Skip to main content

Aldous Huxley Trips on Acid; Talks About Cats & the Secret of Life (1962)

Dystopia and drugs: these are the two concepts most commonly associated with Aldous Huxley, who wrote Brave New World and, decades later, advocated the mind-expanding possibilities of psychedelic substances. The sociopolitical realities of the 21st century have prompted us to return to and more fully understand what Huxley was trying to tell us with his novelistic vision of a society engineered and automated into total submission. But how many of us really understand his perspective on what the drugs did for his thinking?

Huxley may have written eloquently on the subject, most popularly in 1954's The Doors of Perception, but in the audio clip above we can hear some of that thinking straight from the visionary's mouth. "This is a recording of Aldous Huxley on 100 μg of LSD, made on December 23 1962," writes the uploader, "gonzo philosopher" Jules Evans. "The trip sitter is his wife, Laura Archera Huxley." A trip sitter, for the uninitiated, is like the designated driver of a psychedelic journey, a companion who stays on the ground to look out for the one who gets high. (This same wife would, the following year, take Huxley on his final trip, the one that would take him all the way out of this world.)

Huxley "discusses the secret of life — to be oneself and at the same time 'identical with the divine.' And he wonders about the value of blasting off into the stratosphere, like Timothy Leary." Leary, a fellow champion of psychedelics, began his career as a clinical psychologist at Harvard and ended up dedicating his life to the possibilities of LSD, along the way popularizing the phrase "turn on, tune in, drop out." "Tim is alright," says the tripping Huxley. "He's just sort of... an Irishman, banging around, but I think he's doing a lot of good." But in Huxley's view, Leary also "just wants to be an ass. We all have to be forgiven for something. My God, will you forgive me!"

In just three minutes drawn from a longer recording stored at UCLA's Huxley archive, the writer makes a variety of other observations as well. These include the desire of drug-users to "take holidays from themselves," the value of psychedelic experiences showing people that "they don't have to always live in this completely conditioned way," and the challenge of having to be "completely boxed up in oneself as that cat is" — as he gestures, presumably, toward a household pet — "at the same time one has to be completely identical with God!" LSD has reportedly led some of its users to communion with the divine, but on this trip Huxley settles for trying to commune with the feline. After a brief attempt at speaking the cat's own language, he returns to English to make a broader point about the human and animal condition: "Luckily he doesn't have our problems. But he has his own."

Related Content:

When Aldous Huxley, Dying of Cancer, Left This World Tripping on LSD, Experiencing “the Most Serene, the Most Beautiful Death” (1963)

Aldous Huxley, Psychedelics Enthusiast, Lectures About “the Visionary Experience” at MIT (1962)

Aldous Huxley Tells Mike Wallace What Will Destroy Democracy: Overpopulation, Drugs & Insidious Technology (1958)

When Michel Foucault Tripped on Acid in Death Valley and Called It “The Greatest Experience of My Life” (1975)

How to Use Psychedelic Drugs to Improve Mental Health: Michael Pollan’s New Book, How to Change Your Mind, Makes the Case

Woman Takes LSD in 1956: “I’ve Never Seen Such Infinite Beauty in All My Life,” “I Wish I Could Talk in Technicolor”

The Historic LSD Debate at MIT: Timothy Leary v. Professor Jerome Lettvin (1967)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Aldous Huxley Trips on Acid; Talks About Cats & the Secret of Life (1962) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2ZcgOup
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca