Visual disconnection

Life through a screen by Anonymous - This image serves as a representation of feeling as if one is "viewing the world through a screen" which is a common symptom of visual disconnection.

Visual disconnection can be described as the experience of becoming distant and detached from one's sense vision. At its lower levels, this leads into states such as acuity suppression, double vision, pattern recognition suppression and frame rate suppression. The experience of this effect can also create a wide range of subjective changes to a person's perception of their own vision. These are described and documented in the list below:

  • Feeling as if one is watching the world through a screen
  • Blurred vision and a general difficulty in perceiving fine details
  • Feeling as if the visually perceivable world is further away in distance
  • Feeling as if one is looking at the world through somebody else's eyes
  • Double vision which at higher levels forces the user to close one eye if they need to read or perceive fine visual details

At its higher levels, the visual disconnection can become all-encompassing in its effects. This results in a complete perceptual disconnection from one's sense of sight which can be described as the experience of being completely blinded and unable to tell whether the eyes are open or closed due to a total lack of sensory input. During this state, the effect often leads one into the experience of finding themselves floating through a dark and mostly empty hallucinatory void.


Holes, spaces and voids

The K-Hole by Josie Kins - This image serves as an artistic replication of the common and simultaneous dissociative-induced effect known as visual disconnection, holes, spaces and voids and hallucinatory structures.

Holes, spaces and voids can be described as a sub-component of visual disconnection that manifests when it has become all-encompassing in its intensity. This experience is more commonly known within the literature as the "K-hole"[1][2] and is generally discussed as something which is specifically associated with ketamine despite being present within most traditional dissociatives. It can be described as the place one finds themselves in once visual disconnection becomes powerful enough to leave the person incapable of receiving external sensory input. This replaces their visual input with a space that subjectively feels as if it is outside of normal reality.

The visual appearance of this space, hole or void can be described as a vast, mostly empty and darkened chamber which often feels and appears to be infinite in size. This space is usually dark black in its colour but can occasionally display itself with large patches of slow moving amorphous colour clouds or subtle geometric patterns across its horizon. At it's higher levels, these voids are often populated with visual hallucinatory structures which are comprehensively described and documented in the subsection below.

Alongside this visual experience, changes in gravity and a powerful sense of tactile disconnection are also usually present which can result in one feeling as if they are undergoing an out-of-body experience while weightlessly floating through a void over great distances in a variety of different speeds, directions, and orientations. This is a feeling that is interpreted by many people as floating through space or the night sky.


Structures

Structures can be described as the only feature found within what would otherwise be completely empty and uninhabited holes, spaces and holes. These manifest as the visual experience of monolithic 3-dimensional shapes or structures of an infinite variety and size which float above, below or in front of a person as they gradually zoom, rotate, transform or pan into focus and become unveiled before the person's line of sight at a gradual pace.

These structures can take any shape possible but are commonly experienced as vast and giant pillars, columns, blocks, tear drops, wheels, pyramids, caves and a variety of abstract shapes. They are often fractal in shape and can manifest in a variety of colors, but usually, follow darker themes and tones with an associated vibe that is sometimes subjectively interpreted as "alien" in nature.

Structures can be broken down into 4 basic levels of complexity and visual intensity. These are documented and described below:

  1. 2-Dimensional Structures - The most basic level of structural complexity confines its form to strictly 2-Dimensional shapes. These shapes are usually very flat and dark in their colour and their presence is often “felt” instead of seen. In terms of their size, these structures usually take up the entirety of a person's visual field but do not appear to have any particular sense of size attributed to them.
  2. Partially defined 3-Dimensional Structures - At this level, the structures become better defined and 3-Dimensional in shape with some basic detail in their lighting and shadows. They appear to be comprised of semi-transparent condensed color and are seen as ill-defined or out of focus around their edges. In terms of size, these structures appear to be extremely large, stretching out across up to hundreds of meters.
  3. Fully defined 3-Dimensional Structures - At this level, structures become fully defined in their shape, edges, lighting, shadow, and detail. They often appear to be made of solid and dense realistic materials such as stone and metal. In terms of their size, they are capable of appearing as thousands of miles across themselves and are often extremely complex in terms of their shape.
  4. Structural universes - At its highest level, hallucinatory structures can be described as the sensation of seeing that which is perceived as the entire universe condensed into an infinitely vast and intricate ever-shifting machine structure. In terms of its appearance, this state is extremely hard to describe but has many subjective similarities to level 8A geometry. The structure can take any form, but usually, appear as intricately shaped machine-like structures that are seemingly infinite in size and can convey huge amounts of innately readable information. This experience is not just perceived through one's sense of sight but is also physically felt in an incomprehensible level of detail that manifests at every point across itself as complex cognitive and tactile sensations. The structure as a whole and the information it conveys are often innately interpreted as perceiving a structural representation of “the universe” or “everything”.

Structures typically display themselves from anywhere between 30 seconds to several minutes before the person experiencing them slips back into reality or into the presence of another structure. In terms of how these structures shift between each other, their transition processes can be broken down into 4 basic categories. These are described and documented below:

  • Structural transformations - Structures can switch between each other by transforming or shape shifting in a static and comprehensible way. This is something that usually unfolds in a rather slow step by step morphing process.
  • Structural panning - Structures can switch between each other by remaining completely static in their shape but simply panning out of view until they are no longer within one's field of vision. It’s from here that another structure usually comes into view from outside of one's peripheral vision within a few seconds to a couple of minutes.
  • Travelling over great distances - The third method of transitioning is experienced when the structures appear to be stationary whilst one is floating silently between them over what can feel like extreme physical distances. This traveling of distance is sometimes felt to occur on an invisible rail through the vast and infinite dissociative hole.

psychoactive substances

Compounds which may cause this effect commonly include:

2-Fluorodeschloroketamine, 3-HO-PCE, 3-HO-PCP, 3-MeO-PCE, 3-MeO-PCMo, 3-MeO-PCP, 4-MeO-PCP, Deschloroketamine, DXM, Diphenidine, Ephenidine, Ibogaine, Ketamine, Kratom, MXE, Methoxphenidine, O-PCE, PCE, PCP, Zolpidem


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Documentation written by Josie Kins