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Long before the psychedelic drug movement of the 1960s, Aldous Huxley wrote about his mind-expanding experiences taking mescaline and participating in ecstatic meditation in his essays The Doors of Perception and Heaven and Hell. In The Doors of Perception, Huxley blends Eastern mysticism with scientific experimentation to produce one of the most influential works on the effects of hallucinatory drugs on the human psyche. Heaven and Hell focuses on how science, art, religion, literature, and psychoactive drugs can expand the everyday view of reality and offer a more profound grasp of the human experience. Huxley’s essays The Doors of Perception and Heaven and Hell ushered in a whole new generation of counter-culture icons such as Jackson Pollock, John Cage, Timothy Leary and Jim Morrison. In fact, Morrison’s band name The Doors was inspired by The Doors of Perception. HarperTorch brings great works of non-fiction and the dramatic arts to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperTorch collection to build your digital library.
Two classic texts in one volume reveal Huxley's explorations into the mind's remote frontiers and the unmapped areas of human consciousness.
Among the most profound explorations of the effects of mind-expanding drugs ever written, here are two complete classic books-The Doors of Perception and Heaven and Hell-in which Aldous Huxley, author of the bestselling Brave New World, reveals the m
The Doors of Perception is a philosophical essay, released as a book, by Aldous Huxley. First published in 1954, it details his experiences when taking mescaline. The book takes the form of Huxley's recollection of a mescaline trip that took place over the course of an afternoon in May 1953. The book takes its title from a phrase in William Blake's 1793 poem 'The Marriage of Heaven and Hell'. Huxley recalls the insights he experienced, which range from the "purely aesthetic" to "sacramental vision". He also incorporates later reflections on the experience and its meaning for art and religion.
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Concerned with scholarly, popular, and religious backdrops that understand the connection between psychedelics and mystical experiences to be devoid of moral concerns and ethical dimensions—a position supported empirically by the rise of acid fascism and psychedelic cults by the late 1960s—Psychedelic Mysticism: Transforming Consciousness, Religious Experiences, and Voluntary Peasants in Postwar America traces the development of sixties psychedelic mysticism from the deconditioned mind and perennial philosophy of Aldous Huxley, to the sacramental ethics of Timothy Leary, Richard Alpert, and Ralph Metzner, to the altruistic religiosity practiced by Stephen Gaskin and The Farm. Building directly off the pioneering psychedelic writing of Huxley, these psychedelic mystics understood the height of psychedelic consciousness as an existential awareness of unitive oneness, a position that offered worldly alternatives to the maladies associated with the postwar moment (e.g., vapid consumerism and materialism, lifeless conformity, unremitting racism, heightened militarism). In opening a doorway to a common world, Morgan Shipley locates how psychedelics challenged the coherency of Western modernity by fundamentally reorienting postwar society away from neoliberal ideologies and toward a sacred understanding of reality defined by mutual coexistence and responsible interdependence. In 1960s America, psychedelics catalyzed a religious awakening defined by compassion, expressed through altruism, and actualized in projects that sought to ameliorate the conditions of the least advantaged among us. In the exact moments that historians and cultural critics often locate as signaling the death knell of the counterculture, Gaskin and The Farm emerged, not as a response to the perceived failures of the hippies, nor as an alternative to sixties politicos, but in an effort to fulfill the religious obligation to help teach the world how to live more harmoniously. Today, as we continue to confront issues of socioeconomic inequality, entrenched differences, widespread violence, and the limits of religious pluralism, Psychedelic Mysticism serves as a timely reminder of how religion in America can operate as a tool for destabilization and as a means to actively reimagine the very basis of how people relate—such a legacy can aid in our own efforts to build a more peaceful, sustainable, and compassionate world.
40 years of science visualization The visualization of often-encrypted data reveals new, previously hidden, but quite real worlds to humankind. Art adopts these insights and uses them to create new dimensions. This book brings together a wide range of contributions on visualization in science, media, and art. Renowned experts and associates of the Science Visualization Lab at the University of Applied Arts Vienna present examples of outstanding and innovative visualization projects and provide insight into their working methods. The book follows a variety of approaches to expanding perception and rendering the invisible visible. “If the doors of perception were cleansed, every thing would appear to man as it is, infinite.” – William Blake Insight into the thinking and working methods of renowned scientists, media experts, and artists Lavish publication with numerous illustrations and AR features With contributions by Ina Conradi / Mark Chavez, Christian Köberl, Walter Köhler, Thomas Matzek, Markus Müller, Ruth Schnell, Victoria Vesna / James K. Gimzewski, Manfred Wakolbinger, and others
Challenging some assessments of religion in the West, this study argues that, although much organized religion, particularly Christianity, is in numerical decline, in actual fact we are witnessing an alternative spiritual re-enchantment of society and culture.
In this innovative study, Jesse challenges the prevailing view of Blake as an antinomian and describes him as a theological moderate who defended an evangelical faith akin to the Methodism of John Wesley. She arrives at this conclusion by contextualizing Blake's works not only within Methodism, but in relation to other religious groups he addressed in his art, including the Established Church, deism, and radical religions. Further, she analyzes his works by sorting out the theological "road signs" he directed to each audience. This approach reveals Blake engaging each faction through its most prized beliefs, manipulating its own doctrines through visual and verbal guide-posts designed to communicate specifically with that group. She argues that, once we collate Blake's messages to his intended audiences--sounding radical to the conservatives and conservative to the radicals--we find him advocating a system that would have been recognized by his contemporaries as Wesleyan in orientation. This thesis also relies on an accurate understanding of eighteenth-century Methodism: Jesse underscores the empirical rationalism pervading Wesley's theology, highlighting differences between Methodism as practiced and as publicly caricatured. Undergirding this project is Jesse's call for more rigorous attention to the dramatic character of Blake's works. She notes that scholars still typically use phrases like "Blake says" or "Blake believes," followed by some claim made by a Blakean character, without negotiating the complex narrative dynamics that might enable us to understand the rhetorical purposes of that statement, as heard by Blake's respective audiences. Jesse maintains we must expect to find reflections in Blake's works of all the theologies he engaged. The question is: what was he doing with them, and why? In order to divine what Blake meant to communicate, we must explore how those he targeted would have perceived his arguments. Jesse concludes that by analyzing the dramatic character of Blake's works theologically through this wide-angled, audience-oriented approach, we see him orchestrating a grand rapprochement of the extreme theologies of his day into a unified vision that integrates faith and reason.