Having identified a typically Modernist view of what (psychedelic) drugs “do” in “Return to the Real, Part I,” this follow-up article discusses some of the implications of this observation for drug studies in general and for the notion of set and setting in particular. A fourfold diagram is proposed in which the cultural set and setting, the individual set and setting, the drug experience, and...
Triggered by Aldous Huxley’s 1954 description of mescaline as “cleansing the doors of perception” and Ido Hartogsohn’s consideration of the cultural set and setting regarding drug use, this article attempts to demonstrate and delineate a particular discourse about drug effects that was prevalent in 20th-century Western culture until at least the 1960s. As shown by the analysis of several drug...
Historically, states of intoxication--like dreams and madness--are seen in either one of two opposed ways. The intoxicated are either "possessed" or "under the influence" of an external agency, or revealing hidden feelings or truths (in vino veritas). Along the same lines, artists who worked during LSD, mescalin or psilocybin intoxication often refer to feelings of either being "possessed" or...
ABSTRACT Language barriers have largely prevented American scholars from learning about European studies concerning drugs and creativity. An art historian reports on several Swiss, English, French and German studies conducted from the 1940s to the 1970s, offering new data in a research area that has been banned since drugs like mescalin, psilocybin, and LSD became illegal. Different views of...