🌊 SURF 'N TURF 🏝️
-THE BORACAY ISLAND LIFE- 
The 2007 Devaux MK III Coupe is a rare, hand-built Australian luxury grand tourer designed by David J. Clash.
Inspired by 1930s French Art Deco style (like Bugatti & Alfa Romeo), featuring a GM LS1 V8 engine, steel chassis, fiberglass body,
and a unique blend of vintage aesthetics with modern (for its time) components, representing a small production run of bespoke vehicles.
"Pure signal, no noise"
Credits Goes to the respective
Author ✍️/ Photographer📸
🐇 🕳️
The 2007 Devaux MK III Coupe is a rare, hand-built Australian luxury grand tourer designed by David J. Clash.
Inspired by 1930s French Art Deco style (like Bugatti & Alfa Romeo), featuring a GM LS1 V8 engine, steel chassis, fiberglass body,
The Doors of Perception (1954) and its sequel, Heaven and Hell (1956), are landmark works of non-fiction by Aldous Huxley. They are not novels, but rather profound philosophical essays that chronicle and analyze his experiments with the psychedelic drug mescaline, and in doing so, launch a sweeping inquiry into the nature of the human mind, art, religion, and consciousness itself.
Huxley’s core argument is that the human brain and nervous system function primarily as a "reducing valve" or a biological filter. This filter screens out the overwhelming totality of raw perception, memory, and consciousness to allow us to survive and function in the everyday world by focusing on utilitarian, conceptual information. Psychoactive substances like mescaline, he posits, inhibit this filtering function. This opens what he famously called "the doors of perception" (a phrase borrowed from William Blake), allowing the individual to experience a flood of unmediated reality—what mystics and artists have accessed through other means throughout history.
The Doors of Perception is the account of Huxley’s first mescaline experience on a May afternoon in 1953. The narrative focuses on the qualitative shift in sensory and cognitive experience. He describes gazing at ordinary objects like a vase of flowers or garden furniture as possessing unimaginable beauty, significance, and "is-ness" (what he later termed "suchness" or Istigkeit). The world was stripped of its utilitarian meaning and revealed in its pure, divine presence. He reports a loss of ego and personal preoccupation, experiencing a direct, non-dual connection to his surroundings. He analyzes the visual arts, arguing that painters like Van Gogh and Cézanne succeeded in bypassing the reducing valve to convey this intense, un-filtered perception. He theorizes that what we call "mind" is only a small fraction of a potentially infinite "Mind at Large," and that psychedelics grant temporary access to this greater consciousness.
The sequel, Heaven and Hell, expands the analysis into a broader philosophical and cultural framework. It distinguishes between the "Heaven" of radiant, beautiful, blissful visions and the "Hell" of terrifying, grotesque, or pathological visions. Huxley argues that the same physiological and psychological mechanisms can produce both, depending on set, setting, and the individual's subconscious. He explores how artists and mystics throughout history have accessed these realms not only through drugs, but also via "the antipodes of the mind"—through fasting, sensory deprivation, chanting, and intense physiological stress. He connects the jeweled visions of saints to the patterns in Buddhist mandalas and Gothic stained glass. A major theme is the human experience of "preternatural light" and "preternatural significance" as the hallmarks of the visionary world, linking this to our deep biological and symbolic responses to light and color.
The books are a practical application of Huxley's interest in the Perennial Philosophy—the idea that a common, mystical core of wisdom underpins all major world religions, accessible through direct experience. They are a powerful critique of Western materialism and reductionism, arguing for a richer understanding of consciousness. Furthermore, they provided the intellectual and philosophical blueprint for the 1960s psychedelic movement; the title directly inspired the name of the rock band The Doors. In summary, these twin essays are rigorous, erudite attempts to map the geography of human consciousness, arguing that what we consider "reality" is only a narrow slice of what the mind is capable of perceiving. Huxley positions psychedelics as one key among many that can unlock the doors to the vast, awe-inspiring, and sometimes terrifying realms of Heaven and Hell that lie within.
"Pure signal, no noise"
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Author ✍️/ Photographer📸
🐇 🕳️
As you walk through the streets of Paris or a small village, you’ll find two types of bakeries: boulangeries and pâtisseries.
Both offer baked goods, but they are not the same.
"Pure signal, no noise"
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Author ✍️/ Photographer📸
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"It's a good day to dive". 🤿
GM 🌄
Proof of salt this morning with Amigo and Cypher to Whitesand and Bulabog Beach ⛱️
"Pure signal, no noise"
Credits Goes to the respective
Author ✍️/ Photographer📸
🐇 🕳️