The mind, like a hand, clenches and holds. The unconscious remembers everything: lessons in unmastered foreign languages, the self as inner ear. In a religious idiom, one would speak of minds knowing themselves in the Christ narrative, toggling between one and many. Were early descriptions of psychedelic experience overdetermined by encounters with Op Art, the contemporaneity of the two no mere coincidence? The answer lies buried in Henri-Georges Clouzot’s Inferno, a film that sought to depict visual and spatial disorientation using “Op Art”-inspired special effects. Voices and sounds prompt projections, the more abstract, the more manipulated the perception, the better. Lead and descant chase each other’s echoes. Op Art at the very least shared with the psychonaut population an interest in heightened or intensified modes of perception. Sensations of otherworldly motion, vibration, topological warping. Reality displays itself in some new way, allowing apprehension of something beautiful and bewilderingly complex. Magic circles convert the mind’s eye into a portal connecting distinct ontological realms, from which we catch brief impressions — until, like vapors, these realms disperse.