Now that we can understand the whole movie at once through expanded consciousness, the social ritual of revaluating the movie later seems ridiculous. The only entertainment left is to have a snort, drop or smoke pending the next kick. Conversely, drugged data preparation has become an established practice. Among musicians, the interval between consumption and appearance has been carefully laid down, something that is gratefully used by the audience to adapt its own dosage to the volume. American artists take pride in their top dealers, while newcomers have to resort to suspect hustlers.
Experienced readers have a flawless sensitivity to their authors' level of intoxication.
What is interesting is not writing about drugs or filming the act but Ronell's drugged writing, Lynch's stoned shoots, Benn's coffeetable oeuvre, Blavatsky's hash revelations, Turel's Burgundy thinking, Baudrillard's cigarette hype, Scholte's cocaine paintings, Perry's XTC art, Marley's ganja songs, the speed of punk rock, the grass dialogues of Altman, even the High Politics of a Clinton and Gore. Drugs and media are equal partners. Until the computer is directly connected to the brain, and thus to the process of creation, accelerating and decelerating substances will be necessary to keep a cool head amidst the immense number of data interactions underlying the production of artificial realities. Drugs can be used as the metamedium to manipulate the technological media. Without them, we soon reach the limits of the tolerable.