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Notes
1 Reconstructed text from Listening to my father's records in my mother's voice (26 January 2013), performed at Artstage 2013: The Experimental Art Stage, curated by Lee Weng Choy, Singapore. A 45-minute performance with single-channel projection and 78 rpm records of Edward R. Murrow's RCA recordings, ‘I can hear it now’. Years later I realized that others had also experienced the phenomenon of monocular vision, when I read Ralph Waldo Emerson's transcendentalist essay, Nature. Yet, some of the most salient details of the experience of monocular vision have been lost in Emerson's translation of a haptic experience into verbal language and his own philosophical positioning of the experience as emblematic of transcendentalism. This has resulted in Emerson's description being interpreted by most readers as a metonym for transcendentalist ideology, rather than a generative experience of cerebral cortex disintegration and desegregation in the absence of rich club hub filtering.
2 She only appeared once in the book on page 57, asking Aldous questions about schizophrenia and the Tibetan Book of the Dead when he was under the influence, and is referred to as ‘my wife’.
3 Baudelaire was in turn inspired by and responding to Thomas De Quincey's 1821 ‘Confessions of an English Opium-Eater, Being an Extract from the Life of a Scholar’.
4 I was assured, accurately or not, by a Santo Daime event leader from Brazil that their wild ayahuasca is harvested for rituals only once per eight-year interval. He also claimed that for every vine they take, they plant another. He said that his group is cognizant of sustainability, but he knows that some other groups are not. As economic pressures and global consumption increase, it is inevitable that wild plants will disappear and cultivated farms will replace primary and secondary growth rainforest. Corruption and domain battles are inevitable. The issue of sustainability and ecology was left off the agenda of a recent psychedelic conference in Amsterdam. Virtually no time was devoted to the topic, either by the organizers or paper presenters and it remains a blind spot in the development of this field of research.
5 Ader was not the only one ‘falling’ in the early 1970s. On the other side of the globe, with decidedly less care for his wellbeing, Tehching Hsieh jumped once out of a second-storey window in Taipei, with no mattress or water to break his fall. He broke both ankles and hobbled off to find a traditional healer who set the ankles, but not perfectly, causing him pain since. Hsieh entitled the work Jump (1973).
6 The filmmaker Rene Daalder in his film biography of Ader, Here is Always Somewhere Else (2008) compiled ‘falls’ paralleling Ader's or inspired by his acts by other artists: Joanna Billing 2001, Rodney Graham 1997, Friedrich Kunath 2000, Gavin Maitland 2007, Monsier Moo 2003, Pipilotti Rist 1998, Hege Dons Samset 2004, Fernando Sanchez 2006, Marco Schuler 2002, 2003, Corine Stubi 2005, Fiona Tan 1997, 1998, 2002, Joel Tauber Tsui Kuang-Yu 2001, Guido Van Der Werve 2005. To this list we should add Seiji Shimoda's table actions since the 1980s and Wen Yau 2010. Two of Daalder's examplars preceded Ader's: Richard Serra in 1969 and Gino De Dominicis in 1969.
7 After several years of falling experiments, Ader did a public reading of a 1972 story he had found in Reader's Digest, ‘The Boy Who Fell Over Niagara Falls’, about a boy who fell out of a boat while with his family, went over the falls and survived. The story emphasized the pull of the water on the boat and the boy's body (Dumbadze Citation2013: 66ff).