Visual effects - Dissociatives
This article attempts to break down the visual effects contained within the dissociative experience into simple, easy to understand titles, descriptions and levelling systems. This is done without depending on metaphors, analogies or personal trip reports. The article starts off with descriptions of the simpler effects and works its way up towards more complex experiences as it progresses, using image examples wherever possible...
- 1 Suppression
- 2 Distortions
- 3 Geometry
- 3.1 1. Visual noise
- 3.2 2. Motion and color
- 3.3 3. Partially defined geometry
- 3.4 4. Fully defined geometry
- 3.5 5. 3-Dimensional geometry
- 3.6 6. Partially overriding visual perception
- 3.7 7. Fully overriding visual perception
- 3.8 Level 8A and level 8B
- 3.9 Image examples
- 3.10 Variations
- 4 Hallucinatory states
- 5 See also
- 6 References
Double vision can be the described as the experience of doubled vision identical to that which occurs when one crosses their eyes. Depending on the intensity, this can often result in a reduced ability to function and perform basic tasks which necessitate the use of sight.
However, this effect can easily be suppressed by simply closing one eye. This suggests that the effect may be occurring because the brain is simply overlaying the data received from both eyes on top of each other without rendering the information into a singular 3-dimensional image as it normally would in day to day life.
Visual acuity suppression
Acuity suppression can be described as the experience of one's sense of vision becoming partially to completely blurred and indistinct. This effect may affect the entirety of one's vision or specific sections of it. Depending on its intensity, this can often result in a reduced ability to function and perform basic tasks which necessitate the use of sight.
Pattern recognition suppression
Pattern recognition suppression can be defined as the experience of a partial to complete inability to mentally process perceivable visual information regardless of its clarity, detail and clearness. For example, although one may be able to see what is in front of them with perfect detail, they will have a reduced ability to register, label or understand what they are looking at. This can render even the most common of everyday objects as unrecognisable.
Pattern recognition suppression is most commonly directly induced by heavy dosages of antipsychotics and dissociatives. However, it can also be an indirect result of the long term memory suppression that often occurs during heavy dosages of psychedelics.
Perspective distortions can be described as subtle to drastic changes in the size and distance attributed either to a person’s body, to specific parts of the external environment or to the external environment as a whole.
When affecting distance, perspective distortions can make things seem as if they are physically closer or further away than they usually would be. For example, this can range from a subtle experience such as the other side of the room feeling marginally further away than it usually would be or it can be an extreme experience such as feeling as if the horizon is right in front of you. Perspective distortions are distinct from perspective alterations because alterations follow a more specific out of body-like experience, though both can manifest at the same time.
When affecting size, perspective distortions can make things seem as if they are physically smaller or larger in terms of the sense of size that one would usually attribute to them. For example, this can range from a subtle experience such as the the room feeling marginally smaller and more cramped than it usually would be or it can be an extreme experience such as feeling as if the room is hundreds of miles wide or even infinitely huge.
Feelings of suddenly having an impossibly giant or tiny body are also a very common manifestation of this effect. This feeling is already known by the scientific literature as “Alice in Wonderland Syndrome” where it is seen as a temporary condition often associated with migraines, brain tumours and the use of psychoactive drugs. The effect can either be specifically attributed to the body as a whole or certain parts of it. For example, feelings of having a huge head or tiny limbs are entirely possible.
Environmental orbism is a visual distortion characterized by a partitioning of the environment a person is currently in. This is manifested in the form of spherical 3-dimensional "orbs" that retain most of the detail and identity of the space they're distorting.
These orbs vary in size which leads to gaps that are formed in between. The space within these gaps is either completely dark or composed of tightly bound visual geometry. This dark space can eventually grow, progressively decreasing the size of the orbs until one finds themselves surrounded by a dissociative hole.
Environmental cubism is a distortion characterized by a visual segmenting or partitioning of the external environment into squares and cubes of varying amounts and sizes. Once established, these partitions begin to slowly drift away from their original location and often change in size leading to gaps that are formed in between them. The space within these gaps is either completely dark or composed of tightly bound visual geometry.
This dark space can eventually grow, progressively decreasing the size of the cubes until one finds themselves surrounded by a dissociative hole. It is not uncommon to be able to innately feel and detect the details and layout of both the different sections of the distortion and the gaps between them.
This effect is remarkably similar in its appearance to cubist photography and artwork.
Scenery slicing can be described as an effect which only occurs spontaneously and rarely sustains itself for more than several seconds. The experience of this effect splits the visual field into separate sections. These individual slices then proceed to drift slowly away from their original position before disappearing and resetting to normality.
The organisation of these slices show great variety; they can be as simple as three separate sections or extremely complex with formations such as multiple intricate slices of moving interlocking spirals or an infinite variety of other potential geometric designs.
Geometry can be described as the experience of a person’s field of vision being partially or completely encompassed by fast-moving, colorful and indescribably complex geometric patterns, form constants, phosphenes, shapes, fractals, structures, and color. These geometric forms can also become structured and organized in a way that presents genuine information to the person experiencing it far beyond the perception of meaningless, although complex, shapes and colors. This can happen through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain in a manner that is extremely detailed.
Geometry rarely stands still at any point and remains extremely fast-changing and self-transforming regarding its shape and style. During this process, the geometry naturally drifts laterally or radially across the visual field to create overlapping webs of many arising and decaying geometric patterns, all of which are visible within a single perceptual frame.
There are eight different levels of visual geometry, each one increasingly complex and difficult to comprehend. These tend to depend on the dosage but can also fluctuate widely in their intensity due to external triggers such as one's set and setting. The individual levels are defined and documented below:
1. Visual noise
This is the most basic level of geometry and can be experienced in a completely sober state. It can be described as visual noise or static combined with stray light and dark red regions that can be seen under the eyelids.
2. Motion and color
This level is also easily obtainable without hallucinogens and can be described as the appearance of unstructured regions of sudden flashes and clouds of color. These are typically referred to as phosphenes and can often be experienced in a sober state by rubbing or applying pressure on or near the closed eyes.
3. Partially defined geometry
At this level, relatively complex shapes and patterns with a vague structure begin to show themselves. However, the patterns remain as strictly 2-dimensional. Geometry at this level is fine, small and zoomed out in size with a dark color palette that typically limits itself to only a few different shades such as blacks, reds and dark purples. They are displayed in front of both the open and closed eye visual field across a flat veil of geometry. However, they are significantly more detailed with the eyes closed or within dark environments.
4. Fully defined geometry
This is the level where the detail in which the geometry displaying itself becomes profoundly complex and fully structured but still remains strictly 2-dimensional. At this point, the geometry becomes larger in size and extremely intricate in detail with a color palette that is near limitless in its possibilities. They are displayed on both the open and closed eye visual field across a flat veil of geometry that floats directly in front of the eyes, remaining significantly more detailed with the eyes closed or in dark environments.
5. 3-Dimensional geometry
At level five, the geometry will become fully 3-dimensional in its shape and position across the visual field. This adds a new layer of visual complexity and leaves them sprawled out across the surfaces, walls, objects and furniture of one's environment instead of merely displaying themselves across a basic and flat veil in front of one's visual field.
6. Partially overriding visual perception
At this point, the geometry has become so intense, vivid and bright that it has begun to block out and replace the external world. At level six, the visual perception of one's environment begins to be replaced by geometry, with objects and scenery either transforming into complex geometric structures or simply being blocked out and covered by them. This occurs in a manner that drastically impairs the use of one's normal vision. From this level of geometry onwards (although this is more common at higher levels), it is even possible to view geometry which is perceived to be four-dimensional or created from new ineffable, non-euclidean or nonsensical geometric principles.
7. Fully overriding visual perception
As the geometry continues to become more intense, vivid and bright it now completely blocks out or replaces the external world and one's sense of normal sight becomes completely impaired. This creates the perception that one is no longer within the external environment but has "broken through" into another reality of extremely complex and otherworldly geometric forms.
Level 8A and level 8B
Once the geometry reaches its eighth and final level, there is not one single pinnacle of visual geometry but two. It seems that depending on subtle environmental factors, one's own state of mind and the substance consumed, geometry is capable of forking off into two separate versions of its highest possible level. This means that level 8 geometry will have to be divided into two distinct categories of equal intensity known as levels 8A and 8B.
Once visual geometry reaches level 8A or 8B, it begins to become structured and organized in a way that presents genuine information to the person experiencing it far beyond the preceding seven levels of relatively meaningless although complex shapes and colors. This happens through the experience of innately understood geometric representations that feel as though they depict specific concepts and neurological components that exist within the brain. Although this is also possible at lower levels, it does not occur consistently in the same way that it does at level 8A and 8B. At this point, concepts can be seen as not just embedded within one's closed or open eye visual field but can also be simultaneously felt through indescribably complex physical and cognitive sensations.
It is worth noting that there are particular attributes of psychedelics which tend to result a higher likelihood of level 8B over level 8A and vice versa. Psychedelics which are stimulating in physical effects and contain low amounts of hallucinatory content usually result in level 8A. For example, psychedelics which contain these attributes include LSD, 2C-B and 4-HO-MET. In contrast, psychedelics which lead to level 8B are typically sedating in physical effects and contain high amounts of hallucinatory content. For example, psychedelics which contain these attributes include psilocin, DMT and 2C-C.
8A - Perceived exposure to semantic concept network
A level 8A experience can be described as the feeling of being exposed to a seemingly infinite mass of geometry comprised entirely of innately comprehensible representations which are perceived to simultaneously convey every internally stored concept, memory, and neurological structure stored within the subconscious mind simultaneously. This experience is not just perceived through visual geometric data but is also physically felt in an incomprehensible level of detail that manifests at every point across itself as complex cognitive and tactile sensations. These sensations convey an equal amount of innately understandable information as that which is also experienced through one's sense of vision.
At the lower side of level 8A, this effect is something that fluctuates wildly and is neither constant nor consistent in its intensity. Instead, it is momentarily triggered by the experience of a concept. For example, if somebody were to say the word “Internet” to a person who is currently undergoing this state, they would see the mind's concept of the "Internet" immediately manifested in a geometric form amidst the very center of their visual field. This form will then quickly branch out from itself in a manner which is similar to an ineffable spider diagram. This further expands to envelop the concepts which one associates with the original concept before branching out again to include the concepts one associates with those before repeating this process of branching out further ad infinitum. Within roughly 2 - 3 seconds, this exponentially expands within a sudden perceptual flash to include every single internally stored concept within the subconscious memory banks of one's mind simultaneously.
Once this occurs, the sensory overload can temporarily disconnect one from their external environment and result in simultaneous long-term memory suppression or "ego death" before re-stacking the person back into reality until something triggers the process again (usually immediately). The effect typically snaps one in and out of reality repeatedly as the process is triggered continuously by external stimuli.
It's worth noting, however, that at this level it can, to a certain extent, be disabled through continuous physical movement. This is because movement seemingly stops the process from branching out into everything by not giving the effect the time it needs to lock onto a concept.
As the dose of the psychoactive substance is increased, the process becomes easier to trigger whilst extending in its length and duration. This eventually results in a stable state of complete disconnection from the external environment alongside of sustained "ego death" and a lasting sense of subjectively experiencing all of existence, everything there is, and the entire universe, in a single instant.
8B - Perceived exposure to inner mechanics of consciousness
The experience of level 8B can be described as the feeling of being exposed to a mass of geometry comprised entirely of innately readable geometric representations which subjectively feel as if they convey the inner mechanics that compose all underlying conscious and subconscious neurological processes. During this experience, the organization, structure, framework, and programming behind the brain are perceived as conceptually understood. It is generally interpreted by those who undergo it as perceiving the supposed inner workings of either the universe, consciousness or reality. This experience as a whole is perceived through visual geometric data and is also physically felt in an incomprehensible level of detail throughout every point across itself as complex cognitive and tactile sensations.
At the lower end of level 8B geometry, the experience manifests itself as being able to perceive the supposed organization and structure behind one's current conscious thought stream. This is typically presented in the form of a complex, multisensory, and fast-moving web or network that contains innately understood and relevant geometric representations of specific and abstract concepts embedded into each and every one of the connecting points across the geometric forms.
The experience of these innately readable geometric representations consistently triggers one to visualize and physically feel the concept through highly detailed conceptual thinking. The ever-shifting mental and physical network follows the pace and rhythm of one's internal dialogue perfectly.
At the higher end of level 8B geometry, the effect retains its lower levels (described above) but expands itself to include the experience of subjectively perceiving, through innately readable geometric representations, the supposed architecture of subconscious neurological processes which are usually outside of one's normal daily perception or understanding. These processes are often interpreted to include concepts such as the architecture of one's neurology, memories, perspectives, emotions and general cognitive functions.
Level 8B geometry may feel capable of bestowing specific pieces of information onto substance users regarding the nature of reality and human consciousness through the simple experience of them. These specific pieces of information are usually felt and understood to be a profound unveiling of an undeniable truth at the time, but afterwards they are often found to be either ineffable or simply nonsensical and delusional.
Occasionally, however, genuine lessons or coherent messages are innately interpreted through this experience. It’s extremely important to note, however, that the scientific validity of these lessons is very uncertain and should never be immediately accepted as true without an extremely thorough and sober analysis after the experience.
It is worth noting that a greatly simplified and purely cognitive version of this effect is also capable of manifesting itself with no accompanying visual effects.
- Intricate vs. simplistic - Geometry can either present itself as incomprehensibly intricate and complex in its appearance or simplistic, basic and comprehensible even at higher doses. For example, the geometry associated with dissociatives tends to be consistently overly simplistic in form while most psychedelics are significantly more intricate.
- Algorithmic vs. abstract - Geometry can either appear to follow mathematical rules and logically consistent forms in its design (which often results in high amounts of fractals and semi-predictable shapes). In contrast to this, however, geometry can also be completely abstract or random in its appearance in a way that contains an infinite amount of completely unpredictable variety.
- Organic vs. synthetic - Geometry can either feel subjectively organic and natural in its visual style, or it can feel synthetic and digital.
- Unstructured vs. structured - Geometry can either present itself as completely disorganized and unstructured or it can form and condense into a variety of 3-dimensional mechanical and ever-shifting structures which are comprised out of and based upon condensed geometry.
- Dimly lit vs. brightly lit - Geometry can either present itself as extremely dark and hard to make out from its background or, in contrast, it can be brightly lit and extremely easy to distinguish from its background. For example, the geometry associated with dissociatives tends to be consistently darker in appearance while most psychedelics are significantly brighter.
- Multicolored vs. monotone - The color scheme that geometry follows can range from extremely varied and multicolored in style to consisting of little (if any) color variety such as grays, purples and blacks
- Flat shading vs. glossy shading - The shading of geometry can either be flat, bright and simplistic or glossy with depth, gradients, highlights, and shading.
- Sharp edges vs. soft edges - Geometry can have sharp edges which are extremely well-defined around its perimeter (sometimes with thick black outlines around its edges). In contrast to this, they can also be soft and blurred around the edges, merging seamlessly into each other in a manner which does not affect its intricacy.
- Large vs. small - Regarding its size, geometry can be extremely large and zoomed in or fine and zoomed out in a way that does not affect its level of intricacy.
- Fast vs. slow - In terms of its speed, geometry can shift and morph so fast into itself that the amount of information presented to the tripper in extremely short periods of time becomes incomprehensible to process. In contrast to this, they can move slowly and comprehensibly, swirling and shifting into themselves to present ever-changing geometric forms that can be observed at a much higher level of detail.
- Smooth vs. jittery - In terms of its motion, geometry can move smoothly with a high frame rate, or it can be jittery in its motion with lag and a low frame rate.
- Round corners vs. angular corners - Geometry can either have mostly rounded and circular corners or mostly sharp corners with sharp and angular geometry.
- Non-immersive vs. immersive - Geometry can be manifested in front of one's face on a in a manner which feels separate and as if it was being presented on some screen without a distinct sense of size or distance attributed to it. In contrast, geometry can feel as if one is completely immersed in and surrounded by it with a distinct sense of attributed size and distance.
- Consistent vs. progressive - Geometry can be manifested as consistent and steady in its intensity, complexity and visibility regardless of disturbances within the external environment. In contrast, however, it can manifest as progressive in its intensity which means that disturbances and sensory input such as bright lights, loud noises and distractions within the external environment will prevent or cut off the intensity, complexity and visibility from building up to its limit whilst darkness will cause it to steadily rise in complexity.
- Level 8A vs. level 8B - At its eighth and highest level of experience, geometry is capable of branching off into two different directions of equal intensity. The first of these is Level 8A – exposure to semantic concept network and the second of these is Level 8B – exposure to the internal mechanics of consciousness.
External hallucinations can be described as the experience of perceiving imagined visual concepts and occurrences which display themselves seamlessly into the external environment as if they were actually happening. This is in stark contrast to internal hallucinations such as dreams that exclusively occur within an imagined environment which can typically only be viewed with closed eyes.
The experience of this effect can be broken down into 4 basic levels of intensity. These are described and documented below:
- Erratic hallucinations - The lowest level of external hallucination generally consists of movement within the peripheral vision and ill-defined, fleeting hallucinations which disappear once a person double takes.
- Vaguely defined hallucinations - At this level, the hallucinations are visible within one's direct line of sight, but are not fully defined in their appearance. This means that, although visible, they do not look completely detailed and are often extremely blurry or semi-translucent with little, if any, color.
- Partially defined hallucinations - At this level, the hallucinations become distinct enough in their detail and vividness to extend beyond transparent, colorless, or blurry manifestations. However, they still remain unconvincing and do not quite live up to the detail of completely realistic and convincing hallucinations.
- Fully defined hallucinations - At this level, the hallucinations have become completely realistic, and will rarely disappear simply because a person double takes. They are now capable of a completely convincing and photo-realistic appearance.
It is worth noting that there are certain factors that directly alter both the likelihood of external hallucinations manifesting themselves and the level of detail which they are rendered in. For example, the more unfamiliar with the external environment one is, the more likely it is that this effect will manifest itself. Cluttered areas also tend to produce more external hallucinations. As far as lighting goes, either a dark or dim room is optimum. Darkness seems to produce significantly more hallucinations, while the light present in a dim room will result in less (although more detailed) hallucinations.
- Responsible use
- Subjective effects index
- Dissociatives - Subjective effects
- Psychedelics - Visual effects
- Deliriants - Visual effects