Stop. Hey. What’s That Sound?

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The following is a short version of an essay written for the anthology Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller aka DJ Spooky that Subliminal Kid, and recently released by MIT Press.


When can a sound be an image? Often, of course, sounds are words. In songs, the musical elements that surround lyrics are often more important than the lyrics themselves. The words of few lyricists resonate from the page without benefit of performance. We accept that sound and language can be woven into a synthetic experience. But what about sound and image?

One characteristic of digital media is that they allow for, even encourage, the combination of diverse media into integrated experiences. In a digital artwork words can lead to virtual architectural spaces, in which gestures may trigger images, which may in turn evoke sounds. Disparate media elements can be stitched together in a multitude of ways, layered upon one another so that it is difficult to separate them into their constituent forms. Just as a song combines music and poetry to make something that is distinct from either alone, digital media give rise to forms that wed: sound and movement; sound and space; sound and image.

Those engaged in this exploration come from across the globe. Their common interest is not specific to any country or cultural tradition. Rather, it tends to coalesce where the technology exists to support it — on university campuses, at art museums, or at institutions dedicated to digital arts, such as ZKM, in Karlsruhe, or the InterCommuniation Center in Tokyo. The desire to pursue works in this emerging medium — which does more with sound than legacy technologies enable us to do — may well be universal.

Sound is inherently physical. It is a vibration, it travels through the body, and evokes a bodily response. With digital technologies we can integrate sound at a fundamental level into artworks that employ other media, opening new ways for us to share our private experience of sound with others.

The tools we have inherited for making music tap into some aspects of how we relate to sound, while wholly ignoring others. Though we rarely think of this, musicians have been restricted in their ability to play with sound — to literally construct cathedrals of sound that you could walk through — by the nature of their instruments. To date, a "cathedral of sound" has been, by necessity, a metaphor. One day that will no longer be the case. The human impulse toward mimesis is inspiring artists to employ emerging technology to create hybrid artistic forms that mirror the encounter of consciousness with the world. In the mind, sound is not so neatly sectioned off from space, touch, words, or image. One bleeds into the next, slipping and sliding in a spiral of associations. Digital media has already begun to reflect qualities of consciousness that had been beyond the means of artists to capture. In coming years, this will only accelerate.


The basics of digital technology invite artists to rethink traditional distinctions between the arts and to strive for something new. Ever since the emergence of computer-based media, engineers and artists have looked for ways to link diverse media together.

Computers play no favorites between media types; from the standpoint of a computer, the basic stuff of the Moonlight Sonata and the Mona Lisa is essentially the same — they are both strings of ones and zeros, ready to be manipulated by whatever programming sequence a code writer chooses to apply to them.

Ivan Sutherland, the great computer graphics pioneer, was perhaps first to grasp the full implications of this state of affairs. He was working on how to use computers to create accurate visual representations. Bits in a database, he reasoned, lent themselves to presentation formats as various as the human imagination could conceive. Yes, data might be formatted to look like a simple page of typewritten text, but it was just as feasible to present it as a fully realized three-dimensional environment. While one series of algorithms might structure the output of a set of data as a two dimensional picture, different algorithms could display that data as a volumetric space. At the tender age of 24, Sutherland proposed building what he called "the ultimate display," an interface to a computer-generated immersive environment that would synthesize all media into a representation of consciousness so convincing that "handcuffs displayed … would be confining, and a bullet displayed … would be fatal." Maybe the potential of virtual worlds got the young Sutherland overexcited, but he was not the last to be made breathless by the prospect of virtual reality.

Sutherland understood that a computer could integrate all media seamlessly into a complex experience, given the appropriate display devices and software. In the process, he hit upon one of the defining insights of our day: data are infinitely malleable.

Artists and theorists have since expanded on this insight. The Austrian artist Peter Wiebel has observed that, unlike traditional forms such as painting or sculpture, digital media are variable and adaptable. "In the computer, information is not stored in enclosed systems, rather it is instantly retrievable and thus freely variable," he writes. This quality gives digital media a dynamic aspect not shared by traditional forms. Computer-based media can be called out of a database at a moment's notice, and adapted to the needs of the particular context in which it appears. Referring to the impact digital technology has had on the visual arts, Weibel wrote that "The image is now constituted by a series of events, sounds, and images made up of separate specific local events generated from within a dynamic system." The emergence of the bit has eliminated the strict separation between image, word, sound, and action. Within digital media, when such a distinction does take place, it will be because the artist has made a deliberate choice to do so.

Sound is information, just like images, words, smells, gestures, or haptic impulses that are sensed through the skin. The shaping of this information for esthetic purposes is the common strategy of the arts. But only since the rise of the computer as a media device have we come to regard art as so fundamentally a class of information, albeit information subject to a specific type of formal arrangement.

In our era, an overt understanding of the ways that information can be structured, manipulated, and shared will be central to how we express ourselves through culture. The computer is our primary tool for working with information. But how this tool effects our relationship to information, and the forms through which we engage with it, is only beginning to be examined. Lev Manovich, the Russian new media theorist now teaching at the University of California at San Diego, has done much to establish a systemized approach to this study. In his book The Language of New Media he writes, "If in physics the world is made of atoms and in genetics it is made of genes, computer programming encapsulates the world according to its own logic. The world is reduced to two kinds of software objects that are complementary to each other — data structures and algorithms." The consequences of this he suggests should be the focus of a new field of "info-esthetics," which would apply the legacy analytic resources of the arts to the subject of computerized information.


Music had been the most transient of arts. It was ephemeral, of a particular place and moment, then gone. It could not be caught, repeated, transported. Without a plot and text to define it, as in theater, music is particularly challenging to discuss with those who have not heard it. While the score provides an approximate transcription of a musical work, it is rough, open to interpretation. Much of a musical work remains outside the score; not only the sections calling for the performer to improvise (which is common), but more importantly the make-or-break details of tone, texture, pacing — details no written notation can capture.

Before recording and broadcast, music was a medium of immediate presence. Late 19th century technology turned the medium on its head. Recordings became the primary way that we encounter music. What had been the most ephemeral aspect of music — the detailed intonation of a fleeting performance — became concrete. You hear the exact same notes broadcast over radio, in stores, on television, again and again. Jimi Hendrix's spontaneous deconstruction of "The Star Spangled Banner," played before a few stragglers at dawn at the end of the Woodstock festival, became the anthem of a generation thanks to the close proximity of a tape deck. Every impulsive swoop and shock of feedback on that recording was as if etched in stone.

Whole libraries of criticism are devoted to the minute inflections of particular performances. They become landmarks in time, representing more than an aural experience — they exhibit a lost way of being in the world. The preserving of old sounds invented a contemporary way to fetishize the past.

The tendency to recombine fragments of media, to play with the pieces as pieces, has of course been a prominent artistic trope in recent decades. It is seen not only in music, but in a great deal of contemporary artwork, much of which emerged in dialogue with the post-structuralist theory of Lacan, Barthes, Foucault, and others. The theater of Richard Foreman is an obvious example, since he has placed the mixing of disparate elements at the center of his productions, beginning with plays like Rhoda In Potatoland from 1975. Foreman's madcap juxtapositions, which go by at a ferocious speed, mirror the barrage we feel from a non-stop flow of media fragments. He arranges these shards of consciousness into elaborate, dynamic constructions that make esthetic sense out of what in life resists literal sense. The fragments, the little pieces, are the raw material from which he builds a poetic whole.

The avant-garde wing of electronic dance music draws from the same impulse, and uses samples to similar effect. Digital media enable this tendency to go much further. Once saved in a database, a recorded sound can be subject to more manipulations than any two turntables and mixer is capable of. A sonic element can be reconstituted on the fly according to a particular algorithm, in an interactive collaboration with the person who hears it. A sound can be linked to other sounds, but also to any form of media. A sound can lead to an image, which can in turn provoke a gesture. A sound and a gesture can be compressed into a single, inseparable event — as in life.

The mix-master sensibility is well suited to the possibilities of databases.


When audio becomes a digital file, it is stripped of its formal specificity — it becomes raw information, preceding form. As a string of ones and zeros, that data is open to a myriad of creative manipulations. It can be directed in real time to produce certain sounds, as determined by an algorithm. Or the bits of an audio file may be accessed from computer memory to recreate the sound of an originating recording. But the same bits can just as easily be read by a software program to generate an image, for example. The formal presentation of any string of bits is determined by the intentions, and capabilities, of the software that processes them. As Lev Manovich has put it, with the computer "media becomes programmable."

This new reality has already become routine, and we give it little thought. For example, most computer programs for making and manipulating audio have visual components — like waveforms and bar graphs — that help the user to control the precise shaping of particular sounds. The same bits that generate sounds through computer speakers will trigger graphical representations on a computer screen that communicate details about volume, pitch, frequency, beats per minute, etc. There are many examples of commercial music making software that produce synched sound and graphics in this way.

Digital artists have also begun to explore the linking of sound and image outputs from a single source of data. In the mid-1990s, the British design team Anti-ROM attracted attention for interactive animations that combined chilly, cerebral abstractions with ambient techno music. Pictures on the screen and MIDI samples would respond together to the clicks of a mouse. This effect was achieved by using the software Macromedia Director, but in recent years artists have expanded on this functionality by writing their own customized programs. The Amsterdam collective NATO has created their own software to generate complex, interactive video images from audio feeds.

It should strike us as remarkable that audio data can have a simultaneous visual representation. But we tend to take it for granted. Why? Because we experience the border between sound and image (or sound and word, or sound and movement) as arbitrary to begin with. In our art, that division has been imposed upon us by our tools. Given the resources, it is conceivable that the line between sound and other media might never have been drawn.

Consider that when Thomas Edison set out to "do for the eye what the phonograph does for the ear," as he put it, his first attempt was to build a "kineto-phonograph" that treated sound and image as inextricably bound. He intended for the device to add moving images as a supplement to the phonographic experience; moving images alone were not intuitively of value to the 19th century sensibility. Edison described the machine this way: "The initial experiments took the form of microscopic pinpoint photographs, placed on a cylindrical shell, corresponding in size to the ordinary phonographic cylinder. These two cylinders were then placed side by side on a shaft, and the sound record was taken as near as possible synchronously with the photographic image, impressed on the sensitive surface of the shell." Edison's materials, ultimately, were not capable of doing the job, and he settled for moving pictures divorced from sound. But as Douglas Kahn has written, "The important facet of this enterprise … was that the world of visual images was to be installed at the size and scale of phonographic inscription."

Kahn also discusses how, prior to Edison's work on the phonograph, he intended to invent a machine that would "fuse speech and writing… [H]e sought to develop a device that could take the phonautographic signatures of vocal sounds and automatically transcribe them into the appropriate letter. This was, in effect, a phonograph where the playback was printing instead of sound." It apparently took much deliberation before Edison could de-link the intuitive interdependence he perceived between forms of expression, as they are experienced in consciousness.

Digital media expand our ability to recombine formal elements in a way that reflects our intuition. With a computer, a string of bits can be expressed simultaneously as sound, image, word, and movement. The limits of this expression lie only in the software we write, or in the hardware we build, to give it shape.

Edison's Kineto-phonograph


For practical and commercial reasons, the software developed for computer media has largely focused on replicating familiar distinctions between disciplines. The media objects these programs produce are meant to fall into familiar categories: images, sounds, shapes, texts, behaviors. It's this easy categorization that leads Lev Manovich to describe computer-based multimedia as having a modular structure. When making a digital media work, Manovich writes, "These [media] objects are assembled into large-scale objects but continue to maintain their separate identities. The objects themselves can be combined into even larger objects — again, without losing their independence." Most off-the-shelf multimedia software, like Macromedia Director, treat discrete media objects as independent pieces (sounds remain sounds, images remain images) while assembling them into complex works. An HTML document is similarly composed of separate, self-contained media elements.

But there are a growing number of computer-based artworks that challenge the traditional division between mediums.

One example is "Mori," the installation by Ken Goldberg and Randall Packer from 1999. Entering "Mori," the visitor passes through a curtain into a dark hallway and walks up an incline, guided only by glowing handrails that increase or decrease in brightness. The hallway turns a corner and leads to a widened space at the end. Under your feet, the floor vibrates, sometimes quite powerfully. The vibrations are created by speakers under the floor, which generate rich, low, quaking sounds — orchestrated rumblings — that rise and fall together with the handrail lights. The effect is of walking into the center of a hushed, meditative space that is part-cave, part-womb. A computer, out of sight, ties the installation's elements together. Through the Internet, the computer receives streaming seismographic data measured continuously from a site near the Hayward Fault, above the University of California, at Berkeley. Using the multimedia software Max, the computer translates this data into two real-time commands — one that controls the lighting, another that sequences the rumbling samples that compose the sound, which then vibrate the floor when played.

The total effect suggests an intimate connection to the physical nature of the universe. The artists offer an interpretive frame through which a profound awareness of the cosmos can be experienced. "Mori" is an example of how new media technologies open avenues for personal expression where they had not been available before. The installation is a real-time communication with the geotectonic activity of the Earth, as expressed through an esthetic conjoining of light, sound, space, and haptic sensations felt through the skin.

Significantly, while each of these media forms is discernable in itself, the originating data — the impulse at the heart of the work — is of none of these. Both the sound and lighting in "Mori" are interpretations of the real-time seismographic data, as controlled by a set of algorithms. The sound is a live mix, determined by algorithms, of samples of low frequency sounds. The audio is designed to vibrate through the listener, and to effect her bodily — not unlike dance music on a disco floor, though "Mori" is a far more delicate, nuanced experience.

The technical linchpin of the piece is the multimedia program Max. Named as an homage to Max Mathews, it was introduced in 1990, and has been updated regularly to keep pace with advances in computer processing. Unlike most other media software, Max was not designed to mimic familiar media forms. Rather, it allows for the direct manipulation of media files in real time through the algorithmic processing of data — it effectively allows the artist to control the data, and output it in any format that he wants. Using Max, a software program that plays music can send information to a program that controls a lighting console, allowing the music program to direct the lights in the room where the music is played. Max is software that recognizes the intrinsic quality of computer-based media — that it is fundamentally nothing but bits — and enables an artist to shape these bits into the media forms most appropriate for achieving his intentions. Max allows for the total abstraction of media objects, because once they have become ones and zeros circulating through Max, it makes no difference what form of media they originally began as; the form the bits take at the end of the process is up to the sole discretion of the artist.

Max points to a future where the purpose of multimedia software will be to blur lines between what were once distinct media.

Interior of Mori art installation

What happens when, rather than treating music as an inviolable art form, we see it instead as a kind of data to be manipulated for esthetic effect? How might this approach expand our notion of personal expression, enabling us to apply esthetics to experiences that had been outside the concerns of art — that had been the domain of science?

F. Richard Moore, a computer music scholar and pioneer who worked with Max Mathews at Bell Labs in the 1960s, has written about one matrix of possibilities that arises where science meets sound:

"Imagine now a computer-based music machine that senses the musical desires of an individual listener. The listener might simply turn a knob one way when the computer plays something the listener likes, the other way when the computer does something less likable. Or, better yet, the computer could sense the listener's responses directly using, say, body temperature, pulse rate, galvanic skin response, pupil size, blood pressure, etc. Imagine what music would sound like that continually adapts itself to your neurophysiological response to it for as long as you wish. Such music might be more addictive than any known drug, or it might cure any of several known medical disorders."

Where here does science end and art begin, or vise versa? Much of what Moore describes (the monitoring of body temperature, pulse rate, etc.) seems to belong to science. But he applies the legacy of esthetic practice to this territory. What do we like or dislike in music? No conclusive answers are possible. What we like at any moment depends on the context; nothing could be more subjective, or in greater flux. But inhabiting this subjectivity is the specialty of artists. Scientists will likely find that, when it comes to unlocking the mysteries of consciousness, the strategies of artists will play an increasingly important role.


No information exists in isolation. Rather, the information we come in contact with, and comprehend, are fragments from a continual flow. We grasp passing particles from this flow, and understand them in a contingent manner. Meaning keeps shifting; our understanding evolves as we access subsequent information, which transposes what we had encountered before and casts it in a changing light.

Digital media make the contingent nature of information explicit, because the technology reduces all formal means of personal expression into raw data ready for manipulation. It not only blurs the lines between distinct media. It invites the further shaping of this data by the person, or group of people, who are accessing it in real time.

Novels, movies, symphonies are not interactive, because they are not capable of incorporating a direct response from the audience in their formal presentation, in real time (efforts to add interactivity to traditional forms are invariably awkward, and regarded as novelties). But because digital media are at their essence bits coursing through software, they can incorporate live response (as determined by the software), and be made to fit the needs of the moment.



It is hard to predict the consequences of using new media technologies. Edison's invention of cinema never anticipated the close-up or montage, for example, which themselves had a profound influence on the social organization of the last century. Only two decades after the popular acceptance of film were both of these key cinematic techniques discovered. I say discovered, rather than invented, because the potential for each was latent in the technology of moving pictures from its earliest days. But it took a shift in awareness for this potential to be recognized, and acted upon.

We are now entering an era in which the tools at our disposal to effect consciousness are increasingly agile. Digital media is opening new avenues to intimate personal expression — through the recombining of media elements, and the blurring of distinctions between traditional mediums in a way that reflects our intuitive engagement with the world. The line where art blurs into science is at the forefront of the discovery of new esthetic experiences. New tools for personal expression provide us with fresh ways of understanding our selves. By using these tools, our sense of self will inevitably be transformed. Technology prompts new modes of subjectivity into being.

What we think of as sound, as music, is going to change, as it changed so drastically in the modern era. Because of their extraordinary difference from what came before, digital media demand our attention. Otherwise, we will not see what it is we are becoming. Our analytical skills for identifying the effects of technology on culture have grown considerably since the days of silent film. If we see the changes, we may well be able to better direct them. After all, we are writing the computer code that is guiding the changes.

As Plato is said to have remarked, citing Damon of Athens, "When the mode of the music changes, the walls of the city shake." If you choose to see it, you will notice that the walls around you are vibrating.



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This guide tells you everything about 4 AcO DMT & 5 MeO DMT, that belong to the tryptamine class, and are similar but slightly different to DMT.

LSD Guides (lysergic acid diethylamide)

How Much Does LSD Cost? When shopping around for that magical psychedelic substance, there can be many uncertainties when new to buying LSD. You may be wondering how much does LSD cost? In this article, we will discuss what to expect when purchasing LSD on the black market, what forms LSD is sold in, and the standard breakdown of buying LSD in quantity.   Navy Use of LSD on the Dark Web The dark web is increasingly popular for purchasing illegal substances. The US Navy has now noticed this trend with their staff. Read to learn more.   Having Sex on LSD: What You Need to Know Can you have sex on LSD? Read our guide to learn everything about sex on acid, from lowered inhibitions to LSD users quotes on sex while tripping.   A Drug That Switches off an LSD Trip A pharmaceutical company is developing an “off-switch” drug for an LSD trip, in the case that a bad trip can happen. Some would say there is no such thing.   Queen of Hearts: An Interview with Liz Elliot on Tim Leary and LSD The history of psychedelia, particularly the British experience, has been almost totally written by men. Of the women involved, especially those who were in the thick of it, little has been written either by or about them. A notable exception is Liz Elliot.   LSD Guide: Effects, Common Uses, Safety LSD, Lysergic acid diethylamide, or just acid is one of the most important psychedelics ever discovered. What did history teach us?   Microdosing LSD & Common Dosage Explained Microdosing, though imperceivable, is showing to have many health benefits–here is everything you want to know about microdosing LSD.   LSD Resources Curious to learn more about LSD? This guide includes comprehensive LSD resources containing books, studies and more.   LSD as a Spiritual Aid There is common consent that the evolution of mankind is paralleled by the increase and expansion of consciousness. From the described process of how consciousness originates and develops, it becomes evident that its growth depends on its faculty of perception. Therefore every means of improving this faculty should be used.   Legendary LSD Blotter Art: A Hidden Craftsmanship Have you ever heard of LSD blotter art? Explore the trippy world of LSD art and some of the top artists of LSD blotter art.   LSD and Exercise: Does it Work? LSD and exercise? Learn why high-performing athletes are taking hits of LSD to improve their overall potential.   Jan Bastiaans Treated Holocaust Survivors with LSD Dutch psychiatrist, Jan Bastiaans administered LSD-assisted therapy to survivors of the Holocaust. A true war hero and pioneer of psychedelic-therapy.   LSD and Spiritual Awakening I give thanks for LSD, which provided the opening that led me to India in 1971 and brought me to Neem Karoli Baba, known as Maharajji. Maharajji is described by the Indians as a “knower of hearts.”   How LSD is Made: Everything You Need to Know Ever wonder how to make LSD? Read our guide to learn everything you need to know about the procedures of how LSD is made.   How to Store LSD: Best Practices Learn the best way to store LSD, including the proper temperature and conditions to maximize how long LSD lasts when stored.   Bicycle Day: The Discovery of LSD Every year on April 19th, psychonauts join forces to celebrate Bicycle Day. Learn about the famous day when Albert Hoffman first discovered the effects of LSD.   Cary Grant: A Hollywood Legend On LSD Cary Grant was a famous actor during the 1930’s-60’s But did you know Grant experimented with LSD? Read our guide to learn more.   Albert Hofmann: LSD — My Problem Child Learn about Albert Hofmann and his discovery of LSD, along with the story of Bicycle Day and why it marks a historic milestone.   Babies are High: What Does LSD Do To Your Brain What do LSD and babies have in common? Researchers at the Imperial College in London discover that an adult’s brain on LSD looks like a baby’s brain.   1P LSD: Effects, Benefits, Safety Explained 1P LSD is an analogue of LSD and homologue of ALD-25. Here is everything you want to know about 1P LSD and how it compares to LSD.   Francis Crick, DNA & LSD Type ‘Francis Crick LSD’ into Google, and the result will be 30,000 links. Many sites claim that Crick (one of the two men responsible for discovering the structure of DNA), was either under the influence of LSD at the time of his revelation or used the drug to help with his thought processes during his research. Is this true?   What Happens If You Overdose on LSD? A recent article presented three individuals who overdosed on LSD. Though the experience was unpleasant, the outcomes were remarkably positive.

Ayahuasca Guides

The Ayahuasca Experience
Ayahuasca is both a medicine and a visionary aid. You can employ ayahuasca for physical, mental, emotional and spiritual repair, and you can engage with the power of ayahuasca for deeper insight and realization. If you consider attainment of knowledge in the broadest perspective, you can say that at all times, ayahuasca heals.


Trippy Talk: Meet Ayahuasca with Sitaramaya Sita and PlantTeachers
Sitaramaya Sita is a spiritual herbalist, pusangera, and plant wisdom practitioner formally trained in the Shipibo ayahuasca tradition.


The Therapeutic Value of Ayahuasca
My best description of the impact of ayahuasca is that it’s a rocket boost to psychospiritual growth and unfolding, my professional specialty during my thirty-five years of private practice.


Microdosing Ayahuasca: Common Dosage Explained
What is ayahuasca made of and what is considered a microdose? Explore insights with an experienced Peruvian brewmaster and learn more about this practice.


Ayahuasca Makes Neuron Babies in Your Brain
Researchers from Beckley/Sant Pau Research Program have shared the latest findings in their study on the effects of ayahuasca on neurogenesis.


The Fatimiya Sufi Order and Ayahuasca
In this interview, the founder of the Fatimiya Sufi Order,  N. Wahid Azal, discusses the history and uses of plant medicines in Islamic and pre-Islamic mystery schools.


Consideration Ayahuasca for Treatment of Post Traumatic Stress Disorder
Research indicates that ayahuasca mimics mechanisms of currently accepted treatments for PTSD. In order to understand the implications of ayahuasca treatment, we need to understand how PTSD develops.


Brainwaves on Ayahuasca: A Waking Dream State
In a study researchers shared discoveries showing ingredients found in Ayahuasca impact the brainwaves causing a “waking dream” state.


Cannabis and Ayahuasca: Mixing Entheogenic Plants
Cannabis and Ayahuasca: most people believe they shouldn’t be mixed. Read this personal experience peppered with thoughts from a pro cannabis Peruvian Shaman.


Ayahuasca Retreat 101: Everything You Need to Know to Brave the Brew
Ayahuasca has been known to be a powerful medicinal substance for millennia. However, until recently, it was only found in the jungle. Word of its deeply healing and cleansing properties has begun to spread across the world as many modern, Western individuals are seeking spiritual, mental, emotional, and physical well-being. More ayahuasca retreat centers are emerging in the Amazon and worldwide to meet the demand.


Ayahuasca Helps with Grief
A new study published in psychopharmacology found that ayahuasca helped those suffering from the loss of a loved one up to a year after treatment.


Ayahuasca Benefits: Clinical Improvements for Six Months
Ayahuasca benefits can last six months according to studies. Read here to learn about the clinical improvements from drinking the brew.


Ayahuasca Culture: Indigenous, Western, And The Future
Ayahuasca has been use for generations in the Amazon. With the rise of retreats and the brew leaving the rainforest how is ayahuasca culture changing?


Ayahuasca Guide: Effects, Common Uses, Safety
The Amazonian brew, Ayahuasca has a long history and wide use. Read our guide to learn all about the tea from its beginnings up to modern-day interest.


Ayahuasca and the Godhead: An Interview with Wahid Azal of the Fatimiya Sufi Order
Wahid Azal, a Sufi mystic of The Fatimiya Sufi Order and an Islamic scholar, talks about entheogens, Sufism, mythology, and metaphysics.


Ayahuasca and the Feminine: Women’s Roles, Healing, Retreats, and More
Ayahuasca is lovingly called “grandmother” or “mother” by many. Just how feminine is the brew? Read to learn all about women and ayahuasca.

Ketamine Guides

What Is the Standard of Care for Ketamine Treatments?
Ketamine therapy is on the rise in light of its powerful results for treatment-resistant depression. But, what is the current standard of care for ketamine? Read to find out.

What Is Dissociation and How Does Ketamine Create It?
Dissociation can take on multiple forms. So, what is dissociation like and how does ketamine create it? Read to find out.

Having Sex on Ketamine: Getting Physical on a Dissociative
Curious about what it could feel like to have sex on a dissociate? Find out all the answers in our guide to sex on ketamine.

Special K: The Party Drug
Special K refers to Ketamine when used recreationally. Learn the trends as well as safety information around this substance.

Kitty Flipping: When Ketamine and Molly Meet
What is it, what does it feel like, and how long does it last? Read to explore the mechanics of kitty flipping.

Ketamine vs. Esketamine: 3 Important Differences Explained
Ketamine and esketamine are used to treat depression. But what’s the difference between them? Read to learn which one is right for you: ketamine vs. esketamine.

Guide to Ketamine Treatments: Understanding the New Approach
Ketamine is becoming more popular as more people are seeing its benefits. Is ketamine a fit? Read our guide for all you need to know about ketamine treatments.

Ketamine Treatment for Eating Disorders
Ketamine is becoming a promising treatment for various mental health conditions. Read to learn how individuals can use ketamine treatment for eating disorders.

Ketamine Resources, Studies, and Trusted Information
Curious to learn more about ketamine? This guide includes comprehensive ketamine resources containing books, studies and more.

Ketamine Guide: Effects, Common Uses, Safety
Our ultimate guide to ketamine has everything you need to know about this “dissociative anesthetic” and how it is being studied for depression treatment.

Ketamine for Depression: A Mental Health Breakthrough
While antidepressants work for some, many others find no relief. Read to learn about the therapeutic uses of ketamine for depression.

Ketamine for Addiction: Treatments Offering Hope
New treatments are offering hope to individuals suffering from addiction diseases. Read to learn how ketamine for addiction is providing breakthrough results.

Microdosing Ketamine & Common Dosages Explained
Microdosing, though imperceivable, is showing to have many health benefits–here is everything you want to know about microdosing ketamine.

How to Ease a Ketamine Comedown
Knowing what to expect when you come down from ketamine can help integrate the experience to gain as much value as possible.

How to Store Ketamine: Best Practices
Learn the best ways how to store ketamine, including the proper temperature and conditions to maximize how long ketamine lasts when stored.

How To Buy Ketamine: Is There Legal Ketamine Online?
Learn exactly where it’s legal to buy ketamine, and if it’s possible to purchase legal ketamine on the internet.

How Long Does Ketamine Stay in Your System?
How long does ketamine stay in your system? Are there lasting effects on your body? Read to discover the answers!

How Ketamine is Made: Everything You Need to Know
Ever wonder how to make Ketamine? Read our guide to learn everything you need to know about the procedures of how Ketamine is made.

Colorado on Ketamine: First Responders Waiver Programs
Fallout continues after Elijah McClain. Despite opposing recommendations from some city council, Colorado State Health panel recommends the continued use of ketamine by medics for those demonstrating “excited delirium” or “extreme agitation”.

Types of Ketamine: Learn the Differences & Uses for Each
Learn about the different types of ketamine and what they are used for—and what type might be right for you. Read now to find out!

MDMA / Ecstasy Guides

Kitty Flipping: When Ketamine and Molly Meet
What is it, what does it feel like, and how long does it last? Read to explore the mechanics of kitty flipping.

MDMA & Ecstasy Guide: Effects, Common Uses, Safety
Our ultimate guide to MDMA has everything you want to know about Ecstasy from how it was developed in 1912 to why it’s being studied today.

How To Get the Most out of Taking MDMA as a Couple
Taking MDMA as a couple can lead to exciting experiences. Read here to learn how to get the most of of this love drug in your relationship.

Common MDMA Dosage & Microdosing Explained
Microdosing, though imperceivable, is showing to have many health benefits–here is everything you want to know about microdosing MDMA.

Having Sex on MDMA: What You Need to Know
MDMA is known as the love drug… Read our guide to learn all about sex on MDMA and why it is beginning to makes its way into couple’s therapy.

How MDMA is Made: Common Procedures Explained
Ever wonder how to make MDMA? Read our guide to learn everything you need to know about the procedures of how MDMA is made.

Hippie Flipping: When Shrooms and Molly Meet
What is it, what does it feel like, and how long does it last? Explore the mechanics of hippie flipping and how to safely experiment.

Cocaine Guides

How Cocaine is Made: Common Procedures Explained
Ever wonder how to make cocaine? Read our guide to learn everything you need to know about the procedures of how cocaine is made.

A Christmas Sweater with Santa and Cocaine
This week, Walmart came under fire for a “Let it Snow” Christmas sweater depicting Santa with lines of cocaine. Columbia is not merry about it.

Ultimate Cocaine Guide: Effects, Common Uses, Safety
This guide covers what you need to know about Cocaine, including common effects and uses, legality, safety precautions and top trends today.

NEWS: An FDA-Approved Cocaine Nasal Spray
The FDA approved a cocaine nasal spray called Numbrino, which has raised suspicions that the pharmaceutical company, Lannett Company Inc., paid off the FDA..

Cannabis Guides

The Ultimate Guide to Cannabis Bioavailability
What is bioavailability and how can it affect the overall efficacy of a psychedelic substance? Read to learn more.

Cannabis Research Explains Sociability Behaviors
New research by Dr. Giovanni Marsicano shows social behavioral changes occur as a result of less energy available to the neurons. Read here to learn more.

The Cannabis Shaman
If recreational and medical use of marijuana is becoming accepted, can the spiritual use as well? Experiential journalist Rak Razam interviews Hamilton Souther, founder of the 420 Cannabis Shamanism movement…

Cannabis Guide: Effects, Common Uses, Safety
Our ultimate guide to Cannabis has everything you want to know about this popular substances that has psychedelic properties.

Cannabis and Ayahuasca: Mixing Entheogenic Plants
Cannabis and Ayahuasca: most people believe they shouldn’t be mixed. Read this personal experience peppered with thoughts from a procannabis Peruvian Shaman.

CBD-Rich Cannabis Versus Single-Molecule CBD
A ground-breaking study has documented the superior therapeutic properties of whole plant Cannabis extract as compared to synthetic cannabidiol (CBD), challenging the medical-industrial complex’s notion that “crude” botanical preparations are less effective than single-molecule compounds.

Cannabis Has Always Been a Medicine
Modern science has already confirmed the efficacy of cannabis for most uses described in the ancient medical texts, but prohibitionists still claim that medical cannabis is “just a ruse.”

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