Art, Aesthetic

A genuine artistic talent of extraordinary power and scope may emerge during the LSD
procedure.

A succession of object-stimuli might be used to lead the subject beyond the aesthetic
appreciation of the thing to meaningful examination of his own life.

Artistic and scientific insight requires a touch of the same kind of loose thinking or
craziness that is found in altered states of consciousness.

Brilliant minds, some of the world’s leading scientists and artists, engaged in discovering
these drugs and applying them to a whole range of things.

Cellular flow. You are swept down the tunnels and canals of your own waterworks,
visions of microscopic processes, the fantastic artistry of internal factories. (eyes closed)

Creativity is often associated with psychosis, alienation and delinquency, the flaky artist,
the mad scientist, even Einstein as lovable, absent-minded clown.

For thousands of years, the greatest artists, poets, philosophers and lovers have used
consciousness-expanding substances.

Frequently, individuals who did not show any artistic inclinations at all prior to the LSD
experience can create extraordinary pictures. (That’s once they had the LSD experience.)

In psychedelic therapy, there is great emphasis on aesthetically rich settings and a
beautiful environment.

In sessions where the emphasis is on aesthetic experiences and artistic expression, LSD
subjects are primarily interested in changed perceptions of forms, colors and sounds.

Knowing who in fact one is, being conscious of the universal and impersonal life that
lives itself through each of us—that’s the art of living.

Leary and Alpert say they shouldn’t be considered drugs at all, but should be classed with
poetry, music, literature and art.

LSD has been said to be capable of inspiring artists to new heights of originality and
productivity.

Most art springs from intense inner experiences. Passionate religious feelings, for
instance, has inspired artists to produce their most deeply felt and moving works.

Most of the art in the collections of psychedelic therapists comes from subjects who were
not professional artists, but had LSD sessions for therapeutic, didactic or other purposes.

Music, dancing, rhythm—all these are art forms which have no goal other than
themselves.

Our moral image of God is lacking is Beauty and Beauty’s handmaidens—joy, laughter
and in its sublimest sense, playfulness, a virtue which is at the very root of creative art.

Persons who take drugs on their own are most interested in aesthetic and mystical
experiences.

Plato and St. Thomas Aquinas maintained that pure bright colors were the very essences
of artistic beauty.

Psychedelic drugs enhance creativity, providing solutions to artistic and intellectual
problems through new combinations of ideas and feelings (and perceptions).

Psychedelics provide opportunities for mystical insight in much the same way that well-
prepared paints and brushes provide opportunities for fine painting.

The almost magical power exercised by certain works of art springs from the fact that
they remind us consciously or more often, unconsciously, of that Other World.

The beauty and mystery, the gaiety and exuberance which we see in nature and art exist
supremely and perfectly in God.

The Chinese have more than a hundred words expressing nuances of aesthetic experience
for which we have absolutely no equivalents.

The day of the LSD experience often became a dramatic and easily discernable landmark
in the development of individual artists.

The experiences they produce are of an infinite variety. They might be aesthetic,
psychological, philosophical insights or emotional releases.

The glory and wonder of pure existence belong to another order, beyond the power of
even the highest art to express.

The historic role of states of consciousness in the humanities, arts, and sciences is
neglected in current education.

The irrepressibly boisterous spirit of Tim (Leary) bequeathed to us the exhortation to be
sacred clowns who evolve into social change artists of compassionate rascalry.

The literature on creativity clearly indicates that true artistic, scientific, philosophical and
religious inspiration is mediated by nonordinary states of consciousness.

The processes of nature are like the arts of music and dancing, which unfold themselves
without aiming at future destinations.

The products of the goldsmith’s art, this sacred jewelry, have their place at the very heart
of every Mystery, in every holy of holies.

The psychedelic experience can become a source of revelatory, aesthetic, scientific,
philosophical or spiritual insight.

The psychedelic style involves a revolution in our concepts of art and creativity, the new
music, the new poetry, the new visual art, the new film.

The unique perception of color and forms, as well as the overwhelming influence of
music, frequently mediate a new understanding of art and artistic movement.

There can be direct, aesthetic acquaintance with the world as beauty or with the world’s
unity.

There is no question that altered states of consciousness can heighten aesthetic
sensitivity.

These artists seemed like explorers or big game hunters venturing into very strange
territory and bringing back alive what they had seen.

These heroic figures of man’s visionary experiences have appeared in the religious art of
every culture. (The heroic figures are seen with the eyes closed.)

These perceptions are permanent—any deep aesthetic experience leaves a trace, and an
idea of what to look for that can be checked back later.

Totalitarian states know that the artist is not a harmless eccentric but one who, under the
guise of irrelevance, creates and reveals a new reality.

Unquestionably this drug is very useful to the artist, activating trains of association that
would otherwise be inaccessible.

Visionary experience plays a dominant role in the creative process in art, literature and
science.

We have lost the art of playing with our life, the joy has gone out of it. Existence has
become an affair of deadly serious.

We must learn how to be mentally silent, must cultivate the art of pure receptivity,
wordless experiencing.

What art was available to the great knowers of Suchness? They probably paid little
attention to art if their mind can see the All in every “this”.

When the ego is dispelled, there is insight, the perception of a whole new pattern of
relationships comparable to scientific or artistic discovery.

A deeper understanding of the transformative process, based on the synthesis of
historical, anthropological and experimental data, could have important implications for
many different areas, including psychiatry, art, philosophy, religion and education.

A good experience with the drugs heightens and intensifies all experience and just as one
can enjoy music and art during the experience with a new and deeper appreciation, so one
can do the same with sex—it can be a beautiful experience under the drug.

A number of architects have added to the extensive evidence for the drug’s use as an
instrument for enhancing perception, for training in visualization. They report that visual
and auditory acuity are revolutionized.

A number of patients in psychotherapy could begin to paint after having been given the
drug. Most of them had not previously done any painting at all, and yet the quality of the
work was far above average for the ordinary beginning art student.

Aesthetic responses are greatly heightened, colors seem more intense, textures richer,
contours sharpened, music more emotionally profound, the spatial arrangements of
objects more meaningful.

Amorphous surfaces, textures of objects and spots on the floor or walls can be seen as
fantastic animals, grotesque faces or exotic scenery. The optical side of aesthetic LSD
sessions can be so overwhelming and rich that it has been described as “orgies of vision.”

Art and religion, philosophy and science, morals and politics—these are the instruments
by means of which men have tried to discover a coherence in the flux of events, to
impose an order on the chaos of experience.

Artistic and literary folks respond ecstatically and wisely to drug experience. They tell us
this is what they have been looking for: new, intense, direct confrontation with the world
about them.

Colors are unusually bright and explosive, color contrasts much stronger than usual and
the world can be perceived in a way characterized by various movements in modern art,
such as impressionism, cubism, surrealism or superrealism.

For many professional artists as well as laymen, the LSD session represented a profound
aesthetic experience that gave them a new understanding of modern art movements and
art in general.

For the perception of art, particularly music, it is not infrequent that as a result of
psychedelic experiences, nonmusical persons develop vivid interest in music and others
discover entirely new ways of experiencing it.

Hallucinogens could lead to deepened understanding of religious and mystical content
and to a new and fresh experience of the great works of art. (Actually, with LSD,
whatever you look at becomes a great work of art, even if it’s dust or garbage.)

I believed the time would come when each person would be in continuous contact with
the beauty, the great capacity for love, the musical and artistic talents, the spiritual
richness and all the other wealth which now lay untapped deep within himself.

In our society, the artist is a kind of harmless clown who can get away with a private life
that would be scandalous for a priest or a professor. (The artist is no clown. If anything,
it’s the priest and the professor who are clowns.)

It doesn’t concern me that young people are taking time out from the educational and
occupational assembly lines to experiment with consciousness, to dabble with new forms
of experience and artistic expression. (That was Timothy Leary.)

Marvels of creativity occur as this material emerges. It is an entirely uncontrolled self-
creativity: perfect art, without any artist. (The eyes are closed and you see these fantastic
images which you are somehow creating without knowing how it’s possible.)

Psychedelic research will be of great value in such diverse areas as philosophy,
parapsychology and the creative arts and in the study of literature, mythology,
anthropology, comparative religion and still other fields.

Raptures about “transcendental experiences” often focus on the visual splendors and lofty
insights into the meaning of existence and the universe and the increase in aesthetic
sensitivity.

The human psyche has access to images and motifs that are truly universal. They can be
found in the mythology, folklore, and art of cultures distributed not only across the globe
but also throughout the history of humanity.

The most beautiful emotion we can experience is the mystical. It is the source of all true
art and science. He to whom this emotion is a stranger is as good as dead. (That was
Albert Einstein. That’s right, Albert Einstein.)

The psychedelic experience tends to bring the subject into intimate contact with nature
and dramatically enhances his or her sensory perception of the world and an encounter
with nature at its best can become an aesthetic and spiritual experience of lasting value.

This new psychedelic style has produced not only a new rhythm in modern music, but a
new decor for our discotheques, a new form of film making, a new kinetic visual art, a
new literature and has begun to revise our philosophic and psychological thinking.

Adventurous painters and musicians discovered that LSD was a catalyst, an impetus to
startling new rearrangements of vision, to a bubbling, ecstatic, seemingly inexhaustible
pool of images and ideas, to a new-old kind of harmony between the artist and the
medium.

All the arts, though they speak about us in our relationship to the immediate experience,
at the same time, tell us something about the nature of the world, about the mysterious
forces which we feel to be around us and about the cosmic order of which we seem to
have glimpses.

Drug experiences, like all novel experiences, can provide themes and material for the
artists’ imagination to work on. And it has also been suggested that psychedelic drug
experiences can subtly affect the faculty of insight, providing original solutions to artistic
and intellectual problems through new combinations of ideas and feelings.

Flowers, leaves, grass, trees are seen with tremendous vividness—“with the intensity that
Van Goth must have seen them” is an often-used description. They seem to pulse and
breathe; in fact, even everyday, fixed objects around the room may take on “flowing,”
“waving” shapes, as if invested with some life force of their own.

It does help you to look at the world in a new way. And you come to understand very
clearly the way that certain specially gifted people have seen the world. You are actually
introduced into the kind of world that Van Goth or Blake lived in. You begin to have a
direct experience of this kind of world while you’re under the drug.

It is highly desirable that each guide possess a broad background especially including
knowledge of history, literature, philosophy, mythology, art and religion. Materials from
all of these fields and from others, emerge in many of the sessions and the guide must
recognize the materials if he is to be of maximum effectiveness.

Just as photographic chemicals bring to light the picture already imprinted on the film,
the psychedelic chemicals have introduced many people to an appreciation of music, a
capacity for art or a sensitivity to poetry that was there but which they never dreamed
they had.

Many transpersonal experiences have a strong influence on the individual’s values,
attitudes and interests. Thus, experiences of the collective and racial unconscious can
generate a sensitivity to the needs and problems of another culture and create a deep
appreciation for its religion, art and life philosophy.

Religious art has always and everywhere made use of vision-inducing materials. The
shrines of gold, the jeweled symbol or image, the glittering furniture of the alter—we find
these things in contemporary Europe as in ancient Egypt, in India and China as among
Greeks, the Incas, the Aztecs.

The ancient and pre-industrial societies have held non-ordinary states of consciousness in
high esteem and used them for a variety of purposes—diagnosing and healing diseases,
ritual, spiritual, and religious activity, cultivation of extrasensory perception and artistic
inspiration.

The consensus among the architects interviewed seems to be that LSD, when
administered under carefully controlled conditions, does enhance creativity to the extent
that it vastly speeds up problem-solving, aids in visualizing three-dimensionality and
generally heightens perceptivity.

The historic role of states of consciousness in the humanities, arts, and sciences is
neglected in current education. A truly liberal education should teach students about this
part of themselves and our civilizations, and should also give them rudimentary
experience with selected states and their resident capacities.

The individual seems to gain access to a value system that is not understandable in terms
of his or her own early history or cultural norms. It entails a sense of compassion,
tolerance, basic justice and aesthetic appreciation that has a transpersonal or even cosmic
quality.

The perception of the environment can be changed in a way that bears a striking
resemblance to the pictures of famous Cubist painters. The fantasy process is usually
considerably enhanced and contributes an important creative element to these perceptual
changes.

There is no accepted corner in our lives for the art of pure nonsense. There is no protected
situation in which we can really let ourselves go. Our difficulty is that we have perverted
the Sabbath into a day for laying on rationality and listening to sermons instead of letting
off steam.

This richness of gem-like qualities, which is found in the Visionary World, does explain
many very strange facts about certain types of art and many facts about the curious,
uniform quality of religious traditions, folklore traditions, traditions of the nature of the
Golden Age and After Life, which are found all over the world.

Weren’t the sixties, in retrospect, a decade of romance, splendor, optimism, idealism,
individual courage, high aspirations, aesthetic innovation, spiritual wonder, exploration,
and search? Weren’t we happier about each other and more optimistic when the high
times were rolling? (That was Timothy Leary.)

Altered states of consciousness enrich man’s experiences in many areas of life. The
intense aesthetic experience gained while absorbed in some majestic scene, a work of art,
or music may broaden man’s subjective experiences and serve as a source of creative
inspiration. There are also numerous instances of sudden illumination, creative insights,
and problem solving occurring while man has lapsed into altered states of consciousness.

Detailed study of psychedelic phenomena would require a long-term systematic team
cooperation of experts from diverse disciplines, such as psychology, psychiatry,
neurophysiology, neuropharmacology, ethno-botany, modern physics, zoology, ethology,
genetics, internal medicine, obstetrics and gynecology, anthropology, history of art,
theology, philosophy and comparative study of religion and mythology.

Exploration of the potential of these substances for the study of schizophrenia, for
didactic purposes, for a deeper understanding of art and religion, for personality
diagnostics and the therapy of emotional disorders and for altering the experience of
dying has been my major professional interest throughout these years and has consumed
most of the time I have spent in psychiatric research. (That was Stanislav Grof.)

Harvard—Over 400 “subjects” shared high-dosage psychedelic experiences with the
researchers in an atmosphere of aesthetic precision, philosophic inquiry, inner search,
self-confident dignity, intellectual openness, philosophic courage and high humor. The
historical impact of this “swarm” of influential scholars has not yet been recognized by
the still-timid press, popular or scientific. (That was Timothy Leary.)

I doubt whether artists will have much power to shape public policy on psychedelics, but
I also doubt whether illegality will ever dissuade artists from exploring all sources of
stimulation and inspiration. I hope to see a day when artists, and indeed anyone else who
wishes to explore all the possibilities of mental experience, will have the legal option to
use substances having such power and promise.

In sessions where the main objective is to have a religious or spiritual experience, there is
a definite tendency to deemphasize or ignore descriptive aspects, psychopathological
phenomena and traumatic personal material. The aesthetic elements are considered
important, but the major focus is on the supraindividual, transpersonal and
transcendental. To a great extent, this is also characteristic of psychedelic therapy.

Leary was joined by assistant professor Richard Alpert, a hearty band of graduate
students, and a constant stream of many of the leading intellectuals and artists of that
time. Leary and his team employed new methods in psychological research by using
themselves as subjects, reporting directly the drugs’ effects on their own minds.
Sometimes they would take psilocybin with their students. This was unheard of.

Normal waking consciousness may be replaced by aesthetic consciousness and the world
will be perceived in all its unimaginable beauty, all the blazing intensity of its
“thereness.” And aesthetic consciousness may modulate into visionary consciousness.
Thanks to yet another kind of seeing, the world will now reveal itself as not only
unimaginably beautiful, but also fathomlessly mysterious.

One may enter one’s visions and seem to be walking through gardens, art museums,
medieval castles, futuristic cities, etc. Archetypal imagery may appear, and one thus finds
oneself encountering mythological characters such as angels, demons, dragons, and
Grecian gods. On the boundary of mystical consciousness, it is not uncommon for
Christians to encounter an image intuitively identified as the Christ.

Previously almost-depressed individuals typically emerge from a successfully integrated
LSD session with elevated mood, joyful appreciation of existence, enhanced self-esteem
and self-acceptance and greater capacity for meaningful human relation-ships. Their
inner life is enriched, they are more open and they show an increased appreciation of
beauty in nature and art.

Psychedelic drugs had an amazing potential, not only as aids to psychotherapy but in
such areas as prisoner rehabilitation, personal growth and individual freedom,
interpersonal community structures, improved human relations, creativity, art and
entertainment, education, religion and philosophy, politics and sociology, experimental
behavioral science, to mention just a few of the practical applications we had pursued.

Sensory perceptions become especially brilliant and intense. Normally unnoticed aspects
of the environment capture the attention; ordinary objects are seen as if for the first time
and acquire new depth of significance. Aesthetic responses are greatly heightened; colors
seem more intense, textures richer, contours sharpened, music more emotionally
profound, the spatial arrangements of objects more meaningful.

Specialists from various disciplines have asked me for specific details of my
observations, because they felt that these data may have important implications for such
diverse areas as personality theory, psychology of religion, psychotherapy, genetics,
psychology and psychopathology of art, anthropology, the study of mythology,
education, psychosomatic medicine and obstetric practice. (That was Stanislav Grof.)

The experience of cosmic consciousness provides important insights for deepening our
understanding of the highest forms of creativity. The literature on creativity is filled with
examples of extraordinary artistic, scientific, philosophical, and religious inspiration that
came from a transpersonal source and that occurred in non-ordinary states of
consciousness.

The individual is flooded by light of supernatural beauty and experiences a state of divine
epiphany. He or she has a deep sense of emotional, intellectual and spiritual liberation
and gains access to breathtaking realms of cosmic inspiration and insight. This type of
experience is clearly responsible for great achievements in the history of humanity in the
area of science, art, religion and philosophy.

The ordinary world was erased, it was expanded, enlivened and made infinitely more
interesting. For example, I became totally engrossed in contemplating the fascinating
edges of weaving around edges and radiating out from them. The telephone was a
veritable marvel of diamond studded, gem-encrusted, crystalline sculpture, yet itself also
moving, breathing, changing, as if it were alive.

The reduction of ideational barriers by LSD permits certain kinds of creative activity. A
direct connection exists between the ability to experience prelogical, primitive-archaic
thinking and artistic creativity. (This writer, Sidney Cohen, was wrong to use the term
“primitive-archaic thinking”. The thinking of the ego is what’s primitive and archaic, not
what’s beyond the ego.)

The work of many artists—painters, musicians, writers and poets—who participated in
LSD experimentation in various countries of the world has been deeply influenced by
their psychedelic experiences. Most of them found access to deep sources of inspiration
in their unconscious mind, experienced a striking enhancement and unleashing of fantasy
and reached extraordinary vitality, originality and freedom of artistic expression.

We were convinced that drug effects were almost entirely determined by what people
around the tripper did. If the environment radiated safety, beauty, wisdom, then even
neurotic subjects would have experiences that were safe, aesthetic and revelatory. The
theory held that all “bad trips” could be converted to “good trips” if the environment was
intelligently managed to provide support. (That was Timothy Leary.)

Altered states of consciousness can heighten aesthetic sensitivity.
Artists sought the experience as a means of expanding their vision.
Childlikeness is the ideal of the sage and the artist.
Drugs can be said to promote the creation of art.
His art was inspired by the visions he saw on LSD.
It provokes a more sensual or aesthetic kind of concentration.
More and more it seems that the ordering of nature is an art akin to music.
Music can assume a previously inconceivable emotional and aesthetic intensity.
One subject of Janiger claimed that a single acid trip was equal to four years in art school.
Psychedelic art is expressive of an inner rhythm like that of music.
Psychedelic experiences can play an important role in the creative development of artists.
Sexual relations are religious, social, metaphysical and artistic.
The artist may enter this world in search of new inspiration and improved perception.
The drug became popular among artists as a source of inspiration.
The experience has greatly improved my appreciation for art, music.
The historian is basically an artist, selecting things from the past to fit a pattern.
The man of deep spiritual wisdom, like the artist is looked at as irrelevant to this society.
The unconscious is the source of creativeness, art, love, humor, play.
There is need of a proper study of original thinking and artistic creativity under LSD.
We have given little serious consideration to the aesthetic aspect of our image of God.

It transports me, it makes me see with eyes that transfigure a work of art into something
else, something beyond art.

I have a warm inner feeling of great creativity. I feel that I am outstripping Michelangelo
and da Vinci combined. (No artist can come close to what you see with your eyes closed,
during an LSD trip.)

A painter discovered the identity of the image which had been eluding him from his
paintings.

All the fine distinctions between logic, metaphysics, ethics and aesthetics seemed to be
such nonsense.

An architect on LSD figured out the design for an arts and crafts shopping center. He
caught the essence of the image.

Emotionally, aesthetically and religiously, the experience was the most intense,
impressive and valuable day I have ever experienced.

I was looking at a painting and projected images into it, all seen in vivid photographic
reality.

In addition to widening my spiritual and aesthetic horizons, psychedelic drugs affected
my feelings about my self.

It occurred to me that the importance of music was, like art, its power to convey
emotions.

Many LSD subjects reported unusual aesthetic experiences and insights into the nature of
the creative process; they frequently developed a new understanding of art.

My sensitivity to beauty was significantly increased and I perceived aesthetic qualities in
most all of the objects that surrounded me, even in the walls of the room itself.

The LSD session helped them gain deep insights into the world of painters, empathize
with them and understand their art.

I had a great awareness of life, truth, and God. I went to church and suddenly all parts of
the service made sense. My senses were sharpened. I became fascinated by the little
insignificant things around me. There was an additional awareness of the world that
would do artists, architects, and painters good.

The most extraordinary event happened. Quite suddenly the room, a dingy office in an
old college building, resembled a cathedral of enormous size and beauty. The colors of
the furnishings were incredibly beautiful, full of deep texture and hues I had never seem
before. Small objects around the office were magnificent works of art.

I was looking at my furniture as the pure aesthetic whose concern is only with forms and
their relationships with the field of vision or the picture space. But, as I looked, this
purely aesthetic, Cubist’s-eye view gave place to what I can only describe as the
sacramental vision of reality. I was in a world where everything shone with the Inner
Light and was infinite in its significance.

Now I could hear, as if for the first time, the depth of the wisdom in their teachings and in
the mystical doctrines of all ages and all cultures. As I sought for words to express my
own ineffable experience I gained a new appreciation for those individuals who had
attempted to communicate their own insights in writing or art. I also became interested in
understanding intuitive ways of knowing.

Instead of looking at a painting, I was climbing into it, almost through it.

LSD gave access to aesthetic, poetic, transcendental or mystical awareness.

My aesthetic sensibilities were profoundly enhanced.

a wave of psychedelic painters whose work reflected dimensions accessible only to the
turned-on eye

energy, fun, religious revelation, sexual enhancement, aesthetic kick, ecstasy, accelerated
learning

evaluative judgment based primarily, not on outside standards or prejudices, but on one’s
own feelings, intuition, aesthetic sensibility, sense of satisfaction in self-expression, etc.

experiential confrontation with artistic creations of high aesthetic value—visions of
beautiful temples, sculptures or paintings (eyes closed)

great moments of rapture, bliss and ecstasy, flashes of beauty, love, sexual experience,
perfection, awe, aesthetic or creative wonder or insight

mapping uncharted zones of the human psyche, to resurrect a lost art or a lost knowledge
or a lost consciousness, said Ginsberg

profound aesthetic imagery—Objects in the room may suddenly become transformed into
works of considerable beauty and artistic value.

real worlds revealed when the mode of consciousness has been changed from the
utilitarian to the aesthetic or spiritual

re-examination of values and purpose, enhanced aesthetic appreciation, gaining a new
perspective

the ancient underground society of alchemists, artists, mystics, alienated visionaries,
dropouts and the disenchanted young, the sons arising

the beauty and color, artists are trying to get it all down on canvas, the way it glows and
throbs and lives

the cultivation of the inner life in response to the hunger for expression of the nonrational
aspects of the psyche, new forms of music, art, poetry, dance, mysticism

use drugs to intensify our aesthetic, sensual, emotional, intellectual and spiritual
perspectives (eyes closed)

a deep unconscious association between oceanic ecstasy and the experiences of natural
beauty, inspired artistic creations, spiritual feelings and highly satisfactory human
relationships

image after image after image, flowing in succession more rapid than I would have
wished, but all exquisitely detailed and with colors richer and more brilliant than those
either nature or the artist has yet managed to create (eyes closed)

participation in cellular flow, visions of microscopic processes, strange undulating multi-
colored tissue patterns, being a one-celled organism floating down arterial waterways,
being part of the fantastic artistry of internal factories (eyes closed)

psychedelic art—trying to express something in a non-conceptual highly figurative and
often emotive way, through symbols which may themselves be magical—the power to
turn us on

the art of abandoning all conceptions of how one should feel in order to discover how one
actually does feel—to get down to pure experience, free from all prejudices and
preconceptions of what it is “supposed to be”

the significance of visionary experience, this manner of comprehending the world—in
cultural history, in the creation of myths, in the origin of religions and in the creative
process of which works of art arise

greater spontaneity of emotional expression, reduction in depression and anxiety, less
distance in interpersonal relations, more openness to experience, increased aesthetic
appreciation, deeper sense of meaning and purpose in life, and an enhanced sense of unity
with nature and humanity

a profound aesthetic experience contemplating a bowl of cherry jello
aesthetic appreciation
aesthetic, emotional, psychological, physiological and biochemical effects of music
aesthetic experience very beautiful and inspiring
aesthetic experiences on philosophical issues
aesthetic, philosophic and interpersonal enlightenments
aesthetic realms of experience
aesthetic revelations
aesthetic sensory beauty
aesthetic transcendental experience and imagery
aesthetic visionary and mystical consciousness
aesthetic-erotic
an increased aesthetic appreciation of color, form, texture and sound
ancient painting of an obviously psychedelic religious feeling
art-related insights
awareness of the aesthetic aspects of the world
“Beyond theology: the science and art of Godmanship”
can enhance appreciation of art and music
direct aesthetic sensation
heightened perception and aesthetic awareness
intensification of aesthetic experience
opens up vistas of natural satisfaction and aesthetic revelation
surrounded by the most beautiful creations of Art
the aesthetic dimensions of the fast-moving kaleidoscopic visions (eyes closed)
the art of letting the mind alone
the art of turning sexual ecstasy into mystic mind-expansion
the artistic splendor of the world
the effects on the release of creative potential in artists, writers and musicians
the extraordinary beauty of the aesthetic sequences
the feeling of intensified appreciation of works of art
the love of wisdom, in the spirit of the artist
the magic of noble forms and colors artfully blended
the most profoundly consuming aesthetic experience I have ever had
the “psychedelic artist”
the revolutionary aesthetic consciousness I sought in order to become an artist
the richness of aesthetic experience
the sense of awestruck discovery psychedelic artists tried to communicate
the wisdom of the world’s oldest religion and healing art, shamanism
visionary art
vivid aesthetic perceptions