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Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.
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"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960)

 

Patrick Swift

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The virtue of hope has only a serious position within the eschatology of true religion. To the man who prays it is the supreme virtue. Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical.* And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence. [*“An ethos is a difficult thing that cannot be formulated and codified; it is one of those creative irrationalities upon which real progress is based. It demands the whole man and not just a differentiated function” — Jung]

 

Patrick Swift

 

It could become of fundamental importance, and be not merely a transient fashion of the present, if more and more people today would make a daily habit of devoting an hour, or at least a few minutes, to meditation. As a result of the meditative penetration and broadening of the natural-scientific world view, a new, deepened reality consciousness would have to evolve, which would increasingly become the property of all humankind. This could become the basis of a new religiosity, which would not be based on belief in the dogmas of various religions, but rather on perception through the "spirit of truth." What is meant here is a perception, a reading and understanding of the text at first hand, "out of the book that God's finger has written" (Paracelsus), out of the creation.
The transformation of the objective world view into a deepened and thereby religious reality consciousness can be accomplished gradually, by continuing practice of meditation. It can also come about, however, as a sudden enlightenment; a visionary experience. It is then particularly profound, blessed, and meaningful. Such a mystical experience may nevertheless "not be induced even by decade-long meditation," as Balthasar Staehelin writes. Also, it does not happen to everyone, although the capacity for mystical experience belongs to the essence of human spirituality.

 

Albert Hofmann

 

I believe that any "awareness" of life is "spiritual" since awareness can only be a quality of the spirit not of the material world or of matter and machines. Only a spiritual being has awareness. But if you mean "spiritual" in the sense of a kind of "celebration of Life", then yes, I write music to celebrate life. I think most artists do, no matter how they themselves describe it. It's the joy of creating. It's a way of life.

 

Chick Corea

 

Of greatest significance to me has been the insight that I attained as a fundamental understanding from all of my LSD experiments: what one commonly takes as "the reality," including the reality of one's own individual person, by no means signifies something fixed, but rather something that is ambiguous — that there is not only one, but that there are many realities, each comprising also a different consciousness of the ego.
One can also arrive at this insight through scientific reflections. The problem of reality is and has been from time immemorial a central concern of philosophy. It is, however, a fundamental distinction, whether one approaches the problem of reality rationally, with the logical methods of philosophy, or if one obtrudes upon this problem emotionally, through an existential experience. The first planned LSD experiment was therefore so deeply moving and alarming, because everyday reality and the ego experiencing it, which I had until then considered to be the only reality, dissolved, and an unfamiliar ego experienced another, unfamiliar reality. The problem concerning the innermost self also appeared, which, itself unmoved, was able to record these external and internal transformations.
Reality is inconceivable without an experiencing subject, without an ego. It is the product of the exterior world, of the sender and of a receiver, an ego in whose deepest self the emanations of the exterior world, registered by the antennae of the sense organs, become conscious. If one of the two is lacking, no reality happens, no radio music plays, the picture screen remains blank.

 

Albert Hofmann

 

If the deepest, most fundamental levels of the analysand's pathology are to be reached, the relationship with the analyst becomes the vehicle for the establishment and articulation of bad-object relations. The analyst cannot enter the analysand's world in any form other than as a familiar (that is, "bad," or less than gratifying, object). This is true even though there often are elaborate resistances to the experience of the transference. Otherwise the analysis does not touch the analysand deeply, offers no promise, no hope for connection and transformation.

 

Stephen A. Mitchell