Let not thy left Tao know what thy right Tao doeth - I

René Magritte, La Corde Sensible, (1960)

Let Not Thy Left Hand Know

Let not thy left hand know what thy right hand doeth. – Matt 6:3

In the processes we call perceiving, knowing, and acting, a certain decorum must be followed, and when these quite obscure rules are not observed, the validity of our mental processes is jeopardized. Above all, these rules concern the preservation of the fine lines dividing the sacred from the secular, the aesthetic from the appetitive, the deliberate from the unconscious, and thought from feeling. I do not know whether abstract philosophy will support the necessity of these dividing lines, but I am sure that these divisions are a usual feature of human epistemologies and that they are component in the natural history of human knowledge and action. Similar dividing lines are surely to be found in all human cultures, though surely each culture will have its unique ways of handling the resulting paradoxes. I introduce the fact of these divisions, then, as evidence that the domain of Epistemology – of mental explanation – is ordered, real, and must be examined. In the present chapter I shall illustrate, with a series of narratives, what happens when these lines are breached or threatened.

Back in 1960, I was acting as a guinea pig for a psychologist, Joe Adams, who was studying psychedelic phenomena. He gave me a hundred grams of LSD, and as the drug began to take effect, I started to tell him what I wanted to get from the experience – that I wanted insight into the aesthetic organization of behavior. Joe said, “Wait a minute! Wait while I get the tape recorder going.” When he finally got the machine going, he asked me to repeat what I had been saying. Anybody who has had LSD will know that the flow of ideas is such that to “repeat” any piece is almost impossible. I did the best I could but this clumsiness on Joe‘s part established a certain struggle between us.

Interestingly enough, our roles in that struggle were reversed, so that later on he was scolding me for thinking too much instead of being spontaneous when it was my spontaneity that he had attacked with his machine. In reply, I defended the intellectual position. At a certain point, he said, “Gregory, you think too much.” “Thinking is my job in life,” I said. Later he went off and brought back a rosebud from the garden. A beautiful and fresh bud, which he gave me, saying, “Stop thinking. Take a look at that.” I held the bud and looked at it, and it was complex and beautiful. So, equating the process of evolution with the process of thought, I said “Gee, Joe, think of all the thought that went into that!” Evidently there is a problem, not simply to avoid thought and the use of the intellect because it is sometimes bad for spontaneity of feeling, but to map out what sorts of thought are bad for spontaneity, and what sorts of thought are the very stuff of which spontaneity is made. Later in the same LSD session I remarked to Joe, “This stuff is all very well. It‘s very pretty but it‘s trivial.” Joe said, “What do you mean, trivial?” I had been watching endless shapes and colors collapsing and breaking and reforming, and I said, “Yes, it‘s trivial. It‘s like the patterns of breaking waves or glass. What I see is only the planes of fracture, not the stuff itself.” I mean that Prospero was wrong when he said, “We are such stuff as dreams are made on.” What he should have said is, “Dreams are bits and pieces of the stuff of which we are made, and what that stuff is, Joe, is quite another question.” Even though we can discuss the ideas which we “have” and what we perceive through our senses, and so on, the enveloping question, the question of the nature of the envelope in which all that “experience” is contained, is a very different and much more profound question, which approaches matters that are part of religion. I come with two sorts of questions posed by these stories: What is the nature of the continuum or matrix of which or in which “ideas” are made? And what sorts of ideas create distraction or confusion in the operation of that matrix so that creativity is destroyed?