Qualia Productions Presents: When AI Equals Advanced Incompetence

By Maggie and Anders Amelin

Letter I: Introduction

We are Maggie & Anders. A mostly harmless Swedish old-timer couple only now beginning to discover the advanced incompetence that is the proto-science — or “alchemy” — of consciousness research. A few centuries ago a philosopher of chemistry could have claimed with a straight face to be quite certain that a substance with negative mass had to be invoked to explain the phenomenon of combustion. Another could have been equally convinced that the chemistry of life involves a special force of nature absent from all non-living matter. A physicist of today may recognize that the study of consciousness has even less experimental foundation than alchemy did, yet be confident that at least it cannot feel like something to be a black hole. Since, obviously, black holes are simple objects and consciousness is a phenomenon which only emerges from “complexity” as high as that of a human brain.

Is there some ultimate substrate, basic to reality and which has properties intrinsic to itself? If so, is elementary sentience one of those properties? Or is it “turtles all the way down” in a long regress where all of reality can be modeled as patterns within patterns within patterns ending in Turing-style “bits”? Or parsimoniously never ending?

Will it turn out to be patterns all the way down, or sentience all the way up? Should people who believe themselves to perhaps be in an ancestor simulation take for granted that consciousness exists for biologically-based people in base-level reality? David Chalmers does. So at least that must be one assumption it is safe to make, isn’t it? And the one about no sentience existing in a black hole. And the one about phlogiston. And the four chemical elements.

This really is good material for silly comedy or artistic satire. To view a modest attempt by us in that direction, please feel encouraged to enjoy this youtube video we made with QRI in mind:

When ignorance is near complete, it is vital to think outside the proverbial box if progress is to be made. However, spontaneous creative speculation is more context-constrained than it feels like, and it rarely correlates all that beautifully with anything useful. Any science has to work via the baby steps of testable predictions. The integrated information theory (IIT) does just that, and has produced encouraging early results. IIT could turn out to be a good starting point for eventually mapping and modeling all of experiential phenomenology. For a perspective, IIT 3.0 may be comparable to how Einstein’s modeling of the photoelectric effect stands in relation to a full-blown theory of quantum gravity. There is a fair bit of ground to cover. We have not been able to find any group more likely than the QRI to speed up the process whereby humanity eventually manages to cover that ground. That is, if they get a whole lot of help in the form of outreach, fundraising and technological development. Early pioneers have big hurdles to overcome, but the difference they can make for the future is enormous.anders_and_maggie_thermometer

For those who feel inspired, a nice start is to go through all that is on or linked via the QRI website. Indulge in Principia Qualia. If that leaves you confused on a higher level, you are in good company. With us. We are halfway senile and are not information theorists, neuroscientists or physicists. All we have is a nerdy sense of humor and work experience in areas like marketing and planetary geochemistry. One thing we think we can do is help bridge the gap between “experts” and “lay people”. Instead of “explain it like I am five”, we offer the even greater challenge of explaining it like we are Maggie & Anders. Manage that, and you will definitely be wiser afterwards!

– Maggie & Anders


Letter II: State-Space of Matter and State-Space of Consciousness

A core aspect of science is the mapping out of distributions, spectra, and state-spaces of the building blocks of reality. Naturally occurring states of things can be spontaneously discovered. To gain more information about them, one can experimentally alter such states to produce novel ones, and then analyze them in a systematic way.

The full state-space of matter is multidimensional and vast. Zoom in anywhere in it and there will be a number of characteristic physics phenomena appearing there. Within a model of the state-space you can follow independent directions as you move towards regions and points. As an example, you can hold steady at one particular simple chemical configuration. Diamond, say. The stable region of diamond and its emergent properties like high hardness extends certain distances in other parameter directions such as temperature and pressure. The diamond region has neighboring regions with differently structured carbon, such as graphite. Diamond and graphite make for an interesting case since the property of hardness emerges very differently in the two regions. (In the pure carbon state-space the dimensions denoting amounts of all other elements can be said to be there but set to zero). Material properties like hardness can be modeled as static phenomena. According to IIT however, consciousness cannot. It’s still an emergent property of matter though, so just stay in the matter state-space and add a time dimension to it. Then open chains and closed loops of causation emerge as a sort of fundamental level of what matter “does”. Each elementary step of causation may be regarded to produce or intrinsically be some iota of proto-experience. In feedback loops this self-amplifies into states of feeling like something. Many or perhaps most forms of matter can “do” these basic things at various regions of various combinations of parameter settings. Closed causal loops require more delicate fine-tuning in parameter space, so the state-space of nonconscious causation structure is larger than that of conscious structure. The famous “hard problem” has to do with the fact that both an experientially very weak and a very strong state can emerge from the same matter (shown to be the case so far only within brains). A bit like the huge difference in mechanical hardness of diamond and graphite both emerging from the same pure carbon substrate (a word play on “hard” to make it sticky).

By the logic of IIT it should be possible to model (in arbitrarily coarse or fine detail) the state-space of all conscious experience whose substrate is all possible physical states of pure carbon. Or at room temperature in any material. And so on. If future advanced versions of IIT turn out to be a success then we may guess there’ll be a significant overlap to allow for a certain “substrate invariance” for hardware that can support intelligence with human-recognizable consciousness. Outside of that there will be a gargantuan additional novel space to explore. It ought to contain maxima of (intrinsic) attractiveness, none of which need to reside within what a biological nervous system can host. Biological evolution has only been able to search through certain parts of the state-space of matter. One thing it has not worked with on Earth is pure carbon. Diamond tooth enamel or carbon nanotube tendons would be useful but no animal has them. What about conscious states? Has biology come close to hit upon any of the optima in those? If all of human sentience is like planet Earth, and all of Terrestrial biologically-based sentience is like the whole Solar System, that leaves an entire extrasolar galaxy out there to explore. (Boarding call: Space X Flight 42 bound for Nanedi Settlement, Mars. Sentinauts please go to the Neuralink check-in terminal).

Of course we don’t currently know how IIT is going to stand up, but thankfully it does make testable predictions. There is, therefore, a beginning of something to be hoped for with it. In a hopeful scenario IIT turns out to be like special relativity, and what QRI is reaching for is like quantum gravity. It will be a process of taking baby steps, for sure. But each step is likely to bring benefits in many ways.

Is any of this making you curious? Then you may enjoy reading “Principia Qualia” and other QRI articles.

– Maggie & Anders

Neural Annealing: Toward a Neural Theory of Everything

QRI‘s co-founder Michael E. Johnson just posted a piece on neural annealing. This is one of QRI’s most important pieces of content to date. I’m very proud of Mike and the team for pulling this off. You can find the full piece here.



Mike writes:

This is QRI’s unified theory of music, meditation, psychedelics, depression, trauma, and emotional processing; the most challenging (and I think beautiful) thing I’ve written in the last three years. I would really appreciate careful comments.

A few takeaways:


  • Entering high-energy states (i.e., intense emotional states which take some time to ‘process’) is how the brain releases structural stress and adapts to new developments. This is similar to ‘annealing’ in metals, where heat allows atoms to break their bonds, then they search for more stable configurations as they cool.
  • Brains really do need to anneal regularly to pay down their ‘technical debt’, and if they don’t, they grow brittle and neurotic.
  • Meditation, music, psychedelics, exercise, dance, sex, tantric practices, EMDR, and breath work all share the same mechanism: a build-up of rhythmic neural resonance that can push the brain into these high-energy states which produce annealing.
  • Depression is a self-reinforcing perturbation from the natural annealing cycle.
  • Sometimes the brain needs to rapidly halt information propagation across regions to prevent cascading system failure … we call this ‘trauma’. This is a common and serious disruption of the annealing cycle.
  • The core psychological changes driven by psychedelics are best understood in terms of the amount and ‘statistical flavor’ of the energy (rhythmic firing) they add to the brain. Different psychedelics will ‘anneal’ different things.
  • Young brains (and lifelong learners) might not only be more plastic than average, but actually having experience that is objectively more visceral.
  • A unified theory of emotional updating, depression, trauma, meditation, and psychedelics may give us the tools to build a future that’s substantially better than the present.

(A unification of Robin Carhart-Harris and Karl Friston’s REBUS annealing model, with Selen Atasoy’s Connectome-Specific Harmonic Waves paradigm.)

Break Out of the Simulation Day: Televised Entity Contact, Injection Pulling Experiments, and the Brain as a Game Engine

[Epistemic Status: Wild Speculations]

TL;DR I came up with a new way to test the reality of DMT entities!

Core idea: Look for signatures of injection pulling in the brain’s connectome-specific harmonic waves. This would distinguish between mere hallucinations (however weird they may feel) and hallucinations being driven by an external source.

Like the study about whether psychedelics can help you see through different Everett branches of the multiverse, I don’t expect the results of this experiment to come out positive. But it’s exciting to see a testable prediction on an otherwise so difficult-to-approach subject matter.


Televised Entity Contact

I think that we can basically assume that a certain percentage of people who vaporize DMT will believe that they contacted mind-independent beings. This is likely the result of hallucinations, but naïve realism and a bias to interpret more intense and detailed qualia as “more real than real external information” is so deeply ingrained that we can take it as a matter of fact that, say, 50%+ of people won’t be able to override their felt-sense of entity presence with heady philosophical epistemic rigor like discussions about the pseudo-time arrow, valence structuralism, or indirect realism about perception.

Is there anything we can do with that? Think of it from an economics arbitrage point of view. If we predict that X number of people will newly believe in DMT entities next year, is there an opportunity there?

I was thinking yesterday on a walk about how “Storm Area 51” is a reality check of sorts for the general public. As in – yes Area 51 is a thing, and no, you can’t just invade it with 100,000 people Naruto running towards it. It was predictable that would be the case, but going through the act in a collective and televised fashion was an interesting exercise in societal epistemology.

 

 

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Along those lines, I suggest that a “Break Out of the Simulation Day” event could be organized. That day we would have, on LIVE TV, people doing DMT trying to contact aliens as a medium, the camera going from one person to the next, always making sure that whoever has the microphone is currently peaking on DMT.

So if the DMT Elves are mind-independent sentient beings and want to send a coherent message to humanity, then that would be the time and place to do it. They would have all of our attention.


Perhaps it is unreasonable to expect DMT Elves to send a coherent message when, surprise surprise, they are on LIVE TV all of a sudden. And this is not only because they won’t have time to dress up. According to people who have tried DMT many times and believe it puts you in contact with other dimensions (cf. Dick Khan’s 600 DMT trip reports) there is an entire ecosystem of entities to contact, each of them with special gifts, powers, intentions, and styles. There are jesters, robots, greys, Archons, angels, demons, wireheading specialists, used alien spaceship dealers (those are the worst), etc. There are entire categories of entities whose sole purpose is to convince you that you are dead, or that you are in a simulation, or that the government is out to get you. There are entire species of entities of the sort that show you how to use sound to create thought-forms, and those that like to discuss with you the impact that the Greeks and Aztecs had on the aesthetics of the reptilians (i.e. interdimensional art historians). You cannot expect to be lucky and get a reasonable DMT entity who (1) will figure out what is going on, and (2) has good intentions for humanity. Perhaps we would be opening ourselves up to influence by incompetent, evil, or incompetent and evil entities. Worse, we would be doing so on LIVE TV!

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by Steven Haman (source)

Testing the Mind-Independent Existence of DMT Entities

Ok, so maybe televising the experiment is a bad idea. Back to the drawing board. Let’s ask: what are the main ways to prove the independent existence of DMT entities? How would serious researchers[1] approach this problem? As far as I can tell, there are three big categories of methods:

  1. Psi-based (having them tell you something about the world you would have no way of knowing otherwise)
  2. Computation-based (having them solve a problem that requires much more computational power than what is available to you with your brain alone)
  3. Quasi-Physical interference-based (have entities literally poke, shake, vibrate, excite, or inhibit your body or nervous system in ways that are impossible on their own)

The Psi-based category is the most well-known, and it includes tests such: (a) asking the entities what your family members are doing right now, (b) having them tell you what is inside a sealed box, (c) having them predict what tomorrow’s lottery numbers will be, and so on. While many people claim to have learned valuable information from DMT entities, I’ve yet to see credible reports of positive tests of this kind.

The computation-based category is perhaps best exemplified by Marko Rodriguez’ suggestion of having the entities factorize a large number for you. This method was popularized by Scott Alexander’s now-famous short story Universal Love, Said the Cactus Person, and then later Gwern made an estimate of the cost of such an experiment. It turns out that testing the hypothesis this way could be as cheap as one thousand (of 2015) dollars. Unfortunately, this test is very hard to conduct (saying 200 digits while on DMT and memorizing sets of numbers with dozens of digits the elves return to you as an answer is not an easy task). So other difficult-to-compute but easy-to-articulate and fast-to-memorize problems might be a better fit in this case. I predict it is only a matter of time before someone seriously tries a variant of this method and reports the results online. I would just caution that, depending on the computational task selected, one may inadvertently discover new computational applications of the DMT state rather than prove the existence of mind-independent DMT entities. After all, unusual states of consciousness may have unique computational trade-offs. See for example: Thinking in Numbers, How to Secretly Communicate with People on LSD, and the discussion about the possible applications for mathematical research of the hyperbolic phenomenal space disclosed during DMT intoxication. Indeed, I would not be surprised to find out that in the year 2100 many of the most important mathematical breakthroughs are taking place in consciousness research centers thanks to having identified states of consciousness capable of rendering exotic mathematical objects and their possible transformations. So before concluding the DMT Elf solved your computationally-demanding problem, it would be important to rule out that it wasn’t you (or the DMT-filled version of you) who solved the problem thanks to novel qualia varieties only disclosed in such a state. That said, this concern only applies to computational tasks that are not extremely difficult. If a DMT alien can factorize a 3000-digit number in 10 seconds then we could actually reasonably conclude that it exists in a mind-independent way.

Now, the 3rd approach is, IMO, both the most likely to work in practice, and also the most spooky and frightening were the results to come out positive. Here is why. I’ve recently received trip reports from rational psychonauts who have taken DMT hundreds of times, and it seems clear that there is a vast number of qualitatively distinct state-spaces disclosed by this substance. One of these such relatively rare idiosyncratic responses caught my attention, and I think it warrants closer scientific scrutiny. Namely, I’ve received reports that when the psychonaut is either tired or has been drinking (why anyone would dare take DMT while drunk is beyond me, but for science-I guess-someone already did it) there is a different kind of experience of a rather unpleasant nature that unfolds. This type of DMT experience is described as getting in contact with the “lower levels of the astral plane” in which parasitic etheric life-forms live (not my words). During such an experience, one may feel that these beings “jitter” your nervous system without asking for your permission to do so. And this is done in such a way that your body may literally get up and dance, as if possessed by a spirit, without your conscious control. In a less extreme presentation of this phenomenon, at the very least the entities seem to jerk one’s extremities whether or not you like it. For example, in one of these trip reports someone described having their arm being pulled and jerked left and right by a demon of sorts while at the same time insectoid life-forms crawled inside their body, into the veins of the tripper. Needless to say, this is a profoundly unpleasant experience, no doubt, but perhaps it is also one of the most empirically testable of the bunch.

Injection Pulling Experiments

The big-picture idea here would be to hook a person up to an EEG during such a state (or even place them in an fMRI if at all possible) in order to determine if the “jittering” experienced is endogenously or exogenously generated.2dof_outofphaseV2.15

How could we do this? Let’s take a step back for a second and recall Selen Atasoy’s study about the influence of LSD on the connectome-specific harmonic waves of the brain. The connectome-specific harmonic waves (CSHWs) are the “natural resonant modes” of a given brain. With this analysis, one can characterize a given “brain state” as a weighted sum of such resonant modes. In turn, one can then see how LSD affects one’s brain state by analyzing the CSHWs while under its influence. As it turns out, there are three major effects from LSD: (a) an overall increase in the power of all CSHWs, (b) the higher-frequency harmonics gain even more power relative to the lower-frequency ones, and (c) the repertoire of possible states dramatically increases, meaning that CSHWs that usually don’t co-occur are more likely to be simultaneously active while on LSD.dynabs-a

The thing to point out is that LSD in this case does not change which harmonic modes the brain has; it merely changes the energy distribution over those harmonics. On the other hand, we could in principle imagine that if the “DMT entity contact” brain state is not purely a hallucination, we would instead find out that such a state has a distinct “non-native harmonic pattern”. And this would manifest in the form of injection pulling and injection locking signatures in the reconstructed patterns of brain activity from the neuroimaging data.N4jchWg

An analogy with a musical instrument is possible: assume that your brain is a musical instrument and that the notes it plays sound like those of a guitar. In this analogy, taking LSD would entail increasing the volume of each note (and especially so for the higher notes) while also increasing the range of possible note-combinations. In other words, while LSD changes what you can play with the guitar, it does not change the fact that you are playing a guitar. That is, the brain states produced by LSD can be explained as different configurations of otherwise native vibratory patterns. In contrast, if DMT entity contact involves an external energy source with its own characteristic resonant modes, then the brain state that results from it would seem to have non-native vibratory patterns. It would be like having a guitar that produces saxophone sounds. You would know that on its own it is not physically capable of producing such sounds, and hence infer it is being externally influenced somehow.

ballspring_2

Are the jiggling patterns of your brain harmonics while on DMT best explained with or without an external metronome and its injection pulling effects?

Such an analysis might reveal that the jerking of the nervous system one experiences on those idiosyncratic DMT experiences is best explained with an injection pulling model and an external metronome marking the pace. In turn, this would imply that the brain is not merely hallucinating a scene, but rather, it is being influenced by an outside metronome. Now, that would be a scientifically-sound ground-breaking finding. And perhaps be so spooky we would all prefer to forget about it rather than contemplate its implications.[2]



Now, there is always the option to interpret all of the unusual phenomenal experiences on DMT with a scientific secular framework that excludes entities from other dimensions. At the Qualia Research Institute, the frameworks that we use to explain such unusual experiences involve what we call algorithmic reductions, namely, identifying a small set of data-structures and information-processing steps that when taken together are capable of generating the vast zoo of complex emergent effects. The advantage of this approach is two-fold. First, we avoid over-fitting by minimizing the information complexity of the model (few data structures and few operations is a vastly more parsimonious explanatory framework than ad-hoc spiritual or atomistic interpretations). And second, it allows us to generate predictions such as the possible existence of exotic phenomenal states that haven’t yet been reported in the literature. Indeed, verifying that its predictions are accurate is one way of validating an algorithmic reduction.

In the case of DMT, we have algorithmic reduction models that explain the unusual properties of space as well as their associated exotic phenomenal time. And while providing compelling explanations for the exotic space and time one can experience in such a state is foundational, we recognize that this is still a first step. I admit that such models still do not go far enough. We still need to explain the nature and unusual character of “entity contact” experiences. So what do we make of them?

The Brain as a Game Engine

Our best guess- for the time being- involves reformulating the nature of the state-space of consciousness to include a layer of “game parameters”. This was first brought up in the essay “Harmonic Society“:

Consider what happens when someone takes LSD. Most people expect that they will simply get to experience new sensations like brighter colors, tracers, or synesthesia. This is true to a point, for light doses. But on medium doses, in addition to exploring the state-space of sensory configurations, one also experiences new aesthetics, which this model would define as ways of organizing a lot of sensations in ways that feel right. More so, an aesthetic is also a way of delivering uninhibited sensations in a way that feels good at the level of the whole experience, from moment to moment. Most people have no clue that there is a vast space of possibilities here.

 

On higher doses, people are surprised to find an even more general way of exploring the state-space of consciousness. Namely, one instantiates alternate games. The DMT “vibe” that people report can be thought of as more than a “context switch”. It is, rather, a more radical change that we could describe as a “game switch”. The “Jester” that people talk about regarding DMT experiences is an archetype that the mind uses to signal the “rule violation” quality of the state. There is so much going on that one’s experience splits into multiple games at once trying to find some common ground, and this feeling of game-incompatibility feels very alien. A sort of anti-virus system in the mind is triggered at that point, and labels the inconsistency with a feeling of weirdness so that you know not to update your actions based on the (currently globally inconsistent) experience of multiple superimposed games. Rule violation through fast changes in implicit games of social status causes you to interpret what is going on as having extreme stakes. Interacting with DMT Aliens, Gods, Elves, etc. feels like the upper limit of potential social status transfer that your world simulation affords (like meeting a president or a king). The state-space of consciousness contains all of these alternate games and metagames, and we have not even begun to catalogue them.

 

Harmonic Society (3/4): Art as State-Space Exploration and Energy Parameter Modulation

In other words, taking DMT does not merely propel you to other regions of the state-space of possible sensory impressions, but it also grants you access to alternate aesthetics[3] and game setups. If you think of your brain not only as a sensory-processing tool, but in fact as a kind of high-level game engine, realizing that God and the Devil can be real in your experience shows that they are possible characters of the games your brain can render. In such a case, we will eventually find that the brain states that render DMT entities are, however exotic, still produced by combining the native resonant modes of one’s own nervous system. No need to invoke neuronal injection pulling from the etheric plane.

Of note is that such a “Game Engine” paradigm would go a long way in explaining unusual experiences such as Free-Wheeling Hallucinations where one becomes able to control almost all features of one’s experience with an incredible level of detail. Indeed we can describe a Free-Wheeling Hallucination state as having access to an experience editor, as illustrated in the Memory Facility Scene of Blade Runner 2049:

Unsurprisingly, we can anticipate that when one is given root access to the parameters of one’s own inner world-simulation, one is likely to focus on creating experiences entirely filled with enjoyable super-stimuli. Whether this involves sex-worlds or proofs of the existence of a benevolent God might be a function of what is it that one craves the most. The intense concern with theodicy and the nature of death while on psychedelic drugs might have something to do with having the ability to change the most essential parameters of one’s internal world simulation. After all, if “living in a world” where God exists and is loving is more enjoyable than the alternative, one’s own hedonic maximization algorithms would try to “realize that’s the truth” if given the option to forge evidence. The same could be going on with DMT entities, for a world in which DMT is an interdimensional portal technology is vastly more interesting (or at least dramatic) than the alternative.

In the end, studying DMT experiences do not need to involve actual entity contact to be of profound significance to the science of consciousness. If you think of your brain as a qualia machine engine, DMT is about the best (or second-best [4]) qualia fuel there is. There are vast regions of the state-space of consciousness that can only be accessed with DMT, many of which contain extremely computationally interesting qualia, and many others which contain intrinsically valuable states (aka. heaven worlds). If, on top of that, it also enables interdimensional beings to injection pull your brain harmonics, we could think of that as icing on the cake.



[1] Serious and Unserious Consciousness Researchers

On a tangential note, here is a quote I recently heard at a consciousness conference:

Thomas Metzinger, the famous and brilliant German neuroscientist and philosopher of mind*, was once asked at a conference presentation he was giving whether he had ever tried psychedelics. His response? “There are two kinds of consciousness researchers. There are the serious ones, and the unserious ones. The serious ones take advantage of all the tools at their disposal to crack this mystery. All I will say is that I am NOT an unserious consciousness researcher.”

*He is best known for being the writer of the books “Being No One” and “The Ego Tunnel“, friends with the Foundational Research Institute, a strong proponent of a variant of eliminativism about consciousness, and a negative utilitarian specializing in AI ethics.



[2] Implications

If the injection pulling experiment does reveal that DMT entities are indeed mind-independent sentient beings in alternate dimensions, then what?

We shall cross that bridge when we get there, but in the meantime, let me entertain you with a wild hypothesis: DMT Elves are us at a higher level of spiritual and psychological development. In such a case, we might want to revise Integral Theory’s levels to include DMT Elves. Expect Ken Wilber’s next book to contain the following:

Larval Stages of the Soul Before Ascension

1) Mythical, 2) Machiavellian, 3) Religious Traditional, 4) Scientific Secular, 5) Postmodern Multiculturalist, 6) Burner, 7) DMT Elf, 8) Full-Spectrum Supersentient Superintelligence, 9) Hedonium Plasma Wave, and finally 10) Pure Love.



[3] An open question for all my DMT-using readers: are DMT visuals more akin to Art Deco, or Art Nouveau?

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[4] On a Serious Note

My prediction is that the single most important tool to investigate consciousness is 5-MeO-DMT. It is probably the most important consciousness tool ever discovered. While I’ve seen serious consciousness researchers and academics admit in private that they have tried psychedelics, I almost never encounter people who have tried 5-MeO. I expect this to change over the course of the next decade as the word gets out that no, 5-MeO is not “yet another psychedelic” but it’s the “real deal” when it comes to disclosing profoundly insightful states of consciousness with implications for personal identity, ethics, the state-space of qualia, the nature of valence (i.e. harmony vs. dissonance), phenomenal time, causality, and the importance of quantum coherence for phenomenal binding. If you have explored this compound and would like to share your insights, please get in touch. We always welcome high-quality trip reports.



 

 

Self-transforming machine thought-forms.
Valued for their intrinsic qualia;
sometimes used for qualia computing.


Featured image source: Machinist Sculpture Chris Bathgate

Three Interesting Math Problems to Work on While on LSD

  1. Let P be a simple polygon with n>3 sides. A simple polygon is a polygon that does not self-intersect, but it is not necessarily convex. Prove that no matter the shape of P, there is always a diagonal (a segment that connects two vertices of P without intersecting any of its sides) that divides P into two polygons, both of which have at least n/3 sides.
  2. Let A and B be two points in the plane. Using only a compass and a straightedge, find the point C which is the exact middle point between A and B. Now do the same thing, but using only a compass.
  3. There are 17 point-sized light-houses in the plane. Assume that each of these lighthouses can shine light in any direction with an angle of 2*pi/17. Prove that no matter the position of each lighthouse, it is always possible to choose the angles at which they shine their light such that every point in the plane is illuminated (point-sized lighthouses don’t cast shadows).

In Selective Enhancement of Specific Capacities Through Psychedelic Training, Willis Harman and James Fadiman outline the results of a study about the potential use of psychedelics for problem solving. In the study, scientists, engineers, mathematicians, and designers took either 100 micrograms of LSD or 200mg of mescaline and worked on a problem they were personally invested in and which they had not been able to solve for at least 3 months. According to Fadiman, 9 out of 10 participants came up with a solution to the problem that was validated by the participant’s professional colleagues.

The three problems above are not easy, but they are also not insanely difficult. If it means anything to you, their level of difficulty might be around that of a problem 1 or 4 of an IMO, with the advantage that you do not need any fancy math to solve them (high-school math is more than sufficient). I do not know if solving these problems is easier or harder on psychedelics, but I figure I would share them as possible Schelling points for “challenging math problems to think about while on psychedelics” to see if anyone reports benefits from such a setup. I personally like these problems, and I can assure you that they do have interesting and clever solutions. Assuming you are already planning on taking a psychedelic substance in the future: I would recommend trying to solve one of these problems for at least 1 hour while sober, and then setting aside at least 30 minutes (preferably 1 hour) while on a psychedelic and giving it your full attention. Please let me know if you either solve the problem or get an interesting insight from such an exercise. I am particularly curious to hear about *what aspects* of the psychedelic state seemed to be either beneficial or detrimental in solving these problems. Even if you do not solve the problem, you may be able to think about it in new ways and derive useful insights. Again, if you do so, let me know as well.

Early Isolation Tank Psychonautics: 1970s Trip Reports

Excerpt from The Deep Self: Consciousness Exploration in the Isolation Tank by John C. Lilly, 1977 (selected reports between pgs. 186 and 247).

Spring 1974

Richard Feynman, male, 56 years, 160 lbs., 5′ 11”: summary of 35 hours done in 12 weeks, 1974.

Having done a number of introspective experiments on influencing my own dreams (and been objectively conscious and observing while I was dreaming), I became very curious about hallucinations and welcomed the opportunity to use Dr. Lilly’s sensory isolation tanks, for they were reputed to produce hallucinations, safely. I have spent at least a dozen sessions, each of over two hours, in the tank. The experience was very pleasant and rewarding. Although nothing happened for the first two sessions (except idle thinking as when one is going to sleep), hallucinations were experienced nearly every time thereafter. After some brief period after entering the tank, they would continue for hours. I was always aware that I was hallucinating and part of my mind was nearly always making observations. There were the usual out-of-body, or out-of-the-right-time hallucinations. For example, in one case I could see my hands on my head as if I were standing in back, and when I moved my hands (actually in the water) I would see them move and sky appear between the fingers, etcetera. I have later had imaginary flights over scenery, etcetera. In both of these cases the fact that others get this type of hallucination had been discussed beforehand.

On one occasion I had been thinking (in studies of artificial intelligence) about how the masses of memory materials might be organized in storage in the human memory. That week my hallucination consisted of vivid recalling, or reliving, nearly, image after image from far in the past (in no case were there any new details that I didn’t think I could have remembered if asked). But I was delighted to discover that the memories were stored according to locale — you thought of one scene occurring at some particular place and all the other things that occurred at that placed tumbled out. It took a full hour after I was out of the tank until I realized I had discovered nothing real, that that itself was an hallucination.

I am convinced of Dr. Lilly’s dictum that you can think of anything that you want to — that the hallucinations are a delightful and entrancing union of spontaneity of detail with a pattern or set which you have made or can make about their overall character. Thus if you have discussed a great deal about the blue spheres that you will see, you may see blue spheres but have the illusion they come not from you but from somewhere else — even though you know that the only one in the tank is you. The usual test of scientific reality is that many people see the same thing. In this case coincidence of experience lies not in the reality of the thing experienced but from a coincidence of influencing conversations and ideas about what you will imagine, and an illusion that the “image comes to you.” The same phenomena may explain some success in dream interpretations through dreaming certain symbols whose character or interpretation has been previously discussed.

I should like to thank Dr. Lilly, his wife, and associates for many pleasant experiences both in and outside of his tanks.


2 January 1974

Joan Grof, female, 31 yrs., 120 lbs., 5′: 2 hours, 20 minutes.

I entered the tank with the anticipation of several things happening: claustrophobic panic or delineated stages of experience, i.e. sleepfulness, and then visions. Neither set occurred. Instead, I was totally at ease, feeling as though this place (i.e. total quiet, darkness, and fluidity) was what I wanted. I lost body boundaries and time sense, immediately disappeared and I experienced total peace and a feeling of unity. Experience did not modulate and I did not play with it. Just was very passive and let “it” do it itself. What I experienced was a continuous void that was not boring, yet empty, not engaging, yet full.


No date

Stan Grof, male, 42 yrs.: no time recorded.

After about five minutes, enormous slowing down of time. Increasing stability, tranquility, a certain “inorganic quality of consciousness”–moving away from its biological characteristics. Atmosphere of ancient Egypt, becoming aware of her religion, philosophy and art. Insights into the process of mummification, becoming a mummy and experiencing the consciousness typical for it. Understanding it as an interspace vehicle (organic -> inorganic).

Matter -> spirit.

Moving into the initiation in the pyramids, feeling a parallel between a mummy and an adept in the sarcophagus. Awareness of granite, becoming the consciousness of granite. Understanding that the preoccupation with granite in Egypt was based on the appreciation of the state of consciousness associated with it. Changes occur on a scale of thousands of millions of years (as compared to seconds and minutes for biological forms). Return of an old insight: Granite statues are the deities, not the images thereof.

Moving into absolute void (experienced as consciousness of the interstellar space). Timelessness. No difference between minutes and millions of years.

Ending up the experience with feelings of regeneration, purification, refreshment, rejuvenation, clarity.


2 November 1973

Alejandro Jodorowsky, male, 44 yrs.: 1 hour.

It is one experience I would repeat every day, not to obtain, but to lose, like to go to the bathroom. In the first second, I was afraid of being afraid. “It” controls itself saying “It is only afraid to suffocate.” But he (Lilly) must control oxygen, because what will he do with my corpse? This matter of giving [up] my body, and to die to my self-conception. Ok, I will die. After two or three minutes, floating, marvelous comfort, you are at home, nice security, nice silence, nice temperature, and nice relaxation. No body, no sex, no emotions, no thoughts, no problems, no past, but absolutely no past, not plans for future. Little man into the water being the seed fish, without expecting to be a tree with scales. There in the only time, the no-time, there in the only center, the no-center. Sometimes relating with the maternal womb, but escaping of this image. It didn’t want to play with the fetal-paradise and then, it put out like excrement the problem of practical relaxation. Now we are ready. With a great breath of fire the burning of the oxygen like a simple star and a great general beating of heart. Nothing but nothing, and in the middle of the nothingness it was there like a stone–the conscience–Realize what I know, what I live in every moment. I am not so much but still I am something even if I didn’t want it to be active, even if it wanted to be the tongue like a cup without will with all his being made to receive. It tried to be liberated from the little stone when the middle of nothingness became the whole universe. It prepared itself to jump. But Mr. Lilly come, the hour is past. I regret. Was infinite but too short and this body got out of the baptismal desiring a lot of emersions. Anyway, I think, say the little body, I can live in this society in a very polite way in a very communicative way, being immersed all the time in the tank without having a tank.


16 October 1973

Jan Metzner, no data given: no time recorded.

Became aware immediately of tension areas and moved in to relax and give myself to the experience. I was surprised at the nonexistence of fear reactions to closeness/darkness in tank, which I had expected. Being trained as I am in moving in consciousness with the techniques of Light-Fire, I found I went comfortably within and worked with a technique, but found focusing more difficult. My head felt very heavy and had to support it with my hands. Felt salt irritating to the skin. The overall effect was very relaxing, and there are other areas in consciousness I would like to spend time exploring.


16 October 1973

Ralph Metzner, no data given: no time recorded.

I found it a very relaxing and enjoyable experience, marred only by the slight discomfort due to the fact that my head had a tendency to sink down.

I went into the energy-yoga technique I am currently working with and found that I got some unusual perspectives on the innerbody spaces that would be otherwise hard to get to.

Without the restraints of gravity, the moving into and throughout the body and, to an extent, out of it, was much easier–as if the structures had been slightly greased and made more slippery.


2 July 1975

Francisco Varela, male, 28 yrs., 155 lbs.: actual time: 2 hours, 50 minutes.

Closed space, heavy breathing, oppression from suppression. A wave of buoyancy, oily-saltry relaxation, surprise at fitting into water and staying. Letting go, feet are fine, trunk is fine, head is fine.

Beginning to stay–be.

Body goes out, inner sound takes over. Wild ride on heartbeat — inner music. Roller coaster.

Carved into inner sounds: sudden flashes of perception: dogs barking, old tunes on a junky radio, laughter and people’s noise. Startle. Experiment with closed and open eyes. No difference. Stay with eyes open. Visual-acoustic flashes now: scattered, fragmented. Too real. Strong recall of transit stages. I have been here. At a moment: I belong here.

Wilder/surrealist images interface with periods of sleep. In and out with no chance of distinction between dream and tank-reality. Am I there?

Banging. Voice to take me out. Voice is John. Get out. Seems I’ve been in thirty to forty minutes. Long lag in coming back.


No date

Louis Jolyon West, male, 40 yrs., 220 lbs., 6′ 3”: 1 hour.

(N.B.: Previous experience, fresh-water tank, Oklahoma City.)

Buoyancy definitely an advantage over the old method. Also, much better without need for mask.

Lost awareness of surroundings much faster in this situation. Very rapid access to “preconscious stream” (Kubie), with complete immersion therein until termination. No subclassification of mental state during that period would be accurate; my experience was of a smoothly unbroken flow of both digital and analog information. Had planned to meditate (TM) but never got around to it. My personal experience was that a state of “pure consciousness” (more or less) was reached in the tank without utilizing the mental echo of a mantra, but I wouldn’t emphasize this impression without a series of experimental and control sessions. Emerged refreshed with a sense that far less than an hour’s time had passed. A wholly pleasant experience.


10 April 1975

Robert A. Wilson, male, 32 yrs., 170 lbs., 5′ 10”: 2 hours.

Small red light room housing two dumpster-like sensory deprivation tanks. Climbing in the darker, older-looking tank I flash that perhaps it is deeper than the floor level would indicate, but not only ten to fourteen inches of warm water in this giant battery casing. Perhaps there’s not enough water. Sitting, then lying back, the buoyancy is surprising–suddenly I’m floating. Slight contact with tank sides, then my breathing is focus of my attention. Breathing, floating, thinking. Mind floats through myriad of subjects, tension generated within is soon apparent. Return to focus on breath. Thoughts return. After an hour little tastes of terror manifest. Each wave of fear though powerful seeming necessitates reevaluation of tension state, breathing again, floating, adjusting to a deeper relaxation state. Perhaps this is where I’ll sleep tonight. After two hours eyes begin burning, keeping them shut tonight… keeping them shut against the salt becomes a labor, then a drop of salt down my nasal passage–that does it. Sitting up pushing the tank lid open. Fun trip, I feel very relaxed, reborn in a way. Sounds seem much more audible, crickets in the night. Nice to be back.

Two Recent Presentations: (1) Hyperbolic Geometry of DMT Experiences, and (2) Harmonic Society

Here are two recent talks I gave. The first one is a talk about the Hyperbolic Geometry of DMT Experiences I gave at the Harvard Science of Psychedelics Club in mid-September (2019). And the second talk is about QRI‘s models of art, which took place in June (2019) at a QRI party in the Bay Area.


The Hyperbolic Geometry of DMT Experiences (@Harvard Science of Psychedelics Club)


Description

Andrés Gómez Emilsson from the Qualia Research Institute presents about the Hyperbolic Geometry of DMT Experiences.

At a high-level, this video presents an algorithmic reduction of DMT phenomenology which imports concepts from hyperbolic geometry and dynamic systems theory in order to explain the “weirder than weird” hallucinations one can have on this drug. Andrés describes what different levels of DMT intoxication feel like in light of a model in which experience has both variable geometric curvature and information content. The benefit of this model cashes out in a novel approach to design DMT experiences in order to maximize specific desired benefits.

See original article: The Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets, and Saddled Scenes

And the Explain Like I’m 5 version: ELI5 “The Hyperbolic Geometry of DMT Experiences”

Presentation outline:

  • Thermometers of Experience
  • The Leaf Metaphor
  • Introduction to Hyperbolic Geometry
  • DMT Levels
  • Level 1: Threshold (& Symmetry Hotel)
  • Level 2: Chrysanthemum
  • Level 3: Magic Eye (& Crystal Worlds)
  • Level 4: Waiting Room
  • Level 5: Breakthrough
  • Level 6: Amnesia
  • Energy – Complexity Landscape
  • Dynamic Systems
  • Fixed Point
  • Limit Cycles
  • Chaos
  • Noise Driven Structures
  • Turbulence
  • Conclusion
  • Super-Shulgin Academy
  • Atman Retreat
  • Wrap-Up

About the speaker: Andrés studied Symbolic Systems at Stanford (and has a masters in Computational Psychology, also from Stanford). He has professional experience in data science engineering, machine learning, and affective science. His research at the Qualia Research Institute ranges from algorithm design, to psychedelic theory, to neurotechnology development, to mapping and studying the computational properties of consciousness. Andrés blogs at qualiacomputing.com.

The Qualia Research Institute (QRI) is a non-profit based in the Bay Area close to San Francisco which seeks to discover the computational properties of experience. QRI has a “full-stack approach” to the science of consciousness which incorporates philosophy of mind, neuroscience, and neurotechnology. For more information see: qualiaresearchinstitute.org

The Harvard Science of Psychedelics Club hosts events on psychedelic research, meditation, neuroscience, students sharing their own experiences, and much more.


Credits:

– Wallpaper group 632 rotating along each symmetry element – Nick Xu

– Many of the images are by Paul Nylander: http://bugman123.com/

– The Hyperbolic Honeycomb images and 3D prints are by Henry Segerman, who also has an awesome Youtube channel where he shows 3D printed math. We used his design to print the Honeycombs we were passing around during the lecture: https://www.youtube.com/user/henryseg

– Space-Time Dynamics in Video Feedback: Jim Crutchfield, Entropy Productions, Santa Cruz (1984): https://youtu.be/B4Kn3djJMCE

Many thanks to Andrew Zuckerman and Kenneth Shinozuka for helping organize this event. And thanks to David Pearce, Michael Johnson, Romeo Stevens, Quintin Frerichs, the anonymous trippers, and many others for making this work real.


And here are the slides:

 

Dynamic Systems animations:



Harmonic Society: 8 Models of Art for a Scientific Paradigm of Aesthetic Qualia


Description

Andrés Gómez Emilsson from the Qualia Research Institute gives a presentation about how art works according to modern neuroscience and philosophy of mind.

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

Abstract:

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

———————–

The 8 models of art are:

1. Art as family resemblance (Semantic Deflation)

2. Art as Signaling (Cool Kid Theory)

3. Art as Schelling-point creation (a few Hipster-theoretical considerations)

4. Art as cultivating sacred experiences (self-transcendence and highest values)

5. Art as exploring the state-space of consciousness (ϡ☀♘🏳️‍🌈♬♠ヅ)

6. Art as something that messes with the energy parameter of your mind (ꙮ)

7. Art as puzzling valence effects (emotional salience and annealing as key ingredients)

8. Art as a system of affective communication: a protolanguage to communicate information about worthwhile qualia (which culminates in Harmonic Society).


The presentation is based on an essay published in the Berlin-based art magazine Art Against Art (see: Issue #6).

Article is posted online here: Models 1 & 2, 3 & 4, 5 & 6, 7 & 8.


See more about the Qualia Research Institute at: https://www.qualiaresearchinstitute.org/

Andrés blogs at Qualia Computing: Top 10 Qualia Computing Articles


Infinite bliss!!!


And here are the slides:

Harmonic Society (4/4): Art as Valence Modulation and Future Affective Language

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

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

Below you will find models 7 and 8, which conclude this series of posts. (See previous models: 1 & 2, 3 & 4, and 5 & 6).


7. Valence Modulation

What is the difference between indifference and interest, boredom and thrill, despair and bliss? Pleasure! A few grains of this magic ingredient are dearer than a king’s treasure, and we have it a plenty here in Utopia. It pervades into everything we do and everything we experience. We sprinkle it in our tea.

The universe is cold. Fun is the fire that melts the blocks of hardship and creates a bubbling celebration of life.

It is the birth right of every creature, a right no less sacred for having been trampled upon since the beginning of time.
Letter From Utopia by Nick Bostrom

silva_12916345_1731904193723631_6197701101530100221_o

Photo by Andrés Silva (aka. El Capitán). Claudia Silva (in the picture).

We are now approaching the point at which we will finally start cooking with peanut oil, so to speak. We will finally start thinking about how to build extremely good art from first principles. The ‘Art as Valence Modulation’ model builds on top of the previous model where art involves messing with the brain’s energy parameter. To explain this model we need to introduce two additional concepts:

  1. Neural Annealing, and
  2. The Symmetry Theory of Valence (STV)

Neural annealing is a concept we developed at QRI to extend the entropic disintegration framework.[1] Namely, the most beneficial use of ‘energy’ is to direct it towards the brain’s natural harmonics in order to carve out the presence of a naturally blissful state in everyday life. This process works on a progression that goes like this:

  1. Energy application
  2. Entropic disintegration
  3. Search/self-reorganization
  4. Neural annealing

Together with neural annealing, STV provides an answer for why we experience intensely rewarding states of consciousness from art. Here is where some of the theories that we have been working on come into play. In particular, we hypothesize that when highly-energized states of consciousness follow an adequate cooling schedule, they can give rise to highly ordered states that are experienced as very pleasant and which can carve good attractor states into the brain in the long term. Making an analogy with metallurgy, with annealing, you can increase the regularity of the microscopic structure of metal by heating it above the recrystallization temperature and letting it cool. This results in changed material properties (such as reduced hardness and increased ductility). We hypothesize that something along these lines also takes place in brains. Neural annealing facilitates solving complex constraint satisfaction problems at the perceptual, emotional, and conceptual level. The higher energy enables quick search between possible configurations that satisfy as many constraints as possible (over- stepping the local maxima we are usually stuck within normal energy ranges), while the cooling process solidifies the best constraint satisfaction solutions. Critically, here the STV comes into play by proposing that the more regular the resulting neural structures are, the better they feel. Annealing smooths out inconsistencies and irregularities, which according to the STV are key sources of discomfort. Symmetry, in the form of smoothness and harmony, is why the process of annealing leaves you feeling great.

adrian_regnier_coming_soon

Very high-valence annealed states of mind feel cosmic and profound in significance. Images by Adrián Regnier Chávez

In this light, art with lasting desirable mood effects does not only need to increase the energy parameter, but it also needs to know how to lower it at the right schedule in order to leave people annealed to a given desirable mindset. A lot of art that successfully raises the energy parameter nonetheless does not succeed in the ecosystem of human attention, because it does not let people cool off in the right way. More so, an excessively competitive memetic landscape that incentivizes maximum surprise tends to train people to experience too much fear of missing out to let them adequately consume art at the pace needed to leave you better off emotionally. There is genuine wisdom in going to museums with one’s smartphone turned off.

Where do we draw the line between healthy recreation and distraction? Some might say that art in the form of pictures is fine, but audiovisual is too much. Some may be fine with movies but not with VR. Others would be ok with videogames but perhaps not with drugs. Others perhaps would be ok with drugs but not with genetic modification of neuronal gene expression. Some would be ok with that but not with neural dust rewiring, and so on. The format, we would argue, is not what matters. But rather, what the annealing pattern is, which is actually what makes the effects of art stick in the long run (or not).

25182111_10155726072591047_3901730907574199963_o

Image by Joseph Matthias Young. It makes me think of the aesthetic of the meta-aesthetic.

This way of seeing art is highly generative. It gives us a research lead for how to construct new grandiose and highly-effective art. More so, the model can itself be developed as an aesthetic of its own. Perhaps we could call it the aesthetic of the meta-aesthetic. That is, an aesthetic that rewards distilling the essential reason why any aesthetic can feel good and meaningful. In the future, we might expect to see in stores “Hedonium Magazine” – which catalogues all of the peak-valence states that can be achieved with any method whatsoever, and sees the craft of perfecting neural annealing as itself the highest form of art. Here we transcend the post-modern ethos of giving each aesthetic its place in the garden of paradoxes. Yes, give each aesthetic its place, but do not let that prevent you from building a meta- narrative that ties together and clarifies the value-add of each aesthetic. No aesthetic is above being examined in terms of how it achieves neural annealing in those who consume it.

In turn, this model gives us a new understanding of what an “aesthetic” even is. According to it, an aesthetic is a system for long-term neural annealing. A one-off weird art piece might give rise to annealing and solidify random structures in your brain. An aesthetic is more than that. It is a collection of generator seeds for art pieces that give rise to a coherent form of neural annealing that is reinforced with each piece, no matter how different they may seem from one another on the surface.

A further property of neural annealing is that it is what enables you to fully experience a self-consistent worldview as if true. This bridges the gap between meaning and pleasure, and is at the core of the connection between valence and the experience of sacredness we discussed in model 4. According to model 7, sacred experiences are the result of driving the energy parameter of the brain above the recrystallization threshold and then having it cool down as it reorganizes the elements of a given target ontology and worldview. The result is an annealed mental state optimized to represent that worldview. The sense of global consistency makes the worldview feel good and true, almost as if you were able to smell truth with it. This model would say, thus, that the core mechanism behind every kind of sacred experience is the same. Which emotions, ontologies, and worldviews get annealed is what is different depending on set, setting, and aesthetic (i.e. how the energy sources and sinks were modified). But deep down, it is successful annealing that makes sacred experiences feel so compelling and good.

8. Affective Language: Harmonic Society

An idealised full-spectrum superintelligence will indeed be capable of an impartial “view from nowhere” or God’s-eye-view of the multiverse, a mathematically complete Theory Of Everything – as does modern theoretical physics, in aspiration if not achievement. But in virtue of its God’s-eye-view, full-spectrum superintelligence must also be hypersocial and supersentient: able to understand all possible first-person perspectives, the state-space of all possible minds in other Hubble volumes, other branches of the universal wavefunction (UWF) – and in other solar systems and galaxies if such beings exist within our cosmological horizon. Idealized at least, full-spectrum superintelligence will be able to understand and weigh the significance of all possible modes of experience irrespective of whether they have hitherto been recruited for information-signalling purposes.
David Pearce, in The Biointelligence Explosion (2012)

If we succeed at developing a science of art built on top of a modern science of consciousness, what should we do with it? What would the art of a wise post-scarcity and post-suffering society look like? As far I can tell, Utopia consists of both having the system in place to keep the lights on, while being able to use the surplus energy to power blissful experiences beyond the bounds of our current conceptions.

harmonic_society

Harmonic Society by ALGE

The vision of Harmonic Society is that of a particular type of post-suffering utopia that resolves to optimize for good art. Referencing the models of art we’ve built upon so far: Harmonic Society (1) knows there are stakes in art and hence sidesteps the traps of semantic deflation, (2) avoids runaway signaling and Cool Kid gridlock, (3) utilizes Hipsters to explore promising new frontiers, (4) has mastery over a diverse range of conceptions of the sacred, (5) systematically explores the state-space of consciousness, (6) has a scientific and precise understanding of the energy parameter of experience, and (7) has deep knowledge of how to induce arbitrary types of neural annealing. In addition to all of this, Harmonic Society has (8) a map of all high-level aesthetics, knows what they are useful for, and can instantiate them at will.

In Harmonic Society there is always a way to smoothly transition between seemingly irreconcilable aesthetics. It deeply understands the pros and cons of different aesthetics and knows how to apply them optimally both for instrumental purposes and hedonic value.

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Image by Michael Aaron Coleman

Nowadays a lot of people who could benefit from, e.g. going to art festivals, taking acid, subpack cuddle parties, participating in plays (i.e. exposing themselves to high-end aesthetic experiences), find it hard to do so, because it is difficult to get back to work once the weekend is over after experiencing incredible bliss. A rough solution to avoid residual incompatibility between the state you annealed over on the weekend with the mindset you need today for work would be to develop a mood organ[2] that instantly puts you into any mindset you want. But perhaps a more elegant solution is to have such an advanced and detailed map of the state-space of mindsets that smooth, painless, and synergistic transitory states between arbitrary modes of being are discovered.

Thus, one could one minute be on a 5-MeO-DMT-type white light conscious void ultra-blissful state, the next minute be on a perfectly functional MDMA-like state useful for socializing, the minute after moving to a highly-focused nootropic-like systematizing state, and so on. The aesthetic to foster here is a meta-aesthetic of avoiding sharp discontinuities between mindsets, and allowing you to transition between all known awesome aesthetics. In Harmonic Society the entire state-space of consciousness is your oyster.

A further thought about Harmonic Society is that a sufficiently advanced understanding of aesthetic experience might even revolutionize our understanding of identity.
For instance, a non-trivial sense of personal diachronic identity could arise if everyone
starts to identify with e.g. a different person-specific song. If we truly understood how
valence works and we had full access to our neurocircuitry, we could in a way embody a
given work of art and interact with others in a way that is consistent with the artistic
degrees of freedom our identity allows. This way, people’s interactions could perhaps be guaranteed to be positive. The combinatorial space of possible back-and-forth interactions does not need to be small, since high-energy allows for incredibly varied states. But nonetheless we could get to a point of understanding how valence works such that we could provably demonstrate that two persons with the right neural implementations will always have positive-sum interactions no matter what.

Open_Closed_Empty_Ring

Identity in Harmonic Society: The aesthetic of understanding the valence of every possible state of consciousness and how to translate what matters between them. (Picture: Symbol of Open, Empty, Closed Individualism from Burning Man Theme-Camps of the Year 2029, Continuity Camp)

Conclusion

As the guiding premise of this essay we started out assuming that there are real and substantial stakes in art. It sure is all fun and games to think that anything goes in art until your landscape of cultural meaning is polluted with replicator strategies and attention-zapping exploits that lead to long-term neuropsychological problems and anneal false and neurotic metaphysics. Understanding art matters.

I would make the claim that a new science of valence, i.e. a new science of pleasure, pain, love, hate, and indeed transcendent bliss, can be a new rallying flag for cultural value. Rather than the messy consilience patchwork between different aesthetics we have today, we might in the future indeed find a true and real grounding for the meaning of beauty and bliss. Contrary to the conservative spirit often associated with calls to reinvigorate an objective sense of beauty, here we arrive at a theory of art that would very well appreciate experiences as outlandish as DMT breakthroughs. This theory of art appreciates such states not “just as much” as fine art, but indeed as far more valuable and implicated in what matters than most of everyday life. For art, meditation, psychedelics, and philosophy all share the fact that they are messing with the energy parameter of experience in powerful ways that can be used to achieve much better and globally-consistent brain states. Understanding that the effects of art can be very strong and life-changing is one thing, but knowing the mechanism of action behind those changes comes with entirely new possibilities and responsibilities. We invite you to consider what this entails, and to join us in envisioning a future Harmonic Society constructed with full knowledge of neural annealing.


[1] It is worth mentioning that Steven Lehar used annealing to describe the subjective progression of his ketamine experiences in his book The Grand Illusion: A Psychonautical Odyssey Into the Depths of Human Experience. [October 2019 – Edit: Carhart-Harris and Friston wrote a paper together in which they discussed annealing in the context of psychedelic research (see summary). The paper was published in July, two months after I submitted this essay to Art Against Art in May of 2019. We are delighted to see independent convergence on this concept and its importance.]

[2] The Penfield Mood Organ is a technology described in Do Androids Dream of Electric Sheep? by Philip K. Dick that allows the user to instantly tune into any of hundreds of possible moods via direct cerebral stimulation. Some example moods include “3. The desire to dial other moods”, “481. Awareness of the manifold possibilities open to me in the future”, “594. Pleased acknowledgment of husband’s superior wisdom in all matters”, and “888. The desire to watch TV, no matter what’s on it”.



Glossary

Cool Kids: Someone who is well-rounded and uses strategic mediocrity in order to entice people to show their peacock feathers. At its extreme, Cool Kids become the leaders of artistic gangs who corner the marketplace of aesthetic attention.

Hipster: Someone who enjoys art and media that seems too obscure to care about. Typically, the preferred aesthetics of a Hipster are highly detailed and focus on specific favored attributes at the expense of well-roundedness. A Hipster does not only have opinions about what is enjoyable, but also about how to enjoy it and why.

Nerd: Someone who wants to figure out what is true, especially as it applies to technical and formal systems. A philosophy nerd, for instance, compulsively tries to figure out ultimate truth.

Minimax art strategies: A strategy for making art that tries to be the best on a narrow set of attributes while neglecting well-roundedness. This is sometimes adaptive and some- times maladaptive.

L1/L2 normalization: Using mean absolute error (L1) favors minimax strategies vs. using mean squared error (L2) which favors well-rounded strategies.



Special thanks to: Michael Johnson, Romeo Stevens, Liam Brereton, Duncan Wilson, Victor Ochikubo, and David Pearce for their thoughts and feedback.



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

References:
Eno, B. (2012). ‘What is Art actually for?’. Retrieved from https://youtu.be/XIVfwDJ-kDk
Stanley, J. (n.d.). Philosophy of Language in the Twentieth Century. Retrieved from http://thatmarcusfamily.org/philosophy/Course_Websites/Readings/Stanley%20 -%20Language%20in%2020th%20Century.pdf
Marr, D. (1982). Vision: A computational investigation into the human representation and processing of visual information. San Francisco: W.H. Freeman.
Wittgenstein, L. (1953). Philosophical investigations. Philosophische Untersuchungen. Oxford, England: Macmillan.
Wikipedia Contributors (2019). Lisztomania. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Lisztomania [Accessed 16 May 2019].
Miller, G. F. (2001). The mating mind: How sexual choice shaped the evolution of human nature. New York: Anchor Books.
Zizek, S. (2019). on #MeToo movement. How to Watch the News, episode 02. RT. Retrieved from https://www.youtube.com/watch?v=ai_UAPaoEW4
Oleg. (2019). Mementomorium. Retrieved May 16, 2019, from Mementomorium.org website: https://www.mementomorium.org/
Lilly, J. C. (1975). Simulations of God : the science of belief. Berkeley, Ca: Ronin. Lilly, J. C. (1974). [Programming and metaprogramming in the human biocomputer.] The human biocomputer. Theory and experiments. (2nd ed.). London: Abacus. Wilber, K. (2007). Integral spirituality : a startling new role for religion in the modern and postmodern world. Boston, Mass.: Integral Books.
Kegan, R. (2001). The evolving self : problem and process in human development. Cambridge Harvard University Press London.
Commons, M. (2008). Introduction to the Model of Hierarchical Complexity and Its Relationship to Postformal Action. World Futures. 64. 305-320. 10.1080/02604020802301105.
Falkenstein, E. (2010). Why Envy Dominates Greed. Retrieved May 16, 2019, from Blogspot.com website: https://falkenblog.blogspot.com/2010/03/why-envy-dominates-greed.html
Moji, K. (1998). The Qualia Manifesto. Retrieved May 16, 2019, from Qualia-manifesto.com website: http://www.qualia-manifesto.com/manifesto.html
Borges, J. L. (1944). The Library of Babel (La Biblioteca de Babel), Buenos Aires: Editorial Sur
SleepyE. (2016). DMT Trip: Jester Entity Occurrence From Viewer. Retrieved from https://www.youtube.com/watch?v=fmVA1755ffM
Gómez Emilsson, A. Burning Man Theme-Camps of the Year 2029: From Replicator to Rainbow God (2/2). (2019, April 9). Retrieved May 16, 2019, from Qualia Computing website: https://qualiacomputing.com/2019/04/08/burning-man-theme-camps- of-the-year-2029-from-replicator-to-rainbow-god-2-2/
Johnson, M. (2018). The Neuroscience of Meditation: Four Models | Opentheory.net. Retrieved May 16, 2019, from website: https://opentheory.net/2018/12/the-neuroscience-of-meditation/
Johnson, M., (2016). Principia Qualia: Blueprint for a new science v1. Retrieved from http://opentheory.net/PrincipiaQualia.pdf
Friston, K. (2010). The free-energy principle: a unified brain theory? Nature Reviews Neuroscience, 11(2), 127–138. https://doi.org/10.1038/nrn2787
Schmidhuber, J. (2009) Simple Algorithmic Theory of Subjective Beauty, Novelty, Surprise, Interestingness, Attention, Curiosity, Creativity, Art, Science, Music, Jokes. Journal of SICE 48(1), 21-32
Carhart-Harris, R. L., Leech, R., Hellyer, P. J., Shanahan, M., Feilding, A., Tagliazucchi, E., … Nutt, D. (2014). The entropic brain: a theory of conscious states informed by neuroimaging research with psychedelic drugs. Frontiers in Human Neuroscience, 8. https://doi.org/10.3389/fnhum.2014.00020
Atasoy, S., Roseman, L., Kaelen, M., Kringelbach, M. L., Deco, G., & Carhart-Harris, R. L. (2017). Connectome-harmonic decomposition of human brain activity reveals dynamical repertoire re-organization under LSD. Scientific Reports, 7(1). https://doi.org/10.1038/s41598-017-17546-0
Atasoy, S., Donnelly, I., & Pearson, J. (2016). Human brain networks function in connectome-specific harmonic waves. Nature Communications, 7(1). https://doi.org/10.1038/ncomms10340
Kanungo, R., & Lambert, W. E. (1963). Semantic satiation and meaningfulness. The American Journal of Psychology, 76(3), 421-428.
Gómez Emilsson, A., (2016). The Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets, and Saddled Scenes. Retrieved May 16, 2019, from Qualia Com- puting website: https://qualiacomputing.com/2016/12/12/the-hyperbolic-geometry-of-dmt-experiences/
Bostrom, N. (2008). Letter from Utopia. Studies in Ethics, Law, and Technology, 2(1). https://doi.org/10.2202/1941-6008.1025
Dick, P. K. (1968), Do androids dream of electric sheep? Garden City, N.Y., Doubleday Pearce, D.(1995) The Hedonistic Imperative. Retrieved May 16 2019 from: https://www.hedweb.com/hedab.htm
Lehar, S., (2010) The Grand Illusion: A psychonautical odyssey into the depths of human experience, Retrieved May 26 2019 from: http://cns-alumni.bu.edu/~slehar/GrandIllusion.pdf
Simler, K. (2014). Ads Don’t Work That Way | Melting Asphalt. [online] Available at: https://meltingasphalt.com/ads-dont-work-that-way/ [Accessed 16 May 2019]. Pearce, D. Supersentience. (2012). Retrieved May 16, 2019, from Biointelligence-explosion.com website: https://www.biointelligence-explosion.com/parable.html
Kent, J. L. (2010). Psychedelic Information Theory: Shamanism in the Age of Reason, Chapter 05, ‘The Control Interrupt Model of Psychedelic Action’. PIT Press, Seattle.

Harmonic Society (3/4): Art as State-Space Exploration and Energy Parameter Modulation

The following essay* was recently published in the Berlin-based art magazine Art Against Art (issue). Below you will find models 5 and 6 (out of 8), which are new, original, and the direct result of recent insights about consciousness as uncovered by modern neuroscience, philosophy of mind, and the work of the Qualia Research Institute. (See models 1 & 2, and 3 & 4).

I will wrap up this series next week with something many readers would know to expect – an explanation for how art is connected to valence. Stay tuned!


5. State-Space Exploration

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.
– Ken Mogi in The Qualia Manifesto (1998)

Is there anything beyond the sacred? Yes. This model of art posits that one key feature of art is the pursuit of novel experiences that challenge preconceptions of what is possible to experience. The state-space[1] of possible experiences is unfathomably vast, and mundane everyday human experiences are restricted to a tiny corner of this enormous behemoth. As they say, “you won’t know if you like it until you try it”. Applying that logic to the exploration of the state-space of consciousness would encourage us to open our horizons and become receptive to the possibility that there are true gems of experience waiting to be found in exotic regions of this space.

Now, it is easy for some people to fetishize the exotic for novelty’s sake. But contrary to popular belief, novelty is not intrinsically valuable. Taking into account previous discussions (especially models 2 and 3 above), we can interpret artistic explorations that push the boundary of our knowledge about what can be experienced as a sophisticated form of signaling genetic fitness. In particular, mastery over novel modes of experience shows that you have the mental and physical power to devote copious amounts of resources to exploration, for only one in a thousand attempts at discovering something new results in something that other people can appreciate. It is thus the case that a lot of novelty creation is aimed at courtship rather than being driven by a genuine passion for knowledge.

clamped_aesthetic

Left style source: Adrián Regnier Chávez. Right style source: Carpet by ALGE

That said, what is out there hidden in the state-space of consciousness beggars belief. Anyone who is exploring that vast space in an intelligent way will sooner or later find incredible things. But how do we explore this space intelligently? A systematic exploration of possible images, for instance, could involve taking a picture and changing one pixel at a time. But as we all know, the Library of Babel is almost completely devoid of meaningful books. At least relative to its size. A much better way of exploring the space (inspired by Steerable Pyramid and Deep Dream-type algorithms) would be to sample possible images with an intelligent method, such as training generative neural networks on previous works of art, and then asking them to hallucinate possible images while constraining the neural layers you identify with the aesthetic quality of the images. Style transfer techniques and similar methods can result in images sampled from a given aesthetic, rather than from e.g. a particular low-level feature set (e.g. a type of edges) or a set of high-level semantic content (e.g. cars, people, dogs, etc.).

clamped_aesthetic_1

Left style source: blue balloons in a living room. Right style source: collection of blankets by ALGE

Exploring the space of possible images is an extremely small sub-problem of exploring the state-space of consciousness. But I think the analogy is useful as a general idea. Now, how vast is the state-space of consciousness? Well, it tends to be larger than you think, even when you take that fact into account. I will coin that fact as Gomez-Emilsson’s Law. Every time you think you know how vast the state-space of consciousness is, you will be surprised to find out you are wrong if you choose to dig deeper.

Consider what happens when someone takes LSD. Most people expect that they will simply get to experience new sensations like brighter colors, tracers, or synesthesia. This is true to a point, for light doses. But on medium doses, in addition to exploring the state-space of sensory configurations, one also experiences new aesthetics, which this model would define as ways of organizing a lot of sensations in ways that feel right. More so, an aesthetic is also a way of delivering uninhibited sensations in a way that feels good at the level of the whole experience, from moment to moment. Most people have no clue that there is a vast space of possibilities here.

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Illustrates “state-space of beach rocks” by unknown artist at Sombrio Beach in Vancouver. Photo: Julia Pope

On higher doses, people are surprised to find an even more general way of exploring the state-space of consciousness. Namely, one instantiates alternate games. The DMT “vibe” that people report can be thought of as more than a “context switch”. It is, rather, a more radical change that we could describe as a “game switch”. The “Jester” that people talk about regarding DMT experiences is an archetype that the mind uses to signal the “rule violation” quality of the state. There is so much going on that one’s experience splits into multiple games at once trying to find some common ground, and this feeling of game-incompatibility feels very alien. A sort of anti-virus system in the mind is triggered at that point, and labels the inconsistency with a feeling of weirdness so that you know not to update your actions based on the (currently globally inconsistent) experience of multiple superimposed games. Rule violation through fast changes in implicit games of social status causes you to interpret what is going on as having extreme stakes. Interacting with DMT Aliens, Gods, Elves, etc. feels like the upper limit of potential social status transfer that your world simulation affords (like meeting a president or a king). The state-space of consciousness contains all of these alternate games and metagames, and we have not even begun to catalogue them. This is all to say: seen in this light, the era of art has just begun.

Like the previous models, this one also gives rise to an aesthetic of its own. I call this the aesthetic of “Rainbow God”. This is the meta-belief that we gain value by understanding and experiencing extremely novel states of consciousness. Ultimate bliss, according to this aesthetic, is not a bland monotone state, but rather, is a state that incorporates within it an extraordinary variety of types of qualia. Posthuman aesthetics will not only show up in the form of intense feelings, but also in the form of extremely “rainbow-ey” experiences. The concept of a full-spectrum intelligence (an intelligence capable of instantiating any qualia at will) plays an important role in this aesthetic. Thus, the full-spectrum artists of the future will have access to a qualia pallet in an experience editor[2] that includes human qualia like sight, touch, scent, emotions, thought-episodes, etc. It will also include qualia only found in insects, fish, mollusks, people tripping, people having seizures, novel neurocircuitry, etc. The asymptote of incorporating all possible varieties of qualia into a single experience is the final realization of Rainbow God, the ultimate state of knowledge and beauty according to this aesthetic.

6. Energy Parameter Modulation

SeifertSurfaces

Seifert Surfaces by Paul Nylander

People say they have weird and novel experiences with art, but by a large margin, the novelty itself is not the focus of what matters in people’s reports. Rather, people especially talk about having experiences that are not only novel and unusual, but also characterized by heightened states of consciousness. For example, when people “get art” they report being inspired, amazed, surprised, enthralled, or even shocked. These states seem to have in common a quality of high-energy in one form or another. Although possible, it is rare to talk about art as purposefully sedating, boring, anesthetizing, or numbing. That’s the exception. In general, art as diverse as Japanoise and Jodorowsky have in common the quality of heightening, and not only changing, one’s state.

At the Qualia Research Institute (QRI) we take very seriously the notion that experience has an energy parameter. In psychology-speak, nearby concepts include emotional arousal and activation level, though these tend to have more physiological than phenomenological connotations. In contrast, we hold that you can indeed experience very high levels of conscious energy without at the same time experiencing the physiological responses that are usually associated with high arousal (such as high heart-rate, high breath-rate, high blood pressure, sweating, etc.). Likewise, it is not the case that only traditionally high-arousal emotions (such as being excited, thrilled, fearful, anxious, etc.) come in high-energy forms. Indeed, it is possible to experience states of relaxation, serenity, equanimity, and peacefulness in extremely energetic forms(!), as happens in the concentration-based altered states of consciousness called “Jhanas” in the Buddhist tradition.

Here it is relevant for me to bring up the fact that my colleague Mike Johnson recently wrote about the neuroscience of meditation. He discussed how to make sense of the acute and long-term effects of meditation through the lens of modern neuroscience paradigms, and then found a way to tie them together into an overarching theory. For the sake of brevity I will schematically outline some of the key features of the paradigms he integrated:

  1. Free Energy Principle (Karl Friston, 2010):
    1. The brain is trying to minimize expected future surprise by building high-level models of sensory input
    2. When a model says that the input is very unlikely, our brain propagates an error signal in the form of excess energy
    3. This energy motivates the search for a better model, for which the previously surprising input is now expected
  2. Entropic Disintegration (Robin Carhart Harris, 2014):
    1. Psychedelics elevate the “neural temperature” of the brain, meaning that they increase the entropy/disorder present in neural circuits
    2. One’s everyday mode of consciousness relies on learned neural patterns solidified over years, which at times can be chronically maladaptive
    3. By “raising the temperature” of our neural circuits, maladaptive neural circuits, especially “egoic structures” in the default-mode network (DMN), disintegrate
    4. This enables you to “start from scratch” and form new, more adaptive, neural patterns
  3. Connectome-Specific Harmonic Waves (Selen Atasoy, 2016):
    1. Physical systems with excitation-inhibition wavefronts have harmonic modes
    2. By mapping out the connectome of a brain (white and grey matter tracks) and using empirically-derived excitation-inhibition differential equations of neural activity, one can infer the electromagnetic resonant modes of a given brain
    3. Using this technique, it was found empirically that psychedelics increase the amplitude of connectome-specific harmonic waves across the spectrum, and in particular, the amplitude delta is higher on the upper ranges of the spectrum

Tying together these frameworks we see that (a) the brain responds to surprise in an excitatory way which gives rise to a process of search for better models, (b) there is a sense of neural energy for which increasing it gives rise to the disintegration of pre-existing patterns, and (c) there is a sense of actually physical energy in the brain tied together with its resonant modes, which are variable depending on one’s state of consciousness. To bring all of these frameworks together, we can interpret them in terms of energy sources and energy sinks:

  1. Energy Sources: surprises, sensory stimulation
  2. Energy Sinks: passage of time (decay factor), semantic content (crystallization around explanatory representations), pre-existing attitudes

At a high-level, we could describe the relevance of these frameworks for art as follows: For art to energize you it needs to either reduce the influence of energy sinks and/or increase the amount of energy from energy sources.

The numerous tricks of the craft of different kinds of art can be reinterpreted in this framework. For example, a lot of artistic advice for a broad audience focuses on making sure that there is a twist you are introducing in an otherwise familiar space. Even subtle surprises (colors being out of place, unusual garments, implausible actions, perspective mixups, etc.) will propagate a prediction error and heighten the energy available in one’s state. This will make you experience the rest of the piece in a more energized and impactful form. Now, to sustain the heightened energy parameter, it is important to avoid making it easy for the brain to redirect the energy to a large energy sink. If the perceptual mistake one makes is one you are familiar with and have experienced before, you might end up diverting the newly available energy towards reinforcing an attitude you developed about that perceptual mistake (e.g. word tricks could trigger anxiety about not being a good reader rather than helping you stay in an energized state).

This paradigm also puts in a different light, and makes sense of, the criticisms often raised against pieces perceived as Kitsch, Camp, and Cliché, or other aesthetics centered around the over-use of a given artistic trick. Art can fail to sufficiently energize your state by failing to introduce a large enough surprise. If you can immediately grasp the full scope of the novelty introduced by a given piece (even if you are misapprehending the input!) you can quickly categorize your experience into a pre-existing bucket and skip the intended energized state. This functions as an energy sink, and hence you fail to stay energized.

This is just a piece of the full story here, for energy sinks are not completely reliable. There is a phenomenon called semantic satiation, where a pattern of rapid and regular repetition of words, images, and concepts makes them feel meaningless. So even the most cliché of art can indeed get the job done of energizing your state of consciousness, by presenting many versions of the same thing in flashes at a sufficiently high rate (I’m not saying this is necessarily pleasant, but it might be effective!). On the flip side, if what you are after is the maximization of a particular meaning in e.g. a commercial, you will find there is a Goldilocks Zone for the number of times you should present the core concept/image to the audience; too few and the meaning will be weak, too many and you’ll trigger semantic satiation by overwhelming the energy sinks of the audience.

Schematically, there are three broad ways of inhibiting energy sinks to allow the buildup of what we call “semantically neutral energy”. You can:

  1. Disable,
  2. Overwhelm, or
  3. Avoid them

Let me elaborate. First, you can disable energy sinks by switching to unfamiliar contexts (e.g. it is harder worrying about work while on a screen-free beach, at a museum… or at Burning Man). Also, disabling energy sinks can happen in states of exhaustion, fasting, intoxication, or other states of mind that impair some of the normal functions of the brain. Second, as we saw, semantic satiation would be an example of overwhelming energy sinks, but there are many other ways of doing so, such as increasing the intensity of input above a certain threshold. And third, avoiding energy sinks involves things like setting the intention to focus your attention on a meditation object and refocus on it every time you get distracted. Alternatively, one can load a given energy sink with negative implications and learn to avoid it via negative feedback (e.g. when a standard interpretive framework is frowned upon by a social group).

Most drugs and activities could be described in terms of their characteristic effect on energy sources and sinks.[3] But only some of these drugs and activities are “broadband energy enhancers”, in the sense that the energy they give rise to is transferable to a broad range of mental and physical activities. This is what sets meditation, trance-inducing music/dancing, psychedelics, philosophy, and art apart from other energizing activities. Those methods in particular allow energized states to be sustained for long periods of time, and they give rise to novel sensations exclusive to the high-energy regions of the state-space of consciousness.

A note on psychedelics here is in order. There is indeed something very peculiar that psychedelics do to the energy sources that to my knowledge is not done by the other broad-band energy enhancers. Psychedelics make energy sources echo! They change the neuroacoustics of the brain, which favors temporally repeating patterns in a delayed-echo fashion along with a slower decay function for experience over time.[4] Thus, visual tracers and the amplification of music appreciation during a psychedelic trip are both expressions of the same underlying principle: the brain is more resonant. The fact that this effect is distinct from what art, meditation, philosophy, or strobes have to offer makes psychedelics synergistic and complementary with the other methods. After all, it is hard to ignore the gazillion subjective reports of enhanced aesthetic appreciation experienced on even small doses of psychedelics.

For the above reasons, I think this model has a lot of explanatory power. To recap, this model of art says that increasing the energy parameter of one’s consciousness is the success condition of art. It explains the repeating trance-inducing quality of music, the need for balance between predictability and surprise, common craft advice, and the existence of higher aesthetics. In turn, this model implies that art can be done in a wrong way. Art that is uninspiring, insipid, unexciting, irrelevant, etc. could be understood as art that fails to raise the energy parameter of those who experience it. And indeed, the higher the form of the art, the more it allows for the buildup of semantically-neutral energy.



[1] The term “state-space” refers to a very general concept that identifies the set of all possible configurations of a given system (of equations, machines, experiences, etc.) and the ways in which these configurations can transition from to another.

[2] As a proof of concept: According to cognitive scientist Steven Lehar, combining LSD, Ketamine, and THC can give rise to a “free-wheeling hallucination”, which is a state of mind where one gains the ability to edit the contents of one’s experience at will (“You can say ‘give me a table’ and a table will appear right in front of you as real as a solid table”).

[3] For example, anti-psychotic drugs are broad-band energy sink enhancers, psychedelics are broad-band energy source enhancers, classic stimulants (such as amphetamines) are narrow-band energy source enhancers, classical depressants (such as benzodiazepines) are narrow-band energy sink enhancers.

[4] In one account proposed by “Psychedelic Information Theory” (James Kent), psychedelics achieve the tracing/echo effect by disabling an energy sink. The control interrupt model of psychedelic action says that there are natural inhibitory processes that prevent features of our current experience from building up over time. Psychedelics are thought to chemically interrupt inhibitory control signals from the cortex, which are constantly preventing the build-up of qualia. In this account, what you are paying attention to is in fact the part of the sensory input that is being inhibited the least. Interrupting the inhibitory “control signal” gives rise to echoes of previous states across the board that you intrinsically attend to whether you like it or not.


Featured image credit: Seifert Surfaces by Paul Nylander

* Originally titled: Harmonic Society: 8 Models of Art for a Scientific Paradigm of Aesthetic Qualia

Announcement: QRI Presentations at Harvard and NYU

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

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

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

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

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

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

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

 


 

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


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

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

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


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

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

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

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

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

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

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

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

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

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