Psychedelic-information-theory-Shamanism-in-the-age-of-Reason

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Shamanic Information CompressionThe functional limitations of human memory and expression havebeen problematic for high-dose psychedelic research from thebeginning. The best writing, artwork, and video emulating thepsychedelic experience must be created after the fact, sometimespainstakingly so. The visual reconstruction of psychedelic memory is alabor intensive process; a single subjective psychedelic frame may takeweeks or months to visually render, and will still be lacking in contextand complexity from the original experience. The one artistic mediumwhich can be expressed immediately without disrupting the quality ofthe shamanic experience is music. A shaman can relate the tone andcontent of the psychedelic experience in real time by singing,vocalizing, or playing drums (Fig. 26); this is the traditional method forbinding psychedelic memory into physical space. The act of singing,drumming, or dancing also drives feedback and amplifies the energy ofthe psychedelic experience, thus making music the primary medium ofpsychedelic information compression and transmission.There is compelling evidence that spontaneous singing andverbalization is a form of psychedelic information compression.Glossolalia, or speaking in tongues, is reported as a spiritual side effectof psilocybin. Glossolalia may be considered a form of nonlinear speechor psychedelic information transmission erupting spontaneouslythrough psychomotor synesthesia. When the shaman wants to speakwith the spirit voice, that voice comes out more like music or glossolaliathan like words and grammar. When a subject on psychedelics listensto music, the music expands from auditory signal into full multisensorysynesthesia; every layer of emotional resonance in the song is laid barefor the subject to intimately see and feel. Claiming that psychedelicsmake music sound better or allow you to “see the music” is easy; thisappreciation has fueled the global music festival and DJ circuits fordecades. Shamanic music does not need to store visual informationbecause under the influence of psychedelics the music naturallyexpands into visual perception. A sacred song from a rainforest shamanmay not induce a strong reaction in a sober subject, but under theinfluence of ayahuasca that same song may open a window into the
shaman’s spirit world. This phenomena goes beyond the level of meremusic appreciation, it demonstrates a cross-cultural technology forreal-time encoding and transmission of nonlinear psychedelicinformation.By examining the wave properties of ayahuasca icaros is it possibleto construct an experiential rendering of the synesthetic hallucinogeniceffects. A shaman may make gurgling or retching noises to amplifymodulatory interruption of 5HT receptors in the gut to drive purgation.A fast rustling or shushing noise, like a snake rattle or wind throughtree branches, evokes alpha-range relaxation and mental fluidity, andmay also create goose-bumps and a salient sense of supernaturalmystery. A droning drum beat or chant drives theta-band trance andhypnagogic states. A whistling or high pitched melody drives beta andgamma coherence, creating sharp multisensory synesthesia of risingeidetic images. A guttural croaking or a resonant bass line amplifies theattack and decay of stacking hallucinogenic frames.A shaman may employ one or all of these techniques at variousstages of ceremony, and may use them repetitively or cyclically, like awinding stem that moves through deeper and deeper layers ofhallucinogenic immersion. The shamanic technique of lulling andevoking mystical hallucination can be compared to the frenetic qualitiesof modern trance music, where the goal is to entrain and sustain a highenergyvisual state that unfolds and recourses for extended periods oftime, culminating in phase transitions, or breakdowns, where multistablestates are shattered into chaos and then driven into progressivelyhigher levels of spontaneous organization. The wave analysis of bothmodern trance music and traditional icaros indicates that these are notmerely modes of entertainment or cultural artistic expression, but arealso formal technologies for mediating and navigating various levels ofnonlinear psychedelic hallucination.Notes and References1. See "Control Interrupt Model of Psychedelic Action"2. Beyer, SV, 'Singing to the Plants: A Guide to Mestizo Shamanism in theUpper Amazon'. University of New Mexico Press (October 31, 2009)
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PsychedelicInformation TheoryShaman
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Figure 2. Images of internally gene
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Figure 3. The eight-pointed star is
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Chapter 02The Value of PsychedelicI
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Cultural information is considered
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this does not necessarily make bumm
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Chapter 03Psychedelic InformationTh
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of the information in a psychedelic
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Cultural IntegrationBy conservative
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6. Gresch PJ, Smith RL, Barrett RJ,
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Chapter 04What is Consciousness?Sin
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function of recall is to analyze pa
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Modular ConsciousnessThe most drama
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consciousness, meta-consciousness,
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Chapter 05Limits of HumanPerception
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dark-adapted eye utilizes the cone
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Figure 6. The peripheral drift illu
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objects, people, and places in thei
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The Limits of Expanded Consciousnes
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7. Accounts of auras, electromagnet
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Figure 8. Stabilized and Destabiliz
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Constraint, Control, and Feedback I
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phosphenes, or strobing or flickeri
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longer release, and a slightly fast
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psychedelic science, physical shama
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sites; if the receptors are a good
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least one amine group. The simplest
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process thought and self-awareness
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psychedelics at the bottom of the l
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Figure 13. Layers of the neocortex.
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5-HT2A receptor mechanicsThe 5-HT 2
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easonable to assume that psychedeli
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5-HT2A cross-agonism and organism r
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14. Jones EG, 'Thalamic circuitry a
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or input, but is instead is the res
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Bibliography and ReferencesBibliogr
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Behrendt RP; 'Hallucinations: synch
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Ermentrout, Cowen; 'A mathematical
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Luke D; 'Psi-verts and Psychic Pira
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Siegel JM; 'The stuff dreams are ma
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About this TextAbout PsychedelicInf
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About the AuthorJames L. Kent is a
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Psychedelic-information-theory-Shamanism-in-the-age-of-Reason

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