The Qualia Research Institute (QRI) is excited to announce the launch of three Non-Ordinary States of Consciousness (NSCs) Art Contests: Immerse, Innovate, and Inspire with submissions accepted until 5/17/2023. Examples of non-ordinary states of consciousness are psychedelic experiences, meditative experiences like the jhanas, and near-death experiences.
Our objective is to highlight the reciprocal relationship between art and consciousness research, enabling artists to create lifelike representations of non-ordinary states of consciousness, and contribute to the development of consciousness studies and psychedelic science.
About the Qualia Research Institute
The Qualia Research Institute is a non-profit organization dedicated to advancing our understanding of consciousness. Its mission is to:
Develop a precise mathematical language for describing subjective experience
Map out the full range of possible conscious experiences
Build technologies to improve the lives of sentient beings
Replication Contest (Immerse): Entries will be judged based on transparent and interpretable qualities that accurately capture the low-level subjective effects experienced in non-ordinary states of consciousness.
Psychedelic Cryptography Contest (Innovate): Artists are invited to create encodings of sensory information that are only meaningful when experienced on psychedelics in order to show the specific information-processing advantages of those states.
For the sake of transparency and to benefit the community as a whole, QRI reserves the right to publish the winning submissions made by contestants on its website. Artists retain their intellectual property rights, allowing them control over their artwork’s use and distribution. However, QRI would appreciate permission to showcase participants’ art on our website or use it in potential research publications with proper citations and links to the artists’ work.
We understand that the replication contest may not capture the full complexity and nuances of psychedelic experiences, and that there are concerns about the potential harm associated with the use of psychedelics. Participation in these contests does not require the use of psychedelics, and we encourage all participants to prioritize their safety and well-being.
We welcome feedback and suggestions for future contests at email@example.com. We look forward to exploring these topics responsibly and respectfully.
The Replication Contest seeks to celebrate the artistic capabilities of participants in accurately depicting and interpreting the low-level subjective effects experienced in non-ordinary states of consciousness (NSCs), with a particular emphasis on (1) valence effects and (2) geometric transformations.
Valence effects focus on demonstrating how the shape of the experience can reveal whether a person is having a clean and blissful experience or a mixed affect experience. The transition between feeling normal and feeling blissful might involve changes to the shape of the visual experience. Rather than focusing on the semantic content (e.g. seeing an angel) here the point is to visualize the texture, shape, and dynamics that bring about this change (e.g. harmonizing flow by reducing turbulence).
Geometric transformations such as rotations, reflections, glides, affine transformations, and so on often feature in psychedelic experiences. Can this be rendered in a realistic way? We suggest that you consider how symmetry and geometry are two sides of the same coin in order to better appreciate this quality of psychedelic experiences. When the geometry of phenomenal space changes, so do the symmetries within it. Can this be expressed artistically in an accurate way?
To participate, artists should create a piece of art that embodies the subjective effects they have researched or encountered during NSCs, emphasizing the two highlighted areas.
Visualize an annealing process where the video contains blinking lights driven by metronomes that can sync up with each other until the whole scene is shining in a coherent way (cf. Neural Annealing).
Show how bouba vs. kiki imagery highlight different emotional tones during a psychedelic experience (cf. CDNS in Quantifying Bliss), where spiky feelings tend to be harsh and disquieting, whereas bubbly and round features tend to be calming and welcoming (extra points if these features emerge out of some kind of annealing process, or if you find counterexamples to this general pattern).
Visualize how wallpaper symmetry groups transform textures into repeating patterns.
Show waves interacting with each other in order to construct psychedelic interference patterns (cf. non-linear wave computing)
Use hyperbolic minimal surfaces in order to exemplify how sensations aggregate on DMT.
Show how the Reverse-Grassfire Algorithm can create 3D crystals (cf. Harmonic Gestalt).
Show a 2D Euclidean grid becoming hyperbolic by adding additional nodes and edges in order to demonstrate a change of geometry (cf. world-sheet).
Model the the experience of achieving a DMT breakthrough level experience using a physical instability (such as Kelvin-Helmholtz).
These are just some suggestions and there are many other ways of connecting technical descriptions of the phenomenology of NSE and visual replications. It helps if you can ground the effects visualized on paradigms and explanations presented by QRI, but it is not necessary to win the contest. What matters is that you can create realistic yet interpretable visualizations that hint at the underlying processes that are generating these experiences. What we are after is insight. In other words, we want to be able to discover new, meaningful, and non-trivial explanations for why NSEs manifest in the way they do. Hence, being able to describe how the replication effects are achieved is highly beneficial.
Entries will be judged based on the number and precision of replicated subjective effects, with special attention given to valence effects and geometric transformations.
The Psychedelic Cryptography Contest invites artists to create unique encodings of sensory information that are only meaningful when experienced on psychedelics. The goal is to challenge participants to develop innovative methods of encoding sensory information in such a way that an encoded secret is only apparent on a NSC. The contest encourages the exploration of how sensory information can be modulated and presented in a way that reveals hidden patterns or messages when experienced under the influence of psychedelics.
Entries will be judged based on the difficulty of the encryption method used and the clarity of the message or pattern when experienced on psychedelics.
The Inspirational Piece Contest seeks to highlight the powerful connection between art and consciousness research by encouraging artists to create pieces that exemplify this relationship. The focus of this contest is on originality, creativity, inspiration, impact, quality, and execution. Artworks submitted for this contest should evoke a sense of wonder and curiosity about the nature of consciousness and the vast landscape of possible experiences.
Entries will be judged based on originality, creativity, inspiration, impact, quality, and execution, with winners determined by a public poll.
Why it’s helpful: This article presents 8 models of art: 4 common ones, and 4 that connect it to consciousness studies. The overall frameworks of 8 models might help us arrive at methods to create innovative aesthetic qualia from first principles. We think that artists participating in any of the contests might benefit from the vocabulary introduced in these models to create innovative and meaningful pieces that explore the relationship between art and consciousness research. In particular, taking into account the energy parameter, efficient state-space exploration, annealing effects, and the vision of a meta-aesthetic all provide a unique lens for how psychedelics and art are so connected.
Why it’s helpful: This article discusses possible methods of communication that can be understood primarily by individuals under the influence of LSD and other tracer-inducing psychoactives. This may serve as inspiration for artists to think about novel ways to encode information or create unique experiences tailored to specific states of consciousness.
Why it’s helpful: This article provides a detailed analysis of how the visual effects of psychedelics might be understood and replicated using algorithmic processes. It can serve as a foundation for artists attempting to replicate the visual aspects of non-ordinary states of consciousness in their artwork, or as inspiration to propose alternative algorithmic reductions that capture effects that are currently unaccounted for.
Why it’s helpful: This article explores the connection between the subjective effects of DMT experiences and hyperbolic geometry, various possible algorithmic reductions to explain this connection, as well as detailing the progression of an experience through the DMT levels. Artists participating in the Replication Contest may find inspiration and insights into replicating specific visual patterns and structures often encountered in DMT experiences.
Why it’s helpful: The Psychophysics Toolkit and accompanying article are collections of resources and tools designed to help researchers and artists explore the intersection of perception, consciousness, and the physical world. It includes a variety of resources and interface tools that can aid artists in understanding the principles of psychophysics used to measure subjective experience and applying them to their work. This can be particularly useful for participants in all three contests, as it can provide insights into the ways that sensory information is processed during both ordinary and non-ordinary states of consciousness, and how this can be utilized in creating innovative and impactful art pieces.
Why it’s helpful: This video introduces new epistemological frameworks for studying and understanding non-ordinary states of consciousness induced by psychedelic substances. By incorporating these paradigms into their creative process, artists can develop a deeper understanding of the nature of these experiences and their potential implications for human knowledge. This enhanced understanding can help artists create innovative and thought-provoking pieces that capture the essence of exotic states of consciousness.
Why it’s helpful: This article provides a detailed explanation of the concept of phenomenal time and how it relates to the structure of conscious experiences. Understanding this concept could help artists in the contest to better represent the perception of time in non-ordinary states of consciousness and incorporate these insights into their artwork.
Why it’s helpful: This article explores the concept of wireheading and how it could be applied responsibly to maximize pleasure without causing psychological harm. Artists participating in the contest might find this article helpful in inspiring their work, particularly in the Inspirational Piece Contest, by envisioning a future where technology is used to enhance well-being and explore the state-space of consciousness responsibly.
Why it’s helpful: This video explores the concept of state-space neighborhoods, where specific aspects of conscious experiences are clustered together. By understanding the structure and dynamics of these neighborhoods, artists can create pieces that more accurately represent the nuances of different non-ordinary states of consciousness, leading to a more immersive and impactful experience for the audience.
Why it’s helpful: This article provides a comparative analysis of the experiences induced by 5-MeO-DMT and N,N-DMT. By understanding the unique characteristics of each substance’s effects, artists can draw inspiration for their artwork and more accurately replicate specific psychedelic experiences in the Replication Contest.
We would like to express our profound gratitude to the donors of the Qualia Research Institute. Your unwavering support has been invaluable in making our work possible. Your investment in our research has not only inspired a growing number of individuals to take our approach to consciousness research seriously but has also led to an expansion in our collaborations. As a result, we have seen the integration of our insights into the work of others, building upon the foundation we have established thus far.
First and foremost, we would like to extend our appreciation to Loka Vision for inspiring the contest. Their dedication to the Psychedelic/Visionary Art community, as demonstrated through their Psychedelic Replication Masterclass, has shown us the immense potential this community holds in furthering our understanding of consciousness.
Thank you Andrés Gómez Emilsson for offering technical insights that will enable artists to create life-like replications of the low-level subjective effects experienced on NSCs and incepting the idea of psychedelic cryptography as a viable field of research.
A thank you goes to Josie Kins of effectindex.com for their open-source approach to developing psychedelic art through generative AI, as well as their support of and feedback on the Replication contest and insights into the visionary/psychedelic art community.
We are excited to announce the release of our first line of Qualia Research Institute scents, “Magical Creatures”. This line explores the complex and often puzzling interactions that exist in the state-space of olfaction, highlighting the exotic and unique qualities that can emerge in this space.
“Bearing your intentions in the back of your mind has all kinds of effects in navigating your practice, without you even being conscious of it. It’s a powerful thing. Intentions are extremely powerful things. Intentions create our worlds. And that’s not hyperbole.”
– Rob Burbea, in Practicing the Jhanas
Vimalakīrti then asked the bodhisattvas from the Host of Fragrances [world], “How does Accumulation of Fragrances Tathāgata explain the Dharma?”
Those bodhisattvas said, “In our land the Tathāgata* explains [the Dharma] without words. He simply uses the host of fragrances to make the gods and humans enter into the practice of the Vinaya. The bodhisattvas each sit beneath fragrant trees, smelling such wondrous fragrances, from which they attain the ‘samādhi of the repository of all virtues.’ Those who attain this samādhi all become replete in the merits of the bodhisattva.”
– Chapter X – The Buddha Accumulation Of Fragrances
[*Tathāgata is an honorable name for the Buddha of a realm.]
In his 2019 Jhana retreat lectures, Rob Burbea explains that the intention you use as your source of energy, your reserve, your approach, and your guide to meditation has an enormous influence on what unfolds and what arises during a retreat.
If you practice Jhana meditation to be more calm, or to reduce stress, or to tick a box of “having done a Jhana retreat”, or because someone really likes the teacher and recommended it to you, or as an instrumental stepping stone to then use for insight practices, or anything else that is not open to the mystery of the Jhanas and has the flexibility and responsivity to what comes up naturally out of them, then many of the deepest and most worthwhile realms of experience this practice has to offer will simply not unfold.
Similarly, approaching an ayahuasca session with the intention of healing a particular relationship, or experiencing a mystical sense about a specific spiritual tradition, or for the sake of neurogenesis, or anything else with a predetermined target, will entail that some things will not unfold.
The approach, the intentions, and the desires that fuel a particular exploration of consciousness will determine the limits of what will unfold from it. This insight is an important conceptual background to understand the exploration of consciousness we are pursuing at QRI. To truly get the most out of experiencing our scents, we want to think of it in terms of what we call the cultivation of Qualia Mastery.
Qualia Mastery consists of three core intentions that work in the background during any exploration of consciousness:
It’s for the Benefit of Sentient Beings: The exploration intends to benefit all sentient beings. The explorer should not do anything damaging, which may limit future explorations. We should let our efforts be guided by compassion and sympathetic joy in addition to curiosity and creativity. And the goal should be altruistic: we are seeking solutions to the problem of suffering in all its guises, and we believe that understanding consciousness is essential for achieving this.
To Develop an Intellectual Understanding: Unlike many spiritual traditions which advocate for a strictly non-intellectual understanding of consciousness, Qualia Mastery fully embraces the value, importance, and necessity of intellectual understanding. This embrace entails approaching the exploration of consciousness with epistemological optimism. Yes, with enough dedication, cleverness, and knowledge, it is possible to eff the ineffable. Or, at the very least, not trying to do so will surely make it impossible!
To Experience the Mystery of Consciousness Directly: In other words, an essential aspect of Qualia Mastery involves the intention to acquire the capacity to instantiate, navigate, and utilize any and every possible state of consciousness. It is not enough to know that the 6th Jhana exists intellectually; we want to experience it ourselves! Likewise, we want to develop the ability to abide in all shades of wonder, color, taste, and so on.
With Qualia Mastery in mind, you will get much more out of exploring our scents (and any other scent you may encounter on your own!). Don’t let your preconcieved sense of what scents are (and what they are for) limit the way you approach them. They are disclosing hidden properties of consciousness! Drink and delight in experiencing the wonder of the unknown, and join us in developing an intimate and unmediated relationship with this most outstanding mystery.
Importantly, please do not think of these scents as perfumes for two reasons. First, that way of perceiving them will be limiting. It comes with a large set of cultural imports and expectations (cf. functional fixedness). Instead, these scents are qualia research tools: they are molecular compositions meant to disclose varieties of qualia and to allow you to engage in an intimate and unmediated way with the mystery of consciousness. And second, these scents are not intended as skin scents. The makeup of these scents is a mixture of common essential oils and perfume ingredients. Their relative proportions do not adhere to IFRA guidelines, which would enable us to sell them as proper perfumes intended to be used on one’s skin. Some of those regulations restrict the range of qualia accessible. Although clever perfumist tricks can, in principle, be used to deliver the same qualia while adhering closely to the guidelines. However, as a non-profit with a limited budget, this is something we have yet to invest in doing (but we may invest in the future).
What is this line of scents about? And what is the aesthetic generator behind it?
Color is the quintessential example used to illustrate the concept of qualia. The state-space of color qualia is rather simple1 . It consists of three orthogonal dimensions: the red-green axis, the yellow-blue axis, and the white-black axis. Every shade of color can be found as a coordinate in this three-dimensional space.
The QRI logo illustrates two of the three dimensions of color qualia.
Albeit controversial in some circles, fundamental properties of this qualia space can be understood experientially by anyone who pays close attention. For example, orange, purple, yellow-green, and green-blue are all secondary color qualia. Orange is, in some sense, both yellow-like and red-like; it isn’t a “pure” color quale. A fair number of phenomenal puzzles can be formulated with color qualia alone. But at its core, the space is simple: linear, Euclidean, and 3-dimensional.
The state-space of scent qualia, however, isn’t that simple. Depending on who you ask, scent-space might have between 30 and 300 dimensions. It is our measured assessment, however, that seeking a Euclidean space for scents is, at best premature and, at worst, fundamentally misguided. Early research in the geometry of the state-space of scent suggests it is hyperbolic. But we at QRI would suggest it is also irregular, and its topology might be far from trivial.
Here are a couple of examples of what makes us think there may be many puzzling interactions that suggest the presence of irregularities in the state-space of olfaction:
There are many examples where two scents mixed give rise to new emergent “scent gestalts” that genuinely feel like more than the sum of their parts. As elaborated in the description of Eau de Cologne Vide, there are tactile scent effects (such as the coolness of mint and the prickly spiky trigeminal stimulation of aldehydes). Some scents modify other scents called “character impact”: two scents that refuse to “blend” with each other can be merged by adding the right character impact into the mix.
Thus, we may need new interpretative lenses to make sense of the state-space of scents. We encourage, cultivate, and celebrate creative explorations of this (and other) qualia spaces that provide new insights and perspectives. This is what Magical Creatures is all about.
Magical Creatures is a line of scents emphasizing the “special effects” found in the state-space of scents. Rather than thinking of scents as mere points in a Euclidean space, we think of them as exotic creatures inhabiting a complex and irregular space with hidden interstitial gems found in unique places like triple points and unexpected phase transitions.
As an intuition pump, perhaps think of the range of powers that Pokémon have. If you’ve only ever seen water, fire, ground, fighting, and grass Pokémon types, is it possible to derive from first principles that there is also such a thing as an electric type? What about psychic? And ghost? These seem like entirely new categories coming out of the blue rather than linear combinations out of a simple vector basis!
Likewise, the state-space of scents can, at times, seem more like an ecosystem of unique and exotic Magical Creatures than linear combinations of a few simple primitives. For example, if you were a perfume connoisseur but had never encountered minty scents of any sort, could you figure out from first principles that there ought to be such a thing as cooling scents? No way! Where did that come from?
Magical Creatures highlight some of the fascinating “special effects” that exist hidden in the state-space of scents. Think of it as a magical treasure trove of qualia secrets. Each of the scents we present has been carefully crafted to show a “special effect” in a clear and undeniable way:
Fearless: a scent designed for countering and extinguishing fear vibrations.
Dust Devil: a scent that showcases how scents can be mysteriously powdery.
Glacial Gumdrop: a scent that incorporates cooling and “gummy” qualities.
Frisson: A scent that can cause a subtle, strange, and rather remarkable synesthetic ASMR-like sensation.
Eau de Cologne Vide: a scent that explores character impact with no flavor, a celebration of emptiness.
Hedonium Shockwave: a scent that explores positive valence in its purest form – what would a rich scent with no negative features smell like? This is our best attempt.
Note that these are just the first six of this line of scents and that there might very well be more. We’ve come across many other rather unique effects, and in time we aim to share them.
Finally, it is worth pointing out that there are countless other ways to explore scent-space – Magical Creatures is a very generative and fun approach, but ultimately just one of many. Mapping, understanding, and utilizing the full-state space of scents is undoubtedly worthy of a lifetime of exploration. We invite you to join us in this creative pursuit and in cultivating Qualia Mastery in the olfactory domain.
 We are here following the well-known findings that dates back to the psychophysics work underpinning the CIELAB color space with an Euclidean metric for color difference. Admittedly this is hiding vast amounts of complexity, such as what goes on each kind of color blindness, how power spectrum distributions map onto qualia space, tetrachromatism, blue-yellow/red-green hybrids, and hypercolors. One thing at a time!
Originally debuted at QRI’s Future of Consciousness Party on the 24th of June, 2022.
Fearless 3.0 is a scent optimized for expressing the reduction of common varieties of fear. Open Fearless is a slight improvement over Fearless 3.0. The term Open is intended to convey two meanings. First, it is an open-source formulation rather than a proprietary blend, drawing inspiration from the open-source cola movement (e.g. OpenCola). And second, it alludes to the concept of Open Individualism, the philosophical position about personal identity that says that we are all one universal consciousness, a single subject of experience experiencing itself through the universe (cf. The Goldilocks Zone of Oneness). Hence, Open Fearless is an open-source scent optimized for expressing the reduction of fear at the transpersonal level: not only the common animalistic variety, but it also tackles deeper forms of existential fear, such as the fear of being alone or the unpleasant suspicion that the universe is meaningless.
The scent combines the three most friendly and soft facets of scent-space we know of: sweetness, creaminess, and coolness. In Open Fearless, these are balanced using olfactory tricks that soften the phenomenal boundary and division between facets to give rise to a coherent scent gestalt that is intended to express happiness, freshness, and a care-free state of mind.
It is not without some degree of confusion that people react when one says that a scent is “powdery”. It doesn’t help that most people don’t have much experience with the powdery scent that is used as the quintessential example of powdery: violet (unless you grew up with Parma Violets). Alas, even when someone knows what violet smells like, the fact that it also has floral, sweet, and oily facets tends to make the qualia reference somewhat ambiguous. Common powdery scents you may be familiar with are cedarwood, sandalwood, cinnamon, talc, and some kinds of pear. Their phenomenology is a neighbor of the dry facet. Still, it has an additional quality: it creates the sensation of a dusty misty layer of fine particles whose grain size will vary depending on the precise scent. In early experiments, we determined that making a very powdery effect is not as easy as simply mixing a lot of powdery notes together: they have a habit of canceling each other out, perhaps not unlike at times mixing different kinds of powders can lead to caking and viscous consolidation.
Dust Devil combines a carefully mixed set of powdery scents that synergize with one another: violet, cedarwood, turmeric, and iso-e super. We use a dash of tangerine to give it an uplifting yet dry, citrusy spark. The result is a powerfully dusty tornado of drying and refining sensations. It’s great to create an Old West vibe characterized by tumbleweeds, whisky neat, pistol duels, droughts, and dust devils everywhere. Enjoy!
Menthol can increase the threshold temperature of activation for cold receptors. In other words, it can trick neurons into thinking that the current ambient temperature is colder than it is. Now, Glacial Gumdrop does not have a single drop of menthol. It’s menthol-free! In a daring bit of self-aware and honest advertisement, we admit that this is akin to publicizing a carbonated drink sweetened with high-fructose corn syrup as sucrose-free. Yes, but! Glacial Gumdrop does not use menthol for cooling for the simple reason that in our experiments, it didn’t seem to perform as well as a cooling agent as a mixture of menthone, carvone, and wintergreen extract. The synergy we identified between these three “cooling alternatives” has desirable phenomenological properties that menthol alone does not. Since they “hit” different kinds of coolness effects, together, they pack a much bigger and more powerful punch.
Additionally, the shape of the envelope of the combination (cf. ADSR) is compatible with other aspects of the olfactory experience. Menthol tends to monopolize attention and anesthetize one’s sensitivity to other facets of scent; our proprietary blend leaves some gaps open for attention to interweave and incorporate anise, apple, and lotus nuances which for mysterious reasons make the scent “gummy” (akin to the synesthetic equivalent of munching a gummy bear, but with your olfactory bulb). What are example scents that have this “gummy bear” quality? Marigold, auranone, and some bergamots (e.g. H’ana’s) are good examples, but only Glacial Gumdrop blends this bouncy and fun gummy quality with coolness. This scent will surely surprise you and open your mind to qualia-space mysteries.
Frisson is a scent formulation that plays with an unexpected olfactory effect we identified when exploring the space of powdery citruses (such as bergamot). When the scent facets of citrus, powdery, dry, and etheric are combined in the right proportions, the resulting gestalt can cause a subtle psychogenic shiver of a synesthetic nature: a mix of olfactory and tactile qualia with a subdermal quality reminiscent of the sound of rubbing sandpaper on wood. Some people describe it as the olfactory equivalent of ASMR and a cross between a hiss and musical frisson. This effect is achieved by combining large amounts of tangerine and bergamot, the most powdery citruses, and honeysuckle. The emergent gestalt brings about this effect like no other combination we have tried. Now the question arises: what is this good for? The answer is: for contemplating novel qualia varieties, of course!
Eau de Cologne Vide
A psychonaut once asked a DMT elf if they could tell them something they didn’t know about the state-space of scents. They were expecting some incredible download of information in the form of hyperbolic state-space representations and hyperstereoscopic synesthetic displays of qualia dynamics. Alas, nothing of the sort happened. Instead, the elf asked them: “Are you sure that scent is just one qualia variety?”. A riddle! After chewing on it for a while, they concluded that no, scent qualia seems to somehow blend and interweave at least three qualia varieties into one multifaceted experience:
Scents have “flavor” (ex. lemony, rosy, herbaly, woody, etc.).
They often have distinctly “tactile components” (ex. the literally cooling effect of mints, or the “prickly” trigeminal nerve stimulation of aldehydes).
Perhaps the most interesting and mysterious of all, they come with “character impact”. Namely, a distortion of spacetime, boundaries, and valence characteristics that modify whatever flavor and tactile elements one is experiencing.
Analogized to the auditory domain, we could say that “flavor” would correspond to the frequencies and rhythms one hears, such as a piano note, applause, or a child’s laugh. A “tactile component” would be akin to the haptic vibrations one feels in the body when listening to a powerful base or the prickly pinchy feeling in the ear of a screechy sound. And finally, the “character impact” would correspond to signal processing effects like reverb, echoes, spatial audio, and frequency filters. Character impact gives you a lot of control you may not know you had: with clever tricks, you can take the sound of two persons talking and, say, remove annoying high-pitch sounds, harmonize them, create the illusion of movement, or even “blend” them into a single voice with an appropriate amount of reverb. In other words, these signal processing effects allow you to “musicalize” audio which may, on its own, be of little aesthetic merit. Or in the culinary domain, Luca Turin describes “character impact” in the following way. Given tomato soup, the tomato would be the “flavor,” whereas the creaminess would be the character impact. And according to him, in fact, “the money is in making a new cream, not in finding yet another tomato”. Early in our investigations, we discovered that incompatible scents could be “blended into a single gestalt” with the clever use of character impact. Say, a mixture of alpha-pinene, citral, and vanillin tends to “flicker” between kinds of scents in a chaotic fashion (what we call “multiphasic scents”). But if you add linalool or ambroxan, they will mysteriously “blend” into a unified scent gestalt.
Now, ambers and musks are the most common “character impact” scents, with flagship examples like ambroxan, iso e super, galaxolide, and habanolide, all of which are subtle, low in pitch, and “transparent”. The idea of creating a perfume around these isn’t new: Molecule 01 Escentric Molecules (iso e super isomer mix) and Molecule 02 Escentric Molecules (ambroxan) were a big success in the 2000s despite their niche status. By all means, they are more of a work of conceptual art than perfumery in any recognizable form. Beyond the niche, there are also examples of mega-hit mainstream fragrances with enormous amounts of character impact relative to flavors, such as the impossibly cleanCK One (hedione, iso e super, galaxolide) and the masterfully musky Le Male by JPG (galaxolide, tonalide).
Such perfumes would have you believe that character impact is always a base note; they largely play with enveloping and calming low-frequency scents. But our work at QRI has convinced us that character impact effects are also present in the heart and top notes. Hence, Eau de Cologne Vide explores fresh, electric, high-voltage character impact effects fit for a wake-me-up cologne (citruses are typically high in pitch and mostly top notes).
The name follows the age-old tradition of perfumes named after mystical concepts such as Nirvana, Eternity, and Truth (“If we were to discover the biomolecular signature of pleasure, its name would surely find its way into the brand of a toothpaste.” – David Pearce). Eau de Cologne Vide packs a powerful punch of such character-impact elements to decorate… “nothing”. Emptiness beautified. Therefore, the impression is of intense salience, but you are left wondering, “what was that about?”. Eau de Cologne Vide is a way of saying “much ado about nothing!”
How is this achieved? Eau de Cologne Vide combines the ethereal alcoholic reverb-ey effect of lavender (linalool), the incredible anodyne softness of rose (phenylethyl alcohol), the dry astringent effect of bergamot (terpinene), the intensely aromatic, stimulating and borderline citrusy effect of spices like thyme and dill (p-cymene), the warming, sweet and spicy, balsamic, “oriental” and “rindy” note typical of bisabol aka. “opoponax” (bisabolene, also found in oregano and cubeb), and fructone (nigh flavorless sweetness). It brings these notes into coherence with the classic aromatic fougere note of aggressive freshness of scents like Drakkar Noir (dihydromyrcenol), and a nanodose of the sour, soapy, and always reliable agrumen aldehyde light.
What does Eau de Cologne Vide smell like? Transparent, sweet, soft, dank, intense, ethereal, slightly sour, mysterious, and yet… flavorless. Eau de Cologne Vide intensifies, vivifies, enriches, and thickens the experience of other scents. But as with Buddhist Emptiness of the highest grade, it’s best experienced by itself.
Hedonium is matter and energy optimized for pure bliss. It is not a shallow sense of well-being but the most profound sense of holistic well-being possible within the laws of physics. Cosmic awe, deep wellness, and rapturous joys are all human emotions and are merely low-dimensional shadows of the real deal. A Hedonium Shockwave is a hypothetical phase transition traveling near the speed of light which changes the very composition of matter and energy by turning everything it touches into Hedonium. Classical Utilitarianism, in its typical formulation, might hold the latent implication that not only would the instantiation of a Hedonium Shockwave be desirable, but we are morally obliged to bring it into existence. QRI’s ethical theories are agnostic, but Hedonium plays an important role in its memetic landscape. Namely, as a theoretical entity that embodies the essence of pure positive valence, it challenges us to consider the nature of value in and of itself and its possible “physical compilation”.
Hedonium Shockwave is a scent developed in-house to illustrate this anticipated phase transition in consciousness. The primary “olfactory idea” of Hedonium Shockwave is the synergistic combination of violet, mint, and an accord of pear and honeysuckle. This combination expresses a powerful yet anodyne uplifting mood grounded in a qualia landscape devoid of negative elements—pure olfactory pleasure at last.
Review of Hedonium Shockwave: It is, overall, incredibly smooth. My first thought is that it feels like a combination of Metta and Mudita, which are two different Brahmavihara meditations where it’s very soft and expansive for me. It feels very golden and pink. It’s very soft, but it’s a bit sharper, then a really soft sharp. It’s like a combination of metta and cocaine. It hits you, but in a loving way. It doesn’t hold back, but it hits you in a loving way. It’s almost like being woken up. “Wake up the world is great!” “Wake up there’s something important!” but a soft, loving wake-up!
There is a problem in philosophy of backwards rationalisation, where people feel intuitive pulls towards certain conclusions, and then try to justify why their intuition is correct. We can say this is putting the cart before the horse. If we are to philosophize well, we shouldn’t start with the conclusion. However, the pull to side with your intuitions is so incredibly crucial to decision-making that it basically can’t be ignored. In fact, at the heart of trying to know anything fundamentally hinges on a feeling quality of ‘this seems/feels right’ in relation to a proposition.
Now, this isn’t to say that all intuitions don’t have truth value, it’s just that we need to be subjectively sensitive to when we are totally being led by a feeling (which I think in many cases some philosophers aren’t aware). At the end of the day, we go off of whether an idea sits right with us at some particular level(s) of the mind, and all the justificatory attempts in favor of this idea serve to shift that feeling in us one way or the other.
Leading on to the discussion of identity: in a lot of thought experiments and attempts to understand where identity starts and stops we find an appeal to intuition. This is often done by conjuring up convoluted scenarios of teletransportation machines, or brain transplants, or Men-In-Black-style memory wipes and then reflecting on whether we feel that identity stayed the same or not. A good way to press people’s institutions is to get them to consider suffering, as personal identity is the great motivator of avoiding suffering (no self = no problem, as they say). Depending on where and at what time suffering is endured by which collection of atoms gets people to consider really fast and more confidently, say, where they think the bounds of identity lie.
Along with the epistemological problems of resting an argument on intuition or ‘gut feeling’ mentioned above, intuitions differ not just from person to person, but from moment to moment (in the same person). And if you haven’t become privy to how your intuitions can change, you may not question the truth value of the signal they are transmitting. So, I write this to highlight the problems of trying to solve identity issues by appealing to a felt-sense of where it lies.
Two Ways of Talking About the Self
Now I see an obvious split in how to approach this topic:
(1) We can talk about identity as a raw experience – what in the experience space do I feel numerically identical to (one and the same as) – and in Buddhistic fashion forgo metaphysical claims here after.
(2) Try to extrapolate beyond immediate experience and argue for a position of what the self is or how identity functions in a metaphysical sense. I call (2) the conceptual self as it is about the content within concepts you believe refers to you.
To make this distinction clear I’ll give an example of a potential answer to (1) and then to (2). If asked: “What am I?” along the lines of (1) one may answer: “I feel like I am my thoughts.” – thoughts arise in experience and there is a fused impression of ‘me-ness’ to those thoughts. While (2) is concerned about the content of those thoughts and if asked: “What am I?” one may answer and even fervently believe: “I am a brain.” However, they don’t have any direct experience of being a brain – it is an extrapolation of ideas beyond direct phenomenological perception.
Sorry for all the set up! This is my framing and to give you the best response I needed to spell this out. Now, let me answer personally what I believe identity is in terms of (1) and then (2). However, (2) is informed by (1), and (1) is made sense of by (2); so although the distinction is very useful, like all separations, their boundaries seem to always breakdown – that there is a hint about my metaphysical beliefs.
Phenomenological Senses of Identity
For me, this has changed throughout the years as I’ve meditated more and more. I have shared these images with you before and they represent the transition of intuitions of personal identity throughout my journey.
They seem to match up quite nicely with how Frank Yang lays out his stages. Depending on which stage someone is in, we hear different metaphysical explanations of identity. (This is where (1) gets easily conflated with (2)).
How I’ve seen Frank spell out his stages (I realize neither of us came up with these on our own):
When it comes to identifying with awareness (the second picture/stage) this is when you hear talk of the sort of there being one universal consciousness and that’s our true nature. When I was identifying with awareness, I could suddenly relate to what people meant by ‘we are all one universal consciousness’. However, I got the sense that people were failing to differentiate between something being numerically identical and qualitatively identical. When you become ‘aware of awareness’ there is a sense that this is a pristine dimension and is not personal. It doesn’t seem to belong to the notion of Roger (as it is perceived causally before the very idea of Roger), nor is it trademarked by Roger’s beliefs or memories. There is an insight that this perfectly equanimous layer of being is part of everyone’s experience, they just don’t see it. Yet it couldn’t be ruled out whether we are all in touch with the same one pure light of consciousness, or if each sentient organism has its own and our consciousnesses (plural) were just qualitatively the same. I think people often miss this distinction.
Stage 2 does not obviously lead to open individualism yet. There is still a sense of the duality between the radiant awareness and everything else to be aware of.
Although, I think that anyone (even those without emptiness insights) could be talked into believing closed, open and empty individualism at a conceptual level, this doesn’t mean their phenomenological experience of identity would change, or would their instinctive, non-inquisitive gut-intuition on the subject.
I would hypothesize that those who have no insight into the 3 characteristic are intuitively most swayed by closed individualism. And those who have sufficient enough insight into impermanence (but not no-self) may intuitively side with empty individualism. And then with a deep enough insight into no-self, open individualism becomes a no-brainer.
Experiencing God (and a message to Leo)
At stage 3 is when open individualism is most likely to begin to intuitively feel right. This is also when talks of being God come out of people’s mouths and, as in terms of (1), they phenomenologically perceive the sense of ‘I’ in everything they experience, and they (2) conceptually infer there is just one thing, call it ‘God’. God is everything. I am everything. Because the understanding of moving from (1) to (2) (from experience to conjecture) is often lost on people, all kinds of wacky metaphysical beliefs come about – supposedly self-validating by higher consciousness or direct cosmic download.
While on stage 3, if you inject some metta into your experience space, you come to see what people mean when they say: “God is everywhere and all loving” or even: “God is love”. Having the feeling of being everything in your experience is like you don’t feel separate from anything, thus there is a deep intimacy with the world which construes love. You feel like you are the body, the thoughts, the emotions, the trees, the hills on the horizon, the air in between all of it, the sky and the awareness field which contains all these things. However, going from ‘the experience of feeling identical to everything you are aware of’ to ‘I am everything (even that which I’m not currently aware of) and therefore I am God/the universe’ requires an unfounded leap – which I admittedly made at some point.
I remember an incredibly stark moment I had when I was in stage 3, where being ‘God’ felt like the most real thing (I can sympathise a lot with where Leo Gura is coming from – though I think he’s lacking some phenomenological discernment). Because at stage 3 the sense of ’I’ is so prevalent, due to it being perceived everywhere in experience, I was investigating this quality a great deal. I was trying to distil the sense of ‘I’ down to its rawest form. “Yes, I feel identical to the trees and the sky and other people, but what is that common element that can be found in all these things which I call ‘I’?” After whittling away all the other unnecessary phenomenological baggage piled onto this ‘I’, I arrived at a clear perception of ‘I’ in its rawest form. The ‘I’ I call the epistemic agent, the pure sense of ‘a knower of experience’.
It became obvious that once the epistemic agent was singled out in experience that this perception of ‘I’ can only manifest in one way. What I mean by this is unlike with milk where the formula can be tainted slightly and result in versions of milk with slightly different colors, or tastes, or smells and yet they are all still milk, it is impossible for the epistemic agent to have a slightly different perceptual ‘flavor’ to it other than it does. This is because the qualia recipe only consists of one ingredient and if that’s missing or different, then it’s not the epistemic agent (the rawest sense of ‘I am’). Once I clocked this, I realized that all iterations of ‘I’ wherever and whenever, in all beings at all times, experience the sense of ‘I am’ exactly the same way. Then, and I remember this moment so clearly, it hit me: if God or the universe is self-aware – which it is just by dint of me being of the universe and self-aware – and has an experience of ‘I-ness’ then my experience of ‘I-ness’ in this relative body is the same as God’s and through a sharing of experience there is a direct link and so… ”Oh my god, I am God!”
(I am not suggesting that this line of reasoning is sound. It was simply the series of steps I went through which brought upon this profound experience).
Again, the numerically versus qualitatively identical distinction could be parsed, however there is a way to get around this, for when you remove the sense of time and space from the equation then that difference collapses. To say that something is qualitatively identical to something else, but not numerically identical doesn’t make sense if two things can’t be differentiated by existing in separate moments of time or space. So in my “Oh my god, I am God!” epiphany, the sense of time and space had been shunned from attention and numerical identity was presumed.
I can imagine that someone has this epiphany moment as I did, but then when they return to a more ‘timey/spacey’ existence they retain credence in the belief that they are God and not just a single, distinct instance of experience of ‘I’ (which would be more of an empty individualist thought). They do this because they are basing their beliefs off of a very profound mind moment, even if the majority of their waking hours don’t suggest the same message.
If I could tell Leo Gura one thing it would be this: “Profundity does not equate to truth.” Just because something felt so real and epic, does not mean that experience is giving you the most accurate representation of greater reality. Truth be told at stage 3 I didn’t have anywhere near the attentional clarity, precision of view, and metacognitive abilities that came later; and so while I was having all these profound experiences I was not totally clued into the subtle ways I was manipulating my experience and was biased to certain perspectives, while overlooking certain things that became clearer to me later on.
Self, Not-self, and Neither Self nor Not-self
When it comes to personal identity, I want to distinguish three things the mind can do here:
It can project a sense of self onto parts of experience – “I feel like I am this chair.” – said the man on salvia.
It can project a sense of not-self onto parts of experience – “I don’t feel identical to that person over there.” – said sober Joe. I want to emphasize here that I don’t mean there is just a lack of ‘feeling’ associated with something, but rather there is an actual new ‘feeling’ of not identifying with something.
Stage 4 (my 4th picture) was living a life with the constant signal of ‘not me’ being coupled with everything I pointed my attention to.
It can stop projecting any sense of self and not-self – “I neither feel like I am everything, nor I’m not.” said Roger. Here, I mean the lack of projecting a sense of self and even a sense of not-self.
To go into a little more detail on what is meant by 3: ‘Neither self, nor not self’… essentially there is just no transmission of data on this subject. No reading. When asked “What are you?” it’s like the question doesn’t even compute. Before, there were qualia indicators to be able to judge what is self and what is not-self. And now it’s like the mind pulls a blank. It is not because the answer is obvious that ‘I am everything’, or ‘I am nothing’. It’s almost a bit like asking a person who is blind from birth “Do you just see blackness?” – it can be really hard for sight-abled-people to get their head around the fact that some blind people don’t see anything at all (and what that really means). 4th path is akin to becoming blind to identity in a way. Although, I wasn’t identity blind from birth, memory of the qualia of ‘me-ness’ and ‘not me-ness’ is incredibly faded.*
*There is subtle nuance to get into with retaining semblances of individuality just to be able to function in the world.
The Ship of Theseus, Threshold Emptiness Insight and Losing the Ability to Buy into Nouns
At a certain point, once enough insight into emptiness was established, the ability to seriously believe in separate entities became near impossible. I remember with my beginner’s mind, closed individualism was the default position. And when nouns were comprehended, they were firmly believed to be distinct, real partitions in reality. “The world is made of things that are tables and things that are not.” (As if a table is an actual thing, lol). However, now I can never fully think that a table is anything more than a mind-made construct. It is perceived as so porous, airy, hollow…. empty. And this applies to all nouns: ‘atoms’, ‘being’ ‘non-being’, ‘life’, ‘death’, ‘mind’ and including the idea of ‘The Now’ (I’ll get into that later).
One time in philosophy class we were going over the ‘paradox’ of The Ship of Theseus. People in my class had all kinds of differing intuition. Some said, ‘as soon as over 50% of the ship parts have been replaced then it’s a new/different ship’. Some said, ‘as soon as you replace one part of the ship it’s a new/different ship’. And others said, ‘as soon as one atom changes it’s a new/different ship’. They were going back and forth arguing about identity, which was the point of the class. And meanwhile the whole time I was thinking there is no ship of Theseus to begin with, there never was, it’s not a thing. And so there is no paradox. There is no conundrum to solve.
I had been reading ‘The Master and His Emissary: The Divided Brain’ at the time, and it occurred to me during the class that what I was witnessing were people with all very different brain chemistries and either left or right hemisphere biases, and this is what is leading them to different conclusions (me not being an exception) – the philosophical quibbling had little to do with it. (This is not to resort to any postmodernist conclusions. I do think some positions contain more truth signal than others.)
4th Path Putting the Nail in the Coffin for Empty Individualism?
There is no ‘now’, as there is not enough time for even a single isolated self to form. At 4th path insight into emptiness is so stark that you realise that to conceive of ‘The Now’ as a thing is wrong view. I used to experience things as arising and then a moment later passing; as manifesting and then slightly there after defabricating. But now I can see how phenomena are already disappearing the moment they are appearing. This leads to kinds of visions of super-positions – simultaneous 1 and 0. With such perception a ‘now’ as a moment can’t even consolidate – there truly is no ground for things to rest on.
Finally (2) My Conceptual Beliefs About Identity! (Prepare to be disappointed)
Keeping in mind what I said about ‘neither self nor not self’, when the intuition of personal identity is so lacking the question of ‘What is me and what is not me?’ just becomes ‘What does it mean for something to be its own individual entity?’ or even more simply ‘What exists?’. Does there exist one thing or more than one thing? And does it even make sense to consider there being ‘things’ (nouns) at all?
(Take this next part as me applying a cosmic lens).
So, is there more than one thing? Engaging my scrupulous, philosophical, inquisitive mind, I can’t conceive of how there being more than one thing would be meaningful. But I don’t even really believe in things at all (if ‘thing’ is taken as a noun), so one thing isn’t quite getting at it either. There is something and it seems to be something so magical that it defies categorical comprehension. But the fact that there is change suggests this is not unitary, yet nor do I wish to say it is legion. Not noun, but verb? A process? But to where and how?
Heidegger often wrote in double negatives; I believe because when you construe something in the negative you bring to mind both the thing and its negative simultaneously. There is a greater potential for the mind to grasp a seeming paradox, but the conceptual mind can never fully do it, it can only approximate. Kierkegaard tried as he put it: “The self is a relation that relates itself to itself or is the relation’s relating itself to itself in the relation; the self is not the relation but is the relation’s relating itself to itself.” But words can only serve to point to something outside of their grasp.
This is why:
“The Toa that can be named is not the eternal Toa”
However, when I stop thinking (disengage the conceptual mind) and simply be, I get an intuitive sense of a super-position. Simultaneously, neither one nor many. Neither now nor not now. Neither existing nor not existing. Neither conscious nor not conscious. And this is apprehended in a way that is not confusing or jarring, but as the most sensible stance.
Still I have a sceptic bone in my body, and I am always open to being schooled.
Halfway In, Halfway Out The Great Door of Being
Imagine a great conundrum that people have been debating over for centuries. “If a man is stepping through his front door and he has one foot in his house and one foot out of his house and his body is exactly in the middle, is he inside or outside?” People can’t seem to agree. Some say he is clearly inside because he is already under the door frame. Others say, he is still outside because he hasn’t fully entered his house yet. People squabble about whether it matters if he is coming or going. The real question is when he is exactly 50% in and exactly 50% out what is he? Inside or outside? The reason people can’t come down on a solid answer is because whenever they find someone passing through their front door the moment they go to make a judgement they miss that 50/50 moment and either witness him too early or too late at 60/40 or 40/60 in and out. In which case, they either decide he was definitely inside or definitely outside, accordingly. You have been trying to solve this issue too and feel like you have come close. One time you saw a guy in the act at 51/49 in and out. And then another time you saw a man who was 49/51 in and out. But no one ever is precise enough to make their judgement when he is exactly 50/50 in and out. Because true 50% in and 50% out hasn’t been witnessed, so people can only speculate that ‘well if we were to catch a man who was exactly at 50/50 in and out of his front door, we would conclude that maybe he was BOTH inside and outside.’
One day, it just so happens you see a man coming home from work. He’s approaching the front door, keys in hand. You’ve been practicing for this moment your whole life. Finally, are you going to be able to solve this great conundrum? He unlocks the door. He opens it. He steps through. And that was it! You witnessed it. You clearly clocked the 50/50 moment.
“I saw it! I saw it!” you yell. Bystanders hear your cries and come up to you.
“What did you see?” they ask.
“I saw the precise moment he was exactly 50% in and 50% out!”
“Well…” they say “what was he, inside or outside then?”
And you respond “No”.
“Huh? Oh, you mean he was both inside and outside?”
“No” you say again.
“I don’t get it.” respond the bystanders. And in fact, you don’t even really get what you mean, because it doesn’t quite make sense to you either and yet it was as clear as day.
“He wasn’t inside or outside, because he simply vanished.”
I recently had a chance to talk with Scott Alexander of SSC and ACX fame at a Berkeley meetup this past summer. He’d been watching my videos and had some questions for me. In particular, he had questions about how literally we took the Symmetry Theory of Valence (STV), and whether the counter-examples he had in mind really went against the theory, or were perhaps also explained by it in non-obvious ways. Afterwards, he sent me a draft of his Jhanas and the Dark Room Problem post for me to preview before he published it. I had a look and offered some clarifications in case he wanted to discuss these ideas more deeply. Just a couple days ago he published it. Seeing that the topic could be explored much more deeply, I then asked him if he was ok with me posting (a lightly edited version of) the email I sent him. He said, “of course”. Thus, you can find it below, which I recommend reading after you read his post in ACX.
Thank you for reaching out! And thank you for the conversation on Saturday. […] Please feel free to post your excerpt, but also I am sharing below information that you can use to edit it so that it is a more accurate portrayal of what we are up to (feel free to quote me below or quote any article or video we have online).
I’ll structure this email in the following way: (1) general clarifications about STV, (2) addressing your excerpt specifically, and (3) some of the meeting notes from our conversation in case you find it valuable to remember what we discussed (or what I can remember of it anyhow).
(1) General Clarifications
The first thing to mention is that the Symmetry Theory of Valence (STV) is really easy to strawman. It really is the case that there are many near enemies of STV that sound exactly like what a naïve researcher who is missing developmental stages (e.g. is a naïve realist about perception) would say. That we like pretty symmetrical shapes of course does not mean that symmetry is at the root of valence; that we enjoy symphonic music does not mean harmony is “inherently pleasant”; that we enjoy nice repeating patterns of tactile stimulation does not mean, well, you get the idea…
The truth of course is that at QRI we really are meta-contrarian intellectual hipsters (you know this link of course). So the weird and often dumb-sounding things we say are already taking into account the criticisms people in our people-cluster would make and are taking the conversation one step further. For instance, we think digital computers cannot be conscious, but this belief comes from entirely different arguments than those that justify such beliefs out there. We think that the “energy body” is real and important, except that we interpret it within a physicalist paradigm of dynamic systems. We take seriously the possible positive-sum game-theoretical implications of MDMA, but not out of a naïve “why can’t we all love each other?” impression, but rather, based on deep evolutionary arguments. And we take seriously non-standard views of identity, not because “we are all Krishna”, but because the common-sense view of identity turns out to, in retrospect, be based on illusion (cf. Parfit, Kolak, “The Future of Personal Identity“) and a true physicalist theory of consciousness (e.g. Pearce’s theory) has no room for enduring metaphysical egos. This is all to say that strawmanning the paradigms explored at QRI is easy; steelmanning them is what’s hard. I trust you can make a Titanium Man out of them! 🙂
Now, I am indeed happy to address any mischaracterization of STV. Sadly, to my knowledge very few people outside of QRI really “get it”, so I don’t think there is anyone other than us (and possibly you!) who can make a steelman of STV. My promise is that “there is something here” and that to “get it” is not merely to buy into the theory blindly, but rather, it is what happens when you give it enough benefit of the doubt, share a sufficient number of background assumptions, and have a wide enough experience base that it actually becomes a rather obvious “good fit” for all of the data available.
For a bit of history (and properly giving due credit), I should clarify that Michael Johnson is the one who came up with the hypothesis in Principia Qualia (for a brief history see: STV Primer). I started out very skeptical of STV myself, and in fact it took about three years of thinking it through in light of many meditation and high-energy/high-valence experiences to be viscerally convinced that it’s pointing in the right direction. I’m talking about a process of elimination where, for instance, I checked if what feels good is at the computational level of abstraction (such as prediction error minimization) or if it’s at the implementation level (i.e. dissonance). I then developed a number of technical paradigms for how to translate STV into something we could actually study in neuroscience and ultimately try out empirically with non-invasive neurotech (in our case, light-sound-vibration systems that produce multi-modally coherent high-valence states of consciousness). […]
For clarification, I should point out that what is brilliant (IMO) about Mike’s Principia Qualia is that he breaks down the problem of consciousness in such a way that it allows us to divide and conquer the hard problem of consciousness. Indeed, once broken down into his 8 subproblems, calling it the “hard problem of consciousness” sounds as bizarre as it would sound to us to hear about “the hard problem of matter”. We do claim that if we are able to solve each of these subproblems, that indeed the hard problem will dissolve. Not the way illusionists would have it (where the very concept of consciousness is problematic), but rather, in the way that electricity and lightning and magnets all turned out to be explained by just 4 simple equations of electromagnetism. Of course the further question of why do those equations exist and why consciousness follows such laws remains, but even that could IMO be fully explained with the appropriate paradigm (cf. Zero Ontology).
The main point to consider here w.r.t. STV is that symmetry is posited to be connected with valence at the implementation level of analysis. This squarely and clearly distinguishes STV from behaviorist accounts of valence (e.g. “behavioral reinforcement”) and also from algorithmic accounts (e.g. compression drive or prediction error minimization). Indeed, with STV you can have a brain (perhaps a damaged brain, or one in an exotic state of consciousness) where prediction errors are not in fact connected to valence. Rather, the brain evolved to recruit valence gradients in order to make better predictions. Similarly, STV predicts that what makes activation of the pleasure centers feel good is precisely that doing so gives rise to large-scale harmony in brain activity. This is exciting because it means the theory predicts we can actually observe a double dissociation: if we inhibit the pleasure centers while exogenously stimulating large-scale harmonic patterns we expect that to feel good, and we likewise expect that even if you activate the pleasure centers you will not feel good if something inhibits the large-scale harmony that would typically result. Same with prediction errors, behavior, etc.: we predict we can doubly-dissociate valence from those features if we conduct the right experiment. But we won’t be able to dissociate valence from symmetry in the formalism of consciousness.
Now, of course we currently can’t see consciousness directly, but we can infer a lot of invariants about it with different “projections”, and so far all are consistent with STV:
Of special note, I’d point you to one of the studies discussed in the 2020 STV talk: The Human Default Consciousness and Its Disruption: Insights From an EEG Study of Buddhist Jhāna Meditation. It shows a very tight correspondence between jhanas and various smoothly-repeating EEG patterns (including a seizure-like activity that unlike normal seizures (of typically bad valence) shows up as having a harmonic structure, but does not seem to have a direct conscious correlate – still worth mentioning in this context). Here we find a beautiful correspondence between (a) sense of peace/jhanic bliss, (b) phenomenological descriptions of simplicity and smoothness, (c) valence, and (d) actual neurophysiological data mirroring these phenomenological accounts. At QRI we have observed something quite similar studying the EEG patterns of other ultra-high-valence meditation states […]. I expect this pattern to hold for other exotic high-valence states in one way or another, ranging from quality of orgasm to exogenous opioids.
Phenomenologically speaking, STV is not only capable of describing and explaining why certain meditation or psychedelic states of consciousness feel good or bad, but in fact it can be used as a navigation aid! You can introspect on the ways energy does not flow smoothly, or how the presence of blockages and pinch points make it reflect in discordant ways, or zone in on areas of the “energy body” that are out of sync with one another and then specifically use attention in order to “comb the field of experience”. This approach – the purely secular climbing of the harmony gradient – leads all on its own to amazing high-valence states of consciousness (cf. Buddhist Annealing). I’ll probably make a video series with meditation instructions for people to actually experience this by themselves first hand. It doesn’t take very long, actually. Also, apparently STV as a paradigm can be used in order to experience more pleasant trajectories along the “Energy X Complexity landscape” of a DMT trip (something I even talked about at the SSC meetup online!). In a simple quip, I’d say “there are good and bad ways of vibing on DMT, and STV gives you the key to the realms of the good vibes” 🙂
Another angle: we can find subtle ways of dissociating valence from e.g. chemicals: if you take stimulants but don’t feel the nice buzz that provides a “working frame” for your mental activity, they will not feel good. At the same time, without stimulants you can get that pleasant productivity-enhancing buzz with the right tactile patterns of stimulation. Indeed this “buzz” that characterizes the effects of many euphoric drugs (and the quality of e.g. metta meditation) is precisely a valence effect, one that provides a metronome to self-organize around and which can feel bad when you don’t follow where it takes you. Literally, one of the core reasons why MDMA feels better than LSD, which feels better than DOB, is precisely because the “quality of the buzz” of each of these highs is different. MDMA’s buzz is beautiful and harmonious; DOB’s buzz is harsh and dissonant. More so, such a buzz can work as task-specific dissonance guide-rails, if you will. Meaning that when you do buzz-congruent behaviors you feel a sense of inner harmony, whereas when you do buzz-incongruent behaviors you feel a sense of inner turmoil. Hence what kind of buzz one experiences is deeply consequential! All of this falls rather nicely within STV – IMO other theories need to keep adding epicycles to keep up.
Hopefully this all worked as useful clarifications. Now let me address your excerpt more specifically:
(2) The Excerpt
The Dark Room Problem in neuroscience goes something like this: suppose the brain is minimizing prediction error, or free energy, or whatever. You can minimize lots of things by sitting quietly in a dark room. Everything will be very, very predictable. So how come people do other things?
The usual workaround is inbuilt biological drives, considered as “set points”. You “predict” that you will be well-fed, so getting hungry registers as prediction error and brings you out of your dark room to eat. Et cetera.
Andrés Gómez Emilsson recently shared a perspective I hadn’t considered before, which is: actually, sitting quietly in a dark room is really great.
Indeed usually the Dark Room causes massive prediction errors (since our model of the world is one where being in a Dark Room is truly not expected!). But these prediction errors feel bad because of the dissonance they induce in our experience (which you can get rid of with drugs or meditation!). If you make the Dark Room an “expected” thing, then eventually it will start feeling great. In fact, something like this happens when you meditate a lot in a dark room and settle in. Alternatively, taking 5-MeO-DMT for the first 10 times can be very disconcerting, as it takes you to “the ultimate void of reality”. It’s surprising and dissonant to “find out” that the void is the ultimate truth (I’m not saying that’s true, just that it feels that way in that state!). But once you’ve done it enough times that you know what to expect, you can in fact receive with two open arms the void of ultimate reality. You learn to expect it and not code it as a prediction error, and then you can deeply, deeply “align” to it, which results in unfathomably positive valence that discharges tons of stored internal stress, the very source of low-level dissonance before the trip (again, STV here fits the data rather nicely).
The Buddha discussed states of extreme bliss attainable through meditation:
> Secluded from sensual pleasures, secluded from unwholesome states, a bhikkhu enters and dwells in the first jhāna, which is accompanied by thought and examination, with rapture and happiness born of seclusion (Samyutta Nikaya)
I had always figured that “sensual pleasures” here meant things like sex. But I think maybe he just means stimuli, full stop. The meditator cuts themselves from all sensory stimuli, eg by meditating really hard on a single object like the breath and ignoring everything else, and as a result gets “rapture and happiness born of seclusion”.
The serious meditators I know say this is real, meaningful, and you can experience it after a few months of careful practice. You become really good at concentrating on one stimulus and ignoring all other stimuli, and eventually your brain kind of gets “in tune” with that stimulus and it’s really blissful. They say this seems to have something to do with the regularity or predictability of the stimulus; if you’re concentrating really hard on something, regularity/predictability/symmetry is just viscerally very good, better than anything you’ve felt before.
Something like regularity/predictability/symmetry is really good. So why doesn’t a metronome make you bliss out? Andrés says it’s because you can’t concentrate on it hard enough. It’s not engaging enough to occupy your whole brain / entire sensorium /whatever.
Exactly, this is true. The one twist I’ll add is that the regularity that matters is not, as I explained above, the regularity of the stimuli, but rather, the regularity of the inner state. In fact, I currently think that we can get a glimpse of the true shape of our consciousness precisely by studying how different meditation objects work better or worse for the purpose of meditative absorption! Indeed, more symmetrical objects are easier meditation objects (cf. QRI can steelman “sacred geometry”ꙮ). Likewise, the hallucinations one gets near or close to states of high-absorption are also reflections of our inner shape! (cf. Fire Kasina qualia).
Symphonies are beautiful, and we intuitively feel like it’s because they have some kind of deep regularity or complicated pattern. But they’re less regular/predictable/symmetrical than a metronome. Andrés thinks this is because they hit a sweet spot: regular/symmetrical/predictable enough to be beautiful, but complex/unpredictable enough to draw and hold our attention. Compare to eg games, which are most fun when they’re hard enough to be challenging but easy enough to be winnable.
Indeed! We need unpredictability in order to disable the boredom mechanism, which prevents us from fully absorbing into patterns (or rather, prevents our experience from shaping itself in a way that perfectly predicts the stimuli – in a way when you reach absorption with a stimuli, you are in fact becoming its “complement” – a shape that can predict it perfectly). An important twist is that prediction errors give rise to energy spikes, and high-energy states of consciousness can give rise to pleasant resonance (think about the bodily euphoria that comes from eating spicy enough hot peppers). Plus, cooling down from high-energy states can lead to euphoric neural annealing (as explained here). In all cases, however, the thing that is the most closely related to valence is the regularity/smoothness of the internal (instantaneous) state, even though there might be other complex dynamics guiding the state from one configuration to another.
But this sweet spot is the fault of your own inattentiveness. If you could really concentrate on the metronome, it would be even more blissful than the symphony. Emilsson says he’s achieved these levels of concentration and can confirm. I talked to another meditator who agrees metronomes can be pretty blissful with the right amount of (superhuman) focus, although – as per the Buddha quote above – total silence is best of all.
Agreed! An interesting note is that the first time this happened to me, it was not in meditation, but during a sleep paralysis! See: Dream Music where I discuss how a simple tone can sound amazing if you are in the right reverb-filled state of mind. See also: people with anhedonia often report feeling “back to normal” in dreams, and IMO that’s precisely because the neuroacoustic profile of dreams can be very reverb-filled and thus have significant valence effects (see below).
I find this to be an elegant explanation of what the heck is going on with jhanas, more convincing than my previous theory. It’s also a strong contender as a theory of beauty – a little different in emphasis from Schmidhuber’s theory, but eventually arriving at the same place: beauty is that which is compressible but has not already been compressed.
A brief comment here: your “going loopy” theory foreshadows our tracer tool and psychedelic cryptography, where psychedelics seem to activate a “delay overlay” of recent experiences on top of the current one. DMT gives rise to ~30hz loops, LSD to around ~18hz loops, and 2C-B closer to ~10hz loops. We hypothesize that there are a discrete number of serotonin-mediated metronomes that precisely modulate the degree to which experience is fed back to itself with a specific delay. Antidepressants may flatten affect by disrupting these loops, and thus eliminating sources of symmetry for the inner state. People describe the sense of “missing an echo”; quite literally having a more “flat” experience as a result!
Enhanced neuroacoustics (as with psychedelics) generally increase the range of valence because more loopy experiences are more intense and also more capable of pure dissonance or pure consonance. Dissociatives (nmda antagonism more generally) seem to instead do a low-frequency looping (around 8hz) together with a generalized reverb effect. Much as in music, adding reverb to almost literally anything makes it sound less harsh (like the baby crying vs. baby crying + reverb sounds I referenced in the presentation). And also much as in music, *compounding* delay and reverb effects gives rise to synergistic outcomes, often with crazy standing wave attractors (e.g. exactly what you see on LSD + nitrous or LSD + ketamine).
Importantly, STV is *not* a theory that lives at the computational or algorithmic level of analysis, which is unlike Schmidhuber’s theory. If I recall correctly, Schmidhuber’s theory doesn’t even care about phenomenal valence or consciousness. And it has no mechanism of binding or any sense of how the “reward” is implemented or who or what receives such reward. Its flavor is functionalist and concludes that beauty is to be found in the act of compression. But STV instead says that compression is merely correlated with valence: our brains are set up in such a way that making excellent compressions reduces dissonance! This is because there is (a) an inherent dissonance cost to complexity, and (b) there is a dissonance cost to prediction errors. But again, take the right drug, and all of a sudden you can experience high-valence while making tons of prediction errors or having models that are much more complex than the sensory data would suggest is necessary.
In particular, what makes good compressions feel good beyond reducing prediction errors is that they select for internal states that have simple sets of symmetries as the best generators which anticipate the stimuli. This is highly related to the concept of Harmonic Entropy (i.e. the entropy of the inner state, not of the stimuli). And here is where we find a stark and amazing difference between STV and compression drive: we in fact expect there to be a sort of “minimal construction” path where you get specific “complexity scores” for phenomenal objects based on the number of operations of the sort the brain can do that are needed to construct such phenomenal objects. The brain needs to explicitly render phenomenal objects, rather than merely encode them. So there is a harmonic entropy associated with each experience, which more-or-less correlates with Kolmogorov complexity but is different in that it uses resonance as the building block rather than arbitrary operations. We also predict that the valence associated with specific patterns of stimulation will be best correlated with a sort of “perceptual harmonic entropy” than with complexity in general: how well you can compress an input depends on what building blocks you have to reconstruct it. In the case of the brain, the building blocks seem to be patterns of resonance. So even if something is “highly compressible” but cannot be compressed with resonance (e.g. the prime numbers), you will not experience it as beautiful or “easy on the eye”.
Importantly, free energy minimization is a computational level analysis and we would say at QRI that it therefore is mistaken on “where to look”. Consequence: compressing information feels good *because* it often (but not always) reduces dissonance. But if your brain is set up in the wrong way, minimizing dissonance may not lead to good compressions, or doing good compressions may not in fact feel good. But reducing dissonance will always feel better, and having high-energy high-harmony patterns internally will always feel good. What this does at the algorithmic and computational level is tricky, but it generally implies that we can see “artifacts” of our resonance-based compression system all over the place when in exotic states of consciousness, which is what we observe (and at the end of the day this may explain why psychedelic fractals and Indra’s Net type experiences are so hedonically loaded! See: psychedelics and the free energy principle).
To sum it up: STV claims that what matters is the regularity of the conscious experience and not of the stimuli – the stimuli is only in a certain sense a “projection” of the inner state, but it can deviate from it in many ways. Prediction errors feel bad because our brain is set up in such a way that they cause dissonance. And compressions only feel good to the extent that they avoid prediction errors *and* minimize the internal dissonance cost of the internal representations used for prediction. In other words, STV explains the other theories, but not the other way around.
(3) Meeting notes, in case you find them useful…
You asked if I knew whether taking a lot of 5-MeO-DMT is compatible with sanity for most people: the answer is probably not. That said, we do know of some notable exceptions of very smart and sane individuals who have experimented heavily with the drug with no obvious cost to their sanity (e.g. see conversation with Ingram, Yang, McMullen, and Taft which touches upon the effects of daily use of 5-MeO-DMT).
I brought up anti-tolerance drugs, of which black seed oil is promising (but a low-tier player). Most promising of all are ibogaine and proglumide. Opioids + anti-tolerance drugs are IMO the most promising long-term therapy for severe chronic pain.
Information is in the coupling between harmonics; de-couple them and you can experience the “zero state” while still being awake.
Meaning of the QRI logo (i.e. having a clear view of the entire state-space of consciousness; bridging quality/color and quantity/lines as a symbol for qualia formalism).
You asked “can you tell me what are brainwaves in simple terms a child could understand?” (I answered with “they are the signature of resonance in the holistic field behavior of experience” and immediately realized I had miserably failed to “explain in simple terms”).
“Would listening to a pure tone be blissful?” Yes, you can absorb yourself into it. Second half of an orchestral song repeated could be better if it allows you to go deeper into absorption. Touched upon: Boredom mechanism. Harmonic entropy. Controlling for energy.
3D harmonics, STV presentation, symmetry of the mathematical object is what truly matters.
Ok, that was rather long; I hope that you found it useful and clarifying! Please feel free to ask any questions and I promise I won’t send you another equally long email 🙂 Again, feel free to write about any and all of this.
Excerpt from Awakening Your Ikigai: Howthe Japanese wake up to joy and purpose every day (2017) by Ken Mogi (pgs. 67-73, 79-81)
NOTE TO THE READER
The Five Pillars of Ikigai
Throughout this book, I refer to the Five Pillars of ikigai. They are:
Pillar 1: Starting small
Pillar 2: Releasing yourself
Pillar 3: Harmony and sustainability
Pillar 4: The joy of small things
Pillar 5: Being in the here and now
These pillars come up frequently, because each one provides the supportive framework—the very foundations—that allows ikigai to flourish. They are not mutually exclusive or exhaustive, nor do they have a particular order or hierarchy. But they are vital to our understanding of ikigai, and will provide guidance as you digest what you read in the forthcoming pages and reflect on your own life. Each time they will come back to you with a renewed and deepened sense of significance.
I hope you enjoy this journey of exploration.
CHAPTER 4: The sensory beauty of ikigai
A starry bowl in good condition, if put in an auction, would fetch millions of dollars. Of the ones that remain, the Inaba starry bowl (inaba tenmoku) is regarded as the finest of the three. It was handed down from the Tokugawa Shogunate to the house of Inaba, and would fetch tens of millions of dollars if put on the market today.
Koyata Iwasaki, the fourth president of Mitsubishi Conglomerate, and one of the richest men in modern Japan, became the owner of that particular bowl in 1934. However, considering himself unworthy of it, Iwasaki never used it at his tea ceremonies.
The Japanese certainly make a fuss of pretty bowls. After all, a bowl is just a bowl, and its function is to contain liquid.
In terms of that capacity, it is no different from any ordinary bowl in the market. And while the enthusiasm surrounding these receptacles would surely find parallels in other cultures, one feels that there is something unique in the Japanese culture that makes the passion for them quite extraordinary. Where does this kind of sensory enthusiasm come from?
In Chapter 1, we referred to this lexical hypothesis, which states that expressions for important personalty traits in life gradually and eventually come to constitute a part of everyday language, as is the case with ikigai. There is another interesting aspect of the Japanese language, worth focusing on and particularly pertinent here.
In Japanese, a dog barks wan wan, while a cat goes nya nya. In English, they go bowwow and meow respectively. Every language has its share of such onomatopoeic expressions, but it is generally considered that the Japanese language has an inordinately abundant variety of them.
They are sometimes referred to as Japanese sound symbolism, and they are often made up of the same word said twice.
For example, bura bura means a nonchalant, carefree way of walking, while teka teka describes a shiny surface. Kira kira refers to the glittering of light, whereas gira gira refers to a more intense, almost blinding source of light, such as the headlight of a motorbike at night. Ton ton refers to a light tapping sound, whereas don don refers to a heavy, thudding one. A dictionary of onomatopoeia edited by Masahiro Ono lists 4,500 instances of sound symbolism.
With the growing popularity of Japanese manga and anime, an increasing number of people around the world are interested in Japanese sound symbolism, as many of the expressions are frequently used in popular manga and anime works. However, Japanese onomatopoeia is difficult to master, partly because of the subtlety in the way it is used and partly because there is so much of it. Unlike in some cultures, the Japanese continue to use sound symbolism in their adult life, as well as in childhood. Indeed, it is not uncommon for the Japanese to use sound symbolism when discussing things in a professional context. Such a perception structure has certainly developed more in some fields of industry than others, for example, in gastronomy. You can imagine sushi chefs such as Jiro Ono and experienced fish brokers such as Hiroki Fujita using onomatopoeia in their conversation, because sound symbolism is often used to describe the texture and flavor of food. Similarly, you can be sure samurai warriors used onomatopoeia to discuss the quality of swords, from the glitter to the texture of the blade surface. Manga artists make frequent use of it, too, using words such as ton ton and don don to reflect the subtle nuances of the actions of their characters.
The fact that there is so much sound symbolism in the Japanese language implies, according to the lexical hypothesis, that there is a correlation between it and the way in which the Japanese perceive the world. The Japanese seem to distinguish between many different nuances of experience, paying attention to the plethora of sensory qualities. The proliferation of onomatopoeia reflects the importance of detailed sensory nuances in the life of the Japanese.
Such attention to detail has nurtured a culture in which craftspeople continue to receive respect in an era where waves of innovation promise to change our lives.
Japan continues to have a large number of traditional products made by craftspeople. Craftspeople, although no outspoken or flamboyant, are held in high esteem and play pivotal roles in Japanese society. Often, their lives are regarded as the embodiment of ikigai—lives devoted to creating just one thing properly, however small.
The work of craftspeople is often very labor-intensive and time-consuming. As a result, the product tends to be highly refined and of excellent quality. Japanese consumers recognize that time and effort has gone into the creation of these goods and appreciate the quality, in such diverse areas as the crafting of knives, swords, blades, ceramics, lacquerware, washi paper, and of weaving.
The ethics and work of craftspeople continue to have an impact on a wide range of economic activities. Similarly, the Japanese understanding and handling of the great variety of sensory qualities have led to correspondingly fine artisanship and manufacturing techniques.
Although Japanese companies have been losing out for many years in the field of consumer electronics, one area in which the Japanese are still preeminent is the manufacturing of intricate instruments such as medical cameras. High-end precision engineering and commitment to perfection makes Japanese medical cameras among the best in the world. Likewise, in the case of semiconductor devices, Japanese manufacturers have the advantage, the accumulation of knowhow and carefully coordinated operations being a must for efficient and high quality production.
Paying attention to the multitude of sensory experiences is necessary to execute the finely tuned operations supporting craftsmanship and high-tech manufacturing. As with craftsmanship, these cognitive capabilities are reflected in the linguistic make-up of the language. The richness of the Japanese language as regards onomatopoeia reflects such fine-tuned sensibilities.
As we will see in Chapter 8, in the Japanese mind, each sensory quality is equivalent to a god [emphasis mine]. The Japanese tend to believe that there is an infinite depth to the nuances displayed by the multitudes of colors in nature and artifacts, just as the story of God creating the whole universe is deep.
The Cambridge-based neuroscientist Nicholas Humphrey, who discussed the functional significance of consciousness in his book Soul Dust: The Magic of Consciousness, argues that consciousness is functionally significant because it gives us sensory pleasure—a reason to carry on with life. Humphrey takes up the extraordinary example of the ritual prisoners’ last breakfast before their execution in the United States. The prisoners have the final privilege of choosing their own personal menu. Humphrey quotes the prisoner’s last menu as posted on the Texas Department of Criminal Justice website. One inmate might select fried fish fillet, French fries, orange juice, and German chocolate cake, another might go for a plate of chicken katsu. The point is that they give considerable thought to the very last meal of their life, a testimony of the importance of the sensory pleasures we derive from our food. It can be said to be an ultimate form of being in the here and now. It is almost as though finding ikigai in a given environment could be regarded as a form of biological adaptation. You could find your ikigai in a wide range of conditions, and the key to that resilience is sensory pleasure.
In the contemporary science of consciousness, sensory qualities that accompany an experience, including those in culinary consumption, are called “qualia”. The term refers to the phenomenological properties of sensory experience: the redness of red, the fragrance of a rose, or the coolness of water are all examples of qualia. How qualia arise from the activities of neurons in the brain is the greatest unsolved mystery in neuroscience, or, indeed, in the whole of science [emphasis mine]. Nothing turns us on like a great mystery. If you put a strawberry in your mouth (it does not have to be one of the expensive perfect fruits sold at Sembikiya), you have a certain spectrum of qualia, which would presumably give you pleasure. And the pleasure is equal to the mystery of life.
Earlier, we drew our attention to the fact that there are many examples of onomatopoeia (sound symbolism) in the Japanese language. Onomatopoeia, after all, is just representation of various qualia encountered in life.
There is a deep link here. In a mysterious way, releasing oneself is linked to the discovery of the sensory pleasures. The Japanese culture, with its abundance of onomatopoeia, has cultivated this linkage, nurturing a very robust system of ikigai in its course. By relieving ourselves of the burden of the self, we can open up to the infinite universe of sensory pleasure.
High Entropy Alloys of Experience (where we can perhaps think of the deliberate practice of embodying the Five Pillars of Ikigai as the cultivation of a beautiful high-entropy alloy of experience, or perhaps a self-organizing landscape for sustained harmonious creativity)
The elucidation of the origin of qualia-rich subjectivity is important not only as an activity in the natural sciences, but also as a foundation and the ultimate justification of the whole world of the liberal arts. Bridging the gap between the two cultures (C. P. Snow) is made possible only through a clear understanding of the origin of qualia and subjectivity.
Qualia symbolize the essential intellectual challenge for humanity in the future. The impact of its elucidation will not be limited to the natural sciences. The liberal arts, religion, and the very concept of what a man is will be reassessed from their very foundations.
Steven Lehar is many things. A proponent of indirect realism about perception. A champion of analog neural computation based on principles of harmonic resonance. And one of the most insightful and rational psychonauts of all times. His worldview packs a powerful punch of synergistic ideas, and reading his work is a psychoactive experience on multiple levels. Here are some of the highlights that made us decide to include Steven Lehar as a QRI lineage:
Indirect Realism About Perception
Let’s start with indirect realism. This view is often referred to as inferential realismabout perception or representationalism. In simple terms, this view states that all of what you experience (and have ever experienced) exists as an internal representation inside your brain. The representation is absolutely real, but it is not itself the same as the world outside of you. Many people have realized this throughout history such as Immanuel Kant, Edmund Husserl, Bertrand Russell, and John Smythies. Today, the view continues to find proponents such as David Pearce, Donald Hoffman, and Antti Revonsuo. Thus, Lehar has never been alone in advocating for indirect realism. But what Lehar has contributed to the conversation is very substantial: he developed an exquisite map of the geometry and composition of our internal world-simulation that explains it in a way that you will not find anywhere else.
In the world of Steven Lehar, what we are is an analog volumetric bubble of phenomenal qualities made out of several layers interacting with one another (in the image above, the three circles on the left can be thought of as separate layers that combine into the circle on the right). To visualize the shape of our experience (indeed, the shape of us) he often makes an analogy with a diorama: our experience is shaped like a semi-sphere with variable scale. It is finite in volume, yet its peculiar sort of two-and-a-half-dimensional geometry allows it to represent both objects really close and really far at the same time.
In your bubble of experience, things in the distance appear both smaller and appropriately scaled. Indeed, “the point at infinity” is not infinitely far away! It merely represents an infinite distance via a projective trick, but the representation itself is of a finite size! Lehar argues that our experience is not 3D Euclidean, but rather non-Euclidean close to the homunculi (the empty head from which you look out into the world-simulation) and becomes more Euclidean the further away from this head you go.
In some sense, to be a human is to embody a sack of meat. But if we pay really close attention and want to convey the actual structure of our experience, we end up saying that to be a human is to be this weirdly-shaped diorama-like world-simulation! You are not in the Matrix. You are the Matrix, my friend!
Lehar has cultivated and shaped an entire garden of phenomenological insights that emerge when you try to describe “the world” in this way. Just to give an example, a recurring theme in Lehar’s writings is that of “perceptual shadows.” In our world-simulation, we have incredible ray-tracing algorithms that simulate the way light scatters off objects. So we are acquainted with shadows that exist due to the absence of light. But there is also another kind of shadow, which is created when reality is represented using projective geometry: perceptual shadows are the shadows cast by the objects around you when they occlude the objects behind them. A large part of what makes our world-simulation so incredibly compelling is that it deals with missing information in very elegant ways. To understand how it does this, a key insight that Lehar provides is that our world-simulation contains both modal and amodal representations. The modal representations are what we traditionally associate with the senses: colors, sounds, touch, and so on. The amodal representations refer to the implicit geometric layout of the contents of our experience, which remain “dark” until you illuminate them with sensory modalities. This dichotomy allows us to understand why perceptual shadows don’t make objects truly disappear from our world-simulation (as long as we have developed object permanence, that is). The seamless handling of the perceptual shadows caused by occlusions showcases this fact: our phenomenal space contains amodal volumetric representations in addition to the visual “surface representations” we are familiar with. In other words, our inner world-simulation keeps track of rigid bodies even when we can’t see them directly!
Another interesting nugget of insight is that in Lehar’s world, forces inside the world-simulation bias your motor actions and this is what renders and implements desire and disgust. In other words, there is something unexpectedly literal about saying that you are “attracted” to someone or something, or that an object or person “repulses” you! The way these forces are implemented can be conceptualized as fields that encode “how you would move at each point”. This proprioception is what guides the movement of our inner amodal avatar and how we plan sequences of actions.
Lehar makes us realize that as we navigate our environment, we move along something like a liquid membrane amenable to what feels like volitional influence, which guides our movement. This “force field” lives at the interface between our motor sensations and the volumetric representation of the external environment, and it works as a map between these two modes of experience.
The entire representation is robust in response to the vast majority of common actions we can take. The amodal representations of our environment get projected adequately as we move around and take on a new point of view. Many aspects of our world are rendered as invariant relative to body movement, head movement, or eye movement, and this is one of the ways in which our world-simulation instantiates a realistic experience of (perceptual) object permanence.
Ultimately, Steven Lehar is championing a steelmanned version of indirect realism which goes into much more precise phenomenological detail than any of its predecessors.
One may perhaps complain that Lehar is merely “stating the obvious.” Although indirect realism is a view that in many circles is widely shared and assumed, making it explicit still holds a lot of value. Indeed, Lehar points out that in the majority of the world, there seems to be an unrecognized level of variation in how much direct realism is implicitly believed. I used to be under the impression that most smart people who think about these questions automatically arrive at a view in the space of indirect realism about perception. But Lehar points out that in reality, we see both implicit and explicit direct realism even in places as “advanced” as neuroscience departments. Lehar’s visual demonstrations of indirect realism do an amazing job pointing at this unstated disagreement; indeed, the person sitting right next to you at a conference may in fact be an implicit direct realist about perception! No wonder you were never able to agree on what consciousness is.
The fact that so many people turn out to be unreflective direct realists about perception brings to mind Scott Alexander’s discussion on missing developmental stages (2015; see excerpt in Appendix A). In the piece, Scott Alexander lists four types of understanding that are obvious in retrospect but very commonly missed: “1. Ability to distinguish ‘the things my brain tells me’ from ‘reality’”, “2. Ability to model other people as having really different mind-designs from theirs”, “3. Ability to think probabilistically and tolerate uncertainty”, and “4. Understanding the idea of trade-offs.” In this light, a lot of Steven Lehar’s work focuses on trying to upgrade philosophy, psychology, and neuroscience so that people in those fields intuitively understand the first ability Alexander outlines. Lehar’s corpus is like a remedial class for the slow students of philosophy, if you will—helping them through the whole developmental process by making it easier to digest. Thus, Lehar’s work can help us systematically update all kinds of philosophical, psychological, and neuroscientific arguments by exposing them to a high level of clarity and rigor concerning indirect realism. This process clarifies a huge amount of confusion and paradoxes many people in these fields are often consumed by.
In practice, if you listen to the questions in the Q&A portion of panels about consciousness at conferences, or read between the lines in journals of philosophy, neuroscience, and even AI, you will find that a large proportion of the speakers, writers, and attendees do work under the assumption of direct realism about perception. Even if only 30% of people at science conferences are implicit direct realists (which would be a conservative estimate), we would still expect no shortage of resistance and controversy when indirect realism is brought up. My personal experience is that often at these events, it is precisely when the conversation starts to get very good and become high quality that someone who doesn’t “get it” inevitably derails the conversation with questions typical of a direct realist. And while diversity of opinion can at times be an asset, my experience is that the most satisfying, useful, and consequential conversations are precisely those that take place between people who share almost all background philosophical assumptions. This more often than not gives me the impression that grouping people who are at similar developmental levels (in the realm of philosophy) would likely generate more useful discussions. Not that it isn’t fun to get people with widely different points of view together and get them all mixed up: it is always fascinating to observe the dialectical turbulence that ensues. But a serious investigation calls for more explicit foundational agreement on many levels. As much as I actively enjoy the state of consciousness induced by attending The Science of Consciousness (Gomez Emilsson, 2016a) conference (and delight in its unlikely yet amazing cultural products), I cannot shake off the impression that there is a lot of friction in conversations caused by the vast mismatches between the background assumptions of the participants. A conference that brings together over a thousand participants interested in consciousness from disciplines like philosophy, psychology, and artificial intelligence without any filter for background assumptions is a wonderful recipe for a trippy time. One would hope it could also generate conversations where consensus is achieved. It is in contexts like this where the tireless work of Steven Lehar—explaining in astonishing detail the various components and properties of our experience (and its peculiar artifacts) in order to make it as clear as possible that all we ever experience is an inner world-simulation—is extremely valuable at the community level. Seriously, printing massive copies of Lehar’s Cartoon Epistemology (2003) and installing them in a hall of the conference lobby would be an excellent way to increase the quality and clarity of the discussions.
This fact alone makes him someone we are happy to include as part of our lineages. Having “Lehar-aware” conversations about consciousness often takes people to the next level quickly. At QRI, we want to endorse having these ideas in the background along with the key insights obtained from each of the other lineages when creating the conditions for a qualia formalist science of consciousness (Gomez Emilsson, 2018a).
But wait, there is more!
Analog Neural Computation Using Principles of Harmonic Resonance
The very heart of Lehar’s work outlines how harmonic resonance shows up as a principle of self-organization in the mind.
Steven Lehar argued against the (at the time) prevailing neuron doctrine of neural computation which states that the contents of our experience are the result of the activity of highly discrete and individualized neurons that “encode” high-level features (such as a “grandma cell”). Importantly, Lehar points out that there is a key distinction between “rendering” an experience and merely “encoding” it. If you look for neurons that get activated if and only if a certain experience is happening you will be inadvertently mapping out how the brain encodes information rather than how it renders it. Failing to make this distinction will trap you in a worldview that is extremely hard to square with phenomenological facts. Of note is that our internal representations are flexible, a fact that the neuron doctrine finds really difficult to account for. As he puts it in “Harmonic Resonance Theory”:
There are several properties of the harmonic resonance model that are suggestive of human recognition. Unlike a rigid template, the pattern defined by a standing wave representation is elastic and adaptive. This can be seen in the manner that the spatial patterns of animal skins are defined. The parameters of the reaction-diffusion that distinguish between the spots and stripes of the tiger, zebra, leopard, and giraffe are encoded as general rules for the generation of those patterns rather than as a spatial template of any one such pattern. For example if a spot or stripe were to be fixed at one point as the pattern was emerging, the rest of the pattern would redistribute itself to adapt to that fixed feature while maintaining the general character of the encoded pattern. This invariance in the representation allows one set of parameters to generate an infinite variety of exemplars of any particular pattern type, or to adapt most flexibly to any fixed constraints or boundary conditions. (Lehar, 1999)
This flexibility of our internal representations is essential for understanding how the brain solves the “binding problem”: how is it possible that distributed neuron firings can simultaneously contribute to a unified internal representation? Indeed, Lehar takes the binding problem seriously and his solution involves resonance across spatial and temporal levels. This way, one can get representations that “lock in” low-level features to the high-level phenomenal objects that integrate them. In turn, our world-simulation works in a holistic fashion: every part of it pulls and pushes every other part of it. He explains it well in this interview:
Q: What would be the new paradigm in neuroscience?
A: The first thing that it will change is our concept of how the brain works. Right now we are in a neuro-reductionist era where people are making probes ever smaller and smaller to read into tinier and tinier parts of the brain and read the signal there and try to make some kind of sense out of it. The paradigm that they are thinking is discrete connections between individual neurons mediated by synapses. And separate individual signals going every different direction. What we see in consciousness is a much more holistic process. Something like water seeking its own level in a vessel, where the final state of the water depends on every position of every other molecule. If you change one portion, scoop out some water in one place or dump some in some other place, every single molecule in the bath quickly readjusts itself in order to seek a new level. It is a different paradigm of computation. It is what the gestaltists proposed: field theories of mind, not in the terms of fields of mental energy propagating out into the world, but fields of physical energy in the brain interacting with each other in a holistic manner the way that water seeks its own level in a vessel. (Sandu, 2016)
In Lehar’s world, the three-dimensional volumetric representations that we experience “around us” are internal representations made with a hierarchy of patterns of resonance which are mode-locked with one another. From the tiniest detail to the broadest outline, when we experience a phenomenal object as “rigid”, we are in fact experiencing a complex network of resonating patterns locked in place as a stable “solution” of a network of tuned oscillators. In other words, the binding problem is solved explicitly by hierarchical resonance at all levels. This model can explain many of the bizarre effects of psychedelics (which we’ll discuss further below) in terms of a decoupling between the resonance of the different levels! Or as Lehar would put it, “everything on LSD looks like a Fourier representation with the high-frequencies chopped off”, meaning that the fine details that would usually cancel out the broad repeating patterns of low-frequency resonance are desynchronized, and thus objects look as if they were filled with symmetrical and resonating filigree patterns!
Since Lehar worked on “Harmonic Resonance Theory,” there have been many advancements in neuroscience and the field of AI. In particular, two very noteworthy connections should be highlighted. The first is the work of Selen Atasoy (who is also one of QRI’s lineages) on connectome-specific harmonic waves (2016). Atasoy, like Lehar, identified principles of harmonic resonance in physics and biology (such as Murray’s leopard spots and zebra stripes in the standing waves of vibrating sheets of steel) and decided to apply them to the brain. Unlike Lehar, Atasoy found an empirically measurable aspect of the brain amenable to this kind of modeling: the connectome. Thus, Atasoy’s work enables the study of the standing waves that Lehar hinted at qualitatively, but now in an empirical and quantitative way.
In this way, the work of Atasoy and Lehar can be thought of as complementary rather than redundant: Lehar brings the phenomenological observations and arguments whereas Atasoy comes up with the precise empirical quantitative paradigm. Along these lines, we can already see possible extensions of this work. Namely, as we find more core structural scaffolds of the nervous system, we can examine them in light of a paradigm of harmonic resonance by building high-definition structural models, empirically extracting their corresponding wave equations, and then numerically approximating the emergent resonant modes of such structures. The beauty of this paradigm is that suddenly, large amounts of self-organizing complexity can be compressed in terms of weighted sums of harmonic resonant modes. At QRI, we consider this general paradigm to be extremely promising and endorse exploring how the overlap between these two great researchers leads to novel models of neural computation.
The second development that is important to point out is how advancements in artificial neural networks seem to have brought back the neuron doctrine with a vengeance. You get the impression that feature visualization techniques (Olah et al., 2017) allow us to make sense of what each neuron in a network “does.” Recent work at OpenAI takes this further and identifies recurring principles of self-organization that emerge in artificial neural networks (i.e. circuit motifs (Olah et al., 2020)).
The key to make sense of this is to recall the distinction between encoding and rendering. In Lehar’s world, populations of neurons that implement specific kinds of pattern recognition are in fact tuned resonators. Think of these resonators as having the function of adding clamps or pinches to a vibrating Chladni plate: the actual experience being rendered is the pattern of standing waves that emerge from the pinched plate, not the pinches themselves. While there is an extremely detailed correspondence between the content of experience and these clamps, what the experience is requires the pattern of standing waves to happen. Thus, insofar as artificial neural networks do not bring about such standing waves, they will simply and forever fail to render the contents of any experience.
Naturally, this is a testable view, since we can in principle manipulate the standing wave patterns directly (with e.g. transcranial magnetic stimulation). At QRI, we expect that in the future, this distinction will be extremely important. Without it, we would be at risk of thinking that specific computations done in digital computers entail qualia even though there is in fact no “rendering of experience” going on at all in the computational system as a whole.
A final note on this discussion is that Steven Lehar also has a theory of aesthetics. Foreshadowing the Symmetry Theory of Valence, first suggested by Johnson (2016), Lehar proposes a theory of aesthetics based on principles of harmonic resonance that explains our preference for symmetrical patterns. See the excerpt below titled “A Psycho-Aesthetic Hypothesis”in Appendix A. Thus, another key parallel between Lehar’s work and our models at QRI is that we have a non-standard interpretation of neuroanatomical functional localization. In particular, we think that the impression that “pleasure is what goes on in the pleasure centers” is at least in part an artifact of our measuring tools. As Michael Johnson postulates, the reason why activating the pleasure centers feels good is because they are strategically positioned in such a way that you get large-scale (consonant) resonance across the brain. In other words, the pleasure centers are “tuning knobs” for global synchrony in the brain! Thus, they are a kind of “master clamp” for harmonic resonance in the brain. What feels good is such resonance and not the activation of the pleasure centers per se. Don’t expect to find “beauty” in a single neuron; both Lehar and QRI will be quick to point out that beauty is a holistic property of a holistic system!
But wait, there is more!
Steven Lehar is a rational psychonaut: many of his insights are the result of paying close attention to the way specific aspects of experience break down under various states of consciousness. More so, Lehar’s clarity about indirect realism makes him a rather unusual and valuable psychonaut. As he points out, when you take a psychedelic you either “discover a new and deeply mysterious portal to a parallel dimension of reality like John Lilly, Timothy Leary, and Terrence Mackenna” or you realize that the features of your inner world-simulation are changing in ways that give the impression that alternate realities exist (Lehar, 2019). In other words, implicit theories of perception influence how one interprets alien state-spaces of consciousness! For example, even Albert Hoffman seemed to have been working under the implicit assumption of direct realism about perception:
If one continues with the conception of reality as a product of sender and receiver, then the entry of another reality under the influence of LSD may be explained by the fact that the brain, the seat of the receiver, becomes biochemically altered. The receiver is thereby tuned into another wavelength than that corresponding to normal, everyday reality. Since the endless variety and diversity of the universe correspond to infinitely many different wavelengths, depending on the adjustment of the receiver, many different realities, including the respective ego, can become conscious. (Hofmann, 1980)
Talking about psychedelic states of consciousness in light of indirect realism is really refreshing. Now, I am not saying that productive discussions within a direct realism framework cannot be had. But we often find that many unproductive discussions are the result of having a (implicit) direct realist and an (implicit) indirect realist analyze psychedelic experiences without knowing that they don’t share the same key background philosophical assumption. And this is the state of the discourse today! This muddled situation manifests all the way into presentations at the Psychedelic Science and Horizons conferences, for example, where presentations typically straddle between these views. The ambiguity tends to be better received by the audience; leaving implicit background assumptions unchallenged avoids conflict but slows down progress. So the state of the discourse is one where ambiguity about this is rewarded! No wonder the field is so confused and confusing. And in turn we find ourselves endlessly debating the “external reality” of DMT elves rather than moving on to talk about more productive questions such as the geometry, valence, and computational properties of the hallucinated worlds (Gomez Emilsson, 2019).
Of course in reality there are many “middle points” between direct and indirect realism with regards to models of psychedelic action. A hybrid view that a lot of people seem to implicitly hold is one where all we ever experience are the contents of our internal world-simulation, but that some “channels” of this inner world-simulation can be mode-locked with external “subtle” phenomena (e.g. explaining “contact high” as a “subtle body resonance between people”). That said, applying Occam’s razor, it is rational to first try to explain the zoo of psychedelic effects (Gomez Emilsson, 2016b) in terms of changes to the parameters of our inner world-simulation, and only when we cannot explain some phenomena, return to alternative explanation spaces. What Steven Lehar and other rational psychonauts highlight is that the original psychedelic visionaries seemed to have “given up” too quickly on an indirect realist model (or perhaps they were always implicit direct realists on some level). It is refreshing and reassuring to read Lehar’s comments about having experienced things like “out of body experiences,” “bilocation,” “fragmentation of the point of view,” “telepathy,” and so on and yet continue to interpret these phenomena in light of parameter changes inside a world-simulation. It shows that one can indeed stay rational, analytical, and grounded even after experiencing the extremely exotic states of consciousness psychoactives can trigger.
In his book The Grand Illusion (2010), Lehar walks us through his journey as a psychonaut. It would not be an exaggeration to say that this work is one of the absolute best pieces of content concerning the phenomenology of altered states of consciousness induced by psychoactive drugs. The entire book is filled with keen, poignant, and crisp observations which are “obvious in retrospect” yet easy to miss in the moment. To name a few:
Point of view fragmentation is a phenomenon that happens on psychedelics where your visual field segments into various parts, each with its own projective point of perspective. Lehar explains that one can modulate this phenomenon by the extent to which one relaxes and unfocuses versus how much one moves around and interacts with the world: “This discovery greatly enhanced my ability to explore the deeper spaces of consciousness revealed by the drug, while providing an insurance against the natural panic that tends to arise with the dissolution of the self, and the world around you. It allowed me to descend into the depths of the experience while maintaining a life line back to consensual reality, like a spelunker descending into the bowels of the deep underground cavern of my mind, while always able to return safely to the surface. And what a splendid and magnificent cavern it was that I discovered within my mind!” (p. 23-24).
Lehar’s ideas about annealing in the context of ketamine foreshadowed QRI’s framework of neural annealing (Johnson, 2019) and Carhart-Harris’ model of entropic disintegration (Carhart-Harris et al., 2014) by many years: “The totally confused clamped-down experience described above, applies only to the first phase of the Ketamine high. After maybe a dozen or so Ketamine experiences, I began to see a larger pattern in it, as whatever it was that clamped my thoughts slowly began to loosen its grip during the time course of each trip, and my thoughts gradually felt ever more freedom of motion, as first (metaphorically speaking) I could move my hands and feet, then my arms and legs, then my head, and eventually my whole body was released from the grip of the drug and slowly returned to normal integrated consciousness. The last stages, just before a rather abrupt and stepwise return to normal awareness, were the most emotionally powerful and stupendously magnificent, as the largest chunks of reality finally coalesced into an integrated experience” (p. 81).
According to Lehar, MDMA’s nystagmus is just a special case of a more general jittering that MDMA causes in one’s inner world-simulation across the board: “[T]here is a kind of jitteriness across the whole visual field. And this jitteriness is so pronounced that it can manifest itself in your eyeballs, that jitter back and forth at a blinding speed. If you relax, and just let the jitters take over, the oscillations of your eyes will blur the whole scene into a peculiar double image. But if you concentrate, and focus, the ocular jitter can be made to subside, and thus become less noticeable or bothersome. One of my friends got the ocular jitters so bad that he could not control them, and that prevented him from having a good time. That was the last time he took ecstasy. I however found it enchanting. And I analyzed that subtle jitteriness more carefully. It was not caused exclusively by jittering of the eyeball, but different objects in the perceived world also seemed to jitter endlessly between alternate states. In fact, all perceived objects jittered in this manner, creating a fuzzy blur between alternate states. This was interesting for a psychonaut! It seemed to me that I could see the mechanism of my visual brain sweeping out the image of my experience right before my eyes, like the flying spot of light that paints the television picture on the glowing phosphor screen. The refresh rate of my visual mechanism had slowed to such a point as to make this sweep visible to me” (p. 60).
Lehar offers a unique interpretation of how LSD and MDMA interact with one another which is compatible with our model of negative valence as neural dissonance (Gomez Emilsson, 2017a): “Under LSD and ecstasy I could see the flickering blur of visual generation most clearly. And I saw peculiar ornamental artifacts on all perceived objects, like a Fourier representation with the higher harmonics chopped off. LSD by itself creates sharply detailed ornamental artifacts, like a transparent overlay of an ornamental lattice or filigree pattern superimposed on the visual scene, especially in darkness. Ecstasy smooths out those sharp edges and blurs them into a creamy smooth rolling experience” (p. 61).
Lehar identified a family of states of consciousness where the content of experience is modifiable at will. He coined the term “Free-wheeling hallucinations” to refer to this state (hear his description in an interview). And see my detailed discussion (Gomez Emilsson, 2021) about free-wheeling hallucinations. Here’s the original quote: “[DXM] gives you the power to produce full free-wheeling hallucinations on demand! You can experience virtually anything you want, if you can just imagine it! Those of you who are familiar with the phenomenon of lucid dreaming, the ability to have startlingly real and vibrant dreams which can also be brought under voluntary control, already know of this wonderous capacity of the human mind, to build complete synthetic hallucinated worlds of visual experience every bit as vivid and apparently real as the waking world. If nothing else, this should clearly clinch the case for the World In Your Head” (p. 63-64).
And so much more. So, do me a favor and next time you experience a free-wheeling hallucination, please construct a virtual Steven Lehar and let him guide you through its parameter space! “Move the force-field flow over here into there and ta-da, you get this vortex effect! Now create a box and try to listen to it! Use that sound to shape this chair over here – doesn’t it become more box-like? How fascinating, isn’t it?” In fact, why not construct a whole “museum of the mind” in one’s free-wheeling hallucination? A kind of Disneyland but for exotic phenomenal objects! If you do this, please say hi to Steve from us!
Adjacent to his work as a rational psychonaut, Lehar produced a fascinating essay on the topic of alien contact (Lehar, n.d.). I consider that piece to be a wonderful “memetic vaccine” against some of the possible failure modes of psychonautical investigation. As it turns out, an explosive combination of implicit direct realism, high-energy, high-definition experience, and the natural human need to feel really important makes it so that a large fraction of people who experiment with DMT end up believing that they are contacting entities from another dimension. Now, we know that Lehar interprets such experiences of alien contact to be all “in your head.” But even if they weren’t, Lehar urges caution! He argues that even if the elves were mind-independent, you probably wouldn’t want to ally with them. Why? Because they are likely to be extremely persuasive marketeers rather than actual helpers or saviors. Lehar is not persuaded by the Siren Calls of the DMT machine elves and neither should you be. Else, we may simply end up doing the bidding of these creatures, which would more likely than not result in preparing the conditions for their replication (see Consciousness vs. Pure Replicators (Gomez Emilsson, 2017b)). Now that’s some serious resolve for being “the adult in the room” of psychonauts!
Lehar’s world is really vast, and what we have outlined above just scratches the surface of the musings of a great thinker (see Clifford Algebra: A visual introduction (Lehar, 2014)). In reality, Lehar has given thought to pretty much every area of philosophy (for Lehar’s views on eternalism vs. presentism, see the “Frozen Time” excerpt in Appendix A). A stark example for me that demonstrates how vast his sphere of thought is and how far it reaches is that when I first contacted him, I mentioned that I was thinking of ways to represent 3D hyperbolic space with gradient index optics (Gomez Emilsson, 2018b). In turn, he mentioned that he had already also considered something similar and that I could in fact find an old discussion of his in one of his books about the topic (see: picture below). This exchange, among others, is what made me feel that QRI and Lehar are indeed really hanging out on the same wavelength across many dimensions of thought.
How the Work of Steven Lehar Interacts with Other QRI Lineages
David Pearce would point out that hedonic tone is an extremely important aspect of our world-simulation! You see, the rabbit hole goes deeper. If you are repulsed by the idea of indirect realism about perception because it makes you feel like a prisoner of your mind, it will turn out that you are now under the spell of an implicit direct realism about the connection between ideas and hedonic tone. In a happy and ecstatic state, you can in fact experience the idea of the world in your head as rather funny, curious, and perhaps even comforting! So the way in which ideas get represented includes a whole gamut of shades of affect that “paint” them. From hilarity to existential dread, the affective component of experience is coercive in how it shapes our interpretations of reality. Thinking about deep questions can give you the impression that the world is scary and unsettling or mysterious and amazing, all depending on your mood. The task of paradise engineering is not to be realized by modifying the external world (or at least that’s not at the heart of the transformation). Rather, it is about zoning in on the affective texture of experience and finding functional substitutes devoid of misery. Really, in this light, paradise engineering is just extremely advanced interior design.
Similarly, we find a lot of overlap and complementarity between Lehar’s work and other QRI lineages. As we continue to weave together these diverse models of neural computation, we expect to see a lot of synergy emerge. In time, we will outline how each component of the ecosystem synergizes with the rest. For now, please join me in welcoming Steven Lehar to our lineages! Welcome, Steven!
Quote from page 21 of “The Function of Conscious Experience” by Steve Lehar:
Once we accept the fact that the world of visual consciousness is a pattern of energy in our physical brain, we can begin to examine that conscious experience to see what it might tell us about its neurophysiological correlate. The practice of phenomenology for investigating mental function was more popular before modern neuroscience introduced a new concept of neurocomputation that seems inconsistent with phenomenological observation. (Vernon 1937, 1952, Gregory 1981, Ramachandran & Blakeslee 1998, Smythies 1953, 1988, 1994, 1999, Koffka 1935, Köhler 1924) The most basic and salient fact of visual consciousness is that it appears as a three-dimensional spatial structure (Vernon 1952, p. 81- 92). More specifically, the phenomenal world is composed of solid volumes, bounded by colored surfaces, embedded in a spatial void. Every point on every visible surface is perceived at an explicit spatial location in three-dimensions (Clark 1993), and all of the visible points on a perceived object like a cube or a sphere, or this page, are perceived simultaneously in the form of continuous surfaces in depth. The perception of multiple transparent surfaces, as well as the experience of empty space between the observer and a visible surface, reveals that multiple depth values can be perceived at any spatial location. The information content of perception can therefore be characterized as a three-dimensional volumetric data structure in which every point can encode either the experience of transparency, or the experience of a perceived color at that location. Since perceived color is expressed in the three dimensions of hue, intensity, and saturation, the perceived world can be expressed as a six-dimensional manifold (Clark 1993), with three spatial and three color dimensions.
The Cartesian Theatre and the Homunculus Problem
Quote from pages 21-22 of “The Function of Conscious Experience” by Steve Lehar:
This “picture-in-the-head” or “Cartesian theatre” concept of visual representation has been criticized on the grounds that there would have to be a miniature observer to view this miniature internal scene, resulting in an infinite regress of observers within observers. However this argument is invalid, for there is no need for an internal observer of the scene, since the internal representation is simply a data structure like any other data in a computer, except that this data is expressed in spatial form. If the existence of a spatial data structure required a homunculus to view it, the same objection would also apply to symbolic or verbal information in the brain, i.e. epistemic as opposed to sensory perception, which would also require a homunculus to read or interpret that data. In fact any information encoded in the brain needs only to be available to other internal processes rather than to a miniature copy of the whole brain. To deny the spatial nature of the perceptual representation is to deny the spatial nature so clearly evident in the world we perceive around us. To paraphrase Descartes, it is not only the existence of myself that is verified by the fact that I think, but when I experience the vivid spatial presence of objects in the phenomenal world, those objects are certain to exist, at least in the form of a subjective experience, with properties as I experience them to have, i.e. location, spatial extension, color, and shape. I think them, therefore they exist. All that remains uncertain is whether those percepts exist also as objective external objects as well as internal perceptual ones, and whether their perceived properties correspond to objective properties. But their existence in my internal perceptual world is beyond question if I experience them, even if only as a hallucination.
Quote from pages 67-68 of “The Boundaries of Human Knowledge: A Phenomenological Epistemology or Waking Up in a Strange Place” by Steven Lehar:
If time were a frozen dimension as proposed above, that would do considerable violence to our everyday notions of causality, and thereby radically alter our view of all causal explanations. For example the first, most basic feature of causality is that matter that exists has a tendency to continue to exist. (unless it happens to decay into energy, which then also continues to exist) In frozen space-time, this means that particles of matter no longer appear as points moving through empty space, but they become long spaghetti strands extending continuously through the time dimension. The causal property of persistence has thereby been transformed into a geometrical or structural feature in frozen spacetime, something like the logic of static structures, whereby a block will never be found hanging unsupported in space, but must always be supported by other blocks that rest on still other blocks all the way down to the supporting ground. Likewise, the explanation for the logic of evolution is dramatically altered when viewed in frozen spacetime. It can no longer be said that if an organism adapts to its environment it will continue to propagate, otherwise it will go extinct. Instead, we would have to say that there are many parallel and branching threads of life from the first living thing stretching on toward the future, together with countless side-branches of life that peter out because they don’t stretch forward in time toward the future, but break up into disorganized lifeless matter. The conventional causal explanation becomes as tautological in frozen spacetime as saying that the only branches of a tree that grow to great heights are those that grow upward, otherwise they never grow to great heights. A causal law has been transformed into a structural feature of the time-line of life. I do not propose that the static formulation of frozen space-time is necessarily more correct or veridical than the conventional flowing time explanation, but rather that there is no way in principle for us to comprehend something as fundamental as time, and the frozen time explanation may well be just as far from the ‘truth’ as the conventional flowing time explanation. The point is that there can be alternative explanations of reality that are as profoundly different in their assumptions and their manner of explaining that reality as are the flowing and frozen time explanations, and yet they are also in some sense equivalent, because the structural laws of the frozen time explanation correspond exactly to the causal law of the flowing time explanation, although expressed in a completely different form. So it may be that the realist explanation of the world in terms of flowing time and causality is both an accurate reflection of the causal laws of the noumenal world, while at the same time being as fundamentally different and thus ‘wrong’ in its expression of those laws as the difference between the flowing-time and the frozen-time explanations of reality. Thus the realist and the idealist are both right, our perception of the dimensions of reality are both an accurate reflection of the world as it really is, as must necessarily be the case for perception to be evolutionarily adaptive, and at the same time there is truly nothing we can know about the true nature of the noumenal world as it really is, it may be as different from our phenomenal experience as is the frozen spacetime world to the flowing-time causal world.
A Psycho-Aesthetic Hypothesis
Quote from The Two Worlds of Reality by Steven Lehar:
The harmonic resonance theory of neurocomputation also accounts for a number of other aspects of human experience which have never found a satisfactory explanation elsewhere. For the most prominent characteristics of harmonic resonance are symmetry and periodicity of the standing wave patterns both in space and in time. It turns out that symmetry and periodicity have very special significance in human experience, for these properties are ubiquitous in human aesthetics, as seen in the symmetrical and periodic patterns of design used in all cultures throughout human history to decorate clothing, pots, tools and other artifacts, especially items of special symbolic or religious significance. Symmetry and periodicity are also prominent features of architecture, music, poetry, rhythm, and dance. In chapter 11 I propose a psycho-aesthetic hypothesis, whereby any principles of aesthetics that are found to be universal across all human cultures, are thereby indicative of properties that are fundamental to the human mind itself, rather than a cultural heritage. I propose therefore that the symmetry and periodicity in art and music are aesthetically pleasing exactly because they are easily encoded in the periodic basis function offered by the harmonic resonance representation.
Besides providing collateral support for the harmonic resonance theory, the psycho-aesthetic hypothesis can be inverted to identify even more properties of mental function than those revealed by phenomenological analysis alone. For the primitives of the visual arts, music, and dance, can be seen as evidence for the nature of visual, auditory, and motor primitives in the brain. This in turn suggests a periodic basis set in perception, in the nature of a Fourier code. The advantage of a periodic basis set is that when a match is found to an input pattern, the periodic basis set automatically extrapolates that pattern outward in space and time, reifying the unseen portions of the pattern on the basis of the sample present in the input. This perceptual extrapolation explains the amodal completion of hidden portions of perceived objects and surfaces in the world. Evidence for this periodic basis set can be seen even in the abstract world of mathematics, where the periodicity inherent in the number line reflects an attempt to quantify the world in terms of periodic patterns. This insight serves to unite the fields of science and aesthetics, and reveals mathematics as a more abstracted refinement of the same principles observed in the visual and musical arts, which in turn are merely a more abstracted refinement of the principles behind visual and auditory perception, as discussed in chapter 11. The harmonic resonance theory also offers an explanation for one of the most enduring mysteries of human experience, which is the question of why resonances in musical instruments and the rhythmic beating of drums have such a powerful ability to evoke the deepest emotional response in the human soul. I propose that the musical instrument represents man’s first modest success at replicating the physical principle behind biological computation, and the strong emotional response evoked by these inanimate resonances reflects an unconscious recognition of the essential affinity between mind and music.
I remember reading through Korzybski’s giant blue book of General Semantics, full of labyrinthine diagrams and promises that if only you understood this, you would engage with the world totally differently, you’d be a new man armed with invincible cognitive weapons. And the key insight, maybe the only insight, was “the map is not the territory”, which seems utterly banal.
But this is a self-environment distinction of exactly the sort that children learn in development. It’s dividing your own representation of the world from the world itself; it’s about as clear a reference to theory of mind as you could ask for. Korzybski considered it a revelation when he discovered it; thousands of other people found it helpful and started a movement around it; I conclude that these people were missing a piece of theory-of-mind and Korzybski gave it to them. Not the whole deal, of course. Just a piece. But a piece of something big and fundamental, so abstract and difficult to teach that it required that whole nine-hundred-something page book to cram it in.
A Universal Plot – Consciousness vs. Pure Replicators: Gene Servants or Blissful Autopoietic Beings? (link)
What is the point of it all? What does it all mean?
In this talk I explain how we can meaningfully address these questions with the frame of “consciousness vs. pure replicators”. This framework allows us to re-interpret and unify all previous “scales of moral/conceptual development”. In turn, it makes solving disagreements in a principled way possible.
“Consciousness vs. Pure Replicators” is what I call “the universal plot of reality”; it is the highest level of narrative that determines what is “relevant to the plot” at any given point in time.
Whether consciousness succeeds at gaining control of its destiny and embarks on a collective journey of self-authorship, or whether we all end up being subservient cogs to a self-replicating mega-system whose one and only utility function is to self-perpetuate, is truly up in the air right now. So what can we do to support the interests of consciousness, then?
To aid consciousness we need more than good intentions (though those are still a key ingredient): I discuss how game theoretical considerations entail that in order for consciousness to succeed we will need to judiciously ally with specific replicator strategies. Being a “cooperatebot” towards anyone who claims to care about consciousness makes you liable to being resource-pumped. You need to verify that something makes sense also from the point of view of game theory; without a way to verify the ultimate values of others, coordinating with them at this level becomes extremely challenging. I suggest that a mature technology of intelligent bliss with objectively verifiable effects would be a game-changer. Once you’ve seen “it” (i.e. optimized bliss consciousness) you join everyone else in self-organizing around it.
If the world is to be taken over by something that cares about the wellbeing of consciousness, how this taking over process looks like may blindside us all. The power of “universal love” conquering all obstacles and creating a paradise for all may not be a New Age fantasy after all. Given the appropriate technology, it may turn out to be a live option…
Topics Covered: Kegan Levels of Development, Spiral Dynamics, Model of Hierarchical Complexity, Meta-Modernism, Qualia Formalism, Valence Structuralism, Pleasure Principle, Open Individualism, Universal Darwinism, Battle Between Good and Evil, Balance Between Good and Evil, Gradients of Wisdom, Consciousness vs. Pure Replicators, Wild Animal Suffering, Mistrusting DMT Entities, Super-Cooperator Cluster, Metta/Lovingkindness, State-Dependent Sexuality, Wireheading, Cooperation Technology, Game-Changing as a Strategy.
~Suggestion: Play a music album you like in the background while listening to this talk.~
How do we find the “gems” hidden in the state-space of consciousness?
In this talk I articulate why it is very likely that there is a huge number of undiscovered states of consciousness that are completely unique, irreducible, and wholistically “special”.
In metallurgy, a high-entropy alloy (HEA) is a mixture of five or more metals in high proportions, often giving rise to a single phase. Some HEAs have been found to have extremely desirable properties from the point of view of material science (such as being the best at both yield-strength and ultimate tensile strength at the same time). Given the huge space of possible mixtures of metals, finding these carefully balanced mixtures with unique emergent properties is both a science and an art. It calls for intelligent strategies to explore the state-space of possible alloys!
I suggest that in the realm of consciousness there are also states that would be appropriate to describe as “high entropy alloys of experience”. I go into how this framework can help us understand unique scents*. We then explore how the receptor affinity profiles of drugs, drug cocktails, and drug schedules can give rise to unique HEA-like states of mind. I then also discuss how memeplexes have various degrees of total complexity, and how this makes some more receptive to dealing with complexity in the world than others. I offer that I really appreciate the HEA-like memeplexes that get expressed in places like EAGlobal, The Science of Consciousness, and Psychedelic Science conferences. I conclude by reflecting on how a “productive mindset” or mood optimized for a specific intellectual job is likely to be HEA-like because it requires the careful balance between many different facets of the mind.
Topics you will master after seeing this talk for even just one time**: High Entropy Alloys, Bronze and Iron Age, Equiatomic Alloys, People Clusters in Parties, Scents, Sexual Orientation, Gay Fragrances, Memeplexes and Mindsets, Vibe of Groups, Energy Parameter, Frozen Food, Crystallites, Space Groups, The Science of Consciousness, EAGlobal, Psychedelic Science, Search Heuristics, DMT as “Competing Clusters of Synchrony”, Birthday Cake Flavor, Cellular Automata, Optimal Mood for Productivity.
*(HEAs: Le Male by JPG, Bleu de Chanel, Mitsouko by Guerlain. Non-HEAs: Tommy Girl by Tommy Hilfiger, Habit Rouge by Guerlain, Amazing Grace Ballet Rose by Philosophy)
If the goal is to avoid the formation of such phases, simply mixing together five or more elements in near-equiatomic concentrations is unlikely to be a useful approach. Even multi-component alloys that are initially single phase after solidification tend to separate into multiple metallic and intermetallic phases when annealed at intermediate temperatures.
I estimate that I have experienced between 100 and 200 sleep paralysis, many of which were lucid (meaning that I knew I was experiencing a sleep paralysis). In this video I articulate what I have learned from all of these experiences, share some particularly strange stories, and give you tips for how to get out of a sleep paralysis if you find yourself trapped in one.
Topics Covered: Hyperbolic curvature in pasta, dream music, phenomenal viscosity, DXM, imperfect sensory gating, “radio is playing” hallucinations, Dredg – Album: El Cielo · Song: Scissor Lock, taking psychedelics while dreaming, lucid dreams, dopaminergics, controlling the powerful vibrations of sleep paralysis, recursive depth, false awakenings, whimpering, noting meditation, and techniques for escaping a sleep paralysis.
Niacinamide helps in sleep enhancement as evidenced in a 3-week study of six subjects with normal sleep patterns and two with insomnia using electroencephalograms, electromyograms, and electrooculograms to evaluate sleep patterns at baseline and after niacinamide treatment. There was a significant increase in REM sleep in all normal-sleeping subjects, but the two subjects with moderate to severe insomnia experienced significant increases in REM sleep by the third week; awake time was also significantly decreased (Robinson et al., 1977).
Free-Wheeling Hallucinations: Be the Free-Willed God of Your Inner World-Simulation (link)
Once you realize that you inhabit a world-simulation sustained by your neuronal soil it is natural to ask: why can’t I control its contents? Why can’t I make myself hallucinate whatever I want?
It can be frustrating to realize one lacks control over something that should be truly “ours” – our raw unmediated experience! We could, and perhaps should, be the rightful masters of our very own conscious experience, yet for the most part we remain powerless to explore its possible states at will.
In this video I discuss the existence of some states of consciousness in which you do own and control the contents of your experience. Think of it as acquiring an “experience editor”: an interface with your experience that enables you to modify it at will while keeping the modifications stable.
A lucid dream would be an example of a somewhat fluid and unreliable free-wheeling hallucination. The free-wheeling hallucinations I describe here are much more general, stable, reliable, intense, and hedonic than lucid dreams. More so, to spin up free-wheeling hallucinations could amount to far more than being just a fun activity. Doing so may come to be an extremely valuable tool for a new paradigm of consciousness research! All of the parameters of experience that remain outside of our control under normal circumstances can be studied (both from a first and third person point of view) while in a free-wheeling hallucination! One can conduct a sort of “qualia chemistry” and repeat experiments to get reliable accounts of the behavior of consciousness under exotic (yet controlled) circumstances. Artifacts such as the valence-symmetry correspondance can be inspected in detail. Ultimately, this paradigm may allow us to chart the state-space of consciousness in terms of “edit distances” or “sequence of symmetry breaking operations” away from “formless consciousness”.
I then go on to explain that “knowing everything about your world-simulation” does not entail that the experience will be boring. Hedonic tone can be dissociated from novelty, but we don’t even need to go that far. It suffices to point out that you can set up the parameters of your world-simulation so that it unfolds in a chaotic way, and thus is impossible to predict. Additionally, you cannot really predict what you yourself will think in the future, so the whole setup can continue to generate novelty almost indefinitely (up to one’s storage capacity/size of the state-space/heat death of the universe).
I conclude by exercising my free will.
Topics Covered: Energy Parameter, Predictive Coding, Free Energy Principle, Kolmogorov Complexity of Experience, Principia Qualia, Super Free Will, Quality Trip Reports, DXM + THC Combo, LSD + Ketamine + THC Combo, “Experience Editors”, Qualia Critters, Fire Kasina, Color Control, Qualia Chemistry, Agenthood, Coumarin, Chamomile Tea.
Chamomile consists of several ingredients including coumarin, glycoside, herniarin, flavonoid, farnesol, nerolidol and germacranolide. Despite the presence of coumarin, as chamomile’s effect on the coagulation system has not yet been studied, it is unknown if a clinically significant drug-herb interaction exists with antiplatelet/anticoagulant drugs. However, until more information is available, it is not recommended to use these substances concurrently.
Why Does Anything Exist? Zero Ontology, Physical Information, and Pure Awareness (link)
Why is there something rather than nothing? In this video I take this question very seriously and approach it with optimism. I say (a) this is a meaningful and valid question, and (b) it has a real and satisfying answer. The overall explanation space I explore is that of David Pearce’s Zero Ontology, which postulates that the multiverse is implied by the preservation of “zero information”.
In order to understand Zero Ontology we need to do some conceptual groundwork. So I walk the listener (you, were you to accept this journey) through several concepts that make the question go from “impossible to answer” or even “meaningless” to something that at least conceivably seems possible to solve.
First, we need to sidesteps the common tropes of our habitual modes of thinking, such as expecting answers to come in the form of “causal explanations”. No matter how you look at it, whether the universe extends back forever or not, a causal explanation for the origin of the universe is logically impossible to derive. Instead, we have to think in a radically different way, which is by way of frameworks for implication rather than causation. This opens us up to the possibility that exotic modes of thinking capable of representing what is entailed by “nothing” will show in turn that “something” follows from it. This helps us make sense of Pearce’s argument: the “nothing” we are looking for is not the “common sense” view of the term, but rather a more refined post-theoretical concept that is ill-fitted to the human mind for the time being.
In particular, Pearce focuses on how “no information” may be “what nothing is”. Thus, Zero Ontology attempts to formalize the “fact of inexistence” by reconceptualizing information as “ruling out possibilities”. Based on this alternate concept we see that math, physics, and phenomenology share the common thread of being possible to “construct out of nothing”. In math, the empty set can be used to derive all of arithmetic. In physics the Standard Model is a surprisingly simple theory that can be derived from first principles by imposing the “need for symmetry”. The total energy, charge, momentum, etc. of the universe is zero! And in phenomenology, we encounter a lot of cases where apparently all of the possible flavors of a qualia variety seem to “cancel out” into “pure being” or “raw awareness”. The simplest example is how experiencing “all phenomenal colors at once” (a kind of rainbow effect, but including magenta) seems to be interchangeable with “colorless phenomenal light”.
I tie all of this together and talk about how Zero Ontology allows us to reconceptualize “God/Being” as “unconstrained reality” or “boundarylessness”. I discuss how we could perhaps even probe Zero Ontology empirically in a direct way if we were to train enough physicists, mathematicians, philosophers, computer scientists, etc. to go into high Jhana or 5-MeO-DMT states and then quantify the properties of the fundamental fields implementing these experiences.
I conclude with an analogy to Borges’ Library of Babel (or a quantum version thereof) and why we may be in it. In fact, “be it”.
David Pearce: “A theory that explains everything explains nothing”, protests the critic of Everettian QM. To which we may reply, rather tentatively: yes, precisely.
Topics Covered: The Concept of Nothing, Three Characteristics, Illusion, Limitations of the Medium of Thought, Amusing Ourselves to Death, Redefining Information, Empty Set Arithmetic, Preserved Quantities of Physics, Symmetry and Noether’s Theorem, QFT, Path Integrals, Jhanas, 5-MeO-DMT, Symmetries in Qualia, Quantum Library of Babel, Black Hole Information Paradox.
The Tyranny of the Intentional Object: Universal Addictions, Meaning Abuse, and Denied Self-Insights (link)
What is it that we truly want? Why do so many people believe that meaning is better than happiness?
In this talk I discuss what we call “the tyranny of the intentional object”, which refers to the tendency for the mind to believe that “what it wants” is semantically meaningful experiences. In reality, what we want under the surface is to avoid negative valence and achieve sustainable positive valence states of consciousness.
I explain that evolution has “hooked us” on particular sources of pleasure in such a way that this is not introspectively accessible to us. We often need specific semantic content to work as a “key” for the “lock” of high-valence states of consciousness. I explain how we are all born chronic (endogenous) opioid addicts, and how our reward architecture is so coercive that we often fail to recognize this because thinking about it makes us feel bad (and thus ironically confirming the situation we are trying to be in denial about!).
I go on to provide my current thoughts on the nature of meaning. Beyond “sense and reference” we find that “felt-sense” is actually what meaning is “made of”. But not any kind of felt-sense. I posit that the felt-senses that we describe as richly meaningful tend to have the following properties: high levels of intention, coherence of attention field lines, a “field syntax”, and a high level of “potential to affect valence”. Valence and meaning are deeply connected but are not identical: we can find corner cases of high-valence but meaningless states of mind and vice versa (though they rare).
Meaning is no less liable to be “abused” than hard drugs: we often find ourselves scratching the bottom of the barrel of our meaning-making structures when things go wrong. I advise against doing this, and instead endorse the use of equanimity when faced with the absurd and Chapman’s “Meaningness” approach: to think of meaning as a gradient rather than in black and white terms. Do take advantage of opportunities for high levels of meaning, but do not rely on them and think they are universal. Indeed “meaning abuse” is a recipe for broken hearts and misguided idealistic solutions to problems that can be easily addressed pragmatically.
Finally, I steelman the importance of “high-dimensional valence” and explain why in turn usually pursuing meaning is indeed much better than shallow pleasure.
[T]he heroin addict will do anything to get another fix: lie, cheat, steal and worse. Natural selection has stumbled on and harnessed Nature’s own version of heroin. Our endogenous opioid system ensures that biological life behaves in callous but genetically adaptive ways. […] All complex animal life is “paid” in junk: the addictive dribble of opioids in our hedonic hotspots released when we act in ways that tend to maximise the inclusive fitness of our genes in the environment of evolutionary adaptedness (EEA). The pleasure-pain axis is coercive. Barring self-deliverance, we can’t opt out. Our “reward” circuitry hardwires opioid addiction and the complex rationalisations it spawns. Human history confirms we’ll do anything to obtain more opioids to feed our habit. The mesolimbic dopamine system enables us to anticipate our next fix and act accordingly: an insidious interplay of “wanting” and “liking”. We enslave and kill billions of sentient beings from other species to gratify our cravings. We feed the corpses of our victims to our offspring. So the vicious cycle of abuse continues.
A Language for Psychedelic Experiences: Algorithmic Reductions, Field Operators, and Dimensionality (link)
Psychedelic experiences are notoriously difficult to describe. But are they truly ineffable, or do we simply lack the words, syntax, and grammar to articulate them? Optimistically, groups who take seriously the exploration of exotic states of consciousness could create a common ground of semantic primitives to be independently verified and used as the building blocks of a language for the “psychedelic medium of thought”.
In this video I present some ideas for a possible “psychedelic language” based on QRI paradigms and recent experience reports. I go over the article “Algorithmic Reduction of Psychedelic States” and the value of breaking the psychedelic experience in terms of a minimal set of “basic effects” whose stacking and composition gives rise to the wild zoo of effects one observes. I point out that algorithmic reductions can have explanatory power even if they do not provide a clear answer about the nature of the substrate of experience. Importantly, since I wrote that article we have developed a far higher-resolution understanding of exotic states of consciousness:
We suggest that a remarkably fruitful strategy for pointing at a whole family of psychedelic effects comes in the form of “field operators” that change the qualitative properties of our experiential fields. I provide a detailed description of what we call the “world-sheet” of experience and how it encodes emotional and semantic content in its very structure. The world-sheet can have tension, relaxation, different types of resonance and buzzing entrainment, twisting, curling, divergence (with vortices and anti-vortices in the attention field-lines), dissonance, consonance, noise, release, curvature, holographic properties, and dimensionality. I explain that in a psychedelic state, you explore higher up regions in the “Hamiltonian of the field”, meaning that you instantiate field configurations with higher levels of energy. There, we observer interesting trade-offs between the hyperbolicity of the field and its dimensionality. It can instantiate fractals of many sorts (in polar, cartesian, and other coordinate systems) by multi-scale entrainment. Time loops and moments of eternity result from this process iterated over all sensory modalities. The field contains meta-data implicitly encoded in its periphery which you can use for tacit information processing. Semantic content and preferences are encoded in terms of the patterns of attraction and repulsion of the attention-field lines. And so much more (watch the whole video for the entire story).
I conclude by saying that a steady meditation practice can be highly synergistic with psychedelics. Metta/loving-kindness can manifest in the form of smooth, coherent, high-dimensional, and consonant regions of the world-sheet and make the experience way more manageable, wholesome, and enriching. Equanimity, concentration, and sensory clarity are all synergistic with the state, and I posit that using “high-dimensionality” as the annealing target may accelerate the development of these traits in everyday life.
Please consider donating to QRI if you want to see this line of research make waves in academia and expand the Overtone Window for the science of consciousness. Funds will allow us to carry out key scientific experiments to validate models and develop technologies to reduce suffering at scale: https://www.qualiaresearchinstitute.org/donate
~Qualia of the Day: The Phenomenal Silence of Each Field Modality~
Befriending Utility Monsters: Being the Adult in the Room When Talking About the Hedonic Extremes (link)
In this episode I connect a broad variety of topics with the following common thread: “What does it mean to be the adult in the room when dealing with extremely valenced states of consciousness?” Essentially, a talk on Utility Monsters.
Concretely, what does it mean to be responsible and sensible when confronted with the fact that pain and pleasure follow a long tail distribution? When discussing ultra-painful or ultra-blissful experiences one needs to take off the glasses we use to reason about “room temperature consciousness” and put on glasses that actually take these states with the seriousness they deserve.
Topics discussed include: The partial 5HT3 antagonism of ginger juice, kidney stones from vitamin C supplementation, 2C-E nausea, phenibut withdrawal, akathisia as a remarkably common side effect of psychiatric medication (neuroleptics, benzos, and SSRIs), negative 5-MeO-DMT trips, the book “LSD and the Mind of the Universe”, turbulence and laminar flow in the “energy body”, being a “mom” at a festival, and more.
“This manuscript will advance the hypothesis that 5-HT7 directly mediates three specific dramatic mental effects of psychedelics: creative open-eyed Visuals, Ego-loss, and loss of contact with Reality (VER).” (Thomas S. Ray; source)
Mapping State-Spaces of Consciousness: The Neroli Neighborhood (link)
What would it be like to have a scent-based medium of thought, with grammar, generative syntax, clauses, subordinate clauses, field geometry, and intentionality? How do we go about exploring the full state-space of scents (or any other qualia variety)?
Topics Covered in this Video: The State-space of Consciousness, Mapping State-Spaces, David Pearce at Oxford, Qualia Enrichment Kits, Character Impact vs. Flavors, Linalool Variants, Clusters of Neroli Scents, Neroli in Perfumes, Neroli vs. Orange Blossom vs. Petigrain vs. Orange/Mandarin/Lemon/Lime, High-Entropy Alloys of Scent, Musks as Reverb and Brown Noise, “Neroli Reconstructions” (synthetic), Semi-synthetic Mixtures, Winner-Takes-All Dynamics in Qualia Spaces, Multi-Phasic Scents, and Non-Euclidean State-Spaces.
What is Time? Explaining Time-Loops, Moments of Eternity, Time Branching, Time Reversal, and More… (link)
What is (phenomenal) time?
The feeling of time passing is not the same as physical time.
Albert Einstein discovered that “Newtonian time” was a special case of physical time, since gravity, relativity, and the constancy of the speed of light entails that space, time, mass, and gravity are intimately connected. He, in a sense, discovered a generalization of our common-sense notion of physical time; a generalization which accounts for the effects of moving and accelerating frames of reference on the relative passage of time between observers. Physical time, it turns out, could manifest in many more (exotic) ways than was previously thought.
Likewise, we find that our everyday phenomenal time (i.e. the feeling of time passing) is a special case of a far more general set of possible time-like qualities of experience. In particular, in this video I discuss “exotic phenomenal time” experiences, which include oddities such as time-loops, moments of eternity, time branching, and time reversal. I then go on to explain these exotic phenomenal time experiences with a model we call the “pseudo-time arrow”, which involves implicit causality in the network of sensations we experience on each “moment of experience”. Thus we realize that phenomenal time is an incredibly general property! It turns out that we haven’t even scratched the surface of what’s possible here… it’s about time we do so.
Benzos: Why the Withdrawal is Worse than the High is Good (+ Flumazenil/NAD+ Anti-Tolerance Action) (link)
Most people have low-resolution models of how drug tolerance works. Folk theories that “what goes up must come down” and theories in the medical establishment about how you can “stabilize a patient on a dose” and expect optimal effects long term get in the way of actually looking at how tolerance works.
In this video I explain why benzo withdrawal is far worse than the high they give you is good.
Core arguments presented:
Benzos can treat anxiety, insomnia, palpitations, seizures, hallucinations, etc. If you use them to treat one of these symptoms, the rebound will nonetheless involve all of them.
Kindling – How long-term use leads to neural annealing of the “withdrawal neural patterns”.
Amnesia effects prevent you from remembering the good parts/only remembering the bad parts.
Neurotoxicity from long-term benzo use makes it harder for your brain to heal.
Arousal as a multiplier of consciousness: on benzos the “high” is low arousal and the withdrawal is high arousal (compared to stimulants where you at least will “sleep through the withdrawal”).
Tolerance still builds up even when you don’t have a “psychoactive dose” in your body – meaning that the extremely long half-life of clonazepam and diazepam and their metabolites (50h+) entails that you still develop long-term tolerance even with weekly or biweekly use!
I then go into how the (empirically false) common-sense view of drug tolerance is delaying promising research avenues, such as “anti-tolerance drugs” (see links below). In particular, NAD+ IV and Flumazenil seem to have large effect sizes for treating benzo withdrawals. I AM NOT CONFIDENT THAT THEY WORK, but I think it is silly to not look into them with our best science at this point. Clinical trials for NAD+ IV therapy for drug withdrawal are underway, and the research to date on flumazenil seems extremely promising. Please let me know if you have any experience using either of these two tools and whether you had success with them or not.
Note: These treatments may also generalize to other GABAergic drugs like gabapentin, alcohol, and phenibut (which also have horrible withdrawals, but are far shorter than benzo withdrawal).
Epileptic patients who have become tolerant to the anti-seizure effects of the benzodiazepine clonazepam became seizure-free for several days after treatment with 1.5 mg of flumazenil. Similarly, patients who were dependent on high doses of benzodiazepines […] were able to be stabilised on a low dose of clonazepam after 7–8 days of treatment with flumazenil.”
Flumazenil has been tested against placebo in benzo-dependent subjects. Results showed that typical benzodiazepine withdrawal effects were reversed with few to no symptoms. Flumazenil was also shown to produce significantly fewer withdrawal symptoms than saline in a randomized, placebo-controlled study with benzodiazepine-dependent subjects. Additionally, relapse rates were much lower during subsequent follow-up.
Is it possible for the “natural growth” of a pandemic to be slower than exponential no matter where it starts? What are ways in which we can leverage the graphical properties of the “contact network” of humanity in order to control contagious diseases? In this video I offer a novel way of analyzing and designing networks that may allow us to easily prevent the exponential growth of future pandemics.
Topics covered: The difference between the aesthetic of pure math vs. applied statistics when it comes to making sense of graphs. Applications of graph analysis. Identifying people with a high centrality in social networks. Klout scores. Graphlets. Kinds of graphs: geometric, small world, scale-free, empirical (galactic core + “whiskers”). Pandemics being difficult to control due to exponential growth. Using a sort of “pandemic Klout score” to prioritize who to quarantine, who to vaccinate first. The network properties that made the plague spread so slowly in the Middle Ages. Toroidal planets as having linear pandemic growth after a certain threshold number of infections. Non-integer graph dimensionality. Dimensional chokes. And… kitchen sponges.
Readings either referenced in the video or useful to learn more about this topic:
Main Empirical Findings: Our results suggest a rather detailed and somewhat counterintuitive picture of the community structure in large networks. Several qualitative properties of community structure are nearly universal:
• Up to a size scale, which empirically is roughly 100 nodes, there not only exist well-separated communities, but also the slope of the network community profile plot is generally sloping downward. (See Fig. 1(a).) This latter point suggests, and empirically we often observe, that smaller communities can be combined into meaningful larger communities.
• At size scale of 100 nodes, we often observe the global minimum of the network community profile plot. (Although these are the “best” communities in the entire graph, they are usually connected to the remainder of the network by just a single edge.)
• Above the size scale of roughly 100 nodes, the network community profile plot gradually increases, and thus there is a nearly inverse relationship between community size and community quality. This upward slope suggests, and empirically we often observe, that as a function of increasing size, the best possible communities as they grow become more and more “blended into” the remainder of the network.
We have also examined in detail the structure of our social and information networks. We have observed that an ‘jellyfish’ or ‘octopus’ model [33, 7] provides a rough first approximation to structure of many of the networks we have examined.
Ps. Forgot to explain the sponge’s relevance: the scale-specific network geometry of a sponge is roughly hyperbolic at a small scale. Then the material is cubic at medium scale. And at the scale where you look at it as flat (being a sheet with finite thickness) it is two dimensional.
Why Does DMT Feel So Real? Multi-modal Coherence, High Temperature Parameter, Tactile Hallucinations (link)
Why does DMT feel so “real”? Why does it feel like you experience genuine mind-independent realities on DMT?
In this video I explain that we all implicitly rely on a model of which signals are trustworthy and which ones are not. In particular, in order to avoid losing one’s mind during an intense exotic experience (such as those catalyzed by psychedelics, dissociatives, or meditation) one needs to (a) know that you are altered, (b) have a good model of what that alteration entails, and (c) that the alteration is not strong enough that it breaks down either (a) or (b). So drugs that make you forget you are under the influence, or that you don’t know how to model (or have a mistaken model of) can deeply disrupt your “web of trusted beliefs”.
I argue that one cannot really import the models that one learned from other psychedelics about “what psychedelics do” to DMT; DMT alters you in a far broader way. For example, most people on LSD may mistrust what they see, but they will not mistrust what they touch (touch stays a “trusted signal” on LSD). But on DMT you can experience tactile hallucinations that are coherent with one’s visions! “Crossing the veil” on DMT is not a visual experience: it’s a multi-modal experience, like entering a cave hiding behind a waterfall.
Some of the signals that DMT messes with that often convince people that what they experienced was mind-independent include:
Hyperbolic geometry and mathematical complexity; experiencing “impossible objects”.
Incredibly high-resolution multi-modal integration: hallucinations are “coherent” across senses.
Philosophical qualia enhancement: it alters not only your senses and emotions, but also “the way you organize models of reality”.
More “energized” experiences feel inherently more real, and DMT can increase the energy parameter to an extreme degree.
Highly valenced experiences also feel more real – the bliss and the horror are interpreted as “belonging to the vibe of a reality” rather than being just a property of your experience.
DMT can give you powerful hallucinations in every modality: not only visual hallucinations, but also tactile, auditory, scent, taste, and proprioception.
Novel and exotic feelings of “electromagnetism”.
Sense of “wisdom”.
Knowledge of your feelings: the entities know more about you than you yourself know about yourself.
With all of these signals being liable to chaotic alterations on DMT it makes sense that even very bright and rational people may experience a “shift” in their beliefs about reality. The trusted signals will have altered their consilience point. And since each point of consilience between trusted signals entails a worldview, people who believe in the independent reality of the realms disclosed by DMT share trust in some signals most people don’t even know exist. We can expect some pushback for this analysis by people who trust any of the signals altered by DMT listed above. Which is fine! But… if we want to create a rational Super-Shulgin Academy to really make some serious progress in mapping-out the state-space of consciousness, we will need to prevent epistemological mishaps. I.e. We have to model insanity so that we ourselves can stay sane.
[Skip to 4:20 if you don’t care about the scent of rose – the Qualia of the Day today]
“The most common descriptive labels for the entity were being, guide, spirit, alien, and helper. […] Most respondents endorsed that the entity had the attributes of being conscious, intelligent, and benevolent, existed in some real but different dimension of reality, and continued to exist after the encounter.”
So, the Symmetry Theory of Valence. Just defining terms so that we’re all on the same page. There’s this thing called core affect which is basically what you get when you apply dimensionality reduction techniques to any one of many areas of psychology. There’s a surprisingly robust pair of dimensions that emerge in co-occurrences of words or even descriptions of behavior. These two axes, arousal and valence, seem to account for about 60% of the variance in terms of what information emotional words contain. And I mean, roughly speaking, arousal is the level of activation, how energetic you are, and valence is how good you feel. Most of what I’m going to be talking about is valence. That said, you need to also consider arousal in the picture to know what this is all about. Just a few examples: you have high arousal, high valence, so that would be kind of excitement and anticipation. But you also can have high energy, but not feeling really good, and that would be kind of anxiety or anger or irritation. Likewise, you have depression, which is low arousal, low valence, and serenity is peaceful, blissful calm, that would be low arousal, high valence.
This is just one example of one of the ways in which you can recover these dimensions of valence and arousal. This was a little study we conducted years ago. We were studying people who have experiences with all kinds of substances online. We were giving them the survey, where they were going to describe a particular substance along something like 70 different dimensions. Then I conducted factor analysis on that data set. Interestingly, we have three core dimensions of valence or valence-related axes, which give you a sense of, okay, what is the space of possible effects that you can get from some substances. There were actually six dimensions that emerged, but three of them are valence-related:
We have slow euphoria, which is equivalent to low arousal, high valence with top terms like calming and relieving. The negative predictors of it would be something like anxiety, producing difficult bodily discomfort. Fast euphoria is the sort of thing you get with stimulants, you know, energizing, sociable, the opposite of feeling spaced out and confused.
The other axis that kind of emerged was this notion of spiritual euphoria. That’s the term I used back then. I also used the term significance, or saliency nowadays. Now I would actually use the term criticality for other reasons that we can go into. There’s this other kind of axis for how you can experience intense valence with substances, which is different from slow and fast euphoria, which would roughly correspond to the psychedelic space. And that, you know, gets marked with things such as mystical, incredible, life changing. The opposite of that is trivial, self-centered, or irrelevant or something like that. This is just to complete the cube. And, you know, in a sense…
This is just a kind of change of basis, where you still get, in a sense, the valence dimension emerging out of this dimensionality reduction analysis. If you were to apply just one dimension, you know, if you ask the factor analysis to just give you one factor, it is going to be the valence factor. That’s the axis that accounts for most of the variance for the effects of drugs.
I’ve got to say that I absolutely acknowledge that emotions are far more complex and intricate than just valence and arousal. This is the result of my master’s thesis where we were analyzing this thing called mood updates, how people feel over time, day after day. I was computing the transition probabilities between emotions, and you can do cluster analysis here and finding attractors. You’ll see that there’s additional information. That said, we concluded that a big chunk of the additional information that is not valence and arousal is actually information about your trajectory in the valence arousal space. For example, we found there would be emotions that because of what they tell you about your emotional dynamics we called gateway emotions, like feeling relieved and feeling hopeful. These terms contain information that you were in a negative, kind of depressive attractor, and you’re moving towards the positive high arousal attractor. In essence, the terms we use for emotions give you not only information about where you are in the valence-arousal space but also what is your trajectory in that space. But in a sense, valence and arousal still account for a very, very big chunk of what an emotion is. Okay, so hopefully I’ve convinced you of the importance of valence, at least in this context.
Now, let’s jump into the Symmetry Theory of Valence (STV). The overall hypotheses and the first explicit argument for it appeared in this really, really awesome work by my collaborator, Michael Johnson, Principia Qualia. He has a really interesting skeleton of an argument that points to a lot of research threads that are really worth getting into. I highly recommend digging into this work.
One of the things that it lays out is the kind of conceptual framework to make sense of what type of thing valence might be. I’ll just define a couple terms, which is, first qualia formalism. If there’s one thing at QRI we are married to, you could say, it would be qualia formalism. That is, for any conscious experience, there exists a mathematical object isomorphic to it. We can make an analogy here to something like electromagnetism where we used to have lightning, and electricity, and magnets, and all of that seemed sort of somehow thinly related. But, it turns out that there’s actually just four equations of electromagnetism that tie together all of that phenomena. And you can compare it to something like élan vital, the essence of life. People used to think that maybe there is some kind of a substance that determines whether you’re alive or not. And we would say that, well, that kind of fell through, you know, in the end there is molecular complexity under more molecular complexity. There doesn’t seem to be such a thing as “life itself”. Life is not formalizable in the same way as electromagnetism is, but something that we would claim at QRI or we could even say something that we assume at QRI, because we believe it is a very generative frame, is that yes, there will be a set of deep mathematical structures to consciousness. In particular, if you expand this into other areas, we also think this is going to apply to valence: that there is going to be a deep and rich mathematical structure to valence, and that notion is called valence structuralism.
In Principia Qualia by Mike Johnson, he has this argument for it, which I definitely recommend reading, especially if you have the aesthetic of a physicist. I think you’ll really like this work, because I think it’s really, really good in that sense. What I’m going to do now is try to give you a kind of intuition for it. And then the whole empirical argument.
Importantly, there are a lot of theories of what valence is. Mike looked at the literature, did a very deep dive into it, and realized that they’re usually unsatisfactory, or at the very least, they don’t get at the true core of what an explanation for valence should be like. So basically, you have these accounts of, for example, valence sees how the brain represents value. Ultimately, that’s just a correlation. Value is a fuzzy abstraction. Some people think valence is the presence of opioids in the brain. But if you inject opioids in different parts of the brain, it doesn’t always feel good. It actually needs to be injected in a very narrow range of stripes in the pleasure centers, and otherwise, it just causes strange feelings or wanting, but it’s not the signature of valence itself. Or, for example, the pleasure centers. Just because you’re calling something “the pleasure center”, and it’s correlated with feeling good, it doesn’t mean you have an explanation. It’s not a very insightful, illuminating, account of valence.
So what could it be? I’ll focus to a large extent on what we are going to call bliss, which is just very positive valence. What is that? What is very positive valence? What is the sense of ecstasy, bliss, intense happiness? There’s a lot of intuitions. Definitely a lot of people think it’s some kind of spiritual signal, and I wouldn’t want to convince you out of that view. But the truth is that there are a lot of different spiritualities, and they sometimes say contradictory things. So it’s kind of strange to expect that there’s this underlying universal spiritual signal that whenever you’re doing something aligned with spirit, you feel good. Because sometimes you can do something very different than somebody else and still have that feeling. Also, the idea that it is “merely” chemical reactions in the brain, again, is not a super satisfactory explanation… same as with pleasure centers, health, few prediction errors, etc. Well, and in the end, I add, yes, symmetry and consciousness, which is what I will be arguing.
I also want to point out, and this is super important, that valence is not the same as healing, and it’s not the same as meaning. However, they’re correlated. I would also go as far as to say that high valence is necessary for healing and for meaning to a large extent. In a sense, you can have a lot of very high valence states that are actually very unhealthy for you. Just an example would be methamphetamine. It can feel great, but it’s unsustainable. To the extent that your nervous system is self-organizing around that high valence experience, it makes it kind of the center of your life. And, you know, it’s a dopamine releaser. It’s obviously unsustainable. You can’t actually do that long-term and expect good results. Whereas, something like meditation, or even psychedelics, because their tolerance mechanism is very, very different. You could say that, yeah, those might be high valence, highly meaningful, and also healing experiences.
So I just want to say that, you know, high valence doesn’t entail healing. And that in that sense, you might say, “Okay, why are we so interested in this?”, but I would say that high valence is a necessary condition for deep healing. And I would even go as far as to say that, for a psychedelic experience to be deeply healing, it has to involve high valence in one context or another. Of course, you may end up processing a lot of very difficult emotions.But ideally, it would be something that basically allows you to heal those difficult emotions and transform them into a state of mind that has many more of the positive qualities.
And more so, high valence, even according to the Buddha, is an important factor for awakening. Of the seven factors for awakening, I would actually say about five of them are very connected to valence. Mindfulness, joy, relaxation, concentration, equanimity; they are kind of different flavors of high valence. They’re different ways in which a very high valence experience can manifest. The Buddha says that these are important things. Even if you only care about awakening, enlightenment, you may also care about the mathematics of valence. It might point you in the right direction as well.
I’ll also mention, there’s a big difference between the recipe of a state of consciousness and what you might call the review, or the description, of that state of consciousness. I’ll make an analogy with cooking: if you have cooking instructions for how to make a cake, sometimes it’s very counterintuitive what the cake is going to taste based on those instructions. Like “add yeast” for example. A lot of things in the recipe you may not know exactly how are going to actually affect the result. So, the recipe may look very different from the review of the state. I would say that for a lot of meditation states, or even just general life advice, this idea of don’t mindlessly chasing pleasure or trying to satisfy all of your existing desires compulsively gives counter-intuitive results. Yeah, chasing pleasure compulsively is not going to result in a sustainable high valence. To some extent, a lot of meditation instructions tell you to neither approach nor withdraw from emotions to develop equanimity. Since you are not engaging with your emotions, it sounds like the result is a fully neutral experience, right? It sounds like it’s unrelated to valence, almost cutting out the valence. But I would say: that’s just the recipe. Those are the instructions for how you manage your attention in order to eventually change your brain to actually generate these very healthy, sustainable, high valence states. So I definitely want to overcome this prejudice of thinking that high valence is unrelated to spirituality. No, I think they’re actually very deeply, intimately connected.
Okay, so let’s go into the Symmetry Theory of Valence. I’ll just read these, but we will go into more depth into all of these. So, you know, we talked about qualia formalism, there is a mathematical object whose features are isomorphic to phenomenology. We believe that, yeah, harmony basically feels good because it’s symmetry over time. And basically, there’s kind of this duality between symmetry and space and synchrony in time. We will go over pleasure centers. The way we explain pleasure centers in this theory is that they are kind of tuning knobs (this was first proposed in Principia Qualia). They are there these bridges that, basically, when they get activated, they enable global large-scale synchrony in the brain. This is something that ultimately is very testable. Because if you can activate the pleasure centers, or inhibit whole brain harmony, we predict that’s going to actually negate the positive valence effects of the pleasure centers. Likewise, if we can induce large scale harmony, without activating the pleasure centers, or maybe even inhibiting the pleasure centers, we expect that to be a high valence state. So, it’s a cool, testable interpretation of what pleasure centers even are.
Boredom is kind of an anti symmetry mechanism. So that’s why even if you look at a cathedral or something like that, you’re not going to be happy forever. You’re going to be happy for a little bit. Because your brain realizes that you’re not learning anything, and adds kind of this dissonance in order to make you move on to something else. We are wired in such a way that what helps us reproduce symmetrifies our consciousness. So, it’s not that high calorie food in and of itself is symmetrical, it’s not that it in and of itself is pleasant. It’s more that the way our nervous system is programmed is such that when you eat high calorie food, it triggers high valence. And that triggered high valence is what would be symmetrical, not necessarily the chemicals that you’re eating.
Importantly, valence, we think, has these three dimensions, which is positive, neutral, and negative. And you can actually have highly mixed experiences. You can have experiences, I don’t know, an example is you’re at a concert, enjoying yourself, but also you have to go to the bathroom, and you just broke up with your boyfriend. You can have these very complex mixed valence experiences, where parts of your experience are very pleasant, parts are very distressing, parts of those are very neutral, and that’s fine. At the same time, it still kind of collapses into this ultimately, “Hey, are you having a good time or not?”.
And something that the Symmetry Theory of Valence would say, and this is a pretty interesting kind of relationship, and I’ll explain it in a couple slides. This is just to kind of put it out there in your head to bounce around as we go on, which is that we expect there to be a very, very intimate relationship between information content, and basically the range of valence that you have access to. So in brief, for very, very high valence states of consciousness, we expect those to have very close to zero information. Whereas, when you have this state that is close to pure white noise, we expect that to be basically zero valence. Hopefully, this will make more sense as we go along.
These are just some illustrations of this principle. Actually, we expect that some of the most negative experiences out there will actually be pretty close to very, very highly symmetrical. I put this disjointed lattice at the bottom. And I would claim that something like a bad 5-MeO-DMT experience is actually something that is very regular, except for some strange disjoints, or imperfections, that cause profound dissonance. Whereas, if you’re in the pure noise kind of range, it all feels blah, it all feels really close to neutral.
When we say the state of consciousness is highly symmetrical and such, you know, let’s say, 5-MeO-DMT, or jhanas, or something like that, we expect these to actually show up in many ways. If you look at the biorhythms, like heart rate and breathing, that’s going to show up, symmetry is going to show up in some ways, being a different kind of projection of the latent state. I mean, ultimately, the formalism, you know, this mathematical object corresponds to consciousness is not observable directly, at least not right now. So we have to kind of rely on these projections, these interpretations of what’s going on, these ways of getting at this unobservable, underlying state. And EEG, connectome harmonics, biorhythms, and so on, are different ways of getting at it. I’ll show you at least empirically that it’s all so far consistent with the Symmetry Theory of Valence.
Here’s kind of the big plan. All of these different projections of this underlying state. So we have basically this stimulus. These are kind of visualized also to give you an intuition. So there’s stimuli, basically more symmetrical stimuli with higher valence, then there’s the endogenous bodily state, you know, biorhythms, as well. The CNS State, the actual, okay, what’s going on in your brain, then the formalism, and then the phenomenology of valence. When you have high valence, we expect (and what we see is) that there’s symmetry all across the board, in each of these different ways of looking at the state of consciousness. In each of these projections of the latent state.
So I’ll go on and start with phenomenology. I know that phenomenology is such a tricky thing. It’s so difficult to do, right. It’s so difficult to do. You make a lot of mistakes in phenomenology, get confused, and become self-deceived. So I mean, hopefully, the observation I’ll relate to you is going to show you that at least we’re taking care of some of the failure modes of phenomenology.
So, first of all, we distinguish between intentional content and phenomenal character. So, if you smoke DMT, and you experience, you know, you say something like “I saw a dragon with my own eyes” that doesn’t mean there was actually a mind-independent dragon out there. And, you know, I take seriously your report that you saw a dragon, but I don’t know how significant that is necessarily. On the other hand, if you describe “Oh, and by the way, the dragon had scales that had a symmetry group of what’s called the glide mirror symmetry group, and it had a 17 hertz strobing effect“. Okay, yes, so we’re getting more into the phenomenal character. You’re actually describing what it felt like, not only what it was about. I would make the claim that these observations of symmetry being related to valence are about the phenomenal character. I don’t care that much about, you know, “What was the journey? What was the content of the experience?” I care more about what it felt like, what are the features of it, and what we observe is that there’s a deep connection here.
So I’ll just give you some examples. Basically, introspect. You know, the difference between massage and bodily pain. Massage is kind of this very, very pleasant, harmonious, tactile pattern throughout your body that gives you these very nice waves of pleasure, as opposed to bodily pain. Bodily pain, if you introspect on it, it’s almost kind of like there’s like pinch points and discontinuities and fragmentations and deformations in your sense of self and the continuity of your skin or your felt sense of your inner organs. Basically, I would make the claim that bodily pain always manifests in one way or another as a kind of symmetry breaking operation. Now, definitely keep this in mind if you ever have a pain again, hopefully not.
Also, let’s say anxiety versus relaxation. Anxiety, you could almost describe it as, constant prediction errors. “Oh, did my heart do something strange? Is my leg positioned properly?”. It’s a state of mind where all of these little imperfections bubble up to your awareness. I would say it’s interrupting the flow of your attention and creating these pinch points and deformations in the way you experience the world. As opposed to relaxation, where you’re almost kind of just completely melted into it. And it’s so regular, you can almost filter out most of your bodily sensations. And in that sense I would argue it has a very symmetrical quality.
There’s also this whole argument Mike brings up which is the phenomenology concerning non-adaptiveness, the non-adaptiveness principle, which is that basically, there’s a bunch of things out there that feel really good, but that weren’t in our evolutionary environment. Those are hints; we consider those hints that hey, if something wasn’t in the African savanna but feels great, it probably means that it’s kind of directly hacking into the patterns of valence somehow. We didn’t evolve to filter those out or to not get absorbed by them. And yeah, here are some examples, but I’ll go deeper into those.
Now, there’s also this exotic valence. Bodily pain, anxiety, relaxations: those would be examples of “normal valence”. It’s the valence that we’re all used to. But I would say that also in “strange valences”, like valences in weird states of consciousness, they also follow this pattern. That in some sense, symmetry explains their pleasantness. And I’ll give you some examples.
So,dream music. I’ve had the pleasure or displeasure, you could say, of having had a lot of sleep paralysis and lucid dreams, and this effect is something you can experience in either sleep paralysis or lucid dreams. If you’ve had a lucid dream, where you were making music, or you heard, you’re hallucinating that there was a radio playing, you will notice that, “Oh my gosh, the music can be beautiful, like… incredible”. And this music, maybe you have heard it before, maybe not. Maybe your brain is generating it on the fly. But it has a quality to it that is extraordinarily hedonic and pleasant. And I remember studying this on myself over many lucid dreaming experiences. At first, I thought, “Oh my gosh, my brain is just unlocking this ability to create awesome harmonies and melodies”. But then I ended up realizing that even if I just make a kind of an “om”, this meditation sound, even though that sound is extremely simple, the quality of the sound in the lucid dream is profound. I mean, it’s almost kind of a surround sound, like 360 surround sound, and stereoscopic and full of reverb and richness.
I would claim that it’s actually because, during a dream state, your brain is more resonant. You can kind of enter into these very, very resonant attractors, and it’s that quality that makes the music so compelling, not the melody. If you transcribe the melody, the melody may not be very significant. It was how it sounded that was so profound in the music in the dream.
Then you have meditation. Even these images, maybe, I don’t know if this is cheating, but representations of meditation, like high attainments, and so on, they usually come with these beautiful symmetries and whatnot. If you examine the phenomenology of jhanas, how they’re described, there seems to be kind of this projection of less and less information content in your experience. Going from having all of your attention concentrated in one point to then the experience of completely perfectly smooth, boundless space to then just pure consciousness, and then the experience of neither nothing nor something. In a sense, that’s kind of approaching the limit of zero information. And then people report these jhana experiences, they’re not pleasant in a conventional sense. It’s not like eating ice cream or something like that, but they’re still very, very high valence. They’re blissful, in an exotic way. But, I do want to point out that there’s this fascinating, strange relationship here between low information content and the blissfulness and the healing quality of the state.
And then there is exotic valence from psychedelics. I mean, again, I don’t want you to focus on the intentional content, what was the experience about. What you thought, of course, can influence your valence, but it’s more about the phenomenal character. There’s this phenomena of tracers, you move your hand around, and you see copies laying around, and in a sense, it’s giving a temporal depth to your experience. It’s almost kind of adding a new dimension of time, where qualia can pile up. And usually, if the trip is good, you’ll notice that these tracers are in a harmonic relationship with each other. That is kind of the essence of what makes them feel so good.
Likewise, there’s a psychedelic texture repetition. You stare at a piece of grass on LSD, and it starts to symmetrify. And I would totally say this is exotic valence because you ask the person, and they will say “the ground was symmetrifying, and I don’t know why, but it was awesome”. There was something really cool about it, and why would that be? Our interpretation here is that psychedelics are, in a sense, unlocking the valence capacity of your visual cortex. It’s kind of transforming your cortex into a pleasure machine, basically allowing it to exhibit these profound symmetries, and that is what actually is making them feel so compelling. People will struggle to explain “Why were the visuals cool? Why were they interesting?”. When it comes down to it, I think it is the symmetry.
Interestingly, these are called the wallpaper symmetry groups. There’s 17 possible ways of tessellating a two dimensional space. From subjective reports, we know that any of these can be experienced on a psychedelic. The ground, kind of chaotically, will arrive at one attractor of symmetry. It could be any of these 17, and they all feel great. They’re all extremely aesthetic and beautiful and blissful in one way or another. But it’s kind of a testament to just how general this effect is.
I would make the claim, and this is obviously a strong claim, but it matters for something like therapy, psychedelic therapy. We recently saw this fascinating research on psilocybin for major depression, and that a lot of these effects are mediated by whether you had a mystical experience or not. I would say that if you did have a mystical experience, and it was healing, I would bet that while you were having that experience, the sense of space and time was basically extremely, extremely symmetrical. And here is kind of why it’s so confusing. Because you come back and you say, “Well, I saw Jesus”, and you think that you got healed because of Jesus. I don’t want to dissuade you from that view, but I would basically ask you “Okay, but when you experienced Jesus, what was the feeling of space and time?”. They might say something like, “Oh, it had a beautiful light. It had this beautiful harmony and rainbows”. And I’ll claim that if you introspect on them then that it’s actually the quality of phenomenal space and time that is healing and blissful. The meaning, the religious meaning, is something that is helping your mind basically concentrate on that space, and take it seriously as a way of propagating this negentropy in your nervous system.
Now, another place where this shows up super, super clearly, phenomenologically, is on DMT. I definitely recommend this article we wrote that basically charts the DMT space. You can know a lot about where you are in the DMT space by describing what is your energy level on the one hand, and then what is the information content on the other. I would say DMT states that have close to zero information content would be kind of these geometric, perfectly repeating, symmetry groups, either 2D or 3D. Whereas, more chaotic states would be kind of in the middle. The energy level would be a matter of dose. The “height” you reach is very, very dose-dependent. But then the valence, I think it’s very, very dependent on actually where in the axis of information content you find yourself in.
Here again, there’s this diagram that the most blissful experiences you may have on DMT are going to be on these kinds of honeycombs and perfectly symmetrical patterns. The most unpleasant experiences are going to be just right next to those, they are going to be kind of dissonant honeycombs. Whereas you know, when you get to complex narratives, like machine elves and alien realms and all of that stuff, those experiences would be very mixed in their valence. There’s both dissonance, consonance, symmetry, anti-symmetry; those are very complex experiences.
Now, the information content, we think of them as basically attractors in feedback systems. You may end up in a chaotic attractor, you may end up in a limit cycle or a fixed point. And that will determine how much information content the state has.
So you have these very rich patterns, and I would say competing synchronies. On DMT, there’s all of these slightly different frequencies that are competing for your attention and creating a narrative out of that. That is like a very mixed experience; it is both blissful and distressing at the same time.
Whereas 5-MeO-DMT, which is described as far more powerful emotionally, tends to give you this sense of pure space, like the feeling of the insight into emptiness, the feeling of infinite boundless consciousness, very little information content. Yet, it’s so emotionally impactful to such an extreme extent.
Interestingly, I would say, the reports do come out that on 5-MeO-DMT, you may have the best experience of your time, or you may have the worst experience of your life. It’s kind of bimodal. It’s either amazing or it’s extremely bad. Often, it starts out really bad and then it gets amazing. I would describe that in terms of kind of this annealing process where it basically starts with dissonance, and, over time, things synchronize, and you do end up where all of your nervous system is entrained to the same frequency, and that feels very, very blissful. Whereas DMT is always kind of in this mixed state. It is very difficult for DMT to be pure negative or pure positive. It’s always this mixed state. So I would say, yeah, this is kind of the phenomenological case for the Symmetry Theory of Valence.
I’m two thirds of the way through the presentation. I’m just gonna walk you through the empirical evidence. So we were talking about phenomenology; that’s one of the projections of this formalism and its symmetry. There’s symmetry in the formalism. It’s gonna manifest in some forms of phenomenological symmetry. Likewise, you know, if you use external stimuli in order to generate a state, like, let’s say, watching a movie, playing music, playing stroboscopic stimulation, there’s a lot of evidence that indicates that the symmetry of the stimuli is the leading factor for how pleasant or unpleasant the resulting state is. We have all of this research in vision.
These are just some examples. It’s so stunning, right? Even if you know the effect, you still get the valence response. You go to a cathedral and think “Okay, I’m not gonna get high valence, I’m not going to get high valence”. You still get the response. It’s pretty automatic. As long as it has this rich, deep symmetry, oftentimes, it’s going to be very beautiful. There’s something very compelling about this.
Just some random pictures to give you a sense of this.
Why does this feel good? It really has very little to do with our ancestral environment.
Anyway, this is such a robust effect that, with the symmetry of faces, for example, even face paint can be used to modify the valence. So, if you don’t have a perfectly symmetrical face, but you add symmetrical face paint with beautiful patterns, you’re going to be judged as more beautiful. It’s just such a strong effect, that it can actually modify your perception of how beautiful somebody is. Likewise, if you add asymmetrical patterns, you look less beautiful. Now, this, I wouldn’t say this is that strong of evidence because this actually does have an evolutionary reason. Symmetry in faces is a marker of mutational load. So I don’t put that much stock in, symmetry of faces being that relevant. But symmetry in other forms is where I think it’s so stunning.
You also see this in symmetry in audio, basically, regular rhythms. Harmony is the leading predictor for whether a sound is going to be pleasant or unpleasant.
You know, this is Helmholtz’s big idea. He was the first one to figure out why playing two notes in a piano that are one semitone apart feels unpleasant. It’s because the harmonics are basically within what’s called the critical window. They generate beat patterns and the beat patterns can be described as basically symmetry breaking operations in the waveform. Those symmetry breaking operations, in essence, cause irritation. So basically, the more beating there is in sound, and the more beating across the spectrum, the more irritating and distracting and rough the sound is going to sound like. Whereas, when you have these harmonic relationships, you play one note, one piano note, and another at an octave of difference, the harmonics line up perfectly. Actually, the sound is very compressible because you don’t have this extra information of where all the other harmonics lie. They’re just the harmonic sequence. And that is universally described as a more pleasant sound.
When you add up all the harmonics, you get these interesting curves. The height here is the amount of dissonance. When you have a relationship of one to two, basically an octave, you have zero dissonance, and that feels really good. Now, music is very complicated. We have to factor in the boredom mechanism. If you just play the same octave over and over, you get bored, and there’s an inner sense of restlessness and dissonance. But if you just hear it for the first time, then there’s a super, super strong relationship between symmetry and valence.
These are just examples of a piano chord.
Dissonant sounds. I can send you a link to all of these sounds after the presentation*, but I have some links for a SoundCloud account where you can kind of get convinced that “Oh gosh, these are actually really bad sounds”. It’s not that I’m saying they’re bad. If you ask 100 people, like 99% of people will say they’re awful.
Likewise, reverb basically symmetrifies any waveform. Reverb is almost kind of this hack that you take almost any dissonant sound and you add reverb to it and is going to sound a lot less bad, a lot less distracting, irritating, and so on. So this is comparing the sound of a baby crying, which by the way, like in our analysis, it shows that babies crying, it’s almost like their sound is optimized for dissonance. It’s almost kind of as dissonant as it gets for a sound made by a human. For good evolutionary reasons, it has to be distracting, and catch your attention, bring the desire to stop it. But you add reverb and to give you a sense, that’s like if the baby was in a huge cave, you get all these echoes averaging out the beat patterns. It sounds way better, way less distracting, probably not good from an evolutionary standpoint. But, it’s just a fascinating kind of transformation you can apply to any waveform.
And here, I just want to illustrate that valence can happen across the spectrum. So I also have this file**, and you’re welcome to listen to it after the presentation where you can have consonance anywhere in the spectrum, mixed in with dissonance anywhere in the spectrum, mixed in with noise anywhere in the spectrum. That ends up basically creating these very mixed states.
So basically, when I say “Oh, I had a mixed experience, a mixed valence experience” that underdetermines what I experienced because we don’t know if the positive part was in the high frequencies or in the low frequencies. We don’t know that. That’s why the full picture of valence would also include the spectrum for positive, negative, and neutral valence. You can have high frequency pleasure, you can have low frequency pleasure, etc. So that kind of explains why there’s a tremendous diversity of possible mixed experiences even though ultimately they’d still come down to symmetry. Deep down, they can all still be explained with symmetry.
Now, endogenously generated symmetry, this is fascinating research. That when you have this “biorhythm coherence” you feel happier. And the way of computing biorhythm coherence is very related to musical consonance. Breathing entrained with heart rate variability is reported as giving rise to a just much, much better positive mood, and is one of the things that long-term meditation achieves. Meditation entrains these biorhythms and basically makes them interlock with one another. That is reported as giving rise to positive mood which is an interesting finding and very consistent with STV.
Here are just some quotes. Cool.
And you know, the heart palpitations. I mean, it’s similar to anxiety in that if you have like this usually regular metronome, and it’s failing, is generating these imperfections, that gives rise to unpleasant states of mind. I’m sure heart disease is terrible for your valence. Likewise, meditation is a wonderful tool for heart disease because it allows you to overcome those imperfections and still feel good despite the problem.
In terms of other endogenously generated symmetry, I will mention orgasm and flow. Orgasm is a powerful generator of endogenous resonance. It’s the entrainment of motor systems to near hallucinations, to synchronizing feedback processes across multiple functional networks. With an orgasm, there’s a deep, deep level of synchrony and symmetry across the nervous system. I highly recommend introspecting on this (not to get into your sex life or anything, though). I mean, it’s something you can actually pay attention to, and it becomes very obvious once you notice it.
Likewise with flow, there’s this evidence that symmetry is deeply related to flow. Two physiological metrics for measuring flow are cortical muscular coherence and a degree of coupling between neural EEG waves and EMG oscillations of muscle activity. So, there’s also these interlocking patterns, lower information content, more symmetry. Yeah, it’s a strong predictor of flow. So like, hey, go figure flow is also symmetrical.
Okay, let’s get into the symmetry in the brain. So this is kind of the other projection you could take of the latent state. If you look at the central nervous system of high valence states, how does the valence show up? And, you know, meditation, like all over the place, basically pretty much any kind of meditation, if done for a long enough time, leads to some kind of EEG coherence. Whether it’s gamma coherence, delta coherence, or alpha coherence, depends on which kind of meditation you do. But they all generate some form of coherence, and coherence in EEG is intimately related with symmetry. I mean, basically, two signals are coherent when they’re both reflections of a shared signal through a reverb pattern, meaning that they’re encoding the same information just through a different filter, which is, again, deeply, deeply connected to symmetry.
Here’s a fascinating study from 2019 that I recommend reading which to me was really stunning. It was stunning in just how clear the connection with the Symmetry Theory of Valence was. The study is about the EEG recordings of the first and second jhanas and the interesting patterns that emerged in them. One of them is this seizure-like activity. Now, seizure-like activity is three to five hertz, and it doesn’t have harmonic structure. I mean most seizures don’t have their harmonics together with them. But the type of seizure-like activity you see on jhanas does have harmonic structure. And the picture here is basically the Fourier transform of the independent components of the EEG recordings. You can see there’s a very clean 5.6 hertz signal, together with its harmonic of 11.23 hertz. This is kind of stunning. Why would this happen? And jhanas feel really blissful. Without the Symmetry Theory of Valence, this is just super surprising and strange. With the Symmetry Theory of Valence it’s like, “Oh, yeah, you’re, feeling a really great symmetrical attractor of your brain and sustaining it”. So that’s going to feel good.
Even you know, ketamine showing high levels of a gamma coherence.
For 5-MeO-DMT, the only dataset I’m aware of, of EEG and 5-MeO-DMT, shows coherence across the spectrum, not only gamma coherence, but also beta coherence, and especially delta coherence. Again, why on earth? The Symmetry Theory of Valence would explain this. It would say, “Yes, this is expected”. Other theories might struggle a bit. Now, I’ve got to say that just because you have high coherence doesn’t mean it’s going to be high valence. We expect also very negative valence could also be high coherence. Except that when you have total coherence, then we expect that to be always positive valence. Again, it’s going to have that relationship because you could still have a high average coherence, but have half of your channels coherent in a certain frequency and half of the other channels coherent in a slightly different frequency. That might actually maximize dissonance. So just average coherence is not enough. You also need to tell whether it’s in harmonic structure or not.
Pleasure in the brain seems to be kind of this distributed effect that also from our point of view would mean it’s actually a whole brain phenomena.
This is about what I was mentioning about the pleasure centers from our point of view. I mean, there’s this research of if you tried to synchronize clocks, and you tried to synchronize neurons, and you put them in a geometric grid. If it’s large enough, you’re not going to usually get full scale synchrony. You might have emergent patches of synchrony or traveling waves of synchrony. But if you also add these random connections across the network and reduce the synaptic path length, then you can unlock the ability for the entire network to enter synchrony. So we think of the pleasure centers as kind of these bridges that are, in a sense, lowering the average synaptic path length across your brain, and therefore enabling similar synchrony across the brain. And that’s the reason why we think the pleasure centers generally feel good when you activate them.
Okay, getting to the end of the presentation. So I’ll just talk about a few near “enemies”. I put “enemies” in quotes, because we actually admire these people. They’re part of our research lineages. I think they’re a very, very key component of any good theory of consciousness. But I think when it comes to valence itself, there’s some explanations in the space that are really close to the Symmetry Theory of Valence, but they’re not exactly what we’re getting at. So there’s this whole account of computational efficiency. The brain likes computational efficiency, but in a sense, you still have to explain why the brain likes computational efficiency- what does this liking manifest as? We use this argument of “passing the bucket” which ideally your theory of valence should avoid. The theory should explain what valence itself is, not only when it gets triggered. These theories of computational efficiency, energy efficiency, we would claim, they’re telling you under what conditions positive valence gets triggered, but they don’t tell you what positive valence itself is. And that’s what the Symmetry Theory of Valence is getting at.
So yeah, these are some of the issues with those, at least as complete theories.
Finally, okay, counter examples. There’s this whole theory I recommend reading called Neural Annealing (by Mike Johnson). But even very neutral energy that neither has harmony or dissonance, can still give rise to very positive feelings because it can give rise to this annealing process. And that’s actually what we believe is going on with psychedelics. Psychedelics gives you what Mike would call semantically neutral energy. And that gives rise to basically this entropic disintegration, a term from Robin Carhart-Harris and the entropic brain hypotheses, which then gives rise to kind of this search, or self-reorganisation that basically will settle on these basins of symmetry. And it’s those that feel good, not the energy that feels good. It is the end result, the attractor that it takes you to.
And this explains, I think, why even somebody can like hot sauce. Hot sauce is kind of this unpleasant stimuli, but it can lead to euphoria. It can lead to this heightened state of energy. If you introspect on the euphoria of hot sauce, it’s not the unpleasant pain in the mouth, it’s that it raises all of your energy, your entire amount of the intensity of your consciousness. You can then notice these resonant waves, and it is those resonant waves that feel good, not the hot sauce itself. So there’s this kind of a step that basically separates one from the other.
I’ll just very quickly, briefly describe one way we’re trying to test the Symmetry Theory of Valence. It is not the only way to test it. I would even argue that, you know, the argument that I here presented is itself a potentially strong argument. But ideally, you know, we generate novel predictions. And this is one of them, which is that we basically expect that the very positive states of consciousness will have a harmonic relationship, basically a consonant relationship between the brain harmonics. Yeah, using the work of Selen Atasoy.
This algorithm of quantifying the amount of consonance in brain harmonics, which is something we were working with, and hopefully will get resolved soon.
We anticipate that, again, if this is true, the Symmetry Theory of Valence would be validated. If it’s not, it doesn’t invalidate it, because there’s many ways in which it can manifest. But when you have harmonics that are in a consonant relationship with each other, and those are the main drivers of your experience, we expect that to be pleasant.
That is, euphoric.
Whereas, when you have harmonics that are dissonant with each other, they generate these intense beating patterns. So we expect that to be described as unpleasant. Again, we don’t know, but we want to check if this is true.
Just a couple testable predictions based on this, which is that we expect psychedelics to enhance the range of valence. Basically, psychedelics enhance energy across the board. Just all of the harmonics have more energy. We expect that some of those combinations will be just very consonant and reported to be very pleasant, some of those will be very dissonant, reported to be unpleasant. Then SSRIs, there’s a lot of research on SSRIs and their blunting effects. They cut the extremes of valence. So, we expect when it comes to harmonics that the SSRIs will be more noisy, less consonant, less dissonant. MDMA, we expect it to be a stable attractor of a few resonant modes that are very consonant with each other. Stimulants would be kind of high frequency consonance. Opiates would be low frequency consonance. Again, this idea that you can be in a good state leaves underdetermined whether there are symmetries in the high frequencies or the low frequencies, and this would disentangle these types of mixed experiences.
These are the last two or three slides which is kind of a case study which is SSRI’s. Roughly speaking, we interpret them as being noise inducers which is why things like orgasm on SSRIs are less intense. Crying is hard. I mean, crying itself is a kind of a dissonant and sometimes consonant, kind of resonant state. On SSRIs you feel kind of spaced out and music enjoyment goes down. So yeah, the way we think of SSRIs is that they’re almost kind of like listening to a white noise machine along your life, so it’s gonna cut off the extremes. It’s gonna blunt both very positive and very negative valence, and it’s gonna just kind of center you in neutral valence.
Whereas psychedelics, they basically kind of purify and intensify your harmonics. And in that sense, you get to have more pleasant and more unpleasant states and both extremes.
Just to remind you: introspect. I compel you, next time you’re on a psychedelic having a mystical experience, introspect on the quality of space and time. I suggest that you will probably be experiencing these kinds of beautiful ripples that are in a harmonic relationship to each other. Please email me if this is true or not true. But that’s the experience so far. And that’s the reason why this can feel so amazing.
The future of mental health, ideally, would be that we can identify, “what are the sources of dissonance in your nervous system?” and then find the shortest path to the smallest change possible that will give rise to sustainable consonance in your nervous system. Whether this is going to be with meditation, a psychedelic session, or yoga, or biofeedback will be person-specific. There’s probably a shortest path from a highly dissonant dysfunctional state to a sustainable consonant state for each person.
And with that I just want to say thank you to other people in the team of QRI. And thank you, Robin, Shamil, and all of you guys for attending this presentation. And to the Centre for Psychedelic Research for hosting this presentation.
Special Thanks to: Mike Johnson who initiated this research direction and has been deeply involved in it for years. To Andrew Zuckerman, Quintin Frerichs, Kenneth Shinozuka, Sean McGowan, Jeremy Hadfield, and Ross Tieman for their contributions to the current work this year. To everyone in the team for their help, support, and love. To our donors for their incredible help. And to you, dear reader. Thank you!
Excerpt from Amusing Ourselves to Death (1985) by Neil Postman (pgs. 17-23)
Chapter 2: Media as Epistemology
In the hope of simplifying what I mean by the title of this chapter, media as epistemology, I find it helpful to borrow a word from Northrop Frye, who has made use of a principle he calls resonance. “Through resonance,” he writes, “a particular statement in a particular context acquires a universal significance.” Frye offers as an opening example the phrase “the grapes of wrath,” which first appears in Isaiah in the context of a celebration of a prospective massacre of Edomites. But the phrase, Frye continues, “has long ago flown away from this context into many new contexts, contexts that give dignity to the human situation instead of merely reflecting its bigotries.” Having said this, Frye extends the idea of resonance so that it goes beyond phrases and sentences. A character in a play or story—Hamlet, for example, or Lewis Carroll’s Alice—may have resonance. Objects may have resonance, and so may countries: “The smallest details of the geography of two tiny chopped-up countries, Greece and Israel, have imposed themselves on our consciousness until they have become part of the map of our own imaginative world, whether we have ever seen these countries or not.”
In addressing the question of the source of resonance, Frye concludes that metaphor is the generative force—that is, the power of a phrase, a book, a character, or a history to unify and invest with meaning a variety of attitudes or experiences. Thus, Athens becomes a metaphor of intellectual excellence, wherever we find it; Hamlet, a metaphor of brooding indecisiveness; Alice’s wanderings, a metaphor of a search for order in a world of semantic nonsense.
I now depart from Frye (who, I am certain, would raise no objection) but I take his word along with me. Every medium of communication, I am claiming, has resonance, for resonance is metaphor writ large. Whatever the original and limited context of its use may have been, a medium has the power to fly far beyond that context into new and unexpected ones. Because of the way it directs us to organize our minds and integrate our experience of the world, it imposes itself on our consciousness and social institutions in myriad forms. It sometimes has the power to become implicated in our concepts of piety, or goodness, or beauty. And it is always implicated in the ways we define and regulate our ideas of truth.
To explain how this happens—how the bias of a medium sits heavy, felt but unseen, over a culture—I offer three cases of truth-telling.
The first is drawn from a tribe in western Africa that has no writing system but whose rich oral tradition has given form to its ideas of civil law. When a dispute arises, the complainants come before the chief of the tribe and state their grievances. With no written law to guide him, the task of the chief is to search through his vast repertoire of proverbs and sayings to find one that suits the situation and is equally satisfying to both complainants. That accomplished, all parties are agreed that justice has been done, that the truth has been served. You will recognize, of course, that this was largely the method of Jesus and other Biblical figures who, living in an essentially oral culture, drew upon all of the resources of speech, including mnemonic devices, formulaic expressions and parables, as a means of discovering and revealing truth. As Walter Ong points out, in oral cultures proverbs and sayings are not occasional devices: “They are incessant. They form the substance of thought itself. Thought in any extended form is impossible without them, for it consists in them.”
To people like ourselves any reliance on proverbs and sayings is reserved largely for resolving disputes among or with children. “Possession is nine-tenths of the law.” “First come, first served.” “Haste makes waste.” These are forms of speech we pull out in small crises with our young but would think ridiculous to produce in a courtroom where “serious” matters are to be decided. Can you imagine a bailiff asking a jury if it has reached a decision and receiving the reply that “to err is human but to forgive is divine”? Or even better, “Let us render unto Caesar that which is Caesar’s and to God that which is God’s”? For the briefest moment, the judge might be charmed but if a “serious” language form is not immediately forthcoming, the jury may end up with a longer sentence than most guilty defendants.
Judges, lawyers and defendants do not regard proverbs or sayings as a relevant response to legal disputes. In this, they are separated from the tribal chief by a media-metaphor. For in a print-based courtroom, where law books, briefs, citations and other written materials define and organize the method of finding the truth, the oral tradition has lost much of its resonance—but not all of it. Testimony is expected to be given orally, on the assumption that the spoken, not the written, word is a truer reflection of the state of mind of a witness. Indeed, in many courtrooms jurors are not permitted to take notes, nor are they given written copies of the judge’s explanation of the law. Jurors are expected to hear the truth, or its opposite, not to read it. Thus, we may say that there is a clash of resonances in our concept of legal truth. On the one hand, there is a residual belief in the power of speech, and speech alone, to carry the truth; on the other hand, there is a much stronger belief in the authenticity of writing and, in particular, printing. This second belief has little tolerance for poetry, proverbs, sayings, parables or any other expressions of oral wisdom. The law is what legislators and judges have written. In our culture, lawyers do not have to be wise; they need to be well briefed.
A similar paradox exists in universities, and with roughly the same distribution of resonances; that is to say, there are a few residual traditions based on the notion that speech is the primary carrier of truth. But for the most part, university conceptions of truth are tightly bound to the structure and logic of the printed word. To exemplify this point, I draw here on a personal experience that occurred during a still widely practiced medieval ritual known as a “doctoral oral.” I use the word medieval literally, for in the Middle Ages students were always examined orally, and the tradition is carried forward in the assumption that a candidate must be able to talk competently about his written work. But, of course, the written work matters most.
In the case I have in mind, the issue of what is a legitimate form of truth-telling was raised to a level of consciousness rarely achieved. The candidate had included in his thesis a footnote, intended as documentation of a quotation, which read: “Told to the investigator at the Roosevelt Hotel on January 18, 1981, in the presence of Arthur Lingeman and Jerrold Gross.” This citation drew the attention of no fewer than four of the five oral examiners, all of whom observed that it was hardly suitable as a form of documentation and that it ought to be replaced by a citation from a book or article. “You are not a journalist,” one professor remarked. “You are supposed to be a scholar.” Perhaps because the candidate knew of no published statement of what he was told at the Roosevelt Hotel, he defended himself vigorously on the grounds that there were witnesses to what he was told, that they were available to attest to the accuracy of the quotation, and that the form in which an idea is conveyed is irrelevant to its truth. Carried away on the wings of his eloquence, the candidate argued further that there were more than three hundred references to published works in his thesis and that it was extremely unlikely that any of them would be checked for accuracy by the examiners, by which he meant to raise the question, Why do you assume the accuracy of a print-referenced citation but not a speech-referenced one?
The answer he received took the following line: You are mistaken in believing that the form in which an idea is conveyed is irrelevant to its truth. In the academic world, the published word is invested with greater prestige and authenticity than the spoken word. What people say is assumed to be more casually uttered than what they write. The written word is assumed to have been reflected upon and revised by its author, reviewed by authorities and editors. It is easier to verify or refute, and it is invested with an impersonal and objective character, which is why, no doubt, you have referred to yourself in your thesis as “the investigator” and not by your name; that is to say, the written word is, by its nature, addressed to the world, not an individual. The written word endures, the spoken word disappears; and that is why writing is closer to the truth than speaking. Moreover, we are sure you would prefer that this commission produce a written statement that you have passed your examination (should you do so) than for us merely to tell you that you have, and leave it at that. Our written statement would represent the “truth.” Our oral agreement would be only a rumor.
The candidate wisely said no more on the matter except to indicate that he would make whatever changes the commission suggested and that he profoundly wished that should he pass the “oral,” a written document would attest to that fact. He did pass, and in time the proper words were written.
A third example of the influence of media on our epistemologies can be drawn from the trial of the great Socrates. At the opening of Socrates’ defense, addressing a jury of five hundred, he apologizes for not having a well-prepared speech. He tells his Athenian brothers that he will falter, begs that they not interrupt him on that account, asks that they regard him as they would a stranger from another city, and promises that he will tell them the truth, without adornment or eloquence. Beginning this way was, of course, characteristic of Socrates, but it was not characteristic of the age in which he lived. For, as Socrates knew full well, his Athenian brothers did not regard the principles of rhetoric and the expression of truth to be independent of each other. People like ourselves find great appeal in Socrates’ plea because we are accustomed to thinking of rhetoric as an ornament of speech—most often pretentious, superficial and unnecessary. But to the people who invented it, the Sophists of fifth-century B.C. Greece and their heirs, rhetoric was not merely an opportunity for dramatic performance but a near indispensable means of organizing evidence and proofs, and therefore of communicating truth.
It was not only a key element in the education of Athenians (far more important than philosophy) but a preeminent art form. To the Greeks, rhetoric was a form of spoken writing. Though it always implied oral performance, its power to reveal the truth resided in the written word’s power to display arguments in orderly progression. Although Plato himself disputed this conception of truth (as we might guess from Socrates’ plea), his contemporaries believed that rhetoric was the proper means through which “right opinion” was to be both discovered and articulated. To disdain rhetorical rules, to speak one’s thoughts in a random manner, without proper emphasis or appropriate passion, was considered demeaning to the audience’s intelligence and suggestive of falsehood. Thus, we can assume that many of the 280 jurors who cast a guilty ballot against Socrates did so because his manner was not consistent with truthful matter, as they understood the connection.
The point I am leading to by this and the previous examples is that the concept of truth is intimately linked to the biases of forms of expression. Truth does not, and never has, come unadorned. It must appear in its proper clothing or it is not acknowledged, which is a way of saying that the “truth” is a kind of cultural prejudice. Each culture conceives of it as being most authentically expressed in certain symbolic forms that another culture may regard as trivial or irrelevant.
It is absolutely essential to try to figure out how you experience thoughts, otherwise you will simply flounder in content. What do thoughts feel like? Where do they occur? How big are they? What do they look like, smell like, taste like, sound like? How long do they last? Where are their edges? Only take on this practice if you are willing to try to work on this level, the level that tries to figure out what thoughts actually are rather than what they mean or imply. If my thoughts are somewhat auditory, I begin by trying to perceive each syllable of the current thought and then each syllable’s beginning and ending. If they are somewhat visual, I try to perceive every instant in which a mental image presents itself.
If they seem somewhat physical, such as the memory of a movement or feeling, I try to perceive exactly how long each little sensation of this memory lasts. This sort of investigation can actually be fairly easy to do and yet is quite powerful. Things can also get a bit odd quickly when doing this sort of practice, but I don’t worry about that. Sometimes thoughts can begin to sound like the auditory strobing section of the song “Crimson and Clover,” where it sounds like they are standing at a spinning microphone. Sometimes the images in our head can begin to flash and flicker. Sometimes our very sense of attention can begin to strobe. This is the point! The sensations that imply a mind and mental processes are discontinuous, impermanent.
Just as one can only imperfectly understand the nature of dreaming “from the inside” – even in a lucid dream – likewise the nature of the ordinary waking consciousness may yield only state-specific knowledge that can only imperfectly be understood “from the inside” too. How much does the medium of expression of propositional thought infect that propositional content itself? (cf. Nicholas Rescher’s “Conceptual Idealism“)
What are your thoughts like? No, not “what are they about?” But their texture, what is it like? The medium of thought is not explicitly represented in the content of thought, at least not by default. The medium of thought adds constraints to imagination – what is and is not imaginable is state-dependent (perhaps not unlike our faculty of episodic reconstruction!). Your imagination is a reflection of the medium of your thought.
Restricted to the sober “everyday” (non-psychedelic, non-meditative) medium of thought, we are in a sense confined to only accept ideas as having the ring of truth when they appear in the right format, not unlike how legal proceedings are based on oral tradition proverbs in the West African tribe Neil Postman wrote about in the first of the three quotes above. For the most part, we have a culture and a language whose communication assumes a sober medium of thought, and in turn we reject as cognitively and epistemologically illegitimate anything that deviates from it. Sober thought is the arbiter of truth. But are we not perhaps missing out on valuable knowledge if we don’t investigate alternate mediums of thought?
Of course mastery over the medium of thought is only acquired through years of practice, tuning, and critical feedback. Consider how the sophistication of one’s thinking evolves over time; compare how a third grader thinks relative to a graduate student. There is no reason to expect this mastery over our sober medium of thought will translate into competence over exotic patterns of thought! When you take LSD for the first time and experience “LSD-like thinking patterns” you are like a newborn, faced with a completely new and exotic mode of self-reflective expression. No wonder “LSD thoughts”, when put into sober words, have a tendency of sounding like gibberish! But that is not to say that the medium of LSD-like thought patterns is doomed to be irrational, insane, or helplessly disconnected from reality. Far from it, as attested by the numerous anecdotes concerning genuine (and later verifiable) problem solving breakthroughs enabled by the psychedelic state (see: Harman’s and Fadiman’s research on psychedelic problem solving).
Here I must agree with Steven Lehar: drugs are wasted on the young. In his book “The Grand Illusion” Lehar narrates how when he tried LSD as a teenager he thought it was interesting but couldn’t make any sense of his experience. After not taking it for more than a decade, he tried it again in his thirties while studying for a PhD in cognitive sciences. He was then much more capable of saying intelligent and insightful things about the nature of the state. I very much expect a Cambrian explosion of insights about the psychedelic state (and not only psychedelic insights!) if and when we bring together groups of seasoned neuroscientists and AI researchers together to trip in a systematic and grounded way. Perhaps we could organize a retreat in Jamaica? Importantly, I would suggest that we should approach the development of a scientific culture based on a psychedelic medium of thought with as few preconceptions as possible, yet allow it to be grounded in our modern scientific world-picture whenever possible.
Once we get past the prejudice against exotic mediums of thought (but without at the same time opening the floodgates to insanity either), we will actually get many new perspectives on consciousness, reality, and the very nature of semantics. Studying this on a large scale will entail using tools like Psychedelic Turk, Generalized Wada Tests, and Free-Wheeling Hallucinations. And further into the future, designer synesthesia may allow anyone to think in numbers. Dedicated linguists (or meta-linguists?) would be put to the task of identifying the isomorphisms between each medium of thought in order to create a state-neutral meta-language of thought (aka. the language of Harmonic Society).
Because the “work” needed to arrive at a culture based in exotic mediums of thought has yet to be done, across the globe we currently have a huge backlog of never-written insights from psychedelic users. You should perhaps think of this collective as a baby intelligence that is not yet verbally competent but which can think of the world in a completely different way than us. How many trips do you need to undergo before the psychedelic medium of thought acquires a verbal competence equivalent to that of our sober thinking? Considering the number of hours it takes for a toddler to learn language, probably quite a few! LSD and the Mind of the Universe by Christopher M. Bache is based on 70+ extremely well documented high-dose (~500 microgram) LSD trips. It is a book that I recommend reading for its phenomenological richness and clarity of “thought”. Despite the insanity that would typically be associated with anyone who has spent that much time in such radically altered states, Bache sounds completely cogent and grounded. His metaphysical conclusions are bizarre, yet familiar to anyone who has spent some time researching spiritual tropes. Yet the manner of presentation is exotic and fascinating. Who knows what hundreds if not thousands of rational psychonauts doing this kind of work could work out if they put their minds to the task of developing a language to talk about those states. To truly develop a community for such an exotic medium of thought, one will need to find ways to receive critical feedback from others. One needs critical feedback to learn and grow, so we may need to invent modes of communication for people experiencing exotic modes of thinking to fruitfully interact with one another.
What would be an example of a quality of the medium of thought of the psychedelic state? Based on countless trip reports, it seems that LSD and related compounds allow you to “think about infinity” in a way that sober thought simply lacks. That said, when someone says that they “experienced infinity” or even “became infinite” on LSD I do not take their word at face value. At least not in the sense of the term which sober thinking imagines. I do, however, believe people when they say that such phrases are pointing at something meaningful, something they experienced. “Becoming infinite on LSD” does not literally mean that on LSD you experienced an infinite amount of qualia (for is it even intelligible or logically cogent to have realized arbitrarily large numbers?). We have to realize that infinityas a term is very different than infinity as a concept: when you say infinity while on a high dose of LSD you are referring to an aspect of your experience rather than a formally defined mathematical or common sense conception of infinity. And if I were to guess, I would say that the quality of experience that is being pointed at is related to the symmetry of both phenomenal space or time: time-looping has a seemingly endless quality and symmetrical texture repetition gives you a sense of infinite space not unlike that of seeing the never-ending reflections of parallel mirrors. Given our normal habits of thought and only available cultural references, one is pressed to communicate this quality of experience in ways that invariably distort their meaning. Some things have to be experienced to be understood.
Another property of the psychedelic medium of thought is that DMT-like cognition may be very well suited to reason about and indeed experience non-Euclidean high-dimensional geometry. And, incredibly, there are reports that the medium of thought triggered by 5-MeO-DMT is well suited to contemplate the question of “Why is there something rather than nothing?”. Getting into the weeds of why I think this happens will take us very far afield, but just to hint at it without further comment: I think this is because in states of extreme symmetry Zero Ontology is much more intuitive. A topic to be revisited in another post.
Ultimately, full-spectrum supersentient superintelligence will entail having access to all of these exotic mediums of thought and many more. Our descendants may some day have the ability to seamlessly switch between radically alien modes of cognition to tackle conceptual problems we haven’t even conceived of. In fact, that we currently can’t even conceive of, lacking the semantic primitives needed to do so.
To end on an observation that is closer to home: you do not have to go as far into exotica as the outlandish states of consciousness induced by DMT to notice how our state of mind influences the medium of our thought. Subtle, but real, are the ways in which emotions texturize our thinking. Next time you have an intense emotion, introspect on the ways it influences your imagination. In a great mood, do you not have, perhaps, much more access to soft, regular, and manageable textures of thought you can use as building blocks for your field of imagination? And when in a depressive mood, aren’t thoughts, perhaps, more likely to be built out of nauseous, gloomy, starved, or self-loathing building blocks? It is thus why in a sense it is so hard, for the most part, to “think yourself out” of a depression. This is because the thoughts themselves are the ways the depression expresses itself! (“The world of the happy is a different one from that of the unhappy.” – Ludwig Wittgenstein). On a happier note, I would like to end by encouraging you to introspect on the way music genres influence the medium of your thoughts. How, for example, the repetitive strobing of the synthesizer sounds of psytrance gives your thoughts an energized, motivated, loopy, meta, repetitive, echoey quality. Or how the signal diversity, harmonic cleanliness, and fractal organization of classical music may give rise to highly narrative, interwoven, and coherent patterns of thought. Indeed, I believe that a focused exploration of music for thinking (and music for thinkingspecific kinds of thoughts rather than thinking in general) has a lot of promise. I would not be surprised to find out that there exists music that is highly beneficial for learning Einstein’s theory of general relativity, or quantum field theory. And perhaps just as important, if not more so, I wonder if there is music that allows us to learn directly, intuitively, and memorably the intricacies of the nature of phenomenal love. Wouldn’t that be lovely?