Leaked “Greatest Video Hits” from the video-sharing equivalent to Youtube in the servers of the Pure Land of Amitābha Buddha (they were using AWS with bad security):
“60 Seconds to Enlightenment: How to create a thought-form that achieves the 3 stages of emptiness in 1 minute or less.” (this is a little documentary from vimeo star “Buddhamax” and record-holder for enlightening thought-forms as fast as possible from a deluded state all the way to a transcendent state)
“We Are The Mandala, We Are The Form” (a call to Boddhisatvas from all corners of the Mandala to donate some good karma to the relief efforts after a large comet stuck a planet in the equivalent of the Jurassic period for that evolutionary timeline)
“Dance Dance Blast Blast” (this is a short that shows a thriller/comedy about Mandila, a soul-based Deva world 2 levels below Pure Lands where a little soul finds out it has a strange innate talent to make music-taste thought-forms and uses them to decode the structure of its world and hack its way out of it Matrix-style)
Yesterday I took about 30mg of 2C-B. In my experience, the “peak” of 2C-B is rather short-lived, so I decided to divide my dose in half so that I could have time to examine the effects over the course of a prolonged plateau. I took 15mg at 2:15pm and then another 15mg at 4:00pm. The whole experience lasted around seven hours, with residual effects for about two more hours. I was just about back to baseline by 11pm. Today, I woke up hangover-free and quite happy and refreshed. I love 2C-B for this reason; unlike MDMA, it does not feel like it taxes the body very much, and unlike LSD, it does not seem to be a completely unpredictable trip with the potential for undesirably deep existential worries – “ontological paranoia”, as a friend once put it. And unlike 2C-I, 2C-E, or 2C-T-2, it is relatively nausea-free and very upbeat. I think that the quasi-entactogenic boost in mood provided by 2C-B, more so than its trippy, psychedelic effects, may be the reason why it feels “psychologically safer” than acid. I’ve never had a bad time on 2C-B- only somewhat uncomfortable- but it never gets worse than a -2 on a sadness-happiness scale from -10 to +10, whereas acid can take you all the way down to -6 or -7 if you are really unlucky and you let it happen. Anyway- I am very happy I did it and I wanted to share some observations about my experience.
From a third person point of view, I’m sure my behavior wasn’t too out of the ordinary. I laughed harder than I usually laugh, and I was clearly giggly and arousable. But I wasn’t slurring my speech, speaking slowly, or making nonsense sounds. I am reasonably certain that for most of the experience, I could have spoken to a sober person without them realizing I was on anything. They might have thought that I was in a very open-minded mood, perhaps, but I don’t think it would have been obvious that I was tripping. Time-wise, I spent the first two hours or so listening to music, looking at patterns that I had saved for just this occasion, and staring at the ceiling. From the time I re-dosed (4pm) until about 7pm, I spent a lot of that time chatting online with a friend, smelling scented objects I was able to find in my house, and trying to test some hypotheses about the state I was in. From 7pm to about 9:30pm, I danced, chatted a bit with a different friend, and tried to take some notes- but I had trouble staying on track due to my short attention span. And from 9:30pm and onwards I mostly just laid back, got sucked into a rabbit hole learning about the Unarius religion, and played chill music.
For context, I should add that I’ve read a good number of Qualia Computing articles and I like to follow the links I find in them. I may get something wrong- please forgive me if I botch any specific reference. But I do think that this analysis of my experience might be helpful for the project of consciousness research. That being said, here are some highlights of the thoughts and observations that I gathered from my trip:
Key Signatures and Atasoy’s Work
In a presentation about brain harmonics (link), Selen Atasoy described how the “repertoire of brain states increases” on LSD. But she also mentioned that LSD has the general effect of (1) increasing the amplitude of brain harmonics across the spectrum, and (2) increasing the amplitude of high-frequency harmonics more so than that of low-frequency harmonics. I remember that the first time I read about brain harmonics, I thought it was some kind of hippie fantasy, or like some sort of 19th century model of how the brain works (e.g. Atasoy quotes Tesla in her presentation). But thinking about it while coming up on a psychedelic is quite revealing. The first thing I noticed was that at the 40 minute mark, I felt an overall amplification of the energy of my consciousness. I know this sounds crazy- especially if you’ve never tried a psychedelic- but there is a global increase in the intensity of your experience. It’s very much true that when you start coming up on psychedelics, it feels like someone is turning up the volume of your experience overall. This is not only true for every sensory modality of your experience (visual, sound, tactile, etc.), but also true for the affective (emotional) and cognitive (thought) components!
On a low dose, or at the beginning of the come-up on a medium or large dose, all you really notice is this global amplification across the board. But then it gets more interesting. I realized yesterday that the mild background noise that I can hear in my head when things are silent kept changing as I was coming up. At first, the noise kept slightly increasing in amplitude. There was a certain mixture of ringings (I don’t really have tinnitus, but I hope you see what I mean… I think weed and dissociatives amplify this noise too, but in a different way), and what I noticed was the way that the mixture of components that make up this subtle background noise started changing and shifting upwards in frequency. The thing is, this didn’t happen in a simple linear progression. I paid attention to how this happened, and I noticed that at around the 50 minute mark, I experienced perfect silence. It was like all of that background noise was gone (apparently MDMA does this to people who suffer from tinnitus). But then, at around the 55 minute mark, other sounds started to appear. It was a new mixture, but the overall spectrum of frequencies was now higher than before- like a higher-pitched mixture of subtle ringings. Then, at the 1 hour mark, I heard silence again! And then another episode of ringing, but higher still- then it switched to silence again, and then it mostly stayed that way. It felt like there were several phase-changes; it seemed like mixtures of brain harmonics can sometimes cancel each other out, but at other times they leave a residue. And the higher the overall spectrum of your brain state in frequency, the higher the pitch of the residue- unless it is silence, which feels the same at any level.
While I was noticing these qualitative changes happening in the background noise that I can hear in my head, I was also paying attention to my visual field. I noticed that something quite similar was happening there too. There were several phases that I would cycle between depending on how high I was. Usually, there is a little bit of “static” random noise in my vision. And on the 2C-B, I noticed that at first, this noise diminished and my vision felt like it was perfectly clear. But then, I would see criss-crossing patterns across my visual field. They were very subtle at first, and then grew more and more noticeable over time. Then the criss-crossing patterns would get higher in their spatial frequency (lines with less space between them), up to the point where they started to saturate my visual field. And then, the whole thing would break into a visual noise pattern similar to where I started from, except that now, it seemed both brighter and more defined than before. Then, again, my visual field would go clear and crisp, like the air was being sucked out of the room. And then again, subtle criss-crossing would start overlaying it, and the entire process would repeat. It repeated itself about four times during the first hour and a half of coming up, and it ended up in the criss-crossing region, now at fairly high frequencies.
I spent some time during the trip wondering how this could happen. It reminded me of a few concepts which I had studied previously: aliasing, beats, and Moiré patterns. I’ll leave some pictures here (courtesy of Google Images) that do a good job of replicating some of the elements of the transitions:
This one in particular, but imagine time flows upwards
I like the one on the left in particular, in which the concentric circles increase in their spatial frequency as you go up. You can imagine that going up that image is how it felt coming up on 2C-B. The thing is, at any given point, I was experiencing an overlap of many different frequencies, but the most dominant ones would interfere with each other- sometimes generating a single, clear, strong beat pattern when superimposed, sometimes generating silence/crisp images, and sometimes making a strange mesh of noisy, grainy, superpositions. But one thing is for certain- the frequency of the underlying components, both temporally and spatially, seemed to go up as a function of how high I was on the 2C-B.
I suppose that many people would read Atasoy’s work and Andres’s speculation about how it could be extended to quantify how happy you are (ref) to mean that in any given moment, you are experiencing just one frequency- or maybe two or three. But I think it’s more like you have a broad range of frequencies active at any point in time, and on psychedelics, the range of possible combinations explodes. At any single point in time, they are both superimposed on and interfere with each other. I guess I thought this was very abstract before the trip, but now I think I was able to feel that process from the inside and know what brain harmonics refer to. The mesh of increasingly high-frequency Moiré patterns is how it looks and sounds like- how it feels like- from the inside, to retune your connectome-harmonics upward.
Sober affective keyboard
2C-B affective keyboard
LSD affective keyboard
At the time, I thought that this could potentially be explained by making an analogy to keyboards, where each brain harmonic is like a musical note on a keyboard. On 2C-B, you get a double keyboard, with a wider range of possible notes. And perhaps LSD would be not only giving you more possible notes, but also providing you with additional features- like, for example, a general synthesizer that can apply distortions to the sounds. 2C-B has some other effects in addition to increasing the range of available notes, but they are hard to describe. Reverb and delays are there for sure, but not crazy things like on-the-fly timbre modifications, which are more akin to the weirdness of LSD. More generally, my experience has been that phenethylamines have fewer features than lysergamides and tryptamines. On the other hand, when it comes to establishing an emotional base, phenethylamines have a certain “loving” frequency that persists throughout the experience, and I think that makes them better in many contexts.
This train of thought led me to consider my experience in light of something that Mike Johnson recently blogged about: the view that our moods are the result of the key signature of our brain state:
This is not to say our key signatures are completely static, however: an interesting thread to pull here may be that some brains seem to flip between a major key and a minor key, with these keys being local maximas of harmony. I suspect each is better at certain kinds of processing, and although parts of each can be compatible with the other, each has elements that present as defection to the internal logic of the other and so these attractors can be ‘sticky’.
With respect to emotion, the things I experienced are very hard to describe, but I’ll give it a go. I think, on average, if you aggregated all the micro-moods of the experience, it would come out to be fairly positive overall- maybe a +3 on the -10 to +10 scale. But the mood would fluctuate in peculiar ways over a period of just fractions of a second. There was an underlying low-frequency tonality to the experience- which was very pleasant- that I think may be the result of the mildly euphoric, stimulant-like effect which 2C-B has. This was a strong base for the overall quality of the total mood, and it made the experience very pleasant for the most part. But there was another big component of mood, that could switch from pleasant to worried and back in the span of about half a second. It didn’t sway the base euphoria very much, and I was actually able to appreciate the switching quality. All in all, I mostly stayed on the positive side, and the negative moods were very fleeting (seconds at most). But I was amazed at how little stability there was, and how the buzzing of various frequencies didn’t settle into a particular coherent emotionalimpression. It certainly felt like the mood was directly connected to the buzzing of notes, which were creating a complex, chaotic symphony made up of meshes of brain harmonics. Thankfully, it was certainly biased towards positive and awe-inspiring moods. My self-model was also disassembled and reassembled with constantly shifting emotional tones. The come-up in particular had a certain anxious edge, and the semantic content of that anxiety seemed to be connected to particular things I’ve done in the past which have embarrassed me. Undergoing those emotions was intense, but it also felt somehow cleansing. It’s like- once you fully see the consequences of your embarrassing actions (or at least imagine them), you don’t worry about it as much. You get used to it and move on.
As I approached the moment I would finally plateau, I experienced many different philosophical views of reality as distinct, short, intense bursts of existential feelings. In these states, one “realizes” that particular philosophical views must be true by the sheer fact of how intense they feel. I can certainly recall having believed in such intense feelings in the past, especially when I was in my early twenties and trying psychedelics for the first time. This time, the images were still as intense as they had been before in similar levels of alteration, but they were about different topics (it’s been a while since I’ve experimented with psychedelics). I recognize that these experiences have a powerful capacity to shake up your pre-existing model of the world. You either cling to your previous models and suffer, or you let go and get brainwashed into having new metaphysical views of reality. I don’t know… Over the years, the content of those feelings has changed, and I’ve seen contradictory things which seemed like the final truth at the time. I think I now interpret these intense bursts of philosophically-flavored experiences as being instances of some kind of “energetically super-charged, super-coherent state of consciousness”. I can see how many people could arrive at the conclusion that these bursts of intense consciousness are messages from aliens, or perhaps psychic laser beams coming from a secret organization, or whatnot. God, the divine, infinite life, now-ness, Buddha nature, awakening, etc. are all suitably grandiose concepts that sort of provide a conceptual framework to make sense of these super-high-energy states of consciousness. Alternatively, we just haven’t figured out how to harness these unusual state-spaces of consciousness for information-processing purposes, or even for non-brainwashy aesthetic experiences… they confuse the heck out of us.
We currently lack the conceptual frameworks and adequate techniques to make sense of, and make use of, super-high-energy states of consciousness.
Anyhow, in this particular case, the intense flashes of super-energetic consciousness seemed to be about the reality of the present moment on the one hand, and the way in which scent is related tofeeling alive on the other. It sounds arbitrary, but it didn’t feel arbitrary at the time. I remember looking for things to smell in my house and finding an essential oil of orange (as well as cinnamon powder, mint tea, ground coffee, and nutmeg). The particular orange smell of that essential oil really seemed to resonate with my state. How should I put it? It was an intense feeling of awake effervescence, youthful reality, and spacious energy. The scent seemed to be a key for a lock, that when turned, would bring all the channels of my experiential field into contact and into a unified expression of “presence/aliveness”. Ok, this is word salad. I’m not going to pretend this is anything but poetic allusion. Here is a concrete, logical-sounding insight instead: I felt like I was finally able to make sense of what scent qualia is getting at. Scent qualia is the phenomenological expression of the resonant signature that is produced in a high-dimensional manifold as a result of energizing it with a certain combination of frequencies. Sorry, word salad again. Let’s try once more…
Orange essential oil seemed like the olfactory equivalent of playing all the notes of a major chord at once. In fact, every scent felt like it had an equivalent in auditory qualia, and that we could describe a scent as presenting you with every note in a key signature all at once. It gave me the impression that perhaps scent is a qualia that can be experienced in a much more general way. Imagine that, all your life, you’ve only ever listened to music made by playing all the notes of certain keys at the same time. I’m sure you could make compelling music that way, and if our brains didn’t separate the notes, we might get the impression that that is all there is to music. Perhaps we are restricted in this way for scents, and the scent of lavender is, in fact, decomposable into a whole number of notes. And I don’t mean chemically purifying the product, because I think that even pure chemicals have complex smells. During the experience, I kept coming back to the orange scent to try to capture the overall emotional key signature of my state. Warm, loving, intense, bright, surprising, flickering, effervescent, citric. Make of this what you will.
State-space of scent qualia (adapted from: Categorical Dimensions of Human Odor Descriptor Space Revealed by Non-Negative Matrix Factorization; Castro, Ramanathan, Chennubhotla. 2013; link)
Many of the “moments of experience” (ref) of high energy I experienced seemed to be half-posed questions and lack semantic content in the conventional sense. I assume that they could be co-opted by beliefs that say “that’s your karma” and “that’s God” or “that’s a vision of the future”, but honestly, all of those interpretations fall short of the actual thing- which, at the time, seemed more like random snippets of hyper-associations in a super-energized form, akin to a high-dimensional neuronal resonance box, if that makes any sense.
Sometimes the powerful bursts of high-energy consciousness were about the concept of now, and its connection to Open and Empty Individualism, and also the way it connects to the concept of “pure awareness”. I’ve explored these threads before, and it’s always startling when you get these flashes that feel like they mean something and yet contain almost no information. To extend the analogy with musical key signatures, it occurs to me that these states are in fact important nodal points in high-energy state-spaces of consciousness, but we don’t understand either their context or the way in which they fit together with all other possible experiences. I got the impression that these states have their own unique grammatical, syntactic, and semantic structure that is ultimately closed and self-consistent. I’m sure you’ve had the experience of recognizing a song by hearing one brief sub-second fragment of it. You realize there is more, much more, to it, and that the little fragment you heard is meaningless out of context. Yet the fragment is compelling in that it evokes and suggests a whole world of experience. These states feel like that- a high-energy fragment of something that seems completely genuine, whose level of structure and emotional depth is just complete enough to be highly suggestive of a higher world of organization into which such fragments could fit perfectly. From a secular point of view, one could perhaps describe this as the first glimpses of an art form that will be accessible to transhumans and posthumans, once the underlying laws that rule the emotional character of such experiences are understood and mastered.
Existential Humor and Semantic Nihilism
At the conceptual level, I remember that my mind latched onto two related themes: existential humor and semantic nihilism. For reference, I Heart Huckabees would be an example of a movie that plays with existential humor. The movie touches on existential crisis and absence of meaning; and it manages to be funny not despite it but because of it.
Existential humor is humor in the face of unresolved existential questions. Part of what makes this humor work is its self-reflective nature. It’s the humor of the fact that humor is possible in such circumstances. I think that the unresolved mood of the 2C-B state didn’t allow for an over-arching gestalt to form, and one could say it kept being a sort of affective pastiche. Like musical improvisation without a central theme. The deep philosophical questions that were posed didn’t produce deep undertones, like they usually do on LSD. Perhaps this makes it a more friendly state in a way… the buzzing of competing moods protects you from going too deep into some existential crisis, and allows you to sort of have some distance from any particularly unpleasant impression. The only somewhat constant feature here was giddiness, which probably explains why humor was present even though deep existential questions seemed to be both posed and left unresolved.
In turn, I also gained a new appreciation of the general idea of semantic nihilism (which I saw mentioned here). I once took a philosophy of language class in which we discussed Frege, Quine, and Wittgenstein. I was impressed by the fact that these authors would suggest that the semantic content of words was in some way completely relative. I may be misremembering, but I have the image in my mind of a text by Quine where he talks about how meaning is the result of a network of references and has no fundamental grounding (ref). He claimed that analytic and synthetic statements weren’t truly different- at least, not out of context. I didn’t know how to respond to this at the time, but over the years, I’ve thought about it now and then. It’s not like I’ve had the time to sit down and read that philosophy of language textbook again- and maybe I should- but I get the sense that one could, in principle, reformulate meaning by grounding it in qualia. These “no ground of reference” ideas fly in the face of felt-sense and my ability to use attentional attractors as designators. [Edit after writing this – turns out Andres has already discussed something along these lines in an article]. But what if someone claims that qualia is not enough to ground meaning? I think that hearing a strong argument against the view that qualia and meaning are connected would be very interesting. This is what my mind came up with during the trip- the view that not even feelings can be used as the source of meaning. The existential humor seemed to play very well with semantic nihilism. After all, isn’t it funny if nothing means anything and you are still laughing about it? It’s contagious laughter, that’s why. The thought that there was no true reason for why the laughter was appropriate was itself very funny. And then I’d apply the same mental move to this meta-funny layer, and so on. It was hilarious- in a niche philosophical sort of way- which only certain people who are obsessed with understanding reality could probably relate to.
As an aside, I think that if we look at it from a cultural point of view, most people would have a bad time if they were to experience a high-energy state of consciousness that does not reach a conclusion. The abstract expressionism of felt-sense, meaning, and audio-visual qualia is alarming without a framework to make sense of it. I realized that applying semantic nihilism to these experiences made me feel comfortable with them not actually meaning anything specific. It seemed okay that they would stay as they were: existential feelings with no resolution. I think that perhaps some aesthetics could really turn this into an art form. Perhaps Buddhist Vipassana meditation is trying to get at this.
I paid a lot of attention to the visual textures I saw during the relatively long plateau. The textures that I had saved to look at were a bit enhanced, but they were not as interesting, I found, as the textures of the wall, ceiling, carpet, and blankets. The key difference was the fact that the live textures had actual depth. Although subtle, it still gave rise to interesting effects. I started the journey with the intention of examining the symmetrical structures of the textures I saw. I was impressed by the idea that a mathematician who experimented with LSD was able to catalogue each of the 17 wallpaper groups in his visual hallucinations (ref). I, on the other hand, was only able to see a few. Sadly, I didn’t practice naming the symmetries before going into the trip. But I can say that I noted mirror symmetry was rarely involved, and that the simplest, the one called “o”, was the one I saw the most frequently. By looking at the table now, I can definitely say that I also saw “2222”. I did see a lot of rotational symmetry elements, and they would click together to form larger symmetrical bundles. It was very interesting to watch.
I tried to really pay close attention to how the visuals were formed. It was very fascinating. I recall that there are many “subtypes” of visual effects, and they’ve been catalogued to some extent (ref). But what I noted this time was how they are all interconnected. Here is the story: first, the texture would appear relatively normal, just slightly brighter than normal. Then the positive after-image of the texture would linger for long enough to start overlaying onto itself. Then there would be a critical moment where that positive after-image would flip into a negative after-image (e.g. from orange to aqua, green to magenta, white to black, etc.). My brain would then try to deal with the presence of the negative after-image, and somehow fit it discreetly into the texture, in order to preserve as much information as possible from the “real texture”. Here is where the depth comes into play. For whatever reason, the negative after-image would tend to find its place in the crevices of the texture. There, it would form wavy patterns that seemed to self-organize in parallel lines. Once parallel, the patterns would lock into symmetrical shapes and dance together in synchrony. So now I had this two-layered texture that behaved as a unified wave pattern, and after a little while that would form a positive after-image, which in time would start to overlay onto itself- and then my mind would have to find a way to deal with that. With each iteration, my mind would find new ways to fit all of that residual after-image bundle together, and this would often look like some kind of surface trying to be shaped into something recognizable. I got the distinct feeling that whenever I could see somethingin the texture (cf. apophenia), the overall amount of after-image to deal with would be drastically reduced. I remember an article where the concept of energy sinks was discussed, and I think that both symmetrical re-arrangements of the residual after-image bundles and semantically-meaningful re-arrangements of them both seemed to work as energy sinks. Hence, the symmetrical texture repetition is a way by which the energy of these after-image bundles gets dissipated (and the surface gets locked in the shape that sucked out its energy). I remember thinking how the entire process somehow encapsulates many of the classic visual effect categories; tracers, drifting, pattern recognition, and symmetrical texture repetition all fit together in a continuous sequence of unfolding re-arrangements of an after-image bundle surface. Perhaps some trippers will relate to this description.
I also spent some time trying to figure out how to describe the tracers. I probably spent about 10 minutes doing this, and got to a fairly satisfying account, I think. The tracers were mostly composed of “echoes” rather than being the result of applying just a smooth and long decay function. Based on playing with GIFs, I estimated that the first visual echo lagged behind the original stimulation by about 200ms. Then there was another echo (the echo of the echo) which happened roughly 400ms afterwards. I took some time to look at the pictures in How to secretly communicate with people on LSD, and the GIFs seemed to work, but not exactly as the text describes it. It was really cool, though. During the plateau, I found it hard to tell which of the images had the artificial tracer on top (see the article’s “Secret C” GIFs for reference).
(notice the double echo)
I will conclude by mentioning that music was very intense and interesting in this state. I specifically noted that music with reverb sounded massively amplified (example). With the appropriate combination of meditation and reverb-rich sounds, I could experience very pleasant states of equanimity that I don’t usually experience sober. I tried playing pulses of sound and seeing if I could experience “auditory tracers”, but it didn’t seem to work. That is, there wasn’t a clear analogue to the trace structure in the auditory domain. Rather, it’s less that “sound itself sounded like it had more reverb”, and more that “for the sound that already does have reverb, such reverb seemed amplified”. Why would the reverb itself sound amplified? And what is the reverb signature of such amplification? I don’t know! These seem like fertile grounds for novel research.
And that’s about it. I hope you find these observations useful, and if not, at least interesting to read. Peace! 🙂
Singer called the movement that grew up around him “effective altruism”, and its rallying cry was that one ought to spend every ounce of one’s energy doing whatever most relieves human suffering, most likely either feeding the poor or curing various tropical diseases. Again, something his opponents rejected as impossible, unworkable, another example of liberal fanaticism. Really? Every ounce of your energy? Again, they could have just read their Bibles. Deuteronomy 6:5: “And you must love the Lord your God with all your heart, and with all your soul, and with all your strength.”
Then Singer changed his tune. In the 1970s, after the sky cracked and the world changed, he announced that charity was useless, that feeding the poor was useless, that curing tropical diseases was useless. There was only one cause to which a truly rational, truly good human being could devote his or her life.
Hell must be destroyed.
The idea of billions of human beings suffering unbearable pain for all eternity so outweighed our little earthly problems that the latter didn’t even register. He began meeting with his disciples in secret, teaching them hidden Names he said had been vouchsafed to him by angels. Thamiel put a price on his life – quite a high price actually. Heedless of his own safety, Singer traveled what remained of the civilized world, making converts wherever he went, telling them to be perfect as God was perfect, and every speech ended the same way. Hell must be destroyed.
An angel appears on Earth. This genderless being connected to God shows up on every screen on Earth at once and asks us if we are interested in drastically improving life on Earth. A large enough portion of those who hear the message (which gets a coverage of 80%+ of people worldwide) see into their souls and find the willingness to make life better, and then they see into their hearts and see the warmth of hope, and so they resolve to agree to do whatever is necessary to help the angel improve life on Earth. And thus the angel says “thanks to the collective desire to make it so, I shall change some things about how the planet is programed, and you will see a 99% reduction in suffering and a 20% increase in overall happiness.”
And so the angel gets to work.
A year passes, and nobody can really tell the difference from before. Most people’s day to day experience is perhaps even slightly more tedious and slightly more boring. What happened? After a few years it is clear that no major change has happened, and indeed affective psychologists report a mild but very generalized decrease in people’s engagement with their day to day activities and increases in feelings of being a bit disoriented. Did the angel scam us? Or did people fail to do their part? Or why are there no improvements? A large enough mass of people asked this question that the angel felt the need to provide an update. He comes back down and appears in all of the planet’s screens and says:
“Everything went according to plan. It is just that your society hasn’t reached the point of scientific development where you are able to measure the quality of experience of sentient beings. You aren’t quantifying pain very well.”
“Here is what I did. Above of all, I focused my energies on trying to prevent some of the worst experiences, which in aggregate happened to be an ethical catastrophe. I managed to reduce how bad these experiences were by about 99.99%.”
“I started by reducing how bad cluster headaches feel. They are now only about 44,000 dolors per second (d/s). They used to be around 450,000,000 d/s. You see, when most people get a fleeting headache, we are talking about headaches that range from 0.5 to 1d/s. You know, the type of headache that people are willing to wait out, and perhaps some people will ask for a little aspirin or some placebo of some sort and then get on with it. Most headaches are of this kind. But even if you bundle all of them together we are talking about a rounding error relative to the suffering caused by other types of headaches, the bad ones. Migraine, for example, tends to get to about 1,000 dolors per second, and sufferers have a hard time communicating the fact that it is not just a lot worse, it is a thousand times more painful than the “normal” ones. But even then that does not register relative to one of the really really bad ones, like cluster headaches, which as I said can spiral up to values close to a billion d/s. As it happens, on your planet there are simple chemical tricks to reduce that particular type of pain (e.g. LSD), so I just went ahead and got rid of the bulk of it very easily. It’s still super painful by human standards, but not by my standards, like it was before. To have a cluster headache now is just as “indescribably bad” as before, meaning it goes beyond people’s ability to imagine and make sense of. But that doesn’t challenge the fact that the 99.99% improvement I did is an ethical victory of civilizational magnitude.”
“Next I went on to reducing how bad it feels to have kidney stones, bone pain, and various kinds of particularly bad neuropathies in people with schizophrenia. By the time I had taken care of about the dozen or so worst kinds of pain, I had already overdelivered by an order of magnitude and was starting to run into diminishing returns. So I decided to go on to helping other planets in my quest to prevent as much suffering as possible.”
“I apologize I used about 0.13 hedons per second (h/s) from mundane experiences to implement one of those cosmic pain diminishing plans. In order to increase the amount of happiness in the world as I promised I made the experience of showering about 50% more enjoyable and the experience of listening to music about twice as good. As you can see, the bathing industry did take off, but not many thought much of it. And the musicians were able to tell that music was awesome again and wondered why, but most people seem to have attributed their increased musical enjoyment to what they imagined had been their own hidden musical talents all along.”
“Thank you, and keep enjoying your drastically improved planet.”
Thus, people realized that the world was indeed a lot better. Well, some did. And others complained, but it was ok.
Thanks to Michael Aaron Coleman and Jonathan Leighton for inspiring this piece. Michael suffers from cluster headaches and has described their phenomenology in gruesome detail. He says that in a 0 to 10 scale, cluster headaches are solid 10/10. But he also says you really need a different scale to make sense of this monster. He once used the phrase “minus one million hedonic tone”. He says that morphine makes the pain go from 10/10 to 9/10, if at all, maybe more like 9.5/10. Thankfully, LSD in small doses (~25 micrograms) makes it go to 1/10. DMT also works, but 5-MeO-DMT does not (and yet it still expands time, so not a good idea). Jonathan is the Executive Director of the Organization for the Prevention of Intense Suffering (OPIS). He works on identifying cases where intense suffering can be prevented on a massive scale and doing what has to be done. I recommend getting in touch with him if this is a particular interest of yours.
Last year I wrote a 13,000 word essay about my experience at Burning Man. This year I will also share some thoughts and insights concerning my experience while being brief and limiting myself to seven thousand words. I decided to write this piece stand-alone in such a way that you do not need to have read the previous essay in order to make sense of the present text.
Camp Soft Landing
I have been wanting to attend Burning Man for several years, but last year was the first time I had both the time and resources to do so. Unfortunately I was not able to get a ticket in the main sale, so I thought I would have to wait another year to have the experience. Out of the blue, however, I received an email from someone from Camp Soft Landing asking me if I would be interested in giving a talk at Burning Man in their Palenque Norte speaker series. My immediate response was “I would love to! But I don’t have a ticket and I don’t have a camp.” The message I received in return was “Great! Well, we have extra tickets, and you can stay at our camp.” So just like that I suddenly had the opportunity to not only attend, but also be at a wonderful camp and give a talk about consciousness research.
Full Circle Teahouse
The camp I’ve been a part of turned out to be an extremely good fit for me both as a researcher and as a person. Camp Soft Landing is one of the largest camps at Burning Man, featuring a total of 150 participants every year. Its two main contributions to the playa are the Full Circle Teahouse and Palenque Norte. The Full Circle Teahouse is a place in which we serve adaptogen herbal tea blends and Pu’er tea in a peaceful setting that emphasizes presence, empathy, and listening. It’s also full of pillows and cozy blankets and serves as a place for people who are overwhelmed to calm down or crash after a hectic night. (During training we were advised to expect that some people “may not know where they are or how they got here when they wake up in the early morning” and to “help them get oriented and offer them tea”). Here are a few telling words by the Teahouse founder Annie Oak:
The real secret sauce to our camp’s collective survival has been our focus on the well being of everyone who steps inside Soft Landing. While the ancestral progenitor who occupied our location before us, Camp Above the Limit, ran a lively bar, we made a decision not to serve alcohol in our camp. I enjoy an occasional cocktail, but I believe that the conflating of the gift economy with free alcohol has compromised the public health and social cohesion of Black Rock City. We do not prohibit alcohol at Soft Landing, but we do not permit bars inside our camp. Instead, we run a tea bar at our Tea House for those seeking a place to rest, hydrate and receive compassionate care. We also give away hundreds of gallons of water to Tea House visitors. We don’t want to undermine their self-sufficiency, but we can proactively reduce the number of guests who become ill from dehydration. We keep our Tea House open until Monday after the Burn to help weary people stay alert on the perilous drive back home.
Palenque Norte schedule 2018 (Tuesday & Wednesday)
Palenque Norte schedule 2018 (Thursday & Friday)
Thanks to the Full Circle Teahouse and Palenque Norte, the social and memetic composition of Camp Soft Landing is one that is characterized by a mixture of veteran scientists and community builders in their 50s and 60s, science and engineering nerds with advanced degrees in their late 20s and early 30s, and a dash of millennials and Gen-Z-ers in the rationalist/Effective Altruist communities.
Lorenzo Hagerty, Sasha Shulgin, and Bruce Damer (Burning Man, Palenque Norte c. 2007)
The people of Camp Soft Landing are near and dear to my heart given that they take consciousness seriously, they have a scientific focus, and they emit a strong intellectual vibe. As a budding qualia researcher myself, I feel completely at home there. As it turns out, this type of vibe is not at all out of place at Burning Man…
Burning Man Attendees
I would hazard the guess that Burning Man attendees are on average much more open to experience, conscientious, cognitively oriented, and psychologically robust than people in the general population. In particular, the combination of conscientiousness and openness to experience is golden. These are people who are not only able to think of crazy ideas, but who are also diligent enough to manifest them in the real world in concrete forms. This may account for the high production value and elaborate nature of the art, music, workshops, and collective activities. While the openness to experience aspect of Burning Man is fairly self-evident (it jumps at you if you do a quick google images search), the conscientiousness aspect may be a little harder to believe. Here I will quote a friend to illustrate this component:
Burning Man is the annual meeting of the recreational logistics community. Or maybe it’s a job interview for CEO: how to deal with broken situations and unexpected constraints in a multi-agent setting, just to survive.
Things I learned / practiced in the last couple of weeks: truck driving, clever packing, impact driver, attaching bike trailer, pumping gas and filling generators, knots, adding hanging knobs to a whiteboard, tying things with wire, quickly moving tents on the last night, finding rides, using ratchet straps, opening & closing storage container, driving to Treasure Island.
Indeed this may be one of the key barriers of entry that defines the culture of Burning Man and explains why the crazy ideas people have in a given year tend to come back in the form of art in the next year… rather than vanishing into thin air.
There are other key features of the people who attend which can be seen by inspecting the Burning Man Census report. Here is a list of attributes, their baserate for Burners, and the baserate in the general population (for comparison): Having an undergraduate degree (73.6% vs. 32%), holding a graduate degree (31% vs. 10%), being gay/lesbian (8.5% vs. 1.3%), bisexual (10% vs. 1.8%), bicurious (11% vs. ??), polyamorous (20% vs. 5%), mixed race (9% vs. 3%), female (40% vs. 50%), median income (62K vs. 30K), etc.
From a bird’s eye view one can describe Burners as much more: educated, LGBT, liberal or libertarian, “spiritual but not religious”, and more mixed race than the average person. There are many more interesting cultural and demographic attributes that define the population of Black Rock City, but I will leave it at that for now for the sake of brevity. That said, feel free to inspect the following Census graphs for further details:
Last year at Burning Man I developed a cluster of new concepts including “The Goldilocks Zone of Oneness” and “Hybrid Vigor in the context of post-Darwinian ethics.” I included my conversation with God and instructions for a guided oneness meditation. This year I continued to use the expanded awareness field of the Playa to further these and other concepts. In what follows I will describe some of the main ideas I experienced and then conclude with a summary of the talk I gave at Palenque Norte. If any of the following sections are too dense or uninteresting please feel free to skip them.
The Universal Eigen-Schelling Religion
On one of the nights a group of friends and I went on a journey following an art car, stopping every now and then to dance and to check out some art. At one point we drove through a large crowd of people and by the time the art car was on the other side, a few people from the group were missing. The question then became “what do we do?” We didn’t agree on a strategy for dealing with this situation before we embarked on the trip. After a couple of minutes we all converged on a strategy: stay near the art car and drive around until we find the missing people. The whole situation had a “lost in space” quality. Finding individual people is very hard since from a distance everyone is wearing roughly-indistinguishable multi-colored blinking LEDs all over their body. But since art cars are large and more distinguishable at a distance, they become natural Schelling points for people to converge on. Schelling points are a natural coordination mechanism in the absence of direct communication channels.
We were thus able to re-group almost in our entirety as a group (with only one person missing, who we finally had to give up on) by independently converging on the meta-heuristic of looking for the most natural Schelling point and finding the rest of the group there. For the rest of the night I kept thinking about how this meta-strategy may play out in the grand scheme of things.
If you follow Qualia Computing you may know that our default view on the nature of ethics is valence utilitarianism. People think they want specific things (e.g. ice-cream, a house, to be rich and famous, etc.) but in reality what they want is the high-valence response (i.e. happiness, bliss, and pleasure) that is triggered by such stimuli. When two people disagree on e.g. whether a certain food is tasty, they are not usually talking about the same experience. For one person, such food could induce high degrees of sensory euphoria, while for the other person, the food may leave them cold. But if they had introspective access to each other’s valence response, the disagreement would vanish (“Ah, I didn’t realize mayo produced such a good feeling for you. I was fixated on the aversive reaction I had to it.”). In other words, disagreements about the value of specific stimuli come down to lack of empathetic fidelity between people rather than a fundamental value mismatch. Deep down, we claim, we all like the same states of consciousness, and our disagreements come from the fact that their triggers vary between people. We call the fixation on the stimuli rather than the valence response the Tyranny of the Intentional Object.
In the grand scheme of things, we posit that advanced intelligences across the multiverse will generally converge on valence realism and valence utilitarianism. This is not an arbitrary value choice; it’s the natural outcome of looking for consistency among one’s disparate preferences and trying to investigate the true nature of conscious value. Insofar as curiosity is evolutionarily adaptive, any sufficiently general and sufficiently curious conscious mind eventually reaches the conclusion that value is a structural feature of conscious states and sheds the illusion of intentionality and closed identity. And while in the context of human history one could point at specific philosophers and scientists that have advanced our understanding of ethics (i.e. Plato, Bentham, Singer, Pearce, etc.) there may be a very abstract but universal way of describing the general tendency of curious conscious intelligences towards valence utilitarianism. It would go like this:
In a physicalist panpsychist paradigm, the vast majority of moments of experience do not occur within intelligent minds and leave no records of their phenomenal character for future minds to examine and inspect. A subset of moments of experience, though, do happen to take place within intelligent minds. We can call these conscious eigen-states because their introspective value can be retroactively investigated and compared against the present moment of experience, which has access to records of past experiences. Humans, insofar as they do not experience large amounts of amnesia, are able to experience a wide range of eigen-states throughout their lives. Thus, within a single human mind, many comparisons between the valence of various states of consciousness can be carried out (this is complicated and not always feasible given the state-dependence of memory). Either way, one could visualize how the information about the relative ranking of experiences is gathered across a Directed Acyclic Graph (DAG) of moments of experience that have partial introspective access to previous moments of experience. Furthermore, if the assumption of continuity of identity is made (i.e. that each moment of experience is witnessed by the same transcendental subject) then each evaluation between pairs of states of consciousness contributes a noisy datapoint to a universal ranking of all experiences and values.
After enough comparisons, a threshold number of evaluated experiences may be crossed, at which point a general theory of value can begin to be constructed. Thus a series of natural Schelling points for “what is universally valuable” become accessible to subsequent moments of experience. One of these focal points is the prevention of suffering throughout the entire multiverse. That is, to avoid experiences that do not like existing, independently of their location in space-time. Likewise, we would see another focal point that adds an imperative to realize experiences that value their own existence (“let the thought forms who love themselves reproduce and populate the multiverse”).
I call this approach to ethics the Eigen-Schelling Religion. Any sapient mind in the multiverse with a general enough ability to reason about qualia and reflect about causality is capable of converging to it. In turn, we can see that many concepts at the core of world religions are built around universal Eigen-Schelling points. Thus, we can rest assured that both the Bodhisattva imperative to eliminate suffering and the Christ “world redeeming” sentiment are reflections of a fundamental converging process to which many other intelligent life-forms have access across the entire multiverse. What I like about this framework is that you don’t need to take anyone’s word for what constitutes wisdom in consciousness. It naturally exists as reflective focal points within the state-space of consciousness itself in a way that transcends time and space.
EQ (emotional intelligent quotient) isn’t very good as a formal psychological construct- it’s not particularly predictive, nor very robust when viewed from different perspectives. But there’s clearly something there– empirically, we see that some people are more ‘tuned in’ to the emotional & interpersonal realm, more skilled at feeling the energy of the room, more adept at making others feel comfortable, better at inspiring people to belief and action. It would be nice to have some sort of metric here.
I suggest breaking EQ into entrainment quotient (EnQ) and metronome quotient (MQ). In short, entrainment quotient indicates how easily you can reach entrainment with another person. And by “reach entrainment”, I mean how rapidly and deeply your connectome harmonic dynamics can fall into alignment with another’s. Metronome quotient, on the other hand, indicates how strongly you can create, maintain, and project an emotional frame. In other words, how robustly can you signal your internal connectome harmonic state, and how effectively can you cause others to be entrained to it. […] Most likely, these are reasonably positively correlated; in particular, I suspect having a high MQ requires a reasonably decent EnQ. And importantly, we can likely find good ways to evaluate these with CSHW.
This conceptual framework can be useful for making sense of the novel social dynamics that take place in Black Rock City. In particular, as illustrated by the Census responses, most participants are in a very open and emotionally receptive state at Burning Man:
One could say that by feeling safe, welcomed, and accepted at Burning Man, attendees adopt a very high Entrainment Quotient modus operandi. In tandem, we then see large art pieces, art cars, theme camps, and powerful sound systems blasting their unique distinctive emotional signals throughout the Playa. In a sense the entire place looks like an ecosystem of brightly-lit high-energy metronomes trying to attract the attention of a swarm of people in highly open and sensitive states with the potential to be entrained with these metronomes. Since the competition for attention is ferocious, there is not a single metronome that can dominate or totally brainwash you. All it takes for you to get a bad signal out of your head is to walk 50 meters to another place where the vibe will be, in all likelihood, completely different and overwrite the previous state.
This dynamic reaches its ultimate climax the very night of the Burn, as (almost) everyone gathers around the Man in a maximally receptive state, while at the same time every art car and group vibe surrounds the crowd and blasts their unique signals as loud and as intensely as possible all at the same time. This leads to the reification of the collective Burning Man egregore, which manifests as the sum total of all signals and vibes in mass ecstasy.
It is worth pointing out that not all of the metronomes in the Playa are created equal. Some art cars, for example, send highly specific and culturally-bound signals (e.g. country music, Simon & Garfunkel, Michael Jackson, etc.). While these metronomes will have their specific followings (i.e. you can always find a group of dedicated Pink Floyd fans) their ability to interface with the general Burner vibe is limited by their specificity and temporal irregularity. The more typical metronomic texture you will find scattered all around the Playa will be art forms that make use of more general patternceutical Schelling points with a stronger and more general metronomic capacity. Of note is the high degree of prevalence of house music and other 110 to 140 bpm (beats per minute) music that is able to entrain your brain from a distance and motivate you to move towards it- whether or not you are able to recognize the particular song. If you listen carefully to e.g. Palenque Norte recordings you will notice the occasional art car driving by, and the music it is blasting will usually have its tempo within that range, with a strong, repeating, and easily recognizable beat structure. I suspect that this tendency is the natural emergent effect of the evolutionary selection pressures that art forms endure from one Burn to another, which benefit patterns that can captivate a lot of human attention in a competitive economy of recreational states of consciousness.
Android Jones’ Samskara at Camp Mystic 2017 (an example of the Open Individualist Schelling Vibe – i.e. the religion of the ego-dissolving LSD frequency of consciousness)
And then there are the extremely general metronome strategies that revolve around universal principles. The best example I found of this attention-capturing approach was the aesthetic of oneness, which IMO seemed to reach its highest expression at Camp Mystic:
Inspired by a sense of mystery & wonder, we perceive the consciousness of “We Are All One”. Mystics encourage the enigmatic spirit to explore a deeper connection not only on this planet and all that exists within, but the realm of the entire Universe.
At their Wednesday night “White Dance Party” (where you are encouraged to dress in white) Camp Mystic was blasting the strongest vibes of Open Individualism I witnessed this year. I am of the mind that philosophy is the soul of poetry, and that massive party certainly had as its underlying philosophy the vibe of oneness and unity. This vibe is itself a Schelling point in the state-space of consciousness… the religion of the boundary-dissolving LSD frequency is not a random state, but a central hub in the super-highway of the mind. I am glad these focal points made prominent appearances at Burning Man.
Uncontrollable Feedback Loops
It is worth pointing out that at an open field as diverse as Burning Man we are likely to encounter positive feedback systems with both good and bad effects on human wellbeing. An example of a positive feedback loop with bad effects would be the incidents that transpired around the “Carkebab” art installation:
The sculpture consisted of a series of cars piled on top of each other held together by a central pole. The setup was clearly designed to be climbed given the visible handles above the cars leading to a view cart at the top. However, in practice it turned out to be considerably more dangerous and hard to climb than it seemed. Now you may anticipate the problem. If you are told that this art piece is climbable but dangerous, one can easily conjure a mental image of a future event in which someone falls and gets hurt. And as soon as that happens, access to the art installation will be restricted. Thus, one reasons that there is a limited amount of time left in which one will be able to climb the structure. Now imagine a lot of people having that train of thought. As more people realize that an accident is imminent, more people are motivated to climb it before that happens, thus creating an incentive to go as soon as possible, leading to crowding, which in turn increases the chance of an accident. The more people approach the installation, the more imminent the final point seems, and the more pressing it becomes to climb the structure before it becomes off-limits, and the more dangerous it becomes. Predictably, the imminent accident did take place. Thankfully it only involved a broken shoulder rather than something more severe. And yet, why did we let it get to that point? Perhaps in the future we should have methods to detect positive feedback loops like this and put the brakes on before it’s too late…
This leads to the topic of danger:
Can Burning Man be a place in which an abolitionist ethic can put down roots for long-term civilizational planning? Let’s briefly examine some of the potential acute, medium-term, and long-term costs of attending. Everyone has a limit, right? Some may want to think: “well, you only live once, let’s have fun”. But if you are one of the few who carries the wisdom, will, and love to move consciousness forward this should not be how you think. What would be an acceptable level of risk that an Effective Altruist should be able to accept to experience the benefits of Burning Man? I think that the critical question here is not “Is Burning Man dangerous?” but rather “How bad is it for you?”
Thankfully actuaries, modern medicine, and economists have already developed a theoretical framework for putting a number on this question. Namely, this is the concept of micromorts (i.e. 1 in a million chance of dying) and its sister concept of microlife (a cost of 1 millionth of a lifespan lost or gained by performing some activity). My preference is that of using microlives because they translate more easily into time and are, IMO, more conceptually straightforward. So here is the question: How many microlives should we be willing to spend to attend Burning Man? 10 microlives? 100 microlives? 1,000 microlives? 10,000 microlives?
Based on the fact that there are many long-term burners still alive I guesstimate that the upper bound cannot possibly be higher than 10,000 or we would know about it already. I.e. the percentage of people who get e.g. skin cancer, lung disease, or die in other ways would probably be already apparent in the community. Alternatively, it’s also possible that a reduced life expectancy as a result of attending e.g. 10+ Burns is an open secret among long-term burners… they see their friends die at an inexplicably higher rate but are too afraid to talk about it honestly. After all, people tend to be very clingy to their main sources of meaning (what we call “emotionally load-bearing activities”) so a large amount of denial can be expected in this domain.
Additionally, discussing Burning Man micromorts might be a particularly touchy and difficult subject for a number of attendees. The reason being that part of the psychological value that Burning Man provides is a felt sense of the confrontation with one’s fragility and mortality. Many older burners seem to have come to terms with their own mortality quite well already. Indeed, perhaps accepting death as part of life may be one of the very mechanisms of action for the reduction in neuroticism caused by intense experiences like psychedelics and Burning Man.
But that is not my jazz. I would personally not want to recommend an activity that costs a lot of microlives to other people in team consciousness. While I want to come to terms with death as much as your next Silicon Valley mystically-inclined nerd, I also recognize that death-acceptance is a somewhat selfish desire. Paradoxically, living a long, healthy, and productive life is one of the best ways for us to improve our chances of helping consciousness-at-large given our unwavering commitment to the eradication of all sentient suffering.
The main acute risks of Burning Man could be summarized as: dehydration, sleep deprivation, ODing (especially via accidental dosing, which is not uncommon, sadly), being run over by large vehicles (especially by art cars, trucks, and RVs), and falling from art or having art fall on you. These risks can be mitigated by the motto of “doing only one stupid thing at a time” (cf. How not to die at Burning Man). It’s ok to climb a medium-sized art piece if you are fully sober, or to take a psychedelic if you have sitters and don’t walk around art cars, etc. Most stories of accidents one hears about start along the lines of: “So, I was drunk, and high, and on mushrooms, and holding my camera, and I decided to climb on top of the thunderdome, and…”. Yes, of course that went badly. Doing stupid things on top of each other has multiplicative risk effects.
In the medium term, a pretty important risk is that of being busted by law enforcement. After all, the financial, psychological, and physiological effects of going to prison are rather severe on most people. On a similar note, a non-deadly but psychologically devastating danger of living in the desert for a week is an increased risk of kidney stones due to dehydration. The 10/10 pain you are likely to experience while passing a kidney stone may have far-reaching traumatic effects on one’s psyche and should not be underestimated (sufferers experience an increased risk of heart disease and, I would suspect, suicide).
But of all of the risks, the ones that concern me the most are the long term ones given their otherwise silent nature. In particular, we have skin cancer due to UV exposure and lung/heart disease caused by high levels of PM2.5 particles. With respect to the skin component, it is worth observing that a large majority of Burning Man attendees are caucasian and thus at a significantly higher risk. Me being a redhead, I’ve taken rather extreme precautions in this area. I apply SPF50+ sunscreen every couple of hours, use a wide-rim hat, wear arm sleeves [and gloves] for UV sun protection, wear sunglasses, stay in the shade as often as I can, etc. I recommend that other people also follow these precautions.
And with regards to dust… here I would have to say we have the largest error bars. Does Burning Man dust cause lung cancer? Does it impair lung function? Does it cause heart disease? As far as I can tell nobody knows the answer to these questions. A lot of people seem to believe that the air-borne particles are too large to pose a problem, but I highly doubt that is the case. The only source I’ve been able to find that tried to quantify dangerous particles at Burning Man comes from Camp Particle, which unfortunately does not seem to have published its results (and only provides preliminary data without the critical measure of PM2.5 I was looking for). Here are two important thoughts in this area. First, let’s hope that the clay-like alkaline composition of Playa dust turns out to be harmless to the lungs. And second, like most natural phenomena, chances are that the concentration of dangerous particles in, e.g. 1 minute buckets, follows a power law. I would strongly expect that at least 80% of the dust one inhales comes from 20% of the time in which it is most present. More so, during dust storms and especially in white-outs, I would expect the concentration of dust in the air to be at least 1,000 times higher than the median concentration. If that’s true, breathing without protection during a white-out for as little as two minutes would be equivalent to breathing in “typical conditions” without protection for more than 24 hours. In other words, being strategic and diligent about wearing a heavy and cumbersome PN100 mask may be far more effective than lazily taking on and off a more convenient (but less effective) mask throughout the day. Personally, I chose to always have on hand an M3 half facepiece with PN100 filters ready in case the dust suddenly became thicker. This did indeed save me from breathing dust during all dust storms. The difference in the quality of air while wearing it was like day and night. I will also say that while I prefer my look when I have a beard, I chose to fully shave during the event in order to guarantee a good seal with the mask. In retrospect, the fashion sacrifice does seem to be worth it, though at the time I certainly missed having a beard.
The question remaining is: with a realistic amount of protection, what is the acceptable level of risk? I propose that you make up your mind before we find out with science how dangerous Burning Man actually is. In my case, I am willing to endure up to 100 negative microlives per day at Burning Man (for a total of ~800 microlives) as the absolute upper bound. Anything higher than that and the experience wouldn’t be worth it for me, and I would not recommend it to memetic allies. Thankfully, I suspect that the actual danger is lower than that, perhaps in the range of 40 negative microlives per day (mostly in the form of skin cancer and lung disease). But the problem remains that this estimate has very wide error bars. This needs to be addressed.
And if the danger does turn out to be unacceptable, then we can still look to recreate the benefits of Burning Man in a safer way: Your Legacy Could Be To Move Burning Man to a Place With A Fraction of Its Micromorts Cost.
In the ideal case Burning Man would be an event that triggers our brains to produce “danger signals” without there actually being much danger at all. This is because with our current brain implementation, experiencing perceived danger is helpful for bonding, trust building, and a sense of self-efficacy and survival ability.
And now on to my talk…
Andrés Gómez Emilsson – Consciousness vs. Replicators
The video above documents my talk, which includes an extended Q&A with the audience. Below is a quick summary of the main points I touched throughout the talk:
Intro to Qualia Computing
I started out by asking the audience if they had read any Qualia Computing articles. About 30% of them raised a hand. I then asked them how they found out about my talk, and it seems that the majority of the attendees (50%+) found it through the “What Where When” booklet. Since the majority of the people didn’t know about Qualia Computing before the talk, I decided to provide a quick introduction to some of the main concepts:
What is qualia? – The raw way in which consciousness feels. Like the blueness of blue. Did you ever wonder as a kid whether other people saw the same colors as you? Qualia is that ineffable quality of experience that we currently struggle to communicate.
Closed Individualism – you start existing when you are born, stop existing when you die.
Empty Individualism – brains are “experience machines” and you really are just a “moment of experience” disconnected from every other “moment of experience” your brain has generated or will generate.
Open Individualism – we are all the “light of consciousness”. Reality has only one numerically identical subject of experience who is everyone, but which takes all sorts of forms and shapes.
For the purpose of this talk I assume that Open Individualism is true, which provides a strong reason to care about the wellbeing of all sentient beings, even from a “selfish” point of view.
Valence – This is the pleasure-pain axis. We take a valence realist view which means that we assume that there is an objective matter of fact about how much an experience is in pain/suffering vs. experiencing happiness/pleasure. There are pure heavenly experiences, pure hellish experiences, mixed states (e.g. enjoying music you love on awful speakers while wanting to pee), and neutral states (e.g. white noise, mild apathy, etc.).
Evolutionary advantages of consciousness as part of the information processing pipeline – I pointed out that we also assume that consciousness is a real and computationally relevant phenomena. And in particular, that the reason why consciousness was recruited by natural selection to process information has to do with “phenomenal binding”. I did not go into much detail about it at the time, but if you are curious I elaborated about this during the Q&A.
Spirit of our research:
Exploration + Knowledge/Synthesis. Many people either over-focus on exploration (especially people very high in openness to experience) or on synthesis (like conservatives who think “the good days are gone, let’s study history”). The spirit of our research combines both open-ended exploration and strong synthesis. We encourage people to both expand their evidential base and make serious time to synthesize and cross-examine their experiences.
A lot of people treat consciousness research like people used to treat alchemy. That is, they have a psychological need to “keep things magical”. We don’t. We think that consciousness research is due to transition into a hard science and that many new possibilities will be unlocked after this transition, not unlike how chemistry is thousands of times more powerful than alchemy because it allows you to create synthesis pathways from scratch using chemistry principles.
How People Think and Why Few Say Meaningful Things:
What most people say and talk about is a function of the surrounding social status algorithm (i.e. what kind of things award social recognition) and deep-seated evolutionarily adaptive programs (such as survival, reproductive, and affective consistency programs).
Nerds and people on the autism spectrum do tend to circumvent this general mental block and are able to discuss things without being motivated by status or evolutionary programs only, instead being driven by open-ended curiosity. We encourage our collaborators to have that approach to consciousness research.
What the Economy is Based on:
Right now there are three main goods that are exchanged in the global economy. These are:
Survival – resources that help you survive, like food, shelter, safety, etc.
Power – resources that allow you to acquire social and physical power and thus increase your chances of reproducing.
Consciousness – information about the state-space of consciousness. Right now people are willing to spend their “surplus” resources on experiences even if they do not increase their reproductive success. A possible dystopian scenario is one in which people do not do this anymore – everyone spends all of their available time and energy pursuing jobs for the sake of maximizing their wealth and increasing their reproductive success. This leads us to…
Pure Replicators – In Wireheading Done Right we introduced the concept of a Pure Replicator: I will define a pure replicator, in the context of agents and minds, to be an intelligence that is indifferent towards the valence of its conscious states and those of others. A pure replicator invests all of its energy and resources into surviving and reproducing, even at the cost of continuous suffering to themselves or others. Its main evolutionary advantage is that it does not need to spend any resources making the world a better place. (e.g. crystals, viruses, programs, memes, genes)
It is reasonable to expect that in the absence of evolutionary selection pressures that favor the wellbeing of sentient beings, in the long run everyone alive will be playing a Pure Replicator strategy.
States vs. Stages vs. Theory of Morality
Ken Wilber emphasizes that there is a key difference between states and stages. Whereas states of consciousness involve various degrees of oneness and interconnectedness (from normal everyday sober experiences all the way to unity consciousness and satori), how you interpret these states will ultimately depend on your own level of moral development and maturity. This is very true and important. But I propose a further axis:
Levels of intellectual understanding of ethics. While stages of consciousness refer to the degree to which you are comfortable with ambiguity, can synthesize large amounts of seemingly contradictory experiences, and are able to be emotionally stable in the face of confusion, we think that there is another axis worth exploring that has more to do with one’s intellectual model of ethics.
The 4 levels are:
Good vs. evil – the most common view which personifies/essentializes evil (e.g. “the devil”)
Balance between good and evil – the view that most people who take psychedelics and engage in eastern meditative practices tend to arrive at. People at this level tend to think that good implies evil, and that the best we can do is to reach a state of balance and equanimity. I argue that this is a rationalization to be able to deal with extremes of suffering; the belief itself is used as an anti-depressant, which shows the intrinsic contradictoriness and motivated reasoning behind adopting this ethical worldview. You believe in the balance between good and evil in general so that you, right now, can feel better about your life. You are still, implicitly, albeit in a low-key way, trying to regulate your mood like everyone else.
Gradients of wisdom – this is the view that people like Sam Harris, Ken Wilber, John Lilly, David Chapman, Buddha, etc. seem to converge on. They don’t have a deontological “if-then” ethical programming like the people at the first level. Rather, they have general heuristics and meta-heuristics for navigating complex problems. They do not claim to know “the truth” or be able to identify exactly what makes a society “better for human flourishing” but they do accept that some environments and states of consciousness are more healthy and conducive to wisdom than others. The problem with this view is that it does not give you a principled way to resolve disagreements or a way forward for designing societies from first principles.
Consciousness vs. pure replicators – this view is the culmination of intellectual ethical development (although you could still be very neurotic and unenlightened otherwise) which arises when one identifies the source of everything that is systematically bad as caused by patterns that are good at making copies of themselves but that either don’t add conscious value or actively increase suffering. In this framework, it is possible for consciousness to win, which would happen if we create a full-spectrum super-sentient super-intelligent singleton that explores the entire state-space of consciousness and rationally decides what experiences to instantiate at a large scale based on the empirically revealed total order of consciousness.
New Reproductive Strategies
Given that we on team consciousness are in a race against Pure Replicator Hell scenarios it is important to explore ways in which we could load the dice in the favor of consciousness. One way to do so would be to increase the ways in which prosocial people are able to reproduce and pass on their pro-consciousness genes going forward. Here are a few interesting examples:
Gay + Lesbian couple – for gay and lesbian couples with long time horizons we could help them have biological kids with the following scheme: Gay couple A + B and lesbian couple X + Z could combine their genes and have 4 kids A/X, A/Z, B/X, B/Z. This would create the genetic and game-theoretical incentives for this new kind of family structure to work in the long term.
Genetic spellchecking – one of the most promising ways of increasing sentient welfare is to apply genetic spellchecking to embryos. This means that we would be reducing the mutational load of one’s offspring without compromising one’s genetic payload (and thus selfish genes would agree to the procedure and lead to an evolutionarily stable strategy). You wouldn’t ship code to production without testing and debugging, you wouldn’t publish a book without someone proof-reading it first, so why do we push genetic code to production without any debugging? As David Pearce says, right now every child is a genetic experiment. It’s terrible that such a high percentage of them lead to health and mental problems.
A reproductive scheme in which 50% of the genes come from an “intelligently vetted gene pool” and the other 50% come from the parents’ genes. This would be very unpopular at first, but after a generation or two we would see that all of the kids who are the result of this procedure are top of the class, win athletic competitions, start getting Nobel prizes and Fields medals, etc. So soon every parent will want to do this… and indeed from a selfish gene point of view there will be no option but to do so, as it will make the difference between passing on some copies vs. none.*
Dispassionate evaluation of the merits and drawbacks of one’s genes in a collective of 100 or more people where one recombines the genetic makeup of the “collective children” in order to maximize both their wellbeing and the information gained. In order to do this analysis in a dispassionate way we might need to recruit 5-meo-dmt-like states of consciousness that make you identify with consciousness rather than with your particular genes, and also MDMA-like states of mind in order to create a feeling of connection to source and universal love even if your own patterns lose out at some point… which they will after long enough, because eventually the entire gene pool would be replaced by a post-human genetic make-up.
Consciousness vs. Replicators as a lens – I discussed how one can use the 4th stage of intellectual ethical development as a lens to analyze the value of different patterns and aesthetics. For example:
Conservatives vs. Liberals (stick to your guns and avoid cancer vs. be adaptable but expose yourself to nasty dangers)
Rap Music vs. Classical or Electronic music (social signaling vs. patternistic valence exploration)
Hyperstition – Finally, I discussed the concept of hyperstition, which is a concept that refers to “ideas that make themselves real”. I explored it in the first Burning Man article. The core idea is that states of consciousness can indeed transform the history of the cosmos. In particular, high-energy states of mind like those experienced under psychedelics allow for “bigger ideas” and thus increase the upper bound of “irreducible complexity” for one’s thoughts. An example of this is coming up with further alternative reproductive strategies, which I encouraged the audience to do in order to increase the chances that team consciousness wins in the long term…
Bonus content: things I overheard virgin burners say:
“Intelligent people build intelligent civilizations. I now get what a society made of brilliant people would look like.”
“Burning Man is a magical place. It seems like it is one of the only places on Earth where the Spirit World and the Physical World intersect and play with each other.”
“It is not every day that you engage in a deeply transformative conversation before breakfast.”
Note: I am generally outgoing, fun-loving, and happy to participate in podcasts, events, interviews, and miscellaneous activities. Feel free to invite me to your podcast/interview/theater/etc. I am flexible when it comes to content; anything I’ve written about in Qualia Computing is fair game for discussion. Infinite bliss!
There’s an old Jewish childrens’ song called Had Gadya. It starts:
A little goat, a little goat My father bought for two silver coins, A little goat, a little goat
Then came the cat that ate the goat My father bought for two silver coins A little goat, a little goat
Then came that dog that bit the cat…
And so on. A stick hits the dog, a fire burns the stick, water quenches the fire, an ox drinks the water, a butcher slaughters the ox, the Angel of Death takes the butcher, and finally God destroys the Angel of Death. Throughout all of these verses, it is emphasized that it is indeed a little goat, and the father did indeed buy it for two silver coins.
As far as I know, no one has previously linked this song to the Lurianic Kabbalah. So I will say it: the deepest meaning of Had Gadya is a description of how and why God created the world. As an encore, it also resolves the philosophical problem of evil.
The most prominent Biblical reference to a goat is the scapegoating ritual. Once a year, the High Priest of Israel would get rid of the sins of the Jewish people by mystically transferring all of them onto a goat, then yelling at the goat until it ran off somewhere, presumably taking all the sin with it.
The thing is, at that point the goat contained an entire nation-year worth of sin. That goat was super evil. As a result, many religious and mystical traditions have associated unholy forces with goats ever since, from the goat demon Baphomet to the classical rather goat-like appearance of Satan.
So the goat represents evil. I’ll go along with everyone else saying the father represents God here. So God buys evil with two silver coins. What’s up?
The most famous question in theology is “Why did God create a universe filled with so much that is evil?” The classical answers tend to be kind of weaselly, and center around something like free will or necessary principles or mysterious ways. Something along the lines of “Even though God’s omnipotent, creating a universe without evil just isn’t possible.”
But here we have God buying evil with two silver coins. Buying to me represents an intentional action. Let’s go further – buying represents a sacrifice. Buying is when you sacrifice something dear to you to get something you want even more. Evil isn’t something God couldn’t figure out how to avoid, it’s something He covets.
What did God sacrifice for the sake of evil? Two silver coins. We immediately notice the number “two”. Two is not typically associated with God. God is One. Two is right out. The kabbalists identify the worst demon, the nadir of all demons, as Thamiel, whose name means “duality in God”. Two is dissonance, divorce, division, dilemmas, distance, discrimination, diabolism.
This, then, was God’s sacrifice. In order to create evil, He took up duality.
“Why would God want to create evil? God is pure Good!”
Exactly. The creation of anything at all other than God requires evil. God is perfect. Everything else is imperfect. Imperfection contains evil by definition. Two scoops of evil is the first ingredient in the recipe for creating universes. Finitude is evil. Form is evil. Without evil all you have is God, who, as the kabbalists tell us, is pure Nothing. If you want something, evil is part of the deal.
Now count the number of creatures in the song. God, angel, butcher, ox, water, fire, stick, dog, cat, goat. Ten steps from God to goat. This is the same description of the ten sephirot we’ve found elsewhere, the ten levels by which God’s ineffability connects to the sinful material world without destroying it. This is not a coincidence because nothing is ever a coincidence. Had Gadya isn’t just a silly children’s song about the stages of advancement of the human soul, the appropriate rituals for celebrating Passover in the Temple, the ancient Sumerian pantheon, and the historical conquests of King Tiglath-Pileser III. It’s also a blueprint for the creation of the universe. Just like everything else.
“And even though the princess defeated the dragon and married the prince at the end of the story, the truth is that the hedonic treadmill and the 7-year itch eventually caught up to them and they were not able to ‘live happily ever after’.
“Thankfully, the princess got really interested in philosophy of mind and worked really hard on developing a theory of valence in order to ‘sabotage the mill’ of affective ups and downs, so to speak. After 10 years of hard work, three book-length series of blog posts, a well founded team of 17 rational psychonauts, and hundreds of experiments involving psychedelics and brain computer interfaces, at last the princess was able to create a portable device capable of measuring what amounts to a reasonable proxy for valence at an individual level in sub-second timescales, which over time enabled people to have reliable and sustainable control over the temporal dynamics of valence and arousal.
“Later on the prince developed a Moloch-aware and Singleton-proof economy of information about the state-space of consciousness, and thus kick-started the era of ethical wireheads; the world became a true fariy tale… a wondrous universe of enigmatic -but always blissful- varieties of ineffable qualia. After this came to pass, one could truly and sincerely say that the prince and the princess both became (functionally and phenomenally) happily ever after. The End.”
Desiring that the universe be turned into Hedonium is the straightforward implication of realizing that everything wants to become music.
The problem is… the world-simulations instantiated by our brains are really good at hiding from us the what-it-is-likeness of peak experiences. Like Buddhist enlightenment, language can only serve as a pointer to the real deal. So how do we use it to point to Hedonium? Here is a list of experiences, concepts and dynamics that (personally) give me at least a sort of intuition pump for what Hedonium might be like. Just remember that it is way beyond any of this:
[Content Warning: Trying to understand the contents of this essay may be mind-warping. Proceed with caution. Featured image credit: Paul Nylander]
Friends, right here and now, one quantum away, there is raging a universe of active intelligence that is transhuman, hyperdimensional, and extremely alien.
The Geometry of DMT States
This is an essay on the phenomenology of DMT. The analysis here presented predominantly uses algorithmic, geometric and information-theoretic frameworks, which distinguishes it from purely phenomenological, symbolic, neuroscientific or spiritual accounts. We do not claim to know what ultimately implements the effects here described (i.e. in light of the substrate problem of consciousness), but the analysis does not need to go there in order to have explanatory power. We posit that one can account for a wide array of (apparently diverse) phenomena present on DMT-induced states of consciousness by describing the overall changes in the geometry of one’s spatiotemporal representations (what we will call “world-sheets” i.e. 3D + time surfaces;3D1T for short). The concrete hypothesis is that the network of subjective measurements of distances we experience on DMT (coming from the relationships between the phenomenal objects one experiences in that state) has an overall geometry that can accurately be described as hyperbolic (or hyperbolic-like). In other words, our inner 3D1T world grows larger than is possible to fit in an experiential field with 3D Euclidean phenomenal space (i.e. an experience of dimension R2.5 representing an R3 scene). This results in phenomenal spaces, surfaces, and objects acquiring a mean negative curvature. Of note is that even though DMT produces this effect in the most consistent and intense way, the effect is also present in states of consciousness induced by tryptamines and to a lesser extent in those induced by all other psychedelics.
Conceptual Framework: Algorithmic Reduction
We will use the reduction framework originally proposed in the article Algorithmic Reductions of Psychedelic States. This means that we will be examining how algorithms and processes (as experienced by a subject of experience) can explain the dynamics of people’s phenomenology in DMT states. We do not claim “the substrate of consciousness” is becoming hyperbolic in any literal sense (though we do not discard that possibility). Rather, we interpret the hyperbolic curvature that experience acquires while on DMT as an emergent effect of a series of more general mechanism of action that can work together to change the geometry of a mind. These same mechanisms of action govern the dynamics of other psychedelic experiences; it is the proportion and intensity of the various “basic” effects that lead to the different outcomes observed. In other words, the hyperbolization of phenomenal space may not be a fundamental effect of DMT, but rather, it may be an emergent effect of more simple effects combined (not unlike how our seemingly smooth macroscopic space-time emerges from the jittery yet fundamental interactions that happen in a microscopic high-dimensional quantum foam).
In particular, we will discuss three candidate models for a more fundamental algorithmic reduction: (1) the synergistic effect of control interruption and symmetry detection resulting in a change of the metric of phenomenal space (analogously to how one can measure the geometry of hyperbolic graph embeddings), (2) the mind as a dynamic system with energy sources, sinks and invariants, in which curvature stores potential energy, and (3) a change in the underlying curvature of the micro-structure of consciousness. These models are not mutually-exclusive, and they may turn out to be compatible. More on this later.
What is Hyperbolic Geometry?
Perhaps the clearest way to describe hyperbolic space is to show examples of it:
Inside a hyperbolic cube
In hyperbolic 3D space dodecahedra can have right corners.
The picture to the left shows a representation of a “saddle” surface. In geometry, saddle surfaces are 2-dimensional hyperbolic spaces (also called “hyperbolic planes” or H2). For a surface to have “constant curvature” it must look the same at every point. In other words, for a saddle to be a geometric saddle, every point in it must be a “saddle point” (i.e. a point with negative curvature). As you can see, saddles have the property that the angles of a triangle found in them add up to less than 180 degrees (compare that to surfaces with positive curvature such as the 2-sphere, in which the angles of a triangle add up to more than 180 degrees). Generalizing this to higher dimensions, the middle image above shows a cube in H3 (i.e. a hyperbolic space of three dimensions). This cube, since it is in hyperbolic space, has thin edges and pointy corners. More generally, the corners of a polyhedra (and polytopes) will be more pointy in Hn than they are in Rn. This is why you can see in the right image a dodecahedron with right-angled corners, which in this case can tile H3 (cf. Not Knot). Such a thing- people of the past might say- is an insult to the imagination. Times are changing, though, and hyperbolic geometry is now an acceptable subject of conversation.
An important property of hyperbolic spaces is the way in which the area of a circle (or the n-dimensional volume of a hypersphere) increases as a function of its radius. In 2D Euclidean space the area grows quadratically with the radius. But on H2, the area grows exponentially as a function of the radius! As you may imagine, it is easy to get lost in hyperbolic space. A few steps take you to an entirely different scene. More so, your influence over the environment is greatly diminished as a function of distance. For example, the habitable region of solar systems in hyperbolic spaces (i.e.the Goldilocks zone) is extremely thin. In order to avoid getting burned or freezing to death you would have to place your planet within a very narrow distance range from the center star. Most of what you do in hyperbolic space either stays as local news or is quickly dissipated in an ever-expanding environment.
We Can Only Remember What We Can Reconstruct
We cannot experience H2 or H3 manifolds under normal circumstances, but we can at least represent some aspects of them through partial embeddings (i.e. instantiations as subsets of other spaces preserving properties) and projections into more familiar geometries. It is important to note that such representations will necessarily be flawed. As it turns out, it is notoriously hard to truly embed H2 in Euclidean 3D space, since doing so will necessarily distort some properties of the original H2 space (such as distance, angle, area, local curvature, etc.). As we will discuss further below, this difficulty turns out to be crucial for understanding why DMT experiences are so hard to remember. In order to remember the experience you need to create a faithful and memorable 3D Euclidean embedding of it. Thus, if one happens to experience a hyperbolic object and wants to remember as much of it as possible, one will have to think strategically about how to fold, crunch and deform such object so that it can be fit in compact Euclidean representations.
What about DMT suggests hyperbolic geometry?
Why should we believe that phenomenal space on DMT (and to a lesser extent on other psychedelics) becomes hyperbolic-like? We will argue that the features people use to describe their trips as well as concrete mathematical observations of such features point directly to hyperbolic geometry. Here is a list of such features (arranged from least to most suggestive… you know, for dramatic effect):
Perception of far-out travel (as we said, small movements in hyperbolic space lead to huge changes in the scene).
Feelings of becoming big (you can fit a lot more inside a circle of radius r in hyperbolic space).
The space experienced is often depicted as “more real and more dense than normal”.
The use of terms like “mind-expanding” and “warping” to describe the effects of the drug are very common.
People describing it as “a different kind of space” and frequently using the word “hyperspace” to talk about it.
Difficulty integrating/remembering the objects and scenes experienced (e.g. “they were too alien to recall”).
Constant movement/acceleration and change of perspectives which are often described as “unfolding scenes and expanding patterns” (cf. thechrysanthemum, jitterbox).
Continuous change of the scene’s context through escape routes: A door that leads to a labyrinth that leads to branching underground tunnels that lead to mirror rooms that lead to endless windows, and the one you take leading you to a temple with thirty seven gates which lead you to a kale salad world etc. (example).
Crowding of scene beyond the limits of Euclidean space (users frequently wondering “How was I able to fit so much in my mind? I don’t see any space for my experience to fit in here!”)
Reported similarity with fractals.
Omnipresence of saddles making up the structural constraints of the hallucinated scenes. For example, one often hears about experiencing scenes saturated with: joints, twists, bifurcations, curved alleys, knots, and double helixes.
Looking at self-similar objects (such as cauliflowers) can get you lost in what seems like endless space. (Note: beware of the potential side effects of looking at a cauliflower on DMT*).
PSIS-like experiences where people seem to experience multiple alternative outcomes from each event at the same time (this may be the result of “hyperbolic branching” through time rather than space).
People describe “incredibly advanced mechanisms” and “impossible objects” that cannot be represented in our usual reality (e.g. Terence Mckenna’s self-dribbling basketballs).
At least one mathematician has stated that what one experiences on DMT cannot be translated into Euclidian geometry (unlike what one experiences on LSD).
We received a series of systematic DMT trip-reports by a math enthusiast and experienced psychonaut who claims that the surfaces experienced on DMT are typically composed of hyperbolic tilings (which imply a negative curvature; cf. wallpaper groups).
This article goes beyond claiming a mere connection between DMT and hyperbolic geometry. We will be more specific by addressing the aspects of the experience that can be interpreted geometrically. To do so, let us now turn to a phenomenological description of the way DMT experiences usually unfold:
The Phenomenology of DMT experiences: The 6 Levels
In order to proceed we will give an account of a typical vaporized DMT experience. You can think of the following six sections as stages or levels of a DMT journey. Let me explain. The highest level you get to depends on the dose consumed, and in high doses one experiences all of the levels, one at a time, and in quick succession (i.e. on high doses these levels are perceived as the stages of the experience). If one takes just enough DMT to cross over to the highest level one reaches during the journey for only a brief moment, then that level will probably be described as “the peak of the experience”. If, on the other hand, one takes a dose that squarely falls within the milligram range for producing a given level, it will be felt as more of a “plateau”. Each level is sufficiently distinct from the others that people will rarely miss the transitions between them.
The six levels of a DMT experience are: Threshold, Chrysanthemum, Magic Eye, Waiting Room, Breakthrough, and Amnesia. Let us dive in!
(Note: The following description assumes that the self-experimenter is in good physical and mental health at the time of consuming the DMT. It is well known that negative states of consciousness can lead to incomprehensible hellscapes when “boosted” by DMT (please avoid DMT at all costs while you are drunk, depressed, angry, suicidal, irritable, etc.). The full geometry is best appreciated on a mentally and emotionally balanced set and settings.)
The very first alert of something unusual happening may take between 3 to 30 seconds after inhaling the DMT, depending on the dose consumed. Rather than a clear sensorial or cognitive change, the very first hint is a change in the apparent ambiance of one’s setting. You know how at times when you enter a temple, an art museum, a crowd of people, or even just a well decorated restaurant you can abstract an undefinable yet clearly present “vibe of the place”? There’s nothing overt or specific about it. The ambiance of a place is more of an overall gestalt than a localized feeling. An ambiance somehow encodes information about the social, ideological and aesthetic quality of the place or community you just crashed into, and it tells you at a glance which moods are socially acceptable and which ones are discouraged. The specific DMT vibe you feel on a given session can be one of a million different flavors. That said, whether you feel like you entered a circus or joined a religious ceremony, the very first hint of a DMT experience is nonetheless always (or almost always) accompanied with an overall feeling of significance. The feeling that something important is about to happen or is happening is made manifest by the vibe of the state. This vibe is usually present for at least the first 150 seconds or so of the journey. Interestingly, the change in ambiance is shorter-lived than the trip itself; it seems to go away before the visuals vanish quickly declining once the the peak is over.
Within seconds after the change in ambiance, one feels a sudden sharpening of all the senses. Some people describe this as “upgrading one’s experience to an HD version of it”. The level of detail in one’s experience is increased, yet the overall semantic content is still fairly intact. People say things like: “Reality around me seems more crisp” and “it’s like I’m really grasping my surroundings, you know? fully in tune with the smallest textures of the things around me.” Terence Mckenna described this state as follows: “The air appears to suddenly have been sucked out of the room because all the colors brighten visibly, as though some intervening medium has been removed.”
On a schedule of repeated small doses (below 4 mg; preferably i.m.) one can stabilize this sharpening of the senses for arbitrarily long periods of time. I am a firm believer that this state (quite apart from the alien experiences on higher doses) can already be recruited for a variety of computational and aesthetic tasks that humans do in this day and age. In particular, the state itself seems to enable grasping complex ideas with many parameters without distorting them, which may be useful for learning mathematics at an accelerated pace. Likewise, the sate increases one’s awareness of one’s surroundings (possibly at the expense of consuming many calories). I find it hard to imagine that artists will not be able to use this state for anything valuable.
(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.
Chrysanthemum with multuple symmetry channels
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 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-occluding 3D1T depth maps)
Extremely 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 focusing on it is 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).
Heptagonal tiling of the Poincaré disk representing the 2D hyperbolic space.
Order-7-3 rhombille tiling
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…
(4) Waiting Room
In the range of 12-25mg of DMT a likely final destination is the so-called Waiting Room. This experience is distinguished from the Magic Eye level in several ways: first, the world-sheet at this level breaks into several quasi-independent components, each evolving semi-autonomously. Second, one goes from “partial immersion” into “full immersion”. The transition between Magic Eye and Waiting Room often looks like “finding a very complex element in the scene and using it as a window into another dimension”. The total 2D surface curvature present (by adding up the curvature of all elements in the scene) is substantially higher than that of the Magic Eye level, and one can start to see actual 3D hyperbolic space. Perhaps a way of describing this transition is as follows: The curvature of the world-sheet gets to be so extreme that in order to accommodate it one’s entire multi-modal experiential field becomes involved, and a feeling of total and complete synchronization of all senses into a unified synesthetic experience is inescapable (often described as the “mmmMMMMMMM+++++!!!” whole-body tone people report). Thus the feeling of entering into an entirely new dimension. This explains what people mean when they say: “I experienced such an intense pressure that my soul could not be contained in my tiny body, and the intense pressure launched me into a bigger world”.
DMT Waiting Room
Changes in the connectivity of the micro-structure of the texture
Constant flow of interlocking symmetry elements tile the texture.
The images above, taken together, are meant as an impressionistic replication of what a Waiting Room experience may feel like. On the left you see the textured world-sheet curved in several ways resulting in an enclosed room with shimmering walls and an entity looking at a futuristic-looking contraption. The images on the right are meant to illustrate the ways in which the texture of the world-sheet evolves: you will find that the micro-structure of such texture is constantly unfolding in new symmetrical ways (bottom right), and propagating such changes throughout the entire surface at a striking speed (top right).
DMT Waiting Rooms contain entities that at times do interact directly with you. Their reality is perceived as a much more intense and intimate version of what human interaction normally is, but they do not give the impression of being telepathic. That said, their power is felt as if they could radiate it. One could say that this level of DMT places you in such an intimate, vulnerable and open state that interpreting the entities in a second-person social mode is almost inevitable. It is like interacting with someone you really know (or perhaps someone you really really want to know… or really really don’t want to know), except that the whole world is made of those feelings and some entities inhabit that world.
Serious hard-core psychonauts tend to describe the Waiting Room as a temporary stopgap. Indeed more poetry could ever be written about the Waiting Room states of consciousness than about most human activities, for its state-space is larger, more diverse and more hedonically loaded. But even so, it is important to realize that there are even weirder states. Serious psychonauts exploring the upper ranges of humanly-accessible high energy consciousness research may see Waiting Rooms as a stepping stones to the real deal…
If one manages to ingest around 20-30mg of DMT there is a decent chance that one will achieve a DMT breakthrough experience (some sources place the dosage as high as 40mg). There is no agreed-upon definition for a “DMT breakthrough”, but most experienced users confirm that there is a qualitative change in the structure and feel of one’s experience on such high doses. Based on A’s observations we postulate that DMT breakthroughs are the result of a world-sheet with a curvature so extreme that topological bifurcations start to happen uncontrollably. In other words, the very topology of one’s world-sheet is forced to change in order to accommodate all of the intense curvature.
The geometry of space you experience may suddenly go from a simply-connected space into something else. What does this mean? Suddenly one may feel like space itself is twisting and reconnecting to itself in complex (and often confusing) ways. One may find that given any two points on this “alien world” there may be loops between them. This has drastic effects on one’s every representation (including, of course, the self-other divide). The particular feeling that comes with this may explain the presence of PSIS-like experiences induced by DMT and high dose LSD (cf. LSD and Quantum Measurements). Since the topological bifurcations are happening on a 3D1T world-sheet, this may look like “multiple things happening at once” or “objects taking multiple non-overlapping paths at once in order to get from one place into another”. The entities at this level feel transpersonal: due to the extreme curvature it is hard to distinguish between the information you ascribe to your self-model and the information you ascribe to others. Thus one is all over the place, in a literal topological sense.
While on the Waiting Room one can stabilize the context where the experience seems to be taking place, on a DMT breakthrough state one invariably “moves across vast regions, galaxies, universes, realities, etc.” in a constant uncontrollable way. Why is this? This may be related to whether one can contain the curvature of the objects one attends to. If the curvature is uncontrollable, it will “pass on to the walls” and result in constant “context switches”. In fact, such a large fraction of 3D space is perceived as hyperbolic in one way or another, that one seems to have access to vast regions of reality at the same time. Thus a sense of radical openness is often experienced.
(6) Amnesia Level
Unlike 5-MeO-DMT, “normal DMT” experiences are not typically so mind-warping that they dissolve one’s self-model completely. On the contrary, many people report DMT as having “surprisingly little effect on one’s sense of self except at very high doses” relative to the overall intensity of the alteration. Thus, DMT usually does not produce amnesia due to ego death directly. Rather, the amnesic properties of DMT at high doses can be blamed on the difficulty of instantiating the necessary geometry to make sense of what was experienced. In the case of doses above “breakthrough experiences” there is a chance that the user will not be able to recall anything about the most intense periods of the journey. Unfortunately, we are not likely to learn much from these states (that is, until we live in a community of people who can access other phenomenal geometries in a controlled fashion).
Recalling the Immemorial
We postulate that the difficulty people have remembering the phenomenal quality of a DMT experience is in part the result of not being able to access the geometry required to accurately relive their hallucinations. The few and far apart elements of the experience that people do somehow manage to remember, we posit, are those that happen to be (relatively) easy to embed in 3D Euclidean space. Thus, we predict that what people do manage to “bring back” from hyperspace will be biased towards those things that can be represented in R3.
This explains why people remember experiencing intensely saddled scenes (e.g. fractals, tunnels, kale worlds, recursive processes, and so on). Unfortunately most information-rich and interesting (irreducible, prime) phenomenal objects one experiences on DMT are by their very nature impossible to embed in our normal experiential geometry. This problem reveals an intrinsic limitation that comes from living in a community of intelligences (i.e. contemporary humans) who are constrained in the range of state-spaces of consciousness that they can access. This realization calls for a new epistemological paradigm, one that incorporate state-specific representations into a globally accessible database of states of consciousness, together with the network that emerges from their mutual (in)intelligibility.
The increased curvature of one’s world-sheet can manifest in endless ways. In some important ways, the state-space of possible scenes that you can experience on DMT is much bigger than what you can experience on normal states of consciousness. Strictly speaking, you can represent more scenes on DMT states than in most other states because the overall amount qualia available is much larger. Of course the very dynamics of these experiences constrains what can be experienced, so there are still many things inaccessible on DMT. For instance, it may be impossible to experience a perfectly uniform blue screen (since the Chrysanthemum texture is saturated with edges, surfaces and symmetrical patterns). Likewise, scenes that are too irregular may be impossible to stabilize given the omnipresent symmetry enhancement found in the state.
What are the nature of the objects and entities one experiences on DMT? Magic Eye level experiences tend to include objects that are usually found in our everyday life. It is at the DMT waiting room level and above that the “truly impossible objects” begin to emerge. In particular, all of these objects are often curved in extreme ways. They condense within them complex networks of interlocking structures sustaining an overall superlative curvature. Here are some example objects that one can experience on Waiting Room and Breakthrough level experiences:
Notice that all of these images have many saddles everywhere. Ultimately, the range of objects one can experience on such states includes many other features that are impossible to represent in R3. The objects that people do manage to bring back and recall later on, are precisely those that can be embedded in R3. Thus you often see extremely contorted wrapped-up objects. The most interesting ones (such as quasi-regular H3 tilings or irreducible objects) are next-to-impossible to bring back in any meaningful way, for now at least.
DMT Space Expansion
The expansion of space responsible for the increased curvature happens anywhere you direct your attention (including the objects you see). Here you can see what it may look like to stare at a DMT object: This is called the “jitterbox” mechanism.
DMT entities come in many forms, and their overall quality is extremelly dose-dependent. Rather than describing any specific manifestation we will instead briefly characterize the rough properties of the entities experienced based on the level reached.
Threshold: Usually the ambiance change has a social feel to is. More similar to entering a room of people of an alien culture, than entering an empty cave or a warm pool on your own. In this sense the very beginning of a DMT experience may already frame the experience in social terms and facilitate the expectation of meeting entities.
Chrysanthemum: One can feel perhaps the subtle presence of entities, but they are often interpreted as “feeling connected” to one’s friends, relatives and acquaintances. The feeling does not manifest in any clear spatial way, though. Other than that, this state is apersonal in the sense that one does not see any entity directly.
Magic Eye: Here the entities can be roughly described as having an impersonal relationship with you. They are just there, hanging out on their own, often engrossed with whatever activities your world-sheet is capable of representing for them.
Waiting Room: At this level entities start becoming able to interact with you. They feel like autonomous beings wrapped in mystery. Their intentions, what they know, and their emotional states can be guessed from their behavior, but they are not immediately obvious.
Breakthrough: At this level the entities one meets seem to have what we might call a transpersonal relationship with you. They share their own internal states (emotions, knowledge, wishes, etc) with you. It feels like they can communicate telepathically and “see through” you. One cannot hide one’s “private” mental contents from them at this level.
Amnesia: One cannot remember, of course, exactly what happens here. But if trip reports are any indication, this level is reminiscent of highly “mystical” states in which one’s implicit beliefs about Personal Identity are obliterated and replaced by the feeling of becoming an all-encompassing entity. “Union with God” and “Samadhi” are terms that describe the subjective feeling of self in this state. In other words, at this level it is impossible to distinguish between oneself and other entities, for all is represented as one. (Beware of never trying to go here if you feel bad at the time since negative hedonic tone can be amplified just as much as a good feeling such as Samadhi).
Modeling the Hyperbolic Geometry of DMT
How can we explain the drastic geometric changes of phenomenal space on DMT? As mentioned earlier, we will discuss three (non-mutually exclusive) hypothesis. These hypothesis work at the level of an algorithmic reduction, which means that we will go deeper than just describing information processing and phenomenology. We will stop short of addressing the implementation level of abstraction. It is worth pointing out that describing the ways in which DMT experiences are hyperbolic is in itself an algorithmic reduction. What we are about to do is to develop a more granular algorithmic reduction in which we try to explain why hyperbolic geometry emerges on DMT states by postulating underlying processes. Here are the three reductions:
(1) Control Interruption + Symmetry detection = Change in Metric
Recall that on a previous article we algorithmically reduced general psychedelic states. The building blocks of that reduction were:
Using this framework one can argue that DMT makes space more hyperbolic in the following way: in high amounts the synergistic effect of control interruption together with extremely lowered symmetry detection thresholds experienced in quick succession makes the subjective distance between the points in the phenomenal objects in the scene evolve a hyperbolic metric. How would this happen? The key thing to realize is that in this model the usual quasi-Euclidean space we experience is an emergent effect of an equilibrium between these two forces. Even in normal circumstances our world-sheet is continuously regenerated; the rate at which symmetrical relationships in the scene are detected is balanced by the rate at which these subjective measurements are forgotten. This usually results in an emergent Euclidean geometry. On DMT the rate of symmetry detection increases while the rate of “forgetting” (inhibiting control) decreases. Attention points out more relationships in quick succession and this creates a network of measured subjective distances that cannot be embedded in Euclidean 3D space. Thus there is an overflow of symmetries. We are currently working on a precise mathematical model of this process in order to reconstruct a hyperbolic metric out of these two parameters. In this model, control interruption is interpreted as a change in the decay for subjective measurements of distance in one’s mind, whereas the lowered symmetry detection threshold is interpreted as a change in the probability of measuring the distance between any two given points as a function of the network of distances already measured.
The curvature increase is most salient where there is already a lot of measurements made, since highly-measured regions focus attention and attention drives symmetry detection. Thus, focusing on any surface will make the surface itself hyperbolic (rather than the 3D space, since measurements are mostly concentrated on the surface). On the other hand, if the curvature is too high to keep on a 2D surface, it will “jump” to 3D or even 3D1T (i.e. branching out the temporal component of one’s experience). The result is that the total curvature of one’s 3D1T world-sheet increases on DMT in a dose-dependent way.
Different doses lead to different states of curvature homeostasis. Each part of the worldsheet has constantly-morphing shapes and sudden curvature changes, but the total curvature is nonetheless more or less preserved on a given dose. It is not easy to get rid of excess curvature. Rather, whenever one tries to reduce the curvature in one part of the scene one is simply pushing it elsewhere. Even when one manages to push most of the curvature out of a given modality (e.g. vision) it is likely to quickly return in another modality (e.g. kinesthetic or auditory landscape) since attention never ceases on a DMT trip. Such apparent dose-dependent global curving of the world-sheet (and its jump from one modality into another) constrains the shape of the objects one can represent on the state (thus leading to alien-looking highly-curved objects similar to the ones shown above).
(2) Dynamic System Account: Energy Sources, Sinks and Invariants
Let us define a notion of energy in consciousness so that we can formalize the way experiences warps and transforms on DMT. Assume that one needs “energy” in order to instantiate a given experience (really, this is just an implicit invariant and we could use a different name). Each feature of a given experience needs a certain amount of energy, which roughly corresponds to a weighted sum of the intensity and the information content of an experience. For instance, the brightness of a point of colored light in one’s visual field is energy-dependent. Likewise, the information content in a texture, the number of represented symmetrical relationships, the speed by which an object moves (plus its acceleration), and even the curvature of one’s geometry. All of these features require energy to be instantiated.
Under normal circumstances the brain has many clever and (evolutionarily) appropriate ways of modulating the amount of energy present in different modules of one’s mind. That is, we have many programs that work as energy switches for different mental activities depending on the context. When we think, we have allocated a certain amount of energy to finding a shape/thought-form that satisfies a number of constraints. When it shape-shifting that energy in various ways and finding a solution, we either allocate more energy to it or perhaps give up. However, on DMT the energy cannot be switched off, and it can only pass from one modality into another. In other words, whereas in normal circumstances one uses strategically one’s ability to give energy limits to different tasks, on DMT one simply has constant high energy globally no matter what.
More formally, this model of DMT action says that DMT modifies the structure of one’s mind so that (1) energy freely passes from one form into another, and (2) energy floods the entire system. Let’s talk about energy sources and sinks.
Energy Sources and Sinks
In this algorithmic reduction DMT increases the amount of consciousness in one’s mind by virtue of impairing our normal energy sinks while increasing the throughput of its energy sources. This may frequently manifests as phenomenal spaces becoming hyperbolic in the mathematical-geometric sense of increasing its negative curvature as such curvature is one manifestation of higher levels of energy. Energy sinks are still present and they struggle to capture as much of the energy as possible. In particular, one energy sink is “recognition” of objects on the world-sheet.
This model postulates that attention functions as an energy source, whereas pattern recognition functions as an energy sink.
The Hamiltonian of a World-sheet
The total energy in one’s consciousness increases on DMT, and there is a constant flow between different ways for this energy to take form. That said, one can analyze piecewise the various components of one’s experience, specially if the network of energy exchange clusters well. In particular, we can postulate that world-sheets are fairly self-contained. Relative to other parts of the environment the mind is simulating, the world-sheet itself has a very high within-cluster energy exchange and a relatively low cross-cluster energy exchange. One’s world-sheet is very fluid, and little deformations propagate almost linearly throughout it. In a given dose plateau, if you add up the acceleration, the velocity, the curvature, and so on of every point in the world-sheet you will come up with a number that remains fairly constant over time. Thus studying the Hamiltonian of a world-sheet (i.e. the state-space given by a constant level of energy) can be very informative in describing both the information content and the experiential intensity of DMT experiences.
You can deform a surface without changing its local curvature. (Source: Gauss’ “Remarkable Theorem” [seriously not my quotes]). Thus on a DMT trip plateau there is still a lot of room for transformations of the world-sheet into different shapes with similar curvature.
Under normal circumstances the curvature of one’s world-sheet is, as far as I can tell, arousal-dependent. Have you noticed how when you feel tired you are more likely to defocus your visual experience? You are tired late at night and you are trying to watch a movie, but bringing the scene in focus is too much of an effort so you defocus for a little bit (still listening to the dialogue). What did you do that for? In the framework here proposed, you did that to diminish the energy it takes you to sustain a curved world-sheet with a lot of information. Doing so may be aesthetically pleasing and rewarding when fully awake or excited, but when tired the returns on doing the focusing are not great given how much effort it needs and the fact that the dialogue is more essential for the plot anyway.
It takes effort and wakefulness to focus on a complex scene with many intricate details. (Reading and trying to comprehend this essay may itself require significant conscious energy expenditure). For this reason we might say that DMT is an exceedingly effective arouser of consciousness.
Bayesian Energy Sinks
One essential property of our minds is that our level of mental arousal decreases when we interpret our experience as “expected”. People who can enjoy their own minds do so, in part, by finding unexpected ways of understanding expected things. In the presence of new information that one cannot easily integrate, however, one’s level of energy is adjusted upwards so that we try out a variety of different models quickly and try to sort out a model that does make the new information expected (though perhaps integrating new assumptions or adding content in other ways). When we cannot manage to generate a mental model that works out a likely model of what we are experiencing we tend to remain in an over-active state.
This general principle applies to the world-sheet. One of the predominant ways in which a world-sheet reduces its energy (locally) is by morphing into something you can recognize or interpret. Thus the world-sheet in some way keeps on producing objects, at first familiar, but in higher energies the whole process can seem desperate or hopeless: one can only recognize things with a stretch of the imagination. Since humans in general lack much experience with hyperbolic geometry, we usually don’t manage to imagine objects that are symmetric on their own native geometry. But when we do, and we fill them up with resonant light-mind-energy, then BAM! New harmonics of consciousness! New varieties of bliss! Music of the angels! OMG! Laughter till infinity and more- shared across the galaxy- in a hyperbolic transpersonal delight! It’s like LSD and N2O! Wow!
Forgive me, it is my first day. Let’s carry on. As one does not know any object that the world-sheet can reasonably be able to generate in high doses, and the world-sheet has so much energy on its own, energy can seem to spiral out of control. This explains in part the non-linear relationship between experienced intensity and DMT dose.
Like all aspects of one’s consciousness, the negative curvature of phenomenal space tends to decay over time (possibly through inhibition by the cortex). In this case, the feeling is one of “smoothing out the curves” and embedding the phenomenal objects in 3D euclidean space. However, this is opposed by the effect that attention and (degrees of) awareness have on our phenomenal sheet, which is to increase its negative curvature. On DMT, anything that attention focuses on will begin branching, copying itself and multiplying, a process that quickly saturates the scene to the point of filling more spatial relationships than would fit in Euclidean 3D. The rate at which this happens is dose-dependent. The higher the dose, the less inhibiting control there is and the more intense the “folding” property of attention will be. Thus, for different dosages one reaches different homeostatic levels of overall curvature in one’s phenomenal space. Since attention does not stop at any point during a DMT trip (it keeps being bright and intense all throughout) there isn’t really any rest period to sit back and see the curvature get smoothed out on its own. Everything one thinks about, perceives or imagines branches out and bifurcate at a high speed.
Every moment during the experience is very hard to “grasp” because the way one normally does that in usual circumstances is by focusing attention on it and shaping one’s world-sheet to account for the input. But here that very attention makes the world-sheet wobble, warp and expand beyond recognition. Thus one might say that during a solid DMT experience one never sees the same thing twice, as the experience continues to evolve. That is, of course, as long as you do not stumble upon (or deliberatively create) stable phenomenal objects whose structure can survive the warping effect of attention.
(3) Hyperbolic Micro-structure of Consciousness
Subjectively, A says, negative curvature is associated with more energy. Perhaps this curvature happens at a very low level? An example to light up the imagination is using heat to fold a sheet of metal (thanks to thermal expansion). Whatever your attention focuses on seems to get heated up (in some sense) and expand as a result. The folding patterns themselves seem to store potential energy. Left on their own, this extra energy stored as negative curvature usually dissipates, but on DMT this process is lowered (while the effect of increasing the energy is heightened). Could this be the result of some very very fine-level micro-experiential change that gradually propagates upwards? With the help of our normal mental processes the change in the micro-structure may propagate all the way into seemingly hyperbolic 2D and 3D surfaces.
Perhaps the most important difference between DMT in high doses and other psychedelics is that the micro-structure of consciousness drifts in such a way that tiny Droste effects bubble up into large Möbius transforms.
As noted already, these three algorithmic reductions are not incompatible. We just present them here due to their apparent explanatory power. A lot more theoretical work will be needed to make them quantitative and precise, but we are optimistic. The aim is now to develop an experimental framework to distinguish between the predictions that each candidate algorithmic reduction makes (including many not presented here). This is a work in progress.
Generalizing hyperbolization to non-spatial experiential fields
In the case of experiential fields such as body feelings, smells and concepts, the “hyperbolization” takes different forms depending on the algorithmic reduction you use. I prefer the very general interpretation that one experiences hyperbolic information geometry rather than just hyperbolic space. In other words, when we talk about body feelings and so on, on a psychedelic one organizes such information in a hyperbolic relational graph, which also exhibits a negative curvature relative to its normal geometry. Arguing in favor of this interpretation would take another article, so we will leave that for another time.
Getting a handle on the DMT state
Gluing a 1-handle is easy on a 2-sphere. Tongue in cheek, sticking a little doughnut on a big ball allows you to grab the sphere and control it in some way. But how do you get a handle on hyperbolic space? The answer is to build hyperbolic manifolds at the core of one’s being, by imagining knots very intensely. The higher one is, the more complex the knot one can imagine in detail. Having practiced visualizations of this sort while sober certainly helps. If you imagine the knot with enough detail, you can then stress the environment surrounding it to represent a warped hyperbolic space. This way you give life to the complement of the knot (which is almost always hyperbolic!). We postulate that it is possible to study in detail the relationship between the knots imagined, and the properties of the experiential worlds that result from their inversion (i.e. thinking about the geometry of the space surrounding the knot rather than the knot itself). A reports that different hyperbolic spaces generated this way (i.e. imagining knots on tryptamines) have different levels of energy, and have unique resonant properties. Different kinds of music feel better in different kinds of hyperbolic manifolds. It takes more energy to “light up” a hyperbolic space like that, mostly due to its openness. This is why using small doses of 2C-B can be helpful to create a positive backbone to the experience (providing the necessary warmth to light up the hyperbolic space). Admittedly MDMA tends to work best, but its use is unadvisable for reasons we will not get into (related to the hedonic treadmill). A healthy combination that both enables the visualization of the hyperbolic spaces in a vivid way and also lights them up with positive hedonic tone healthily and reliably has yet to be found.
Relatedly… Get a handle on your DMT trip by creating a stabilizing 4D hyperbolic manifold in four easy steps:
Unifying Your Space
God, the divine, open individualism, the number one, an abstract notion of self, or the thought of existence itself are all thoughts that work as great “unifiers” of large areas of phenomenal space. Indeed these concepts can allow a person to connect the edges of the hyperbolic space and create a pocket of one’s experience that does not seem to have a boundary yet is extremely open. This may be a reason why such ideas are very common in high levels of psychedelia. In a sense, depending on the mind, they have at times the highest recruiting power for your multi-threaded attention.
Applications to Qualia Computing and Closing Thoughts
Beyond mere designer synesthesia, the future of consciousness research contains the possibility of exploring alternative geometries for the layout of our experiences. One’s overall level of energy, its manifestation, the allowed invariants, the logic gates, the differences in resonance, the granularity of the patterns, and so on, are all parameters that we will get to change in our minds to see what happens (in controlled and healthy ways, of course). The exploration of the state-space of consciousness is sure to lead to a combinatorial explosion. Even with good post-theoretical quantitative algorithmic reductions, it is likely that qualia computing scientists will still find an unfathomable number of distinct “prime” permutations. For some applications it may be more useful to use special kinds of hyperbolic spaces (like the compliment of certain class of knot), but for others it may suffice to be a little sphere. Who knows. In the end, if a valence economy ends up dominating the world, then the value of hyperbolic phenomenal spaces will be proportional to the level of wellbeing and bliss that can be felt in them. Which space in which resonant mode generates the highest level of bliss? This is an empirical question with far-reaching economic implications.
Mathematics post-hyperbolic consciousness
I predict that some time in the next century or so many of the breakthroughs in mathematics will take place in consciousness research centers. The ability to utilize arbitrary combinations of qualia with programable geometry and information content (in addition to our whole range of pre-existing cognitive skills) will allow people to have new semantic primitives related to mathematical structures and qualia systems currently unfathomable to us. In the end, studying the mathematics of consciousness and valence is perhaps the ultimate effective altruist endeavor in a world filled with suffering, since reverse-engineering valence would simplify paradise engineering… But even in a post-scarcity world, consciousness research will also probably be the ultimate past time given the endless new discoveries awaiting to be found in the state-space of consciousness.
*On the unexpected side effects of staring at a cauliflower on DMT: You can get lost in the hyperbolic reality of the (apparent) life force that spirals in a scale-free fractal fashion throughout the plant. The spirals may feel like magnetic vortexes that take advantage of your state to attract your attention. The cauliflower may pull you into its own world of interconnected fractals, and as soon as you start to trust it, it begins trying to recruit you for the cauliflower cause. The cauliflower may scare you into not eating it, and make you feel guilty about frying it. You may freak out a little, but when you come down you convince yourself that it was all just a hallucination. That said, you secretly worry it was for real. You may never choose to abstain from eating cauliflowers, but you will probably drop the knife when cooking it. You will break it apart with your own hands in the way you think minimizes its pain. You sometimes wonder whether it experiences agony as it is slowly cooked in the pan, and you drink alcohol to forget. Damn, don’t stare at a cauliflower while high on DMT if you ever intend to eat one again.
P.S. Note on Originality: The only mention I have been able to find that explicitly connects hyperbolic geometry in a literal sense with DMT (rather than just metaphorical talk of “hyperspace”) is a 2014 post in the Psychonaut subredit. To my knowledge, no one has yet elaborated to any substantial degree on this interesting connection. That said, I’m convinced that during the days that follow a strong trip, psychedelic self-experimenters may frequently wonder about the geometry of the places they explored. Yet they usually lack any conceptual framework to justify their intuitions or even verbalize them, so they quickly forget about them.
P.S.S. Example Self-Dribbling Basketball:
To the right you can see what a “self-dribbling basketball” looks like. The more you try to “grasp” what it is, the more curved it gets. That’s because you are adding energy with you attention and you do not have enough recognition ability in this space to lower its energy and reduce the curvature to stabilize it. The curvature is so extreme at times that it produces constant “context switches”. This is the result of excess curvature being pushed towards the edge of your experience and turning into walls and corridors.
P.S.S.S.: Example on world-sheet bending:
Below you can find two gifs that illustrate the behavior of a world-sheet on a 5mg vs. 20mg dose. The speed at which you are adding curvature to it increases so much that the shapes and objects keep shifting to accommodate it all.
When I was in 10th grade I took a course in formal logic. I had been a big fan of logic (and math in general) for several years, so I was looking forward to seeing how the class would approach the subject. I personally liked the teacher and I knew he thought very deeply about a range of topics (including aesthetics and philosophy). I was sure I was going to have a great time.
Unfortunately, the overall learning strategy of the class consisted of studying the textbook in extreme detail. The way I remember the textbook was that it featured a mixture of very casual and naïve paragraphs interspersed with blocks of rigid definitions and formulaic procedures for solving logic problems. My overall perception of the textbook was that anyone with a genuine interest in the beauty of math would experience the exercise of reading this book as particularly unpleasant.
I was used to math classes that didn’t actually require you to study anything; usually, problem solving skills and pragmatic inference of the meaning of words during the exam was good enough. In contrast, most questions on the exams for this class had a very particular style. The answers had to be verbatim repeats of the specific idiosyncratic responses found in the textbook. If you knew the contents of the textbook by heart, then the exam would be trivial. If you didn’t, then no amount of problem solving would get you anywhere.
These exams were open-note but closed-textbook, which meant that if you simply copied the entire textbook into your notebook you would easily be able to respond accurately to the vast majority of the questions. And if you didn’t, then you were almost guaranteed to fail. This meant that the largest fraction of the variance of grades in the class was determined by whether or not students took the time to do the grueling task of transcribing an entire textbook into their notebooks.
Needless to say, I intensely disliked this approach.
Thankfully, in every bad situation you can always find something good that redeems it a little bit . And in this case, what could be rescued from the situation was the man from Figure 5.9:
Figure 5.9: This man is confused
This must have been around page 150, which dealt with the need for logic. The textbook said, in a very informal way, something along the lines of: “Imagine a man without any logic. This person would have disjointed thoughts with no objectives, and he would be incapable of making sense of anything. The man in question would be confused. See Figure 5.9”
The teacher joked that the man in the figure could be experiencing one of many possible states of mind. His expression is somewhat ambiguous and it is unclear what exactly it adds to the conversation. Likewise, the facial features are not even the most salient component of the picture; his hair looks completely bizarre.
The Value of Confusion
This picture made me reflect on the difficulty of expressing mental states using drawings and pictures. A facial expression is perhaps a good start. Words, of course, and dialogue can help you trigger an emotion or state of being. But that only takes you so far, and it restricts you to what are largely social emotions.
Confusion, on the other hand, is an umbrella term for many states that are hard to communicate and describe. There is perceptual confusion, emotional confusion, cognitive confusion and even ontological confusion. Each of these varieties contains many flavors; there is a combinatorial explosion of possible reasons for the confusion.
Subjectively, confusion is an extremely interesting state of consciousness, since it spawns a lot of novelty. Even though it can and often is unpleasant (especially when what’s at stake is something one values), confusion comes in all shades of hedonic tone. Pleasant confusion is possible, and indeed it may play an important role in philosophical and spiritual euphoria. Likewise, one can achieve fantastic levels of neutral-valence confusion during meditation (alternating, at times, with states of very high clarity). Epiphanic, wondrous and mystical states are also often proceeded by profound confusion of the ontological kind (where you doubt the deepest background assumptions that provide the stilts upon which your worldview is suspended).
The fact that the texture of one’s experience has information processing properties (aka qualia computing) is itself more evident during states of confusion. For example, when you are confused about the meaning of something, this will have implications for the way you experience language and encode gestalts of experience (ex: “This synesthetic sensation here is usually paired up with meaning, but what is the meaning of it now? Without experiencing the meaning I usually ascribe to the sensation, I can’t compare it to other sensations I’ve had before.”)
Since language and facial expressions have their limitations, one might prefer to communicate confusion and other states using non-symbolic expressions. Visual textural gestalts, it seems to me, may take us the farthest in this direction, at least with the current level of technology (that is, unless we also include music, which itself has textural qualities).
In order to visualize new kinds of confusion, we can project the textural gestalt that the man from Figure 5.9 is experiencing into the picture itself, and imagine that we were given private access to his state of consciousness. We can then experience what it would be like to be him in these different experiential worlds, and introspect on the subjective nature of his confusion.