The psychedelic experience recognizes aspects of the literary experience that swept the sixties and that each generation reformulates in search of an alternative reality. Since the romantics who found in laudanum, opium and hashish a way of inspiration that would illuminate the dark side of existence, for two centuries, there has been an attempt to find the mystical key to the mysteries of life in the alteration of states of consciousness. If Artaud traveled to Mexico to participate in the Tutuguri rite to live in other worlds fueled by the consumption of peyote, the stately Aldous Huxley inquired in Moksha and The Doors of Perception his visions of mescaline. Decades later, Carlos Castaneda would deliver his saga, widely read in Argentina, about peyote, in dialogue with the Nagual, the sacred entity that governs the destinies of the Mexican Indians. His contemporaries, the Beatniks, will resume these experiments with the lysergic trip: Burroughs' Yagé Letters would initiate poetic research with ayahuasca, which over the years would become a ritual for the urban middle classes in search of meaning. More prosaic, the popularization of LSD, and later designer drugs, and the enabled consumption of marijuana, as well as the later diffusion of cocaine, will make the psychedelic experience part of the daily fabric of artists and the public. Generally, Rock made this vector of experience one of its habits, which produced a culture of altered states that inhabits the present.#psychedelicrock
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