Harmonic Society (1/4): Art as Family Resemblance + Cool Kid Theory

Note – The full essay’s title is: Harmonic Society: 8 Models of Art for a Scientific Paradigm of Aesthetic Qualia

The following essay was recently published in the Berlin-based art magazine Art Against Art (issue).

The essay offers eight different models of art: models 1 through 4 have been discussed in academic literature and the current intellectual zeitgeist, while models 5 through 8 are new, original, and the direct result of recent insights about consciousness as uncovered by modern neuroscience, philosophy of mind, and the work of the Qualia Research Institute.

Below you will find the abstract, introduction, and the first 2 (out of 8) models of art. I will be sharing 2 new models each week until I’ve shared all 8 of them.

Contemporary writing about art is in exactly the same place as writing about nature was before Darwin came along. Before Darwin there was no single intellectual matrix upon which to fix all of these impressions and ideas. There was no way of organizing all of that information. And this seems to me to be the situation we are in with the arts, as well.


– Brian Eno, “What is Art Actually For?” (2012)


We start by assuming that there are real stakes in art. This motivates the analysis of this subject matter, and it focuses where we place our gaze. We examine a total of eight models for “what art might be about”, divided into two groups. The first group of four are some of the most compelling contemporary models, which derive their strength from fields such as philosophy of language, economics, evolutionary psychology, and anthropology. These models are: (1) art as a word only definable in a family resemblance way with no necessary or sufficient features, (2) art as social signaling of desirable genetic characteristics, (3) art as Schelling point creation, and (4) art as the cultivation of sacred experiences. These four models, however enlightening, nonetheless only account for what David Marr might describe as the computational level of abstraction while leaving the algorithmic and implementation levels of abstraction unexamined. They explain what art is about in terms of why it exists and what its coarse effects are, but not the nature of its internal representations or its implementation. Hence we propose a second group of four models in order to get a “full-stack” view of art. These models are: (5) art as a tool for exploring the state-space of consciousness, (6) art as a method for changing the energy parameter of experience, (7) art as activities that induce neuronal annealing (which implements novel valence modulation, i.e. surprising pain/pleasure effects), and (8) art as an early prototype of a future affective language that will allow diverse states of consciousness to make sense of each other. These frameworks address how art interfaces with consciousness and how its key valuable features might be implemented neurologically. We conclude with a brief look at how embracing these new paradigms could, in principle, lead to the creation of a society free from suffering and interpersonal misunderstanding. Such a society, aka. Harmonic Society, would be designed with the effect of guaranteeing positive valence interactions using principles from a post-Galilean science of consciousness.


We shall start this essay by making the assumption that there are real and substantial stakes when it comes to art. Not all of my readers will agree with this point, and those who do might in fact secretly worry that they are overvaluing art for selfish reasons. I come here to suggest that there could be very real and substantial stakes in art, and that to realize this you do not need to buy into sentimentalism, fanaticism, wishful thinking, or traditionalist attitudes. You could start with the sheer amount of human attention that is devoted to art in one way or another. Art seems to make a lot of people do things, and do them with a lot of their energy and focus. Indeed, many people point at their intimations with art as personally defining moments. Some say their best self is expressed in their creation, consumption, or participation in art. So what is all of this fuss about?

Alas, most things of grand significance have been analyzed by countless people. The sheer magnitude of certain human activity is not a justification for caring about it at the margin, considering the often corresponding sheer magnitude of other people already analyzing and scientifically probing the field. That is, of course, unless you have a reason to think that you have something that everyone else has been missing all this time. And this is the case for you and me right now. The new perspectives on art on this essay come from thinking very deeply about consciousness, qualia, and the possible implementations of the pleasure-pain axis, aka. valence. We will see how investigating these questions cashes out in novel insights about art. In turn, these models, as well as the empirically testable predictions they generate, might have the ability to reframe what is going on with art in a way that allows us to predict how and when it will bring about good and desirable effects.

The 8 Models

  1. Art as family resemblance (Semantic Deflation)
  2. Art as Signaling (Cool Kid Theory)
  3. Art as Schelling-point creation (a few Hipster-theoretical considerations)
  4. Art as cultivating sacred experiences (self-transcendence and highest values)
  5. Art as exploring the state-space of consciousness (ϡ☀♘🏳️‍🌈♬♠ヅ)
  6. Art as something that mess with the energy parameter of your mind ()
  7. Art as puzzling valence effects (emotional salience and annealing as key ingredients)
  8. Art as a system of affective communication: a protolanguage to communicate information about worthwhile qualia (which culminates in Harmonic Society).

Models 1 through 4 are already present in the memetic ecosystem of today. They focus on external aspects of art, such as why it reproduces and how it impacts social behavior. From the point of view of Marr’s levels of analysis, these four models focus on the behavioral/computational level of analysis.[1] Namely, what art looks like from the outside, and how it reproduces. Models 5 through 8 are novel perspectives that arise out of examining artistic experiences in light of Marr’s algorithmic and implementation-level accounts of consciousness. That is, how the internal information-processing and implementational features of brains give rise to art. In turn, these four models give rise to a new understanding for when art does or does not do its job.

1. Semantic Deflation

This model says that asking “what is art?” is, more often than not, an utterly confused question. Perhaps in antiquity it would make sense to talk about the essence of art, expecting there to be a set of necessary and sufficient conditions for something to be art. According to the semantic deflation model of art, starting out with the expectation of finding a crisp set of requirements for something to be art is starting off on the wrong foot, for believing that there is an essence of art is to simply not pay attention to the large set of inconsistent use cases for that word, which challenges the existence of such an essence.

The semantic deflation model is supported by key insights from 20th Century philosophy of language, such as found in the works of Russell, Frege, Carnap, Quine, and especially those of the late Wittgenstein. Of particular relevance when it comes to defining art we could point at Wittgenstein’s concept of family resemblance. Developed in his book Philosophical Investigations, the concept of family resemblance posits that many words which seem at first to point at something with a core essence are, in fact, pointing to referents which have overlapping similarities but no universally shared attributes.

Like the concept of a game, which refers to activities as diverse as checkers and cellular automata, and which cannot be easily defined in terms of e.g. point systems, physical movement, number of players, etc., we likewise cannot expect art to be definable in terms of media, intent, social effects, or craft. All we can aspire to is to identify common and characteristic features.

According to this view, the models of art that take objective beauty seriously on Platonic or traditionalist grounds are fundamentally misguided. Callbacks to retraditionalize society to preserve its past – more genuine – aesthetics are perceived as parodies of themselves, trying to undo an intrinsically irreversible process of cultural learning. Nowadays few people seriously believe that art should be conceived of as a tool exclusively for the glorification of traditional values and religious symbolism. It is also not fashionable to think of art in sincere non-ironic ways. Those who wish to earnestly engage with art must remind themselves that the days in which its meaning could be grounded on universally agreed definitions is gone.

Although sobering and clarifying, I argue that this view leaves a lot of value on the table. Sure, art has no common essence, but that does not mean that all of the uses of the word are pointing at things of equal value. Semantic deflation does not provide us with guidance for identifying and promoting good art. Indeed, as Wittgenstein might put it, “[p]hilosophy may in no way interfere with the actual use of language, it can in the end only describe it. For it cannot give it any foundation either. It leaves everything as it is.” (Philosophical Investigations, pg.49).

Interestingly, the semantic deflation model of art can itself be conceived of as an aesthetic. This aesthetic rewards those who can help others transcend narrow conceptions of what art is. Exemplary movements like Dadaism and Pop Art could be thought of as pushing the aesthetic of semantic deflation to the limit.

Art is what you can get away with.” – Andy Warhol.

But what if there is something worth preserving, reifying, and defining clearly in art? Semantic deflation should perhaps be thought of as a first step in figuring out what is valuable about art, rather than a final destination. To move beyond it, one should avoid reviving a naïve essentialist view of art, and instead identify conceptual focal points that genuinely enrich our conception of art. Rather than destroying preconceptions, we could instead refactor, discover, and build new and enlightened ones. Transcending absolutist deflationary views of art is indeed more appealing when there is an alternative in sight that is both better and more real than what you get by merely deconstructing and breaking down naïve views. And this is what we will attempt to do as we move on to other models of art.

2. Cool Kid Theory

In his book “The Mating Mind”, Geoffrey Miller discusses art in light of evolutionary psychology. In this view, art, rather than being a thing, is a culturally sanctioned activity devised to allow people to display their genetic fitness, by showing off above-average features of their phenotypes. Art is, in this view, at its core, an outlet for courtship. Incredible performances like those of Liszt and Rachmaninoff are not just for the pleasure of music. The incredible difficulty of performing the musical compositions is itself the show. The difficulty is not a side-effect of discovering new soundscape frontiers that produce blissful and extraordinary experiences to degrees that couldn’t be possible without the difficulty of execution. Rather, the difficulty of performing the musical pieces is part and parcel of what makes them so extraordinary. They are indeed erotic displays of fitness traits (cf. Lisztomania) crafted to cause an impression in fertile ground.

Indeed, we are constructed in such a way that we can emotionally hack and be hacked by others to assess each others’ suitability as potential family, friends, and neighbors. Unfakeable fitness displays typically require prodigious amounts of waste. As Geoffrey puts it: “Every sexual ornament in every sexually reproducing species could be viewed as a different style of waste.” (The Mating Mind, pg. 128. cf. An Infinite Variety of Waste) Only extremely fit organisms can afford to spend resources on non-survival tasks.

Fashion, too, in this light, is a sort of collective activity of systematic waste. Keeping up with the latest trends shows that you have a lot of free time (which, contrary to popular belief, is perceived as more sexy than the alternative). Only the wealthy, disciplined, or well-organized can manage to sustain energy- and time-consuming hobbies for years and years.

This theory of art has a problem, though, which is that on its own it does not explain art as a cultural institution. We could very well imagine that aesthetics-based displays of genetic fitness would be circumscribed to individual efforts but in practice we see groups of people coming together to work out the potentialities, possibilities, limits, and implications of particular aesthetics. We don’t only generate extraordinarily wasteful works of art ourselves, but do so contextually within art movements and aesthetic languages. Why is this?

I believe there is a layer of organization above individual signaling displays. To fully grasp it, we need to talk about what I have named “Cool Kid Theory”. This theory postulates that above-average and particularly well-rounded individuals, aka. Cool Kids, figure out ways of enticing others to show their peacock feathers, so to speak. Being a Cool Kid is not to excel oneself, but rather, to have the precise kind of strategic mediocrity that gives others the urge to show how they can improve upon your craft. At its extreme, a Cool Kid commands a group of people who practice a particular type of craft, which ultimately becomes an artistic gang. If you are a Cool Kid you can decide who is cool and who is not by choosing what challenges to measure the performance of people with.

Who wants to be a Cool Kid? The answer is, for the most part, anyone who can get away with it. It is so evolutionarily adaptive to be a Cool Kid that we have a number of psychological programs that can be triggered with a sequence of social cues that can make almost anyone into a Cool Kid.

Part and parcel of being a Cool Kid is to know how to induce the fear of missing out in others. It is about detecting when a particular challenge is headed towards an imminent dead end and course-correct to keep people engaged.

Here is an example. If you ever encounter a group of dancers in public transportation, you will notice that there is a Cool Kid who binds them together. The Cool Kid selects for people who have unique talents, and collectively accumulates a solidly impressive bag of tricks. Everyone in the group takes turns showing their best trick. For instance, the group might have someone who sings, someone who plays an instrument, and someone who owns a subwoofer (sometimes that’s all it takes). You might also see that there is a guy who can do the weird elbow twist thingy, the one who can break dance and do nine spins on his back, the one who can beat-box to the tune of the song, and the one who moonwalks while playing a harmonica. An effective Cool Kid is one who can corral all of these specialists and be the artistic glue who controls the overarching aesthetic. And this aesthetic is what defines a set of challenges used for impressive fitness displays.

The art world can be thus conceived of as a large super-cluster of Cool Kid gangs cornering the economy of attention. The competitive nature of Cool Kids is sure to produce a constant stream of novel stimuli, endlessly varied trends and fashions, as well as competitive and indeed sometimes even virulent attacks between aesthetics. For he who controls the aesthetic, controls your ability to be popular.

To be continued…

[1] Marr’s levels of analysis is a framework to analyze information-processing systems. First we have the computational level, which describes what the system does from a third-person point of view. This level is concerned with questions like what the system is capable of, and how quickly it can succeed at it. Second is the algorithmic level of analysis, which focuses on the internal representations and operations used to transform the inputs into the outputs. And third is the implementation level of analysis, which is concerned with the physical realization of the algorithms described in the second level.

Announcement: QRI Presentations at Harvard and NYU

The Qualia Research Institute is in Boston for the month of September.

Yesterday I gave a presentation about the Logarithmic Scales of Pleasure and Pain at the Harvard Effective Altruism student group (video coming soon! – slides).

I will be giving a presentation about The Hyperbolic Geometry of DMT Experiences at the Harvard Science of Psychedelics Club on September 17, at 8pm (Sever 113). The venue is apparently quite large so we are not going to run out of capacity for this talk. Feel free to amplify this as a Schelling point for smart rational psychonauts to meet one another.

Michael Johnson will also be giving a presentation at the Harvard Science of Psychedelics Club: 21st of September (7PM), at the Fong Auditorium in Boylston Hall.

Finally, I’ll be giving a presentation at Effective Altruism NYC (also about Logarithmic Scales) on September 23rd (7PM), at 334 E 30th St #3. See: facebook event.

Both Harvard talks are free and open to the public. The venues have a large number of seating spots, so all you need to do is show up. For the NYU talk the organizers of the event would like you to get a (free) ticket first in order to RSVP and secure a seat as the venue is not very large.

We will record these talks, share them online, and add them to the list of media appearances.



If you are in Boston, want to meet up with us, but can’t make it to any of the talks: I will show up to the SSC meetup on the 20th of September wearing a Qualia Research Institute shirt. Feel free to find me and say hi.

Many thanks to: Andrew Zuckerman, Kenneth Shinozuka, Jacob Shwartz-Lucas, and
Anisha Zaveri for organizing these events!

More Dakka in Medicine

By Sarah Constantin (blog – 1, 2)

The More Dakka story is common in medicine. You do an intervention; the disease doesn’t get better, or gets only marginally better; the research literature concludes it doesn’t work; nobody tries doing MORE of that intervention, but when somebody just raises the dose high enough, it does work.


a.) Chemotherapy didn’t work on cancer until doctors made cocktails of drugs, raised the dose so high it would kill you, and then mitigated the side effects with prednisone and intermittent dosing schedules. If they just used a safe daily dose of a single chemotherapeutic agent, they’d have concluded chemo didn’t work.



b.) Light therapy barely works for SAD; two internet-famous people have independently found that REALLY BRIGHT light therapy completely fixes SAD.

c.) The example in the post is about allopurinol. Allopurinol prevents gout attacks by lowering uric acid. “In studies, [allopurinol] improved [uric acid] linearly with dosage. Studies observed that sick patients whose [uric acid] reached healthy levels experienced full remission. The treatment was fully safe. No one tried increasing the dose enough to reduce [uric acid] to healthy levels.

d.) The standard treatment for hypothyroidism is thyroid hormone. People with “subclinical hypothyroidism”– people whose thyroid hormone levels are lower than average, but still above the cutoff for hypothyroid, and still suffer from exactly the same symptoms as hypothyroid–, ALSO benefit from thyroid hormone therapy. It’s not standard of care yet, though.

e.) I believe some vitamin deficiencies, don’t remember which exactly, are the same way; there’s an official cutoff for “deficient” but people slightly above that cutoff still have symptoms and still experience symptom relief from supplementation.

f.) Same deal with HIV. Virus has a replication rate & a clearance rate; its replication rate is also its mutation rate; an antiviral drug can raise the clearance rate above the replication rate, which will make the population drop exponentially, but if there’s only one drug the virus will have a chance to evolve to be resistant before the population drops low enough to be undetectable. And this is a simple differential equation that you can calculate years before you know what the drugs even are. One drug: death. Two drugs: death. Three or more drugs: survival.

Luckily David Ho was a physicist and thought about it this way, so when the antiviral drugs came out he was ready to test them in cocktails.

So “single antibiotics don’t work for chronic Lyme but cocktails do and this wasn’t realized for decades” isn’t an unprecedented story. It could turn out that way.

I bet this is something that has a more formal and accurate phrasing, but: if there’s an exponential-growth dynamic (like in a malignant cancer or an infection) where you’re trying to kill the exponentially-growing population, and if there’s a dose-response relationship where higher dose = more killing, then you have a bifurcation point in the outcome as t -> infinity, where a dose below that point means the enemy takes over and the patient dies and a dose above that point means “the enemy is killed faster than it can reproduce and so dies out in the long run.” And in principle you can calculate this cutoff if you know the dose-response relationship, as Ho did.

And separately, there’s a safety threshold; is the minimum effective dose safe or unsafe? With chemotherapy, the minimum effective dose is UNSAFE, which is why they have to get clever with ways to give you doses high enough to kill you while keeping you alive anyway. (Or “find a better drug”, but nobody has found a cytotoxic drug with strictly better tolerability/effectiveness tradeoffs since the 1960’s.)

This is kinda how you get a continuous/analog system to give you discrete outcomes: bifurcation points! Works in gene regulation too. “This regulatory gene turns on that gene’s transcription” – well, what’s actually happening is a continuous scalar, a rate of transcription and a rate of clearance, but because exponential functions are involved you get bifurcations in “steady-state” outcomes over the several-hour timescales needed to get to “this cell has tons of mRNAs for that gene or it’s literally empty of them”.

Systems biology is cool, it explains the math that gets you from a statistical-chemistry model of the cell (as a bag of molecules that bump into each other and have a probability of interaction) to a tinkertoy model that you can treat like a graph. (Gene regulatory networks, protein-protein interaction networks, neuron networks, etc.)

Typical N,N-DMT Trip Progression According to an Anonymous Reader

I recently had the chance to interview someone who’s had 50+ vaporized N,N-DMT experiences. The person in question (who wishes to remain anonymous) is extremely smart, philosophically literate, and has a PhD in a STEM field from a top US university. Based on the interview notes I took, I wrote down what the progression of a “typical” experience looks like. The anonymous reader confirmed that this description provides an accurate account.

Progression for Waiting Room or Breakthrough-level DMT experiences (15-40mg range):

Onset stage (1-20 seconds): Psychedelic Molting – Sharpening of colors and edges, the world acquires a secondary layer (as if the world is “molting”), and then this second layer becomes unified and starts to resonate across the entire field of experience.pGIFjd3

Early come-up (20-40 seconds): The Hyper-Edge Capacitor – Visual field gets saturated with the Chrysanthemum, which starts to give way to 3D shapes. At this point a center of high-dimensional correlations between planes of experience starts bubbling up correlated subspaces for later use: planes, then 3D spaces, then hyper-planes, etc. And as these “high-dimensional Lego pieces” are made, they start becoming the elements of the scene (the walls, the objects, the space, the sense of presence, etc.).

Middle come-up (40-80 seconds): Crystal Worlds – In this phase of the experience there are a lot of “Buddhist no-self universes” of perfect resonance along many axes. Cave worlds, column worlds, pentagonal tiling of mirror chambers worlds, transparent blinds oceanic worlds, etc. There is a feeling that “these worlds exist independently of you” and that they are kinds of high-grade meditative states achievable by highly-attained monks and beings from other dimensions. They are sterile in some sense, though, which is that they lack evolution. They are attractor points of high-dimensional resonance. Insanely beautiful and ecstatic but also not perfect (for reasons that are hard to articulate).

Late come-up (80-100 seconds): Hyperbolic Gear World – At this point you start to see high-dimensional hyperbolic mechanisms. One intuitively feels that the state has too much energy to be contained in a Crystal World, which gives rise to stitching parallel Crystal Worlds into a unified hyperbolic world-sheet. Incredibly, this world-sheet is precise and seamless. The information contained in it is highly-specific. At this point number theory, hyperbolic geometry, and high-dimensional dynamics start to be very relevant. Irreducibly complex mathematical interlocking objects appear in very crisp and precise ways (it’s not just a fuzzy but intense impression of precision – it is a precise experience of precision clockwork machinery). 3D gear mechanisms with a prime-number of teeth that only repeat when they make as many cycles as the minimum common multiple of all the gears may show up, scenes with ‘plasma consciousness’ contained in hyperbolically-folded cavities with laminar color flow arise, spontaneous chaotic symmetry breaking devices arranged in the form of complex vibrating metallic flowers will materialize, etc. These devices also build on each other’s innovations. They can swap elements to become more interesting, more complex, more energetic, more hypnotizing, and more pleasurable than before.

Plateau (100-180 seconds): DMT Tykes – One starts to hallucinate things that are higher up in the visual hierarchy. “DMT Tykes” (another name for “DMT elves”) are humanoid forms that start to appear at this point. They are ever-evolving, and constructed of a high-dimensional hyperbolic world-sheet made of networks of interlocking Rabbit-Duck bistable percepts. In some sense the entities you see are not the DMT Tykes themselves. Instead, it feels like there are still higher-dimensional entities that interface with the space you’re at and it is those entities that control the rendered humanoid bistable percepts. The devices you saw in the immediately preceding stage (Hyperbolic Gear World) are revealed to be artifacts created by these higher-dimensional beings. As reported by others before, this space gives off the impression of being a gallery, a museum, a factory, or some kind of scientific testing facility, where entities are trying out new qualia configurations to study their properties: how they feel, what they can be used for, what it is like to experience them as a human being, etc. They are trying to compel you to take these things seriously, to see through how groundbreaking they would be for humans. Whenever one is too overwhelmed with the information presented (common misgivings are of the sort: “this is too much for a simple human” or “too beautiful, I don’t deserve this” or “what if people find out I know this?”) the experience becomes calming and things that you recognize as a human start being presented: jungles, hedonically-charged human scenes, locations, archetypes, stories about the origin of humanity, etc. And when one feels ready again to look at the complex machinery then there is this sense that the entities will continue to show you more and more of the irreducibly complex phenomenal objects native to that space.

Early comedown (180-240 seconds): High-Dimensional Breakdown – Entities may become a bit desperate to make sure they have sent along the most important information. The intensity starts subsiding and there is a lot of revisiting of earlier stages, gathering of essential insights, and decisions made about what to definitely try to bring back to one’s baseline state. Often one fears that one’s brain will never get back to normal during the earlier parts, but at this point one recognizes that there is a downward trend and that it’s all going to be ok after all. Paranoia, if present beforehand, starts to subside at this point. In terms of narrative, at this point one is usually coming to terms with what the experience will mean for your everyday life, whether you believe that the entities were real, and whether all of this was just a hallucination. The intuitive understanding that even if it is all just in your mind it still contained information of very high-value is clear at this stage (but may subside if you don’t properly encode it). Key undeniable facts of the experience at this point are: (1) there are heights of bliss and pain way outside of the range of human experience, (2) there are heights of mathematical complexity possible to experience directly that are beyond the scope of normal human cognition, and (3) there are types of qualia that matter both for intelligence and wellbeing that exist but humans are utterly clueless about. Disregarding the veracity of the entities or the literal interpretations of the experience, these three facts are straightforward to acknowledge at this stage of the trip.

Late comedown (240-360 seconds): Psychedelic Dampening – There is a clear sense that some of the information you were able to easily see and grock earlier in the experience is completely inaccessible now. You lose contact with what felt like higher forms of intelligence but you still see a lot of interesting patterns and complex geometry that you somehow realize is not as important as what happened just before. Even though it still feels like you are “very high”, it feels like one’s unique privileged access to information about consciousness is gone and that what you could discover now would not belong to the same level of “scientific breakthrough” as what you experienced before.

After-effects (360-600 seconds): Fast Sobering Up – Thinking about meta-narratives is very common at this stage, just like it is on traditional psychedelics. Things like “Where is the human world headed? What kind of consciousness will we experience as our default mode in 100 years from now? What will happen once scientists, engineers, and mathematicians start to do systematic research on the mathematics of the irreducibly-complex phenomenal objects at the peak of the experience? Etc.” Somewhere in along this stage the world finally becomes solidly uni-layered and then it just feels like a low dose of shrooms for a couple more minutes, at most.

Baseline (600 seconds onwards): Re-Grounding Stage – You start wondering what that was all about. The realization that you came back to normal again so quickly is likely to make you feel like you should have not been so afraid to try out the experience to begin with. At the same time, you also may feel a strong pull towards not experiencing that for a while (depends – some people feel braver at this point and redo the experience). In most circumstances one will feel a mood boost for several hours (up to days) for two reasons. First is the sense of significance and profundity in the form of gratitude and the feeling of being special that such an experience confers. And second, there seems to be an essentially physiological response to having gone through such an intense experience without getting harmed (if one wasn’t harmed, of course). Perhaps the annealing frame is adequate in this context. Namely, that the experience somehow smoothed out a lot of pinch points and imperfections latent in one’s psyche. The fear of “the worst that could happen to me” subsides and one experiences a sense of connection to other humans that is significantly above baseline.

Atman Retreat: Safe, Legal Psilocybin Experiences in Jamaica

Atman Retreat provides safe, legal psychedelic experiences outside of Montego Bay, Jamaica.

  • Upcoming retreat dates:
    • September 23-26 (7 spots left; as of September 2nd)
    • September 27-30 (5 spots left; as of September 2nd)
    • November 13-16
    • November 17-20
  • Atman recently introduced tiered pricing and a low-income ticket program.

About Atman Retreat (source)

Psychedelics are known to produce profound, meaningful, transformative experiences when used in a safe and intentional manner.1 However, many people don’t have access to psychedelics, or to a safe setting within which to use them. Others simply don’t want to break the law. Until we adopt more compassionate, evidence-based drug policy, there are few ways for people to experience these extraordinary states of consciousness safely and legally. Atman Retreat exists to fill this gap.

Our core mission is to help people explore the full potential of the psychedelic experience, in all its healing, transformative, and transcendent qualities. Retreats are held in Jamaica, where psilocybin mushrooms are legal. Participants stay at a spacious villa, with comfortable rooms and a scenic private beachfront. Our team of experienced facilitators is passionate about creating space for inner transformation, insight, and breakthroughs.

Whether you’re completely new to psychedelics, or a seasoned psychonaut interested in a different kind of journey, Atman Retreat is a complete 4-day experience that allows you to explore psychedelics safely, legally, and in a setting designed to maximize their benefits.

When you feel ready, you can apply here.

Why am I sharing this announcement? I think that Atman Retreat is especially suited to Qualia Computing readers for the following three reasons:

  1. I know some of the people who started it and I can confirm that they are good, rational, and tactful people trying to make the world a better place.
  2. The retreat is open-ended in nature. Sadly, most legal psychedelic retreats come with heavy “memetic baggage” in the form of unquestioned beliefs about spirituality or strong ideological commitments. At the very least, the focus of most legal psychedelic retreats is explicitly therapeutic. Atman Retreat is a good place to simply explore your own mind and study the nature of consciousness without having to accept any spiritual, therapeutic, or ideological framework. For example, their website has a research section which lists and summarizes recent studies on the effects of psilocybin, which shows a willingness by the staff to engage with a scientific approach to psychedelics.
  3. The participants in previous cohorts of Atman Retreat have been very aligned with both Effective Altruism and the scientific study of consciousness. In other words, the attendees are typically smart, curious, ethical, and epistemologically sound.

To this, I will add that one of the visions of the Qualia Research Institute is to create an empirical consciousness research center in which psychedelics are taken by the brightest scientists, philosophers, and engineers to explore alien state-spaces of consciousness directly.

Indeed, consciousness research is currently at a pre-Galilean state, where brain scientists refuse to “look through the telescope” so to speak (or at least if they do, they are not talking about it publicly). Scientific culture is such that discussing the EEG measurements of members of the general public under the influence of psychedelics is acceptable but as soon as one talks about one’s own direct experience with such compounds one’s scientific credibility becomes suspect.

We can change this, and one of the first steps is to establish a legal framework for consciousness researchers to be able to engage in fruitful self-experimentation. Real scientific progress on consciousness will only take place with a twin track that combines both analysis of third-person data and the use of an empirical research methodology of direct experience by the researchers themselves. By pointing to the Atman Retreat I am hoping to elevate it to the status of a sort of Schelling point for rational psychonauts to converge on for the time being.

Perhaps this is a crucial first step in establishing a legally-viable Super-Shulgin Academy* for a post-Galilean science of consciousness.


Jamaica is waiting for you!

*From the QRI Glossary

Super-Shulgin Academy (coined by David Pearce; ref: 12345678): This is a hypothetical future intellectual society that investigates consciousness empirically. Rather than merely theorizing about it or having people from the general population describe their odd experiences, the Super-Shulgin Academy directly studies the state-space of consciousness by putting the brightest minds on the task. The Super-Shulgin Academy (1) trains high-quality consciousness researchers and psychonauts, (2) investigates the computational trade-offs between different states of consciousness, (3) finds new socially-useful applications for exotic states of consciousness, (4) practices the art and craft of creating ultra-blissful experiences, and (5) develops and maintains a full-stack memeplex that incorporates the latest insights about the state-space of consciousness into the most up-to-date Theory of Everything.

Featured image: source.

Kaleidoscopic Integration: Annealing, Symmetry, and the Information Theory of Experience


HP: What exactly is “symmetrical texture repetition”?

JE: Symmetrical texture repetition is just one of many complex visual distortions or alterations which consistently occur throughout psychedelic experiences on substances such as LSD, Psilocin, Ayahuasca, Mescaline, 2C-B, 2C-E and many others.

It can be described as the organization of rough textures within the external environment becoming mirrored repeatedly over its own surface in an extremely intricate and symmetrical fashion that is consistent across itself. This remains at an unchanging level of extremely high detail and visual clarity within both a person’s direct line of visual focus and peripheral vision.


As these repeating textures are generated they begin to give rise to a huge array of abstract forms, imagery, geometry and patterns that are perceived to be embedded within and across the symmetry.


Interview with Chelsea Morgan, a prolific and talented psychedelic replication artist

Towel (1)

Towel texture enhancement by Chelsea Morgan. Source.


Ice symmetrical texture repetition by Chelsea Morgan. Source.

How it feels like to symmetry-unify from the inside, a case study:

Onion Article Headline 2016: Synesthetic Couch-Texture Not Quite Ready to Merge with Lamp Turned Space-Filling Line System, Says It Needs to Make Itself More Spiky First


Inside Alice’s acid-filled brain today, we are now about to experience for the 6th time or so how various blobs of textures are trying to merge into a coherent super structure. According to local sources, Alice is currently feeling a sense of awe and anticipation as the two big texture clusters in her field of vision are beginning to interact with each other. She is excited to notice that one of them is “calling” the other into it, and giving it ideas on how to “plug in geometrically” with it.


Alice, who reportedly took 160 micrograms of LSD roughly 3 hours ago, narrates how it felt like to make a super-symmetrical system in her visual-kinesthetic field for the 5th time:


“I don’t know if this was the result of alien intelligences messing up with my brain, perhaps a mystical vision about how my ancestors’ experiences connect to mine, or if it was just a strange quantum-entanglement phenomenon in consciousness currently undocumented in the scientific literature, but duude! That one time the couch texture blob made itself more spiky in order to merge with the the space-filling lamp… that was awesome. I look forward to it happening again, but now also including the carpet, walls, and my hands. Leave no texture behind – the resonant symmetry super-structure can make room for everyone.” – Said Alice, in closing.

Psychedelic Symmetry: A Window Into the Information-Theoretic Properties of Experience?

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 protuberances 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.”

– “The Grand Illusion” by Cognitive Scientist Steven Lehar


What is the information content of a gothic cathedral? What percentage of it needs to burn down to make it impossible to reconstruct from the ruins alone?

Why Does Any of This Matter? The Deceptively Profound Implications of Psychedelic Symmetry According to Cognitive Scientist Steven Lehar

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.

– “The Grand Illusion” by Cognitive Scientist Steven Lehar


Featured image credit: Simon Haiduk