"Tall and bald with the build of a swimmer, Pollan is no Timothy Leary — he isn’t asking anyone to drop out..."
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"... and the medical trials described and shown in 'How to Change Your Mind' shouldn’t be confused with Ken Kesey’s freewheeling acid tests of the ’60s. Back then, when psychedelics left the laboratory and entered the counterculture, the power structure freaked out. 'Kids were going to communes, and American boys were refusing to go to war,' Pollan said. 'President Nixon certainly believed that LSD was responsible for a lot of this, and he may well have been right. It was a very disruptive force in society, and that is why I think the media after 1965 turns against it after being incredibly enthusiastic before 1965.'... Given evolving attitudes, one challenge facing the filmmakers, including the directors Alison Ellwood and Lucy Walker, was how to depict the psychedelic experience in a sophisticated way, without stumbling into the territory of a ’60s exploitation movie. 'We didn’t want to fall into the trap of using psychedelic visual tropes — wild colors, rainbow streaks, morphing images,' Ellwood wrote in an email.... 'The ego is a membrane between you and the world,' [Pollan] said. 'It’s defensive and it’s very useful. It gets a lot done, but it also stands between us and other things and gives us this subject-object duality. When the ego is gone, there is nothing between you and the world.'"
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"... and the medical trials described and shown in 'How to Change Your Mind' shouldn’t be confused with Ken Kesey’s freewheeling acid tests of the ’60s. Back then, when psychedelics left the laboratory and entered the counterculture, the power structure freaked out. 'Kids were going to communes, and American boys were refusing to go to war,' Pollan said. 'President Nixon certainly believed that LSD was responsible for a lot of this, and he may well have been right. It was a very disruptive force in society, and that is why I think the media after 1965 turns against it after being incredibly enthusiastic before 1965.'... Given evolving attitudes, one challenge facing the filmmakers, including the directors Alison Ellwood and Lucy Walker, was how to depict the psychedelic experience in a sophisticated way, without stumbling into the territory of a ’60s exploitation movie. 'We didn’t want to fall into the trap of using psychedelic visual tropes — wild colors, rainbow streaks, morphing images,' Ellwood wrote in an email.... 'The ego is a membrane between you and the world,' [Pollan] said. 'It’s defensive and it’s very useful. It gets a lot done, but it also stands between us and other things and gives us this subject-object duality. When the ego is gone, there is nothing between you and the world.'"
LSD without the psychedelic visuals of the 1960s, repositioned for our dismal times as something to eradicate whatever might be left of your ego. Thanks a lot, American culture.
Terima kasih karena telah membaca informasi tentang "Tall and bald with the build of a swimmer, Pollan is no Timothy Leary — he isn’t asking anyone to drop out..." . Silahkan membaca berita lainnya.
"Tall and bald with the build of a swimmer, Pollan is no Timothy Leary — he isn’t asking anyone to drop out..."
!["Tall and bald with the build of a swimmer, Pollan is no Timothy Leary — he isn’t asking anyone to drop out..."]()
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