Modeling Psychedelic Tracers with QRI’s Psychophysics Toolkit: The Tracer Replication Tool

Try it yourself!


By Andrés Gómez Emilsson (see special thanks)

TL;DR

We developed a new method for replicating psychedelic tracer effects in detail: the Tracer Replication Tool. This tool gives us a window into how the time-like texture of experience determines the state of consciousness we find ourselves in, which clarifies what makes both meditating and taking psychedelics such powerful state-switching activities. We discuss how the technique of using the tracer tool may find useful applications, such as allowing us to describe exotic “ineffable” experiences in clear language, standardize a scale of intensity of psychedelic drug effects (a.k.a. a “High-O-Meter”), help us quantify the synergy between different drugs, and test theories for what makes an experience feel good or bad such as the Symmetry Theory of Valence. The pilot data collected with this tool so far is suggestive of the following patterns: (1) THC and HPPD result in a smooth and faint trail effect. (2) The characteristic frequencies of the strobe and replay effects for 2C-B are slower than those of either DMT or 5-MeO-DMT. And, (3) whereas DMT comes with a strong color pulsing effect leading to very colorful visuals, 5-MeO-DMT gives rise to monochromatic tracer effects. We conclude by discussing the implications of these patterns in light of an analysis of experience that allows for a varying time-like texture. We hope to inspire the scientific community and curious psychonauts to use this tool to help us uncover more patterns.

Introduction

Rhythmic activity in the brain is a staple of neuroscience. It shows up in spiking neurons, synchronous oscillations at the level of networks, global patterns of resonance and coherence in EEG recordings, and in many other places. The book Rhythms of the Brain by György Buzsáki is a systematic review of what was known about these rhythms back in 2006.[1] One of the things György talks about in this book is how a lot of neuroscience techniques focused on finding the neural correlates of perception tend to consider the variable activation of neurons from one trial to the next as noise. In experiments that look into how neurons respond to a specific stimulus, datasets are constructed that track the neuronal activity that stays the same across trials. That which changes is discarded as noise, and György argues that such “noise” is really where the information about the internal rhythms is to be found.[2] We concur with the assessment that understanding these native rhythms is key for making sense of how the brain works. Perhaps one of the most exciting developments in this space is the method of Connectome-Specific Harmonic Wave analysis (Atasoy et al., 2016). This way of analyzing fMRI data describes a “brain state” as, at least partly, consisting of a weighted sum of its resonant modes. This paradigm has been used with success for comparing brain states across widely different categories of experience: LSD, ketamine, and anesthesia, among others (Luppi et al., 2020).

These are exciting times for exploring the native rhythms of nervous systems in neuroscience. But what about their subjective quality? One would hope that we could connect a formal third-person view of these rhythms with their experiential component. Alas, at this point in time the behavioral and physiological component of brain rhythms is far better understood than the way in which they cash out in subjective qualities.

Could there be a way to make these rhythms easily visible to ourselves as scientists? One interesting lens through which to see psychedelics is in terms of the way they excite specific rhythm-generating networks. This lens would present psychedelic states as giving you a sense of what it feels like to have many of these rhythms simultaneously activated, thus having access to a wider repertoire of brain states (Atasoy et al., 2017).

But you don’t need psychedelics to realize there’s something fishy about the solidity of our perception. Intuitively, one may get the impression that normal everyday states of consciousness do not show the signatures of being the result of ensembles of rhythmic activity. That said, some would affirm that paying attention to the artifacts of our perception may in fact be a window into these rhythms. For example, Lehar’s Harmonic Resonance Theory of the gestalt properties of perception (Lehar, 1999) attempts to explain the characteristics of well known visual illusions (such as the Kanizsa triangle) with principles derived from the superposition of rhythmic activity.

Kanizsa Triangles

Paying close attention to the act of observing an object over time has led some researchers to play with the idea that our experience of the world is best understood as music (Lloyd, 2013), for our feeling of a solid surrounding results from the interplay between finely coordinated sensations and acts of interpretation. Indeed, the fluidity of sensory impressions betrays our common-sense notion that we experience a solid and stable world. It often takes a perturbation out of our normal everyday state of consciousness to notice this. As an example here, we can point out that insight meditation practices peer into the illusion of solidity and continuity of our experience, whereas concentration meditation enhances these illusions (Ingram, 2018).

Arguably, like a fish who cannot notice water until it’s taken out of it, the stitching process by which our brain constructs reality is usually hidden from view. To be taken out of the water in this context would be to be in a state that allows you to notice the seams of one’s experience. To the extent that this normal stitching process breaks down in exotic states of consciousness, they are clearly useful for research in this domain. Thus we argue that the artifacts of perception in alien states of consciousness are not noise; they provide hints for how normal experience is constructed. In particular, we posit that “psychedelic tracers” (i.e. the cluster of persisting visual phenomena caused by hallucinogens) may be a window into how rhythmic feedback dynamics are used to control the content of our experience. For this reason, we have been interested in turning what until now has been qualitative descriptions and informal approximations of this phenomenon into concrete quantitative replications.

In what follows we will showcase the value of a psychophysics toolkit we developed at the Qualia Research Institute called the Tracer Replication Tool for modeling psychedelic tracer phenomenology. Although we will focus on psychedelic experiences, this tool can have a much broader set of applications. For example, we show how the tool can be used to visualize and quantify the severity of HPPD, which currently has a very qualitative, and imprecise at best, diagnostic criteria. Likewise, the tool has the potential to bring together the complex clinical presentation of visual disturbances such as palinopsia, photopsia, oscillopsia, visual snow, and other conditions, into a coherent framework. Perhaps, speculatively, the connection between all these visual disturbances is to be found in the dysregulation of the rhythms of the visual control systems, which is what the tracer tool sets out to quantify.

The only attempt of arriving at quantitative replications of psychedelic tracers in the scientific literature we are aware of is by (Dubois & VanRullen, 2011). They used multiple-exposure stroboscopic photography in order to depict video scenes. They then asked many people who have had LSD experiences to identify the strobe frequency that best approximated their tracers (which on average was in the 15-20 Hz range).

As we will see, our model for psychedelic tracers is more detailed: it has multiple persistence of vision effects that combine together into a complex tracer. For this reason, the kind of tracers used in Dubois & VanRullen turn out to be a special case of our tool, which we call the strobe effect:

LSD users perceive a series of discrete positive afterimages in the wake of moving objects, a percept that has been likened to a multiple-exposure stroboscopic photograph, somewhat akin to Etienne-Jules Marey’s chronophotographs [5] from 1880, or to more recent digital art produced in a few clicks (Figure 1).


Visual Trails: Do the Doors of Perception Open Periodically? by Dubois & VanRullen
Multiple-exposure stroboscopic photograph. (source)

By using a wider set of effects, the Tracer Replication Tool might give us hints about how psychedelics disrupt native rhythms given how they affect the processing of perceptual information at a granular level.

Before we provide the full set of tracer effects along with their associated vocabulary, let us jump into the preliminary psychedelic replications we have obtained thanks to this tool.

Psychedelic Replications

Over the years since I’ve run the Qualia Computing blog, I’ve received many messages from people who, for lack of a better term, we could call rational psychonauts. This should not be too surprising, with pieces like “How to Secretly Communicate with People on LSD” and “5-MeO-DMT vs. N,N-DMT: The 9 Lenses”, the site has become a bit of a Schelling point for people who like to blend computational reasoning and the study of exotic states of consciousness. These rational psychonauts are people who not only are well acquainted with exotic states of consciousness, but also like to use a scientific and rational lens to make sense of such states. In particular, people in this cluster often ask me to send them experiments to try out next time they take a psychedelic substance. I certainly never encourage them to take drugs, but under the assumption they will do so anyway, I sometimes send them tasks to do. Thus, once we had a prototype for the tracer tool, I already had a set of more than willing anonymous pilot participants. I sent them the link to the tool along with some brief instructions. Namely:

Look at the ball for a few minutes in state X (where X can be any substance, meditation, etc.). Then as soon as you come down, try to fiddle with the parameters on the left until the simulated tracer looks as close as possible to how you experienced it in the state. When you are ready, simply click “submit parameters” and add info about what the state you were in was at the time. In the case of HPPD, just try your best to replicate the tracer (I know it gets confusing when we talk about the tracers of the simulated tracers, but try to ignore those and just replicate the tracer of the original input).

Without further ado, here are the resulting replications I received:

HPPD

Mild HPPD (participant said it was strongest on color red)

THC

12.5mg edible, 60 minutes post-ingestion
15mg edible, 90 minutes post-ingestion

2C-B

20mg orally ingested
12mg “gummed”

Notice how although the replication of the higher dosage is more mild in a way, they both share the presence of a strobe effect at roughly 5.5 Hz!

DMT

5mg vaped
10mg vaped
20mg vaped

The higher dose has a complex mixture of effects, including 40 Hz color pulsing (positive and negative afterimages mixed together), 22 Hz replay, and 27 Hz strobe. I’ll note that the participant included the following comment: “Aside from extremely fast tracers, the white space consisted of pixelated fractals. Color was abundant.”

5-MeO-DMT

5mg vaped
10mg vaped

As we will discuss further below, it is worth noting that at least in this sample, there are no color pulsing effects present (which is unlike “regular” DMT).

Drug Combination: Mescaline + ETH-LAD

125μg ETH-LAD + 2 teaspoons of San Pedro powder

The above is the only datapoint we have so far from the combination of psychoactive substances. The participant took 125μg of ETH-LAD, and then two and a half hours later 2 teaspoons of San Pedro powder. The replication is of the way the ball looked like 5 hours after taking the first drug.

Definitions

Let us now look into the specifics of the tracer tool:

Core Effects

Core effects are pillars of the tracer tool where a particular feedback dynamic is used. The core effects include trails, strobe, and replay.

Modifiers

A modifier effect is one that plays with a core effect and alters it in some way. We will talk along the way about the modifying effects of persistence, intensity, and frequency, and then have a separate section to talk in more detail about the modifier effects of envelope (ADSR), pulse, and color pulse.

Trails (Core Effect)

This is perhaps the most basic effect. Making an analogy with sound, trails are akin to a soft reverb with no delay:

The three settings for trails are: persistence, intensity, and exponential decay (which is binary in the current implementation and otherwise takes on the value of linear decay). Persistence determines how quickly the tracer vanishes, whereas intensity is a constant multiplier for the entire trail. Thus, by changing those parameters you can choose between e.g. a long but dim trail or a short but bright trail.

High persistence / low intensity

Low persistence / high intensity

The exponential decay parameter slightly changes how quickly the brightness goes down; when it’s on, the trails go down more smoothly (cf. gamma correction).

Without exponential decay

With exponential decay

Strobe (Core Effect)

The strobe effect takes snapshots of the input at regular intervals. It works like chronophotography, and it is perhaps what most people think about when you first talk about visual tracers. It is the effect that Dubois & VanRullen used to find that LSD produces visual tracers at ~15-20 Hz.

Strobe effect at 16.4 Hz

The strobe effect, just as the trail effect, also has intensity, persistence, and exponential decay modifiers. In addition, it also has frequency, which encodes how many snapshots per second are being taken.

5 Hz Strobe

10 Hz Strobe

20 Hz Strobe

Note: The current implementation of the trails feature is done with a very fast strobe. In this way, when you set the strobe frequency to the maximum you get something that starts to look a little like the trails effect.

Replay (Core Effect)

With an analogy to sound, replay would be akin to adding an echo or delay to a signal. Replay adds to the raw signal a copy of the output from a fraction of a second into the past. The result is a current output that contains a sequence of increasingly dimmer video replays of itself at regular time intervals into the past.

6 Hz Replay

As with strobe, replay has intensity, persistence, exponential decay, and frequency as its modifying effects.

3 Hz Replay

12 Hz Replay

Note: the replay effect is difficult to distinguish from the strobe effect with only still images

Pulse (Modifier)

This is a modifier effect that can apply to trails, strobes, and replays (right now the implementation only applies to strobe, but we may change that in the future). It takes a fraction of the input and modulates it with a sine wave at a given frequency. This way the trails, strobes, and replays can come and go (either in part or in full) at a given frequency. This adds sparkle to the experience, and it can plausibly help create a sense of reality or object-permanence for the hallucinations as they “vibrate at their own frequency”.

Compare the difference between a strobe at 4 Hz vs. a strobe at 4 Hz with a pulse at 2 Hz:

4 Hz Strobe
4 Hz Strobe + 2 Hz Pulse at 50% amplitude

As you can see, the pulsing effect makes the strobes look like they have a sort of life of their own.

ADSR (Modifier)

This modifier effect was something we decided to add because James Kent of Psychedelic Information Theory (Kent, 2010) talks about ADSR envelopes for tracers in the section titled “Control Interruption Model of Psychedelic Action”:

Using control interrupts as the source of hallucinogenesis, we can model hallucinogenic frame distortion of multisensory perception the same way we model sound waves produced by synthesizers; by plotting the attack, decay, sustain, and release (ADSR envelope) of the hallucinogenic interrupt as it effects consciousness. (Fig. 2)3,4 For example, nitrous oxide (N20) inhalation alters consciousness in such a way that all perceptual frames arise and fall with a predictable “wah-wah-wah” time signature. The throbbing “wah-wha-wah” of the N20 experience is a stable standing wave formation that begins when the molecule hits the neural network and ends when it is metabolized, but for the duration of N20 action the “wah-wah-wah” completely penetrates all modes of sensory awareness with a strobe-like intensity. The periodic interrupt of N20 can be modeled as a perceptual wave ambiguity that toggles back and forth between consciousness and unconsciousness at roughly 8 to 11 frames-per-second, or @8-11hz.5 Consciousness rises at the peak of each “wah” and diminishes in the valleys in between. On sub-anesthetic doses, N20 creates a looping effect where frame content overlaps into the following frame, causing a perceptual cascade similar to fractal regression. We can thus model the interrupt envelope of N20 as having a rounded attack, fast decay, low sustain, medium release, with an interrupt frequency of @8-11hz. Any psychoactive substance with a similar interrupt envelope will produce results that feel similar to the N20 experience. (Fig. 3) For instance, Smoked Salvia divinorum (vaporized Salvinorin A&B, or Salvia) has an interrupt envelope similar to N20, except Salvia has a harder attack, a slightly longer decay, a more intense sustain, a slightly longer release, and a slightly faster interrupt frequency (@12-15hz).6 These slight changes in the frequency and shape of interrupt envelope cause Salvia to feel more physically intense, more hallucinatory, and more disorienting than N20, even though they share a similar throbbing or tingling sensation along the same frequency range.


The chapter about the Control Interrupt Model of Psychedelic Action in Psychedelic Information Theory by James L. Kent

“Figure 2.” (source)

This actually seems to be important for showcasing what makes drugs with similar characteristic frequencies capable of feeling so different.

2 Hz Strobe
2 Hz Strobe + soft ADSR pattern

A really interesting research lead that is connected to the ADSR envelope of psychedelic tracers can be found in The Grand Illusion (Lehar, 2010), where cognitive scientist Steven Lehar narrates some of his experiences with LSD vs. LSD + MDMA. One of the things he discusses is the way that MDMA makes the experience jitter in a pleasant way that results in the LSD visuals becoming smoother (emphasis mine):

Under LSD and ecstasy I could see the flickering blur of visual generation most clearly. And I saw peculiar ornamental artifacts on all perceived objects, like a Fourier representation with the higher harmonics chopped off. LSD by itself creates sharply detailed ornamental artifacts, like a transparent overlay of an ornamental lattice or filigree pattern superimposed on the visual scene, especially in darkness. Ecstasy smooths out those sharp edges and blurs them into a creamy smooth rolling experience.


The Grand Illusion (pg. 62) by Steven Lehar

I would suspect that this distinction will become legible with the judicious use of ADSR envelopes. Below you will find a possible rendition of this effect:

10.3 Hz Strobe (maybe LSD)
10.3 Hz Strobe + soft ADSR pattern (maybe LSD + MDMA)

As we will discuss further below, a more creamy ADSR envelope may cash out in a more pleasant experience, whereas a sharper or spikier envelope may in turn create more harsh experiences.

Color Pulse/Negative After Images (Modifier)

The color pulse effect transforms the image’s color towards its opposite in the CIELAB color space with a given frequency. It modifies strobe, replay, and trails (in principle, there can be a different color pulse for each effect, but for now it modifies all three simultaneously).

23.6 Hz Strobe
23.6 Hz Strobe + 2 Hz Color Pulse

Unlike pulse, color pulse modulates the color rather than the brightness of the input. The way we determine what color to transform into is by going to the opposite side of the CIELAB color space. This accurately approximates the negative afterimage of any phenomenal color (such as yellow being the negative afterimage of blue, and green being the negative afterimage of red). In our current implementation, color pulsing affects strobe and replay quite differently. For replay, the effect is one where there are now versions of the ball (or image, more generally) that have the opposite color that are chasing the original ball, whereas for strobe the effect is that of giving a seizure to each of the recent snapshots of experience! See for yourself:

26 Hz Replay + 13 Hz Color Pulse
26 Hz Strobe + 13 Hz Color Pulse

In a future version of the tracer tool, color pulse may become a sub-property of each main tracer layer in the same way ADSR is a sub-property of the strobe and replay layers.

Color pulsing may be an important piece of the puzzle for understanding how otherwise similar drugs can have such dramatically different effects. Tentatively, color pulsing showed up as a distinction between DMT and 5-MeO-DMT according to one of the persons who submitted parameters (as you can see above in the replication section). For that person, DMT produced color pulses while 5-MeO-DMT did not. Of course this is just a sample size of N=1. But it seems like an important research lead if true! After all, DMT trip reports do talk of highly colorful hallucinations that typically involve the combination of colors and their opposites (e.g. “The wall looked like a Persian carpet with an alternating checkerboard pattern design of neon green and magenta light” – anonymous 10mg DMT), whereas most 5-MeO-DMT trip reports don’t feature color very much. In fact, 5-MeO-DMT trips are often in black and white, pure white, pure black, or “nothingness color”. We discuss the implications of this in more detail in the last section of this piece (Getting Realms from Time-Like Textures).

Face Value vs. Dynamic Feedback Model

It is important to point out that the tracer tool works under the assumption of linearity between the effects it models. In other words, each effect modifies the input in its own way, and the corresponding modifications are added linearly at the end. This does not need to be the case. And in fact, we must expect the brain to have a lot of complex non-linearities where e.g. the pulsing effect is then used in a replay loop which entrains a strobing pattern which focuses your attention and so on. This complication aside, there is a lot of value in postulating the simple model first, and then adjusting accordingly when it fails to model the more complex phenomena. When we get there, once we have identified particular drugs, doses, and combinations that produce strange nonlinearities, we can then build tracer tools that explore how the parameters of particular dynamic systems can best explain the empirical data. Until then, let us start mapping out the space with this (relatively) simple linear model.

Useful Vocabulary

I would like to highlight the fact that using the tracer tool can be very educational. Familiarizing yourself with the effects and their modifications will allow you to be able to describe in detail psychedelic tracers even without having to use the tool again. For instance, I find myself now able to describe what kind of tracer effect appears on any given replication or trippy video. For example, now that you have read about them, can you tell us what is going on in the following gifs?:

(source)

The Explanatory Power of the Time-Like Texture of Experience

Exotic Phenomenal Time

We have previously suggested that tracers in the most general sense (i.e. including tracers for emotions, thoughts, and all sensory modalities in addition to visual experience) are very important for understanding the time distortions one experiences in exotic states of consciousness. The overall idea is that the aspect of our experience that gives rise to the feeling of time passing is the result of implicit causality in the network of local binding connections, which we call the pseudo-time arrow (see a recent presentation about it). Don’t worry about the details, though. All you need to know is that here we model phenomenal time as the direction along which causality flows within one’s experience. And because this is a statistical property of our experience, it turns out that phenomenal time ends up being very malleable; it admits of “exotic phenomenal time” variants:

This framework can articulate what is going on when you experience crazy psychedelic states such as moments of eternity, time branching, time looping, and so on. Now, even these are just some of the possible ways in which the network of local binding connections can give rise to exotic phenomenal time experiences. In reality, because the pseudo-time arrow emerges at a statistical level in the network, one can have all manners of local pseudo-time arrows nested in complex ways, as briefly discussed in the presentation:

 I will end by speculating: I just walked you through seven types of exotic phenomenal time, but if indeed [the experience of time] can be explained in terms of causality in a graph, then there are many other exotic phenomenal times we can construct. This is especially so when we consider the space of possible hybrid phenomenal times. For instance, where in some regions in the network we may find time looping, some other region might be a moment of eternity, and perhaps another region is branching, and you know, if you have a very big experience, there is no reason why you wouldn’t be able to segment different regions of it for different types of phenomenal time. This is not unlike, perhaps, how we think of Feynman diagrams, where this part of it here is moving forwards in time, this part here is doing a loop, this part here is branching… I think a lot of the topologies we see here could be used to represent completely new [hybrid] exotic phenomenal times.


The Pseudo Time Arrow | Andres Gomez Emilsson (2020)

Given the diversity of ways in which phenomenal time can be expressed in an experience, I will start talking about the patterns encoded in the pseudo-time arrow as the time-like texture of experience. This way, rather than assuming that one’s sense of time is globally consistent in a given way (e.g. as in “I am fully inside a time-loop”), we can discuss how various patches and components of one’s experience have this or that time-like texture (e.g. “my visual field was looping, but my proprioception was strobing and my thoughts felt timeless”).

Drugs

As a generic effect, all psychedelics seem to increase the duration of qualia in one’s experiential field, leading to a buildup of energy. But the precise shape this takes matters a lot, and it is certainly different between drugs. An example pointed above is how LSD and DMT seem to produce strobe and replay patterns of markedly different frequencies. For DMT, the spatial and temporal frequency of the visual hallucinations is usually described as “very high”. Based on the replications thus far, along with personal reports from a musician I trust, DMT’s “characteristic frequency” seems to be in the 25 to 30 Hz range. In contrast, LSD’s frequency is more in the range of 15 to 20 Hz: both Dubois & VanRullen’s LSD tracer study and subjective reports I’ve gathered over the years point to the hallucinations of acid having this rough frequency. Hence, the very building blocks of reality of a high-dose DMT breakthrough experience consist of tiny time-loops and strobe effects interacting with one another, weaving together a hallucinated world with surprising levels of detail and intense freshness of experience (as all the time loops are “young” due to their short duration). Really, when you take a small dose of DMT and you see the walls tessellating into wallpaper groups, notice how each of the tiny “bricks” that make up the tessellation is itself a time loop of sorts! It is not a stretch to describe a DMT experience as a kind of complex Darwinian ecosystem of tiny coalition-based time loop clusters bidding for your attention (cf. Hyperbolic Geometry of DMT Experiences).

Taking this paradigm seriously allows us to interpret psychoactive effects at a high level in novel ways. For example, these are some of the general patterns we have identified so far:

  1. Psychedelics tend to have strong replay and strobe effects
  2. HPPD, cannabis, and dissociatives seem to have a much smoother trail effect
  3. MDMA and 5-MeO-DMT have characteristically creamy ADSR envelope effects

Using the sound metaphor to restate the above, psychedelics introduce beats and recursion, dissociatives introduce reverb, and empathogens/valence drugs may affect the temporal blur of one’s experience. Thus, we arrive at a model of psychoactive substances that makes sense of their effects in the language of signal processing rather than neurotransmitters and functional localization. This sheds a lot of clarity on the mysterious and bizarre state-spaces of consciousness disclosed by psychoactive drugs and paves the way for a principled way of predicting the way drug combinations may give rise to synergistic effects (more on that below). More so, it lends credence to the patternceutical paradigm of drug effects.

Meditation: Insight and Concentration Practices

The pseudo-time arrow paradigm suggests that one of the ways in which meditative practices can switch one’s state of consciousness is by disrupting sober time-like textures and enabling exotic time-like textures not available to the sober mind (see also: The Neuroscience of Meditation: Four Models (Johnson, 2018)). My personal experience with meditative practices is limited, but I’ve had the pleasure of experiencing some strange effects so far. In particular, I would say that concentration practices seem to give rise to experiences with long and stable pseudo-time arrows – a peacefulness in which nothing is happening yet the flow of time is constant and rather uneventful. The phenomenal time of highly focused states of mind may be full of reverb, but I do not think it has crazy time loops. Moments of eternity and timelessness may be present at the limit here (e.g. moments of eternity and Jhanas may be deeply connected), though I will need more personal experience to say this with confidence. 

On the other hand, insight practices such as noting meditation may have more of a replay and strobe effect. In particular, this may happen as a result of three core effects from this kind of meditation: (1) it stops you from dissipating energy across long narratives, (2) it recaptures the energy you were going to use for a longer narrative to feed the noting process instead, and (3) it entrains the rhythm of noting. This in turn (a) energizes a regular constant-frequency pattern (the frequency of noting) and (b) reduces the energy of every other rhythm, which in turn (c) canalizes sensory stimulation energy towards the brain’s noting frequency and all of its harmonics, which eventually leads to a high-frequency energized state of consciousness whose building blocks are tiny time-loops. These can synchronize and create experiences with characteristic time-like textures made up of such tiny energized loops. Hence, noting practice above some level of skill (e.g. with a noting frequency above 3 Hz) can be DMT-like to an extent (in light of thinking of DMT realms as made up of energized high-frequency mini-time-loops).

These experiences characterized by intense tracer effects are in a similar space as the strange temporal distortions that happen when you are dizzy (like when you stand up too fast or hyperventilate). The “loss of context” that results from this effect is due to the longest replay loops becoming too short to contain the necessary information to “keep you in the loop about what is going on”. Hence the confusion about who or what you are, what you are doing, and how you got here that happens when you are near passing out from standing up too quickly. That confusion takes place in an otherwise highly detailed and intense high-energy and high-frequency “rush” made of tiny time loops.

Thus, one of the gateways into altered states of consciousness via meditation with noting can be summarized as what happens when you induce a self-reinforcing pattern of strobing, replay, and pulsing that fully captures your attention. This process builds up a lot of energy, which one can only wield up to a point. When one fails to control it, the state decays into a series of tracer patterns that use the clean loop as its background reference. As this happens, one experiences a world whose building blocks are beautiful tiny jewels of attention, slowly decaying as one loses the ability to stay focused. The decay process also seems to do something good when properly orchestrated. Namely, as the decay process begins, one naturally experiences a Cambrian explosion of qualia critters eager to feed off of the negentropy generated, as thought-forms need attention to survive. This whole process, one could argue, lends phenomenological credence to the paradigm of neural annealing, where one’s brain uses a heating and cooling schedule to entrain brain-wide harmony.

In other words, with something like a noting practice, one ends up creating a world simulation whose building blocks are all embedded in a very tight time-loop, a wind-up universe of concentrated awareness. Perhaps we are going too far with this explanation. Either way, we really feel that thinking in terms of these generalized tracer dynamic patterns is an exciting new conceptual toolkit that allows us to describe the quality of exotic experiences that were hard to pinpoint before.

Three Exciting Possible Applications of the Tracer Tool: High-O-Meter, Synergy Quotient, and Harmonic World-Building

(1) High-O-Meter

How high are you? It is often difficult to put a number on this question. But once we have established the parameters for different drugs (e.g. characterized DMT as living in a region of the parameter-space that is of higher frequency than LSD, etc.) we can show a series of gifs to someone and ask them to point at the one that best shows what tracers looked like at the peak of their experience. This way we can quickly estimate how high they got (at least visually) with a very simple question.

For example, we may find that the “modal response” to 50, 100, 200, and 300 micrograms of LSD looks as follow:

Simulated tracer for 50 μg of LSD
Simulated tracer for 100 μg of LSD
Simulated tracer for 200 μg of LSD
Simulated tracer for 300 μg of LSD

If this works, we would be able to sort research participants into one of these ranges just by asking them to point at the image that best captures their experience. Similar tools for other modalities could be used to obtain a global “highness score” meaningful across people.

(2) Synergy Quotient (orthogonality vs. synergy vs. suppression vs. harmonization)

What happens when you combine psychoactive drugs together? We have previously discussed in great detail what happens when you take combos of drugs from various categories (see: Making Amazing Recreational Drug Cocktails), but admit that there are huge puzzles and unknowns in this space. Of note is that some combinations give rise to synergistic effects (e.g. psychedelics and dissociatives), others blunt each other’s action (e.g. agmatine and nootropics), while yet others seem to create competing effects due to some kind of mutually-exclusive qualities of experience (e.g. salvia and DMT, a.k.a. “drugfights”). For an illustrative example of the third category, famous psychonaut D. M. Turner reports:

I smoked 30 mg. of DMT in three tokes, followed immediately by 650 mcg. of Salvinorin that I had preloaded in a separate pipe.

The effects were felt almost immediately. The first thing I noticed was a grid of crosshatch patterns. I had perceived something similar when using 2C-B with mushrooms, which I believed to be the result of using two psychedelics that were not compatible with each other. However, in this case the patterns were defined to a much sharper degree, and it seemed apparent that these two substances affect consciousness in differing ways that are not synchronistic when used together. Both the Salvia and DMT entities seemed to have been taken entirely off guard and had not been expecting this confrontation. These entities seemingly paid no attention to me as their attention was entirely fixed on each other. It soon became apparent that the two were going to battle, vying to determine who would have control of my consciousness.


Source: #9  D.M. Turner – 650 mcg. Salvinorin with 30 mg. N.N. DMT

We think that the tracer tool can be useful to quantify the degree of interaction between two drugs. For instance, say that drug A produces a robust 10 Hz replay effect, whereas drug B produces a 7 Hz Strobing effect. Would drug A + drug B cause a tracer that blends these two facets, or does it produce something different? If the combination’s tracers are different than the sum of its parts, how large is this difference? And can this difference be identified with a particular recursive stacking of effects, or as the result of a nonlinear interaction between dynamic systems? We believe that this line of research may be very illuminating.

Drug A
Drug B
Drug A + Drug B (“orthogonal”)
Drug A + Drug B (“suppression”)
Drug A + Drug B (“synergy”)
Drug A + Drug B (“harmonization”)

In the above example, we show what various possibilities for the result of drug combos may be. “Orthogonal” effects mean that the resulting tracer is the sum of the tracers of each drug, “suppression” means that one drug’s effect reduces the effect of the other, “synergy” means that the resulting effects are stronger than you’d expect by just linearly adding the effects of each drug, and “harmonization” refers to the possible slight-retuning of the characteristic frequency of each drug’s effect that allows for a consonant blending. How strongly the combo is from the predicted effect based on each drug would determine the synergy quotient of the pair.

A few possible (tentative) examples: alcohol + psychedelics give rise to orthogonal effects, opiates and psychedelics result in effect suppression, dissociatives and psychedelics result in strong synergy (not unlike what you get when you stack reverb and looping in music), and MDMA and psychedelics might result in harmonized tracers (hence the creamy and harmonious visuals of candy-flipping). We would love to see research tackling this question.

(3) Harmonic World-Building

Tinnitus is usually loud and distracting, but in addition, it can also be annoying and unpleasant. At QRI, we posit that the precise pattern of tinnitus—not only its loudness—has implications for how bad it is for someone’s mental health: dissonant and chaotic tinnitus might be worse than consonant and harmonious patterns, for instance. 

In a similar vein, we think that the particular tracer patterns, over and above just their intensity, of perceptual conditions like HPPD probably matter for how the condition affects you at a cognitive, perceptual, and emotional level. Concretely, we would like to study how valence is related to one’s particular tracer patterns: we think that when psychedelic tracers feel good, that such positive valence may show up in the form of (a) harmonious relationships between the components of the effects, and (b) a sort of creaminness in the way the tracers come over time (as shown in the MDMA + LSD trip report by Steven Lehar).

We take seriously the possibility that something akin to the rules of harmony in music (see: Tuning Timbre Spectrum Scale by William Sethares) will have a showing in the way resonance in any experiential field cashes out into valence. In other words, the way patterns of resonance in the brain combine might be responsible for whether the experience feels good or bad. In particular, under psychedelics and other high-energy states of consciousness, one’s visual field is capable of instantiating visions of both tremendous beauty and tremendous terror. It is as if in high-energy regimes, one’s visual field acquires the capacity for creating pleasure and pain of its own (albeit “visual” in flavor!). While sober, one can get something akin to this effect, though only mildly in comparison: you can experience beautiful patterns by staring at a smooth strobe with eyes closed, or experience unpleasant reactions when the strobe shines at irregular intervals. The quality of the self-generated light-show in energized states of consciousness (such as a psychedelic experience) will likely have an impact on one’s sense of wellbeing. Is one’s inner light show all irregular, uncoordinated, sharp, and jarring? Or is it smooth, clean, robust, and soft? Based on the Symmetry Theory of Valence, one can anticipate that one’s tracer phenomenology feels good when it expresses or approximates regular geometries and bad when the implied geometries are irregular or disjointed.

Dissonant emergent pattern
Consonant emergent pattern

The creaminess of smooth ADSR envelopes would likewise prevent sensory and emotional dissonance by virtue of softening spikes of sensations. This, of course, is ultimately an empirical question. Let’s investigate it!

Final Thoughts: Getting Realms from Time-Like Textures

The complexity and information content of one’s state of consciousness as induced by a substance may depend on what fits in the repertoire of time-like textures of the state. For example, some states might be much more prone to generate quasi-crystals as opposed to crystals, as we argued in DMT vs. 5-MeO-DMT (Gomez Emilsson, 2020).

What are these crystals? One of the characteristic spatial effects of psychedelics is that they lower the symmetry detection threshold. This gives rise to the beautiful tessellations (at times Euclidean, at times hyperbolic (Gomez Emilsson, 2016)) everyone talks about. Analogously in time, psychedelics are notorious for creating time loops (cf. Going Loopy (Alexander, 2014)). In a deeper sense these are, we might argue, two facets of the same underlying effect. Namely, the creation of, for lack of a better term, qualia crystals. We can be cautious about assigning an ontological interpretation to qualia crystals; all we are proposing here is to accept them as phenomenological artifacts that tie together a lot of these experiential qualities. These gems of qualia come in many flavors, but they all express at least one symmetry in a clean and deep way. Whereas our experience of the world is usually made of a complex distribution of (tiny) qualia crystals which form the macroscopic time-like texture of our mind, we find in exotic states of consciousness the possibility of experiencing the refined, pure version. Timothy Leary in The Psychedelic Experience describes what he believes is the key existential conundrum close to the peak of an ecstatic trip:

Is it better to be part of the sugar or to taste the sugar?


Timothy Leary, Richard Alpert, and Ralph Metzner in The Psychedelic Experience

In line with the neural annealing frame (Johnson, 2019), there is a very real sense in which slightly past the peak of a psychedelic experience you will find some of the largest, purest, most refined qualia crystals (at least relative to the human norm). And what this looks like will depend a lot on what the available building blocks are! The diversity of these building blocks makes the time-like texture of experience triggered by different drugs dramatically variable. 

Some of the realms of experience are made with a time-like texture of interlocking time loops of different frequencies allowing you to experience the sense of “a big other”. In some other realms, the time loops are all aligned with each other, which makes self-other distinctions hard to represent and reason about. The various flavors for the felt sense of non-duality, for example, may correspond to different ways in which strobes, replays, pulse, etc. align perfectly to dissolve the internal boundaries used as building blocks to represent duality. At the extreme of “unification”, such as the state found in the 5-MeO-DMT breakthrough, one “becomes” a metronome whose tune is reflected faithfully everywhere in one’s experience, such that there is nothing else to interface with. Hence, one becomes “invisible to oneself”. To be in a state of near total oneness may entail the feeling of nothingness for this reason (thus the highest Jhanas being “nothingness” and “neither nothing nor something”).

This overall interpretative frame of exotic states as the result of time-like textures may show up empirically, too. One of the exciting early results, as mentioned above, is the report that while DMT creates complex positive and negative after-image dynamics full of color and polarity, the tracers on 5-MeO-DMT are monochromatic, meaning that one only experiences their positive after-image.

This alone may go a long way in explaining why the visual character of these two drugs is so distinct at their upper ranges. Namely, because DMT gives rise to complex checkerboard grid-patterns of overly-saturated colors intermingling with their polar opposites, whereas on 5-MeO-DMT, one often experiences an incredibly bright white light, or even a sense of translucid empty space, but no colors! The paradigm of using tracer patterns to make sense of states of consciousness would here suggest that a “breakthrough” experience can be interpreted as what happens when one’s world is saturated with the time-like texture characteristic of the tracer pattern of either drug. The realms of experience these agents disclose are the universes that you get when the building blocks of reality are those specific time loops and attention dynamics, leaving no room for anything that does not follow those “phenomenal time constraints”. When the dose is low, this manifests as just a gloss over one’s otherwise normal experience, a mere modifier on top of one’s sober reality. But when the dose is large, these time loops and attention dynamics drive the very way one’s mind constructs our whole sense of the world.

In this light, rather than thinking of exotic states of mind as places (as the “realm” metaphor alludes to), one can imagine conceptualizing them as ways of making sense of time. When you smoke salvia, you make sense of time in a salvia kind of way, which involves looping back chaotically in a way that typically results in losing the normal plot altogether and instead exotic narratives better fitted for the salvia attentional dynamics end up dominating the world-building process of the mind. Hence you end up in “salvia land”. Which is what you remember best. But the salvia land one ends up in is only a circumstantial part of the true story. The fundamental generator that is upstream of this realm would be the overall tracer pattern, the time-like texture of the experience: the neuroacoustic effect of salvia. He who controls the time-like texture of experience, controls the world-building process of the mind. Thus the paramount importance of understanding tracer patterns.


Do you want to collaborate on this project?

For Researchers

The Tracer Replication Tool is the first of a series of research tools we are creating at QRI specifically designed with psychedelic phenomenology in mind. The spirit of this enterprise is to identify the ways in which psychedelic states of consciousness can enhance the information processing of the mind in some ways. Rather than focusing on how information processing is impaired, we develop these tools with the goal of finding the ways in which it is enhanced (cf. psychedelic cryptography (Gomez Emilsson, 2015), psychedelic problem solving (Harman, 1966)). We take very seriously high-quality trips reports from rational psychonauts, which help us ideate tasks that are likely to show large effect sizes. Thus, rather than bringing traditional psychometric tools to the psychedelic space, we think that developing the tools to assess the psychedelic state in its own terms is more likely to provide novel and significant insights. We would love to have academic researchers include some of these tasks in their own study designs. Becoming familiar with the Tracer Replication Tool takes less than 10 minutes, and based on the pilot results, operating it during a psychedelic experience is possible for a good fraction of people under the influence of these substances. It would be amazing to have tracer replications included in psychedelic studies to come. If you are involved in psychedelic research and would like to use the Tracer Replication Tool or learn more about the toolkit we are developing please reach out to us! We would love to hear from you.

For Participants and Volunteers

There are several ways you can help this project. As a beta tester participant, you can use the tracer tool to replicate tracers that you yourself have experienced. There are three categories here (which you can specify at the point of submission when using the tool):

  1. Retroactively: If you have experienced visuals tracers in the past and think you can remember them accurately (or at least recognize them when you see them), you can play with the Tracer Replication Tool and submit the parameters that best match your memory of the tracers you experienced.
  2. Post-Trip: If you are planning on taking a psychedelic in the near future* and want to submit a datapoint from your experience, open the tracer tool during the trip and look at the bouncing ball (and other animations). While staring at the center of the animation for about a minute, try to get a clear picture of what the tracers look like. We encourage you to play with the color, speed, and animation type while you are in the state so that you see how tracers react to different visual inputs. Then as soon as possible after the trip is over, come back to the tool and find the tracer parameters that best replicate what you saw.
  3. Within Trip: If you are familiar with the tracer tool parameters so that you can tell in real time whether you are experiencing strobing, replays, color pulsing, etc. then you may want to try to replicate the tracers you are seeing in real time. We recognize that this has the problem that the tracer replications will have psychedelic tracers of themselves, and that they get in the way of the tracers you are trying to reproduce. That said, the early reports we have received state that it is actually easier to do a good job at replicating the tracers while in the state than after it. So we also welcome submissions of this type.

The case of HPPD and other non-drug induced tracers could be considered in this frame as well. For instance, we have been made aware that during the meditation practice of Fire Kasina, one experiences many pronounced tracers of various kinds. Thus, if you are currently experiencing meditation-induced tracers, you can submit parameters of the within trip kind. If you saw the bouncing ball (or other animations) during the meditation but have now exited your state, then you could submit a datapoint of the post-trip kind. And if you only have the recollection of tracers but did not see the ball at the time, then submit a retroactive datapoint. Likewise, HPPD and other tracer phenomena may come and go and their intensity may wax and wane, so these categories are also useful in such cases.

Please sign up to the QRI mailing list if you want to stay informed about the development of QRI’s Psychophysics Toolkit. We also want to emphasize, as we note in the Special Thanks section below, that this tool could not have been made without our amazing QRI volunteers. We are very eager to work with anyone with technical skills useful for this and related projects. If you would like to help us build these tools and advance our collective understanding of exotic states of consciousness, please get in touch. For more QRI volunteer projects see our volunteer page.


 [1] A significant message of the book is that it is useful to conceptualize these rhythms as being the result of endogenous pattern-generating networks specialized to create specific frequencies, envelopes, and types of synchronization.

[2]  “There are only two sources that control the firing patterns of a neuron at any time: an input from outside the brain and self-organized activity. These two sources of synchronization forces often compete with each other (Cycle 9). If cognition derives from the brain, this self-organized activity is its most likely source. Ensemble synchrony of neurons should therefore reflect the combination of some selected physical features of the world and the brain’s interpretation of those features. Even if the stimulus is invariant, the brain state is not. From this perspective, the most interesting thing we can learn about the brain is how its self-generated internal states, the potential source of cognition, are brought about. Extracting the variant, that is, brain-generated features, including the temporal relation between neural assemblies and assembly members, from the invariant features evoked by the physical world might provide clues about the brain’s perspective on its environment. Yes, this is the information we routinely throw away with stimulus-locked averaging.” (Buzsáki, 2006)


*Disclaimer: We are not encouraging anyone to ingest psychoactive substances. 


Special Thanks to: Lawrence Wu for implementing the current version of the tool. To Andrew Zuckerman, Quintin Frerichs, and Mike Johnson for a lot of useful ideas, conversations, and keeping the project afloat. To Robin Goins and Alex Zhao for getting a head start in implementing an earlier version of the tool. To the QRI team for encouragement and many discussions. And to the anonymous rational psychonauts and the HPPD sufferer for contributing pilot data with visual replications of their own experiences.


Bibliography

Buzsáki, G. (2006). Rhythms of the Brain. Oxford University Press.

Atasoy, S., Donnelly, I., & Pearson, J. (2016). Human brain networks function in connectome-specific harmonic waves. Nature Communications, 7(1), 10340. https://doi.org/10.1038/ncomms10340

Luppi, A. I., Vohryzek, J., Kringelbach, M. L., Mediano, P. A. M., Craig, M. M., Adapa, R., Carhart-Harris, R. L., Roseman, L., Pappas, I., Finoia, P., Williams, G. B., Allanson, J., Pickard, J. D., Menon, D. K., Atasoy, S., & Stamatakis, E. A. (2020). Connectome Harmonic Decomposition of Human Brain Dynamics Reveals a Landscape of Consciousness [Preprint]. Neuroscience. https://doi.org/10.1101/2020.08.10.244459

Rudrauf, D., Lutz, A., Cosmelli, D., Lachaux, J.-P., & Le Van Quyen, M. (2003). From autopoiesis to neurophenomenology: Francisco Varela’s exploration of the biophysics of being. Biological Research, 36(1). https://doi.org/10.4067/S0716-97602003000100005

Lehar S. (1999) Harmonic Resonance Theory: An Alternative to the “Neuron Doctrine” Paradigm to Address Gestalt Properties of Perception. Available at http://slehar.com/wwwRel/webstuff/hr1/hr1.html

Lloyd, D. (2013). The Music of Consciousness: Can Musical Form Harmonize Phenomenology and the Brain?. Neurophenomenology. https://commons.trincoll.edu/dlloyd/files/2012/07/Lloyd-2013-Music-of-Consciousness.pdf

Ingram, D. (2018). Mastering the Core Teachings of the Buddha: An Unusually Hardcore Dharma Book. Newburyport: AEON Books. Available at: https://www.integrateddaniel.info/book

Dubois, J., & VanRullen, R. (2011). Visual Trails: Do the Doors of Perception Open Periodically? PLoS Biology, 9(5), e1001056. https://doi.org/10.1371/journal.pbio.1001056

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), 17661. https://doi.org/10.1038/s41598-017-17546-0

Kent, J. L. (2010) Psychedelic Information Theory. PIT Press. Available at http://psychedelic-information-theory.com/pdf/PIT-Print-Web.pdf

Lehar, S. (2010). The Grand Illusion: A Psychonautical Odyssey Into the Depths of Human Experience. Available at: http://slehar.com/wwwRel/GrandIllusion.pdf

Turner, D. M. (1996). Salvinorin – The Psychedelic Essence of Salvia Divinorum. Panther Press. Available at: http://www.lavondyss.com/donut/toc.html

Leary, T. Metzner, R. Dass, R. (1964). The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead. Available at: http://www.leary.ru/download/leary/Timothy%20Leary%20-%20The%20Tibetan%20Book%20Of%20The%20Dead.pdf

Harman, W. Fadiman, J. (1996). Selective Enhancement of Specific Capacities Through Psychedelic Training. Psychedelic Reports. Available at: http://druglibrary.org/schaffer/lsd/harman.htm

Gomez Emilsson, A. (2015). How to Secretly Communicate with People on LSD. Qualia Computing. Available at: https://qualiacomputing.com/2015/05/22/how-to-secretly-communicate-with-people-on-lsd/

Gomez Emilsson, A. (2016). The Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets, and Saddled Scenes. Qualia Computing. Available at: https://qualiacomputing.com/2016/12/12/the-hyperbolic-geometry-of-dmt-experiences/

Gomez Emilsson, A. (2018). The Pseudo-Time Arrow: Explaining Phenomenal Time With Implicit Causal Structures In Networks Of Local Binding. Qualia Research Institute. Available at: https://www.qualiaresearchinstitute.org/s/The-Pseduo-Time-Arrow.pdf

Gomez Emilsson, A. (2020). 5-MeO-DMT vs. N,N-DMT: The 9 Lenses. Qualia Research Institute. Available at: https://qualiacomputing.com/2020/07/01/5-meo-dmt-vs-nn-dmt-the-9-lenses/

Alexander, S. (2014) Going Loopy. Slate Star Codex. Available at: https://slatestarcodex.com/2014/04/11/going-loopy/

Johnson, M. (2018). The Neuroscience of Meditation: Four Models. Qualia Research Institute. Available at: https://opentheory.net/2018/12/the-neuroscience-of-meditation/

Johnson, M. (2019). Neural Annealing: Toward a Neural Theory of Everything. Qualia Research Institute. Available at: https://opentheory.net/2019/11/neural-annealing-toward-a-neural-theory-of-everything/


If you want to use the software, please reference it by citing it in the following way (APA style):

Wu, L., Gomez Emilsson, A., Zuckerman, A. (2020). QRI Psychophysics Toolkit, Qualia Research Institute. https://qualiaresearchinstitute.github.io/psychophysics/

And cite this article as (APA style):

Gomez Emilsson, A. (2020, October). Modeling Psychedelic Tracers with QRI’s Psychophysics Toolkit: The Tracer Replication Tool. Qualia Computing.

Psychoactive Anecdata

[Epistemic Status: anecdotal data; this is not a list of “life hacks”; it is intended as a list of interesting research leads; don’t take drugs unless you really know what you are doing!]

I’ll mark to the right of each anecdata:

  • n=x when I can remember clearly how many people have said this to me up to n = 10 (e.g. n=7 means that 7 people have told me this)
  • n=x/y when I know that y people have tried it and of those x have experienced this
  • n>1 when 1 < n < 10 but I don’t remember exactly how many people have said it, and
  • pattern if it’s a pattern I’ve observed across more than 10 people pooled from online trip reports and conversations from email exchanges, forums, group chats, private messages, and things that have come up at IRL discussions (e.g. at festivals).

Psychedelics

The “best” phenethylamines in terms of the balance between mind expansion, euphoria, and low bodyload are:

  • 2C-B (low bodyload, high euphoria, unlikely to freak out at <25mg) [pattern]
  • 2C-C (like 2C-B but also relaxing, unlikely to freak out at <40mg) [pattern]
  • 2C-D (particularly easy on the body relative to other phenethylamines, unlikely to freak out at <30mg) [pattern]
  • 2C-I (more trippy and stimulating than the above, unlikely to freak out at <25mg) [pattern]

Among some of the worst 2Cs (but perhaps not worst phenethylamines) we find:

  • 2C-P (particularly bad bodyload, inevitable vomiting above some dose) [pattern]
  • 2C-E (“just too weird” for a lot of people, strong bodyload) [pattern]
  • 2C-T-2 (high bodyload, strangely similar to LSD in headspace) [n>1]
  • 2C-T-7 (same as 2C-T-2) [n>1]

IV Psychedelics

  • Do not ever IV 2C-E as it leads to instant extreme crams, nausea, and general bodily discomfort. [n=1]
  • The come-up of IV 2C-B is very fast relative to oral administration (5 minutes) and the peak is a lot more intense as well. 5mg results in an intensity of experience comparable to 35mg oral at its peak. [n=5]
  • Within 10 minutes of IV 2C-B one feels an intense urge to defecate. [n=4/5]
  • While IV 100μg LSD takes a full 30 minutes to show the start of effects, IV 300μg takes only 5 minutes to show pronounced effects. [n=1]
  • Ketamine is reportedly experienced as a “completely different drug” when the ROA is IV vs. IM vs. intranasal. [pattern]
  • IV Ketamine gives rise to a distinct metallic taste in one’s mouth within a few seconds of administration. [n>1]

Anti-Tolerance Drugs

In Anti-Tolerance Drugs we gave a list of drugs that, when taken in conjunction with painkillers and euphoric substances, can lessen, prevent, and even reverse tolerance. But “drug tolerance” is not a natural kind. Indeed, there are many systems of neuroadaptation that prevent drugs from exerting the same effect over time. Nothing makes this clearer than the typically life-long loss of “magic” to MDMA after a few experiences, which stands in contrast to the largely reversible tolerance to ethyl alcohol post-PAWS. Indeed, “drug tolerance” can mean tolerance to reduced action for: antidepressant effects (SSRIs), lessening chronic pain (opioids), increasing executive function (modafinil), enhancing motivation (amphetamine), “the magic” (ketamine, MDMA), the sense of unity and interconnectedness (LSD), otherworldliness (salvia), and so on. Indeed you can have a drug that generates tolerance to one of its effects but not others. For example, Slate Star Codex’s nootropic survey found that despite the common wisdom that prescription amphetamines stop generating a sense of euphoria after a while, most people who use them clinically for ADHD continue to experience an enhanced focus on the drug for many years. In this vein, the following anecdata highlights how anti-tolerance drugs have a much more subtle and multifaceted effect than just “reducing tolerance”:

  • DXM and other dissociatives seem to potentiate both the analgesic and euphoric effects from opioids, increase constipation, and leave pruritus the same. [n>1]
  • Proglumide reduces both the intensity of opioid withdrawal as well as the tolerance to their analgesic, sedative, and constipation effects. It does not affect euphoria or pruritus. [n>1]
  • Ultra-low dose naltrexone (ULDN) reduces tolerance to analgesic and sedative effects from opioids but not euphoria (“it makes opioids more sleep-inducing but a lot less fun“). Interestingly, ULDN prevents constipation from opioids. [n>1]
  • Black seed oil and ashwagandha reduce the tolerance to the analgesic, sedative, euphoric, and pruritus effects of opioids without influencing constipation. These effects are milder than all of the above. [n=1]
  • Agmatine potentiates the analgesic effects of opioids without an effect on other facets like euphoria or constipation. [n =1]
  • Turmeric primarily increases the sedative effects of opioids without changing much of anything else. [n=1]
  • Anti-histamine anti-cholinergic drugs (such as diphenhydramine) potentiate the sedative and analgesic effects, but leave constipation and euphoria the same. They can increase restlessness. [pattern]

Drug Combinations

In addition to all of what was said in Making Amazing Recreational Drug Cocktails:

  • DXM does not mix well with a bunch of things: 2C drugs [n>1], noopept [n=1], tianeptine [n=1], phenibut [n=1], ethyl alcohol [pattern], most nootropics. [n=1]
    • This seems to be especially bad for high-bodyload 2Cs as described above. [n>1]
  • Vaporizing DMT while on ketamine “slows down” and in some cases “freezes” some aspects of the hallucinations of DMT, allowing you to inspect them more closely. It also prolongs the DMT experience for a good 3 to 5 minutes. [n=3]
  • Taking 30mg of MDMA and 30μg LSD at the same time, followed by 10mg 2C-B four hours later, gives rise to a very positive synergy that allows you to maintain easy executive function while having trippy thoughts and a very high hedonic tone. It’s a smart and psychologically safe state. The combo has very mild hungover effects relative to how great it feels. [n=4]

Nootropics

  • Coluracetam is surprisingly psychedelic. [n=5]
  • Mixing coluracetam and weed gives rise to a mild LSD-like mindspace. [n=4]
  • Rhodiola Rosea has a distinctly “dopaminergic quality”, which is rare among nootropics other than L-tyrosine. [n=3]
  • Most racetams (piracetam, oxiracetam, aniracetam, etc.) successfully mask the verbal impairment (both comprehension and execution) caused by weed and/or alcohol (up to a point!). [pattern]
  • Agmatine (500mg) significantly blunts the intensity of orgasm. [n=1]
  • Agmatine (500mg) can be used as a replacement for NSAIDs like aspirin and ibuprofen for mild to moderate pains and aches. [n=1]

Surprising Analgesia

  • Microdosing LSD (5 to 20μg) can substantially reduce the pain of very bad premenstrual syndrome (PMS). [pattern]
  • Microdosing LSD can also reduce the pain associated with shingles. [1<n]

Spiral

[Excerpt from Phenethylamines I Have Known And Loved (published in 1990 and usually abbreviated as PIHKAL) by Alexander and Ann Shulgin, pgs. 98-103]

Part Two: Alice’s Voice

Spiral

When I finally gave it a name, I called it the Spiral.

This is how it was. Lying down for a nap time (as a child) or at night for sleep, I would have reached that point of relaxation where one is not very much aware of the body. The small itches and discomforts have subsided, and the mind is beginning to drift. When I sensed it beginning (I never knew when it was going to come), I would immediately snap into alertness, excited and pleased, then I would just lie quietly as it unfolded.

The first thing that happened was a change in my breathing. It became increasingly shallow, to the point where my rib cage was barely moving at all.

If someone came into the room and talked to me, as sometimes happened, I could open my eyes and answer normally; the experience continued uninterrupted inside my head.

Every part of it, every stage, was the same each time. It was always in black and white. There was no color anywhere, and try as I did, especially around the age of fourteen, I could not force color to come onto the screen. And I could never extend it, by so much as a few seconds. When it was finished, it was finished.

First came the image-sensation after which I named the entire experience – the spiral. I felt my entire self drawn rapidly into a tiny point which kept shrinking, until it could shrink no further, at which time the microscopic point became a tunnel in which I continued traveling at great speed, inexpressibly small and implacably diminishing.

Simultaneously, I was expanding. I was expanding to the edges of the universe, at the same tremendous speed as that of the shrinking, and the combination, the contraction-expansion, was not only an image, it was also a sensation the whole of me recognized and welcomed. This experience of myself as microcosm-macrocosm lasted exactly four minutes.

The image of the spiral is found everywhere that the human has left his mark on earth. It has been cut into rock faces, painted on huts and clay pots, traced on the walls of initiation caves. I’m certain that it has been important to all the races of man because it is a symbol for the experience I’m describing, and for the concept, the understanding that the intellect forms out of what is initially not an intellectual, but a soul experience of the Alpha and the Omega.

The next stage came abruptly, as did all the changes. I was looking at standing figures which were vaguely human, dark thin figures being pulled into elongated shapes, like the sculptures of Giacometti. They stretched out, arms and legs like black string, until it seemed they could elongate no further, then the scene changed and I was watching obscenely rounded bodies, Tweedledums and Tweedledees without costumes, their small heads and legs disappearing into their puffed, bloated flesh.

The sensation accompanying this stage was one of discomfort, unpleasantness, a feeling of something grating on my soul. I once timed this part and the one that followed; they lasted a total of six minutes. I disliked them intensely.

Abruptly again, the inner screen became white, a horrible dead-white, nasty and aggressive like the underbelly of a sting-ray. After presenting itself for a few seconds, the flat white began to curdle from the outer edges into black, until finally the screen was totally black. A thick, awful, dead black, a pool of tar in an unlit cave deep underground. After another brief pause, the black began to curdle at its edges into the white again. The process repeated itself once, and the sensation was similar in every way to the previous one: irritating, grating, a feeling of unpleasantness that approached repugnance. I always endured it with a mental gritting of teeth, knowing it had to be gone through because that’s the way it always went and it was not to be changed.

And then, finally, I broke out into the last stage, the final part for which I had always been and always would be willing to undergo the middle parts.

Now I was at the edge of an unseen cliff, looking out into a very different blackness, the deep, cradling blackness of the infinite universe, of space which stretched without end. I was completely happy and comfortable in that place, and would have stayed there indefinitely, had I been allowed, breathing in the beautiful darkness and the exquisitely familiar sense of infinity as a living presence, surrounding me, intimate and warm.

After a moment of this pleasure, came the greeting. From the upper left-hand corner of the universe there came a greeting from Something which had known me, and which I had known, since before time and space began. There were no words, but the message was clear and smiling: Hello, dear friend, I salute you with respect-humor-love. It is a pleasure with laughter-joy to encounter you again.

That which greeted me was an entity so far removed from anything in human experience that I concluded, when I was an adult, trying to find a way to describe it to myself, that even the word, “entity”, could not be applied; a word creates boundaries, it says this is the shape of what you are describing, as different from other shapes which are bounded by other words. It had no shape, no form, no definition, no boundaries. It was. It is. It was my oldest friend and it greeted me as its equal. I always replied to it with a rush of love and delight and my own laughter.

Then it was over.

It had taken exactly twelve minutes.

It was something I’d always experienced, taken for granted, and had given no thought to when I was very young. Not until age fourteen did I take a good look at it and recognize it as unusual, something peculiarly my own, my secret private treasure. I also got very analytical about the whole thing, began my habit of timing it and made the first of my unsuccessful efforts at altering it. But I didn’t decide on a name for it until many years later, discarding “Microcosm-macrocosm,” as too long and unwieldy, and settling on the simpler “Spiral.”

It had probably been going on since I was born. There’s no way to be sure, of course, but because it had been part of my life ever since I could remember, I tend to assume it was familiar to me from the very beginning. My mother said something once about having seen a change of some kind coming over me occasionally when I was a baby; she said she didn’t worry about it because when it passed, I appeared to be quite normal.

It always (with one single exception) came under the same circumstances, when I had settled down in bed for a nap or for the night’s sleep, but well before sleep itself took over.

The one exception happened when I was around fifteen, shortly after my father had been transferred to Santiago de Cuba as American Consul. We were staying in a hotel, while those responsible for helping us find a home were still busy with their search. My father and mother, my brother Boy and I were having lunch in the hotel dinning room and my eyes focused on the butter plate on the table. In the exact center of the round plate was a single pat of butter, and somehow the sight triggered the familiar feeling I associated with the beginning of the Spiral. I was surprised and very pleased, because it was a new thing to have it start under such unusual circumstances.

I was also pleased because it was my special thing, and in asking to be excused from the table to go up to my room, I felt a certain sense of importance, which was rare when I was with my family. I said just enough to make it clear that my strange “thing” was beginning, and my parents grudgingly gave me permission for me to leave. I reached the room upstairs in time for the completion, the wonderful last few moments. It turned out to be the only time it ever happened that way – when I was out of my bed, involved with ordinary matters of daily living.

I tried to make it come, searching out all sorts of images of round space with dots in the center, but nothing worked. I never found a way to make it happen. It came when it chose to, unexpectedly, once in a while. The times it chose had no apparent connection to anything else that was going on in my life, either generally or in particular. In twenty-five years, believe me, I looked for every possible connection; I found none. When I was very little, I think it might have happened as often as once a week or so, but as I grew older it came less and less often, until around age twenty-five, when it happened only twice in one year, then never again.

The discovery that I was not alone in my journey into the interior cosmos came as a complete surprise. It gave me a great deal of excited pleasure and opened up a whole new series of questions. I happened when I was around twenty two, and – interesting enough in itself – the two proofs came to me within a single four month period.

The incidents were astoundingly similar.

The first one took place one evening when I went to a party given by a friend in San Francisco. I was in the host’s kitchen with several of the other guests, doing what people usually do in strange kitchens at informal parties – talking, drinking and munching potato chips and carrot sticks – and after a while one young man named Evan and I found ourselves alone, deeply involved in a conversation about unusual experiences, mostly read about or heard from others, the kind of conversation that seems to come about more easily, somehow, in the midst of a high energy, noisy party than at any other time.

Suddenly Evan was telling me about what he referred to as “a really weird thing,” which had been happening to him ever since he was very young. I remember the prickling that spread up my back as he began describing it, and I understood immediately the look that gradually came into his face, a mixture of embarrassment and anxiety (She’s going to think I’m crazy; why am I talking about this?). I tried to make it easier for him to continue by nodding encouragingly and once – when he faltered briefly – I volunteered what I knew was going to be the next image, and he looked startled, almost frightened, drank a bit from his glass, muttered, “Yes, exactly”, and continued to the end. His end was not mine; his journey came to a close after the black and white curdles. I thought, with a touch of pity, that he seemed to have missed the best part, although he did have the wonderful spiral at the beginning. I was glad I hadn’t prompted him further. When he’d finished his story, I told him I’d had every one of the images he had described, and that he was the first person I’d ever met who shared the experience. I said nothing about my own different ending.

He was staring at me, and I wasn’t sure he’d really heard what I’d been telling him. Finally, he smiled and said that I was the first person he’d ever told about this private, “crazy thing,” and he couldn’t believe – it was so extraordinary – that I actually knew what he was talking about. He said that he had always wondered if the experience was a sign of insanity of some kind, and it was such a relief to know that somebody else had had it. Neither of us felt it necessary to add that, in a situation like this, it was also reassuring to see that the person who shares your strangeness appears to be relatively sane and reasonably functional.

I smiled back and said I understood exactly how he felt. We left the kitchen and joined the rest of the party. I never saw him again, and didn’t particularly expect or want to. It was enough to have heard one other person repeating what I knew so well, and it was intriguing to know that my journey, or process, had gone farther, longer, than Evan’s; after all, although I was more than willing to give up exclusive rights to the whole thing, I didn’t mind retaining a little bit of superiority.

The second incident was almost identical to the first, the only difference being that the young man (whose name I forgot almost immediately) was talking to me in somebody’s living room, instead of the kitchen, in the middle of another noisy party, when he began describing the “strange vision” that he, too, had had ever since he was a small child. His, also, ended short of where mine did, and he was astounded and obviously very relieved to know that there was somebody else in the world who knew about it.

Both young men seemed quite unremarkable, although pleasant enough and intelligent. I never saw the second one again, either.

I remember wishing briefly that I could put an ad in the Chronicle or Examiner, something along the lines of, “Seek contact with others who have experienced…,” and of course, the imaginary ad stalled there.

It happened – my beloved Spiral – for the last time when I was twenty-five. I had no way of knowing, of course, that it would not come again. It may or may not have been a coincidence that, within three weeks of the last time, I had my first encounter with a psychedelic material, the Divine Cactus, peyote.



Has the above ever happened to you? Did you experience the Spiral as a kid? If so, please let us know!

See also:


Featured Image Credit: Matthew Smith

Self-Locatingly Uncertain Psilocybin Trip Report by an Anonymous Reader

See more rational trip reports by anonymous readers for: 2C-B, 4-AcO-DMT, LSD, N,N-DMT, 5-MeO-DMT


Pre-ingestion Notes

Physiological Background

  • Restfulness: Well-Rested (7-8 hours of sleep)
  • Wake-up time: 5:10 am
  • Morning run: 5:30 am (~30 minutes total)
  • Breakfast time: 9:25 am
  • Food: 2 chicken sausages + ½ bagel, ¾ can of Peach-Pear La Croix (carbonation will create a slightly acidic environment, possibly potentiating drug’s metabolism)
  • Weight: 55-60 kg
  • Height: 170-180 cm
  • Sex / Identity / Orientation: Male / Cis / Hetero
  • Libido: decently high; 2 days since last masturbation
  • Dosage: 6 g, mostly caps; took 2x dosage of everyone else to prevent any potential short-term homeostatic adaptive effects which might lead to upping dosage mid-stride
  • Other Drugs: none

86500006_10157440168357499_2144632867752247296_o

“I have a split personality”, said tom, being frank

Environmental Stimuli

  • Temperature: moderately warm – cozy (~ 74 F, 23 C)
  • Light: near window with ample filtered sunlight
  • Touch: sitting on fuzzy carpet; comfortable loose-fitting athleisure wear clothes
  • Olfactory: 5 sprays of peach-nectarine body scent (as an experiment to test memory retrieval of trip, as unlike other sensory systems, scent mostly bypasses the thalamic sensory gating filter)
  • Taste: regular mushroom taste, 2 Listerine strips immediately afterward (again to engage in potential memory retrieval). Nothing nauseating or stomach-troubling.
  • Auditory: listening to minimalist / contemporary classical music by Ludovico Einaudi
  • Visual: YouTube videos of fractal images & Islamic art
  • Social: 4 friends (3 of which are of the rationalist-tribe; all techies)

    86831264_10157440168352499_8433373718276734976_o

    Plate of mushrooms and accompanying peach-nectarine body scent

Prior Cognitive State

  • Past drug experiences: 2 occasions of cannabis, few times alcohol, and 2 occasions of adderall. All minor experiences, none negative, and generally I strongly abstain from psychoactive drugs (even caffeine). No prior experience with psychedelics(!)
  • Mood: relatively optimistic and happy; no negative feelings
  • Beliefs: generally Fictionalist in ontology, though in recent years have experienced Platonist tendencies. Strongly grounded in an empirically-based, scientific-physicalist perspective. Strong sense of individuality + Selfhood. Not religious, nor spiritual, though upbringing was Roman Catholic.
  • Training: former academic neuroscience + pharmacologically-trained; current data science graduate student
  • Goals: to gain first-person experience of Klüver constants and re-establish/confirm any potential taxonomy of geometric forms (see here, here, and here for more)
  • Expectations: extremely skeptical that any fantastical effects might occur other than some random colors in the visual field, minor mood changes, minor memory + time effects such as retarded / slowed time, and maybe at most some Alice-in-Wonderland Syndrome perceptual-type effects. Hoping for experiences of strong and consistent + clearly defined Klüver constants, but skeptical they even exist. Skeptical of any notion of god-minds, communion with nature, dying and being reborn, and generally any spiritual or mystical experiences.


Real-Time Trip Report (unedited)

Time of Ingestion – 9:55 am, 02/15/2020

10:21 – First noticeable effect. Concentration lagging. Palms beginning to sweat. Starting to feel like it might be difficult to focus enough to write a report.
10:29 – REALLY strong physiological effect. Losing focus. Similar to being extremely tired(!). Sweat increasing (palms, pits, neck in that order). No visual or auditory hallucinations yet. Everyone else is laughing somewhat uncontrollably.
10:33 – First STRONG spike of losing concentration. Similar to being really tired or fainting.
10:36 – Another strong spike of losing consciousness. No hallucinations yet.
10:37 – Spike again. Increasing frequency now. One about every 15-20 seconds. Have to write this sentence in bursts, and memory is trying to keep up recovering my train of thought. Have to stop and now and then to
10:38 – First visual effectss! Tortoise shell-like fractal images. Hard to focus. Palms really really really sweaty, notice it as keyboard residue.
10:43 – Still hanging in there. Notice that friend’s response time is really late with around 2 minute delayss, not sure if that’s me or them? Extreme switching cost now between chrome tabs of writing and watching youtube vid.
10:46 – Switching cost too strong. Dilemma now between 3rd person documentation and 1st person immersion. Trying hrad.
10:47 – okay giving in to the experience now. too strong now
10:48 – laughter
10:48 does not make sense, really hard to type now, losing languge
50 trying hard to document. worried hwo to convey this
51 realizati not abot documnting 52 thats it 53 can i come back
54 latice structs 58 still here k
11
03


86738717_10157440168497499_1761472955465859072_o

Post-Trip Report

Total Trip Duration: ~6-7 hours

I’m writing this now being fully recovered and in my usual frame of mind. I’m going to start with how much I can remember…

Somewhat cognizant but before peak experience, I came back from one of my blackouts and saw one of my friends outside the cabin. I worried about their safety but realized that other people were going to take care of him. I also remember one of my friends constantly checking up on me. The strongest thought that I recall during the beginning of my experience was realizing that I had to let go of all this documentation, stop worrying about others and what other people think, and had to let go of this 3rd person perspective. I know this sounds somewhat monstrously misanthropic, but at the time of the experience I felt like that to pursue Truth I had to go further than everyone else even if that meant leaving them behind, and it was distracting to even have to jump back and forth between 1st and 3rd person perspective to focus on responding to other people during my brief moments of sanity to tell them I was ok when I could be delving deeper and deeper into the experience. This thought of leaving all thoughts of others behind to pursue the Truth reoccurred a few times as I began to get sucked into the vortex of patterns found in the wood grains of the floor and the curls of the carpet.

Linearity of experience was soon lost. I blinked in and out of existence. Time was definitely not unraveling like the constant forward stream I was used to and I felt like I was teleporting from one false reality to the next. I didn’t know in what order those events occurred. At this period I really wasn’t thinking, but more just passively viewing brief glimpses and snapshots of my body going through the motion. One moment I was in the kitchen. The next locked in the bathroom. The next on the living room floor. It’s such a shame that there’s a quirk in our language requiring me to express these as “next experiences” when in reality I did not experience them as having an order. I felt a really strong sense of déjà vu and reverse déjà vu tied to each of them, as if I’ve already done them before while also simultaneously knowing that I will be doing them in the future. It was really weird to have the feeling that you know you’ve already lived the future.

I blinked onto the bathroom floor. I thought why should I even look back and respond at all to the other people asking if I was okay when I finally have the chance to explore and find Truth with a capital T, and suddenly a strong sadness hit me. It was more of a feeling than a coherent logical thought, but the best way I can explain it was that it was a type of guilt that I’ll never be able to share this with my sister, my brother, my mom and dad, and then what will happen to my roommates, and then all my other friends and classmates around me, and how they’ll worry about me and so I told myself I’ll have to come back for them.

And so I tried to come back. Trying and wanting is such an interesting concept. It’s weird to desire language without being able to form a coherent line of thought or internal sentence in your head, but that is what I remember doing. How do you say to yourself that you want something without even being able to describe to yourself what that is? It seems desire may be more fundamental than internal language. Soon my linguistic centers began to reboot and I realized that this had to do with my memory chunks getting larger and allowing me to hold more in short term memory. Although seemingly primitive and simplistic, I can’t emphasize enough how this realization that memory and language were intertwined and recursively bootstrapping each other really helped soothe away any panic that I was totally lost.

I blinked into the kitchen. Time was becoming more linearly coherent now, but I kept blanking out and teleporting randomly throughout the kitchen. The thing was: I didn’t think of it as the same kitchen. I thought of it as different parallel realities of a kitchen that I recognize. I remember my friend offering me a chip and me trying so very hard to grasp that chip from her and hold on to that reality even if it was not the true real one, as if by merely believing by sheer force of will that I am actually grasping an object then made it concrete. I recall saying ‘trying to parse’. I strained with cognitive effort to stop teleporting. I remember asking everyone in each reality I blinked into whether or not this was the real one. “Wow, is this real?” became a repeating question tinted with wonder and surprise.

I blinked into the living room. Time was linear again, and it seems I began to be able to somewhat coherently reflect on the geometric patterns clouding my sight. I regretfully wished I could have focused on them more (as well as the apparently living, pulsating, and breathing floor beneath me and the shrinking and growing of my hands), but it was at this moment that I truly to the deep core of myself had the gut feeling that this reality wasn’t my original one. I honestly and wholeheartedly believed that this reality was a construct and that I was living out a simulation either in the mind of my true body in the real world (where I was probably in some coma in the hospital) or inhabiting the body of a different version of myself in a parallel universe. Everything felt false. Fake. Simulated. I was overcome with a Great Sadness that I didn’t know how to get back to my own original reality, and that I never said goodbye to the people I loved. And I was surprised because these melancholic emotions were of such strength to overcome my scientific training and any previous skepticism I once held.

I tried in vain to remember some mathematical way of proving you were living in a simulation, maybe something from information theory, or Tegmark’s mathematical universe, or something regarding speeds and frames of references and computational power being limited in an embedded simulated universe, but I could not for the life of me recall how to actually prove this to myself or what experiment to run. I remember, fuck man, I really should have worked out those thought experiments and proofs in depth because now I’m stuck.

However, it was on that thought of frames of references that I realized with some sadness and regret that maybe it’s not all that bad since how can I be the one to say one reality is more real and valid than the next? The best way I can convey this was that it was a somewhat mono no aware-type feeling. Even if this is a simulation in my mind or I’m in some parallel universe, why should I be any less happy? If someone spent their whole life creating their own meaning through something as removed from reality as art, or music, or pure math, and was able to live a fulfilling life, why should any particular version of myself be considered less meaningful just because this version of me possesses a memory of another me as an origin and potential branching-off point? Wasn’t another reality just as valid as the original one that I just came from? What made my old frame of reference special except for the mere fact of it being my origin? Why was I feeling this sense of sadness that I left it all behind to teleport to this version of reality? And then came the acceptance that if this reality was just as real except for my gut belief that it wasn’t, why shouldn’t I be able to simultaneously accept that gut feeling and move on and live in this version of reality?

And so I decided to live on, and within a few hours began to lose this sense that this was the false reality (although I really really wished I had a GoPro camera with me so that I could definitively prove to myself that I was in the correct reality). I began to have a newfound strong sense of empathy towards people with dissociative disorders. Thinking back on the experience, I think I primed myself for these thoughts when I kept switching between first-person and third-person perspectives, telling myself I couldn’t handle the switching cost any longer and that I should just immerse myself fully in the experience and forget about documenting this for other people, and why was I even submitting myself to the approval of others anyways because if there’s anyone who will have to go further in their exploration and sacrifice the chance to be with others then I guess I’ll just have to take up that burden.

Overall, I think the strong dissociative experience of thinking this reality was the fake simulated one had to do with maybe a couple of things. As mentioned before, one cause could have been the psychological priming induced by constantly switching between 1st and 3rd person ways of perceiving this event, creating the necessary emotional conditions of being simultaneously split between existing and being fully immersed in the present moment versus wanting to abstract / detach myself from the moment.

The second potential cause of the dissociation could have been due to my brain constantly blacking out and being rebooted in another physical part of the house. Because I had no memory of the continuity of how I got from one context to the next, this conditioned my brain to rationalize and register each separate event as a separate reality, probably falsely recognizing and incorrectly pattern matching these experiences as being more similar to a dream state where teleportation is normal, perceptions are distorted, and sequences of events are jumbled. This probably then began synthesizing the necessary eventual gut-belief that this reality was fake (because I subconsciously falsely pattern matched that it was similar to a dream).

Finally, I think the third potential contributor to the dissociation occurred when I was coming down from the experience and my brain went on overdrive trying to rationalize events. It might be possible that the more you are adept at creatively rationalizing things away the paradoxically worse you are at accepting this reality. Just having knowledge of potential parallel realities in physics, the simulation hypothesis that we might either be simulated in our heads or on a computer and may not realize it, the philosophy of solipsism, and knowing the neuroscience of how just freaking good the brain is at tricking itself that something is real, all created fertile conditions for my brain to interpret this reality as false.

Thinking back on the experience, I now have a newfound appreciation for memory and the continuity of experience, and their contribution to what it means to feel situated and embodied in this reality. If I were to do this again I would probably micro-dose so that I could still retain my linguistic faculties and linear way of reasoning in order to investigate the visual geometric effects in much greater scientific 3rd person POV-like rigor, focusing less on the semantic psychoanalytical content of the experience and more on the psychophysical optical effects (which was my original goal!). This really showed me how dependent the sense of Self was on the continuity of memory and experience and that maybe the Self really is composed of different smaller frames of reference generated by subnetworks in the brain (and hence is an ecology of momentary and brief snapshots / selves constantly going in and out of existence, both competing and coalescing in dynamic flux to make up the whole Self). Without the strong pillar that the continuity of singular memory provides to the host body that this community of selves inhabits, I think there really could be a binding problem for integrating these individual snapshots into a singular Selfhood and individual identity that persist through time that we call ‘I’.
Overall, I gained a much greater appreciation for continuity, the linear narrative of language intertwined with memory, and what it feels like on the inside of someone who is dissociated and thinks their surrounding reality is just a construct and not real. Also, the geometric images were really cool and I finally now understand why people say Google’s DeepDream art seems psychedelic, because looking into the mirror during the later stages of my trip confirmed that my face really did look like a globular, eyes-everywhere, and skewed proportioned / sized image!sIALPrcsO8TouJL3khCiXQ-small
Anyways, I really want to thank my friends that were with me on this trip and for constantly checking up on me to make sure I was okay. Rarely do I feel comfortable in the presence of other people and I’m glad I felt safe with you.

Thank you ❤️

Overall, I’d give my first experience with psychedelics a 7/10!


2-Week Post-Trip Report

So it’s been 2 weeks since ingestion and I just wanted to briefly report this one last interesting phenomenon for documentation’s sake.

Out of the 14 days post-trip, a little less than half of those nights (6 nights in total, distributed more heavily in the week immediately after the trip), I’ve had dreams that featured strongly self-referential phenomena. Within these dreams, my perceptual surroundings immediately reminded me of my aforementioned psychonautical experience of questioning my reality. These strong emotional realizations would then essentially cause my brain to kick itself out of the dream.

However, instead of truly waking up, I was still nested inside another dream in which I was imagining waking up. I usually went through 2-3 rounds of this false waking-up cycle until I finally surfaced into the real reality of the morning.

I thought it interesting for the first 2 nights, but after that it actually got really tiring always waking up questioning whether or not I’m really awake, and then having to go through the same motions of prepping for school/work knowing you’ve done that 2-3 times already in your head for the day.

What was funny though was that this always occurred around the same time each morning (my body has always naturally woken up at 5 am on the dot since high school), and in each iteration of the dream in which I falsely woke up I remember looking at my clock and seeing that it is 5 am. This would then lend me false-confidence and confirm that “ah, ok, I’m not in the dream anymore since I really do wake up at 5 am“. However, I think after enough times of this not working my brain finally came to learn that that was no longer a reliable indicator of the reality being real.

This skeptical realization finally got strong enough to be able to recall within my dream and act as an early kick-out mechanism that I eventually woke up closer and closer to my true ‘waking up point’. I remember going through the wake-up, look at the clock, remember that this no longer works, then immediately get kicked out, and wake up again, look at the clock, then remember this no longer works and get kicked out again, wake up, then look at the clock and finally get some inkling that this perception is a little different and realize that’s because I’m really waking up for real now. A rather fascinating experience!


Featured image by Nick Swanson

5-MeO-DMT vs. N,N-DMT: The 9 Lenses

TL;DR

Some substances seem to be much better at treating psychological trauma than others, even when they are seemingly similar in nature. We have reason to believe that 5-MeO-DMT is significantly better suited for this task than N,N-DMT (“DMT” from now on). In order to gain insight into why this difference exists, we investigate the phenomenological differences and similarities between the experiences produced by these two tryptamine psychedelics. In particular, we develop 9 lenses that show promise for understanding how 5-MeO-DMT and DMT differ:

  1. Space vs. Form: 5-MeO is more space-like than DMT.
  2. Crystals vs. Quasi-Crystals: 5-MeO generates more perfectly repeating rhythms and hallucinations than DMT.
  3. Non-Attachment vs. Attachment: 5-MeO seems to enable detachment from the craving of both existence and non-existence, whereas DMT enhances the craving.
  4. Underfitting vs. Overfitting: 5-MeO reduces one’s model complexity whereas DMT radically increases it.
  5. Fixed Points and Limit Cycles vs. Chaotic Attractors: 5-MeO’s effect on feedback leads to stable and predictable attractors while DMT’s attractors are inherently chaotic.
  6. Modulation of Lateral Inhibition: 5-MeO may reduce lateral inhibition while DMT may enhance it.
  7. Diffuse Attention vs. Focused Attention: 5-MeO diffuses attention uniformly over large regions of one’s experiential field, while DMT seems to focus it.
  8. Big Chunks and Tiny Chunks vs. A Power Law of Chunks: 5-MeO creates a few huge phases of experience (as in phases of matter) with a few remaining specks, while DMT produces a more organic power law distribution of chunk sizes.
  9. Integration vs. Fragmentation: 5-MeO seems to give rise to “neural integration” involving the entrainment of any two arbitrary subnetworks (even when they usually do not talk to each other), while DMT fragments communication between most networks but massively enhances it between some specific kinds of networks.

All of this together suggests that 5-MeO-DMT is better at helping you “reconnect with yourself” than DMT. And this may be key to treating trauma effectively.


What is Trauma?

I will start out by briefly mentioning an interesting property of psychological trauma. You see, trauma has a lot of somatic manifestations. Feeling disconnected from yourself,  like you are full of blockages, that you have numb regions in your body despite no physical damage, and so on, are all quintessential ways in which trauma shows up in a person’s everyday life. Given these manifestations, do these suggest any new way of treating this? How about using something that facilitates the communication between parts of your nervous system that are not on “speaking terms” with each other? Would giving our nervous system a kind of vibration that simultaneously entrains any two of its regions to make them act as a unit be of any help?


Psychotropic Treatment of Trauma

Based on tens of interviews, hundreds of trip reports, and a literature review, I have arrived at a tentative short list of drugs that have the highest potential to heal trauma (in decreasing order):

  1. 5-MeO-DMT
  2. MDMA
  3. Ketamine

They are all synergistic combined with music, vibration, strobes, and olfaction. And when wisely used, they all have the ability to help you move on past pain: stop ruminating, stop feeling like your behavior is inhibited, and stop having panic attacks associated with your past experiences.

At some point in the future I will provide direct empirical evidence for the claim that these three substances are uniquely good for treating trauma. Arguably psilocybin, ayahuasca, and LSD can be helpful in processing traumatic experiences too. But my claim is that the options I listed are uniquely good at deeply resolving the issues at an emotional level and bringing to you the opportunity to feel a profound and lasting sense of inner peace.

DMT won’t help as much as 5-MeO-DMT.

MDA is not as good as MDMA.

And DXM, ok, perhaps it can also be quite useful for trauma… but ketamine has something “extra” that really helps.

What is this?


harmonic_society


The Koan: 5-MeO-DMT, MDMA, Ketamine?

Perhaps we could gain a new perspective by framing this as a Koan: what do MDMA, 5-MeO-DMT, and ketamine have in common? You HAVE to the figure this out in the next 24 hours, or your guru will literally cut your cat in half. Motivated enough?

What do you do? Well, you start out by borrowing psychopharmacology books from the library. But does that help? When it comes to trauma, in traditional textbook neuroscience MDMA is at best just a footnote. Ketamine is not even mentioned for the most part, unless the book is hip, but even then it will be mentioned in the chapter about anaesthetics and painkillers; its psychoactive effects will be glossed over as “emergent phenomena”. No! What are you doing? Wasn’t John C. Lilly already talking about the far-out, extraordinarily bizarre, perhaps even literally inter-dimensional properties of “vitamin K” way back in the 70s? Then why is my 2007 “Drugs and the Brain” textbook so totally lacking in any kind of genuine phenomenological insight about this stuff?

And what about 5-MeO-DMT? You are lucky if the term appears even once in your $800 textbook. And if it does indeed appear, you can bet it will also be in a footnote, this time concerning matters such as “psychoactive animals”, “other tryptamines”, and “mesoamerican entheogens”. You will neither see 5-MeO-DMT mentioned in a personal identity philosophy textbook, nor in a neuroscience treatise on “neural synchrony”, nor in the part of academia focused on “innovation in the treatment of mental illness”.

It is sad to admit, but the official main-lined level of interest in the three most promising therapeutic tools for trauma listed above is a matter of sorting and assembling footnotes.

I am exaggerating a bit, of course.

MDMA’s therapeutic potential is gaining traction thanks to the tireless work of MAPS. S-Ketamine is now approved as an anti-depressant. And while 5-MeO-DMT is gaining popularity at a glacial pace, it is at this point by no means a secret. An increasing number of vocal members of the psychedelic community have been talking about 5-MeO-DMT for some years. People who have publicly emphasized how different five is from other psychedelics include Hamilton Morris, James Oroc, Martin Ball, Leo Gura, and Rak Razam. But what we still lack is rigorous scientific backing for these claims. After all, everyone is likely to want to sell their aesthetic preferences as universal truths about beauty and bliss, right? Thankfully, there are some early scientific indications already:

The above graph comes from a 2018 study that investigated the therapeutic effects of 5-MeO-DMT-containing toad venom relative to psilocybin. The dose used (the amount of buffo venom vaporized) had an estimated content of 5-7mg of 5-MeO-DMT, and the researchers classified 75% of the resulting experiences as meeting the criteria for a “complete mystical experience”. It measured people’s level of response with the Mystical Experiences Questionnaire (MEQ30), and as you can see from the graph above, in every category 5-MeO-DMT seems to be more powerful than psilocybin. The level of effectiveness was indeed found to be higher than all but the highest dose of psilocybin, and chances are that the study couldn’t show it was more effective than that because it was underpowered to detect it, and not because there is no difference (in other words, the sample size was not large enough for the difference between high-dose psilocybin and 5-MeO-DMT to reach statistical significance). Also bear in mind the key difference that the trip lasts under 20 minutes in total, meaning that even if the trip fails to produce full effects, you can still afford to try it again ten more times in the same time interval that it would have taken you to experience a full psilocybin trip. More so, it is important to point out that the dose of 5-MeO-DMT taken by the participants of this study is considered to be at the edge between “light” and “common” in PsychonautWiki’s entry on the drug*. Indeed, for many people the “breakthrough” tends to happen around 10mg, and I’ve heard of people using up to 30mg of it at a time. (Beware: if you ever try this – please don’t jump straight to a high dose, as this can cause serious trauma as a result.) Therefore, I think it is reasonable to expect that future studies will confirm what anecdotal data is currently screaming: that 5-MeO-DMT is more “powerful” and “mystical” in its effects than psilocybin, LSD, DMT, 2C-B, and all the rest.

But what this “power” and “mysticism” exactly amounts to still lacks clear and useful definitions. More so, is there any concrete reason why 5-MeO-DMT may be also superior at healing trauma relative to, eg. LSD or psilocybin? Technically, one could currently argue that since the presentation of “complete mystical states” is a mediating factor in whether psilocybin has long-lasting psychological benefits, that 5-MeO-DMT is more effective simply because it has a higher probability of causing this effect. But I would argue that the texture of 5-MeO-DMT peak experiences is different and not only just more intense, and that the way in which it is different matters for its therapeutic value.

To investigate this particular difference, we now move on to examining the phenomenological difference between 5-MeO-DMT and DMT.


5-MeO-DMT vs. N,N-DMT: The 9 Lenses

My experience is that a reasonable ~20% of people I talk to who have a long-standing interest in psychedelics have heard about 5-MeO-DMT’s special properties. However, only a much smaller percentage of people have actually tried it. At Qualia Computing we have talked about its exceptional phenomenological properties a number of times. Yet it remains that most readers who reach out have not themselves experienced it. Hence I have not really had access to quality trip reports in order to say anything meaningful about the way in which it is different from DMT.

Thankfully, I’ve recently interviewed someone who has a decent level of experience with 5-MeO-DMT (20+ trips), along with a significant level of experience with vaporized DMT (100+ trips), and is also acquainted with the combination (10+ trips with both substances at once).

Given the incredibly intense psychoactive effects of 5-MeO-DMT (both for good and bad), most people struggle to put into words anything meaningful about the state. That said, as it has been the case with a number of other states of consciousness (e.g. LSD, DMT, and MDMA) I feel compelled to try to offer a sane, rational, agnostic, and pragmatic description of its phenomenology. In particular, I think that 5-MeO-DMT’s unique trauma-healing potential really deserves a close look. I believe that it sheds light on a wide range of topics of interest such as neural annealing, the Symmetry Theory of Valence, and the pseudo-time arrow (video). With this in mind, I inquired with my interviewee about the differences between N,N-DMT and 5-MeO-DMT. Together, after a lengthy open-ended discussion, we found the following ways to compare them:

1. Space vs. Form

QRI - Art and Consciousness copy 33QRI - Art and Consciousness copy 29

One of the first things that stands out when you take DMT at even small doses is the way in which colors get intensified. This is a special case of a very generalizable effect: in fact, every perceptual feature you can point to is enhanced while on DMT, from the sharpness of edges and pointy things to the feeling of movement and rotation. The interviewee indeed said that a brain on DMT “becomes a powerful qualia machine“.

After trying 5-MeO-DMT for the first time, most people already familiar with DMT mention something along the lines of “I was surprised that I didn’t see many colors.” The visual component of five is rarely very colorful; if color appears, it is in the form of a golden or sometimes light faint magenta or green hue. For the most part, the visual component of the experience is black and/or white. At times, one can see rainbow halos, but like rare subatomic particles, on 5-MeO-DMT rainbow colors come in and out of the vacuum, as if somehow equivalent to it. The bulk of the visuals manifest in a dazzling sense of spaciousness, as if there was a cosmic paint called “transparent/translucent”. The space often feels immeasurable due to a lack of a reference frame from which to make a judgement in terms of known comparisons. But what inevitably stands out is that the space seems large, uniform, harmonious, smooth, and luminous. Somatic feelings blend with this space, and the uniformity and symmetry of it allows for energy to seamlessly move throughout it. It really is a remarkable effect, one which can easily give rise to the felt-sense of Open Individualism. Yet, despite the engrossingly engaging character of these feelings, there is very little narrative complexity in sight.

Who knew that empty space could be so much fun? That you could fit so much love and bliss in an (experiential) vacuum? More so, the more you are able to relax into it, the more you embrace the waves of equanimity, the more you allow the space to become perfectly smooth and seamless… the more blissful it all gets!**

2. Crystals and Quasi-Crystals

Here is an interesting thing – ultrasound has been used in order to bias the way in which water crystals form, and thus creating much more “cubical” water than is otherwise possible. More generally, the phenomenon of vibration affecting crystallization processes is worth considering as an explanatory framework. DMT comes with a particular vibe that some have identified as having a characteristic frequency somewhere between 20 and 30Hz, whereas 5-MeO-DMT’s vibe seems to be a notch higher, perhaps in the range of 30 to 40Hz. On these drugs, your attention is jittered back and forth at a certain frequency, and this affects your ability to focus on any given part of your experience. The specific jittering itself makes it harder and easier to construct and manipulate certain thought-forms over others.

Speculatively, this model says that the jittering of attention caused by 5-MeO-DMT and DMT give rise to crystal and quasi-crystal building blocks, respectively, for phenomenal objects in one’s experience.

Phenomenologically, it seems that the vibratory signature of DMT effects doesn’t wrap around your experience an integer number of times. Thus, what we will call, for lack of a better term, the qualia crystals that form while on DMT seem to be inherently unstable and alien to your normal way of cogitating. The fact that the vibrations don’t fit perfectly in one’s experiential field forces it to bend out of shape to accommodate such vibrations. The result is constant chaos – fluid instabilities as the core effect.

Spatial_KH_2D_vorticity

Kelvin–Helmholtz instability (source)

On the other hand, with 5-MeO-DMT, it’s as if the vibration activates parts of the field of experience in exactly the right way for them to blend, unite, and resonate with one another. The vibrations fit perfectly inside one’s experiential field, and allows it to relax into its own natural shape. And this allows for perfect crystals of awareness to peacefully grow, multiply, and synchronize.

It is of course surprising that a tiny difference in the frequency of the vibe could have such large effects in the way phenomenology crystallizes. But this is true for other systems. When one talks about the complexity of shapes in resonant systems, for instance, Lissajou curves can provide a helpful intuition pump: in Lissajou curves, merely changing one of the frequencies by a small relative amount can result in a huge difference between the pictures drawn. From a simple circle to a complex mesh.

1_o75epumclddyHiiJfCYNIg

According to the interviewee, 5-MeO-DMT would neatly correspond to one of the simplest Lissajou curves above, while the DMT sensations would be better evoked by one of the meshy ones.

With that said, it is worth mentioning that 5-MeO-DMT is probably not hitting the right frequencies merely by chance. It’s probably more that it is activating a system whose attractor is self-correcting and results in the kind of symmetrical crystallization that gives rise to deep feelings of bliss.

3. Attachment to Existence and Non-Existence

5-MeO seems to point at a super general sense of “relaxation”. A meditation teacher, Ajahn Brahm, talking about jhanas said that his mantra to achieve states of deep concentration and peace was: “Relax… to the maaaaaaaxxxx…”.

And according to the interviewee, the thrust of 5-MeO is that it feels like your nervous system is paradoxically injected with a lot of energy and yet the vibe of this energy is that of total and complete- ultimate?- relaxation. But our body and mind are not used to relaxing deeply. The contrast between this energy and one’s usual neurotic state can itself produce a lot of dissonance and resistance. In most cases, this is transient and contained to the first couple of minutes of the experience, though in higher doses and with bad luck, it can also spiral out of control. On small and moderate doses the energetic vibe of “relax to the max” takes over one’s experiential center of mass and teaches the rest of your nervous system how to relax.

It vibrates your nervous system in just the right way that all of your tensions, and hidden knots, and internalized stresses, bubble up to the surface, and you have the chance to try to “unravel” all of that tension.

After taking it a couple of times, you get the very nice feeling of being OK with whatever happens. 5-MeO-DMT might be described as a drug that allows you to reduce “thirst, craving, desire” in a very generalized kind of way. In Buddhist terms, this would be to reduce “Taṇhā“, which comes in three different kinds: “kāma-taṇhā (craving for sensual pleasures), bhava-taṇhā (craving for existence), and vibhava-taṇhā (craving for non-existence).” While we are used to hearing religious figures and moralists talk about the importance of not experiencing cravings for sensual pleasure, popular culture still lacks legible myths about the craving for existence and non-existence. So it comes as a shock for someone who has never developed meditative introspective insight just how much of our suffering has the flavor of either craving for existence or non-existence. Dosing on 5-MeO-DMT gives you a glimpse for what a mind devoid of these more subtle forms of craving feels like.

DMT comes with a vibratory frenzy that directly causes a lot of knots and tiny stress points throughout your entire experiential field. And to a large extent, how the experience unfolds is the result of you trying to manage all of those knots and stress points to avoid having them accumulate and concentrate in painful ways. The effect of this is that DMT acutely increases attachment to existence and non-existence. You wonder “what am I in this world?” and then cling to it, along with an intense fear of losing yourself in the world of vibration. The fear is quite involuntary and primal. And because you are clinging to who or what you are, there is something that you can lose, and that contributes to the feeling that the stakes are very high.acacia-trees-grown-on-the-african-savannah-stock-video-footage-png-tree-savannah-1920_1080

On 5-MeO you look at a landscape- say a tree in a Savannah- and you can see it in the most Zen way you can possibly imagine (and I don’t mean cutting cats in half). You think: “there is neither someone nor nobody in there” and “it’s all just arising and passing of ephemera”.

On DMT you look at the same landscape and you feel: “Oh gosh, what AM I in here? Am I that rock over there? That rock seems threatened by erosion! Am I the tree? But what if something comes and eats the tree?” and so on.

On DMT you feel like you are one of many little beings in a vast ecosystem. On 5-MeO-DMT you step back and you “realize” that you are the entire ecosystem.

In turn, this may explain to some extent the fact that the content of DMT hallucinations is often filled with exotic beings. And almost always, these beings have hyper-specific ways of life, tastes, intentions, and beliefs. The realms you experience on DMT are all saturated with attachment to existence and non-existence, and the beings you interact with are no exception. In fact, they may be a manifestation of those intensified cravings! From the interviewee:

“I’ve taken DMT about 100 times and have encountered many different vibes and kinds of intelligences in those realms. I’d love to map out the possible narratives – there are so many! Loosely speaking, I’ve had many different encounters with intelligent beings: from blissfully angelic and benevolent to outright demonic. Most of the beings I’ve encountered are somewhere in-between, and for the most part, tend to have pretty dualistic mindsets.

There is this whole class of beings I’d identify as harlequins/jesters that just love to play tricks with perception (I’m sure that’s what Terrence McKenna was pointing at).

Then there are “artists” which have a particular style that they explore and can range from emotionally self-sufficient to aggressively in-your-face about their work. The “look at THIS and look at THIS and look at THIS!!” kind of stance, where you are not given enough time to process what they’ve already shown you before they thrust even more stuff into you, and then attach ‘cookies’ into your etheric body to track you in future trips so you “like” and “subscribe” to their “interdimensional channel” or something like that.

There’s also a lot of beings that seem to want to tell you that they are confident that God does not exist and that “everything is allowed”. And I’ve felt that they are really indifferent to morality, but still have powerful abilities and unique qualia of a more scientific bent.

I once also encountered what felt like a true sadistic demon that played some really nasty tricks on my perception, and filled me with “etheric bugs” and had hundreds of little minions to attack me in many unpleasant ways. That said, I blame this on the fact that I was sleep deprived when I took DMT that one time, and it’s never happened before or since. But that experience gave me a lot of respect for the drug.

I’ve also encountered realms where they actually do consciousness research as such, and are benevolent and into engineering paradises. I even asked one of them if they knew my favorite philosopher, and they said “yes, what a nice fellow – we hope he will be more widely known in the future. We just wished that he wasn’t so sad a lot of the time.”

I have found that my pre-existing mood is the single most important variable that determines the kind of intelligences I encounter. So I’d really like to someday try MDMA and DMT combined. I suspect those would be very angelic beings most of the time.

Interestingly, I feel that while DMT feels profoundly spiritual, to a large extent it is less “nondual” than most other psychedelics. A lot of beings I’ve encountered simply don’t seem to care about oneness at all. But on LSD, mushrooms, and of course 5-MeO-DMT, the Golden Rule seems to play a very central role in the experience. Those experiences are much more of a “teaching” than the wacky stuff one encounters in the DMT realms.

When you take 5-MeO-DMT and DMT at the same time, you can really feel the contrast between the dualistic “us vs. them” vibe that underlies DMT and the unitive sense that underlies 5-MeO-DMT. I’ve experimented with the combo and found it to be super informative. And usually, I realize that while DMT turns your brain into a high-octane “qualia machine”, 5-MeO is in fact much more peaceful and happy in a deeper sense. I’d like to understand both, but my preferred “home” would be for sure the 5-MeO realms.”

4. Underfitting vs. Overfitting

One interesting lens with which to make sense of the difference between people who are open to experience and people who are not is that of model complexity, which casts this difference in terms of the statistical concepts of underfitting and overfitting.

Having narrow views, simple explanations, and enduring preferences is very good when the world itself is either very simple or impossible to understand. But having complex views, multi-layered explanations, and flexible preferences is more adaptive than the alternative in a world that is both complex and can be understood with some effort.

Indeed, some speculation about the nature of sleep from the predictive coding paradigm of cognition is that dreaming is a process of model complexity reduction. The information that we accumulate over the span of a day is incorporated in an ad-hoc fashion while awake, and only properly integrated (and pruned) after a good night’s sleep. This at least provides the theoretical precedent for describing a specific state of consciousness in terms of its effects on model complexity. And here we would propose that as a very general effect profile, 5-MeO-DMT reduces model complexity while N,N-DMT increases it.

As a consequence, we would posit that people who take five a lot will converge towards compelling yet over-simplified models of realty, whereas people who use DMT a lot will converge to overly complex and unnecessarily detailed explanation for even the simplest of phenomena.1__7OPgojau8hkiPUiHoGK_w

Perhaps in the future people could be diagnosed as chronic overfitters and underfitters. In turn, these two drugs could be given by prescription, for the maladies of improper model selection practices:

N,N-DMT would be given to the sufferers of too much worldview simplicity. People like this believe that the world is dominated by the struggle between capitalism and communism. They think that there is a 50% chance that God almighty exists. They assign zero probability to unlikely events, such as lizard people power conspiracies. In people like this, DMT is a powerful mind enhancer capable of challenging cartoonishly simple background assumptions and introducing a healthy dose of skepticism in mainstream narratives.

5-MeO-DMT would instead be given to people who are overwhelmingly embroiled in complex interpretations of the nature of reality. Whether it is in the realm of conspiracy theories, religious cults, the biochemistry of aging, or any such hopelessly convoluted field of research, a little five will unscramble the mind of the compulsive overfitter. Thanks to the drug, the Bayesian puncture, the Occam’s cut, and the pragmatic so what coalesce into a decimating hit to the load-bearing hub-nodes that feed unfalsifiable belief systems. The model complexity reduction effect dissolves entire subfields, assimilates clusters, and seamlessly mends discontinuities in the reality mappings of the patient. At moderate dosages and treatment regimes, the sufferer recovers fully. The sufferer often ends up healed of their traumas, and occasionally healed of many more things than expected. At levels much above those of the therapeutic standard of care, there is a risk that the treatment may result in the healing of the fundamental traumas of conscious experience. The drug may offer the patient a chance to relinquish phenomenal reality in exchange for an extemporal “ultimate relief”. To extinguish the flame of existence, as they say.41592_2016_Article_BFnmeth3968_Fig1_HTML

Importantly, after 5-MeO-DMT therapy, the patient is, let’s say (for the sake of speculating), 20 times as likely as members of the general public to say yes to questions like “Are we all one consciousness?”, “Is the world a process created for the refinement of our souls?” and “Is the universe made of infinite consciousness?”.

So where does that leave us? The good news is that this may have game-theoretical benefits for the side of consciousness in the eternal battle between consciousness and pure replicators. The bad news is that it can overwrite important information obtained from the senses, one’s education, and logical reasoning:

Becoming the God of “I-AM-Now-ness” and filling your entire experiential field with that flavor of awakening is a recipe for ecstasy, not for good epistemology.

Indeed, the patient may become a bit hooked to the simplification of their model complexity; to make reality as they know be replaced by a simpler, yet more intense, version of perceived reality is very tempting. It can be seductive to embrace a view like “you are God and you have created everything for your own amusement” or “you are the dream of God”. Rather than compassion, why not indifference? Being the “way God entertains itself” is both poetically satisfying and super trippy. A lot of people would find that such belief adds some spice to their lives. Overfitting-and-underfitting-effect-on-error

But the price of truth is everything. In turn, it would be ideal to complement any model complexity reduction that goes too far with a healthy amount of prediction errors.

5. Fixed-Points and Limit Cycles vs. Chaotic Attractors

The brain contains many self-correcting feedback systems. Psychedelics in general can be modeled as drugs that mess with the inhibitory component of excitation-inhibition feedback systems. They accomplish this, quite possibly, by disrupting the inhibitory serotonergic connections coming from the cortex that gate the excitatory input coming from the thalamus. This may account for why tracers look the way they do – the failure to inhibit the thalamus results in looped replays of recent states. This may go a long way in explaining why people find “video feedback” so trippy and fascinating. Namely, because a lot of psychedelic effects can be understood as feedback getting out of control, literally.

oscillation_1_5_5_75_75_1_10_0-05_signal_trailing

More concretely, at the Harvard talk on the Hyperbolic Geometry of DMT experiences I introduced this notion that each DMT experience as a whole can be thought of as a trajectory in the energy vs. complexity landscape. Here, the vertical axis indicates the degree of energy of the experience (roughly corresponding to the intensity, brightness, and amount of qualia), while the horizontal axis represents how much information is encoded in the experience. One interesting operationalization of information is through the concept of symmetry breaking***, in which case the horizontal axis approximately tracks the “distance from perfectly symmetrical spaces in terms of number of symmetry breaking operations”.

I then postulated that we could generate an ontology based on feedback + noise to explain how two DMT trips of roughly the same level of intensity can nonetheless contain very different amounts of information.

Hyperbolic Geometry of DMT Experiences copy 50

What I did not mention at the time was that while DMT does have the ability to send you to any place in the energy-complexity landscape, most of the experiences are in the region of middle-complexity. In fact, especially strong DMT trips tend to become fully chaotic, so there is even a mild correlation between dosage and complexity. On the other hand, 5-MeO-DMT tends to propel you towards the low-complexity region of the space.

Using a feedback system ontology we could thus posit that 5-MeO-DMT modifies the feedback parameters of your brain in such a way that the states it gives rise to are ether fixed points or short limit cycles:

The video above depicts a fixed point (as with the other animations below, I took this from an old 1984 video about video feedback you can see here). A fixed point is a configuration of the system that is stable upon feedback iterations. In the video above we see a fixed point consisting of a cross (presumably the result of the camera having a 90 degree tilt) that is then perturbed and eventually collapses into just a single circular dot at the center.

The above are limit cycles. The first (left) is a comparatively simple limit cycle in that every stage along its reproduction cycle is very similar to each other. The second (right) one is a bit more complex, yet despite a long winded path, it really does repeat more or less perfectly over and over. 5-MeO-DMT limit cycles are more akin to the one on the left, but on occasion may be a bit more complex and rhythmic over the span of seconds. Either way, there is often a strong pull towards a simple resonant pattern with remarkable stability.

Contrast that with chaotic attractors:

tumblr_p0bmdl9R0x1shq9dbo1_500

Chaotic pseudo-time arrow

When we have actual chaos, the states continue to change indefinitely. We could then posit that DMT’s characteristic jittering seems to prevent the formation of stable fixed points or short limit cycles. Despite both DMT and 5-MeO-DMT disrupting feedback in the brain, the subtle differences in the way parameters of this feedback are modified can make all the difference between perfectly simple and smooth results and the endless generation of chaotic structures.

6. Modulating Lateral Inhibition

Another exciting lens with which to look at the difference between these psychedelics is by allusion to lateral inhibition: according to a couple of recent trip reports I received from another anonymous source, there is a remarkable difference between the tracers of 5-MeO-DMT and those of DMT. In particular, the anonymous tripper points out that DMT tracers are chains of concatenated positive and negative after-images of the stimulation source, whereas 5-MeO-DMT only produces positive after-images.

afterimage (1)

Stare at the cross. The green ball you see as a result is the “negative after-image” of the missing purple dot. 

In other words, when you see a blue ball moving on a screen, on DMT you will see tracers of that ball that change in color from blue to yellow to blue again and so on, all following after the original blue ball. But on 5-MeO-DMT, one will only see a long blue tracer. This is a remarkable difference, and if true, it would seem to be an important hint.****

13408_2015_22_Fig1_HTML

Orientation selectivity map in the visual cortex

Lateral inhibition in the cortex prevents the overlapping of incompatible features in one’s own experience. For example, the primary visual cortex shows a map of orientation selectivity as shown above. Each hypercolumn is selective to only a specific orientation, and the surrounding hypercolumns are selective to different orientations. More so, via lateral inhibition, when a hypercolumn is activated, it inhibits the surrounding ones.

In this model, DMT would perhaps leave this process untouched, so that when the brain is massively energized, it still maintains this flip-flopping between each feature and its complement. Indeed, some people have described DMT as turning half of your neurons fully on, the other half of your neurons fully off, then inverting the activation so that the off neurons are turned on and the on ones are turned off, and flip-flopping between these two steps many times per second. Could this be the phenomenal expression of having energized checkerboard patterns of excitation and inhibition saturating your cortex? That is, taking a system with in-built lateral inhibition into over-drive?

5-MeO-DMT, on the contrary, seems to allow for “all colors to blend together into pure white light”, and “the past and the future to collapse into the present”, and the “self-other distinction to be dissolved”, and so on. Intuitively, if the drug is biochemically disabling lateral inhibition, that could be reflected as a profound sense of unity and interconnectedness at the phenomenological level, “transcending every last barrier”.

7. Diffuse Attention vs. Focused Attention

As we mentioned earlier, DMT tends to come with a feeling of “becoming tense” while 5-MeO-DMT has a primary vibe of “becoming relaxed”. One way in which we can model this is in the way the drugs influence whether your attention is focused or diffuse. Now, I should say that this model will be necessarily incomplete because at the peak of a 5-MeO experience one often does in fact feel super focused in some way. But I would posit that this sense of focus is much more holistic than the way our common-sense use of the term would suggest. The focus on DMT, on the other hand, does feel very much akin to the “conventional” sense of focus, where you are able to precisely position figure and ground in such a way that they have as much contrast as possible.dmt_from_scalable_locally_injective_maps

In a way, the beings one encounters on DMT could be thought of as “attentional attractors”. As you create a lot of little focal points during the experience, these begin to build up and define the contents of your mind. Each focal point makes it easier for you to create another one nearby. This snowballs into an effect where there are clusters of focal points that become the “centers of mass” of the narrative. These could very well be what underlies the “beings” on DMT. Using Buddhist terms again, DMT beings might perhaps be thought of as exotic “nimittas“: attention hubs.

Also, because the experience is high-dimensional and changes your sense of what “understanding” even means, it seems that the feeling of super-intelligence on DMT might be a projection of one’s own super-intelligence (of a certain kind) in the state.

In contrast, 5-MeO-DMT makes it easy to de-focus on anything. To let go, and experience it in a diffuse way.

8. Big Chunks and Tiny Chunks vs. A Power Law of Chunks

Geology uses the word matrix in way that is very different from either math or science fiction aficionados. In geology, a matrix is the entire mass of materials on a rock within which crystals, grains, and clasts are found. As Anders and Maggie discussed recently, the way in which minerals form depends to a large extent on the presence of water in the process of crystallization. The huge diversity of minerals we see on Earth’s surface is partly a result of the availability of water in the mantle. Perhaps a lens with which to see DMT is as playing the same role in the brain as water does in fractional crystallization. It lubricates the matrix of your mind, which enables the crystallization of countless qualia exotica. 5-MeO-DMT instead homogenizes the kinds of crystals that can form.

In brief, DMT is to 5-MeO-DMT as a matrix of diverse minerals is to a mono-phasic large enclave. DMT is like complex music (cf. music as an ordered phase of sound) while 5-MeO-DMT is like a single mantra repeated over and over. Is this metaphor useful? It seemed to resonate with the interviewee.

9. Integration vs. Fragmentation

In Neural Annealing, Mike Johnson argues that what makes MDMA special for healing trauma is what at QRI we call integration:

On MDMA’s strangely powerful therapeutic effects, I’d suggest MDMA shares the ‘basic psychedelic package’ with substances like LSD and psilocybin (albeit a little weaker at common doses). Anything with this ‘baseline’ package significantly increases the energy parameter of the brain, which both allows escape from bad local minima and canalizes the brain’s core CSHWs, which both should be highly therapeutic. My intuition is MDMA may also have a particular effect on stochastic firing frequencies of neurons, and that this effect essentially acts as an emergent metronome – and this metronome will drive synchronicity between diverse brain regions. Given the presence of such a region-spanning ‘clean’ metronomic signal, brain regions that have partially ‘stopped talking to each other’ will re-establish integration, and some of this integration will persist while sober (or rather, some of the reasons for the lack of integration will have been negotiated away during the MDMA-driven integration). Plausibly this ‘emergent metronome’ effect may also underlie the particular phenomenological effects of 5-MeO-DMT as well, particularly in terms of sense of unity, high valence, and therapeutic potential. (HT to Steve Lehar for pointing at this ’nystagmus’ phenomenon as being somehow linked to MDMA’s mood-lifting effect, and to Andrés for calling my attention to Lehar’s work and suggesting 5-MeO-DMT may also share this mechanism.)

Like most other psychedelics, N,N-DMT also shares the same ‘basic psychedelic package’ and can have beneficial therapeutic effects. But it lacks this ‘special’ ability that allows arbitrary parts of your nervous system to rhythmically entrain with one another. This “emergent metronome” on MDMA and 5-MeO-DMT works as a kind of universal “vibratory currency” and results in a reduction of inner dissonance to a much greater extent than (relatively) simple “energizers” like DMT.

To Wrap Up

We hope that the above discussion has given you an idea about the difference between DMT and 5-MeO-DMT and why this matters for their therapeutic potential. The above is just the start of a deep inquiry into the topic that will certainly take many years, but we believe that it is a novel way of seeing the contrast between these two substances that may be generative for others. We also believe that it is very worth trying: nailing down this difference may be incredibly important to develop novel ways of treating mental illness. While DMT will undoubtedly continue to dazzle and amaze people curious about the state-space of consciousness, the superlative potential of 5-MeO-DMT to heal trauma puts it on a different level of importance altogether.

In the future we shall also explain why MDMA and ketamine have this potential. And ultimately, as we begin to understand what makes these substances so special, we hope to find ways of creating effective therapies from first principles. Stay tuned.



* The toad venom dose was 50mg, with an estimated 5-7mg of 5-MeO-DMT. This is admittedly likely to produce somewhat more potent effects than just 5 to 7mg of pure 5-MeO-DMT. But the extent of this enhancement is currently poorly understood, and you can find many people online saying that the difference is tiny and others who argue it is enormous. Given just how intense and qualitatively unique pure 5-MeO-DMT already is, I think that applying Occam’s razor would tell us that “it’s just the 5-MeO-DMT itself”. So while I am ready to accept the possibility of profound synergy between other tryptamines in toad venom and 5-MeO, I am not holding my breath for it. I, rather, expect that the difference between 5-MeO alone and the full-spectrum stuff will be akin to the difference between drinking 10 shots of vodka and drinking 10 shots of vodka and one chamomile tea. Namely, a real but largely inconsequential difference.

** This, of course, blends well with the Symmetry Theory of Valence, a subject to which we shall return in the near future.

*** This is where information-less states are those which are perfectly symmetrical, and the information content of a state is defined as the minimum number of symmetry breaking operations needed to transform an information-less state into it.

**** This is admittedly very weak evidence so far. If you have experience with both of these compounds and have explored the way in which they give rise to after-images, please let me know if you can confirm or deny the effect here mentioned.


Picture: Andrés & Claudia Silva Ruiz

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.)

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.

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:

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.