A Quote by Terence McKenna
Certainly the central Platonic idea, which is the idea of the ideas, these archetypal forms which stand outside of time is one which is confirmed by the psychedelic experience.
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There are three creative ideas which, each in its turn, have been central to science. They are the idea of order, the idea of causes, and the idea of chance.
...the French Revolution gave rise to ideas which led beyond the ideas of the entire old world order. The revolutionary movement which began in 1789... gave rise to the communist idea which Babeuf's friend Buonarroti re-introduced in France after the Revolution of 1830. This idea, consistently developed, is the idea of the new world order.
The impossibility of separating the nomenclature of a science from the science itself, is owing to this, that every branch of physical science must consist of three things; the series of facts which are the objects of the science, the ideas which represent these facts, and the words by which these ideas are expressed. Like three impressions of the same seal, the word ought to produce the idea, and the idea to be a picture of the fact.
We sift reality through screens composed of ideas . (And such ideas have their roots in older ideas.) Such idea systems are necessarily limited by language , by the ways we can describe them. That is to say: language cuts the grooves in which our thoughts move. If we seek new validity forms (other laws and other orders) we must step outside language.
I think that what these psychedelics do, is they actually do connect you to the whole circle. You stand outside of the moment from which you embarked on your psychedelic experience, and you see eternity like a vast landscape deployed in front of you. So what I think psychedelics are is they're about time, and they somehow make all time co-present.
I happen to like regionalism, whatever that means. I like the idea of art that somehow specifically reflects some aspect of a community or culture from which was created, the idea of uniform art sounds dreadfully boring and almost fascistic in its implication. So in that sense, I really celebrate the idea of a place that allows for a range of ideas and certainly L.A. does that.
Three elements go to make up an idea. The first is its intrinsic quality as a feeling. The second is the energy with which it affects other ideas, an energy which is infinite in the here-and-nowness of immediate sensation, finite and relative in the recency of the past. The third element is the tendency of an idea to bring along other ideas with 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.
Neither a person nor a nation can exist without some higher idea. And there is only one higher idea on earth, and it is the idea of the immortality of the human soul, for all other "higher" ideas of life by which humans might live derive from that idea alone.
The key to every man is his thought. Sturdy and defying though he look, he has a helm which he obeys, which is the idea after which all his facts are classified. He can only be reformed by showing him a new idea which commands his own.
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 idea of psychedelic societies is something new. And it doesn't necessarily mean that everyone takes the drug. It merely means that the complexity and the mysteriousness of mind are centered in the consciousness of the civilization as the mystery which it comes from and which it must relate to in order to be relevant.
It is not the idea as such which the censor attacks, whether it be heresy or radicalism or obscenity. He attacks the circulation of the idea among the classes which in his judgment are not to be trusted with the idea.
The really good idea is always traceable back quite a long way, often to a not very good idea which sparked off another idea that was only slightly better, which somebody else misunderstood in such a way that they then said something which was really rather interesting.
Regarded in isolation, an idea may be quite insignificant, and venturesome in the extreme, but it may acquire importance from an idea which follows it; perhaps, in a certain collocation with other ideas, which may seem equally absurd, it may be capable of furnishing a very serviceable link.
There is, as Emerson says, some central idea or conception of yourself by which all the facts of your life are arranged and classified. Change this central idea and you change the arrangement or classification of all the fact and circumstances of your life.
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