About five years ago, with Tim Leary, one raucous evening, maybe some of you managed
 to catch that event. This is a little more thoughtful and reflective. I'm not here to
 talk or to speak or to promote my books as I have been in the past. This is the only
 public event that I'm doing in these ten days. And I'm very grateful to David and Petra for
 inviting me. This is a wonderful facility and bringing you plants and books and information.
 It's great to see that the Freak community is alive and well in Mannheim. What I'm in
 Europe to do is to be part of a film making effort. And I want to describe the project
 to you a little bit, simply because it's what's on my mind, naturally, and to discuss the
 politics behind the making of this kind of a film. It's not a film about rave culture.
 It's not a film about Albert Hoffman. It's not a film about body piercing or any of these
 things that great films need to be done about and have been done about. It's about one of
 your local heroes, who is a great hero of mine and should be a great hero to all freaks
 in Germany and everywhere. And I'm talking about Frederick V, Elector Palatine, Prince
 of Heidelberg, King of Bohemia. Are you all familiar with this guy?
 No. No? Oh, well. This is your guy. This is the
 prototypic freak of this area, and a freak who was not content to sit back and let things
 happen, but was willing to launch a grand alchemical dream of a reformation of human
 society. So just to lay in the background for those of you who are not familiar, the
 historical incident that we're here to recreate here and later in Prague has to do with the
 Prince Palatine of Heidelberg, a Protestant who wedded the granddaughter of Queen Elizabeth
 I of England, Elizabeth Stuart, the daughter of James I of England. This was an arranged
 wedding. They were both 16 years old at the time. Frederick went to England, the wedding
 was held in England, and then he returned with his very English bride to Heidelberg.
 And they were the center of a movement of alchemical reformation and revolution that
 sought to take the Protestant Reformation an enormous leap forward into a new world
 of spiritual freedom and, to my mind, a very sort of psychedelic world. They were the heirs,
 the inheritors of the entire medieval worldview. It was folded in to this pair of 16 year olds
 who were ruling the Palatinate of Heidelberg. And Frederick was an elector, meaning he was
 one of the seven princes who could choose the emperor of what remained of the Holy Roman
 Empire at that time. And he conspired to become the king of bohemians, visionaries, moved
 the entire court from Heidelberg, from the small-time scene of a principality, to Prague,
 to reoccupy the office of the Holy Roman Empire with an emperor friendly to magic and alchemy
 who was the inheritor of a generation-old plan to create an alchemical reformation that
 had been hatched in the mind of the English alchemist and mathematician John Dee. And
 the ending of the story is not a happy ending, or perhaps it is. I mean, we can talk about
 that. On a superficial level, this alchemical dream, this Rosicrucian enlightenment, ended
 badly because the Habsburgs back in Madrid quickly got wind of what was going on and
 got an army together and sent it to Prague and laid siege to Prague. And Elizabeth fled
 to the Netherlands with her children. Frederick was defeated at the Battle of the White Mountain.
 And the alchemical dream died. And this was really, in some sense, the beginning of the
 Thirty Years' War. And as you know, going into the Thirty Years' War, Europe was a place
 of popes and kings. At the end of the Thirty Years' War, it was a place ruled by parliaments
 and peoples. And the entire medieval world was swept away. And out of the new political
 dispensation of the situation at the end of the Thirty Years' War, especially in England,
 modern science took hold and was born. And these angel-dealing, horoscope-casting, alchemy-pursuing
 visionaries of this Rosicrucian Renaissance became simply objects of historical curiosity,
 completely incomprehensible to the people who followed them generation after generation
 after generation, until, I submit to you, the present. And in the present moment, we,
 like they, inherit a world whose ideologies are exhausted and can only be refreshed from
 the margins. And that was what this whole chemical revolt was about. It was about a
 suppressed, marginal minority of deeply pietistic, original thinkers, but heterodox, non-Christian,
 keeping together a tradition that I think has been reborn or rediscovered in our own
 time. And it's the tradition that nature is a great distillery of complexity, alchemical
 gold, novelty, connection, whatever you want to call it, in our own time, through integrative
 sciences like ecology and animal behavior and psychology, we have re-understood what
 was forgotten during the reductionist centuries of modern science. We've re-understood that
 the world is one thing, and it's a living thing. It's a thing with an intent and a spirit
 within it. And this is the key concept, the concept that the alchemists and the hermetic
 dreamers and the occultists of the alchemical and northern European Renaissance, they were
 trying to strengthen and condense and distill and make actual this sense of community, this
 spiritus. Well, then with the rise of modern science, all of that is anathema. And rational
 analysis tells us that matter is simply atoms flinging themselves through space, obedient
 to certain mathematical laws that are invariant. And all the creativity, all the sense of connectedness
 that we experience as living beings, as members of a society, as human beings in contemplation
 of nature, all of that was denied. And it reaches its ultimate culmination, just as
 an example, in the kind of statement such as was made by Jean-Paul Sartre, the French
 existentialist, who said, "Nature is mute." You understand what I mean? Nature gives no
 clue, he tells you. Man is alone in the cosmos with his complexes and his obsessions. He
 confers meaning. There is no a priori reality to which ethics or intent can be attached.
 I reject this. I think the entire message of the psychedelic experience, which is basically
 the sine qua non of the rebirth of alchemical understanding, the very basis of that understanding
 is that nature seeks to communicate. All being is pregnant with language. All reality wants
 to include the human side of nature in its ongoing intent. The problem lies not with
 nature, but with ourselves, that we are somehow paralyzed, disempowered, doubting, cut from
 the meat of the thing. Well, so I'm a great believer in propaganda,
 obviously. I mean, my whole life is about propaganda. So to take an incident like the
 career of Frederick the Elector Palatine of Heidelberg and his bride, and make of it a
 kind of exemplar, a parable, a myth, if you will, the myth of the alchemical marriage,
 a myth that takes innocence and naivete and belief in the power of ideas to make a new
 world, and tell that story again in film, backing it with these tremendously powerful
 alchemical images that Jung and others showed work inexorably on the psyche, whether you
 wish to be part of the process or not, to merely gaze upon the images of alchemy is
 to, in a sense, enter into a kind of psychoanalytical process.
 Because what alchemy was, and I should stress this, or the rap makes no sense at all, alchemy
 was not the vulgar pursuit of the transmutation of lesser metals into gold or silver. That
 was the charlatan's game played in every market in Europe for centuries among the simple people.
 But the body of symbols and of literature that are created around the effort to extract
 a universal medicine out of nature for the transformation of societies and human beings
 was in those times of what we call epistemological naivete, meaning that they did not have the
 strong sense of objective and subjective reality which we inherit from science.
 So during those eras of epistemological naivete, what was someone's idea about how matter behaves,
 what was someone's myth of how psyche behaves, could become entangled in a projective experience
 with material in a chemical vessel. So the processes which we call melting and crystallization
 and purification and calcinization, processes now well understood through a soulless molecular
 model of matter, were for them the birth of the red lion, the coming of the double-headed
 queen, the murder of the hermaphrodite dog, and so forth and so on. They had these outlandish
 images and outlandish vocabulary because they were trying to create powerful symbols, powerful
 mnemonic hooks on which to hold the details, and there are many of them, of this extremely
 complex worldview that were it not for people like Carl Jung, the Swiss depth psychologist,
 would have remained completely inexplicable to modern people. It is not chemistry and
 it is not myth-building per se as we inherit from the Greeks. It's a very complicated amalgamation,
 good alchemical word, very complicated amalgamation of psyche and matter. And the reason I think
 it is so resonant with our own times is because our generation, generations of people confined
 within the 20th century, have in a sense and by an oblique path recovered that universal
 medicine that the alchemists dreamed of by going, strangely enough, to some of the most
 aboriginal and least culturally assimilated to European and American values people in
 the world. Shamanism is essentially a living tradition of alchemy that is not seeking the
 stone but has found the stone. These shamans, these Hivaro, these Huitoto, these Cubeo,
 notice that they have this same epistemic naivete, this inability to distinguish between
 subjective and objective world through the intercession of Newton and Descartes, that
 Frederick the Elector and the alchemists around him and the alchemists that preceded them
 through the centuries had. In other words, within the context of the alchemical vocabulary,
 the psychedelic experience as brought to us through plants, long in the possession of
 aboriginal people, appears to be the identical phenomena. The Hivaro shaman, the Cubeo shaman,
 does not use a glass retort with cycling sulfur and mercury inside it. The shamans of the
 Amazon have attained a sufficient sophistication to explicitly understand that the vessel of
 alchemical transformation is the body and the head of the experience. This is the alchemical
 vessel. This is where you will encounter the three-headed dog and the queen dissolving
 in her bath and the incestuous couple that combine soul and luna to produce the white
 essence of the panacea of the universal medicine. These are psycho-mental processes. Jung, strangely
 enough, must have been an extraordinary person because he could approach this without psychedelics.
 Through a very careful inspection of the dreams and the symbol-producing processes of his
 patients over decades, he produced a kind of skeletal map of the psyche. But I maintain
 that map doesn't fill itself in, doesn't become a living experience until we undergo what
 is rightly perceived as the alchemical process of dissolution. Dissolution of what? Of the
 lumpen prima materia of the ego. This is the shit, the tar, the coal, the dark earth of
 Egypt, the starting material, the loam, the manure, the night soil, the lowest matter.
 And we start with that, the ego, and dissolve it through the intercession of the spirit.
 And spirit is a complicated concept. It's not naive. It's phenomenologically difficult
 to define, but through the dissolving spirit of the plants. And the plants lift the imprisoning
 structures of the ego, and the ego flows out into the world. And for some people, this
 produces panic. Panic comes from the god Pan, whose screams caused people to go mad. Panic.
 For other people, it's an enormous liberation. In any case, it is an influx of material previously
 hidden in the unconscious, laden with symbolic meaning, and eventually not to be sustained
 in this acidic, dissolving, roiling, liquid state. That's part of the process. But then
 eventually to be recombined, coagulation, the recombining, the coagulation, the coming
 together at a higher level, usually through the application of a process analogous to
 heat, but psychic heat, which drives off the dross of false assumptions and false attachments
 and all of you who have been through high dose psychedelic experiences know that it's
 very hard to carry stupid baggage through that keyhole. In fact, you're lucky if you
 just get your soul and yourself through and intact.
 So what we have here, through the psychedelics, among certain marginal populations in the
 20th century, freaks of all sorts in all times and places within the 20th century, a kind
 of almost accidental rediscovery of these alchemical truths. Well, okay, so that's good.
 That's one level. We can do self-directed psychotherapy on ourselves with psychedelic
 substances out of plants and we can use alchemical symbolism to guide this process and that's
 all very interesting. But so what? I mean, what's so great about it?
 Well, I think there's one of the most famous of all alchemical axioms is "as above, so
 below," meaning always that in every small part of reality there is a tiny reflection
 of the great over-structure of reality and in the largest structures are hidden the secrets
 of the smallest and vice versa. We also have rediscovered this principle in the 20th century
 through fractal mathematics. But the psychedelics have brought us back to this alchemical mystery,
 shorn of any vocabulary for dealing with it, shorn of any real living notion of the spirit.
 And so we have sought as far afield as the Tibetan Book of the Dead or Freudianism or
 there have been various efforts to cast the psychedelic experience one way or another.
 The hot one now, of course, is shamanism. And I relate to that because I spend a lot
 of time in the Amazon and with these kinds of people with these kinds of concerns. But
 shamanism and alchemy are a seamless enterprise. Alchemy, the connecting figure, if you're
 interested in this, between the shaman and the alchemist is the smith, the worker of
 metal. And the shaman and the smith in primitive cultures are always associated as brother
 figures. They both work in metals. Well, what all this means for us beyond the commitment
 to our own sort of ordering the wunderkammer of our own private imagination, what it means
 is important because if you look around you, the entire global civilization is undergoing
 some kind of meltdown. The planet itself is now to be seen as a kind of alchemical retort.
 The prima materia to be transformed are the nuclear stockpiles, the toxic waste dumps,
 the industrial wastelands, the populations devoid of hope, the populations at threat
 of infectious and fatal epidemic disease. There is a great deal of prima materia to
 be worked on at the historical level of the alchemical process. Trying to manage this
 rationally with some political ism, fascism, Marxism, capitalism, goes nowhere. It just
 digs us deeper into the mire and the muck. At the fringes, people like yourselves, people
 like myself, people I associate, offer endless solutions. Recycling, restraint in childbearing,
 increased sexual toleration of unusual sexual styles. Many, many things are suggested, but
 nothing happens because the primary agenda of society has not yet been dissolved, has
 not yet come into a state of fluidity sufficient where a new imprint can be put upon it. In
 the 60s, we thought that all that had to happen was everybody would take LSD and the obvious
 right things to do would be done. And we expected no opposition to this because its rightness
 was so obvious. We didn't realize that every righteous crusade in history has marched into
 the waiting jaws of its oppressors. But the spirit doesn't die. It's interesting. I don't
 know how it's said in Europe, but in America, we refer and have always referred to freaks
 as bohemians. And I assumed, you know, you hear about the left bank of Bohemia of Paris
 in the 20s. And then, why Bohemia? What does Bohemia have to do with Paris? Why are freaks
 called bohemians? It's because of Frederick the Elector and the alchemical renaissance
 that he plotted with his wife. Since that time to now, bohemian has meant a marginal
 political position involved with bizarre sexual practices, strange drug use, and funny ideas.
 Well, in the 60s then, LSD was not sufficient. Even coupled with rock and roll, it only brought
 oppression. It was like a failed alchemy. Instead of the dissolving and recrystallizing
 at a higher and more angelic level, thousands of prisons were built and the entire thing
 failed. But this spirit is the spirit, the spirit of life itself, the spirit of novelty
 itself. And it will not be suppressed for long in any time or place. So now again, it
 comes after 30 years, after many changes, and it's among us again. And I assume looking
 at all of you that to some degree you represent this or acted out or -- because it's a spirit
 of dissent that says we will not serve the values of materialism, the values of the ego,
 and the values that separate and break down the community. So here it is again. And what
 is different this time that we might have some greater hope of actually coming through
 to the beginning of the third millennium without having to hang our heads when we tell the
 story to our grandchildren. And I will submit to you this evening that
 the difference between then, 1965 through '70, and now, to the turn of the century,
 two things. First of all, we have that experience under our belt. We shall not be so stupid
 again. The I Ching says never confront evil directly and never name it directly because
 it finds weapons to defend itself. We are not an army. This is what Frederick didn't
 understand. He was a king, but he was not an army when it came to the White Mountain.
 We are not an army. So our strategy must be stealth. It's an alchemical strategy. And
 what do I mean by stealth? I mean the house of constipated reason must be infiltrated
 by art, by dreamers, by vision. And what is new is that there are massive technologies
 available to us, not available in the '60s. They were not designed for us. They were not
 intended for us. It was never, ever thought that such power should flow into the hands
 of freaks such as ourselves. Nevertheless, through the perverse nature of the unfolding
 of the world, we have such tools. And I'm referring, as you probably anticipate, to
 the World Wide Web and the Internet. No gay kid in Montana, no Chinese scholar in Botswana,
 no person anywhere with a specialized interest or predilection now need feel alone. There
 is no aloneness. You can find your people. You know, one of the things Tim Leary said
 in the '60s that I always remembered, but I never heard anybody talk about or ever really
 heard him quote, it was a great rallying cry. It was much better than turn on, tune in,
 drop out. And it was this. It was find the others. Find the others. And then you will
 know what to do. Well, now you can find the others. You don't have to stick a flower in
 your hair and go to San Francisco. You just go to the Web. Find the others. We all need
 to create affinity groups, which are subsets of the much larger community that we're part
 of. And then using this technology, which was designed to keep track of us, to pick
 our pockets, and to sell us junk we don't want, use this technology to produce art,
 massive amounts of subversive art. And all art is subversive. I'm not calling for an
 ideological agenda. All truth which springs from the individual is subversive because,
 and this is a theme of mine that I'm getting more and more into the longer I live, culture
 is not your friend. This is an odd message for the late '90s because we're all being
 told, you know, you knew you were Jewish, but you forgot you're Sicilian grandmother.
 You have to honor all of your family. Romanian, bring it forward, the dances of this, that,
 and the other. I hate all of this stuff. I'm Irish. It's a weird thing to be. It's a haunted,
 twisted people as a people. All peoples, meaning tribes, have horrible stories to tell about
 who they did under and who they screwed over. And when you're asked to identify with your
 culture, you're asked to take this on. I reject it. My brother, years ago, invented this term.
 He called it extra environmental. He said, this is what we want to be. We don't want
 to be Americans or Germans or English. We want to be extra environmentalists. Always
 feel wherever you go that you are a stranger, the outsider, the one looking in. This is
 the viewpoint that makes all places the same to you. There's a wonderful English poet and
 writer, Rudyard Kipling, and he wrote a children's short story called "The Cat Who Walked by
 Himself." And it's a story of how the dog came to the cave of man and would lay at the
 man's feet. But the cat would never come. And when the woman asked the cat why it would
 never come, it said, "I am the cat who walks by himself, and all places are alike to me."
 And I think transcending our cultures is going to be extraordinarily necessary for our survival.
 I don't think we can carry our cultures through the keyhole of the stretch of the next millennium.
 Well, how do you shed your culture? How do you transcend your culture? By digging into
 your soul with the tools that have been given you to make art. This is how cultures are
 transformed. By art which flows up and actually submerges the previous cultural forms. I mean,
 the Baroque gave way to later periods simply out of exhaustion. But notice, a style can
 exhaust itself and still continue as mannerism did out of the Renaissance, for example. And
 when these exhausted styles are allowed to continue, they become toxic. They become more
 abundant. It's like keeping a corpse around the house. There is an obligation to overthrow
 that, to produce the new, to produce the novel. And by the novel I don't mean the literary
 form. I mean all things new. And then it is not the function of the artist to be the critic.
 The winnowing out, the deciding what is good from what is bad comes later. And that's a
 community process. The community decides what is good and bad art. But the individual should
 pour this forth. I mean, this is what you are. You are some kind of a mystery suspended
 between two eternities. And in that moment, when a mind looks out at a world and asks
 the question, what is it? In that moment, art can be created. And it is the only form
 of immortality that I have any certainty of. And it's available to everyone. And at the
 present moment, I make no distinction between art and technique. I mean, to my mind, these
 things are the same thing. A great turning point is in the offing. The world is changing.
 It's changed before, but not for a long time in our lives. Not since before our lives.
 But now it's changing. And there are many, many possibilities. The English biologist
 Dawkins invented the word "meme." Do you all know what a meme is? It's the smallest
 unit of an idea. It's like what a gene is to biology. A meme is to ideology. And so
 our task is to create memes. Madonna is a meme. Catholicism is a meme. Marxism is a
 meme. Yellow sweaters are a meme. Create memes. Rainbow-colored dreadlocks are a meme. Launch
 your meme boldly and see if it will replicate, just like genes replicate and infect and move
 into the organism of society. And believing as I do that society operates on a kind of
 biological economy, then I believe these memes are the key to societal evolution. But unless
 the memes are released to play the game, there's no progress. So I think the obligation on
 people such as ourselves, and I assume probably without exception, everybody in this room
 falls into the upper 5% of the Earth's population in terms of wealth, education, and freedom.
 Even if you're some poor, pierced metalhead from the dark side of manheim, you have a
 better situation than most people on this planet, a better chance at actually reaching
 out toward the machinery that shapes reality and having an impact. So then the question
 becomes for some people, "But I have nothing to say," or, "I have nothing to paint," or,
 "I have nothing to communicate." Well, clearly you're not taking enough drugs then. That
 excuse simply will not be tolerated. And if someone finds that decadent or flippant or
 destructive, then they don't understand what these psychedelic substances are. They open
 the doorway to creativity. They cleanse the doors of perception. And then, as Blake said,
 reality is perceived as it truly is, as infinite. Part of what is wrong with our society, and
 hence with ourselves, is that we consume images. We don't produce them. We need to produce,
 not consume, media. Media is a huge issue. You can't escape it. So what are you going
 to do about it? The only solution is to drive it, to take charge. Otherwise, you will be
 poisoned by it. And as more and more people are waking up to this, essentially we are
 seeing, I think, a huge artistic revolution, a revolution in values that reaches into science,
 that reaches into politics, that reaches into every aspect of life, but that is coming from
 the imagination, thoroughly stimulated and activated by the discovery of all these natural
 and synthetic substances which perturb the mind. And I'm not denying that a certain amount
 of social chaos goes along with this, but on the other hand, I can point to pretty psychedelically
 pure centuries, like the 13th in Europe, and there was still plenty of social chaos going
 on. I don't think you can lay social chaos at the feet of psychedelics. I think social
 chaos is an inimitable part of the system. What psychedelics do is they give a direction
 to that chaos, a dimension of vertical ascent, because inevitably out of the psychedelic
 situation emerges not despair, not self-indulgence, but wild-eyed idealism. That's the inevitable
 product of any psychedelically driven social process. How well that idealistic idea then
 brokers its way to the throne, if it does, is another issue. I don't know if I've hit
 this technological thing hard enough. I hope that you all avail yourselves of the power
 of the Internet. In years past, in speaking to audiences in America, it was maddening
 to me to find that the environmentalists, the feminists, the gays, the psychedelic people,
 and I'm not sure if I got everybody, and the space people, the colonization people, none
 of these people had anything to say to each other. They didn't seem to realize that their
 marginality united them far more than any difference they might perceive in their positions,
 and they didn't seem to realize that their political disempowerment was a product of
 their inability to make common cause with people similarly motivated or similarly motivated
 toward social change. So it's very important to build an inclusive
 community and a community that has a sense of direction, and I think the Internet empowers
 this far more than any other tool that has been handed to us, except psychedelics. And
 if you take psychedelics and the Internet and music and put all of that together, you
 have the basis for a new community that is wider and deeper than you know. The people
 who are building the new machines, who are designing the new circuitry, who are writing
 the new code, are all freaks. I mean, they work for capitalist dogs, of course, because
 we all do. But the creative thrust of these technologies is being driven by people just
 like you and me, and I think this is all tremendously positive. So where am I in all of this?
 Well, I'm getting there. I'm getting there. And then finally, I guess, and I'll just close
 on this, the alchemical return. All culture is some kind of myth. All cultural stories
 then have a psychic dynamic to them, which is not suspected by the civilization as it
 lives these myths. It has to be seen from outside. And there is a consistent myth in,
 let's call it just Western civilization without being too precise, a consistent myth. In the
 early Jews, you get it as the idea that God will enter history. With Christianity, you
 get it with the idea that man and God can be consubstantial. Again, in Islam, the insistence
 that God will enter history. Then modern science, strangely enough, dumps all of this theology,
 but maintains the idea that man can become as a God. In other words, the myth that is
 consistent throughout the entire Western experience is the myth of some kind of defining progressive
 experience. Well, now, we have the power to realize this myth in some kind of, for want
 of a better word, an alchemical utopia. And I think it's very interesting that at this
 very high-tech moment in our adventure, the plants return, the humblest of all biology.
 The plants return and almost stand before us as a beacon and a promise. Have you noticed
 that plants do all their business with dirt and air? This is something we only wish we
 could do. Build an industrial society based on nothing more than the ambient dirt and
 the air flowing past, building sugars and carbohydrates out of gaseous oxygen. I mean,
 this is quite a trick. The plants stand both in the psychedelic sense, but then in the
 larger sense of the vegetable kingdom. They stand for absolute Tao. They stand for the
 correct way for life to relate to its environment, effortlessly recycling, vegetatively propagating
 when necessary, sexually propagating when necessary, immune to pain, patient to the
 tune of centuries, always building up structure, always maintaining a leavening effect upon
 the land. All of these qualities of caregiving and, well, notice, for example, that all the
 processes of biology occur below the boiling point of water. If we could build societies
 that did that, we work in the range of hundreds of degrees, thousands of degrees, fusing metals
 and creating toxicity. So I think the psychedelic plant revolution,
 which is leading toward the nanotechnological revolution, in other words, the imitating
 of nature at the atomic level in building of machines and the management of processes,
 what all of this is leading toward is a rarefaction, a good alchemical word, a rarefaction of the
 human imprint on this planet, a spiritualization of humanity and a new order of mind, part
 machine, part human. Notice that the Internet and the computers that it serves are actually
 made of the materials of the earth. They are largely metals, silicon, glass, copper, gold,
 silver. These are the products of demonic artifice. These are the things which the alchemists
 dreamed of. They transform space and time. They allow us to speak at a distance. They
 allow us to wander through libraries thousands of miles distant. No fact is too obscure.
 No person so hidden that you can't reach them. It is, in a way, the perfection of the magical
 ideal that was developed and, unfortunately, prematurely launched by Frederick the Elector
 and his wife here nearby at Heidelberg. I'm involved, as I said, in a process of bringing
 this story to many people who haven't heard it. It's a great story. It's a great myth
 that the underground community should make its own. I used it this evening just as the
 scaffold for this talk, but I tried to hit the things that are important to me, which
 are psychedelics, recovery of archaic lifestyles, use of media to subvert existing paradigms,
 empowerment of the individual through dissolving the ego through psychedelics, and, oh, I don't
 know, whatever else. So thank you for your patience and indulgence. And if you have any
 questions, I'd be glad to answer them. Anybody or not? No? It was all perfectly clear? All
 is clear, yeah.
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