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, habitu