In the literature related to the powerful entheogen dimethyltriptamine (DMT), it is often reported that individuals claim to have had encounters with what they perceived as non-human entities during their DMT experiences. Descriptions related to these powerful visionary experiences range from what some describe as insect-like forms and machine-like intelligences, to what some describe as conscious entities associated with intricate geometries.

For years, many researchers have regarded these reports purely as hallucinations generated by the human brain while under the influence of the psychedelic compound. However, past studies have never directly tested whether these reported entities could represent something other than internally generated hallucinations.

Now, a recent preprint paper outlines a path toward testing this assumption experimentally.

A collaborative team from the Trace Institute and the nonprofit Noonautics has released a preprint titled Traces of the Other –Are DMT Entities Real? DMT Phenomenology in the Framework of Conscious Realism. The study presents a mathematical framework for understanding the human psychedelic experience and outlines experiments designed to test its primary hypothesis.

The research was led by Professor Emeritus Donald Hoffman, founder of the Trace Institute, and Dr. Andrew Gallimore, a neurobiologist and pharmacologist at the Okinawa Institute of Science and Technology and head of Noonautics. The preprint is currently awaiting peer review.

A Problem With a Default Answer

According to some figures, as many as 45% of the individuals who take a sufficient dose of DMT report experiences involving non-human beings. People describe these entities as intelligent and autonomous, and report similar experiences across different cultures and backgrounds.

Typical hallucinations tend to draw on material from memory, such as familiar faces, animals, or places. By contrast, encounters with other humans appear in less than 5% of DMT encounters.

The authors of the new preprint study argue that these reports are difficult to reconcile with conventional accounts of pure hallucination and that the consistency of reports regardless of culture, location, belief systems, and other factors warrants deeper investigation. 

A Framework Built on Conscious Realism

The project draws on Hoffman’s theory of conscious realism, which proposes that interacting conscious agents fundamentally constitute reality. In this framework, the physical world as humans perceive it functions more like a user interface than a direct view of objective reality. According to this theory, conscious agents of varying levels of complexity may exist beyond what humans normally perceive and go unnoticed in everyday life.

The researchers propose that DMT changes the perceptual interface, allowing consciousness to access regions where normal perceptual constraints are absent. In these regions, it may be possible to detect traces of other conscious agents. Hoffman says the project “will provide a new framework for exploring the effects of psychoactive substances such as DMT on the structure and function of spacetime.”

The Protocol That Makes Testing Possible

Testing these ideas has become possible due to past work involving technical development by Gallimore and researcher Rick Strassman. Typically, a DMT experience lasts only three to five minutes, which is not long enough for structured experiments. The extended-state DMT protocol, called DMTx, uses a controlled intravenous infusion to maintain a stable experience for up to an hour, allowing researchers to adjust the dosage as required.

That controllable window makes experimentation possible. “With a theoretical foundation for the highly unusual state of consciousness induced by DMT, we can test these theories experimentally,” Gallimore says.

Experiments Built to Fail

The proposed experiments are designed so that if the external-agent hypothesis is incorrect, the results will be negative. In one protocol, a computer in a sealed room randomly displays either blue or yellow, and a subject under DMTx attempts to learn the hidden color by interacting with an entity. Another experiment involves two isolated subjects under DMTx who try to transmit a random word to each other through a shared entity, a process that would be difficult to explain solely in terms of internal brain mechanisms.

The researchers acknowledge several limitations. Cooperation from entities cannot be guaranteed, results depend on subjective reports, and expectation bias is difficult to rule out. The preprint continues to treat the hallucination model as the default explanation for these entities. What distinguishes this work is that the hypothesis is now formulated in a way that allows for experimental testing.

“This collaboration is a first step to a mathematics of altered states of consciousness and, ultimately, for engineering our perceptual interface to expand our view of reality,” Gallimore says.

Hoffman and Gallimore will discuss the research publicly on Saturday, June 13, 2026, at the Lighthouse Campus at the historic Venice Beach Post Office in Los Angeles, with video to follow on YouTube.

Austin Burgess is a writer and researcher with a background in sales, marketing, and data analytics. He holds an MBA, a Bachelor of Science in Business Administration, and a data analytics certification. His work focuses on breaking scientific developments, with an emphasis on emerging biology, cognitive neuroscience, and archaeological discoveries.

A small Greek island on the eastern edge of the Mediterranean has revealed a new species inside a man-made tunnel carved into a hillside.

During a survey of Kastellorizo in the Dodecanese, researchers found a previously unknown cave cricket inhabiting an artificial underground passage on Mount Vigla. The species, described in the Journal of Orthoptera Research, is part of the genus Dolichopoda. These cave-dwelling crickets occur throughout southern Europe and the eastern Mediterranean, and often form distinct species when populations become isolated in separate underground habitats.

These cave-dwelling crickets  throughout southern Europe and the eastern Mediterranean and often form distinct species when populations become isolated in separate underground habitats.

The team named the species Dolichopoda balrogi after the Balrog, the ancient fire-demon who resided beneath the mountains in the Mines of Moria in J.R.R. Tolkien’s The Lord of the Rings. In Tolkien’s story, the Balrog remained hidden underground until disturbed by the Dwarves.

An Island With No Caves

Kastellorizo covers about nine square kilometers, making it one of the smallest inhabited islands in Greece. The island is actually located closer to the Turkish coast than to the Greek mainland. The landscape also lacks any accessible natural caves. The only underground environment available for survey was a single man-made tunnel, which explains why the cricket remained undiscovered until now.

Morphological analysis of both male and female specimens showed that D. balrogi has a unique combination of physical features. The structure of the male epiphallus, the shape of the tenth tergite, and the form of the female ovipositor set it apart from other Dolichopoda species.

Molecular analysis confirmed this. DNA barcoding showed that the Kastellorizo population belongs to an evolutionary lineage alongside southwestern Anatolian Dolichopoda species, especially D. sbordonii and D. lycia. However, this is the first time an Anatolian Dolichopoda lineage has been documented within European territory.

A Biogeography Bridge

Kastellorizo’s location already makes it a unique case in the eastern Mediterranean. Although it is officially part of Greece, the island sits just a few kilometers from the Turkish mainland, and its plants and animals reflect this proximity. The discovery of D. balrogi fits this pattern since its closest relatives are not found on other Greek islands but along the coast of Anatolia.

This finding also adds to the evidence that Kastellorizo acts as a biogeographic bridge, hosting species with roots and connections that set them apart from the rest of the Aegean islands.

“These findings remind us that biodiversity discoveries are not limited to remote tropical forests or deep oceans,” added lead researcher Konstantinos Kalaentzis. “Even familiar landscapes and human-made structures can harbour species that have remained unnoticed.”

A Fragile Find

Cave-adapted organisms such as Dolichopoda crickets are particularly vulnerable. Their entire known range may extend only to a single tunnel, cave, or hillside. D. balrogi appears to only exist in this single man-made passage. Construction, flooding, or other disturbances to that habitat could eliminate the species before researchers fully understand it.

The authors note that documenting hidden subterranean fauna is a necessary first step toward protection, and that artificial underground environments should receive more attention as possible refuges for specialized cave-dwelling species.

The Greek islands are among the least studied archipelagos in the Mediterranean in terms of biodiversity. The discovery of a new species with Anatolian evolutionary roots in a single tunnel on a nine-square-kilometer island suggests that the region’s unexplored caves and crevices may harbor many more undiscovered species.

Austin Burgess is a writer and researcher with a background in sales, marketing, and data analytics. He holds an MBA, a Bachelor of Science in Business Administration, and a data analytics certification. His work focuses on breaking scientific developments, with an emphasis on emerging biology, cognitive neuroscience, and archaeological discoveries.

For years, people around the world have reported being disturbed by a low, persistent droning sound of unknown origin.

Often described as more of a vibration than a specific tone, this sound has become widely known as “The Hum,” a phenomenon that is more frequently reported in certain cities and specific areas than others.

Over time, possible explanations have included industrial ventilation systems, military sonar experiments, and, in some online discussions, extraterrestrial signals, although none of these theories are supported by evidence.

However, in a recent study from the Norwegian University of Science and Technology (NTNU), published in PLOS ONE, researchers now offer evidence that, for most people who experience this phenomenon, the source is probably not external, but instead may actually originate within their own auditory system.

From Bristol to Taos and Beyond

Residents of Bristol, England, first widely reported The Hum in the mid-1970s, when the Bristol Evening Post received several reports from people who claimed they experienced hearing a strange, low sound. People initially thought the industrial fans in an area warehouse were responsible, but the hum persisted after the warehouse shut down.

By the 1990s, reports of a similar phenomenon began surfacing in Taos, New Mexico, where residents described a persistent, diesel engine-like rumble. Both state and federal authorities investigated the sound but could not explain it. The Taos Hum became one of the most studied and widely recognized examples of this phenomenon. Since then, similar reports have come from Canada, Australia, New Zealand, South Africa, and several European countries.

As reports grew, people proposed explanations ranging from ocean-generated infrasound to military sonar and CIA transmitters. Some online discussions have even suggested alien technology as a possible cause. In 2012, Canadian teacher Glen MacPherson, who first experienced The Hum on the west coast of British Columbia, created the World Hum Map and Database Project to document cases worldwide. The project has since collected thousands of entries.

Testing Two Hypotheses

To investigate the phenomenon, Professor Markus Drexl at NTNU recruited 28 people in Germany who all reported hearing a persistent, unexplained humming sound. Clinicians refer to this as a low-frequency sound percept, or LFSP. Most participants described the sound as having a frequency around 50 Hz, about the same as a deep mechanical rumble.

The research team tested two main explanations: whether participants had unusually acute sensitivity to low-frequency sound, or whether some were perceiving sounds generated by their own inner ears.

“We know that there are people who hear low-frequency sounds that can actually be measured, even if other people don’t hear them,” Drexl said. “But it’s not so easy to find the source of these sound waves, because it’s a struggle to localize low-frequency sounds.”

What the Ear Produces on Its Own

The cochlea, a spiral-shaped structure in the inner ear that converts sound waves into neural signals, also actively amplifies incoming sounds. This amplification produces faint sounds emitted from the ear, known as spontaneous otoacoustic emissions (SOAEs).

Most people are not aware of these emissions. In rare cases, people perceive SOAEs as tinnitus. Drexl’s team investigated whether people who hear the Hum might be detecting a low-frequency version of this phenomenon.

The results did not support this idea. The team found no low-frequency SOAEs in any participant. The hypothesis of unusually acute low-frequency hearing was also not supported; while a few participants had slightly better low-frequency hearing than average, most did not.

“Even though the group we tested was small, it still means that the hypothesis of having especially good hearing for low-frequency sounds does not hold for most people,” Drexl said.

When the Sound Has No Source

This left a third group: participants who reported hearing something that no external instrument could detect. “Then there are people who hear something that cannot be measured objectively. We believe people in this category have a form of low-frequency tinnitus,” Drexl said.

The Hum differs from typical tinnitus because most people who experience it first believe the sound comes from an external source, sometimes spending years searching for its origin before realizing it is internal. The researchers still have not ruled out external causes completely. In some cases, near industrial sites or coastlines, genuine low-frequency sources may exist. However, researchers identified no external source for most participants in the study.

“Based on our results, although we haven’t ruled out cases of physical external sound sources, we suggest that subjective tinnitus in the low-frequency range is often the cause of hearing pulsations of low-frequency sound perceptions,” Drexl said.

The Blind Spot in Auditory Research

The study also highlights that the low-frequency range of the auditory system remains poorly understood in hearing science.

“What we know about the hearing system is mainly based on how we capture and process sound with higher frequencies. We know less about how the auditory system handles and processes low-frequency sound, or infrasound,” Drexl said.

Although the cause of well-known cases like the Taos Hum remains unresolved, the new findings suggest that many reports of unexplained low-frequency sounds may actually originate from within the auditory system rather than from an external source.

Austin Burgess is a writer and researcher with a background in sales, marketing, and data analytics. He holds an MBA, a Bachelor of Science in Business Administration, and a data analytics certification. His work focuses on breaking scientific developments, with an emphasis on emerging biology, cognitive neuroscience, and archaeological discoveries.

For patients with disorders of consciousness such as coma, vegetative states, or unresponsive wakefulness, clinicians face a longstanding challenge of determining whether any awareness remains. While surface brain recordings can measure general electrical activity, they do not reveal what is happening deep within the brain.

Now, a new study from Ludwig-Maximilians-Universität München may bring clinicians closer to a measurable indicator of brain states in these conditions.

Researchers at LMU have found a new type of electrical rhythm in the central thalamus, a small area deep inside the brain. Published in Nature Human Behaviour, the study suggests that this rhythm could serve as a biological indicator of conscious states.

A Signal That Tracks Awareness

The signal does more than just appear with consciousness. It also changes as the brain moves between different states. For example, the rhythm becomes stronger during REM sleep, which lets researchers see small shifts in awareness even within the same stage of sleep.

“Our results show that the central thalamus plays an important role in regulating brain states,” said Dr. Aditya Chowdhury, lead author of the study. “In the context of existing research, our results show that this small deep-lying brain structure could actively influence our states of consciousness.”

Professor Tobias Staudigl, who led the research team, argues the signal’s consistency makes it more than just an interesting discovery. “These characteristic rhythm patterns can be reliably attributed to specific states and thus have the potential to serve as a measurable biological signature of states of consciousness,” Staudigl said.

Getting Inside the Deepest Part of the Brain

Recording electrical activity from deep brain structures is one of neuroscience’s most persistent technical problems. Standard surface EEG can detect general patterns from the brain’s outer layers, but it misses details from deeper areas. Since the thalamus sits at the center of the brain, it has remained largely inaccessible through non-invasive methods.

The LMU team had a rare chance to study this. Their research involved patients already undergoing deep-brain stimulation therapy for epilepsy, which uses electrodes in the thalamus to help control seizures. These electrodes let the researchers record signals directly from inside the thalamus, something that is almost never possible otherwise.

The team combined these recordings with surface EEG, eye-tracking, and detailed sleep-stage analysis. This approach allowed them to see how thalamic activity changes as patients transition between wakefulness and different sleep stages. Their findings offer the most detailed picture yet of what the thalamus actually does as consciousness changes.

Medical Implications

Disorders of consciousness, like coma, vegetative state, and minimally conscious state, are some of the hardest problems in neurology. One reason is that doctors have lacked reliable biological markers to assess patients’ awareness. The thalamic rhythm found in this study could help solve that problem.

If this signal truly tracks brain states linked to consciousness, it could help doctors evaluate awareness in patients who cannot communicate, guide treatment choices, and monitor how patients respond to care over time. The researchers believe it could also be used to improve deep brain stimulation therapy by allowing doctors to adjust treatment based on real-time thalamic activity rather than general clinical signs.

Staudigl was recently awarded funding by the European Research Council to explore the clinical potential of this discovery and to develop applications for treating neurological disease.

Understanding consciousness has always been one of science’s most difficult challenges. While the study does not answer the fundamental question of what consciousness is, these findings provide a consistent, measurable signal that indicates how the brain moves between conscious and unconscious states.

Austin Burgess is a writer and researcher with a background in sales, marketing, and data analytics. He holds an MBA, a Bachelor of Science in Business Administration, and a data analytics certification. His work focuses on breaking scientific developments, with an emphasis on emerging biology, cognitive neuroscience, and archaeological discoveries.

For more than a century, musicians have maintained that the way a pianist touches a key influences the sound that emerges. Many scientists, however, have argued that after the hammer strikes the string, the instrument itself determines the outcome, making the pianist’s touch irrelevant.

Now, a recent study published in the Proceedings of the National Academy of Sciences provides some of the strongest evidence yet in support of the musicians’ perspective.

A research team led by Dr. Shinichi Furuya of the NeuroPiano Institute and Sony Computer Science Laboratories developed a custom sensor system called HackKey. This system can record the movement of all 88 piano keys at 1,000 frames per second, with a spatial precision of 0.01 millimeters. The team invited 20 internationally recognized pianists to play notes while intentionally aiming for contrasting timbres, such as bright versus dark and light versus heavy. Listeners were able to distinguish among the different timbres, even individuals with no experience playing the piano.

The Movements Behind the Sound

The researchers identified a series of micro-movements beneath each keystroke. These movements are so subtle that they are almost impossible to see, but precise enough for listeners to perceive differences in sound.

Small changes in how quickly a key accelerates, slight overlaps between notes, and variations in the speed of initial contact with the key all influenced how listeners described the resulting sound. When each of these factors was adjusted individually, the perceived timbre changed. Adjusting a single movement feature was enough to reliably change how listeners perceived timbre. The results show that touch has a direct effect on sound, independent of factors such as volume or tempo.

The study describes these micro-movements as a motor skill developed through years of advanced training. The researchers call the emerging science of mapping movement to musical experience “dynaformics.”

A Debate as Old as the Modern Piano

The debate over whether touch can alter piano timbre dates back to at least the early 1900s, when music educators began discussing what distinguishes one performer’s sound from another. The piano’s mechanical action appeared to support the skeptics, since the hammer, once released, moves independently before striking the string and is not directly contacted by the pianist’s finger.

As a result of this mechanical process, many acousticians concluded that any reported differences in tone were psychological, influenced by context, volume, or timing rather than by touch. Musicians maintained their position but did not have the scientific tools to prove it.

To settle this debate, Furuya’s team developed a custom biometric contact-sensing system called HackKey, capable of recording the movement of all 88 piano keys at 1,000 frames per second with sub-millimeter precision. The system captured in-depth piano movement data that previous technology could not. For the first time, researchers could observe the specific actions of elite pianists and relate those movements to listeners’ descriptions of sound.

What It Means Beyond the Concert Hall

Piano teachers have often used general phrases like “play warmer” or “use a softer touch” because the specific movements that create certain sound qualities were not well understood. This study now offers a guide to those movements.

Future training tools may allow students to see precisely what their fingers are doing when a note is played successfully or not. Instead of relying on a teacher’s metaphor, students could compare their own keystrokes to a standard and work to improve their technique. The researchers suggest that this approach could make expressive technique easier to teach and visualize, especially for students who find it difficult to translate verbal instructions into physical actions.

The research may also apply to rehabilitation, robotics, and human-computer interaction. Discovering that small differences in movement can shape auditory perception offers new insight into how the brain links movement and sensory experience. Some researchers are exploring whether systems based on expressive musical movement could help patients recover dexterity and coordination after injury.

Most scientific research on music has focused on elements that are easier to measure, like pitch, loudness, and rhythm. Timbre, or the quality or “color” of a sound that makes one instrument or voice different from another, has been harder to measure. This study offers a new way to understand the mechanics behind this concept. The findings suggest that some of the most expressive parts of music come from movements too small to see, developed through years of practice.

Austin Burgess is a writer and researcher with a background in sales, marketing, and data analytics. He holds an MBA, a Bachelor of Science in Business Administration, and a data analytics certification. His work focuses on breaking scientific developments, with an emphasis on emerging biology, cognitive neuroscience, and archaeological discoveries.