Posts Tagged ‘perception’

THE QURAN CYCLE: Illuminating Metaphors – III

In Admiring Literature, cognition, excerpts and quotes, language and communication, literature, perception, philosophy, poetry, psychology, sources of knowledge, The Method on December 8, 2011 at 12:09 am

Linked to Part I and Part II

The irreplacability of a metaphor

The potential meaningfulness of metaphor does not yield to simple paraphrase, its meaning cannot be reduced to a nonmetaphorical, propositional format without loss. This is the reason for the enormous creativity that metaphor displays not only in poetic discourse: In ordinary everyday life it can restructure ingrained patterns of thinking. And in scientific contexts it can have a heuristic* function.

*heuristic= “serving to indicate or point out; stimulating interest as a means of furthering investigation.” (dictionary.com)

The above ‘creativity hypothesis’ of the cognitive theory of metaphor (as summarized by Jakel↓1) mentions one of the reasons why metaphor is an irrerplacable part of any effective verbal message: it is has no simple substitute for meaning. Its meaning can only be elaborated, explored, interpreted, speculated upon to an extent; but it cannot be specified exactly and absolutely.

We need the metaphor in just the cases when there can be no question as yet of the precision of scientific statement.*

*see the last post for source

As the above quote from the previous post reminds us, we depend upon metaphor to express abstract or obscure phenomenon in terms of familiar, concrete and imaginable terms. As Andrew Ortony (↓2)  puts it, “somethings are by their nature not describable.” (p. 14), and it falls upon the metaphor to express the inexpressible.

My references so far may relegate the ‘irreplacibility’ of a metaphor to the way things are: we simply use the metaphor when we have no way around it, when we lack more straightforward ways of describing something. But that view is certainly wrong. Through a literary example, see how metaphor creates new worlds of meaning to whom no other effective entry might be possible other than through the metaphor itself:


Fursat mein sun shaguftgi-e-ghuncha ki sada

ye wo sukhan nahi jo kisi ne keha bhi ho


When free, listen to the sound of the roses’ glee.

This is not speech that has been uttered.

The above is a Nasir Kazmi couplet, both in the original and in translation by me, from a previous blogpost. ‘Roses’ glee’ is a metaphor in itself (to be considered later here as an example), but right now i’m concerned with the ‘sound of’ part. The reader is forced to stop and try imagine what the sound of roses’ glee must be like. Upon analysis (which the readers of that pertinent post linked above may recall), the sound of roses’ glee most likely refers to the many messages of metaphysical nature the poet discerns in the sights and sounds of nature. Yet the interpretation is still open beyond the meaning already considered. And in terms of imagination, the metaphor forges new ground by inviting us to imagine an event that has never been experienced before. Philosopher Mark Johnson↓3 explains well what happens in such cases:

… one experiences the insight that two entire systems of implications… belong together in some fundamental way. The cognitive activity at this level… consists of the alteration of certain experiential structures (e.g. categorizations, concepts), such that one discovers a formal unity between previously unassociated things. 

We automatically associate sound with animate beings; that is the way we experience the world. When presented with Nasir’s couplet, however, we have to re-conceptualize sound as ‘a channel of communication’ or more precisely, as ‘a general aura of meaningfulness that emanates from all beings that have a purpose in their existence’ to get to the meaning of the verse. We similarly recast the flower as ‘an object created with a purpose’ from its foremost conception as ‘a part of the natural world’ or as ‘an object of beauty’.

This is not a rare phenomenon in the rarified arena of literature; more everyday examples abound. For instance, ‘my boss is a shark’ creates a new concept of ‘sharkness in humans’ that is different from both the literal shark and from the usual concept of brutality (for an elaboration of this example and the theory behind it follow the reference in Note 4. below).


The intensity of a metaphor

There is a sense of shock about a metaphor… which results from the clash of juxtaposed literal sense.

__ Paul Henle↓5

One puzzling aspect of the expressive capaciousness of metaphor takes the form of an image’s potential for focusing both thought and emotion in a particularly intense, economical way.  

__ Robert Rogers↓6

…by circumventing discretization [metaphors] enable the communication of ideas with a richness of detail much less likely to come about in the normal course of events.


… the emotive as well as the sensory and cognitive aspects [of the subject of metaphor] are more available [in mind], for they have been left intact in the transferred chunk [of meaning].

__ Andrew Ortony↓7

As Ortony explains so well in his essay, metaphor “lies much closer to perceived experience” in a significant way that makes it a particularly vivid phenomenon. We experience the world in a continuous and holistic fashion. Our stream of consciousness is a flow of sensations of all kind coming in simultaneously, whether at that time we are interacting with the outside world or going through our own ideas, emotions, or memories. We don’t experience things in a discrete, fragmented, one-by-one fashion as when we see concepts graphically displayed in a presentaion, or dissected frog parts laid out on a science lab table. Metaphor does the same by not spelling out the new grounds of meaning: it just poses an image before us and our attempt to apprehend it (holisticall, continuously) does the job. 

The following short poem by Emily Dickinson (found at bartleby) illustrates the point well:

It dropped so low in my regard

I heard it hit the ground,

And go to pieces on the stones

At bottom of my mind;


Yet blamed the fate that fractured, less

Than I reviled myself

For entertaining plated wares

Upon my silver shelf.


Without spelling out what ‘it’ was and why and how it came to be discarded from its high place in the author’s mind, the intensity of the mental event, the vivacity with which the poet experienced it, the emotions associated with the whole episode, and the strong sentiments with which the poet seems to regard in general the contents of her mental life, are all immensely clear from just one reading of the poem.

There is another reason for the vividness of a metaphor, and that is its compactness (Ortony, see notes for source): By juxtaposing two apparently unrelated objects in the readers’ minds (human emotion and a flower in one of Nasir’s examples) and forcing them to envisage a new kind of relationship between them, metaphors posit endless shades of meaning for the reader’s appreciation. For instance roses’ glee could be a reference to their beauty (smiling happy faces have been often likened to flowers), to the emotion that a beautiful sight such flowers create in us (a thing of beauty is a joy forever), to the purity associated with sights of nature, to the freshness of flowers, to their swaying on their stalks like children swinging gaily, to the pleasant sensation generated through their smell, etc. All these shades of meaning and more have been packed into a single two-word phrase, what Ortony calls the ‘compactness thesis’ of his theory.


The memorability of a metaphor

Compactness, vividness, and irreplacibility make for a memorable image: well-suited for educational purposes. In class-room, it were always the skillful lecturers who made the often remote-from-routine-life concepts of __ math, physics, medicine, psychology __ alive in our imagination so that we could picture them easily (and even enjoy the lecture!) that were more successful. Not possible without good metaphors:

The educational power of metaphors is thus twofold. The vivid imagery arising from metaphorical comprehension encourages memorability and generates of necessity a better, more insightful, personal understanding. But also, it is a very effective device for moving from well-known to the less well-known, from vehicle to topic.  

__ Ortony, (p. 17)

Humanliness of the literary metaphor 

Literature’s world is a concrete human world of immediate experience. The poet uses images and objects and sensations much more than he uses abstract ideas … The world of literature is human in shape, … where the primary realities are not atoms or electrons but bodies, and the primary forces are not energy or gravitation but love and death and passion and joy.

__ Northrop Frye↓8

Human beings become human through the acquisition of language, and the acquisition alienates humans from all those things language names. The name is a substitute for the thing, it displaces the thing in the very act of naming it, so that language finally stands even between one human being and another. Much of our poetry has been written to undo this situation, to remove the veil of language that covers everything with a false familiarity… 

__ Robert Scholes↓9

… literary metaphor depicts the themes that occasion it, communicating meaning imagistically by rendering it presentational.

__ Phillip Stambovsky↓10

The success of the  metaphor thus lies in recreating for us the lively vivid life in our reading experience which is so close to us. Thus it most effectively performs its fundamental function in literature: giving it the human shape we need to connect with it; and, as Stambovsky reminds us, performs it in the very manner so essentially familiar to us. This latter feature of the metaphor may be called intimation through a metaphor and is psychologically enticing and influential for the reader…


Intimation through metaphor

There is a unique way in which the maker and appreciator of metaphor are drawn closer to one another. Three aspects are involved: (1) the speaker issues a kind of concealed invitation; (2) the hearer expends a special effort to accept the invitation; and (3) this transaction constitutes the acknowledgment of a community.

__ Ted Cohen↓11

Perhaps the reason why so many metaphors have a peculiarly poignant beauty is because each of them kindles in us momentarily a dim memory of the time when we lost the outer world–when we first realized the outer world is outside, and we are unbridgeably apart from it, and alone. Furthermore, the mutual sharing of such metaphorical experience would seem, thus, to be about as intimate a psychological contact as adult human beings can have with one another.

__ Harold Searle↓12

Some authors even believe that the force of a metaphor’s image can lead to an exchange of material from the unconscious to conscious mind in the reader (in Rogers, p. 11). We must now consider what exactly constitutes this force; what is it in a metaphor that leads to such influence. Let us see.


The metaphor can be disclosive in the sense of being an eye-opener, helping us to understand hidden relations between the [target and source].


Poetic devices and imaginative literature do not necessarily provide us with new information. What they do best is to give us insight into the (tacit) knowledge we already possess.

__ Snaevarr↓13

Both Snaevarr and Stambovsky associate certain terms with metaphorical comprehension that help us realize how metaphor induces an intimate connection with the author, the subject-matter, and, potentially, the world at large. Snaevarr argues how, when we understand a metaphor, we go through the same process of ‘seeing something as something’ involved in many instances of purely sense-based perception. For instance, when an object (such as a cat) is before us, typically, we merely notice what it is. Here our knowledge/concept of the object helps us quickly recognize it: perception nearly depends here on pre-existing knowledge. But when an ambiguous oil painting is presented before us and, while appreciating it, it suddenly ‘dawns’ on us that it depicts a beautiful cat: that is what Wittgenstein↓14 called ‘seeing as’.

from wikipedia 

An easy-to-relate example would be of the famous Necker cube which can be seen either as a cube projecting away from us on its northeast side or as a cube projecting on its southwest side. This kind of seeing-as is internal and spontaneous: external descriptions do not necessarily lead us to see the two different possible cubes in our mind, it has to come from within. There is also a kind of filtering and ‘foregrounding’ involved. When our mental image switches from one possible cube to the other, the first one seems to disappear and certain features of the new cube seem to ‘lighten up’ in the image. The same happens when the meaning intended by the metaphor dawns on us. The metaphor foregrounds a part and when we appreciate it a new meaning dawns on us, or an old obscure or forgotten meaning lightens up with new significance, or a subtly familiar one is brought into explicit focus.

When applied to less visual material, such a seeing-as is better termed ‘insight’: understanding the inner nature of things. The process of insight is both intuitive (that is, it does not involve conscious reasoning) and spontaneous. It also has the quality of an ‘enlightment’ and is often (specially in problem solving) sudden. It gives a feeling of familiarity with the subject in question by suddenly casting it for us in a new light (in the above stated ‘seeing as’ fashion) that we were not able to appreciate before (see famous cognitive psychologist Herbert Simon‘s paper for good descriptions of both intuition and insight). The kind of effective lectures I mentioned before created this in us: a feeling that now we really knew the topic, we knew how things really worked, how it really feels. Good metaphors achieve the same effect. Perhaps that is why:

Metaphors which provide insight into an unknown, transcendent, or mysterious subject thus can have an extremely powerful effect on those who accept them.

__ Stallman↓15 

As Snaevarr clarifies, what metaphor really does is to lighten up a piece of tacit knowledge we already possessed. The most comprehensive definition of tacit knowledge that I could find online is that it is:

Unwritten, unspoken, and hidden vast storehouse of knowledge held by practically every normal human being, based on his or her emotions, experiences, insights, intuitions, observations and internalized information. 

Indeed the feeling of intimacy and closeness will not be produced if we did not realize that the metaphor focused us on a thought or feeling we were familiar with but had never been consciously aware of. For instance consider the following verses by Nasir Kazmi, in translation by me along with the original Urdu in Roman script:


On the town’s vacant station

A passenger must have alighted

[shehr ke khali station per

koi musafir utra hoga]


 Hear it immersed in the depths of heart

No song is indeed a song of glee…

[dil ki gehrayion mein doob ke dekh

koi naghma khushi ka naghma nahin]


Shivering, the long nights put to us a haunting question

Their laden sound-like silence hisses answers…

[ye thitri hue lambi raaten kuch poochti hein

ye khamushi-e avaaz numa kuch kehti he]


In your lane all day

I pick the pebbles of grief

[teri gali mein sara din

dukh ke kankar chunta hoon]


From the nameless reaches of the islands of memory

The waves of your voice still reach

 [yad ke benishan jazeeron se

teri avaaz arehi he abhi]


These verses conjure up in us strange unspeakable feelings (and certainly many more shades of the atmosphere related to) respectively, lonely change or movement through life; the sombre sadness associated with awareness of existential realities that give rise to creative expression; introspection on the nature of our existence that typically transpires in the dark and silent moments of night before we fall asleep; the rambling recall of the many pleasures of a friendship after it has terminated; and the persisting subconscious connection with a long lost love… experiences we have all encountered in life, directlyor indirectly. That is why we relate to them and their author, and feel affected by them.

Metaphors are closer to emotional reality for the same reasons that they are closer to perceptual experience. To say of an unexpexted event that it was a miracle is to say far more than that it was inexplicable: it is to express joy, admiration , wonder, awe and a host of other things without mentioning any of them.

__ Andrew Ortony↓16

Remember that tacit knowledge encompasses a great number of sources such as bits and pieces picked up incidentally, subconsciuosly or by implication; by engaging in non-verbal skills; through general observations and readings; and knowledge of internal states personally experienced or understood through empathy. That is why, metaphor is a powerful and often the sole means of expressing our internal states. And “the particular ability of imaginative literature to disclose the unique, not least the uniquely personal” (Snaevarr, p. 361) most probably depends on metaphor.


The psychological power of metaphor

If a new metaphor enters the conceptual system that we base our actions on, it will alter the conceptual system and the perceptions and actions that the system gives rise to.

__ Lakoff and Johnson, 1980, p. 111

In their book Metaphors We Live By (1980), Lakoff and Johnson make the case of how metaphors do not just represent our perception of common realities, they have the power to create realities themselves. For instance, the prevalence and conventionality of the metaphor “argument is war” not only represents but also reinforces in turn a culture of argumentation where it is viewed as competitive rather than as a cooperative social exercise; whereby it is supposed to be won or lost rather than as taken to be a means of forwarding consensual decisions.

Consider the example of a fresh metaphor: ‘problems are solutions’, where solution is used in the chemical sense of the word. Actually, the authors took the metaphor from a real example of their Iranian student who thought that the expression ‘the solution of my problems’ was metaphorical. The student visualized “a large volume of liquid, bubbling and smoking, containing all of your problems, either dissolved or in the form of precipitates, with catalysts constantly dissolving some problems (for the time being) and precipitating out others”. The metaphor is not actually in use anywhere, but, as Lakoff and Johnson demonstrate how this metaphor creates a new, more profitable view of ‘problems’ than is currently prevalent. In this new view, derived from the new meaning constructed by the metaphorical comparison of real-life problems with a chemical solution, problems are accepted as a more or less recurring part of life. We use certain catalysts which temporarily solve some problems but the same process, or the disturbance in the combinations of catalysts created by a single-instance usage may lead to the precipitation of some other problem. “Rather than direct your energies toward solving your problems once and for all, you would direct your energies toward finding out what catalysts will dissolve your most pressing problems for the longest time without precipitating out worse ones. The reappearance of a problem is viewed as a natural occurence rather than as a failure on your part to find “the right way to solve it”.”

In contrast the more current view of problems as puzzles reinforces the expectation that there is one solution to each problem, that once applied, it will make the problem go forever. Recurrence of the problem implies a failure on the part of our ability to solve it. While the problem lasts, a state of confusion and frantic attempts to solve it and resolve it continue. Etc, etc.

Similarly, James Geary mentions research to the effect that when finance journalists use ‘agent metaphors’ to describe stock market behavior (such as ‘prices climbed higher’, or ‘the market fought back’) “an enduring internal goal or disposition” is inferred with the implication that the trend “is likely to continue tomorrow” (p. 31). In fact, it is in this sense of metaphor’s effects that scholars such as Lakoff and Johnson have highlighted the political, or let’s say, ideological power of metaphor…


The ideological power of metaphor


The people who get to impose their metaphors on the culture get to define what we consider to be true.

__ Lakoff and Johnson↓17  

What therefore is truth? A mobile army of metaphors, metonymies, anthropomorphisms: in short a sum of human relations which became poetically and rhetorically intensified, metamorphosed, adorned, and after long usage seem to a nation fixed, canonic and binding;

 __ Friedrich Nietzsche↓18 (in James Geary, p. 116)

Indeed we are familiar with presidential candidates, regimes, or factions in society popularizing and reinforcing ‘pet metaphors’ in their followers’ minds to ingrain their preferred sets of attitudes — their ideology. Similar examples can be given from the domain of religion. The budhist’s wheel of life and the muslim’s Straight Path are presented metaphorically, binding important aspects of their faith, creating their spiritual reality for them, defining the meaning and purpose of life to them, and motivating important attitudes and behaviors in each.

[This is not the place to argue, however, on the absolute relativity (or not) of truth (a topic with which this blog though is very much concerned and is yet to present a full-fledged treatment of the problem; though the topic has been touched upon in various posts).]

After having explored the concept of metaphor, establishing its power and significance from the point of view of both the sender and receiver of a communication, we are now set to see how the topic relates to the Quranic corpus. It’s easy to find all kinds of metaphors in Qur’an; important systems of extended conceptual metaphors that present, educate, and penetrate to the heart and mind of it’s readers; beautiful, visualizable, and novel, original metaphors that capture the sentient nature of its target audience and leave lasting and powerful impressions; metaphors so original and absolute as they must be for depicting realities beyond the periphery of ordinary human perception.

I feel excited at this point of my journey in the realm of the Metaphor. For these past few months, having thought about familiar metaphors from the Quran against all my developing understanding of metaphors in general now makes me feel as if I am approaching the great universe of the Qur’an with fresh eyes.

Till then, fi aman-i Allah


1. Olaf Jakel (2002). Hypotheses revisited: The cognitive theory of metaphor applied to religious texts, metaphoric.de, vol. 2, pp. 20-42. Found at http://www.metaphorik.de/02/jaekel.pdf

2. Ortony, A. (1975). Why metaphors are necessary and not just nice. Reprinted in Cultural Metaphors: Readings, research translations, and commentary, Ed. M. J. Gannon, 2001, Sage Publications. Found at http://books.google.co.in/books?id=Ih0BUezsl6kC&printsec=frontcover

3. Johnson (1980), taken from Bob Stallman (1999), Divine hospitality in the Pentateuch: A metaphorical perspective on God as host. PhD Dissertation, Westminster Theological Seminary, Philadelphia, pp. 40-41. Found at http://eagle.northwestu.edu/faculty/bob-stallman/files/2011/03/2.pdf

4. Sam Gluckseburg (2008). How metaphors create categories — quickly. In Metaphor and Thought, 2nd ed., Ed. Raymond W. Gibbs. Cambridge University Press. Found at ftp://ftp.turingbirds.com/ai/The%20Cambridge%20Handbook%20of%20Metaphor%20and%20Thought.pdf

5. Paul Henle, (1958), Metaphor. Reprinted in Philosphical Perspectives on Metaphor, Ed. Mark Johnson, 1980, University of Minnesota Press, p. 102

6. Rogers, R. (1978). Metaphor: A psychoanalytical perspective. University of California Press, p. 7. Found at http://books.google.com/books?id=zxH3W27COqgC&printsec=frontcover

7. (1975), from Cultural metaphors, pp. 16-17

8. N. Frye (1964) found in Phillip Stambovsky’s (1988), The depictive image: Metaphor and literary experience, University of Massachusetts Press, p. 50.

9. Scholes (1985) in Stambovsky, 1988, p. 89.

10. Stambovsky, 1988, p. 3

11. T. Cohen (1978) from Stallman (1999), p. 44

12. Harold Searle, Collected Papers on Schizophrenia. Quoted in Rogers, 1978, p. xi

13. Stefan Snaevarr (2010). Metaphors, narratives, emotions: Their interplay and impact, Rodopi, Amsterdam, p. 83 and p. 360 respectively.

14. Austrian philosopher Ludwig Wittgenstein is credited with this conceptamong many others he theorized upon in his now classic Philosophical investigations. For a simple explanation of his concept read point 1 of this lecture presentation: http://www.phil.cam.ac.uk/teaching_staff/ahmed/WittgensteinPhilosophicalInvestigationsLecture15.pdf

15. Stallman (1999), p. 41

16. in Cultural metaphors, p. 17

17. George Lakoff and Mark Johnson (1980). Metaphors we live by. Originally published by University of Chicago Press. Found online at: http://www.pineforge.com/upm-data/6031_Chapter_10_O’Brien_I_Proof_5.pdf

18. in James Geary, (2011), I is an Other: The secret life of metaphor and how it shapes the way we see the world, Harper Collins, p. 116.



MIND|BODY|WORLD: Outrageous Sensations!- What can we learn from LSD? Part I

In consciousness on April 9, 2009 at 5:41 pm

LSD (Lysergic acid diethylamide) is a psychoactive drug which brings about weird changes in our perception.

Before the drug was banned in the late 1960s in view of potential risks in taking it, a lot of research had been done in clinical settings. Many users also published reports of their experiences. Although the effects of LSD vary depending upon the dosage, the mood of the user and the setting, certain common trends have been observed.

Enhanced visual perception

The first prominent effect of the drug is an enhanced sensitivity of our perceptual faculties:

Random details of my surroundings suddenly stood out strongly, and somehow appeared to be ‘meaningful. -Dr. Rudolf Gelpke.

Strange shapes and patterns are seen even when the eyes are closed. When its discoverer, Albert Hoffman, first became intoxicated with it, he reported seeing fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colors with his eyes closed. Ordinary objects and surfaces seem to ripple as if breathing.

moire patterns are enhanced under LSD

moire patterns are enhanced under LSD


Often, intense depersonalization is experienced in this early stage. A user realized that “she was unable to distinguish her body from the chair she was sitting on or from her lover’s body.” (Frosch, Robbins, & Stern, 1965). According to Dr. Gelpke, my own hands somehow were in my way: I put them in my pockets, let them dangle, entwined them behind my back . . . as some burdensome objects, which must be dragged around with us and which no one knows quite how to stow away.

Distorted sense of time

Time seems to be stretching, repeating itself, changing speed or stopping (wikipedia).

It felt like everything that was going to happen, everything that had just happened, and everything that was happening for about 3 seconds before and 3 seconds after where I was in time, was condensed into one moment. [http://www.erowid.org/experiences/exp.php?ID=4048]


Colors are heard and voices are seen: synaesthesia

Here is the experience of a 25-year old advertising agent, related by John Cashman, taken from Hoffman’s book:

I think it was several minutes before I realized that the light was changing color kaleidoscopically with the different pitch of the musical sounds, bright reds and yellows in the high register, deep purple in the low. I laughed. I had no idea when it had started. I simply knew it had. I closed my eyes, but the colored notes were still there. I was overcome by the remarkable brilliance of the colors. I tried to talk, to explain what I was seeing, the vibrant and luminous colors. Somehow it didn’t seem important. With my eyes open, the radiant colors flooded the room, folding over on top of one another in rhythm with the music. Suddenly I was aware that the colors were the music. The discovery did not seem startling. Values, so cherished and guarded, were becoming unimportant.

Transcendental experiences

Finally, strange transcendence may be experienced involving ‘ego death’, sensation of ‘being born’ and ‘harmony with the universe’.

The 25-year old agent, quoted above, realizes the presence of a large, pulsating and luminous egg suspended in the room. Slowly the egg dissolves into a flower that, according to him, was like no flower I have ever seen. Its incredibly exquisite petals opened on the room, spraying indescribable colors in every direction. I felt the colors and heard them as they played across my body, cool and warm, reedlike and tinkling.

The petals of this flower are soon perceived as being eaten up by its own black, shiny center “that appeared to be formed by the backs of a thousand ants”. This is followed by the horrifying realization that the black thing was actually devouring me. I was the flower and this foreign, creeping thing was eating me!

Finally, I felt myself dissolving into the terrifying apparition, my body melting in waves into the core of blackness, my mind stripped of ego and life and, yes even death. In one great crystal instant I realized that I was immortal. I asked the question: “Am I dead?” But the question had no meaning. Meaning was meaningless. Suddenly there was white light and the shimmering beauty of unity. There was light everywhere, white light with a clarity beyond description. I was dead and I was born and the exultation was pure and holy. My lungs were bursting with the joyful song of being. There was unity and life and the exquisite love that filled my being was unbounded. My awareness was acute and complete.

Bad trips

Psychedelic Art by Erik Parker

Psychedelic Art by Erik Parker

In a bad trip, the experiences can be terrorizing. This is hell, I thought. There is indeed no Devil and no demons, and yet they were perceptible in us, filled up the room, and tormented us with unimaginable terror. Imagination, or not? Hallucinations, projections? – insignificant questions when confronted with the reality of fear that was fixed in our bodies and shook us: the fear alone, it existed. The experiences of a painter.


Heavenly or hellish, the experiences are intensely meaningful for most users. The above-mentioned painter realizes: I realized that in the horror of the passing night I had experienced my own individual condition: selfishness. My egotism had kept me separated from mankind and had led me to inner isolation… Therefore everything had seemed strange and unconnected to me, so scornful and threatening.

According to Dr. Hoffman: “Such a variety and contradiction of reactions to a drug is found only in LSD and the related hallucinogens. The explanation for this lies in the complexity and variability of the conscious and subconscious minds of people, which LSD is able to penetrate and to bring to life as experienced reality.

How does LSD bring about such changes?

LSD primarily affects by interfering with the normal activity of a chemical called serotonin in those areas of the brain concerned with transmission of visual information. Ordinarily when serotonin-containing neurons are activated, they release serotonin, whose action helps the brain to filter incoming sensory messages. Without the action of serotonin, the brain would be flooded by perceptual and emotional input-particularly visual input-and people would experience more sensations, see more details, distort visual images and even see things not actually there. (Comer, 1995).


Here are the two text references mentioned in this post.

1. Frosch, W. A., Robbins, E. S., & Stern, M. (1965). Untoward reactions to lysergic acid diethylamide (LSD) resulting in hospitalization. New England Journal Medicine, 273, 1235-1239.

2. Comer, R. J. (1995). Abnormal Psychology, 2nd ed. New York: Freeman and Co. p. 461.

3. The explanation of LSD’s effects in Comer is referenced to Jacobs, B. L. (Ed.). (1984). Hallucinogens: neurochemical, behavioral, and clinical perspectives. New York: Springer.