Visualising

The Psychedelic
Experience
BCI100 – Beyond the Creative Industries
Assessment 1
Interdisciplinary Case Study

Oliver Lavender
#A00053658

FIGURE 1

Image: Visual Web by TAS Visuals (The adventurous spark)

1
 INTRODUCTION

This case study aims to identify research in the elds of social science and psychology
centred around psychedelic hallucinations. Speci cally, we will look at researchers and
visual artists respective attempts to recreate, simulate and visualise the psychedelic
experience (PsyEx) using 3D animation and other digital media formats. Finally we will
draw conclusions on the e ectiveness of the examples given and provide alternative
methods and ideas for future research.

If we are able to identify, categorise and “increase current understanding of the visual
qualities of complex hallucinations” (Key, 2014) produced by DMT [and other
psychedelics] we have the potential to unlock new treatments for “many intractable
mental health conditions” (Mackenzie, 2020) such as depression, anxiety, addiction,
substance abuse and PTSD. Psychedelics are also proving useful for palliative care and
the treatment of patients with terminal illness and various therapies relating to mental
illness (Hayes, 2020).

In an article from 2020 on the question Could DMT-Assisted Therapy Help Treat Mental
Health Disorders? Carol Routledge, Chief Medical & Scienti c Of cer at Small Pharma
states

“Small Pharma believes that DMT has distinct advantages in that the psychedelic
experience is short in comparison to that induced by other psychedelics but based
on the intensity of the experience, and on the psychotherapy provided with DMT,
the therapeutic bene t is likely to be signi cant” (Mackenzie, 2020)

“To the brain, a high-dose psychedelic experience is like shaking up a snow globe,
disrupting unhealthy patterns of thought and providing an opportunity for them to
resettle differently. This helps the patient to receive and bene t much more from the
psychotherapy that wraps around the administration of DMT” (Mackenzie, 2020)

Beyond the medical bene ts of DMT, the scope of this case study expands to the ideas of
cognitive ability, spacial reasoning and creativity being increased in certain situations. The
ability to solve complex STEM problems on lower doses of DMT and other psychedelics
is also being investigated and is showing promise.

Perhaps it is still a little known secret that psychedelics have been instrumental in the
ideation of a number of the 21st centuries greatest scienti c breakthroughs. The
discovery of the double helix in DNA research and the development of the computer user
interface/mouse are just a few ideas that have been credited (on record) to the power of
the psychedelic experience (Nutt, 2021).

The jury is still out on Micro-dosing psychedelics (the practice of ingesting sub-
hallucinogenic amounts of a psychedelic substance over an extended period of time), but
early reports are encouraging, regarding the increased sense of focus and overall
wellbeing some users describe (Anderson, 2019) (Kaertner, 2021).

This case study will be focusing on 3D animation as the main media format for
experimentation, but will also look at mathematical models, geometry and other visual
e ects (VFX) techniques that have been used to simulate the various hallucinations
experienced on DMT.

2
ff
:

fi
fi
ff
fi
fi
fi
fi
fi
fi
.

fi
 Though it should be noted, that there are immeasurable examples of psychedelic or
visionary art which have also attempted to faithfully recreate the psychedelic experience.
Music, games, literature, paintings, digital art, installations, sculpture, graphic and motion
design, lm, architecture, ceremonies, religion, cultural events and so on have all played a
large part in informing and expanding our knowledge of the PsyEx and its corresponding
language.

The list is virtually limitless, so for our purposes we will be investigating the work of
researchers and artists who are using 3D animation, motion design and compositing
techniques to visualise the psychedelic experience, primarily centred around N, N-
Dimethyltryptamine or DMT, which is considered the most intense of the known
psychedelic compounds, paradoxically with the shortest duration (Hendricks, 2021).

We will not be attempting to address the way in which DMT and other psychedelic
compounds a ect or function in the brain. This is beyond the scope of this case study but
is not necessary in showcasing what work is being done in this eld and the potential
bene cial outcomes on society as a whole. These outcomes will be discussed in detail
later, but include greater understanding of consciousness and the human psyche,
treatment of mental illness such as depression, anxiety, PTSD and end of life care, the
enhancement of cognitive functions and ability to understand and solve complex
problems, the ability to perceive hyperbolic space in more meaningful ways and di erent
methods and principles to create more functional psychedelic centred design and art.

This case study will look at:

• The unpublished con rmation panel submission of Liam Key’s research into Using 3D
animation to visualise N, N-dimethyltryptamine (DMT) complex visual hallucinations

• The pioneering work of the Qualia Research institute and their research essay into The
Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets, and Saddled Scenes

• Henry Segerman’s work based on Non-euclidean Virtual Reality I: Explorations of H 3

• Video games such as Hyperbolica and Superliminal taking advantage of Non-euclidian

geometry and parallel transport to create new and novel gameplay experiences

• Scienti c American’s article on Visualizing the Language of Drug Experience

We will also look at the artistic works of TAS and his Shipibo inspired symbology, Andy
Thomas’s synesthetic, realtime, sound-reactive procedural animations and the ongoing
work in recreating personal DMT experiences by Symmetric Vision.

“Over time, the observations of the hallucinogenic phenomena experienced following the
administration of DMT have led to speculation that endogenous DMT is possibly involved in
psychosis, normal attributes and experiences such as creativity, imagination and dream states,
maintenance of waking reality, altered states of consciousness including religious and/or spiritual
phenomena, and NDEs. Even more far reaching and “other worldly” hypotheses have also been
offered, suggesting that DMT, as well as other hallucinogens, may provide actual proof of and/or
philosophical insights into many of our unanswered questions regarding extraordinary states of
consciousness. Regardless of the level and cause of such speculation and hypotheses, it is only
scienti c research that can inform or refute such thinking. There is no doubt that hallucinogen
research has been a forbidden fruit long ripening on the tree of knowledge” (Barker, 2018).
3
fi
fi
fi
fi
ff
fi
fi
ff
 FIGURE 2

‘Friendly eyes in a geometric tunnel, DNA shapes’ (Key, 2014)

“In order to understand information, we must de ne it; but in order to de ne it, we

must rst understand it. Where to start?

- Hans Christian von Baeyer

It has been said that we know more about the

moon, than we do about the deepest depths of
our own oceans (Kershner, 2021). If this is true,
then it could be argued that we know even less
about the e ects of the psychedelic experience
on the human mind and next to nothing about
how to describe and visualise that experience.

Science has not yet been able to devise a way to

identify and visualise “common characteristics [of
a type] of visual hallucination for DMT and other
disorders” and “…limitations are identi ed in
current methodologies in visual hallucination FIGURE 3
research…” Key (2014, p.4).
Animation Similarity Test (Key, 2014

Therefore it is important to investigate what
methods are currently available for visualisation
and for future research of the psychedelic
experience and its associated hallucinations.
Similarity rating form lled for video one. The value
provides a summary of a number of components. The
comments allow detail to be extrapolated from the
summarised answer.

4
fi
ff
fi
)

fi
fi
fi
In his prospective study on Using 3D animation to visualise N, N-dimethyltryptamine
(DMT) complex visual hallucinations (Key, 2014), Key proposed the use of 3D animation as
a research and simulation tool for the recreation of visual hallucinations, to be one of the
best ways (currently available) to develop a psychedelic language which is suitable in
describing the phenomenological events that occur on DMT (and other substances).

Key’s work suggests a creative and novel approach to the deeper problem of reproducing
mental imagery (sometimes known as the inner eye) accurately, such as in dreams or
memories. Much work has been done in this eld, but judging by results obtained thus
far, computational science still has a long way to go in being able to accurately visualise
our mental imagery and thoughts. This being said, the pace of such technology and
research is increasing at a rapid rate. (Mok, 2017).

Using the tools we currently have available in the area of 3D animation and video, we are
able to apply them to the elds of STEM to achieve a combination of unique,
unconventional outcomes. There is certainly an artistic way in which our brains create and
display the psychedelic hallucinations we experience on DMT. This artful approach to
recreation, in combination with rigorous scienti c method could be the answer to de ning
and describing the di erent states of consciousness and subsequent level of intoxication
we experience while hallucinating or “tripping”.

As technology improves, researchers will be able to take advantage of more powerful

tools, such as immersive, augmented and mixed realities running on realtime engines that
allow the user/researcher to manipulate, rearrange and generally interact with visual
elements during sessions. This will not only signi cantly decrease iteration times, but also
increase accuracy as the subject will be able to “dial-in” or ne tune their individual
experience and con rmation with far more accuracy.

FIGURE 4

Still from Segerman’s (& et al), demonstration of Non-euclidean Virtual Reality on Youtube 5
fi
ff
fi
fi
fi
fi
fi
fi
 At a fundamental level, to understand the psychedelic experience (or anything for that
matter) one must be able to describe it. To describe something we need commonly
understood de nitions. To create de nitions, we need descriptions that we can group into
categories. This is where the work of the Qualia Research Institute and their investigations
into the common visual traits of DMT experiences come into play. Qualia are also
interested in the link between DMT and its relationship to hyperbolic space among other
research.

In a talk by Qualia Research Institute member Andrés Gómez Emilsson (on the institute’s
essay discussing The Hyperbolic Geometry of DMT Experiences: Symmetries, Sheets,
and Saddled Scenes (Gómez-Emilsson, 2016), he discusses the idea of Thermometers of
Experience. If we are able to determine the levels of intoxication (according to dose) of
alcohol and thus establish a uniform understanding of the e ects of intoxication, the
same should be possible for DMT. It is important to understand the qualities of each
“level” of the DMT Journey in order to administer the right dose for the desired e ect or
outcome as:

“In the case of doses above “breakthrough experiences” there is a chance that the
user will not be able to recall anything about the most intense periods of the
journey. Unfortunately, we are not likely to learn much from these states (that is,
until we live in a community of people who can access other phenomenal
geometries in a controlled fashion)” (Gómez-Emilsson, 2016).

“As it turns out, it is notoriously hard to truly embed H2 in Euclidean 3D space,

since doing so will necessarily distort some properties of the original H2 space
(such as distance, angle, area, local curvature, etc.)… this dif culty turns out to
be crucial for understanding why DMT experiences are so hard to remember.
In order to remember the experience you need to create a faithful and memorable
3D Euclidean embedding of it. Thus, if one happens to experience a hyperbolic
object and wants to remember as much of it as possible, one will have to think
strategically about how to fold, crunch and deform such object so that it can be t in
compact Euclidean representations” (Gómez-Emilsson, 2016).

In his essay on the hyperbolic nature of DMT experiences (2016), Gomez-Emilsson has
identi ed 6 common, distinct stages encountered on a full dose of DMT (20-30mg) which
include: Threshold, Chrysanthemum, Magic Eye, Waiting Room, Breakthrough and
Amnesia. By identifying the common traits and characteristics of each “level” we are
better able to determine how DMT a ects our brains and develop better language and
visual descriptors for that experience.

FIGURE 6
FIGURE 5 FIGURE 7
(Gómez-Emilsson, 2016)
(Gómez-Emilsson, 2016)
(Gómez-Emilsson, 2016)
Heptagonal tiling of the
Inside a hyperbolic cube Poincar´e disk representing the Wallpaper symmetry groups
2D hyperbolic space. 6
fi
fi
.

fi
ff
fi
ff
fi
ff
 FIGURE 8 FIGURE 9 FIGURE 10

(Gómez-Emilsson, 2016) (Gómez-Emilsson, 2016) (Gómez-Emilsson, 2016)

DMT Object Triheptagonal tiling P1 Wallpaper Symmetry

Gomez-Emilsson’s essay contains many other fascinating concepts such as

mathematicians and neuroscientists, (people who we would consider pro cient in their
respective elds), talking about their experiences on DMT and describing what they see
as hyperbolic and geometric in nature. If this is the case, it opens the door to a whole new
area of research around how and why we are able to see and perceive fourth dimensional
space on DMT. It also uses various visual mathematical models to describe the various
levels of hallucinations encountered on DMT which are helpful in expanding the language
of PsyEx.

Conceptualising hyperbolic geometry and non euclidian spaces is key in understanding

the e ects of higher doses of N, N-Dimethyltryptamine and a window into this world
might come from the work of Henry Segerman on Non-euclidean virtual reality spaces.

Segerman’s joint work with Vi Hart, Andrea

Hawksley and Sabetta Matsumoto uses a game
engine and HTC Vive headset to create visual
representations of non euclidian geometries in
virtual reality. Their work is based upon complex
mathematical geometry translated into visual
spaces we can easily perceive, if not fully
comprehend. In their paper on Non-euclidean
Virtual Reality I: Explorations of H 3 (Hart et el,
2017) concepts such as the consequences of
Parallel Transport in hyperbolic virtual reality are FIGURE 11
discussed, which have interestingly become (Segerman et al, 2017)
gameplay features, in titles such as Superliminal
(Pillow Castle, 2019). A View Inside H 3

The concepts of non euclidian space have been used “outside of the lab” so to speak, to
great e ect. In recent titles such as Superliminal, the concept of parallel transport (a way
of transporting geometrical data along smooth curves in a manifold) in hyperbolic and
euclidian space is used as a way to interact with objects and solve physically based, rst
person perspective puzzles. This unique and somewhat psychedelic approach to level
design as also made its way into other indie titles such as Hyperbolica.

7
ff
ff
fi
.

fi
fi
 The world of Hyperbolica (Unreleased) is entirely unique. As Wagner James Au writes, “its
rudimentary graphics hide an amazing innovation: The game world is set in hyperbolic,
non-euclidean space.” (Wagner Au, 2020) The game’s developer, Kevin (creator of the
Youtube channel Codeparade) consulted with Henry Segerman for the upcoming release
which is based on the Unity game engine. Kevin’s description of the forthcoming release
sums up the concept nicely:

“Hyperbolic space allows exponentially more volume to t in the same 'space' than
you'd normally expect. This allows you to explore enormous areas while taking very
little time to walk anywhere. You'll nd that building a mental map of your
surroundings becomes impossible. Lines can no longer be parallel. Traversing the
map can result in unexpected rotations. And many more strange consequences
that will make you question reality. You'll also explore spherical space, which has
the opposite outcomes. For example, a reverse-perspective: Objects appear larger
the farther away they are” (Codeparade, 2021).

Though not strictly operating in the same visual space as the other examples in this case
study, Hyperbolica paves the way for humans being able to understand non euclidian
spaces, which in turn, may increase our knowledge of the way in which we perceive
dimensionality on DMT and other psychedelics.

FIGURE 12 FIGURE 13

(Pillow Castle, 2019) (Codeparade, Unreleased)

Big Piece of Cheese Puzzle in Superliminal House On a plane. An example of spherical

space inside Hyperbolica

FIGURE 16

(Segerman et al, 2017)

The oor falls out from under

your feet as you travel along a
geodesic

FIGURE 14 FIGURE 15

(Pillow Castle, 2019) (Codeparade, Unreleased)

Is this the Exit? Puzzle in Superliminal House On a plane. An example of spherical

space inside Hyperbolica
8
fl
.

fi
fi
 FIGURE 17

(Segerman et al, 2017)

A monkey in each cube of the {4, 3, 6} honeycomb. Note the ring of six monkeys
connected together around each edge of the honeycomb

Interregnal to understanding and visualizing the psychedelic experience, is the language

that surrounds drug culture. The way in which we describe our experience, plays a large
part in de ning the experience. The same can be said for the way that outsiders describe
and label the drug experience.

Paraphrasing from Scienti c American’s article Visualizing the Language of Drug

Experience (2012); we are easily able to discuss ephemeral and subjective traits in
experiences such as the enjoyment of art and wine. We wax lyrically about body and
length, form and contrast, surface and depth. Why not the same of psychedelics? The
other point this article raises is: those who have de ned the language of drug culture have
stigmatised and biased that language, in a negative, reductionist fashion. The gate
keepers (media, government, pharmaceutical) have all played a part in ensuring the
language surrounding hallucinogens has remained somewhat negative and narrow-
minded.

“So what does the language of drug experience look like? What verbal behaviour
does use provoke? No doubt the psychonauts have words for their ights of fancy,
as the botanists have for tiny, furling shrubs, as the Eskimos have for snow (though
they say that's a hoax). But every voyage is a solo feat. How can users x the
meanings of words which relate to internal distortions in perception and time, to
ecstasies beyond reckoning?” (Melody, 2012).

The article then goes on to create word groupings, scraped from online qualitative trip
reports to determine the most commonly used words and phrases for various drugs. This
article was helpful in recognising the language we use to describe and label our
experience is important. It shapes the perception around the users and their collective
experience. If we ever hope to achieve a consensus around what we see in psychedelic
states, it is crucial that we maintain continuity around the language we use to describe it.

9
fi
.

fi
fi
fl
fi
Lastly, we shall discuss a small group of artists who are striving to create faithful
reproductions of the psychedelic experience, primarily in the live visual mixing domain
(VJ’s).

Psychedelics have been relegated to the underground counterculture movements of art

and music since the early 1960’s, as governments scheduled psychedelic substances as
drugs with “no medical value” (Lopez, 2016). As a result, artists have become the
researchers, taking on the duel role of psychonaut and visionary. Their work is a re ection
of time spent “between … the doors of perception” as Aldous Huxley famously said.

After journeying through these little understood worlds - they bring back not only an
accurate description - but also the visual language with which to translate and portray
their experiences/hallucinations. This could be likened to a botanist such as Sir Joseph
banks, discovering and rede ning the taxonomy of Australian ora on arrival in 1770.
Banks had both the observation and the skill to accurately render what he would have
considered completely alien, in comparison to everything he had observed previously.

The artist Raimonds A.K.A. Symmetric Vision is one such pioneering artist. Since 2014 he
has attempted to recreate DMT experiences in the form of 2-5 minute videos ranging in
complexity and scope. His work features iterations of the same concept, with increasing
degrees of accuracy in each subsequent piece. Using a range of techniques from
compositing layered e ects over live action plates to fully 3D CGI renders, his work
mainly features rst person perspectives which are sometimes presented in 360 video
degree format. Raimond’s art is heavily based on replicating or simulating the PsyEx and
its accompanying hallucinations. Speaking from personal experience, Symmetric Vision’s
depictions of a “typical trip” are particularly accurate.

FIGURE 18

“Memory from Dead

Mans Trip (DMT visuals
experiment v9

(Symmatic Vision, 2021)

A visualisation of the
“Threshold” level, crossing
over to “Chrysanthemum
and into “Magic Eye” level

Stills taken from Youtub

10
)

fi
e

ff
fi
fl
fl
 At the other end of the spectrum are Vj’s, and graphic designers such as TAS and Android
Jones, who create mind manifesting visuals that are re ections of the psychedelic
experience, that are then reintroduced back onto dance oors in clubs and festival
spaces around the world.

Austrian based artist TAS (The adventurous Spark) appears to be heavily inspired by the
patterns of the Shipibo-Conibo people indigenous to Amazon rainforest, Peru. For the
past thousand years, the Shipibo people have used Ayahuasca in traditional medicine
work and shaman led ceremonies. Interestingly, but not surprisingly their clothes and
textiles have adopted these psychedelic patterns, the very same patterns which have also
been witnessed by non Shipibo users of DMT around the world.

TAS uses a combination of work ows and approaches to create his vividly complex
renderings. 3D modelling, texturing, animation and compositing are used to create layers
that can then be sequenced (using Ableton Live in conjunction with Resolume) and mixed
together live, often in a 10 hour visual tour de force.

FIGURE 19

Fabric 2 (TAS, n.d.)

FIGURE 20 FIGURE 21
11
Flower Bloom (TAS, n.d.) Spiral 2 (TAS, n.d.)

fl
fl
fl
Multimedia producer Andrew “Android” Jones is another visionary artist pushing
boundaries with his brand of psychedelic art. The following quote embodies the essence
of BCI100:

“After studying in the University of Colorado Boulder and graduating with a degree
in Computer Animation and Fine Arts from the Ringling School of Art and Design in
Florida, he went for a “real job” and worked for several years in the lm and video
game industries. “I was working for Nintendo in Austin, Texas," he said. "I was their
concept artist for Metroid Prime for like ve years. Then I started my own studio
where I was the creative director.”” (Berry, 2020)

Jones is now recognised as one of the foremost visionary artists in the world, creating
intensely complex visual shows for world renowned electronic music producers.

FIGURE 22

Swallow Tail (Android Jones, n.d.)

Last but not least is the mixed media work of Andy Thomas, who uses sound as the
common method for driving abstract, energetic imaginings, from rainforest birds to
Myanmar streets. His ability to create almost synesthetic worlds is unmatched. Thomas is
also taking advantage of realtime visualisation engines such as Notch to generate very
complex particle simulations “on the y”. This unique approach to realtime synesthetic
image generation, could be applied to future studies on expanding the language of the
psychedelic experience.

FIGURE 23 FIGURE 24

TB-3 RESONANCE FLUX (Andy Thomas, n.d.) TB-3 EFFECT FLUX (Andy Thomas, n.d.) 12
fl
fi
fi
 Conclusion

This is just a small sample of the researchers and artists that are working to visualise the
psychedelic experience, across a wide range of traditional and disruptive media such as
3D animation, video, virtual & mixed reality, game engines and graphic design. The use of
these mediums is shedding new light on the way the mind works on psychedelics and
providing a framework for future research. Traditional “science” does not yet have the
tools and language to accurately describe and visualise hallucinations at this point in
time, so artistic renderings such as the ones shown in this case study help us imagine
what ‘could’ be.

Comparisons could be drawn, to the visionary art of science ction illustrators from 70
years ago. They were tasked with showing us a future beyond our wildest imaginations,
marvels of technical human achievement on a monumental scale, (which for the most part
has played out), forging ahead with a new design language that is based on (but outside
of) normal reality.

If we are able to identify the common visual qualities of hallucinations in DMT [and other
psychedelics] users experience, we will be able to “increase current understanding of the
visual qualities of complex hallucinations” (Key, 2015) and derive new, accurate ways of
obtaining qualitative estimates on complex hallucinations.

The examples shown in this case study are laying the foundation for more serious and
thorough research in the future, therefore the e ectiveness of each method is still yet to
be determined. These “explorations” into uncharted territory are perhaps more important
for opening up a conversation with other scientists and artists around DMT, allowing the
oodgates to open and power the “psychedelic renaissance” (Lu, 2021).

The biggest obstacle to improving any of these studies is funding and regulation. If DMT
was rescheduled, it would allow more people in the scienti c and health community to
research this fascinating molecule. This change would have ow on e ects, such as being
able to host and control experiments (and all that entails), which would lead to more
reliable, rst hand qualitative data and perhaps even result in new methods of obtaining
quantitive data.

Harnessing the power of realtime computer generated rendering could be a game

changer in the re-creation of psychedelic hallucinations. The ability to change, alter,
duplicate, remove or increase any object in realtime - under the instruction of participants,
directly after their experience. In a controlled environment, this would allow for the
collection of the most accurate qualitative data possible. As more data is gathered,
generic templates could be created and “ lled-in” with commonly witnessed phenomena,
to match the participants visual description immediately following their “trip”, speeding up
the con rmation process signi cantly. The technology available to us right now is the
envy of researchers of just a few years prior, and will only to continue to gain ground in
speed, exibility and photorealism as time marches on.

The path to understanding the true nature of DMT (and psychedelics in general) is long and
winding. We are only at the metaphorical “tip of the iceberg” in so far as our understanding of
what e ects DMT has on the mind. The fact that DMT has been found to be endogenous to
mammals, with the potential to be reclassi ed as a neurotransmitter (Barker, 2018) is an
indication of the importance this molecule plays in our bodies and its potential to unlock the
mysteries of consciousness itself.

13
fl
ff
fl
fi
fi
fi
fi
fi
ff
fl
fi
fi
ff
 Prompted Questions

1. Introduce the science, technology, engineering and mathematics (STEM)

interdisciplinary project

This case study aims to identify research in the elds of social science and
psychology centred around psychedelic hallucinations. We will also look at
researchers and visual artists respective attempts to recreate, simulate and
visualise the psychedelic experience (PsyEx) with 3D animation techniques.

De ne the problem that the project will aim to resolve.

Science is unable to create an accurate representation or depiction of what we see

while hallucinating. This information is important for all other research that follows.
By creating a common visual language, we can begin to understand the way in
which DMT works on the brain and how we might best begin to harness its
potential.

Describe the different sub-disciplines that contribute to the outcomes of the

project.

3D animation, computer generated design, graphic design, game development,

virtual reality, social psychology, neurology, science, technology, maths and
computational science, philosophy and art.

2. Analyse the use of your specialisation or the creative technology in the

project

As a motion designer that works in the electronic music industry, understanding the
way my work and skills could translate to a STEM eld opens up exciting new
pathways. I have gone into further detail in the case study on this.

Describe the use of your specialisation and creative technology in the project.

Many different forms of creative technology are discussed and used in the case
study, namely 3D animation, motion design and video compositing. Also discussed
is the use of virtual reality technology and game design on realtime engines.

Analyse how your specialisation and creative technology are being used in an
unconventional or non-traditional context.

By working in the medical sciences, 3D modellers and animators are able to

contribute to the language developing around psychedelics and their related
phenomena. As most 3D animators are usually contemplating a career making
traditional media, I see a move to this eld of study, unconventional.

Consider some qualitative aspects of the strengths of your specialisation.

Artists are a much better t for de ning and recreating the character of such
ephemeral concepts such as hallucinations. 3D designers have the engineering
skills to bridge the gap between conception and creation.
14
fi
:

fi
fi
fi
fi
fi
 Describe any notable technical aspects of the solution.

This is described in further detail in the case study, but the faster and more accurate
the render quality is, the better the results are going to be. My prediction is game
engines will have a large part to play in this area of study.

3. De ne the context surrounding the projects solution

If we are able to identify, categorise and “increase current understanding of the

visual qualities of complex hallucinations” (Key, 2015) produced by DMT [and other
psychedelics] we have the potential to unlock new treatments for “many intractable
mental health conditions” (Mackenzie, 2020) such as depression, anxiety, addiction,
substance abuse and PTSD. Psychedelics are also proving useful for palliative care
and the treatment of patients with terminal illness (Hayes, 2020).

Describe the background and context behind the problem.

Science has not yet been able to devise a way to identify and visualise “common
characteristics [of a type] of visual hallucination for DMT and other disorders” and
“…limitations are identi ed in current methodologies in visual hallucination
research…” Key (2015, p.4). Therefore it is important to investigate what methods
are currently available for visualisation of the psychedelic experience.

Identify the audience facing this problem.

Researchers wanting to study the effects of psychoactive substances on the human

mind, STEM related practitioners such as social psychologists, mathematicians,
neurologists, biologists etc, artists, philosophers, drug education and harm
minimisation programs, people suffering from depression, anxiety, PTSD, addiction,
schizophrenia, eating disorders, terminal illness and the general population.

Identify any different specialties and stakeholders with whom you might have
to collaborate to produce your chosen example.

Government and law enforcement, research journals, institutes and participants,

research assistants, artists.

“To further study DMT without the effects of an MAOI, research should pursue
whether or not D4DMT is orally active, … which would enhance the opportunities to
examine its potential as a therapeutic. The use of hallucinogens in psychotherapy is
gaining renewed interest and certainly DMT should be among the drugs in the
psychiatric pharmacopeia. Any proposal to pursue this avenue will require more
than the current combined body of scienti c evidence. Both Federal and State laws
will have to change in order to make the manufacture and use of such compounds
easier and to make conducting the necessary research feasible” (Barker, 2018)

4. Draw conclusions about its effectiveness

The examples that have been shown in this case study are laying the foundation for
more serious and thorough research in the future, therefore the effectiveness of
each method is still yet to be determined. These “explorations” into uncharted

15
fi
fi
fi
territory are perhaps more important for opening up a conversation with other
scientists and artists around DMT, allowing the oodgates to open and power the
“psychedelic renaissance” (Lu, 2021).

Describe how the project used the unique strengths of your specialisation.

This is just a small sample of the researchers and artists that are working to
visualise the psychedelic experience, across a range of traditional and disruptive
media such as 3D animation, video, virtual & mixed reality, game engine and
graphic design. The use of these mediums is shedding new light on the way the
mind works on psychedelics and providing a framework for future research.
Traditional “science” does not yet have the tools and language to describe and
visualise hallucinations at this point in time, so artistic renderings such as the ones
shown in this case study help us imagine what ‘could’ be.

Describe whether the project represents an innovative use of your

specialisation.

I believe it does. The crossover between science and art is pivotal in crating a visual
language for the psychedelic experience. By combining the two, we are not only
helping increase our knowledge of the mind, but also helping to innovate the world
of art and provide the basis for a new, untapped visual language.

Describe whether the project was effective in providing solutions to the

problem it identi ed.

As outlined in the conclusion, most of the research I have looked is formative and
not yet peer reviewed (or in the case of the artists mentioned, not at all). A lot more
research has been conducted on the medicinal qualities and properties of
psychedelics vs creative and visual studies. As cited in various places throughout,
this research is all looking promising.

If applicable, describe how the solutions could be improved.

The biggest obstacle to improving any of these studies is funding and regulation. If
DMT was rescheduled, it would allow more people in the scienti c and health
community to research this fascinating molecule. This change would have ow on
effects, such as being able to host and control experiments (and all that entails),
which would lead to more reliable, rst hand qualitative data and perhaps even
result in new methods of obtaining quantitive data.

Being able to harness the power of realtime computer generated rendering could be
a game changer in the re-creation of psychedelic hallucinations. The ability to
change, alter, duplicate, remove or increase any object in realtime - under the
instruction of participants and right after their experience. In a controlled
environment, this would allow for the collection of the most accurate qualitative data
possible. As more data is gathered, generic templates could be created and “ lled-
in” with commonly witnessed phenomena, to match the participants visual
description right after their “trip" speeding up the con rmation process signi cantly.
The technology available to us right now is the envy of researchers from only a few
years ago and will only to continue to gain ground in exibility and photorealism as
time marches on.
16
fi
fi
fl
fi
fl
fi
fi
fl
fi
 References

Kershner, K. (2015, April 7). Do we really know more about space than the deep ocean?.
[Website] https://pamela tch-rmt.com/docs/soul.pdf

Key, L. (2014). Using 3D animation to visualise N, N-dimethyltryptamine (DMT) complex

visual hallucinations. [Unpublished doctoral dissertation], IHBI, Psychology and
Counselling, Queensland University of Technology.
https://liamkey.com/documents/PhD-Research-3D-Animation-of-DMT-Complex-
Visual-Hallucinations-Liam-Key.pdf

Henricks, S. (2013, July 13). DMT: the strongest psychedelic you’ve never heard of.
https://bigthink.com/health/dmt/

Von Baeyer, HC. (2003). Information, The New Language of Science, Chapter 3, In-
Formation, The roots of the concept, p. 18.
https://quotepark.com/quotes/1841662-hans-christian-von-baeyer-in-order-to-
understand-information-we-must-de ne/

Mackenzie, R. (2020, November 16). Could DMT-Assisted Therapy Help Treat Mental
Health Disorders?.
https://www.technologynetworks.com/neuroscience/blog/could-dmt-assisted-
therapy-help-treat-mental-health-disorders-342892

Anderson, T., Petranker, R., Christopher, A. et al. (2019, 10 July). Psychedelic microdosing
bene ts and challenges: an empirical codebook. Harm Reduct J 16, 43 (2019).
https://doi.org/10.1186/s12954-019-0308-4

Kaertner, L.S., Steinborn, M.B., Kettner, H. et al. (2021, January 21). Positive expectations
predict improved mental-health outcomes linked to psychedelic microdosing. Sci
Rep 11, 1941 (2021).
https://doi.org/10.1038/s41598-021-81446-7

Hayes, M. (2020, March 20). Psychedelics in Palliative Care - Scienti c American.

https://blogs.scienti camerican.com/observations/psychedelics-in-palliative-care/

Nutt, D. (2021, February 28). Your brain on LSD: a guide through the most mind-blowing
psychedelics research.
https://www.sciencefocus.com/the-human-body/how-psychedelics-lsd-work-
brain/

17
fi
fi
fi
fi
fi
Gómez-Emilsson, A. (2016, December 12). The Hyperbolic Geometry of DMT
Experiences: Symmetries, Sheets, and Saddled Scenes.
https://www.qualiaresearchinstitute.org/blog/hyperbolic-geometry-dmt

Mok, K. (2017, August 3). How Arti cial Intelligence Could Reconstruct Your Memories.
https://thenewstack.io/researchers-use-ai-read-reconstruct-memories/

Hart, V & Hawksley, A, & Matsumoto, E, Segerman, H. (2017). Non-euclidean Virtual

Reality I: Explorations of H\ensuremath{{^3}}}.
http://archive.bridgesmathart.org/2017/bridges2017-33.pdf

Kevin. (2021). CodeParade - Hyperbolica [Game].

https://store.steampowered.com/app/1256230/Hyperbolica/

Melody. (2012, November 26). Visualizing the Language of Drug Experience - Scienti c
American.
https://blogs.scienti camerican.com/cargo-cult-contrarian/visualizing-the-
language-of-drug-experience/

Lopez, G. (2016, August 11). The federal drug scheduling system, explained.
https://www.vox.com/2014/9/25/6842187/drug-schedule-list-marijuana

Berry, G. (2020, February 4.) ANDROID JONES, PSYCHEDELICS AND THE DAWN OF
THE VISIONARY ARTS MOVEMENT [INTERVIEW] - EDM.com.
https://edm.com/interviews/android-jones-psychedelics-visionary-arts

Lu, D. (2021, September 26). ‘Psychedelics renaissance’: new wave of research puts
hallucinogenics forward to treat mental health.
https://www.theguardian.com/society/2021/sep/26/psychedelics-renaissance-
new-wave-of-research-puts-hallucinogenics-forward-to-treat-mental-health

Barker S. A. (2018). N, N-Dimethyltryptamine (DMT), an Endogenous Hallucinogen: Past,

Present, and Future Research to Determine Its Role and Function. Frontiers in
neuroscience, 12, 536.
https://doi.org/10.3389/fnins.2018.00536

18
fi
fi
fi
[IMAGES]

TAS. (2020). World Web [Various digital Images].

https://www.tasvisuals.com/

Key, L. (2014). ’Friendly eyes in a geometric tunnel, DNA shapes’ [Digital Image].
https://liamkey.com/documents/PhD-Research-3D-Animation-of-DMT-Complex-
Visual-Hallucinations-Liam-Key.pdf

Segerman, H, et al. (2017). Non-euclidean Virtual Reality I: Explorations of H 3 [Still Image

from Youtube and various digital images].
http://archive.bridgesmathart.org/2017/bridges2017-33.pdf
https://www.youtube.com/watch?v=ztsi0CLxmjw

Gómez-Emilsson, A. (2016, December 12). The Hyperbolic Geometry of DMT

Experiences: Symmetries, Sheets, and Saddled Scenes. [Various digital images].
https://www.qualiaresearchinstitute.org/blog/hyperbolic-geometry-dmt

Pillow Castle. (2019). Superliminal [Digital image].

https://images.ctfassets.net/2lpsze4g694w/5NuRX7z8rGLnbcio100jUp/
3c3dbedd75da8a960f329c1f162b99e0/Superliminal-exit.jpg?w=800

Codeparade. (Unreleased). Hyperbolica [Video game Still image].

https://i1.wp.com/boingboing.net/wp-content/uploads/2020/07/spherical-
geometry.jpg? t=1776%2C1025&ssl=1

Vision, S. (2021). Memory from Dead Mans Trip (DMT visuals experiment v9) [Still Image
from Youtube].
https://www.youtube.com/watch?v=VT5yitYUt-g

Jones, A. (n.d.). Swallow Tail [Digital Image].

https://androidjones.com/new-works/

Thomas, A. (n.d.). TB-3 RESONANCE FLUX [Digital Image].

https://andythomas.com.au/

Thomas, A. (n.d.). TB-3 EFFECT FLUX [Digital Image].

https://andythomas.com.au/

19
fi