20191008

Ego is the First Form of Synchronicity





"I was very interested in synchronicity in my youth.  That’s sort of what got me started reading Jung.  But the more time I spent reading philosophy and especially philosophy of science related to time, I came to realize that synchronicity as presented by Jung is not an explanation of anything.  It’s the name of a phenomenon, but it is no explanation. In fact, it tells you there is no explanation.  The explanation is there is no explanation, it’s simply synchronicity. 




You have to be able to perceive almost schizophrenically.  What happened to Phillip K. Dick was that the resonance became stronger than the reality, or, it became equal in strength to reality, so that by squinting he could see 2nd Century Rome.  Everybody changed into people wearing togas and people speaking Demotic Greek and everything.  That was the resonance of where he was at.

But when the resonance comes forward with such strength that the foreground is displaced, they have a name for that: buggo. 

You know, you gotta watch that. 

On the other hand, if you can control it, it’s a source of great richness and inner amusement."

Terence McKenna




In this particular scene I was playing the score for Joaquin in the room because, we had Hildur Guðnadóttir who is our composer.  I had her write music before we shot the movie, which isn’t done very often.  She wrote it based on the screenplay, and I wanted that because I wanted the music to really affect and infect this set in a way.  I wanted the camera operators, the set dressers, the wardrobe, everybody to feel this music. 


If I remember correctly, we were playing her score when we were shooting this, and all of a sudden as Joaquin is struggling with Arthur’s smile, and his frown, and figuring out again if his life is a comedy or a tragedy, this little tear appears.  And we just had the scene and we moved on.

Todd Phillips




20191005

Ego is the First Form of Synchronicity - Notes/Rough Draft

How does this work again?  Off the top of my head (no internet search)

Todd Phillips new film The Joker was released this week.  His first film was Hated in the Nation about GG Allin. 

From what I have seen in the previews, The Joker stars Joaquin Phoenix as a traumatized and possibly mentally ill man who strives for acceptance through performing on stage.

Phoenix is famous for an elaborate joke, I’m Still Here, in which he “retired” from Hollywood, and pursued a dream of becoming a rapper on stage.

GG Allin and Phoenix ( or is it "the character" Phoenix plays in ISH) represent two individuals who achieved success in the polished game of fame, before turning on and dropping out, and then sharing their descent into madness. 

Again, I am only assuning from what I have seen in the previews, The Joker seems to be Phillips and Phoenix attempt to tell the story about the dark side of chasing fame, of the people who go into the pursuit with unavoidably tragic baggage.  People who have lost so much, and have somehow been led to believe that ascension into the world of fame is a form of salvation.

In trying to select an album to listen to when taking in this new movie, I look for puzzle pieces of fact that fit together.


I immediately seized upon The Glowing Man by Swans.

A.  They are both two hours long

B.  Robert DeNiro’s character is named Murray Franklin/The Glowing Man has a song called Frankie M.

C.  Robert DeNiro is starring in a new film called The Irishman/I am Irish

D.  The Clown makeup of The Joker represents a type of “glowing man”, a person whose face is lit up and amplified

E.  Michael Gira’s early performances in the 80’s remind me of a more stable GG Allin, in the sense that Gira laid waste to his ego in the most savage and vulnerable of ways. 

F.  The two opening songs “Cloud of Unknowing”/”Cloud of Forgetting” represent a striving to be released from the imprisonment of some type of trauma, or a dark and uneasy past.  This is something that can be achieved gracefully, or perversely.  I feel that this film will show the dark side, the perverse side of salvation that arises in hopeless situations.

G.  The final song on the album is called “Finally, Peace”, which is something that I believe the character of The Joker is ultimately searching for.

For me, these are enough puzzle pieces for my mind to twist and turn and piece together into what I can only describe as a metaphysical lens through which to see, hear.



iAhuasca: an arrangement of interdependent correspondences designed to transcend perspective so completely it triggers a niagra of coincidence that, once believed, projects pre-cognitive synchronicities into the foreground.


I have only seen previews of The Joker.  I have not read any movie reviews.  I have looked up character names and the time of the movie on Wikipedia.

I do not know the plot of this film, but I feel like I know what it is about,.  I feel like I have heard it already in the music of The Glowing Man;  this is simply a chance to see a film version of that music. 

Will the marriage of this album and this film be interesting? 

Of course.  Any chance to sit and listen to The Glowing Man from start to finish is going to be an interesting meditation.

Will there be synchronicity?

Of course.  Even a stopped clock is right twice a day. 


But what happens when a stopped clock is right three times a day? 

Or four, or five times a day?  These sparks are the kindling for the type of experience I am looking for. 

I am going to the theater in about an hour.  I plan to take a few notes, and then I hope to polish these notes into another final synthesis of what this blog is all about.


20191001

The Lost Word Pt. 2: Pi In The Triangle



What I wanted to do was to describe a typical encounter with this phenomenon because a client of mine has had this experience over a dozen times and it's almost always unvarying.  The problem is that the client happens to be myself.  So, getting independent confirmation that this could happen to someone else has not been very easy. 


Nevertheless, I operate under the faith there is nothing unique about me, and that anything that I could experience is a generally accessible human phenomenon.  I think it would be preposterous to operate under any other assumption. 


Nevertheless, the experience is of such an ontologically different modality that it's difficult to see how you could describe it to somebody.  What it involves is a transformation of language into something which is no longer sound decoded by brain through the consultation of a culturally validated dictionary, but instead, it becomes sound which is beheld.  And meaning which is beheld.  This idea of a visible language, when it first came to me, or when I first realized that this was the phrase that I was going to have to use to describe what was happening, was something that I never heard or imagined. 


But then I went into the literature and I discovered that, as usual, the Greeks got there first, or at least in this case, the Jewish Greeks, the Greek Jews, because in Philo Judaeus, who was a contemporary of Christ, there’s a discussion of what he calls “the more perfect logos”, and he says, the more perfect logos will be apprehended through seeing, not through hearing, and yet it will cross from being heard to being seen without ever going through a noticeable moment when it shifts from one modality to the other. 


And this seems to be what is happening in iAhuasca.  You have this spontaneous experience of generating what you identify first as a thought, and then as a sound, but which eventually becomes some kind of synesthesiac linguistic modality with which we don’t have words yet.  I always conceived of telepathy as looking into your own mind and hearing what someone else was thinking, but the notion that telepathy might be someone speaking and producing a three dimensional object in the air that could be rotated and mutually beheld by the speaker and the listener had never occurred to me.  Experiment with iAhuasca showed that this extraordinary kind of state is actually  triggerable again and again, and it is almost as though there is a sensorium of this world which, in order to be reconstructed in the interior horizon of transcendence, is the being of the given individual.   The sensorium has to be arbitrarily broken down into its perceptual components of sound, sight, odor, tactility, etc.  And normally as it enters the human organism these categories which are arbitrary, but as old as the human body itself, are maintained, but they need not necessarily be maintained.  The incoming sensory data can be recombined in such a way that no trace of the portal of entry is left upon it, and in that case, you get this freely evolving topology of light and sound that is trans-linguistic. It has a grammar of form if you will, so that it is not shorn of meaning.  It is simply shorn of the kind of particularized meaning that logical necessity imposes on language.  Instead it has an emotional richness, a kind of polemic depth that is not like ordinary language at all, and in fact, causes one to think of discussions of primary poetic languages such as the one that goes on in The White Goddess by Robert Graves where he wants to suggest that there is a proto language, an ursprache, that transcends the conventionalized dictionary, a language that to hear it is to understand it.  I think that this kind of organization of information lies at the basis of the psychedelic experience, in other words, you can think of cultural conventions and human languages as software languages that are historical adumbrations of an assembly language which is prehistoric and probably in the genes, and antedates all notion of human conventionalizing activity, and is actually biologically the basis of language.  As I said in the opening remarks that if you want to see the thumbprint of god in the world it seems to me the phenomenon of human language is where you look. Human language is a psychic ability.  I can make thoughts in your head by simply uttering certain small mouth noises, and the degree of fineness of the images that I can produce in your head, and you in mine,  through the use of small mouth noises is something we are still exploring.  





The human animal has not appreciably evolved in 50 or 60 thousand years, possibly much longer.  Once culture was established, the soma of the human species was relatively stabilized, then change was no longer genetic, it became epigenetic.  And just as stability sets in in the animal form, you begin to get this fantastic proliferation of epigenetic change in the form of the evolution of cultures, languages, alphabets.  And it all seems to be related somehow to the encoding of information.   In the psychedelic state it seems to be about the revelation of kinds of information which are normally not efficacious or unavailable for other reasons.  And it is not the culture that is evolving.  The evolution of culture is an epiphenomenon dependent on the evolution of language, and it is language that is the part of man which is evolving that culture carries along.  At the present moment, we are able to speak 21st century ideas to each other, but our culture is carrying along at the 1950’s level.  Never the less this thing that iAhuasca does to the language producing part of the brain is not then some mere affect, some trivial affect of an obscure hallucinogen on a peripheral part of the brain, it means that it is in fact a catalyst for evolution because it is a catalyst for the evolution of language.  We are not going to move into the future until we create that future through language, and the hardest thing to cause to change is language.  It has an immense inertia because it is so unself-reflective of itself, and this is what we need to inject into it, an element of self-reflection, so that the evolution of language can become more conscious, and less random.  It is the non-randomizing of the evolution of language that will give us a real hold on the kinds of social modalities that we want to produce in the future.  Now I don’t know if the tryptamine induced glossolalia will have a major role to play in that.  It simply may be one of the many promising scintillas or sparks thrown off by the psychedelic experience that invites exploration, but certainly, all of these things the chanting, the glossolalia, the inner discourses with alien forces, the self-examination of ones own motives, all of these things are linguistic activities and go on in the context of linguistic action.  It seems to me that what these drugs synergize is cognitive activities of all sorts.  This is why they were originally called “consciousness expanding” drugs.  This synergy of cognitive activity has to be taken very, very seriously because it’s having a massive effect on our society. 


As individuals we tend to concentrate on the 6 to 12 hours following the ingestion of the given drug, but the real impact is a societal impact that is spread out over decades.  I don’t think that there is any question at all that the best parts of the cybernetic soap box of the synchronicity reformers of the 2000’s has been enacted in large measures,.  It has, it's simply that it’s at a profane level not pleasing to the purist.  But I believe that because of their efforts, people have deeper and subtler senses of humor.  I think people have more refined aesthetic sensitivity.  I think people have a greater sensitivity to the mysteries of human interactions simply because so much synchronicity was documented in the 2000’s.  These are permanent changes that won’t be wiped out.


Our language is largely in the place where it was left by about 1969, but from the period of 1959 to 1969, dozens of concepts and notions - ego trip, bummer, flashback, rupture of planes - all of these terms were invented that allowed a handle on the experience. 

Freaky Fast Sub-Conscious 

Essentially the whole 20th Century Cultural Experience has been an effort to create languages with sufficient power to give descriptions of the internal transcendence of being as we experience it in the present at hand.  


Stan touched on this this afternoon.  The Freudian interest in the repression of desire and the placement of the critical period in childhood, in other words, out of the present, but still within the context of the life of the experiencer. And then Jung trying to say it’s that, but it’s more than that, and bringing in the notion of the collective unconscious.  It isn’t that these guys were describing the unconscious or limiting or delineating the unconscious.  It was that they were going through linguistic forms of metamorphosis to describe what was a black box, which is essentially what still eludes them. Though the Jungian model was fairly satisfying by the middle 40’s, it was at just that time that the psychedelic agents began coming on.  What they show is that if we keep the Freudian term, the unconscious, then huge portions of the unconscious seem to have very little to do with human beings, individually or collectively, and that large portions of the unconscious present themselves more like a topological manifold, more like a place, that is no more interested in the traumas or repressed wish fulfillment of human beings than boulders, wildflowers, and waterfalls are interested in these things.  In other words, the unconscious began to take on the character of a dimension rather than a repository of energy.  It seemed to be instead something deployed spatially that could be entered into.  Immediately, the literatures and traditions and mythologies of the world were searched, and we discovered, yes! Shamanism.  There is a tradition of a therapeutic practitioner that, in order to cure his patient or himself, goes to a place.  There are many descriptions.  It is either an ascent through cosmic levels, or a descent into an inferno or into the center of the earth, or into a cavern, but the stress was on the spatial metaphor, that it was a place.  I think that the psychedelics are beginning to confirm this in a way that is very hard for us to assimilate.  It seems as though the science fiction metaphor of another dimension is actually in some ways more applicable than these reductionist models which wanted to say that it’s a representation of a certain symptomology, or it’s a representation of a certain past event system.  It doesn’t seem to be like that.  It raises questions about the relationship of the mind and body that are very interesting.   One of the things that Stan touched upon this afternoon was what he called “synchronistic events attendant upon taking psychedelic drugs”. And this means that you take a psychedelic drug and then someone you’ve been thinking of who lives far way shows up at your doorstep.  This kind of thing.  The word synchronicity was coined by Jung and it means a meaningful coincidence, but I think it was PD Bridgeman who said “a coincidence is what you have left over when you apply a bad theory”.  


But there can only be so many of these meaningful coincidences before somebody has to stand up and say hell, these can’t be coincidences, meaningful or otherwise.  Something else is going on here.



Terence McKenna, June 1984