion, and tends to select and focus on the the most significant portion, like the marksman aiming a gun, suppressing alternative experiences such as the view from the idle eye.
The deep LSD-induced trance state can be easily broken by simply moving the eyes, so conversely, the deeper states are achieved by complete mental and physical relaxation, with glazed eyes staring blankly into space. But of all the separate fragments of visual experience observed in this mental state, there is one special fragment located at the very center of the visual field, the foveal center, that appears somewhat sharper and clearer than the rest of the visual field. In fact, the visual fragmentation is somewhat like a kind of tunnel vision in which the peripheral portions of the visual field break off and disconnect from this central portion of the experience. But while the peripheral fragments become separated from the whole, they are never entirely and completely independent, but appear to interact with each other, and especially with the central foveal image in characteristic ways. For example if the foveal image shows a couple of blades of grass, twitching and dancing in the wind, then if any of the peripheral fragments of visual experience happen to show a similar image, i.e. blades of grass at a similar angle and twitching and dancing in synchrony with those in the foveal view, then the central and peripheral images become instantly coupled into a larger unified perceptual experience of a global motion sweeping through the image. Instead of a million blades of grass each twitching individually, we perceive the invisible wind as a wave of synchronous motion that sweeps invisibly across the blades of grass. The waves of motion caused by the wind are perceived as waves of energy across the visual field, a perceptual experience of something larger than the individual grass blades that collectively give rise to it. By careful adjustment of my state of relaxation, I found I could relax until the visual world fragmented into a million independent experiences, and I could gently bring it back into focus, as first a few, and then ever more of the fragmented visual experiences coupled together into fewer separate, and eventually a single unified global experience, much like the moment of binocular fusion when the two monocular images finally lock into each other to produce a single binocular experience.
When the visual world was locked into a unified perceptual experience, even then there were instabilities in local portions of the scene. A little detail seen in distant trees appears first as a mounted horseman, then pops abruptly into a hand with three fingers extended, then to a duck on a branch, then back to the mounted horseman, all the while the actual shape and color perceived remain unchanged, it is only the interpretation, or visual understanding of that pattern that switches constantly, as when a child sees mountains and castles in the clouds. One of the many possible interpretations is of a dead tree with leafless branches, (the veridical percept of what was actually there) and that is the only alternative that enters consciouseness under normal circumstances. The effect of LSD is to make the visual system more tolerant of obvious contradictions in the scene, such as a giant horseman frozen in a line of trees. The effect is like those surrealistic Dali paintings, for example the Three Ages of Man, shown in Figure 2.1, where one sees a single coherent scene, local parts of which spontaneously invert into some alternative interpretation. This is very significant for the nature of biological vision, for it shows that vision involves a dynamic relaxation process whose stable states represent the final perceptual interpretation.
There was another interesting observation that I made that day. I noticed that under LSD things appear a little more regular and geometrical than they otherwise do. It is not the shape of things that is different under LSD, but rather the shape of the things we see in objects. For example a cloud is about as irregular and fragmented a shape as a shape can be, and yet we tend to see clouds in a simplified cartoon manner, as a little puff composed of simple convex curves. A real cloud under closer inspection reveals a ragged ugly appearance with very indefinite boundaries and irregular structure. Under LSD the cloud becomes even more regular than usual. I began to see parts of the cloud as regular geometrical shapes, seeing the shapes in the shapes of the cloud as if on a transparent overlay.
Another rather astonishing observation of the LSD experience was that the visual world wavered and wobbled slowly as if the visual scene was painted on an elastic canvas that would stretch over here while shrinking over there, with great waves of expansion and contraction moving slowly across the scene, as if the whole scene was “breathing”, with its component parts in constant motion relative to each other. This was perhaps the most compelling evidence that the world of experience is not the solid stable world that it portrays. Figure 2.2 shows a sketch I made shortly after my alpine mountain adventure to try to express the wavery elasticity and the visual regularity I had observed under LSD. This picture is of course an exaggeration, more of an impression than a depiction of how the experience actually appeared.
The geometrical regularity was particularly prominent in peripheral vision, when attending to the periphery without looking to see what is there. Usually peripheral vision is hardly noticed, giving the impression of a homogeneous visual field, but under LSD the loss of resolution in peripheral vision becomes more readily apparent, especially when holding a fixed and glassy stare. And in that periphery, objects like trees or shrubs appear more regular and geometrical than they do in central vision, like artificial Christmas trees with perfectly regular spacing of brances and twigs. Again, it was not the raw image in the periphery that appeared regular or geometrical, but rather it was the invisible skeleton of visual understanding derived from that raw colored experience that exhibits the more regular features. And suddenly I could see it. This is the way the visual system encodes visual form in a compact or compressed manner, by expressing shape in terms of the next nearest regular geometrical form, or combination of forms. Children draw a tree as a circular blob of leaves on top of a straight vertical trunk, or a pine tree as a green triangle with saw-tooth sides. It is not that we see trees in those simplified forms, but rather that we see those simplified forms in the trees, and the forms that we perceive in these invisible skeletons are the expression of our understanding of the shapes we perceive those more irregular forms to have. This was later to turn into my harmonic resonance theory of the brain, as I sought an explanation for this emerging regularity in perception, but in 1990 all I saw was the periodicity and the symmetry, and I thought they were profoundly beautiful.
My friend Tim who had not done LSD for many years, responded to this sudden 5 hit dose by going into a state of complete dissociation. He lay down on the forest floor with glassy eyes, muttering “It is TOO beautiful! It is TOO beautiful!” and he did not respond to me, even when I stared him straight in the face. He reported afterwards that he found himself in a giant Gothic cathedral with the most extravagantly elaborate and brightly painted ornamental decorations all around him. This too can be seen as an extreme form of the regularization discussed above. Under the influence of this powerful dose, Tim’s visual brain could no longer keep up with the massive irregularity of the forest around him, and therefore presented the forest in simplified or abbreviated form, as the interior of a Gothic cathedral. It captures the large geometry of a ground plane that supports an array of vertical columns, each of which fans out high overhead to link up into an over-arching canopy of branches. The only difference is that in the Gothic cathedral the trees are in a regular geometrical array, and each one is a masterpiece of compound symmetry, composed of smaller pillars of different diameters in perfectly symmetrical arrangements, and studded with periodic patterns of ribs, ridges, or knobby protruberances as a kind of celebration of symmetry and periodicity for their own sake. There is a kind of geometrical logic expressed in the ornamental design. If part of the cathedral were lost or destroyed, the pattern could be easily restored by following the same logic as the rest of the design. In information-theoretic terms, the Gothic cathedral has lots of redundancy, its pattern could be expressed in a very much simpler compressed geometrical code. In Tim’s drug-addled brain his visual system could only muster a simple code to represent the world around him, and that is why Tim saw the forest as a Gothic cathedral. Under normal conditions, the additional information of irregularity, or how each tree and branch breaks from the strict regularity of the cathedral model of it, creates the irregular world of experience that we normally see around us. This suggests that the beautiful shapes of ornamental art are not the product of the highest human faculty, as is commonly supposed, but rather, ornamental art offers a window onto the workings of a simpler visual system, whose image of the world is distorted by artifacts of the representational scheme used in the brain. The Gothic cathedral gives a hint as to how the world might appear to a simpler creature, a lizard, or a snake, to whom the world appears more regular than it does to us, because its full irregularity is too expensive to encode exhaustively in all its chaotic details. Of course the flip-side of this rumination is that the world that we humans experience, even in the stone-cold sober state, is itself immeasurably simpler, more regular and geometric, that the real world itself, of which our experience is an imperfect replica. In the words of William Blake, “If the doors of perception were cleansed, everything would appear to man as it is, infinite.”
While I was a PhD student at Boston University, my parents owned a beautiful ski lodge house in the picturesque town of Mittersill in the mountains of New Hampshire, and on spring breaks or long week-ends I would invite my friends, the other PhD candidates, up to Mittersill where we would take long hikes up the mountain, and spend evenings by the fireplace. I introduced a small circle of my friends to the illuminating experience of LSD, in the hopes of sharing some of my perceptual discoveries with them, and perhaps inducing them to learn to use the experience to make discoveries of their own. Eventually Mittersill became associated in our minds with these group trips with an ever-shrinking circle of true diehard psychonauts, making our regular pilgrimage up the mountain in search of Truth and to touch the face of God. We always brought a goodly supply of Happy T’Baccy, which provides a beautiful complement and bemellowment to the otherwise sometimes sharp and jangly LSD experience. Our pattern was usually to arrive on a Friday night, cook up a great feast, and spend an evening by the fire, drinking beer and/or wine and passing the pipe around until everyone felt properly toasted. The talk was often about the workings of mind and brain, since we were all students of cognitive and neural systems. We were all adept computer programmers and well versed in mathematics as part of our PhD studies, so we all understood the issues of mental computation and representation, and I found the conversations about the computational principles of the mind, to be most interesting and intellectually stimulating. This was the high point of my academic career, this is why people want to be scientists. The next morning we would rise early, and after a hearty breakfast, we would all set off up the mountain, which was a steep brisk climb of two or three hours. About half way up the mountain, at a carefully pre-planned time, we would stop, and each “dose up” with our individually chosen dose of LSD for the occasion, timed to reach the peak of the experience about the time we reached the peak of the mountain. Then we would continue our climb through the rich lush mountain forests of New Hampshire to the top of Maida Vale, the sub-peak next to Canon Mountain, from whence a stupendous view opened up across to Canon Mountain and the vast valley below. We would settle ourselves comfortably at some location off the beaten track, and spend the best hours of the day just dreaming crazy thoughts and drinking in the experience
By now I had perfected my introspective techniques to the point that I could voluntarily relax my mind into a state of total disembodiment. The visual world began to fragment, first into two large pieces as binocular fusion was broken, then into a few smaller fragments, and eventually into a miriad of separate fragments of consciousness, like the miriad reflections from a shattered mirror. I was fascinated by this state of consciousness, and how different it was from normal consensual reality. Most alarming or significant was the total absence of my body from its normal place at the center of my world. As the world began to fragment, my body would fragment along with it, disconnected pieces of my body seeming to exist independently, one part here, another over there, but in separate spaces that did not exist in a distinct spatial relation to each other, but as if in different universes, like reflections from different shards of a shattered mirror. And as the visual world attained total fragmentation, all evidence of my body completely vanished, and I lived the experience of a disembodied spirit, pure raw experience, just sensations of color, form, and light. I felt safe and secure in this environment among friends, so I did not mind the total vulnerability afforded by a complete functional shutdown of my mind in this manner. Besides, I had learned that I could snap back together again to a relatively normal consciousness at will, simply by getting up and looking around, and interacting with the world. I was endlessly fascinated by the state of complete disembodiment, and one feature of it impressed itself on me again and again, the geometric regularity of it all. There was a powerful tendency for everything to reduce to ornamental patterns, geometrical arrangements of three-dimensional shapes, like so many glistening gems in a jewelry store, with rich periodic and symmetrical patterns in deep vibrant colors. The deeper I plunged into the experience, the simpler and more powerfully emotive those patterns became. And since my body had totally vanished, these patterns were no longer patterns I viewed out in the world, but rather, the patterns were me, I had become the spatial patterns which made up my experience. I began to see that symmetry and periodicity were somehow primal to experience.
I remember lying on my back and watching the clouds in the sky overhead. Weather patterns are often chaotic at the tops of mountains, and on more than one occasion we were located at a spot where the clouds that formed on the windward side of the mountain were just cresting the summit, where they would dissove in a continuous process of chaotic fragmentation, a veritable Niagra Falls of nebular dissolution, evocative of the fragmentation of my psychedelic experience. The shattered shreds of cloud, viewed from this close up, were about the most ragged and irregular shapes you could imagine, and yet under the influence of the drug I kept seeing fleeting geometrical patterns in them. There were great circular pinwheels and arabesques, patterns like those carved in the doors of Gothic cathedrals, but each flashing in and out of brief existence so quickly that it would be impossible to draw them. I began to realize that the human mind is one great symmetry engine, that the mind makes sense of the world it sees by way of the symmetries that it finds in it. Symmetry is the glue that binds the fragments of experience into coherent wholes.
Figure 2.3 shows a series of paintings by artist Louis Wain, that I find very evocative of the LSD experience. Wain suffered a progressive psychosis that manifested itself in his art, which was originally quite realistic, becomming progressively more abstract and ornamental, in the manner I observed in the various stages or levels of my LSD dissociation. Figure 2.3 A shows a fairly realistic depiction of a cat, but there are curious artifacts in the textured background, a mere hint of periodicity breaking out. I would see such artifacts everywhere, almost invisible, fleeting, and faint, reminiscent of the ornamental pinstripe patterns painted on trucks and motorcycles, a kind of eddy in the stream of visual consciousness as it flows around visual features in the scene. As I descended into the fully dissociated states, the patterns would become more like Figure 2.3 B, C, and D, breathtakingly ornate, with many levels of compound symmetry, revealing the eigenfunctions of perceptual representation, the code by which visual form is represented in the brain.
At times we would break free from our individual reveries, and share absurd nonsensical conversations about our observations. One time, looking down at the vast valley stretching out below us, a vista that seemed to stretch out to distances beyond comprehension, my old friend Peter said that it was hard to tell whether all that scenery was just “way out there”, or was it “way WAY out there?” Of course we both laughed heartily at the absurdity of his statement, but I knew exactly what he meant. When viewing such a grand vista under normal consciousness, one is deeply impressed by the vastness of the view.
But under the influence of the drug, the vista somehow did not look quite as large as we “knew” that it really was. What Peter was saying was that for some strange reason, the world had shrunken back in on us, and that magnificently vast valley had shrunken to something like a scale model, or a diorama, where it is easy to see how vast the modeled valley is supposed to be, but the model itself appears very much smaller than the valley it attempts to portray. What Peter was observing was the same thing I had observed, and that was beginning to even become familiar, that the world of our experience is not a great open vastness of infinite space, but like the domed vault of the night sky, our experience is bounded by, and contained within, a vast but finite spherical shell, and under the influence of psychedelic drugs that shell seemed to shrink to smaller dimensions, our consciousness was closing in on its egocentric center. Many years later after giving it considerable thought, I built the diorama shown in Figure 2.4 to depict the geometry of visual experience as I observed it under LSD.
And when I was in the completely disembodied state, my consciousness closed in even smaller and tighter, the range of my experience was all contained within a rather modest sized space, like a glass showcase in a jewelry store, and the complexity of the patterns in that space was also reduced, from the unfathomably complex and chaotic fractal forms in a typical natural scene, to a much simpler but powerfully beautiful glistening ornamental world of the degree of complexity seen in a Gothic cathedral. The profound significance of these observations dawned on me incrementally every time we had these experiences. I can recall fragmentary pieces of insights gleaned through the confusion of our passage down the mountain, stopping to sit and think wherever and whenever the spirit took us. At one point three of us stopped by a babbling brook that was crashing and burbling through the rocks down the steep mountain slope. We sat in silent contemplation at this primal “white noise” sound, when Lonce commented that if you listen, you can hear a million different sounds hidden in that noise. And sure enough when I listened, I heard laughing voices and honking car horns and shrieking crashes and jangly music and every other possible sound, all at the same time superimposed on each other in a chaotic jumbled mass. It was the auditory equivalent of what we were seeing visually, the mind was latching onto the raw sensory experience not so much to view it as it really is, but to conjure up random patterns from deep within our sensory memory and to match those images to the current sensory input. And now I could see the more general concept. We experience the world by way of these images conjured up in our minds. I came to realize why the LSD experience was enjoyed best in outdoors natural settings, and that is because the chaos of a natural scene, with its innumerable twigs and leaves and stalks, acts as a kind of “white noise” stimulus, like the babbling brook, a stimulus that contains within it every possible pattern, and that frees our mind to interpret that noise as anything it pleases.
On one occasion, on arrival back down at the lodge, our minds were still reeling, and we were not yet ready to leave the magnificence of the natural landscape for the relatively tame and controlled environment indoors, so Andy and I stopped in the woods behind the house and just stood there, like deer in the headlights, drinking in the experience. It was a particularly dark green and leafy environment in the shadow behind the house, with shrubs and leaves at every level, around our ankles, our knees, our shoulders, and all the way up to a leafy canopy high overhead, and at every depth and distance from inches away to the farthest visible depths of the deep green woods. The visual chaos was total and complete, the world already fragmented into millions and millions of apparently disconnected features and facets uniformly in all directions, that it hardly required LSD to appreciate the richness of this chaotic experience. But under LSD, and with the two of us standing stock still for many long minutes of total silence, we both descended into a mental fragmentation as crazy as the fragmented world around us. My body disappeared from my experience, and I felt like I became the forest; the forest and all its visual chaos was me, which in a very real sense it actually was. And in that eternal timeless moment, wrapped in intense but wordless thought, I recognized something very very ancient and primal in my experience. I felt like I was sharing the experience of some primal creature in an ancient swamp many millions of years ago, when nature was first forging its earliest models of mind from the tissue of brain. I saw the world with the same intense attentive concentration, bewilderment, and total absence of human cogntive understanding, as that antediluvian cretaceous lizard must have experienced long ago and far away. The beautiful geometrical and symmetrical forms that condensed spontaneously in my visual experience were like the first glimmerings of understanding emerging in a primitive visual brain. This is why I do psychedelic drugs, to connect more intimately with my animal origins, to celebrate the magnificent mental mechanisms that we inherit from the earliest animal pioneers of mind.
One time after we had descended from the mountain and were sitting around the lodge drinking and smoking in a happy state of befuddlement, a peculiar phenomenon manifested itself that made a deep impression on me. It was getting close to supper time and somebody expressed something to that effect. But our minds were so befuddled by the intoxication that we could only speak in broken sentences, as we inevitably forgot what we wanted to say just as we started saying it, instantly confused by our own initial words. So the first person must have said something like “I’m getting hungry. Do you think…” and then tailed off in confusion. But somebody else would immediately sense the direction that thought was going, and would instinctively attempt to complete the sentence with something like “…we otta go get…” before himself becoming confused, at which a third person might interject “…something to eat?” It does not sound so remarkable here in the retelling, but what erupted before our eyes was an extraordinarily fluid and coherent session of what we later referred to as group thought, where the conversation bounced easily from one person to the next, each person contributing only a fragmentary thought, but nobody having any clear idea of what the whole thought was supposed to be, or how it was going to end. What was amazing about the experience was the coherence and purposefulness of the emergent thought, how it seemed to have a mind of its own independent of our individual minds, even though of course it was nothing other than the collective action of our befuddled minds. It was fascinating to see this thought, like a disembodied spirit, pick up and move our bodies and hands in concerted action, one person getting wood for the fire, another getting out a frying pan, a third going for potatoes, or to open a bottle of wine, none of it planned by any one person, and yet each person chipped in just as and when they thought would be appropriate, as the supper apparently “made itself” using us as its willing accomplices. It was reminiscent of the operational principle behind a ouija board, where people sitting in a circle around a table, all rest an index finger on some movable pointer on a circular alphabet board, and the pointer begins to spell out some message under the collective action of all those fingers. At first the emergent message appears random, but after the first few letters have been spelled out, the participants start to guess at each next letter, and without anyone being overtly aware of it, the word appears to “spell itself” as if under the influence of a supernatural force. As with the ouija board, none of us participating in the group thought experience could hold a coherent thought in their head, and yet coherent thoughts emerged nevertheless, to the bewilderment of us all. And later I observed the same phenomenon with different LSD parties. I have subsequently encountered people well versed in the psychedelic experience who claim with great certainty to have experienced mental telepathy in the form of wordless communication and sharing of thoughts. But for us hard-nosed scientific types, the natural explanation for this apparently supernatural experience is just as wonderous and noteworthy, because it offers a hint as to how the individual parts of a mind act together in concert to produce a unified coherent pattern of behavior that is greater than the mere sum of its constituent parts. The principle of group thought occurs across our individual brains in normal sober consciousness as we instinctively read each other’s faces and follow each other’s thoughts, and it is seen also whenever people are moving a heavy piece of furniture, all lifting and moving in unison in a coherent motion towards some goal. But the psychedelic experience highlighted this aspect of wordless communication and brought it to my attention in clearer, sharper focus.
As the evening tailed on and the drug’s effect gradually subsided in a long slow steady decline, we would sit by the fire and pass a pipe or joint around, and share our observations and experiences of the day. At one point Lonce, who had just taken a puff of a joint, breathed out and held it contemplatively for a while, before taking a second puff and passing it on to the next person in the circle. I objected to this behavior, and accused Lonce of “Bogarting” the joint – smoking it all by himself without passing it along. Lonce responded to this with an explanation that where he comes from, people don’t puff and pass in haste, but every man has the right to a few moments of quiet contemplation and a second puff before passing it along. That was, he explained, the civilized way of sharing a joint. So we immediately adopted Lonce’s suggestion, and this method of sharing a joint has henceforth and forever since been referred to by us as the “Lonce Method”.
As I have explained, the purpose of all this psychonautical exploration was not merely for our own entertainment, although entertaining it was, and to the highest degree. No, the primary purpose of these psychonautical exploits was clear all along at least in my mind, and that was to investigate the theoretical implications of these experiences to theories of mind and brain. And my investigations were actually beginning to bear fruit in two completely separate directions, each of which had profound theoretical implications. At that time I was studying neural network theories of the brain, or how the brain makes sense of the visual world. A principal focus of our investigation was the phenomena of visual illusions, like the Kanizsa figure shown in Figure 2.5 A. It is clear that what is happening here is that the visual mind is creating illusory contours that link up the fragmentary contours suggestive of the illusory triangle. In our studies we learned of Stephen Grossberg’s neural network model of this phenomenon. Grossberg proposed that the visual brain is equipped with oriented edge detector neurons that fire whenever a visual edge passes through their local receptive field. These neurons would be triggered by the stark black / white contrast edges of the stimulus in Figure 2.5 A. A higher level set of neurons would then detect the global pattern of collinearity, and sketch in the illusory contour by a process of collinear completion. These higher level “cooperative cells” were equipped with much larger elongated receptive fields, long enough to span the gap in the Kanizsa figure, and the activation of these higher level neurons in turn stimulated lower level local edge detector neurons located along the illusory contour, and that activation promoted the experience of an illusory contour where there is none in the stimulus
I believed I was seeing these illusory contours in my LSD experience, as suggested by all the curvy lines in my sketch in Figure 2.2 above. But I was not only seeing the contours in illusory figures, I was seeing “illusory” contours just about everywhere across the visual field. But curiously, these contours were not “visible” in the usual sense, but rather, they are experienced in an “invisible” manner as something you know is there, but you cannot actually see. However I also noticed that these contours did have an influence on the visible portions of the scene. I have mentioned how under LSD the visual world tends to “breathe”, to waver and wobble like a slow-motion movie of the bottom of a swimming pool viewed through its surface waves. In fact, the effect of the “invisible” contours was very much like the effect of the invisible waves on the surface of the pool, which can also be seen only by their effects on the scene viewed through them. You cannot see the waves themselves, all you can see is the wavering of the world caused by those waves. Well I was observing a very similar phenomenon in my LSD experience. I devised a three-dimensional Kanizsa figure, shown in Figure 2.5 B, and observed that even in the stone-cold sober state, I could see a kind of warp or wobble of the visual background behind the illusory contour caused by the figure, especially if the figure is waved back and forth gently against a noisy or chaotic background. So far, my LSD experiences were consistent with our theoretical understanding of the visual process, confirming to myself by direct observation an aspect of the neural network model we were currently studying in school.
But there was one aspect of the LSD experience that had me truly baffled, and that was the fantastic symmetries and periodicities that were so characteristic of the experience. What kind of neural network model could possibly account for that? It was an issue that I grappled with for many months that stretched into years. In relation to Grossberg’s neural network, it seemed that the issue concerned the question of what happens at corners and vertices where contours meet or cross. A model based on collinearity alone would be stumped at image vertices. And yet a straightforward extension of Grossberg’s neural network theory to address image vertices leads to a combinatorial explosion.The obvious extension, initially proposed by Grossberg himself, was to posit specialized “cooperative cells” with receptive fields configured to detect and enhance other configurations of edges besides ones that are collinear. But the problem is that you would need so many different specialized cells to recognize and complete every possible type of vertex, such as T and V and X and Y vertices, where two or more edges meet at a point, and each of these vertex types would have to be replicated at every orientation, and at every location across the whole visual field! It just seemed like a brute-force solution that was totally implausible.
Then one day after agonizing for months on this issue, my LSD observations of periodic and symmetrical patterns suddenly triggered a novel inspiration. Maybe the nervous system does not require specialized hard-wired receptive fields to accomodate every type of vertex, replicated at every orientation at every spatial location. Maybe the nervous system uses something much more dynamic and adaptive and flexible. Maybe it uses circular standing waves to represent different vertex types, where the standing wave can bend and warp to match the visual input, and standing waves would explain all that symmetry and periodicity so clearly evident in the LSD experience as little rotational standing waves that emerge spontaneously at image vertices, and adapt to the configuration of those vertices. Thanks to illegal psychotropic substances, I had stumbled on a staggeringly significant new theory of the brain, a theory which, if proven right, would turn the world of neuroscience on its head! My heart raced and pounded at the implications of what I had discovered. And this theory became the prime focus of my PhD thesis (Lehar 1994), in which I did computer simulations of my harmonic resonance model that replicated certain visual illusions in a way that no other model could. I had accomplished the impossible. I had found an actual practical use and purpose for what was becoming my favorite pass-time, psychedelic drugs! It was a moment of glory for an intrepid psychonaut, a turning point in my life. Figure 2.6 shows a page from my notebook dated October 6 1992, the first mention of my new theory of harmonic resonance in the brain.
Compare the above descriptions of point-of-view fragmentation, visual coherence, and symmetry as experienced on LSD, with our very own account of symmetrical pattern completion during psychedelic experiences as presented in Algorithmic Reduction of Psychedelic States (slightly edited for clarity):
Lower Symmetry Detection and Propagation Thresholds
Finally, this is perhaps the most interesting and ethically salient effect of psychedelics. The first three effects (tracers, drifting, and pattern recognition) are not particularly difficult to square with standard neuroscience. This fourth effect, while not incompatible with connectionist accounts, does suggest a series of research questions that may hint at an entirely new paradigm for understanding consciousness.
We have not seen anyone in the literature specifically identify this effect in all of its generality. The lowering of the symmetry detection threshold really has to be experienced to be believed. We claim that this effect manifests in all psychedelic experiences to a greater or lesser extent, and that many effects can in fact be explained by simply applying this effect iteratively.
Psychedelics make it easier to find similarities between any two given phenomenal objects. When applied to perception, this effect can be described as a lowering of the symmetry detection threshold. This effect is extremely general and symmetry should not be taken to refer exclusively to geometric symmetry.
How symmetries manifest depends on the set and setting. Researchers interested in verifying and exploring the quantitative and subjective properties of this effect will probably have to focus first on a narrow domain; the effect happens in all experiential modalities.
For now, let us focus on the case of visual experience. In this domain, the effect is what PsychonautWiki calls Symmetrical Texture Repetition:
Symmetry detection during psychedelic experiences requires that one’s attention interprets a given element in the scene as a symmetry element. Symmetry elements are geometrical points of reference about which symmetry operations can take place (such as axes of rotation, mirror planes, hyperplanes, etc.). In turn, a collection of symmetry elements defines a symmetry structure in the following way: A symmetry structure is a set of n-dimensional symmetry elements for which the qualities of the experience surrounding each element obeys the symmetry constraints imposed by all the elements considered together.
Psychedelic symmetry detection can be (and typically is) recursively applied to previously constructed symmetry structures. At a given time multiple independent symmetry structures can coexist inside an experience. By guiding one’s attention one can make these structures interact and ultimately merge. Formally, each symmetry structure is capable of establishing a merging relationship with another symmetry structure. This is achieved by simultaneously focusing one’s attention on both. These relationships are fleeting, but they influence the evolution of the relative position of each symmetry element. When two symmetry structures are in a merging relationship, it is possible to rearrange them (with the aid of drifting and pattern recognition) to create a symmetrical structure that incorporates the symmetry elements of both substructures at once. To do so, one’s mind can either detect one (or several) more symmetry elements along which the previously-existing symmetry elements are made to conform, or, alternatively, if the two pre-existing symmetry structures share a symmetry element (e.g. an axis of rotation of order 3), these corresponding identical symmetry elements can fuse and become a bridge that merges both structures.
Surprisingly, valence seems to be related to psychedelic symmetry detection. As one constructs symmetry structures, one becomes aware of an odd and irresistible subjective pull towards building even higher levels of symmetry. In other words, every time the structure of one’s experience is simplified by identifying a new symmetry element in the scene, one’s whole experience seems to snap into a new (simplified) mode, and this comes with a positive feeling. This feeling can take many forms: it may feel blissful, interesting, beautiful, mind-expanding, and/or awe-producing, all depending on the specific structures that one is merging. Conversely when two symmetry structures are such that merging them is either tricky of impossible, this leads to low valence: frustration, anxiety, pain and an odd feeling of being stuck between two mutually unintelligible worlds. We hypothesize that this is the result of dissonance between the incompatible symmetry structures.
If one meditates in a sensorially-minimized room during a psychedelic experience while being aware that one’s symmetry detection threshold has been lowered by the substance, one can recursively re-apply this effect to produce all kinds of complex mathematical structures that incorporate complex symmetry element interactions. In other words, with the aid of concentration one can climb the symmetry gradient (i.e. increase the total number of symmetry elements) up to the point where the degrees of freedom afforded by the symmetry structure limit any further element from being incorporated into it. We will call these experiences peak symmetry states.
Future research should explore and compare the various states of consciousness that exhibit peak symmetry. There is very likely an enormous number of peak symmetry states, some of which are fairly suboptimal and others that cannot be improved upon. If there is a very deep connection between valence, symmetry, information and harmony, it would very likely show in this area. Indeed, we hypothesize that the highest levels of valence that can be consciously experienced involve peak symmetry states. Anecdotally, this connection has already been verified, with numerous trip reports of people achieving states of unimaginable bliss by inhabiting peak symmetry states (often described as fractal mandala-like mirror rooms).
The range of peak symmetry states include fractals, tessellations, graphs, and higher dimensional projections. Which one of these states contains the highest degree of inter-connectivity? And if psychedelic symmetry is indeed related to conscious bliss, which experience of symmetry is human peak bliss?
The pictures above all illustrate possible peak symmetry states one can achieve by combining psychedelics and meditation. The pictures illustrate only the core structure of symmetries that are present in these states of consciousness. What is being reflected is the very raw “feels” of each patch of your experiential field. Thus these pictures really miss the actual raw feelings of the whole experience. They do show, however, a rough outline of symmetrical relationships possible in one of these experiences.
Since control interruption is also co-occurrent with the psychedelic symmetry effect, previously-detected symmetries tend to linger for long periods of time. For this reason, the kinds of symmetries one can detect at a given point in time is a function of the symmetries that are currently being highlighted. And thanks to drifting and pattern recognition enhancement, there is some wiggle room for your mind to re-arrange the location of the symmetries experienced. The four effects together enable, at times, a smooth iterative integration of so many symmetries that one’s consciousness becomes symmetrically interconnected to an unbelievable degree.
What may innocently start as a simple two-sided mirror symmetry can end up producing complex arrangements of self-reflecting mirrors showing glimpses of higher and higher dimensional symmetries. Studying the mathematical properties of the allowed symmetries is a research project that has only just begun. I hope one day dedicated mathematicians describe in full the class of possible high-order symmetries that humans can experience in these states of consciousness.
Anecdotally, each of the 17 possible wallpaper symmetry groups can be instantiated with this effect. In other words, psychedelic states lower the symmetry detection threshold for all of the mathematically available symmetrical tessellations.
Revising the symmetrical texture repetition of grass shown above, we can now discover that the picture displays the wallpaper symmetry found in the lower left circle above:
In very high doses, the symmetry completion is so strong that at any point one risks confusing left and right, and thus losing grasp of one’s orientation in space and time. Depersonalization is, at times, the result of the information that is lost when there is intense symmetry completion going on. One’s self-models become symmetrical too quickly, and one finds it hard to articulate a grounded point of view.
In Preaceful Qualia: The Manhattan Project of Consciousness we explored possible information-processing applications for climbing the symmetry gradient as described above:
LSD-like states allow the global binding of otherwise incompatible schemas by softening the degree to which neighborhood constraints are enforced. The entire experience becomes a sort of chaotic superposition of locally bound islands that can, each in its own way, tell sensory-linguistic stories in parallel about the unique origin and contribution of their corresponding gestalts to the narrative of the self.
This phenomenon forces, as it were, the onset of cognitive dissonance between incompatible schemas that would otherwise evade mutual contact. On the bright side, it also allows mutual resonance between parts that agree with each other. The global inconsistencies are explored and minimized. One’s mind can become a glorious consensus.
In therapy, LSD-like states had been used for many decades in order to integrate disparate parts of one’s personality into a (more) coherent and integrated lifeworld. But scientists at the beginning didn’t know why this worked.
The Turing module then discovered that the kaleidoscopic world of acid can be compared to raising the temperature within an Ising model. If different gestalts imply a variety of semantic-affective constraints, kaleidoscopic Frame Stacking has the formal effect of expanding the region of one’s mind that is taken into consideration for global consistency at any given point in time. The local constraints become more loose, giving global constraints the upper hand. The degree of psychedelia is approximately proportional to the temperature of the model, and when you let it cool, the grand pattern is somewhat different. It is more stable; one arrives at a more globally consistent state. Your semantic-affective constraints are, on the whole, better satisfied. The Turings called this phenomenon qualia annealing.
Another key reference to look at within this theme is the discussion of non-Euclidean symmetry in the article titled The Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets, and Saddled Scenes… here we jump in medias res to the description of the 2nd and 3rd plateau of DMT intoxication:
(2) The Chrysanthemum
If one ups the dose a little bit and lands somewhere in the range between 4 to 8 mg, one is likely to experience what Terrence McKenna called “the Chrysanthemum”. This usually manifests as a surface saturated with a sort of textured fabric composed of intricate symmetrical relationships, bright colors, shifting edges and shimmering pulsing superposition patterns of harmonic linear waves of many different frequencies.
Depending on the dose consumed one may experience either one or several semi-parallel channels. Whereas a threshold dose usually presents you with a single strong vibe (or ambiance), the Chrysanthemum level often has several competing vibes each bidding for your attention. Here are some examples of what the visual component of this state of consciousness may look like.
The visual component of the Chrysanthemum is often described as “the best screen saver ever“, and if you happen to experience it in a good mood you will almost certainly agree with that description, as it is usually extremely harmonious, symmetric and beautiful in uncountable ways. No external input can possibly replicate the information density and intricate symmetry of this state; such state has to be endogenously generated as a a sort of harmonic attractor of your brain dynamics.
You can find many replications of Chrysanthemum-level DMT experiences on the internet, and I encourage you to examine their implicit symmetries (this replication is one of my all-times favorite).
In Algorithmic Reduction of Psychedelic States we posited that any one of the 17 wallpaper symmetry groups can be instantiated as the symmetries that govern psychedelic visuals. Unfortunately, unlike the generally slow evolution of usual psychedelic visuals, DMT’s vibrational frequency forces such visuals to evolve at a speed that makes it difficult for most people to spot the implicit symmetry elements that give rise to the overall mathematical structure underneath one’s experience. For this reason it has been difficult to verify that all 17 wallpaper groups are possible in DMT states. Fortunately we were recently able to confirm that this is in fact the case thanks to someone who trained himself to do just this. I.e. detecting symmetry elements in patterns at an outstanding speed.
An anonymous psychonaut (whom we will call researcher A) sent a series of trip report to Qualia Computing detailing the mathematical properties of psychedelic visuals under various substances and dose regimens. A is an experienced psychonaut and a math enthusiast who recently trained himself to recognize (and name) the mathematical properties of symmetrical patterns (such as in works of art or biological organisms). In particular, he has become fluent at naming the symmetries exhibited by psychedelic visuals. In the context of 2D visuals on surfaces, A confirms that the symmetrical textures that arise in psychedelic states can exhibit any one of the 17 wallpaper symmetry groups. Likewise, he has been able to confirm that every possible spherical symmetry group can also be instantiated in one’s mind as a resonant attractor on these states.
The images below show some examples of the visuals that A has experienced on 2C-B, LSD, 4-HO-MET and DMT (sources: top left, top middle, the rest were made with this service):
The Chrysanthemum level interacts with sensory input in an interesting way: the texture of anything one looks at quickly becomes saturated with nested 2-dimensional symmetry groups. If you took enough DMT to take you to this level and you keep your eyes open and look at a patterned surface (i.e. statistical texture), it will symmetrify beyond recognition. A explains that at this level DMT visuals share some qualities with those of, say, LSD, mescaline, and psilocin. Like other psychedelics, DMT’s Chrysanthemum level can instantiate any 2-dimensional symmetry, yet there are important differences from other psychedelics at this dose range. These include the consistent change in ambiance (already present in threshold doses), the complexity and consistency of the symmetrical relationships (much more dense and whole-experience-consistent than is usually possible with other psychedelics), and the speed (with a control-interruption frequency reaching up to 30 hertz, compared to 10-20 hertz for most psychedelics). Thus, people tend to point out that DMT visuals (at this level) are “faster, smaller, more detailed and more globally consistent” than on comparable levels of alteration from similar agents.
Now, if you take a dose that is a little higher (in the ballpark of 8 to 12 mg), the Chrysanthemum will start doing something new and interesting…
(3) The Magic Eye Level
A great way to understand the Magic Eye level of DMT effects is to think of the Chrysanthemum as the texture of an autostereogram (colloquially described as “Magic Eye” pictures). Our visual experience can be easily decomposed into two points-of-view (corresponding to the feed coming from each eye) that share information in order to solve the depth-map problem in vision. This is to map each visual qualia to a space with relative distances so (a) the input is explained and (b) you get recognizable every-day objects represented as implicit shapes beneath the depth-map. You can think of this process as a sort of hand-shake between bottom-up perception and top-down modeling.
In everyday conditions one solves the depth-map problem within a second of opening one’s eyes (minus minor details that are added as one looks around). But on DMT, the “low-level perceptions” looks like a breathing Chrysanthemum, which means that the top-down modeling has that “constantly shifting” stuff to play with. What to make of it? Anything you can think of.
There are three major components of variance on the DMT Magic Eye level:
- Texture (dependent on the Chrysanthemum’s evolution)
- World-sheet (non-occluduing 3D1T depth maps)
- Extremelly lowered information copying threshold.
The image on the left is a lobster, the one on the center is a cone and the one to the right contains furniture (a lamp, a chair and a table). Notice that what you see is a sort of depth-map which encodes shapes. We will call this depth-map together with the appearance of movement and acceleration represented in it, a world-sheet.
The world-sheet encodes the “semantic content” of the scene and is capable of representing arbitrary situations (including information about what you are seeing, where you are, what the entities there are doing, what is happening, etc.).
It is common to experience scenes from usually mundane-looking places like ice-cream stores, play pens, household situations, furniture rooms, apparel, etc.. Likewise, one frequently sees entities in these places, but they rarely seem to mind you because their world is fairly self-contained. As if seeing through a window. People often report that the worlds they saw on a DMT trip were all “made of the same thing”. This can be interpreted as the texture becoming the surfaces of the world-sheet, so that the surfaces of the tables, chairs, ice-cream cones, the bodies of the people, and so on are all patterned with the same texture (just as in actual autostereograms). This texture is indeed the Chrysanthemum completely contorted to accommodate all the curvature of the scene.
Magic Eye level scenes often include 3D geometrical shapes like spheres, cones, cylinders, cubes, etc. The complexity of the scene is roughly dose-dependent. As one ups the highness (but still remaining within the Magic Eye level) complex translucid qualia crystals in three dimensions start to become a possibility.
Whatever phenomenal objects you experience on this level that lives for more than a millisecond needs to have effective strategies for surviving in an ecosystem of other objects adapted to that level. Given the extremely lowered information copying threshold, whatever is good at making copies of itself will begin to tesselate, mutate and evolve, stealing as much of your attention as possible in the way. Cyclic transitions occupy one’s attention: objects quickly become scenes which quickly become gestalts from which a new texture evolves in which new objects are detected and so on ad infinitum.
A reports that at this dose range one can experience at least some of the 230 space groups as objects represented in the world-sheet. For example, A reports having stabilized a structure with a Pm-3m symmetry structure, not unlike the structure of ZIF-71-RHO. Visualizing such complex 3D symmetries, however, does seem to require previous training and high levels of mental concentration (i.e. in order to ensure that all the symmetry elements are indeed what they are supposed to be).
There is so much qualia laying around, though, at times not even your normal space can contain it all. Any regular or semi regular symmetrical structure you construct by centering your attention prone to overflow if you focus too much on it. What does this mean? If you focus too much on, for example, the number 6, your mind might represent the various ways in which you can arrange six balls in a perfectly symmetrical way. Worlds made of hexagons and octahedrons interlocked in complex but symmetrical ways may begin to tesselate your experiential field. With every second you find more and more ways of representing the number six in interesting, satisfying, metaphorically-sound synesthetic ways (cf. Thinking in Numbers). Now, what happens if you try to represent the number seven in a symmetric way on the plane? Well, the problem is that you will have too many heptagons to fit in Euclidean space (cf. Too Many Triangles). Thus the resulting symmetrical patterns will seem to overflow the plane (which is often felt as a folding and fluid re-arrangement, and when there is no space left in a region it either expands space or it is felt as some sort of synesthetic tension or stress, like a sense of crackling under a lot of pressure).
In particular, A claims that in the lower ranges of the DMT Magic Eye level the texture of the Chrysanthemum tends to exhibit heptagonal and triheptagonal tilings (as shown in the picture above). A explains that at the critical point between the Chrysanthemum and the Magic Eye levels the intensity of the rate of symmetry detection of the Chrysanthemum cannot be contained to a 2D surface. Thus, the surface begins to fold, often in semi-symmetric ways. Every time one “recognizes” an object on this “folding Chrysanthemum” the extra curvature is passed on to this object. As the dose increases, one interprets more and more of this extra curvature and ends up shaping a complex and highly dynamic spatiotemporal depth map with hyperbolic folds. In the upper ranges of the Magic Eye level the world-sheet is so curved that the scenes one visualize are intricate and expansive, feeling at times like one is able to peer through one’s horizon in all directions and see oneself and one’s world from a distance. At some critical point one may feel like the space around one is folding into a huge dome where the walls are made of whatever texture + world-sheet combination happened to win the Darwinian selection pressures applied to the qualia patterns on the Magic Eye level. This concentrated hyperbolic synesthetic texture is what becomes the walls of the Waiting Room…
As suggested by the quotes above, psychedelic symmetries are extremely beautiful. This is puzzling for most worldviews. But once you take into account the Tyranny of the Intentional Object and the Symmetry Theory of Valence, it begins to make sense why peak symmetry on psychedelics is so delightfully amazing (sometimes unimaginably better than a great orgasm or a back-rub on ecstasy). In this vein, we are proud to point out that we have worked out some precise, empirically testable, predictions based on connectome-specific harmonic waves and the symmetry theory of valence (see: Quantifying Bliss).
Interestingly, the process of point-of-view fragmentation and subsequent annealing to global geometric coherence is hinted at by John C. Lilly in his book Programming and Metaprogramming in the Human Biocomputer (you can read the relevant quote here: Psychedelic alignment cascades).
Finally, I would like to draw attention to David Pearce‘s quote about psychedelics: Their Scientific Significance is Hard to Overstate.
As evidenced in Steven Lehar’s writeup (and the other quotes and references provided above), we could say that giving psychedelics to brilliant people with a scientific background in cognitive science and natural philosophical talent does indeed have the ability to expand our evidential base for the nature of consciousness and the way our brains work.
It is thus far more useful for the advancement of the science of consciousness to allocate such experiences to serious scientifically-minded psychonauts than it is to give those same agents to people with pre-scientific frameworks. The phenomenological descriptions and insights provided by a single Steven Lehar on acid are worth a thousand Buddhists, French Existentialists, poets, and film-makers on LSD.
Either way, it is unconscionable that today most leading academics working on the problem of consciousness have no personal experience with these agents, nor they show much interest in the alien state-spaces that they disclose. That’s about as weird as physicists only showing interest in what happens at room-temperature, even though most precise mathematical theories of the physical world can only be tested in extreme conditions (such as high-energy particle collisions). Just as we can expect that a few observations of the behavior of matter in extreme conditions will provide a lot more information than thousands of observations of matter in known “everyday” conditions, the ultimate nature of qualia is most likely to be understood by studying its properties in extreme (e.g. high-energy) neuronal environments.