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like to know about. It can be pointed out that when watches for change one may observe
many irrelevant things. Since the effects of the drug do not need to be closely watched
for, a quiet relaxation is recommended.
Having suggested this at the outset, the therapist should avoid a mistake which is
easily made that of repeatedly asking the subject, How do you feel now? , Have you
noticed any changes yet? , and etc. If the therapist questions too insistently along these
lines it tends to focus the subject s attention almost exclusively upon developing
symptoms. These may take on an uncomfortable and unpleasant tone which will tend to
have an unfortunate effect upon at least the early stages, if not all, of the ensuing
experience.
It is at this point that the subject is most likely to begin to develop a nausea or
some other somatic complaint. This can become sufficiently acute, if his interest be
centered upon it, to make it impossible for him to concentrate on any other aspect of the
experience. Indeed, it seems that here the subject begins to learn one of the fundamental
facts of the LSD experience. He learns that concentration upon the self and the use of the
self-concept as his exclusive reference point tends to produce difficulties and discomfort
in the experience. At this time, it may be well to point this out to him for his subsequent
consideration and evaluation.
Despite this need to direct the subject s attention from his symptoms, however,
there are, paradoxically, two additional but opposite eventualities which should be
avoided. Firstly, it is unwise to so interest the subject in any activity that he becomes
unaware of the development of symptoms until they are so far advanced as to shock and
frighten him when they suddenly intrude. Secondly, should the subject become so
interested in what he is doing as to resent being interrupted, he may well find the
developing symptoms a bother and may fight against them to maintain the psychological
set which gives him pleasure. This set may also tend to color at least the early stages of
the experience and may cause the subject to think along relatively constricted and
confined lines by setting up a series of trains of thought which add an unwanted
constriction to the situation.
Finally, the production of fear or panic at this stage should be avoided as much as
possible. It is likely to prove very destructive as far as the therapeutic use of the later
phases of the experience is concerned.
In general the therapist should aim, during this period, at giving the subject such
support and assurance as will relieve his anxiety; at making the subject aware of the
developing changes induced by the drug and at keeping him from feeling that these
changes are threatening, alarming or in any way unusual for people taking the drug. The
therapist can call upon his own experience at this time and use them as a source of
reassurance to the subject.
Chapter 14. STAGES IN THE EXPERIENCE
II ONSET OF SYMPTOMS
This phase of the drug reaction usually lasts about an hour after the symptoms
become noticeable, although it varies from about half an hour to two hours. It is likely to
be the time of maximum discomfort.
The development of symptoms will usually be heralded by the subject s pupils
beginning to show a marked dilation. He may appear to shiver from time to time and he
is very likely to laugh frequently with little or no apparent reason. If asked to extend his
arms and then to bring his index fingers together while his eyes are shut, he will very
likely be unable to make his fingers meet on the first attempt. In reporting on what is
happening he is likely to remark upon one or several of such changes as a feeling of
weightlessness; apparent movement at the periphery of the visual field; alteration in the
lightness or darkness of the room; changes in perceived time; changes in temperature; the
enhancement of color; changes in the significance of patterns or difficulty in verbalizing
ideas because they seem to come more rapidly than they can be verbalized. This may
force the subject to withdraw because he simply cannot communicate what is happening.
His difficulty in communicating is often intensified by finding that he is thrust into a
sudden awareness of startling new aspects of his accustomed thought processes and of
rapid rearrangements of old and new concepts which have deeply significant and often
shattering implications.
It is at this stage of the experience that subjects who attempt to escape or to fight
off the effects of the drug get into difficulties. The types of experience outlined earlier as
a flight into ideas and a flight into illness develop at this point. If the subject s thinking
will tend to grow confused, and his flight into ideas or illness seems to be an attempt to
escape from this confusion which threatens to become overwhelming. The therapist
should continue to offer reassurance, should try to prevent the subject from developing
idée fixe and should try to keep the subject from becoming pre-occupied with somatic
changes.
Music is particularly useful at this time because it serves as a distraction from the
physiological effects of the drug. By focusing one s attention upon music one becomes
aware of the alterations induced by the drug within a frame of reference in which these
alterations can contribute to the beauty of the music. This permits the changes to be
welcomed and reduces the anxiety attendant upon their development. Because one tends
to float freely in time and space when one is swept up in music, the subject should be
encouraged to relax completely and listen. In this way, the disappearance of the body
images is often accomplished without particular anxiety or distress.
There is a real danger, in sessions in which the therapist has taken the drug, that
he may at this juncture become so remarkably absorbed in music as to lose contact with
the subject. This possibility must be recognized and guarded against since this phase of
the experience is one in which the subject is likely to need the undivided attention of the
therapist.
In group sessions in which the therapist has also taken the drug, that he may at
this juncture become so remarkably absorbed in music as to lose contact with the subject.
This possibility must be recognized and guarded against since this phase of the
experience is one in which the subject is likely to need the undivided attention of the
therapist.
In group sessions in which the therapist has also taken the drug the subject is
often encouraged when he finds him unafraid and apparently enjoying the changes. In
any case, the therapist should point out the pleasant aspects of the symptoms. He should,
for example, attempt to have the subject realize that the enhancement of his perception,
which the drug has induced, should not be frightening. Rather, it should permit a new
and startling awareness of beauty.
During this period, the therapist should aim at keeping the subject relaxed and
receptive to change. He must avoid letting the subject get deeply involved in an attempt
to escape from the drug effect. When the subject seems to become involved in a flight [ Pobierz całość w formacie PDF ]
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like to know about. It can be pointed out that when watches for change one may observe
many irrelevant things. Since the effects of the drug do not need to be closely watched
for, a quiet relaxation is recommended.
Having suggested this at the outset, the therapist should avoid a mistake which is
easily made that of repeatedly asking the subject, How do you feel now? , Have you
noticed any changes yet? , and etc. If the therapist questions too insistently along these
lines it tends to focus the subject s attention almost exclusively upon developing
symptoms. These may take on an uncomfortable and unpleasant tone which will tend to
have an unfortunate effect upon at least the early stages, if not all, of the ensuing
experience.
It is at this point that the subject is most likely to begin to develop a nausea or
some other somatic complaint. This can become sufficiently acute, if his interest be
centered upon it, to make it impossible for him to concentrate on any other aspect of the
experience. Indeed, it seems that here the subject begins to learn one of the fundamental
facts of the LSD experience. He learns that concentration upon the self and the use of the
self-concept as his exclusive reference point tends to produce difficulties and discomfort
in the experience. At this time, it may be well to point this out to him for his subsequent
consideration and evaluation.
Despite this need to direct the subject s attention from his symptoms, however,
there are, paradoxically, two additional but opposite eventualities which should be
avoided. Firstly, it is unwise to so interest the subject in any activity that he becomes
unaware of the development of symptoms until they are so far advanced as to shock and
frighten him when they suddenly intrude. Secondly, should the subject become so
interested in what he is doing as to resent being interrupted, he may well find the
developing symptoms a bother and may fight against them to maintain the psychological
set which gives him pleasure. This set may also tend to color at least the early stages of
the experience and may cause the subject to think along relatively constricted and
confined lines by setting up a series of trains of thought which add an unwanted
constriction to the situation.
Finally, the production of fear or panic at this stage should be avoided as much as
possible. It is likely to prove very destructive as far as the therapeutic use of the later
phases of the experience is concerned.
In general the therapist should aim, during this period, at giving the subject such
support and assurance as will relieve his anxiety; at making the subject aware of the
developing changes induced by the drug and at keeping him from feeling that these
changes are threatening, alarming or in any way unusual for people taking the drug. The
therapist can call upon his own experience at this time and use them as a source of
reassurance to the subject.
Chapter 14. STAGES IN THE EXPERIENCE
II ONSET OF SYMPTOMS
This phase of the drug reaction usually lasts about an hour after the symptoms
become noticeable, although it varies from about half an hour to two hours. It is likely to
be the time of maximum discomfort.
The development of symptoms will usually be heralded by the subject s pupils
beginning to show a marked dilation. He may appear to shiver from time to time and he
is very likely to laugh frequently with little or no apparent reason. If asked to extend his
arms and then to bring his index fingers together while his eyes are shut, he will very
likely be unable to make his fingers meet on the first attempt. In reporting on what is
happening he is likely to remark upon one or several of such changes as a feeling of
weightlessness; apparent movement at the periphery of the visual field; alteration in the
lightness or darkness of the room; changes in perceived time; changes in temperature; the
enhancement of color; changes in the significance of patterns or difficulty in verbalizing
ideas because they seem to come more rapidly than they can be verbalized. This may
force the subject to withdraw because he simply cannot communicate what is happening.
His difficulty in communicating is often intensified by finding that he is thrust into a
sudden awareness of startling new aspects of his accustomed thought processes and of
rapid rearrangements of old and new concepts which have deeply significant and often
shattering implications.
It is at this stage of the experience that subjects who attempt to escape or to fight
off the effects of the drug get into difficulties. The types of experience outlined earlier as
a flight into ideas and a flight into illness develop at this point. If the subject s thinking
will tend to grow confused, and his flight into ideas or illness seems to be an attempt to
escape from this confusion which threatens to become overwhelming. The therapist
should continue to offer reassurance, should try to prevent the subject from developing
idée fixe and should try to keep the subject from becoming pre-occupied with somatic
changes.
Music is particularly useful at this time because it serves as a distraction from the
physiological effects of the drug. By focusing one s attention upon music one becomes
aware of the alterations induced by the drug within a frame of reference in which these
alterations can contribute to the beauty of the music. This permits the changes to be
welcomed and reduces the anxiety attendant upon their development. Because one tends
to float freely in time and space when one is swept up in music, the subject should be
encouraged to relax completely and listen. In this way, the disappearance of the body
images is often accomplished without particular anxiety or distress.
There is a real danger, in sessions in which the therapist has taken the drug, that
he may at this juncture become so remarkably absorbed in music as to lose contact with
the subject. This possibility must be recognized and guarded against since this phase of
the experience is one in which the subject is likely to need the undivided attention of the
therapist.
In group sessions in which the therapist has also taken the drug, that he may at
this juncture become so remarkably absorbed in music as to lose contact with the subject.
This possibility must be recognized and guarded against since this phase of the
experience is one in which the subject is likely to need the undivided attention of the
therapist.
In group sessions in which the therapist has also taken the drug the subject is
often encouraged when he finds him unafraid and apparently enjoying the changes. In
any case, the therapist should point out the pleasant aspects of the symptoms. He should,
for example, attempt to have the subject realize that the enhancement of his perception,
which the drug has induced, should not be frightening. Rather, it should permit a new
and startling awareness of beauty.
During this period, the therapist should aim at keeping the subject relaxed and
receptive to change. He must avoid letting the subject get deeply involved in an attempt
to escape from the drug effect. When the subject seems to become involved in a flight [ Pobierz całość w formacie PDF ]