By David Black
My experiment, Non OCR'd, 300DPI
Acid discovers the explosion of LSD tradition within the psychedelic sixties from new and debatable angles. David Black investigates the CIA's brain keep an eye on trials utilizing LSD and the folk who became LSD-tripping right into a renowned leisure hobby, together with the marketers with hyperlinks to geared up crime. David Black unravels a unprecedented tale of double-dealing, intrigue and betrayal because the drug's proponents turned over evening millionaires-and officialdom grew to become a blind eye.
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Extra resources for ACID: A New Secret History of LSD
Popular recorded music has a unique and multifaceted temporality. The record is portable, reproducible, and can be played repeatedly at will. Yet pressed into its grooves is the indexical mark of the voice and the strains of the instruments—an indelible reference to a particular instant. Murmurs of that irretrievable past reemerge, anachronistically, in the present of each listening. In addition to its temporal manipulations, the recorded popular song unleashes new configurations of space. There is a continual pull between proximity and distance, the closeness of the recorded performance belying, or at times highlighting, the remoteness of its point of origin.
This reinterpretation moves slightly further away from actual bodily experiences and is instead located within a long chain of language and meaning that, although unfettered, is neither limitless nor latched to a “real” that is anything but a set of positions in this grid. It is not experience, but it evokes the feelings and responses stimulated by experience. As such, my particular definition of synaesthesia is more a trope than a neurologi- 28 Kay Dickinson 6 7 8 9 10 11 12 13 14 15 16 17 18 cal condition, its correct meaning is not so much divested from it but conspicuously added to and reproportioned.
There are, however, many other reasons why African American music was allowed its success, some of which actually work to the detriment of the fight against racism. The ideas are also presented in hip hop graffiti. The commodification of the senses is delineated more expertly in Karl Marx’s “Private Property and Communism. Various Stages of Development of Communist Views: Crude, Equalitarian Communism and Communism as Socialism Coinciding with Humaneness,” in Economic and Philosophic Manuscripts of 1844, trans.