A Quote by Georges Bataille
By inner experience I understand that which one usually calls mystical experience: the states of ecstasy, of rapture, at least of meditated emotion. But I am thinking less of confessional experience, to which one has had to adhere up to now, that of an experience laid bare, free of ties, even of an origin, of any confession whatever. This is why I don't like the word mystical.
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Visionary experience is not the same as mystical experience. Mystical experience is beyond the realm of opposites. Visionary experience is still within that realm. Heaven entails hell, and 'going to heaven' is no more liberation than is the descent into horror. Heaven is merely a vantage point from which the divine Ground can be more clearly seen than on the level of ordinary individual experience.
My feeling is that writing is, for me, a pathological condition. That could sound like a mystical experience, and it may be a mystical experience, but I have learnt just to go with it.
Poetic experience is distinct in nature from mystical experience. Because poetry emanates from the free creativity of the spirit,it is from the very start oriented toward expression, and terminates in a word proffered, it wants to speak; whereas mystical because it emanates from the deepest longing of the spirit bent on knowing, tends of itself toward silence and internal fruition. Poetic experience is busy with the created world and the enigmatic and innumerable relations of existents with one another, not with the Principle of Being.
The religions are the buildings or the institutions, the groups, but inside of that is what moves, is what's alive, is the beating heart of spirituality, and really, the heart's blood is the mystical experience. Not airy fairy vague mystical experience, but transformative, intimate experience that really touches your heart with love, and not just sex.
Spirituality is an inner fire, a mystical sustenance that feeds our souls. The mystical journey drives us into ourselves, to a sacred flame at our center. The purpose of the religious experience is to develop the eyes by which we see this inner flame, and our capacity to live its mystery. In its presence, we are warmed and ignited. When too far from the blaze, we are cold and spiritually lifeless. We are less than human without that heat. Our connection to God is life itself.
That authentic experience that happens both in the artist and in the audience you can classify as a mystical experience. You can classify it as aesthetic shock, or even a psychedelic experience. Some people seek to recreate that experience through drugs. But the other way that you can do it is through art, and through spectacle. We have those experiences when we go to rock shows, or when we listen to a piece of classical music, or read a particular poem, or see a painting.
The characteristic property of hallucinogens, to suspend the boundaries between the experiencing self and the outer world in an ecstatic, emotional experience, makes it posible with their help, and after suitable internal and external perparation, to evoke a mystical experience according to plan, so to speak. I see the true importance of LSD in the possibility of providing material aid to meditation aimed at the mystical experience of a deeper, comprehensive reality. Such a use accords entirely with the essence and working character of LSD as a sacred drug.
Fundamental ideas are not a consequence of experience, but a result of the particular constitution and activity of the mind, which is independent of all experience in its origin, though constantly combined with experience in its exercise.
When I was 17, I had an experience that I later learned could be called a 'mystical experience.' It was almost violent. No faces, voices, nothing like that. It is like the world burst and flamed into life all around me. That is not a great image, but it is as good as I will ever do.
The artistic experience, at its highest, was actually a natural analogue of mystical experience. It produced a kind of intuitive of perception.
It is through an "intimate cessation of all intellectual operations" that the mind is laid bare. If nor, discourse maintains it in its little complacency. ... The difference between inner experience and philosophy resides principally in this: that in experience, ... what counts is no longer the statement of wind, but the wind.
Not even the visionary or mystical experience ever lasts very long. It is for art to capture that experience, to offer it to, in the case of literature, its readers; to be, for a secular, materialist culture, some sort of replacement for what the love of god offers in the world of faith.
It's my belief that one of the unconscious reasons which underlies the odd attitude of the establishment toward hallucinogens is the fact that they bring the mystery to the surface as an individual experience. In other words, you do not understand the psychedelic experience by getting a report from Time magazine or even the Economist. You only understand the psychedelic experience by having it.
The artist has some internal experience that produces a poem, a painting, a piece of music. Spectators submit themselves to the work, which generates an inner experience for them. But historically it's a very new, not to mention vulgar, idea that the spectator's experience should be identical to, or even have anything to do with, the artist's. That idea comes from an over-industrialized society which has learned to distrust magic.
There are moments of oneness with the Beloved, absolutely ecstasy and bliss. That is nothingness. And this nothingness loves you, responds to you, fulfills you utterly and yet there is nothing there. You flow out like a river without diminishing. This is the great mystical experience, the great ecstasy.
When we hold to the core, the opposite sides are the same if they are seen from the center of the moving circle. I do not experience; I am experience. I am not the subject of experience; I am that experience. I am awareness. Nothing else can be I or can exist.
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