Like Khan, Huxley focused on the sensations of the person (himself) having the mystical experience. During his experience, Huxley felt he had no impairment in his mind or gaze, an intensity of vision without an outer and imposed substance to induce the hallucination, and had a sense that his impetus of motion or will was impaired into a state of stasis (a direct contrast with Khan's focus on the ability of music to provide motion to parallel the nature of the divine). Above all, Huxley called his sense of harmony through visual means mystical because his visual experience eliminated any sense of division inner/outer divide in perception. As he looked at the flower, and Huxley felt he was becoming the flower.
This stands in direct contrast to Kepler's schema of harmony, which is dependant upon perceptions of distinction from outside, as an observer perceives defined opposites. Kepler's definition of harmony as a state of mathematical balance focuses on the things themselves, not on the emotive state of the believer and perceiver of harmony, where for Huxley's individualistic sense of mysticism, there is no opposition nor distinction in a mystical state between gazer and object.
Thus these different writers had quite different understandings of what harmony was -- for Kepler, balance was key in a mathematical and musical sense of universality (with proportionate visual representations subsumed beneath the superior musical understanding of the world), for Khan music alone in its motion and mirroring of the divine expressed the dissolution of the soul into a state of universal harmony with God, for it was not representational and thus did not mirror the false, temporal images of the world. Both Huxley and the mystic Faber Birren found the visual; particularly color, as the most harmonic and universal way of relating to the world --...
But even more significant is Birren and Huxley's assertion about the universal language of color, as in many societies (such as Japan) their associations do not correspond -- Red is associated with marriage in China and Japan, and with prosperity and wealth, while white is associated with death. The association of black with hatred has an unfortunate racial component as well.
Even the stress upon the universal proportionality of music too is questionable -- the Eastern musical tradition is dependant upon a different scale of tonality and rhythm, as are some stains of modern composition that may jar the ear, but provide insight, or simply create tension in the mind of the listener because of their unfamiliarity. Thus, although visual and musical experiences may provide metaphorical metaphors that 'feel' superior to words, ultimately the visual and the musical is just as culturally relative as the language of words itself, and indeed the importance accorded to math and the human, individual psyche at different points of Western, historical time.
He introduced the concept of the "Superman" when he argued how this individual is not only the ideal human of modern society, but he is also the model individual, for he was able to transcend the boundaries that morality and religion had put on humanity. Thus, for him, the "Superman" already existed during his time, though the feat of transcending and not believing in morality can well be under way
Aldous Huxley The purpose of this work is to explore Aldous Huxley's view of religion, his belief in "moderate" applicable use of mind-altering and mind-expanding drugs as well as the prediction he made for the future of mankind. This will be done through reading of his works, as well as one interview. Aldous Huxley has been described as many things such as the great "English novelist," "essayist," "iconoclast," "social prophet," and "proponent
Brave New World, Aldous Huxley carefully chose the names of his characters to reflect their political connotations. As his characters struggle with the inherent problems with their "utopian" society, the character names constantly remind the reader of important political, economic, and social figures. As such, Huxley's use of character names like Bernard Marx, Lenina Crowe, and Benito Hoover reflects Huxley's concern over the types of methods used to control
There will always be savages, and the attraction of savagery. Huxley wrote Brave New World as a warning. Today, in the age of test-tube pregnancy, genetic manipulation, powerful drugs and the mass media, it appears that his warning has gone unheeded and that America is on the road to the scientific utopia he describes. Certainly the world of the savages has been left behind, and for good reason. Modern Americans
He deplores the hiding of true violence. That hornet reference really came down to this, Huxley says; "in other words, to go and throw thermite, high explosives and vesicants [i.e. chemical weapons...] upon the inhabitants of neighboring countries before they have time to come and do the same to us." Another pet peeve of Aldous Huxley is the use of abstract entities like "man power" and "fire power"; and he
Whatever happened you vanished, and neither you nor your actions were ever heard of again" (Orwell, 1949, p.168). Capitalism Principles of mass production are very clear in the novels. Huxley for instance, applied the idea of mass production in human reproduction, since the people has abandoned the natural method of reproduction. Mass production as the conventional feature of capitalism and Huxley's novel reinforces such. He talked about the requirement of the