Ebook The psychedelic renaissance: Part 2
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Ebook The psychedelic renaissance: Part 2
CHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2ught George Harrison’s heavily chimney-stacked Berkshire mansion resembled a giant submarine. LSD docs stuff like that. The link between psychedelics and creativity is ancient, and. as Terence McKenna would have US believe, these peculiar compounds could account not only for brief excursions into cr Ebook The psychedelic renaissance: Part 2eativity during the course of the acute intoxication with the drug, but also for the entire development of human consciousness itself. Indeed, lookingEbook The psychedelic renaissance: Part 2
at the role LSD played in so many facets of human life in die sixties, one might conclude that never before have so many fields of human endeavour, fCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2asure. And it is such an important cognitive process that it becomes an interesting challenge for modern scientific exploration. There are clear similarities between the typical traits of creative people and lhe subjective psychological characteristics of the psychedelic drug experience.1 Illis phen Ebook The psychedelic renaissance: Part 2omenon — which may seem obvious to some people but ludicrous to others — was studied in a number of small ưials and case studies in the 1960s but resuEbook The psychedelic renaissance: Part 2
lts were inconclusive, and the quality of these studies by modern research standards was merely anecdotal.Nevertheless, with today's current renaissanCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2odern psychedelic research, this is a study just waiting to happen. But the majority of today’s contemporary psychedelic studies, as in the 1960s, focus mainly on die drugs' potential clinical applications. Modem research dial reopens avenues for experiments with less obvious clinical applications m Ebook The psychedelic renaissance: Part 2ay in turn add to our understanding of the aesthetic and creative elements of the human brain.Creativity, Psychedelics and the Human BrainThe well-docEbook The psychedelic renaissance: Part 2
umented but erroneous ‘left-brain versus right-brain’ model of brain functioning polarises and oversimplifies an individual’s cognitive and creative sCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2 challenges this popularly held belief and instead provides a three-factor anatomical model of creativity (hat focuses on interactions between the temporal lobes, frontal lobes and limbic system. The neuroscientist Robin Carhart-Harris at Imperial University has shown (he direct role psilocybin has Ebook The psychedelic renaissance: Part 2in activating the area of the brain associated with die retrieval of emotional memories, providing an immediate link between creativity and expanded lEbook The psychedelic renaissance: Part 2
evels of consciousness. Illis finding fits with the known observation that creative thinking requires more (han just a general intelligence and specifCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2deas.'Many psychedelic explorers come to entertain (he view that mind/conscious-ness is present throughout the universe, and it is not just the by-product of brain activity. A reductionist point of view, on the other hand, postulates that highly creative individuals arc able to store extensive speci Ebook The psychedelic renaissance: Part 2alised knowledge in their temporoparietal cortex, be capable of divergent thinking mediated by the frontal lobe and, crucially, be able to modulate (hEbook The psychedelic renaissance: Part 2
e activity of (he locus coerulcus (which fires in response to novel stimuli — and also under the influence of the drug LSD) via the norepinephrine sysCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2 of so-called creators. The sheer volume of works by Da Vinci and Michelangelo are frequently quoted as testament to their creative geniuses. However, defining objective measures for the process of creativity is notoriously difficult, especially when taking into account the subjective nature of an i Ebook The psychedelic renaissance: Part 2ndividual’s aesthetic appreciation of a particular creation. It is arguable, of course, dial by definition creativity defies measurement, because allEbook The psychedelic renaissance: Part 2
tests have predetermined correct answers and originality is a requirement of creativity — implying that any ‘correct’ answer in a creativity test coulCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2eless, a broad range of common characteristics are frequently identified. Alongside (lie alterations in the user’s perceptions, changes in the emotions and expansion of thought and identity a par ticular feature of the experience has special relevance to the creative process. The psychedelic experie Ebook The psychedelic renaissance: Part 2nce is one of a general increase in complexity and openness, such that the usual ego-bound restraints that allow humans to accept given, preconceivedEbook The psychedelic renaissance: Part 2
ideas about (hemselves and the world around them are necessarily challenged. Another important feature is the tendency for users to assign unique and CHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2res of spirituality, which were described earlier in the book — are fundamental and arise spontaneously for any users of psychedelic drugs, regardless of any pre-experience or social influence. The evidence for the universal nature of such experiences comes from the multi-cultural similarities of th Ebook The psychedelic renaissance: Part 2e experiences of users of psychedelic drugs throughout the world.Psychedelic Creativity 119Unsurprisingly, (here are many anecdotal examples of artistEbook The psychedelic renaissance: Part 2
s and writers describing the use of psychedelic drugs, such as LSD, to enhance lite creative process (and a similar number of such accounts disputing CHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2er drinkers'. There are examples of prehistoric art from all around the world that use optical illusions or entoptic phenomena to enhance the visual experience. This observation has been recently studied by a group of researchers including the anthropologist Luis E. Luna from the Research Centre for Ebook The psychedelic renaissance: Part 2 the Study of Psychointegralor Plants, Visionary Arts, and Consciousness, located in Brazil. Their paper, ‘Enhancement of creative expression and entoEbook The psychedelic renaissance: Part 2
ptic phenomena as an after-effect of repeated ayahuasca administration’, which I reviewed and approved for the Journal of Psychopharmacology, is awaitCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2 this sort will undoubtedly appear in coming years as we delve ever deeper into the quagmire of thought that links neuroscience with art. David Luke at the University of Greenwich, a passionate and informed proponent of psychedelics, creativity and psi phenomena, is a keen supporter of this directio Ebook The psychedelic renaissance: Part 2n of study.5Art, Music and Psychedelic CreativityThe links between artwork and the prehistoric use of psychedelic drugs is well established; it is desEbook The psychedelic renaissance: Part 2
cribed in the artwork of many ancient cultures from Ireland, Africa France, and South America to as far afield as Siberia and the Arctic Circle. The uCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2ures and die pitfalls of taking opium in early-ninctcenth-century England, and the romantic poet Samuel Taylor Coleridge reported the vivid imagery of the opium experience in his poem Kubla Khan, as did Alexandre Dumas Pore and Alfred Lord Ten' nyson.6 In the twentieth century, the French poet and p Ebook The psychedelic renaissance: Part 2laywright Antonin Artaud used opium extensively, as well as the peyote cactus.7 More recent examples of artists using psychedelic drugs include HenriEbook The psychedelic renaissance: Part 2
Michaux, the Belgian-bom French painter, journalist and poet, who at the age of 56 started using mescaline and cannabis. and wrote about his experiencCHAPTER 6Psychedelic CreativityMeasuring the Influence of Psychedelics on CreativityIt is perhaps no surprise that John Lennon, after taking LSD, thou Ebook The psychedelic renaissance: Part 2ure for the subsequent cultural drug revolution that followed.Since the 1960s, the volume of modem Western art and music that attributes its influences to the psychedelic drugs is vast. Some such artists and musicians openly proclaim themselves to be ‘psychedelic artists’, whereas many others will f Ebook The psychedelic renaissance: Part 2requently acknowledge the influence that psychedelic drug experiences have had on their work. One such piece of psychedelic drug-influenced artwork evEbook The psychedelic renaissance: Part 2
en recently appeared on the front cover of the British Journal of Psychiatry in homage to the discoverer of LSD. Dr. Albert Hofmann. Il was a work byGọi ngay
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