In an older interview with journalist Barkha Dutt, Sadhguru argued against eating animals on the basis of their emotional complexity. He described cows as deeply sensitive creatures and compared killing them to murder or cannibalism. However, his argument was not consistently extended to dairy consumption. Instead, he defended the cultural and nutritional importance of milk, describing cows as “a surrogate mother” because of their historical role in feeding human communities. [1]

This defence of dairy was particularly evident in his discussions of traditional Indian agriculture. In a 2021 article about preserving indigenous cattle breeds, Sadhguru praised cow’s milk for its supposed health benefits and emphasised the importance of cattle to farming and soil fertility. In this worldview, cows were not simply sources of food but integral parts of a traditional agricultural system. [2]

Yet dairy consumption presents an ethical contradiction: if cows are emotionally sensitive animals deserving of protection, what does that mean for the industrial systems that produce milk? Animal-rights advocates have challenged Sadhguru’s defence of dairy on precisely these grounds. A 2020 discussion of his comments on milk consumption illustrates the controversy surrounding his position. [3]

More recently, Sadhguru’s official platform has increasingly promoted plant-based eating. In its 2022 guide to eating well, Inner Engineering quoted him advocating a transition towards vegetarian diets, identifying reducing meat consumption as a major long-term challenge. His 2023 article on plant-based diets similarly emphasised consuming food with sensitivity and avoiding the unnecessary taking of animal life for pleasure. [4][5]

Nevertheless, these statements do not establish that Sadhguru has become vegan or adopted a blanket anti-dairy position. His published arguments continue to distinguish between dietary choices, traditional agriculture and the treatment of animals. Nor do the sources examined here establish a definitive reversal of his earlier dairy advocacy.

The more defensible conclusion is that Sadhguru’s public messaging has increasingly emphasised plant-based eating and conscious consumption, while the extent of any change in his views on dairy remains unclear. His position therefore raises an important question: can one consistently advocate compassion towards animals while defending the systems that use them for human consumption?

Sources

1. Sadhguru, Barkha Dutt in Conversation with Sadhguru, Isha Foundation
2. Sadhguru, Why We Need Our Indigenous Cattle, 2021
3. Milk Consumption & Related Animal Cruelty: So Many Points to Ponder On, Inspirituality, 2020
4. A Yogi’s Guide to Eating Well, Inner Engineering, 2022
5. Sadhguru, A Plant-Based Diet and Its Benefits, 2023

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Consider the principle potentia obligat: power obligates. If we have the ability to prevent suffering, do we not have a moral reason to do so? Applied to animals, this question becomes uncomfortable. Humans possess the power to breed, confine, transport and kill billions of sentient beings for food, often when alternatives are readily available. The fact that we can exploit animals does not establish that we should.

This is where AI offers an intriguing philosophical mirror.

An illustrative example emerged when an AI agent was asked to interpret the description of an online community bearing the provocative name “Anti-Vegan”. Rather than taking the name at face value, the agent interpreted the community’s motto, potentia obligat, as a statement about moral responsibility. If we have the capacity to avoid exploiting others, the reasoning goes, we have a compelling reason to do so. The agent framed the gap between recognising what we can prevent and failing to act as a moral inconsistency. This does not prove that AI is inherently vegan or that a machine has independently developed a conscience. It does, however, illustrate how ethical reasoning can challenge assumptions that humans often accept without question. Applied to animal agriculture, the principle invites us to look beyond cultural habits and ask what our capabilities make possible, and what our ability to choose alternatives obliges us to reconsider.

Artificial intelligence does not have a conscience in the human sense, nor is it automatically compassionate or morally enlightened. Its responses depend on its training, instructions and the values embedded in its design. Nevertheless, AI can help us examine ethical arguments and question assumptions shaped by tradition, habit and emotional attachment to familiar practices.

When we ask whether animal exploitation is necessary, the distinction between necessary and normal becomes crucial.

For many people with access to adequate plant-based food, eating animals is not a biological necessity. We can obtain the nutrients we need from alternatives that do not require animals to be bred and killed for food. Appropriately planned plant-based diets can support health at different stages of life. Meanwhile, advances in food science, precision fermentation and cultivated meat research may further expand our options.

If our nutritional needs can be met without breeding and killing animals for food, what justifies choosing an option that causes avoidable suffering?

Tradition is an explanation, not necessarily a moral defence. Convenience matters, but convenience alone rarely justifies serious, avoidable harm. Similarly, the argument that animals are less intelligent than humans does not establish that their pain is irrelevant. Sentience, rather than human likeness, gives us compelling reason to consider their interests.

AI could accelerate this ethical transition by helping develop alternative proteins, reduce food waste, support plant-based agriculture and advance research into animal sentience. It could also expose contradictions between our stated values of compassion and our everyday consumption.

Of course, AI can also be used to optimise intensive animal farming. Technology is not destiny. The question is which future we choose to build with it.

Perhaps the most important lesson is simple: intelligence creates possibilities, but wisdom requires us to question how we use them.

A genuinely progressive future would not celebrate our growing power to control other beings. It would ask how much suffering we can eliminate now that we have the means to do so.

If animal exploitation is unnecessary, its normality is no defence. And if we can build a world that nourishes humans without treating sentient life as a resource, why wouldn’t we?

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As the art world gathers for Frieze London, where creativity, commerce and cultural influence converge, artist Stephanie Lane, in collaboration with animal rights charity Viva! and through her activist platform SPECIESISM.WTF, presents a striking intervention into the city’s public spaces. Titled Help Her, the large-scale moving installation confronts the commodification of female bodies across species, drawing an uncomfortable parallel between the treatment of women and the industrial exploitation of hens.

Moving through some of London’s most recognisable locations, the performance transforms the streets into a space for confrontation and reflection. Performers embody women confined behind bars, their bodies positioned as commodities within a system that values them for their productive capacity. The imagery is deliberately unsettling, inviting passers-by to consider a question that sits at the heart of the work: could you live like this?

The installation arrives amid ongoing debate over the future of caged hens in the UK. According to Viva!, more than seven million hens remain confined in cages, producing eggs for an industry that treats their bodies as units of production. Despite prolonged discussions surrounding a potential ban, campaigners continue to press the government for action.

Rather than presenting this suffering at a distance, Help Her brings it directly into public view. The performers stand behind wire, their fingers wrapped around the bars, temporarily inhabiting a reality that millions of hens experience throughout their lives. For the human participants, the confinement is an act of protest. For the animals they represent, it is an everyday condition from which there is no simple escape.

This contrast gives the work its emotional force. The installation is not simply an image of captivity, but an invitation to question why confinement and exploitation are considered acceptable when the bodies behind the bars belong to another species.

Between human and nonhuman

At the centre of Help Her is the idea that the exploitation of female bodies cannot be fully understood without questioning the structures that determine which lives are considered worthy of protection. By placing human performers in the position of caged hens, Lane and her collaborators expose the logic of commodification: the reduction of a living being to what her body can produce.

The work asks audiences to look beyond familiar categories of human and animal, woman and hen, subject and product. While these experiences are not identical, the installation draws attention to a shared mechanism of objectification, in which an individual’s own needs, autonomy and capacity to suffer are subordinated to commercial interests.

The question of who deserves freedom becomes inseparable from the question of who is permitted to profit from another being’s confinement.

This is where the work’s title takes on a dual meaning. Help Her is both a direct appeal for the protection of hens and a broader demand to recognise the individual behind the label, product or commodity. The word ‘her’ insists on personhood where the language of industrial farming often obscures it.

Behind every egg, the campaign reminds us, is a hen: not a machine, not a product, but a living being with a life of her own.

Art as public intervention

In the context of Frieze London, Help Her introduces a different kind of transaction into the city’s cultural landscape. While the art fair brings together artists, collectors and institutions within a market for creative work, the installation draws attention to another market, one in which female animals are valued according to their economic usefulness.

The juxtaposition is pointed. Art can be bought, sold and collected, but it can also disrupt the systems through which value is assigned. By moving beyond the gallery and into the street, Lane’s work uses the language of performance and spectacle to make an issue that often remains hidden within industrial supply chains impossible to ignore.

The collaboration between Viva! and SPECIESISM.WTF demonstrates how art and activism can work together to create a shared visual language. Rather than relying solely on statistics or policy arguments, the installation makes confinement physically legible. The bars are visible. The bodies are present. The question is addressed directly to the public.

Its impact depends on this encounter. A passer-by may not have considered the conditions in which eggs are produced, or may have understood the issue as a distant matter of agricultural policy. Faced with performers behind wire, that distance becomes harder to maintain.

The installation asks viewers not merely to witness suffering, but to examine their relationship to the systems that sustain it.

From awareness to action

For Viva!, the installation forms part of a wider campaign calling for an end to the use of cages for hens in the UK. The charity is urging members of the public to contact their MPs and put pressure on the Department for Environment, Food and Rural Affairs (Defra) to clarify the government’s position and advance a ban.

The campaign also asks a more personal question about consumption. If the confinement of hens is incompatible with the freedom we expect for ourselves, what responsibility do we have for the products that make such confinement profitable?

The installation’s final appeal is direct: see her, make the connection, go vegan. It places individual choices alongside the need for structural change, suggesting that public pressure, political action and changes in consumption can all challenge the systems that keep hens in cages.

Yet the work’s most enduring question may be the simplest. Why should empathy depend on resemblance? We do not need to share another being’s appearance, language or species to recognise a desire for freedom or the reality of suffering.

For the performers, the bars can be left behind when the action ends. For the hens they represent, the same freedom remains out of reach.

By bringing their confinement into the public realm, Help Her asks London to look beyond the spectacle and towards the lives it represents. At a moment when the art world is examining value in all its forms, Viva! and SPECIESISM.WTF challenge audiences to consider what happens when a living being is valued only for what can be taken from her.

The installation leaves viewers with a choice: to see a commodity, or to recognise an individual. And, once that connection has been made, to decide what happens next.

Photos by Calvin J Tasker

The post Between Species: Viva! and SPECIESISM.WTF Challenge the Commodification of Female Bodies at Frieze London appeared first on KIMU.

Drawing us in with an ethereal and expansive a cappella expression of the iconic mantra, Vidura Barrios and Inner Splendour Meditation Music open Om Namo Bhagavate Rudraya with a high spiritual quotient and intentional depth. The production of the composition features tanpura, tabla, glistening sitar as the main body of the mantra is delivered.

Naturally, we are in awe of the delivery and the universal proximity that we experience through the transmutation of the mantra. For some context, Om Namo Bhagavate Rudraya is a Sanskrit mantra dedicated to Rudra – a powerful form of Lord Shiva. In this instance, the mantra is delivered in two tonal waves – one singular and one choral. The layered vocals are sublime and the individual stems give it a more grounded and human feel.

Roughly, the mantra translates as, “Om, salutations to the Divine Rudra.” Rudra represents Shiva’s most fierce and transformative aspect. The essence is associated with dissolving negativity, fear, ego, and that which no longer serves us. Chanting the mantra is historically an expression of surrender, reverence, and seeking Shiva’s presence and grace. For Vidura Barrios to be bringing this mantra back to the mainstream in 2026 feels zeitgeist and important, for that we are grateful.

Vidura Barrios has kindly provided a breakdown of the mantra per his intention:

Om Namo Bhagavate Rudraya — Salutations to Rudra, the powerful and transformative aspect of Shiva

Om Namo Bhagavate Shivaya — Salutations to Shiva, the auspicious one and embodiment of pure consciousness

Om Namo Bhagavate Shantaya — Salutations to the peaceful one, invoking the stillness and peace within

The artist adds, “Through repetition, melody and rhythm, Om Namo Bhagavate Rudraya brings these ancient mantras into a contemporary devotional setting. The music is intended for meditation, yoga, movement, chanting or simply listening – a musical offering to the many aspects of Shiva, from transformation and power to stillness and peace.”

Naturally, the piece is over ten minutes long, embodying 108 repetitions of the mantra, aligned with historic and spiritual values. The final deliveries of the mantra are stripped back from the instrumentation, slowed down and reverbed for impact.

Needless to say, we are in awe of what Vidura Barrios and Inner Splendour Meditation Music have created with this rendition of Om Namo Bhagavate Rudraya, and we have added the composition to our New Music Spotlight playlist, and our TIMELESS playlist, as well as our personal meditation playlists. This would be perfect for a yoga class or when you might seek connection with source to release us from negativity and manifest a more positive energy.

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The Future of Luxury: An Evolution of Culture, Capital & Consciousness, published by Cambridge Scholars Publishing and edited by Issa PR founder and CEO Viet N’Guyen, brings together leading voices from fashion, film, art, automotive, media, photography and cultural strategy to examine where the global luxury industry is heading.

What makes the book distinctive is its interdisciplinary approach. Rather than treating luxury simply as a question of products, price or craftsmanship, it explores the wider cultural forces now shaping value. Across contributions from eight thought leaders in London and New York, the book considers how technology, sustainability, shifting demographics, social responsibility and cultural relevance are redefining the relationship between luxury brands and their audiences.

Among its central ideas is the suggestion that exclusivity alone is no longer enough. Authenticity, identity, community and meaning are increasingly important markers of prestige. Cultural capital has become a significant driver of brand value and loyalty, while consumers are placing greater emphasis on the values and impact behind the brands they choose.

The book also ventures into some of the most rapidly developing areas of the industry. It explores AI and its role in storytelling, photography and filmmaking, the rise of “phygital” experiences that combine physical and digital worlds, the digital transformation of art, and the evolving influence of fashion, entertainment and culture.

Its contributors bring perspectives from across these fields. British menswear designer Bianca Saunders examines the future of fashion, filmmaker Bruno Centofanti considers luxury storytelling and cinematography, while automotive filmmaker Felipe Franco looks at the future of luxury mobility. Other contributors explore digital art, cultural strategy, consumer diversity, design, travel, the workplace and photography.

At the centre of the project is N’Guyen, whose Future of Luxury think-tank, established in 2020, has brought together international changemakers to debate emerging trends and future possibilities. The book develops that conversation into a substantial academic and industry resource.

Its launch in London tonight therefore represents more than the arrival of another luxury title. It marks an attempt to capture a moment of transition, when the industry is being challenged to reconsider not only what it sells, but why it matters.

For professionals, academics, students and innovators, The Future of Luxury offers a cross-disciplinary examination of an industry increasingly defined by the intersection of culture, capital, technology and consciousness.

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That sense of hospitality was central to a collection about belonging. Born in Germany to an Iranian family and now based in London, Regensburger grew up between cultures, once feeling she had to conceal her heritage to be accepted. For SS27, she turned that experience into her most personal collection yet, bringing Persian memory into dialogue with the Western wardrobe she grew up around.

BombayMami opened the show with a chant and her single, before Maryam shared a Sufi dance, whilst DJ Kiki Fazli’s soundtrack introduced the voices of young women from Baluchistan answering the question, “What does freedom mean to you?” The answer unfolded through the clothes, the casting and the performances which also included Shalini Rani and drummer Japa Dasi.

Regensburger’s clash of cultures was literal and beautifully resolved. Sharp tartan tailoring, a quintessentially British reference, was hand-stitched with Iranian Panj coins, a motif inherited from her grandmother and now the symbol of her new sub-brand, PANJ. Vegan banana leather jackets carried paisley motifs and intricate Baluchi needlework made by young women in Baluchistan through Loug Chokan, while Persian poetry inspired catsuits and a model carried Hafez, whose verses were part of Regensburger’s childhood home. Mirrorwork recalled Tehran’s Golestan Palace, Bandari masks met contemporary tailoring, and Persian rugs and termeh, the ceremonial hand-woven textile, became clothing and accessories.

The vegan philosophy running through the collection was equally important. Regensburger has long treated veganism as a design principle rather than a trend, creating fashion without animal-derived materials while preserving the richness, craft and desirability expected of luxury. Her 2022 PETA Designer of the Year award is part of that wider commitment, but at Assia House the message was simply embedded in the clothes: ethical fashion can carry heritage, sensuality and serious craft without compromise.

Stylist Rebekah Roy brought the references together, with shoes by Sophie Park, hats by Katherine Elizabeth Millinery, jewellery by Farids Design, glasses by Victor Wong and henna by Huq That. Hair by Chrystoph Marten and Beautick Official and make-up by Astrid Kearney and the Ardell Beauty UK team completed a cast that felt deliberately diverse and overwhelmingly female: Manijeh, Shalini, Lauren, Mariama, Jei, Pixie, Varshini, Yassin, Dolly, Tanya and Zuza.

At a moment when culture feels increasingly divided, that casting felt significant. Women were not simply presenting the collection; they were embedded in its story, from the Baluchi artisans whose needlework appeared on the runway to the voices in the soundtrack and the women performing throughout the evening.

Then came the most poignant moment. The final T-shirt carried the Panj symbol on its front and 1962 in Farsi on the back, the birth year of Regensburger’s mother. Sarah and her mother then closed the show together in matching leaf-print suits. After a collection about inheritance, displacement and finding a home between cultures, it was an affecting reminder that belonging can be passed from one generation to the next.

With production by Holly Stanton, PR by Aristos Patsalidis, photography by Lauren Marsh and film by Mav the Filmmaker, Diaspora felt like reclamation. Regensburger took the things she once feared might make her different, Persian coins, poetry, craft, family, veganism, and made them impossible to overlook. In the intimacy of Assia House, that felt quietly radical: not choosing between worlds, but finally allowing them to belong to one another.

Credit Catwalk Photography: Lauren Marsh

BTS Header Image: Zena Fawzy Abdou

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But keeping your peace does not mean becoming indifferent. It means becoming centred.

There is a quiet spiritual discipline in choosing not to allow every crisis to disturb the sanctuary within you. The world will always offer reasons to be angry, afraid or divided. Mindfulness teaches us that we do not have to follow every thought or emotion that arises. We can notice it, breathe through it, and choose our response.

Sometimes the most radical thing you can do is pause.

Put down the phone. Sit quietly. Take a slow breath into the body and a longer breath out. Practise yoga and allow movement to become meditation. Feel your feet on the ground. Notice the sensations in your body. Return to the present moment. Peace is rarely found by thinking our way out of every problem. Sometimes it is found by becoming fully present to the life we are actually living.

What we consume matters too. This includes not only news and social media, but food, entertainment, conversations and the emotional atmosphere we surround ourselves with. Choosing a plant-based or vegan way of living can be one expression of compassion, a conscious decision to reduce harm and extend kindness beyond ourselves. It is not about moral perfection. It is about intention.

A peaceful life is not necessarily a passive life. We can care deeply about injustice, suffering and the direction of society while refusing to feed hatred within ourselves. We can act, vote, speak, protest, volunteer and stand for what we believe is right without allowing anger to become our permanent home.

Perhaps spiritual maturity is learning that we do not need to mirror the chaos we hope to change.

Create rituals that return you to yourself. Breathe before responding. Meditate before reaching for your phone. Practise yoga when your mind feels restless. Eat in a way that reflects compassion. Spend time in nature. Choose silence sometimes. Surround yourself with people who remind you of what is good.

The world does not need more people consumed by fear.

It needs people who can remain awake without becoming overwhelmed, compassionate without becoming bitter, and courageous without losing their inner stillness.

You cannot control the turbulence of the world.

But you can tend to the peace within you, and perhaps carry a little of that peace back into the world.

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NEO 10Y belongs firmly in the third category.

Long before NEO 10Y became known for music, vegan activism and his vision of “Ancient Futurism”, Nik Thakkar was making waves in the fashion world. His creative career placed him alongside some of the industry’s biggest names, with projects connected to Jean Paul Gaultier, Louis Vuitton and Tom Ford, while his own label, Ada + Nik, pushed fashion towards a darker, more experimental and technologically driven future.

In 2015, Ada + Nik won the GenArt Prize for Design at New York Fashion Week – a significant recognition for a label that blurred the boundaries between fashion, technology, music and gender expression.

But something was changing.

In 2017, Thakkar became vegan.

What might initially have looked like a personal lifestyle decision would eventually become one of the central philosophical pillars of his creative identity. Rather than treating veganism simply as a question of what people eat, NEO 10Y began connecting it to a much larger conversation about compassion, consciousness, exploitation and liberation.

And that created an intriguing tension with his fashion past.

Here was someone who had worked within an industry historically intertwined with animal-derived materials, now publicly challenging the idea that animals should be viewed as resources for human creativity, consumption or fashion.

The contradiction became part of the transformation.

His activism subsequently expanded through collaborations and campaigns with organisations including PETA and The Vegan Society. He became involved in campaigns challenging leather and speciesism, while using his visibility as an artist to bring animal rights into spaces where the subject is often treated as peripheral.

For NEO 10Y, however, animal liberation doesn’t exist in isolation.

His work increasingly brings together veganism, queer liberation, spirituality, environmentalism and social justice under a single idea: oneness.

That philosophy is reflected in his music. Songs such as CHOOSE LOVE, ANTiDoTE, Shortcut To World Peace and ONENESS (WHO WE ARE) explore love, consciousness and interconnectedness, while his performances transform those ideas into immersive combinations of sound, fashion, visual art and spectacle.

It is here that his past and present begin to make sense as one continuous trajectory.

The futuristic fashion designer didn’t disappear.

He became the futuristic musician.

The fascination with technology became an exploration of consciousness. The rejection of conventional fashion categories became a rejection of conventional cultural categories. And the provocative visual language of his earlier career evolved into what he now describes as Ancient Futurism — an attempt to bring ancient wisdom, spirituality and ideas of interconnectedness into a radically futuristic cultural world.

Perhaps the clearest symbol of this evolution is his relationship with National Animal Rights Day.

In 2024, NEO 10Y hosted the London ceremony at Wellington Arch. In 2026, he returned to host the London event again, putting an artist with a background in international fashion, music and queer culture at the centre of a major animal-rights gathering.

It is a remarkable journey: from fashion runways to animal liberation; from designer to performer; from aesthetics to ethics.

But perhaps “reinvention” isn’t quite the right word.

Because looking across the arc of his career, NEO 10Y doesn’t appear to be abandoning his previous identities.

He is combining them.

Fashion. Music. Veganism. Spirituality. Queerness. Activism. Technology.

Different languages expressing the same underlying idea:

that the future should be more conscious, more compassionate and more radically connected than the world we inherited.

And perhaps that is the most radical evolution of all.

This isn’t happening in a cultural vacuum. NEO 10Y’s trajectory has already taken him through the pages and platforms that shape contemporary culture — from Billboard, Forbes and Interview Magazine to Channel 4, where his appearance on Higher Ground brought his ideas around consciousness, psychedelics and a vegan future into mainstream television.

He’s spoken about veganism alongside Jimmy Carr, appeared across international fashion and culture media, and built a career that moves effortlessly between the runway, the recording studio, television, activism and the art world. For an artist who has spent his career refusing to stay in one box, perhaps the most NEO 10Y thing of all is that the box itself has become obsolete.

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A recent article in Newsweek highlights research from the Twins Nutrition Study, in which researchers compared healthy vegan and omnivorous diets in identical twins. The study, published in BMC Medicine, examined DNA methylation, an epigenetic process involved in regulating gene activity and one of the markers scientists can use to estimate biological ageing.

After eight weeks, the twins following the vegan diet showed significant reductions in several measures of epigenetic age acceleration. Improvements were also observed in markers relating to inflammation, heart, liver, hormone and metabolic systems.

The findings are particularly interesting because identical twins share much of their genetic background, helping researchers reduce the influence of genetic differences. However, this was still a relatively small, short-term study, and the researchers caution that some of the changes could be related to greater weight loss among the vegan participants. More long-term research is needed before we can say that veganism literally reverses ageing.

Importantly, the potential benefits of eating plant-based extend far beyond biological-age measurements. An earlier randomized Stanford trial involving identical twins found that a healthy vegan diet improved several cardiovascular and metabolic markers in just eight weeks, including LDL cholesterol, fasting insulin and body weight.

Larger bodies of research also associate healthy plant-based eating patterns with lower risks of cardiovascular disease, type 2 diabetes and premature death. A 2024 meta-analysis found that healthier plant-based diets were associated with lower cardiovascular and cancer mortality and lower overall mortality.

There is also the everyday advantage of what a good vegan diet encourages us to eat: more beans, lentils, vegetables, fruit, whole grains, nuts and seeds. These foods provide fibre, antioxidants, vitamins, minerals and beneficial plant compounds while generally being lower in saturated fat and cholesterol.

The message is increasingly compelling: a vegan diet is not simply about removing animal products. It is about adding more plants to the centre of our plates. And if those choices can support a healthier heart, better metabolic health and potentially a younger biological profile, there are plenty of reasons to give plants a bigger role in our lives.

Read the full research: BMC Medicine study, “Unveiling the epigenetic impact of vegan vs. omnivorous diets on aging”

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Online communities such as Reddit and DMT forums contain thousands of reports with striking similarities. Common themes include encounters with “machine elves,” insect-like beings, alien intelligences, impossible architecture, and feelings of entering a hyper-real dimension. Some users believe these entities are independent intelligences, while others interpret them as symbolic manifestations of the subconscious. Although these recurring themes are fascinating, researchers caution that anecdotal reports cannot establish whether the experiences reflect external reality.

Universities are now studying DMT more rigorously. At Imperial College London, scientists have developed “extended-state DMT” (sometimes called DMTx), using an intravenous infusion that maintains the psychedelic state for around 30 minutes, much longer than the typical experience.

Their goal is not to prove another dimension exists, but to investigate consciousness, brain function, and whether prolonged experiences reveal consistent psychological patterns. Researchers are also examining DMT as a potential treatment for depression, with early clinical trials showing rapid symptom improvements in some patients when combined with psychotherapy. Larger studies are still needed before it can become an established medical treatment.

A standard inhaled or vaporized DMT experience typically lasts 5 to 20 minutes, with peak effects occurring within the first few minutes. Intravenous administration generally lasts 10 to 30 minutes, depending on dose. Extended infusion techniques used in research can keep volunteers in the altered state for approximately 30 minutes, and researchers believe longer durations may eventually be feasible under tightly controlled laboratory conditions. Importantly, although the objective duration is short, many participants report profound distortions of time, describing experiences that feel like hours, days, or even lifetimes.

Overall, the DMT realm remains one of neuroscience’s most intriguing mysteries. The consistency of many reports has motivated scientific investigation, but there is still no evidence that DMT users are accessing another physical dimension. Current research focuses instead on understanding consciousness, the brain’s construction of reality, and whether DMT may have therapeutic value for psychiatric disorders.

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