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.

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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

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

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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).

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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

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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.
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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
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On Hitting the Actual Target of Hedonic Tone

Practically speaking, I think that our single best psychopharmacological bet for tackling depression, anxiety, and above all chronic pain worldwide in the next decade is to:

1) Identify great, non-toxic, partial mu-opioid agonists with extremely high therapeutic index (e.g. tianepetine, 7-hydroxymitragynine, etc.), and

2) Prescribe them in conjunction with anti-tolerance drugs (such as proglumide, agmatine, black seed oil, small dose ibogaine, etc.).

I think that whomever manages to patent a mixture of partial opioid agonist + anti-tolerance drug that works in the long term will be a multi-billionaire within a couple of years while actually reducing/preventing massive amounts of untold suffering.

imgsrv

Proglumide: A Promising Anti-Tolerance Agent (proof of concept of what is to come)


Ps. My core research at QRI is not pharmacological but rather phenomenological and “patternceutical“. So I am not pursuing the above line of research myself as the core objective of the next few years. But if I was looking into pharmacological options, that’s where I’d shine some light on. If you are in the field, I urge you to look into this option. For more info: “Anti-Tolerance Drugs“.

The Resonance and Vibration of [Phenomenal] Objects

Extract from “Many Voices, One Mission” by Michael G. Reccia, R. Jane Kneen

25th February, 2007

[Jane recalls: This clairvoyant address from Silver Star was given to Michael and myself one Sunday morning on our return home after he had accompanied us on a walk around the local reservoir.]

Silver Star: I want to talk about resonance and vibration, particularly in the spirit world. What I am going to talk about also applies to this level but cannot be picked up with earthly senses.

Everything in the spirit world has a sound, a colour, a tonality of Light and a degree of sentience. If I place a box in front of you on an earthly level it is simply a box …a utilitarian, functional, square structure built to hold something. If I gave you a box from the spirit worlds, that box has been created by thought. So, if I have a box in my house in the spirit world and turn my attention to it, that box will have a colour value. It is not just a box but is also a vibration of Light, and it is that vibration of Light that gives it its ‘solidity’. It will have a particular colour according to the purpose I assign to it. And, because the spiritual atoms in the box are vibrating at a certain rate, that box also has a sound value if I choose to tune in to it, which will be pleasing to the ear because the box has been created in one of the worlds of Light. That box is made from energy so as well as its colour – which will change dependent on what I want the box to do – it also has a luminance.

So, every object in the spirit realm has a colour (even a seemingly transparent box has a colour value) …it has a vibration of sound …and it has a perfume. The box stimulates all the senses we had on Earth so we can see, hear, touch and smell it.

Michael: Why would it have a perfume, Silver Star?

Silver Star: All the senses can be used as a spirit. Even though there is no dense atmosphere like on Earth, the sense of smell is stimulated by any object. There are exquisite perfumes here and each object has a unique scent dependent upon its complexity and intention of purpose. There is also a background aroma from the landscape and a subtle fragrance with people as well.

All your senses work at once, spiritually speaking, which is why, when Michael tries to describe spirit communication, he says it is like a beam of energy that carries within it a huge amount of information. Each object here conveys a lot of information …it has Light …it has a colour value …it has a sound value …and it has a perfume.

You can tune out these things, dependent on which of them you want to sense, or you can experience all of them at once. You can (as in your drug ‘culture’ on Earth) smell colours. You can experience emotion through colours and so feel warm or cold or happy or sad through colours. You can hear the symphony of Creation that runs through everything, and yet it can be individualised so that you only hear it coming out of the ‘box’ or just from the atmosphere around you …or you can hear it coming from the whole of the sphere you are in at the time.

Discord also exists in the Lower Astral because people there are still God-like in potential and what they imagine takes form. They think up discordant images and those images have vibrations that clash …that have a disagreeable odour …that exhibit violent colours …that carry sounds that are an assault on the senses. The spirits in the Lower Astral can feel and sense their havoc that, whilst on Earth, they thought they were creating in secret.

As an example of what I am trying to put across, let us take the simple act of one person visiting a friend with the express intent of spreading discord by voicing disharmonious views about a mutual acquaintance. On an earthly level all the person can be seen to have done is travel from point A to point B, indulge in malicious gossip, and then return home with no apparent retribution or consequence for having done that.

On a spiritual level, however, as soon as that person decides to undertake that malevolent course of action, they create jagged thoughts around themselves and attract towards themselves similar spirits from the Lower Astral. So, accompanying them unseen on that journey are spirits who think that this is a fun thing to do, because their vibrations are similar to the intentions of the soul on Earth wishing to cause trouble.

In contrast, the person who is sitting in meditation creates thoughts of Light and balance, and creates spheres (like the ones photographed over your door [reference to the coloured orbs that I had unexpectedly captured on my camera]), which have lovely, balanced colours and beautiful harmonies and sounds. Whereas the person who is acting negatively towards someone else creates a ‘thunderstorm’ around themselves with roiling clouds of darkness and disharmony within that bubble. Those disharmonies are then recorded in the karmic pattern of the person’s life, inhibiting their vibration so that, when they pass to spirit, they have to rid themselves of that thought and intention (even though they might not have thought about it for years) before they can raise their vibrations enough to fully appreciate the worlds of Light.

So, just as there are harmonious colours in Creation, there are also disharmonious colours; and just as there are harmonious sounds there are sounds – like clashing cymbals – of discord and disharmony.

Many illnesses on Earth are caused by the body having to react on a subconscious level to the constant battering of disharmony that the spirit has created around itself, year in, year out. The cells within a person’s body also vibrate, have a sound- and Light-quality and are designed to be harmonious but can be overcome by the bombardment of dominant negative thoughts from the person. That dulls or extinguishes the Light within the cells, resulting in the cells becoming unhealthy because they are not receiving the harmony from God that should reach them …so thick are the thoughts around the person and their subconscious.

In spiritual work you will often detect a smell …such as cigarettes, earth or perfume. The part of the wavelength that affects smell is easier to manipulate from one of the spirit worlds than sight or hearing, so very often a discarnate soul will convey a smell to the person on the Earth plane they wish to contact because it is the easiest way (relatively speaking) to do so from the spirit worlds.

So, if we come back to my box – a simple object like that is really a riot of colour, sound and intention but so is everything on Earth …as above, so below. The chair you are sitting on has its own harmony, its own energy-signature and a colour that is quite apart from the colour vibration you can see on the Earth plane. That vibration or low level of sound is harmonising with the other sounds in your room – such as the sounds that the chairs and the television are giving out; and electricity gives out a very specific sound-signature spiritually. There are colours that are emanating in your room on a spiritual level and perfume vibrations given out by various objects. Flowers, for example, give off perfume on a low level on the Earth but their perfume as a glorification of God on a spiritual level is wonderful to experience.

All this is going on in everyone’s house and this is why a medium can enter someone’s room and instantly feel threatened because of the chaos picked up there, or in somebody else’s room – like this one – feel at peace because peace is in the atmosphere. On a subconscious level you, as souls, pick up the Light-signature, the colour-signature, the sound and the perfume from the objects within a room… and, indeed, from people themselves.

It is not a cacophony in our world because everything is harmonious and we can tune in or tune out those particular vibrations, just as you would on a television. If we do not wish to hear the background noise of the universe we tune it out – knowing that it is always there if we wish to tune back in to it. If we don’t wish to see beyond the physical objects that we have (like the box) and don’t want to see its colour or Light, we tune out of that particular wavelength so we are just looking at the object.

The reason I am telling you this is to make you aware of the fact that the universe is vibrant and alive. There is no such thing as a ‘dead object’ because the last quality my box exhibits is a degree of sentience. It is built out of God-ether …the substance of the universe… and, therefore, is alive. I can influence the box with my moods and so it is on Earth. You influence your immediate surroundings with your moods and, because those surroundings are, in effect, alive, they react to the way that you are feeling.

Objects on Earth should be blessed periodically and dedicated back to God so that their vibration is raised and they will then serve you rather than drag you down by exhibiting depressive tendencies that they have picked up from yourselves! This is why you should bless your houses. Anything new that is brought into your house should be blessed because you don’t know the history of that object. You don’t know who has touched it before and what their thoughts or intentions have been. Everything should be blessed and dedicated to God …so should the food you eat …and the thoughts you think. You should say: ‘Father, this morning I pray that my thoughts be of the highest quality and worthy of You‘ and then you are not thinking things that will damage you.

I would like to leave you the box to think about. It is just a box that I have created from nothing by thinking, ‘I want a box!’ …What colour is it? …What is its intention? …What are you going to use it for? …How much Light does it exhibit?

It is up to you!

It depends what you put into that box.

That box is symbolic of every thought you think, everything that is in your house and everything you use – from your car to your telephone – and, just as I can influence that box, you can influence the things around you. That is why the Persian Gentleman said some weeks ago [reference to a private communication] that you should bless and thank the objects in your house because they react at a God-level to your approach to them. If you love them they become filled with Love; if you hate them they become filled with hate.

So, I have tried to bring through something of the abstractions of our world and pin them down through physical speech. Our world is a world of Light, of colour, of perfume, of sound …and so is yours.

Bless your days …bless each other …bless the objects, then you are putting Light into them as co-creators of those objects, which is what you will eventually be. You might not have physically made a chair today but one day with the power of your mind you will. You might not have physically built a house but you are building the house you will go to in the spirit realms by your thoughts whilst on Earth. So, be aware that you are creating, even though this is a pool of vibration where other people create physical objects for you. What you put into those objects you create yourself and get heaven or hell from them dependent on your motives and thoughts.

Would Jane would like to ask a question about anything I have just said?

Jane: Do objects emit music as well?

Silver Star: To create heat you stir up molecules – that is heat. Heat is molecules hitting each other because they have become agitated. To create any object, you formulate the molecules so that they become that object temporarily. Once formulated, however, they are not in stasis but in motion. If something is in stasis it decays; therefore, there must be movement. So, dashing about within the box that I have created are molecules that give the illusion of the box being ‘solid’. They are reacting to each other and – as when you rub your finger around the rim of a wine glass – it creates a sound. You cannot hear it on this level but you can on ours. Every object has a tone because of the way in which the molecules within it are moving. Does that make sense?

Jane: Yes, thank you.

Silver Star: Was there anything else?

Jane: No.

Silver Star: Then I will leave you, although I never leave you on a Sunday and, in particular, I never leave Jane [reference to Silver Star’s role as my principal guide]. I leave Michael to my colleague, the Persian Gentleman [reference to P.G. being Michael’s guide], and God bless you for the work you have done this week on behalf of us all – and for the work you will continue to do.


Analysis

Is there any value in considering the experiences described in the text above? With a physicalist ontology paired with inferential realism about perception, we are compelled to conclude that when people report traveling to heaven worlds and seeing objects that make signature multi-sensory music, they are really reporting on the quality of hallucinations. Alas, this is not enough to dismiss these reports as useless. Why? Because they may have some key information about how phenomenology works, and specifically, about valence structuralism. Let me explain.

The experience of going to a phenomenal world where the objects resonate and produce notes in all sensory channels has been reported by a number of people from various traditions (e.g. how Buddhas are said to emit blissful vibrations in the pure abodes, flowers making music in heaven as described by a gnostic “medium” (The process of dying), the sound-sight complementary nature of Mandalas and Mantras*, etc.). As I’ve said elsewhere, “desiring that the universe be turned into Hedonium is the straightforward implication of realizing that everything wants to become music”. So when people say things like this, listen. They may be reporting back on glimpses they’ve had of radically enhanced modes of being, whether or not they are really gaining privileged access to an external transcendent world of consciousness.

Gaining Root Access to Your World Simulation

Let’s examine the phenomenology described under the theoretical paradigms developed at the Qualia Research Institute. Some core paradigms are Qualia Formalism (“every conscious experience corresponds to a mathematical object such that the mathematical features of that object are isomorphic to the phenomenology of the experience”), Valence Structuralism (“pain and pleasure are structural features of the mathematical object that corresponds to an experience such that they can be read off from this object with the appropriate mathematical analysis”), and the Symmetry Theory of Valence (“the mathematical feature that corresponds to pain and pleasure are the object’s symmetry and anti-symmetry, namely, its invariance upon the transformations the object is undergoing”). Whereas Qualia Formalism is a necessary assumption to make in order to make any progress on the science of consciousness (cf. Qualia Formalism in the Water Supply), Valence Structuralism and the Symmetry Theory of Valence are currently still mere hypotheses whose truth will be determined empirically by testing the predictions they generate. For now, we rely on strong, but admittedly circumstantial, pieces of evidence. The phenomenology reported of the connection between harmony and bliss in heaven worlds is one of these pieces of evidence. But can we do better? Not everyone can access these so-called heaven worlds of experience. So what can we do instead? Thankfully, there is a way…

Indeed, as carefully catalogued by Steven Lehar in his book about altered states “The Grand Illusion“, combining dissociatives and psychedelics produces an altogether new kind of experience different than the experience of either alone. His discovery first came by combining DXM and THC, which he says has a decent chance of giving rise to a free-wheeling hallucination, meaning that one can control the contents of hallucinatory experiences. For example, rather than being at the mercy of one’s hallucinatory world, under such a state, you could choose to fly on an airplane, travel the cosmos, or even go to Burning Man, and your mind will render a world-simulation in which you are doing such things.

Lehar, famously, is a proponent of indirect realism about perception. Hence he does not confuse those experiences with a transcendent access to an etheric plane or literal other dimensions. Rather, he points out, what underlies the phenomenal character of one’s experience is made by patterns of harmonic resonance interfering with each other within the confines of one’s own brain. The illusion of “seeing things outside of oneself” is due to the fact that the experience we have seems to be of a 3D space. But in reality, what is happening is that you are a 2.5D diorama-like projective space that represents a homunculus looking at a 3D space:

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In the book, Lehar discusses how one can study some of the key parameters of one’s world-simulation in such a state. By imagining/requesting/generating lenses, diffraction gratings, and mirrors in your world-simulation during a free-wheeling hallucination you can explore the ray-tracing algorithms used by your brain to render your experience in normal circumstances. Just as the best way to figure out how a videogame engine works is to break it with corner cases, to find how your brain builds your world-simulation, overloading the simulation with difficult-to-render elements is highly useful.

What algorithms does your mind use for ray-tracing? According to an anonymous reader (whom we shall call “R”), the DXM + THC state allows you to explore precisely this question. From the conversations with R, it seems that ray-tracing follows a repeating two-step top-down and bottom-up recursive process in order to draw your experience. Amodal percepts are first constructed and set in place in order to build a projective frame (e.g. isometric projection, fish eye lens projection, etc.), which is followed by the “lighting” of that amodal space with modal qualia (color, scent, touch, etc.) in order to increase the definition of the rendered scene. Then an algorithm kicks in that figures out which is the most under-constrained region of the world-simulation, and rendering begins there, again with an amodal frame followed by modal filling-in, and so on, and the process repeats until you reach reflective-equilibrium.

The amodal step allows you to explore the range of possible projective transformations of your world-simulation. It is at this step that you can explore the rendering of cinematographic camera effects, such as lens flares and the Hitchcock Zoom. Unlike pure psychedelic states (e.g. LSD, psilocybin, etc.) on dissociatives, projective transformations seem to have a certain gravity to them. It’s as if the entire scene was built as a model on a platform suspended with ropes and springs. To turn the space around (i.e. change the projection) you can “add weight” to some of its parts, and then let the ropes readjust the orientation of the model to balance it out again. This is why dissociative projective hallucinations have a characteristic initial acceleration ramp-up, similar to what it is like to give a push to a ceramic turn table with a heavy vase. It moves very slowly at first, but once it gets going it keeps spinning until you stop it, which also has a characteristic deceleration dynamic. On the free-wheeling hallucination state one is like that; the world-simulation model can be pushed around to change the projection, and when you do so it travels at constant speed until it decelerates before its reposition. During the modal step, effects can be added such as wind, dust, rain, hail, liquid, gelatin, etc. These are all applied one at a time in a relatively legible way, with physicalized rendering of e.g. the filling up of a tank, parts of wood combusting with a low-grade fire propagating at constant speed, an ocean filled with water increasing its viscosity until it becomes lava, etc. A very valuable follow-up research that could be done at e.g. a Super-Shulgin Academy of rational psychonauts would be to get people to study SIGGRAPH algorithms and then try to replicate them during free-wheeling hallucinations. Perhaps not so surprisingly, graphics researchers are notorious for using psychedelics**.

Some people may want to say that there is nothing special about these states… we already have lucid dreaming after all, right? Alas, that is a very misguided analogy. Yes, lucid dreams can be used to explore unusual phenomenal configurations, but the scenes experienced are very hard to stabilize and examine in detail over the course of minutes (rather than seconds). The features of free-wheeling hallucinations along with their generic emotional intensity make them not comparable to most moments of life, or even lucid dreams. The texture of dissociative+psychedelic states is drastically different from lucid dreaming, and so is the degree of controllability of their content in precise and measured ways (not to say that dream music cannot be very emotional, but we are talking of something that is on another level altogether). That said, the state has clear limitations, too. Lehar points out, for instance, that looking at the control panel of an airplane during a free-wheeling hallucination reveals that you cannot have as many buttons as you would have in real life. Likewise, the projective transformations are restricted in some ways. A specific example would be trying to simulate going to Las Vegas. There you will find that jumping off a building is not possible because that would require a projective transformation where the distance covered grows quadratically as a function of time. Instead, jumping off a building will be approximated by what it feels like to go down an elevator at constant speed. In contrast, getting into the High Roller wheel is an excellent choice because your world-simulation can render the circular constant-speed projective trajectory of the camera movement in a very accurate and precise fashion.

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Happiness and Harmony: A Marriage Made in Heaven

With regards to the connection between symmetry and pleasure, the free-wheeling hallucination state is a prime place to conduct high-quality phenomenological research. In particular, R tells us that you can study how different objects generate (are resonant with) particular moods, sounds, and tactile feelings. Thus, DXM + THC can be a tool of grand scientific significance for the study of emotional valence.

[If what follows is hard to make sense of, please bear with us, it will get easier:] R points out that one can climb the symmetry gradient within a scene by normalizing the space vertically, horizontally, depth-wise, temporally, weight-wise, and so on. During each amodal step you can try to re-align the projective lines so that the points at infinity are either precisely at the center of your vision, or at least have symmetrical counter-parts (e.g. left-right, top-down, etc.). This way you can take the energy of the phenomenal objects and generate what we call a “projective energy entrapment”. This is a strange thing to report on that goes outside of people’s conceptual schemes, but it is definitely real, and very important. With a symmetrified amodal projective frame, the phenomenal object can “lock in place”, and a process of annealing takes place. The pre-existing invariant degrees of freedom present in the amodal projections before the symmetrification are still there, but on top of them, one gets additional invariant degrees of freedom. R compares this to taking a space with affine geometry and projecting it into a space with Euclidean geometry, such that the space now has two layers of invariance that add up and, together, prevent energy in the phenomenal objects from escaping to their surroundings. In light of QRI’s meditation paradigms, this would be akin to removing energy sinks from the system. In turn, the projective energy entrapment allows the build-up of extraordinarily intense resonance amplitudes, and this, according to R, feels really good.

Thus, at least according to these observations, the emotional valence of our world-simulation is both related to the number of active invariant degrees of freedom along which transformations are taking place and the amount of energy entrapped in such spaces. Here is a good example. The gif on the left is what the space may look like at first, with the pseudo-time arrow creating a video feedback effect that gives rise to chaotic behavior. If you meditate on normalizing the projective points, you can turn that space into something akin to the image on the right. Now rather than having the modal energy leak to the surroundings, it all gets trapped inside the cube, giving rise to a powerful feeling of emotionally-loaded resonance, which empirically feels really good.

To reiterate, the image to the left is what it feels like when the space is asymmetrical. The affine symmetries may be preserved, but Euclidean energy entrapment is not possible there. The one on the right has both affine invariants and Euclidean invariants, which allow for more energy entrapment (and also temporal stability). If you can stabilize an infinite hall of mirrors projected from a highly symmetrical point of view, you will be able to entrap a lot of energy, which feels like a resonating space and empirically this seems to be very pleasant. We would love to hear from more rational psychonauts whether they are able to replicate this experience, and whether the correlation with valence is also uncovered in their world-simulations.

In the more general case, one can do this with other amodal projections, and generate peaceful but wide awake energy-filler mandalas of experience:

Indeed, during dissociative free-wheeling hallucinatory states one can “tune in to the phenomenal objects” one constructs and translate their vibration into sounds, tactile sensations, emotions, and even scents. Again, empirically, one will notice that the projective symmetry of an object will be associated with the symmetry of the multi-modal translation, and in turn, with the valence of the object. Ugly phenomenal objects will have discordant sound signatures, whereas smooth, easily compressible and symmetrical phenomenal objects will have harmonic sound signatures. You can indeed try to listen in to your entire experience, which in the general case will give rise to rather experimental-sounding music. If you have annealed your hallucinations into a highly symmetrical state (e.g. hall of mirrors above) the sound translation will be *very* pleasant, akin to Buddhist chants in a reverb chamber or mystical violins in a resonant cave (again, this is an empirical finding as reported from R, rather than just arm-chair speculation, but it does support QRI’s hypothesized Symmetry Theory of Valence). Two very symmetrical objects with different but nearby frequencies will clash at first, but one can try to resolve this clash by paying close attention to both at once. If so, sooner or later one of the objects will dominate the other, they will undergo affine transformations until they merge, or there will be some kind of compromise where you stop paying attention to some of the features of one or both of the objects such that the remaining ones are in harmony. Here are some more examples of what a more complex DXM + THC state may render that could produce extremely beautiful sounds:

Thus, even within our modern scientific paradigms (updated with QRI’s frameworks) we can explain and indeed utilize the phenomenological reports of heaven worlds. We believe that understanding the underlying mathematical basis of valence will be ground-breaking, and analyzing these reports is a really important step in this direction. It will allow us to make sense of the syntax of bliss, and thus aid us in the task of paradise engineering.

But What if Our Scientific World Picture is Wrong?

Indeed, maybe the picture of the world painted above is fundamentally mistaken. Within it, we would gather that heaven and spirituality are in a sense illusions caused by high valence states. The experience is so beautiful, sublime, and delightful that people try to make sense of it invoking God, the divine, and transcendent love. Alas, if the universe has an in-built utility function based on valence we could expect people to become confused that way when experiencing some of the really good states. But could we be mistaken here? This points to an important question: whether bliss is a spiritual phenomenon or whether spirituality is a bliss phenomenon.

Leibniz might retort by saying that although each person is a separate monad, God keeps their experiences synchronized so that our actions in Maya do have effects on other sentient beings, rather than being just a movie of one’s own making. Thus, a world-simulation model may be correct, but what makes an experience blissful or not is not its physical state, but rather its degree of spiritual wisdom. Or consider, for instance, the Tibetan Book of the Dead, along with its psychedelic interpretation (by Leary, Metzner, and Alpert), which suggests that both good and bad feelings are projections of the unconditioned mind.

Alas, even if a spiritual account turns out to be true, in the sense that interpreting these experiences through their lens is more accurate, and inferential realism about perception is misguided, we would still be able to gather from these reports that the structure of thought-forms encodes emotions – perhaps even in a spiritual multiverse with souls, God-energies, Realms, etc. we would still be able to derive a master equation for valence. Rather than valence structuralism referring to the fire in the equations of physics, it might refer to God-energy, emptiness, etheric fields, or whatnot. But why would that matter? We could still formalize and mathematize the nature of bliss under those conditions. This is what we call Spiritual Structuralism: even in the spirit world math still encodes the experiential quality of phenomena. Saying “we either live in a mathematically-describable physical world or in a mysteriously inscrutable spiritual world” may turn out to be a false dichotomy. We could still look forward to having spiritual analogues of Galileo, Newton, and Einstein, albeit their equations would apply to how the God-force self-interferes to generate the multifaceted spiritual world of sentient beings.

Alas, I suspect that many spiritual people would recoil at the prospect of mathematizing Mystical Love. So let us ask ourselves: Would this be good? Tongue-in-cheek, I remember asking God at Burning Man 2017 whether deriving the equation for valence would be good from a spiritual point of view. God’s response? A resounding “Yes!” Importantly, God emphasized that individual bliss is limited, whereas collective bliss is boundless.  But maybe this, too, could someday be formalized. Here I reproduce the relevant part of our conversation:

Me: I’ve been working on a theory concerning the nature of happiness. It’s an equation that takes brain states as measured with advanced brain imaging technology and delivers as an output a description of the overall valence (i.e. the pleasure-pain axis) of the mind associated to that brain. A lot of people seem very excited with this research, but there is also a minority of people for whom this is very unsettling. Namely, they tell me that reducing happiness to a mathematical equation would seem to destroy their sense of meaning. Do you have any thoughts on that?
God: I think that what you are doing is absolutely fantastic. I’ve been following your work and you are on the right track. That said, I would caution you not to get too caught up on individual bliss. I programmed the pleasure and pain centers in the animal brain in order to facilitate survival. I know that dying and suffering are extremely unpleasant, and until now that has been necessary to keep the whole system working. But humanity will soon enter a new stage of their evolution. Just remember that the highest levels of bliss are not hedonistic or selfish. They arise by creating a collective reality with other minds that fosters a deep existential understanding, that enables love, enhances harmony, and permits experimenting with radical self expression.
Me: Ah, that’s fascinating! Very reassuring. The equation I’m working on indeed has harmony at its core. I was worried that I would be accidentally doing something really wrong, you know? Reducing love to math.
God: Don’t worry, there is indeed a mathematical law beneath our feelings of love. It’s all encoded in the software of your reality, which we co-created over the last couple billion years. It’s great that you are trying to uncover such math, for it will unlock the next step in your evolution. Do continue making experiments and exploring various metaphysics, and don’t get caught up thinking you’ve found the answer. Trust me, the end is going to make all of the pain and suffering completely worth it. Have faith in love.
Me: Thank you!

– Conversation with God, Burning Man 2017

John C. Lilly’s Simulations of God posits that as people evolve and mature, their concept of the highest good also evolves and matures. Thus, learning about the math behind pleasure might very well transform your conception of divinity. I would therefore offer a new perspective on what is God that unifies bliss and spirituality: God is a happiness engineer who knows all the theories, tricks, and techniques to optimize qualia for bliss. Indeed, Romeo (from QRI) has reported experiencing multi-sensory harmonious mandalas when closing his eyes after coming back from long meditation retreats. One could very well posit that this world is the training ground of souls to learn how to avoid creating evil thought-forms while practicing how to increase the harmony between all sentient beings.

Additionally, Wireheading Done Right could have a spiritual analogue – namely, moving between realms in such a way that you go from good one to good one, reaping their functional benefits, while avoiding getting stuck in any one of them. Just because a spiritual universe underlies our reality would not mean that suffering forever is either good or necessary. And if there is math associated with love and liberation, we are all better for it, for then we are not shooting in the dark. Carefully selected dynamic systems equations that give rise to beautiful (i.e. high valence from many different points of view) patterns could very well be what is behind the bliss of heaven worlds, and you should neglect this discovery at your own peril.

Alas, this is unlikely. Even so, promoting a given ontology is less important, intrinsically, than promoting subjective wellbeing. For if someone’s delusions are comforting and do not interfere with their ability to help others, there is no reason to remove them. Do not go and try to convince your dying granny of the non-existence of God, for that is pointless cruelty. And certainly don’t go around talking about tenseless suffering in the Everettian multiverse outside of circles to whom this can either help them intrinsically or extrinsically (I assume being candid with QC readers is a net positive, though I often doubt that a bit myself).

Either way, from what I gather, practicing creating beautiful harmonic thought-forms is probably good for your health and happiness. It is likely to make you not only feel good, but also be sweet-natured. So by all means practice doing it as often as you can.

Infinite Bliss!


*”Mantras, the Sanskrit syllables inscribed on yantras, are essentially ‘thought forms’ representing divinities or cosmic powers, which exert their influence by means of sound-vibrations.” [source]

**”In 1991, Denise Caruso, writing a computer column for The San Francisco Examiner went to SIGGRAPH, the largest gathering of computer graphic professionals in the world. She conducted a survey; by the time she got back to San Francisco, she had talked to 180 professionals in the computer graphic field who had admitted taking psychedelics, and that psychedelics are important to their work; according to mathematician Ralph Abraham.” [source]