Abstract

Artists rarely shy away from a drink and other psychoactive substances, yet it seems that there has never been much discussion on what aesthetic or artistic relevance this has to their works and their reception. I outline the scale of the phenomenon focusing on some prominent examples and distinguish a subset of what I call ‘high artworks’. In such artworks, I argue, drug experiences are encoded: their drug-related contextual and intrinsic properties or content are aesthetically or artistically relevant and should be mentioned in any in-depth analysis. I then further argue that it is impossible or at least very difficult to fully appreciate or produce optimal evaluations of a high artwork, unless one has oneself had drug-induced experiences of the kind encoded in the work. This is because such experiences afford one the relevant phenomenal knowledge that is otherwise inaccessible, yet required to gain an adequate level of competence allowing one to fully grasp the work.