Art is inextricably tied to man's survival - not to his physical survival, but to that on which his physical survival depends: to the preservation and survival of his consciousness.
...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.
Air Guitar: Essays on Art and Democracy
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...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.
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They might be drugs that alter the states of consciousness, or they might be states of transcendence reached in meditation. They might be moments of orgasm, or fugue states, or day-dreams that take you momentarily to a rewarding fantasy and escape from responsibility. All of these are treasures of the spirit or psyche that allow exploration along paths which are undefined and completely individual.
The concept of country, homeland, dwelling place becomes simplified as "the environment" -- that is, what surrounds us, we have already made a profound division between it an ourselves. We have given up the understanding -- dropped it out of our language and so out of our thought -- that we and our country create one another, depend on one another, are literally part of one another; that our land passes in and out of our bodies just as our bodies pass in and out of our land; that as we and our land are part of one another, so all who are living as neighbors here, human and plant and animal, are part of one another, and so cannot possibly flourish alone; that, therefore, our culture must be our response to our place, our culture and our place are images of each other and inseparable from each other, and so neither can be better than they other.
Art, even the art of fullest scope and widest vision, can never really show us the external world. All that it shows us is our own soul, the one world of which we have any real cognisance. And the soul itself, the soul of each one of us, is to each one of us a mystery. It hides in the dark and broods, and consciousness cannot tell us of its workings. Consciousness, indeed, is quite inadequate to explain the contents of personality. It is Art, and Art only, that reveals us to ourselves.
I like "Julie Gold's song "From a Distance". Her song reminds me of the world as seen through an observer's eye. Seen from a distance, we are people in the same band playing music for everyone. We are artists who play the most beautiful instruments in the world - life.
I do not mean, of course, that we can always accurately express our conscious thoughts with Proustian accuracy. Consciousness overflows language: we perceive vastly more than we can describe.