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4/19/43 16:20: 0.5 cc of 1/2 promil aqueous solution of diethylamide tartrate orally = 0.25 mg tartrate. Taken diluted with about 10 cc water. Tastel… - Albert Hofmann
" "4/19/43 16:20: 0.5 cc of 1/2 promil aqueous solution of diethylamide tartrate orally = 0.25 mg tartrate. Taken diluted with about 10 cc water. Tasteless. 17:00: Beginning dizziness, feeling of anxiety, visual distortions, symptoms of paralysis, desire to laugh. Supplement of 4/21: Home by bicycle. From 18:00- ca.20:00 most severe crisis. (See special report.) Here the notes in my laboratory journal cease. I was able to write the last words only with great effort. By now it was already clear to me that LSD had been the cause of the remarkable experience of the previous Friday, for the altered perceptions were of the same type as before, only much more intense. I had to struggle to speak intelligibly. I asked my laboratory assistant, who was informed of the self-experiment, to escort me home. We went by bicycle, no automobile being available because of wartime restrictions on their use. On the way home, my condition began to assume threatening forms. Everything in my field of vision wavered and was distorted as if seen in a curved mirror. I also had the sensation of being unable to move from the spot. Nevertheless, my assistant later told me that we had traveled very rapidly. Finally, we arrived at home safe and sound, and I was just barely capable of asking my companion to summon our family doctor and request milk from the neighbors. In spite of my delirious, bewildered condition, I had brief periods of clear and effective thinking — and chose milk as a nonspecific antidote for poisoning.
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About Albert Hofmann
Albert Hofmann (11 January 1906 – 29 April 2008) was a Swiss scientist most famous for first synthesizing Lysergic acid diethylamide (LSD), and years later first experiencing its hallucinogenic effects.
Biography information from Wikiquote
Also Known As
Alternative Names:
Dr. Albert Hofmann
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Additional quotes by Albert Hofmann
The characteristic property of hallucinogens, to suspend the boundaries between the experiencing self and the outer world in an ecstatic, emotional experience, makes it possible with their help, and after suitable internal and external preparation, as it was accomplished in a perfect way at Eleusis, to evoke a mystical experience according to plan, so to speak. Meditation is a preparation for the same goal that was aspired to and was attained in the Eleusinian Mysteries. Accordingly it seems feasible that in the future, with the help of LSD, the mystical vision, crowning meditation, could be made accessible to an increasing number of practitioners of meditation I see the true importance of LSD in the possibility of providing material aid to meditation aimed at the mystical experience of a deeper, comprehensive reality. Such a use accords entirely with the essence and working character of LSD as a sacred drug.
It was obvious that a substance with such fantastic effects on mental perception and on the experience of the outer and inner world would also arouse interest outside medical science, but I had not expected that LSD, with its unfathomably uncanny, profound effects, so unlike the character of a recreational drug, would ever find worldwide use as an inebriant. I had expected curiosity and interest on the part of artists outside of medicine — performers, painters, and writers — but not among people in general. After the scientific publications around the turn of the century on mescaline — which, as already mentioned, evokes psychic effects quite like those of LSD — the use of this compound remained confined to medicine and to experiments within artistic and literary circles. I had expected the same fate for LSD. And indeed, the first non-medicinal self-experiments with LSD were carried out by writers, painters, musicians, and other intellectuals.
Slowly I came back from a weird, unfamiliar world to reassuring everyday reality. The horror softened and gave way to a feeling of good fortune and gratitude, the more normal perceptions and thoughts returned, and I became more confident that the danger of insanity was conclusively past. Now, little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux. It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color.
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