…be understood, I think, better as regards to a normal state of mind. If we look at paintings, for example, like those of Van Gogh, well, it's quite clear if you look at Van Gogh's paintings that he saw the world with a degree of intensity which most…

…it would be extremely valuable for all of us if, at any rate, at some time, sometimes we could see the world as Van Gogh saw it, or even almost as the mescaline taker sees it. That is to say, with the kind of extraordinary intensity which comes when…

…it through the spectacles of our concept system. In the passage that we heard from your book and in your discussion of Van Gogh, this has been almost entirely a visual effect that we've been talking about. Does the same thing hold true, say, for the…

…good thing. It has a degree of intensity which is quite terrifying, and it's very significant to see in the biography of Van Gogh that and in his pictures one could see that he was seeing the outside world with an intensity so tremendous that sometimes…

…so tremendous that sometimes it was, as I hinted in this passage in The Doors of Perception, absolutely terrifying, and after all Van Gogh ended as a suicide. And when one sees his last three pictures, which I did the other day at an excellent loan…

…are psychological methods for producing this. Well, why aren't we able to see this way, not perhaps with the same intensity as van Gogh, but at least partway to that intensity? Well, this is a very interesting problem. I don't know if you remember the…

…The world is in a sense as dull as it seems to be. A few specially gifted people, I mean like Van Gogh, obviously like Monet, like many of the great artists, continue to see the world with this extraordinary freshness and brightness and intensity.…

…dream and see it as something rather drab and boring even. I think this is probably the main reason why we don't see as Van Gogh saw. And it's in a case like Van Gogh where we can see almost the end product of this ability to perceive that here is…

…boring even. I think this is probably the main reason why we don't see as Van Gogh saw. And it's in a case like Van Gogh where we can see almost the end product of this ability to perceive that here is the were almost the equivalent to the masculine…

…perfectly rational way in terms of your concept system. And the child, then, can see to a certain extent, perhaps, the way of Van Gogh could, and yet he can deal with this. He can... Yes, I mean, the normal child, I mean, does find the editing quite…

…very clearly the way that certain specially gifted people have seen the world I mean it becomes quite clear the sort of world that van Gogh lived in or the sort of world that Blake lived in this is you begin to have a direct experience of this kind…

…be understood, I think, better as regards to a normal state of mind. If we look at paintings, for example, like those of Van Gogh, But it's quite clear, if you look at Van Gogh's paintings, that he saw the world with a degree of intensity which most…

…it would be extremely valuable for all of us if, at any rate, at some times, Sometimes we could see the world as Van Gogh saw it, or even almost as the mescaline taker sees it. That is to say, with the kind of extraordinary intensity which comes when…

…through the spectacles of our concept system. In the passage that we heard from your book and in your discussion of Van Gogh, this has been almost entirely a visual experience. effect that we've been talking about. Does the same thing hold true, say, for…

…good thing. It has a degree of intensity which is quite terrifying, and it's very significant to see in the biography of Van Gogh, and in his pictures, one can see that he was seeing the outside world, with an intensity so tremendous that sometimes it…

…so tremendous that sometimes it was, as I hinted in this passage in The Doors of Perception, absolutely terrifying, and after all, Van Gogh ended as a suicide. And when one sees his last three pictures, which I did the other day, it's an excellent loan…