seen to compete. But as soon as Gysin died, he felt free to pursue painting with a vengeance and now his paintings are more famous than Gysin?s. Although it should be added that he influenced Burroughs tremendously. Psychedelic Continuity In the ?60s we tried to externalize the psychedelic experience. At Harvard we realized the only way that we could express it was though using multi-level sensory overload. We were experimenting with various forms of cellular movement overlaps, in an attempt to duplicate, in a rather feeble way, the visionary trance experience. At a wider level there was acid art. Every dance floor had strobe light shows, or the whole room was made to look like a big bowl of jello. Gysin was very influential in developing what was known as the Dreamachine. A very early wonderfully creative and primitive psychedelic machine. Holes punched in a spinning metal lampshade were presumably meant to put you in an altered state. Strobe lights and sounds intended to match the frequency of your alpha waves. But today, the computer allows a psychedelic simulation closer than anything we had before. Computer generated images such as fractals create an equation from an algorithm. By giving every number a color you produce a recursive and responsive equation. Fractal forms appear comparable to the structure of coast lines or the insides of your digestive tract. The thing about fractals is that any part of it reflects the whole. And that seems to be the way that biological evolution