Culture - Nine images done by artist during lsd-25 experience

[chrustol]

I want to know what do you think abot this story, cose for me it is a little bit strange.. especially the end.

http://www.cowboybooks.com.au/html/acidtrip1.html

Reputation Comments on this post:

[Voices]

http://www.cerebromente.org.br/galle...rdo/fig1-a.htm

I can understand why you think it's strange, but I don't think it's uncommon. The link above is to an artist (Luis Wain) who developed schizophrenia later in life, so you can see the progression of the disease on his mind pretty clearly.

Reputation Comments on this post:

very interesting

[chrustol]

In my opinion psycho paintings are more interesting and it's filled with hi number of details.. thx for this link

[kumar]

Heres a link to a series of paintings and quotes of an artist on LSD in which i enjoyed

Swim is yet to try LSD but will do soon.

Enjoy

http://images.google.com.au/imgres?i...%3Den%26sa%3DG

[kumar]

LOL i find it very funny when it quotes

"Upon completing the drawing the patient starts laughing, then becomes startled by something on the floor"

[Flimmar]

Very interesting. Good reading, and some funny drawings. SWIM is amazed by the picture (the one which looks like an explosion) - it has so little to do with the original drawing.

[sparkomete]

I have make this picture under 3DSMAx .

[Dalfir]

Very nice. I just atteneded a psy-trance party with this decor at the main rig.

[Jatelka]

Please upload images to the Image gallery

[Jatelka]

A new entry has been added to Drugs Archive

Description:
These are really fascinating.. I tried to load them as individual images with descriptions to a photo album, but have not been able to upload photos and keep getting an error message.. so will post this here through the weblink and hopefully re-post in a more coherent and accessible album format once the glitch is worked out.

To check it out, rate it or add comments, visit Nine images done by artist during lsd-25 experience
The comments you make there will appear in the posts below.

EDIT: Uploaded by Moda00

[Bajeda]

Can anyone find pictures of the drawings from the Oscar Janiger study where artists painted the Kachina dolls? Those were impressive, but I can only find the two pictures that are always used when referring to the research.

[geezaman]

Those were really interesting, SWIM wonders if at first the artist finds the drug impedes his intentions, and then learns or discovers how to work within the boundaries of what he can do under its influence.

[TDIDriver]

Check out the guy tring to climb a tree to feed the birds..
http://www.youtube.com/watch?v=n-rWnQphPdQ

[RaverHippie]

I loved looking over the notes and the change associated with the artist's trip. I wish they would have given the artist a chance to give any insight about changes in perception, more than the few notes written by the administer.

Reputation Comments on this post:

good point; this would have been interesting

[Lettish]

Originally Posted by RaverHippie

I loved looking over the notes and the change associated with the artist's trip. I wish they would have given the artist a chance to give any insight about changes in perception, more than the few notes written by the administer.

Swim agrees, and wishes they'd gone into much more detail at each interval. Still good though. The sudden change from 5 to 6 is amazing.

[Melalicious]

swim came across this not long ago on a internet search...

soooooooooooo VERY interesting!! i think its great! but agree with alot of the above swimers, some more insight on what they artists were feeling, thinking, how they precieved things more, would of been great!

would love to sit back and watch someone undergoing a test like that!, tho swim would prob get jealous and wanna join in! lol

[moda00]

Originally Posted by geezaman

Those were really interesting, SWIM wonders if at first the artist finds the drug impedes his intentions, and then learns or discovers how to work within the boundaries of what he can do under its influence.

Good point; you can see that his first, sober drawing is a fairly detailed and realistic portrait.. then it seems he tries to recreate that approach and image while under the influence- which he is unable to do, but seems to serve, as you say, to teach him how to work with the acid's effects rather than against it, and then it just flows out as something completely different. I also found it interesting that he said he found his last drawing to be frustrating and badly done.. of course, anyone looking a just that image would say it was a good rendering, and it is notably similar to the first. But having come from such an intense experience and then returning to baseline, it is interesting that he would have that perspective- of course he was probably tired and such, but the fact is that once you have seen things differently (such as a psychedelic experience), it becomes difficult to see everyday "reality" the same way ever again. Now I don't know if this artist had ever used LSD beforehand (nowadays it seems the limited psychedelic research is usually carried out with experienced users for ethical and safety reasons, which is understandable, but back then I'm guessing they were more interested in its effects on first time users and clearly had less regard for the intensity and personal nature of the psychedelic state) or how he was recruited, but it would also be interesting to know how his life perspectives, perceptions, and of course notably his artwork changed after that.. A psychedelic experience is a profoundly altering thing, and I think that while this research is amazing to look at, it would have been infinitely more valuable to study not only the effects of acute impairment, but the impacts the experience has on people, consciously or subconsciously. Especially a visual artist- what a fascinating means to evaluate this. I think I mentioned this book in another post awhile back, but I'm reading a book called Anthropologist on Mars, full of case studies on patients with rare neurological disorders and such.. the first one is an artist who lost his color vision and color memory, his whole awareness of color. The book included examples of his paintings before and after, free form, as well as several tests ie. requesting that he reproduce certain images, etc. Art and the people who create it are a fascinating area of study for things like brain/neurological functioning, perception, mood, drug effects, synaesthesia, etc.

Originally Posted by Bajeda

Can anyone find pictures of the drawings from the Oscar Janiger study where artists painted the Kachina dolls? Those were impressive, but I can only find the two pictures that are always used when referring to the research.

I am very interested in the study Bajeda referenced with the kachina dolls.. I hadn't heard of that study, but hopefully those images will turn up. I haven't seen the two images you reference, but it seems with research like this the images in their entirety, and their progression over time, would illustrate a much more accurate and interesting picture of the results.. One or two images in isolation only tell a part of the story.. or at least they would in this study- not sure if the study referenced was done in a similar fashion or if each artist only created one image..

Originally Posted by Lettish

Swim agrees, and wishes they'd gone into much more detail at each interval. Still good though. The sudden change from 5 to 6 is amazing.

I also agree with those who said more input from the artist on how he was feeling and perceiving things would have been interesting- with something like lsd, sure the physical, outward effects are important to be aware of, but the internal subjective experience is an essential part of it. I'm guessing that the research was not focused in a way that encouraged this- and perhaps rightly so, since that is really the realm of a therapist or psychedelic-experienced guide. But then again I'm sure there has to be at least some more documentation of the experiment than what exists on that web page, and wish we could see an original copy of the notes taken, or the video footage, or however the session was recorded and evaluated aside from the images themselves.

[Bajeda]

Originally Posted by moda00

I am very interested in the study Bajeda referenced with the kachina dolls.. I hadn't heard of that study, but hopefully those images will turn up. I haven't seen the two images you reference, but it seems with research like this the images in their entirety, and their progression over time, would illustrate a much more accurate and interesting picture of the results.. One or two images in isolation only tell a part of the story.. or at least they would in this study- not sure if the study referenced was done in a similar fashion or if each artist only created one image..

The study was conducted by Oscar Janiger. They had a side-section in the Psychedelic Healing article from the Dec 07 issue of Scientific American Mind that described studies involving LSD and creativity, but it is only in the print issue. Its hard to find any of the pictures online, which is a shame because there were alot of them (250?). The few I could find are below, but I don't have them ordered (no before-after combos I could find).

MAPS has a nice summary of Oscar Janiger's work here.










Ha! I found a before-after set of pictures.








Below is a good analysis of Janiger's research.


(Originally printed in Journal of Psychoactive Drugs, Vol 21(1), Jan-Mar 1989. Note: every word in the text, omitting the References-section, beginning with a slash, i.e. /word, is to be printed in cursive font.)


LSD and Creativity
----------------------

Oscar Janiger, M.D. (Department of Psychiatry, University of
California, Irvine, California)

Marlene Dobkin de Rios, Pd. D. (Department of Anthropology, California
State University, Fullerton, California)


The effects of lysergic acid diethylamide (LSD) on creativity were examined in a unique experiment in the late 1950's. In this project, artists were asked to draw and paint a Kachina doll both prior to and one hour after the ingestion of LSD. Evaluations of these artistic productions were analyzed by a professor of art history in order to investigate the impact of LSD on artistic creativity. Certain representative changes were found in the artists' predominant style. The most significant change was noted in those artists whose styles were intrinsically representational or abstract to more expressionistic or nonobjective. Other changes noted included the following: relative size expansion; involution; movement; alteration of figure/ground and boundaries;greater intensity of color and light oversimplification; symbolic and abstract depiction of objects; and fragmentation, disorganization, and distortion. Many artists judged their LSD productions to be more interesting and aesthetically superior to their usual mode of expression. The above-mentioned changes contributed to heir usual mode of expression. The above-mentioned changes contributed to the artists' convictions that they were fashioning new meanings to an emergent world.


The eminent novelist Aldous Huxley has written that the twentieth century may well be remembered for the impact of hallucinogens on society. One of the issues debated regarding the use of these drugs, particularly lysergic acid diethylamide (LSD), is that they may heighten creative capacity in the individual. There is a large and often-cited literature of self-reports by such drug users concerning their perceived enchanced creativiness. In addition, there are a number of anthropological accounts that relate the use of mind-altering ethnobotanical substances to artistic inspiration and productivity. Objective analysis of these data is difficult, although there is certainly a need for their systematic examination and evaluation.

Capturing the elusive elements of a creative act is like trying to weigh a pound of leaping mice. Janiger and his colleagues were fortunate to have been present when several mice seemed to hit the scale at the same time. This opportunity came during the course of a large clinical project that was begun by Janiger in the spring of 1955, with the cooperation of the Sandoz Pharmaceutical Corporation.

Many papers had been published prior to that time regarding the unique properties of LSD. The several clinical reports were almost all of psychiatrically ill subjects in hospital settings, and little was known about the effects of LSD on normal subjects in a controlled nonmedical environment. Janiger designed a series of experiments to study the behavioral and psychological effects of LSD in a varied population of human subjects in a natural setting. This was done at a time when the investigational use of the drug was legally permissible, its clinical testing selectively encouraged among researchers, and no public knowledge of LSD was generally available. By the close of the project, more than 2,000 administrations of the drug had been given to 848 people who reported their experiences.

Candidates were selected from a large number of applicants on the basis of health and demographic factors, such as ethinicity, religion, age, sex, marital status, occupation and education. Two settings were provided: One was a comfortable living room and the other was an artist's studio, with facilities for painting, drawing, and sculpting. An adjoining garden was also accessible. The subjects were given LSD (2,5 ug/kg of body weight) and were unobtrusively monitored during the period of heightened drug activity. They were encouraged to provide a written account of their experiences as soon as they were able. In addition, one-month and one-year follow-up questionnaires were submitted by 70 percent of the participants.

The art subproject began serendipitously when one of the early subjects, a practicing professional artist, insisted om having some object to draw. A decorative and colorful Deer Kachina (see front cover) taken from the mantel of Janiger's office proved to be a fortuitous choice. The artist drew furiously and later exclaimed. "This is four years of art school!" He felt that it would be most insightful for other artists to experience this process of perceptual change. It was decided to pursue this concept, and a separate art project was formed. By the close of the study, almost seventy practicing professional artists had participated under controlled conditions.

This preliminary article will examine the corpus of artwork produced by these artists who drew and painted the Kachina doll both prior to and on ehour after ingestion of a prescribed dose of LSD (see Plate 1). Additional data were obtained on several occasions from artists who chose to draw self-portraits or their internalized imaginery. Whether these transformations represent enchancement or deterioration of the artistic product is a question to which this study of LSD-created art may provide a tentative answer. Aside from occasional presentations at professional meetings and some partial exhibitions of the artwork, this research material has not been previously published.


LITERATURE REVIEW

The research literature on LSD and creativity is scant. The little information that is available is either inconclusive or the measurements used lacked sensitivity to the issue. Six studies were undertaken to examine the subject of hallucinogenic drugs and creative performance. Most were pilot studies rather than full-scale investigations. Berlin and colleagues (1955) investigated the effects of mescaline (400-700 mg)and LSD (50 ug) on four graphic artists of national prominence. They found impairment of fingertapping efficiency and muscular stediness; however, all were able to complete paintings. A panel of art critics judged the paintings as having "greater aesthetic value" than the artists' usual works, with the lines bolder and the use of color more vivid. However, technical execution in the material was somewhat impaired.

In another study, Barron (1963: 284) administered psilocybin to a number of highly creative individuals and recorded their impressions. He concluded that "psilocybin dissolves many definitions and melts away boundaries, permitting greater intensities or more extreme values of experience to occur in many dimensions."

In 1967, McGlothlin, Cohen and McGlothlin studied seventy-two graduate students, each of whom volunteered to receive 200 ug of LSD. A number of crativity tests were given before the session and one week later. The main finding was that 62 percent of the subjects asserted that they had a greater appreciation of music. They purchased more record albums, visited art museums, and attended musical events more frequently in the postdrug period. The authors concluded that the increase in aesthic appreciation was not accompanied by an increase in sensitivity and performance.

Zegans, Pollard and Brown (1967) investigated the effects of LSD (0.5ug/kg) on creativity test scores of thirty volunteer graduate students. The indices of creativity showed that the administration of LSD to a random sample, for the purpose of enchancing creativity, is not likely to be successful.

The fifth study, which was conducted by Fadiman and colleagues (1966), examined the effects of mescaline (200 mg) as a facilitating agent in the creative process. Subjective reports culled from the participants' responses yielded the following: the increased capacity to restructure a problem in a larger context, an enchanced fluency of ideas, a heightened capacity for visual imaginery, an increased ability to concentrate, a greater accessibility of unconscious material, and an ability to associate dissimilar ideas and to visualize the completed solution. About half the subjects reported that they had accomplished a great deal more during the session than they usually did. Twenty percent were not able to concentrate on their project because they were diverted by the hallucinogenic effectsm, and 30 percent fell in between the two groups.

As Krippner (1969) has pointed out, two of the five studies that were cited above indicate that experimental LSD use in unselected graduate students does not seem to increase their creative ability. However, in the three remaining studies utilizing hallucinogenic drugs, an enchancement of creative ability among artistic individuals was demonstrated. In 1967, Krippner surveyed ninety-one artists reputed to have had one or more LSD-like experiences. He defined the psychedelic artist as one whose work was produced during an LSD experience or as the result of the influence of a psychedelic experience. Ninety-seven percent of Krippner's respondents stated that their art was influenced in three general areas: content, technique, and approach. Seventy percent stated that their experiences affected the content of their work, particularly the heightening of eidetic imaginery. Forty-four percent noted improvement in their techniques; the use of color was the most cited example. As for the creative approach, 52 percent of the artists stated that the experience eliminated superficiality from their work and gave them greater depth as people and as creators.

Cohen (1964) wrote that whether LSD does or does not increase creativity remains an open question. Certainly, no systematic research to date has been available to help in finding an answer. All that can be definittively said about the effect of hallucinogens on the creative process is that a strong subjective feeling of creativiness accompanies many of the experiences.


ANALYSIS OF THE ARTWORK

During the seven years of the experiment, 250 drawings and paintings were produced. These were examined by Carl Hertel, professor of art history at Pitzer College, Claremont, California, who undertook a stylistic assessment of the artwork. An inherent difficulty of this formal analysis was the wide range of individual stylistic tendencies charasteristic of the works of contemporary Western artists. Hertel has stated that "it is probably simpler to formally analyze the work of any tribal group where definite traditional stylistic conventions are operative than our task here. A heterogeneous group of non-traditional artists in this study reflects the numerous conventions that characterize post-Renaissance art in the West."

When the results are examined in light of the many stylistic tendencies in twentieth-century paintings - such as expressionistic, abstract-expressionistic, and nonobjective works of art - at a glance, it is difficult to separate the drug-influenced works from the historic examples. There is a striking homogeneity of stylistic effect. One is also tempted to compare certain of the drug-influenced drawings with examples of Ch'an (Zen) Buddhist works by a traditional Chinese and Japanese artists and to observe equally striking stylistic similarities.

There may be some bias in the individual attitudes related to the drug-taking experience. Some of the artists were content with quick sketches of the subject matter presented, while others were motivated to execute rather finished drawings and paintings. A more ideal research design, which was not available to the study, would have been to conduct longitudinal studies of individual artists before and after the experimental period. Some of the most significant data and impressions received in dealing with these particular paintings and drawings will now be reviewed.

A Deer Kachina series, consisting of fifty-six items of before-and-after samples of twenty artists, was selected for detailed analysis. Twenty-five items by eight artists were labeled /series and represented /free paintings and drawings during the experimental period. They comprised a wide variety of subject matter, including self-portrait series, random drawings, and paintings. Of the eighty-one items, seventy-three were paintings done in various media and eight were drawings.


RESULTS

This section summarizes the results of the formal analysis of the Deer Kachina series, which were classified under the following eight categories:

1. Dominant style - whether the work was predominantly abstract, representational or of another genre.
2. Compositional charasteristics - whether the composition was architectonic, a vignette or of another form.
3. Linear charasteristics - whether the quality of line was nervous, angular, curvilinear of another form.
4. Stroke charasteristics - whether the predominant stroking was short and broad, broken, flat field or another technique.
5. Textural charasteristics - whether the predominant textural quality was a heavy impasto (actual), illusionistic or another format.
6. Color charasteristics - whether color was noticeably local, arbitrary, brilliant, muted or otherwise portrayed.
7. Value charasteristics - whether the use of lights and darks was strong in contrasts, close value or another blend.
8. Dimensional charasteristics - whether the nature of the drawing and/or painting was suggestive of volume and mass, flat, two dimensional or otherwise presented.

The most predominant changes were in the following categories: dominant style (1); color (6); line (3); and texture (5), in that order. Focusing on the representative changes in the dominant style category (1), three general stylistic tendencies in the pre-LSD state were represented in the Deer Kachina series. First, ten of the artists were classifiable as predominantly representational in their approach to the subject matter (i.e., their primary motive lay in representing the object as it presents itself to the eye). Of course, there was a great deal of individual variation within this style category, as well as withing the other two.

Four of these ten changed their style under the influence of the drug to a noticeably expressionist one (i.e., their primary motive lay in alterations of form, color, line, and medium). Within this group, the major tendency was to radically distort stroke, and therefore medium and form. Image was retained in varying degrees. Three changed their style to a nonobjective one (i.e., image was lost and was replaced by an interest in color and personal symbolism). One artist changed to a predominantly abstract style (i.e., the primary motive lay in the reduction of forms or simplification of forms and formal elements generally). In this case, the focus was shifted to a single part of the Deer Kachina. It might be noted that reduction is a characteristic of this Kachina's style, but the reduction utilized by the artist and those in the category below exceeded what might be considered to be within the realm of naturalistic representation.

Second, six of the artists were classifiable as predominantly abstract in their approach to subject matter. Of these six, three changed their style to a nonobjective one; two changed their style to being notably expressionist and engaged in radical distortions of composition and color; and on eretained an essentially abstract style.

Third, two artists were classifiable as distinctly expressionistic in their approach to subject matter. In both cases, the predominant stylistic tendency was retained. However, changes in articulation of various formal elements, particularly line, were observable.

In summary, eight of the changes were to an essentially expressionistic style. Six were to a nonobjective one, which in many cases entailed expressionistic distortions of medium and color. In fact, on ecan state that fourteen of the cahnges were to a style in which the primary motive alteration of the representational image. Two of the changes were to a predominantly abstract style. Two other changes were ambiguous and unclassifiable. The changes generally manifested were as follows: There was a movement toward alteration and fragmentation; the /enlargement of the composition through focusing on parts rather than the whole, and with filling up the page; intensification of color; the /loosening /up of the line to either a chiefly curvilinear (flowing) or sharply angular motive; and a general intensification of the textural properties of the medium used.

These results are not surprising. One could suggest tentatively that although the work done under the influence of LSD was more interesting on a sensational level, it was not immediately clear that the individual artist - in the majority of cases - was able to produce aesthetically superior work during the period when the drug was operable. To be more spesific, in a majority of cases a residual imprint of the artist's aesthetic preferences was retained. This was especially evident in choice of color and in technical facility. In those cases where technical proficiency appeared deficient in the pre-LSD state, a certain increase in articulateness (confidence) was noted due to the freedom apparently provided by the drug experience.


PERCEPTUAL CHANGES

The most commonly reported phenomena resulting from an LSD experience and having particular relevance to this question of creativity were greater freedom from prescribed mental sets and syntactical organization, an unusual wealth of associations and images, synesthesia, the sharpening of color perception, remarkable attention to detail, the accessibility of past impressions, memories, heightened emotional excitement, a sense of direct and intrinsic awareness, and the propensity for the environment to compose itself into perfect tableaux and harmonious compositions.

The data from this study and others by Janiger (1959a, 1959b) seem to support the thesis that the evidence from LSD-induced artwork reveals perceptual changes indicative of those generally gound under the influence of hallucinogenic drugs. The powerful global statement of the artists' work bears witness to these perceptual transformations. They can be examined at will and serve as a prototype of the visual record of consciousness changes accompanying the creative process.

As evidenced by this study, the alterations in perception can be categorized as follows:

1. Relative size expansion - the figure tends to fill all available space and shows difficulty being contained within its borders.
2. Involution - obecjts shrink down or fill less space; they become more compact or are imbedded in a matrix.
3. Alteration of figure/ground - or to a circular viewpoint.
4. Alteration of boundaries - figure and ground may be considered a continuum. The object tends to merge with the surroundings, with observer and observed not rigorously delineated, with less differential between the object and the subject.
5. Movement - the object or environment is in continuous movement, with greater vibrancy and emotion.
6. Greater intensity of color and light.
7. Oversimplification - elimination of detail and extraneous elements.
8. Objects may be depicted symbolically - or as essences.
9. Objects are depicted as abstractions.
10. Fragmentation and disorganization.
11. Distortion.


CONCLUSION

Contrary to popular belief, most artists find it possible to exercise some technical proficiency, with varying degrees of success, under the influence of LSD. This seems to improve with repeated experiences. The artistic productions are not ipso facto inferior to those performed in ordinary states of consciousness. However, in evaluating the reports and follow-up questionnaires, they are often judged by the artists to be more interesting or even aesthetically superior to their usual mode of expression. A review of the follow-up information shows that, in many instances, the artist in the series described herein felt that the LSD experience produced some desirable lasting change in their understanding of their work, which continued to influence the form and direction of their artistic development. A so-called confusional or disorganized phase may represent a creative crisis in which the artist, struggling to maintain his/her traditional approach, finally reaches another level of integration and expression.

These metamorphoses all contribute to the artists' convictions that they are able to create new meanings in an emergent world. It is of special interest to note that many of those elements that are universally reported under the influence of LSD are those features traditionally associated with heightened artistic creativity. The ultiamte explanation for these changes may lie in a biochemical basis of perception and/or the cultural history of the individual.


REFERENCES

Barron, F. 1963. Creativity and Psychological Health. Princeton, New Jersey: Van Nostrand.

Berlin, L.M.; Guthrie, T.; Weider, A.; Goodell, H. & Wolff, H.G. 1955. Studies in human cerebral function: The effects of mescaline and lysergic acid on cerebral process pertinent to creative activity. Journal of Nervous and Mental Disease Vol 122: 487-491.

Cohen, S. 1964. The Beyond Within: The LSD Story. New york: Atheneum.

Fadiman, J.W.; Harman, H.W.; McKim, R.H.; Mogar, R.E.; & Stolaroff, M.Y. 1966. Psychedelic agents in creative problem solving: A pilot study. Psychological Reports Monograph Vol. 19 (Suppl. 2): 211-227.

Janiger, O. 1959a. The use of hallucinogenic agents in psychiatry. California Clinician Vol.56:193-200.

Janiger, O. 1959b. The use of hallucinogenic agents psychiatry. California Clinician Vol. 55: 222-224.

Krippner, S. 1969. The psychedelic state, the hypnotic trance and the creative act. In: Tart, C. (Ed.) Altered States of Consciousness. New
York: John Wiley & Sons.

McGlothlin, W.H.; Cohen, S. & McGlothlin, M.S. 1967. Long lasting effects of LSD on normals. Archives of General Psychiatry Vol. 17(5):
521-532.

Zegans, L.S.; Pollard, J.C. & Brown, D. 1967. The effects of LSD-25 on creativity and tolerance to regression. Archives of General Psychiatry
Vol 16: 740-740.

Reputation Comments on this post:

	Fascinating
	Nice find baj!
	Thanks for taking the time to look this up- fascinating study & images, and really appreciate you going out of your ...
	Very interesting, thanks for posting this!

[Nose Dive]

Following the 9 pictures and their descriptions was hillarious and interesting. Had a good giggle and really impressed with one of them in particular, althought can't remember which number it was.

[Strangeness]

Upon completing the drawing the patient starts laughing, then becomes startled by something on the floor.

Priceless.

I've seen it numerous times before, and, assuming it's authentic, it is very interesting indeed. As mentioned, the transition in style from 5 to 6 is perhaps the most striking.

[cra$h]

its amazing what you can do once you find boundaries and how to work with the world. and it's perfectly decepted in this art

[TMM]

Looking at the dosage for this test (100ug, staggered), and the reaction somewhere in the middle, it amuses me how much some people think they've taken.

This reminds me of Ken Kesey's accounts of the medical tests in 'The Electric Kool-Aid Acid Test'.

[moda00]

Update.. aha! Reading my new set of Journal of Psychoactive Drugs and lo and behold- found an article that includes this study and others- the kachina one included and a few other samples, and the debate of whether psychedelics enhance or impede creativity, and the dichotomy of whether the substance induced a "possession" or lack of control, or whether it frees the artist from other constraints and causes him absolute control and freedom. Giving examples of how these really can both be simultaneous, it concludes it's a false dichotomy, an example of how social constructs influence an "either/or" that can really be both or neither.. sounds abstranct I know, but it makes sense in context, I'll try to upload more info and the article and images themselves..

[CrumbsInTheBed]

I have the Janiger book. I can scan in the pictures if you want.

[Jatelka]

There's an interesting paper in the archive here...

http://www.drugs-forum.com/forum/loc...3564&catid=113

that looks at different interpretations of the experience of artists under the influence of psychedlelics,