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d-17576House OversightOther

Personal recollections of psychedelic drug use and historical references

The passage is a memoir-like description of psychedelic experiences and historical anecdotes about drug researchers. It contains no concrete allegations, names of current powerful actors, financial tr Mentions John Lilly, Sacha Shulgin, and Louis Lewin in historical context References a contract between Shulgin and Dow Chemical for the U.S. Army Chemical Corps Cites cultural use of peyote among Hu

Date
November 11, 2025
Source
House Oversight
Reference
House Oversight #013591
Pages
1
Persons
0
Integrity
No Hash Available

Summary

The passage is a memoir-like description of psychedelic experiences and historical anecdotes about drug researchers. It contains no concrete allegations, names of current powerful actors, financial tr Mentions John Lilly, Sacha Shulgin, and Louis Lewin in historical context References a contract between Shulgin and Dow Chemical for the U.S. Army Chemical Corps Cites cultural use of peyote among Hu

Tags

psychedelicscultural-anthropologydrug-historyhouse-oversight

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Text extracted via OCR from the original document. May contain errors from the scanning process.
did some work with the dissociated anesthesias (producing wide awake but not there states) having consulted with John Lilly, a brain scientist who used these agents as a courageous self-medicating explorer of sensory isolation tanks; | met several native shamanic practitioners including the Huichol Indian that was the model for Don Juan in Carlos Castanada’s five volumes of pseudoethnography written up in my essay “Is Don Juan Alive and Well?” in The Pushcart Prize of 1977. Issues of culture and brain chemistry came together in several accounts about entheogenic, mescaline-containing peyote use among the Huichol Indians in a book edited by Kathleen Berrin and Thomas Seligman of the San Francisco Art Museum called Art of the Huichol Indians. Over these years | collected many nauseating, upper and lower bowel wrenching and ecstatically transcendent and exhausting day-long episodes of the angular geometries of visual pattern-generating DMT, the animistic breathing of bush and flower breathing peyote cactus, the darkly forbidding shadows of the psylocybin-containing mushrooms, the irreversible rocket launches into the electrically buzzing, kaleidoscopic circus of LSD-containing vials from Sandoz and the optimistic, trust engendering, expansively warm rush of six of Sacha Shulgin’s gregarious, rave dancing, chlorinated, methoxylated and _ ethoxylated phenylethylamines which he had, years before, synthesized for “an undisclosed purpose” for the Dow Chemical Corporation under contract with the U.S. Army Chemical Corps. The best known of the latter group remains part of the rave culture as Ecstasy. These agent’s peaks are flooded with exaggerated, caricaturizing images of people’s faces and a belief in the mindedness of animals and even the embodiment of inanimate things. Evoked are simultaneous and diametrically conflicting interpretations of the same social context, heteromodal sensory fusion called synesthesia so that sound bespoke color and smells induced music, habitual thoughts rearranged as new ideas in what is experienced as exciting new insights, and, most of all, that which Louis Lewin, Berlin’s early 20" Century Freud of psychotropic drugs in his book Fantastica, called gladness of the soul. Timothy Leary wrote of entheogenic escape from the habitual human brain’s mental- 91

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