Disparate Remarks on Writers and Other Artists and Their Audience(s)

Walter Benjamin

While recently re-reading Walter Benjamin's essay "The Task of the Translator" ("An Introduction to the Translation of Baudelaire's Tableaux Parisiens") - I was reminded of Benjamin's counterintuitive idea that Art only confirms our spiritual and physical existence, but doesn't care about its audience. "Even the concept of an 'ideal' receiver is detrimental to the theoretical consideration of art..." This seems to fly in the face of an age-old discourse about writers assuming certain types of readers, and at least two main types: 1.) The "average" reader, who the author can't expect to really get through to; and 2.) The "ideal" reader, who, it has often been expressed, the writer has most in mind when she writes.

But I think here Benjamin is thinking of a third type of mind: the translator, who ought to try to communicate the essence of the piece in a new language, to a new audience. "Any translation which attempts to perform a transmitting function cannot transmit anything but information - hence, something inessential." Such an odd idea of the role of the translator! And odd ideas about information, essences, and audiences. I find Benjamin wrong here, but he's one of a small handful of writers who are more interesting to me even when I find them wrong. I am part of Benjamin's audience; when he wrote the aforementioned essay he supposedly did not have me in mind. I think that's about correct.

There are those writers - usually my kind - who develop their private vocabularies, which can scare off ordinary readers, but if the vocabularies contain metaphors poetic and potent enough, they spill out of the private life of the writer and into his more-or-less "ideal" readers' minds...and then they infiltrate the larger society. And change it. 

                                                      Tom Robbins

In Conversations With Tom Robbins he said he can't think of his audience when he writes, that he needs to concentrate, "like a Wallenda."

Glenn Gould, Roman Polanski, Orson Welles

Gould stopped performing live concerts at age 32, saying, "I detest audiences...they are a force of evil." This always has me wondering: how can a nervous system perform so transcendently well, all the while detesting its audience? Clearly, Gould was wired differently than most of us. For every Gould there are a hundred musicians who remark how difficult it is to record in the studio: there is no audience, no mass of Dionysian energy reflecting back from the crowd. No love-radiation from the adoring audience. I wonder how many solo performers have an active dislike for those paying, braying idiots who peer out there beyond the stage lights? Perhaps it's not as rare as I thought; I have heard of some performers who say they get an edge by working up a distaste for those who deign to sit in judgment of their performance, simply because they managed to scrape up the price of a ticket. But few dare to state their feelings so baldly as Gould did.

                                                      Glenn Gould, an enigma

I caught this line from Roman Polanski, one of my favorite directors: "I aim for the public at large, including children, and I'll target the children inside us until the day I die."

Wait, wait, wait: I know what you're thinking, and for today I'll pass on the easy jokes here; that underaged gal has said publicly she didn't want Polanski persecuted by the system as he had been. 

Now, a good lot of Polanski's films are pretty bleak. I just watched Cul de Sac. It's absurd, dark, violent, and oddly funny. But for children? Double that for Knife In The Water, which, like Cul de Sac, presents humans as predatory upon each other, which we as a species seem in active denial about; Polanski's pointing to the primate status-seeking and one-upping that seems built into our characters, unless we try to actively root most of it out. Both of those films present male outsiders competing in some primal way for the attention of a woman. For children, Roman? Maybe Polanski was being sardonic in that quote; I have it in my notes and didn't note the context. But I don't think he meant it sardonically. The quote was made before he did his take on Oliver Twist. It certainly can't have anything to do with Chinatown, can it? 

It's an odd quote, taken from p.123 of Roman Polanski: Interviews. I can't see how Rosemary's Baby, Tess, The Ghostwriter, and especially Repulsion have anything to say to the "children inside us," unless it's that the world can be a terrible and brutal place to be a child. But I can see this quote relating very strongly to The Pianist, because it has so much to do with Polanski's hellish childhood...which seems a terrible and brutish place to be a child. Maybe Roman was high at the moment he uttered that statement, who knows. Still, this is an enigmatic quote for me, and I often think of it. 

In Orson Welles: Interviews there is the idea from Welles that, when he made a film he had no audience in mind (similar to Benjamin's idea?), but when he put on a play the audience was in the forefront of his mind. Orson conceptualized the person watching action on the screen as in a different semiotic world than those watching live humans, without all the tricks that filmmakers have at their disposal. This seems at least part of what he meant.

Gurus and Cult Leaders and Their Audiences

I do not see these cases - gurus and cult leaders and their followers - as all that different from, say, the artists/performers Taylor Swift, Rush Limbaugh, Jon Stewart, Lebron James, and the magician David Copperfield and their relationships to their fan(atic)s. The small difference seems to make enough of a difference though: all of them can go "on" do their Thing, and then be done with their act and move on, as some sort of "entertainer"or gadfly, whathaveyou. Their public acts have a long-time legacy of social authorization and have been thoroughly legitimated by enough of the population that they are taken-for-granted "reality."

In Price and Stevens's provocative book Prophets, Cults and Madness, they take a page from Anthony Storr's 1996 Feet of Clay regarding "gurus," who are "people who believe they have been granted some sort of special life-transforming insight, which typically follows a period of mental or physical illness (which has variously been described as a 'mid-life crisis,' a 'creative illness' or a 'dark night of the soul'). This eureka experience may emerge gradually or come like a thunderbolt out of the sky, in the manner of religious conversion, a scientific discovery, or an intact delusional system of the type that occurs in schizophrenia. As a result, the guru becomes convinced that he has discovered 'the truth,' and his conviction, as well as the passion which he proclaims, gives him the charisma which marks him attractive to potential followers." 

This reminds me of Robert Anton Wilson's take on Timothy Leary's "metaprogramming circuit." Historically, certain odd types have accidentally activated this metaphorical neurological circuit, and fell so in love with the "new" program, new way of looking at the world, that their charisma, infectious enthusiasm, or whatever we wish to label this phenomena as: it becomes a cult, then maybe a religion, with official dogma and official enemies. The same old story from here to eternity, as Burroughs said. Wilson saw the main problem with these types as not noticing that it was their own nervous system that "selected" this vision of the world; they mistook it for a message from "out there," when it was actually from within. And there being a Seeker born every minute, they will have followers. Let's just hope it doesn't get out of hand and that someone develops a healthy sense of humor around this "special" vision of "reality." Wilson says gurus and cult leaders get "stuck" here: too much power too soon, and they don't seem to notice that, if they did it once, they can do it again: some other visions of "reality."That first one was just too awesome, too vivid and such a blast. 

On that note, from Plato's (supposedly he wrote it): Seventh Letter: "For this knowledge is not something that can be put into words like other sciences; but after long-continued intercourse between teacher and pupil, in joint pursuit of the subject, suddenly, like lightning flashing forth when a fire is kindled, it is born in the soul and straightaway nourishes itself." 

Now: Plato is saying this happens in a dialectic; it is not Saul's falling off his ass. But it does make me wonder regarding the sulfurous proselytizers. 

                                                    Fran Lebowitz

When Your Audience Dies

Martin Scorsese made a documentary a couple years ago about the hilarious, strident lesbian humorist Fran Lebowitz, and there was a section in which she talked about the cultural aristocracy and connoisseurship of gay men who were her biggest fans in the mid-late 1970s and early 1980s. And then they started dying overnight and it harmed her art, her will to produce sank, her audience dead, and all sorts of 3rd, 4th and 5th raters rose to prominence. While she said all this with a straight face, I do believe she was in earnest...and at the same time the audacity was epic. She'd had a long writer's block. What a grandiose way to explain it! And I still felt very sympathetic to her. I also thought she was basically right: AIDS did take a major toll on the Arts. And I also felt sort of oddly honored: as a hetero male, I loved her two books, Social Studies and Metropolitan Life, as soon as they came out. I knew no other person who even liked her, in suburban Los Angeles. My ego mentally lumped myself in with the gays who survived.

Here are some quotes from her. 

Lebowitz often made me think of her as a reincarnation of Oscar Wilde, who once said that the opening night for his new play didn't go so well because "the audience flopped."

                                                              Wilde

Poetry

I can't escape the idea that "meaning" in Modern poetry derives in a considerable part from good will on the part of the Readers.

The Audience for Robert Heinlein's Stranger In A Strange Land

I've been reading on "reception theory" and wondering about this book, which has captured the imagination of Heinlein's readers in a way that baffled him. His readers "made" their meanings and often the writer was aghast. This fascinates me. I got hold of a bunch of books from the library to try to flesh this out, and stumbled onto Carole Cusack's Invented Religions. Cusack says some critics were "disturbed" that The Church of All Worlds and the Fosterites were meant to symbolize the Dionysian and Apollonian in the public mind, but that "the two churches are almost indistinguishable."

"Critics are also uncertain as to whether Heinlein's positive portrayal of Mike and the CAW is parodic; another possibility is that the novel's elusive genre (variously described as novel, satire, anatomy, myth and parable) means that the meaning of the CAW has to be decided by readers, depending on their assessment of the genre of Stranger." -p.59 

I have only read this book once, but have delved into bits of it at other times. When I read it cover-to-cover I thought it a quasi-Ayn Randian book, but better written. This was at least twenty years ago. I had known that some feminists had applauded Heinlein's depiction of strong, rational, independent  women, but I also thought Jubal was a bit of a blowhard; he just wasn't someone I admired, although clearly I was supposed to. My politics were different then, and I want to re-read the book again this year, if only to notice more clearly this problem of "genre," which fascinates me. Cusack compares Heinlein to Robert Anton Wilson: "Heinlein, like Robert Anton Wilson, was a lifelong agnostic, believing that to affirm that there is no God was a silly and unsupported as to affirm that there was a God." 

This notion of not being able to place a book in a genre immediately draws me to the book. It's one of the main reasons why I became such a devoted reader of Robert Anton Wilson. The mercurial, trans-generic, one-off-ness of his books - as I saw them - was an inherent value to me. 

Speaking of Cusack, who seems to be doing sociology of religion in Sydney, her first chapter in the book is on Discordianism, and her citations include not only Principia Discordia and Thornley's Zenarchy, but Conspiracy Theories in American History (2 vols, I hadn't seen these until today); Adam Gorightly's book on Thornley, The Prankster and the Conspiracy; Alan Watts's Beat Zen, Square Zen and Zen; Adler's famous Drawing Down the Moon; and my friend Eric Wagner's An Insider's Guide to Robert Anton Wilson, which she cites five times.

Fran Lebowitz on homosexuality:

Attack of the Illuminoid FNORD!!!

 Can you IMAGINE what's going on here???

I was just playing around with Cornelius Zappencackler's Pulp-O-Mizer dealio. 

Pretty cool!

hat-tip: BoingBoing (of course!)

William S. Burroughs at 99: Viruses, Memes, Cats, Art, ETC

On Feb 5, WSB would've been 99. What follows is a hodgepodge of Burroughsianiac musings.

For virtually all of his life, WSB was at odds with the trans-societal forces he eventually labeled Control. (On the Wiki page for WSB it says he was turned down by the OSS, and IIRC that was in Morgan's bio, but I digress already.) I've always found it interesting that Edward Bernays, the nephew of Freud who used Freud's ideas to manipulate the masses in the new "science" of Public Relations, had as an early competitor Ivy Lee, who was WSB's uncle via marriage. Lee was the epitome of Control, and just before he died of a brain tumor at age 57 in 1934, Congress had begun investigating Lee's ties to the Nazis and IG Farben.

In Ezra Pound's Canto 74, he mentions the stark fact that the Allies bombed the hell out of Germany, but somehow they missed the Farben plant.

WSB, the grandson of the founder of the Burroughs adding machine corporation, was sent to the Los Alamos Ranch School, a boarding school and college prep for rich kids that was influenced by the Boy Scout code, around 1930. He hated it. Later the US government bought the school and all the surrounding land, for the secretive Manhattan Project. Gore Vidal had also gone to Los Alamos Ranch, and in his autobiography Palimpsest he compared WSB to Pound (p.228) WSB was influenced by Pound (and Joyce). The NY artist/critic Richard Kostelanetz asserted that Pound's The Cantos was the last great poetry collage, while WSB's Naked Lunch was the last great prose collage. (Kostelanetz: ABC of Contemporary Reading, p.53)

Pound and WSB were very much in love with cats. See these photos of writers and their cats. If you know much about these writers - they were all (perhaps?) "weirder" than the average weird great writer. I wonder if it had anything to do with toxoplasmosis, or tiny organisms that get into the brain, which originate in cats?  (They are actually protozoa, these cat-carrying microbes...)

Pound was found "insane" by the US for his very poor use of First Amendment ideas on behalf of Mussolini and "the US Constitution" and other things.

If this had anything to do with explaining the avant aspects of WSB and his art, it seems almost too ironic, as he, under the influence of a course of study with Korzybski, developed the idea that language was a virus that had commandeered humanity's minds; we are language's "host."

[The great Stanford neurobiologist Robert Sapolsky on toxoplasmosis. Some of you hardcore Pound and Burroughs exegetes might want to invest 25 minutes of your time to listen to this guy, keeping in mind those writers' love for cats. Has anyone else pointed this out? I wonder if toxo can make someone sort of "half-schizo," where they are really weird, but creative, and not bothered by auditory hallucinations and the complete consort of the full-blown paranoid schizophrenic? Pound went around Rapallo feeding the feral cats despite not having any money; WSB was horrified at the prospect of nuclear annihilation because it would mean his cats would die. If there's something to it, then maybe we can venture that a protozoa has had a huge influence on Literary Modernism. OR: the OG is a cat lover: maybe I'm toxo-infected and what it does is give you grandiose ideas about unforeseen connections?]

This reminds me of an essay called "The Aliens Are Among Us," by Nathan Wolfe, who founded the Global Viral Forecasting Initiative. He's talking about viruses: "Viruses operate along a continuum with their hosts and other organisms they interact with: some harm their hosts, some benefit their hosts, and some - perhaps most - live in relative neutrality with them, neither substantively harming nor benefiting the organisms they must at least temporarily inhabit for their own survival." (p.191 of What's Next: Dispatches From the Future of Science)

The Burroughs scholar Oliver Harris said that Burroughs himself was like a cultural virus: "Burroughs dedicated himself to immortality by becoming what Richard Dawkins, in The Selfish Gene (1976), called a 'meme.' : 'a unit of cultural transmission, or a unit of imitation which propagates analogously to the genetic code and the parasitism of viruses, and is more than metaphorically 'alive.' If memes survive by parasitizing human minds, so, reciprocally, can the mind survive parasitic self-replication. The viral programme 'simply says' "Copy me and spread me around." This is Burroughs: 'all poets worthy of the name are mind parasites, and their words ought to get into your head and live there, repeating and repeating and repeating.'" (from Harris's essay, "Can You See A Virus?: The Queer Cold War of William Burroughs")

Speaking of viruses from space, language as virus, cats infecting human brains, and memes: Scientology has been in the news a lot lately. And Burroughs had his fling with it. See here. This is another aspect of WSB that fascinates me.

Still one of the best biographies of WSB is, in my opinion, Ted Morgan's Literary Outlaw. Last year Morgan wrote an article about why WSB hated Morgan's book. In Morgan's book he pointed out that, in Naked Lunch WSB seemed to foresee AIDS, liposuction, autoerotic asphyxiation becoming common, the crack epidemic. I'd add that WSB seemed, very early on, around 1961,  to suspect the CIA would be behind LSD flooding the streets of Unistat, and they would be doing it in an effort to staunch a youth rebellion.

I think WSB also foretold Kenneth Starr sexual fascism, but maybe that's for another day.

Oh yea: there's a wild little book called The Great Naropa Poetry Wars, by Tom Clark. In it he asserts that the antics of Chogyam Trungpa are like WSB's character "Dr. Benway."

Not long ago I went looking for the origin of a line WSB repeated: "And beside, the wench is dead." It looks like he got it from Christopher Marlowe via TS Eliot. (See Lives of the Poets, Schmidt, p.606)

Robert Anton Wilson: two passages around WSB:

"My friend, novelist William S. Burroughs, liked to say that 'anything which can be accomplished by chemical means can also be accomplished by non-chemical means.' I have personally found this to be true. There is no area of new perception and expanded awareness discoverable by peyote (or LSD or similar drugs) that cannot also be reached by techniques well-known to Oriental yogis and Western occultists. The sensory withdrawal techniques pioneered by Dr. Lilly and the new biofeedback machines also duplicate most of this expanded awareness." -pp.32-33, Sex, Drugs and Magick

From a 1992 interview:
Q: And what are some of your memories of that whole scene at Millbrook at that time?

RAW: Well, I'm sorry to sound like an advocate, but my impression was that Leary was one of the most brilliant people that I've ever met. Very much like my impression when I first met Buckminster Fuller and William Burroughs. The three people who gave me the sensation that I am in the presence of higher intelligence.

Q: And would you elaborate a little bit on why you put William Burroughs in that company? What do you see in Burroughs's writing, or his particular brand of intelligence that put him in that company?

RAW: Well, it's the choice of words. I first read Seventeen Episodes From Naked Lunch in a magazine called Big Table, and I felt no writer since James Joyce was able to put words together so efficiently and effectively to create the exact images and emotional overtones that he wanted. And I began to notice that not only was he a great prose poet, but he had a lot of interesting ideas, too.

Q: Had you also had the familiarity with Alfred Korzybski at that point?

RAW: Yes. That's one thing that Burroughs, Leary, Bucky Fuller and I all have in common - we all have familiarity with Alfred Korzybski and General Semantics.
(-from transcript of radio interview for Off The Beaten Path, see near the end. The person that transcribed the interview was quite unfamiliar with names mentioned, so I corrected the gross misspelling of Korzybski's name in the original.)

- In an effort to induce altered states without using drugs, Burroughs, in collaboration with Brion Gysin (the main brain behind the Thing) and Ian Sommerville, they came up with The Dream Machine, which uses flickering light patterns to interact with the eye/brain rhythms. You sit in front of it with your eyes closed and it does things to your brain. See the 2008 documentary by Nik Sheehan. Anyway, here's a brief:

WSB on art and making people aware of what they didn't know that they knew:

On (Some) "Educated" Liberals and Their Knee-Jerk Dogma Over "Conspiracy Theories"

I'd much rather be trying to entertain you with my grapplings to understand epigenetics, but this minor story got caught in my craw.

I'd rather take a few weeks and read a mess of stuff on a few topics, take illegible notes, gropingly trying to understand something way over my head and which seems as complicated as giving a good read to Finnegans Wake. I apologize for this entire blogpost-spewage, for it consists, to my mind, entirely of a digression from the endlessly truly interesting topics - interesting to me, at least - out there.

Salon Dot Com Shows Their Liberal Bona Fides
Robert Anton Wilson, still to my mind the greatest thinker about conspiracy theory I've ever read, once said in an interview with Philip H. Farber in 1997, "I am one hundred percent in favor of studying conspiracy theories because, next to quantum mechanics, they represent the best test of how well you can handle ambiguity and uncertainty."

                                    Salon editor Kerry Lauerman, who went to the U.of
                                    Indiana, where he - apparently - found out how to 
                                    know when the 
                                    interpretation of a public event qualifies as a "fringe" 
                                   "conspiracy theory" and 
                                    when good liberals should close their minds to any 
                                    further thinking about those events. 

I don't know if you caught this story or not, but I thought it both revelatory and confirmed for me the quality of university-educated in the Humanities-like hive mind that operates at Salon dot com.

Did you happen to catch Greg Olear's "Not All Truther Movements Are Created Equal" article in the online mag The Weeklings? If you haven't, please have a look now (it's short and well-written) and note that his four-paragraph preface was appended after what happened when Salon, which uses The Weeklings as one of their content-affiliates, picked up his story and then pulled it.

Joe Coscarelli of New York Magazine covers Salon's pulling of Olear's piece. Skip down to the italicized quotes from Salon editor Kerry Lauerman, who apologizes for the "unfortunate lapse," and that they at Salon have a long history of debunking fringe conspiracists, most recently the Sandy Hook ones. (And yet...by covering fairly exhaustively the Sandy Hook "Truthers," weren't they giving them more press than they deserved? This idea seems at least somewhat consistent with pulling Olear's piece. Just wondering.)

Jeremy Stahl of Slate covers this "lapse" by Salon and goes on to suggest they were right to do so, by linking all of his stellar debunking of the nano-thermite and Popular Mechanics experts on how much heat it takes to melt steel beams, etc.

The OG Goes On To Rant:
But to me, the real point was that indeed, Olear's suggestions did seem mild. The idea that all 9/11 conspiracy theories are equal to - in my current opinion, given my present state of ignorance and (mis)understandings - the execrable and baseless theories about Sandy Hook, seems classic "I'm such a well-educated liberal" dipshittery on the part of Salon and its pretentious editors. 

Stahl at Slate seems like a variant of this. He's far too certain of himself. But Lauerman is classic pretentious liberal asshole. Olear is merely saying there seems a lot of differences between 9/11 and Sandy Hook, and I think it was a valid point. Almost a trivial point. Olear also has doubts about the official story, AKA the 9/11 Commission Report. I think, after reading four and a half feet of books and articles on 9/11, that there seems valid room for doubt. (Olear's attempt to make distinctions between conspiracy theories, whatever your current position on Sandy Hook and 9/11 are, seemed sound to me, and did not deserve to be banished to the fringes in the Region of Thud. In my opinion.)

But Salon only seeks to apologize to their readers (which includes me; I read a lot of Salon's stuff) for fucking up and allowing a - again, I thought fairly benign - piece to sluice through. Their minds are closed about Sandy Hook (some really good reporting by Salon writers on the heinous a-holes fomenting conspiracies that a lot of it was faked so Obama could crack down/take away guns); Salon is also officially closed about 9/11, and I'd just guess also: the JFK/RFK/MLK hits, the Tuskegee Syphilis Experiments, the Reichstag fire, Gulf of Tonkin, that J. Edgar knew about Pearl Harbor before it occurred and FDR may have also, how the CIA tried to kill Castro, Watergate, Nayirah, Operation Northwoods, MK-ULTRA, Project Paperclip, and that the CIA was involved with the Contras and cocaine trafficking.

Such conspiracy theorists and their lowbrow ideation! My word and land o-goshen! Whatever has happened to our educational system! 'Tis a cryin' shame, just a shame!

Meanwhile, I still wonder about odd aspects of the whole 9/11 official narrative. For example, this piece ran in the San Francisco Chronicle just after. All I'm saying is I wonder.

Any one of us who think we should actually entertain ambiguity or uncertainty about real-world events must have gone to a bad community college; ambiguity is best left for reading Licherchoor...

I'd like Lauerman to tell me when a "fringe" "conspiracy theory" becomes that thing, and when does it become...Something Else. And how and when do you justify the changes?

Interestingly, one of the best books I read in 2012 was by David Talbot, Salon's founder. (I am trying to inject Irony here, folks. Please give me a modicum of credit.)

Talbot wrote the text of Devil Dog: The Amazing True Story of the Man Who Saved America, which resembles a graphic novel for kids (immaculately illustrated by Spain Rodriguez), but oh my: this is more for those adults out there who never heard about the most decorated Marine of his time, General Smedley Darlington Butler. And how he exfiltrated (is that even a word?) a fascist group headed by millionaires and Big Biz assholes like Alfred P. Sloan and Pierre Dupont, who sought to overthrow FDR. It's all true! (No foolin': if you want to read some US history that's hard to set down: read Devil Dog. Your head will swim. Why it hasn't been made into a movie by someone like Oliver Stone, I don't know.)

 Even if Butler wasn't approached by fascists who wanted him to lead a military coup near the end of his public career, his story is still almost too much to believe. But his story is well-documented en extremis. Still, it's hard for me to comprehend the things Smedley Butler experienced in his life; 'tis the epitome of marvelous. The attempted fascist coup AKA "The Business Plot"? That's the sort of thing Hollywood comes up with, but it's true!

Or, as Kerry Lauerman might say, "a fringe conspiracy theory." (Because of the conspiracy to brainwash him into thinking that anything not common in his social circle is suspect? I'm just guessing here. What a pretentious dipshit.)

Final: A Head Test
Q: Does all this ranting by this Overweening Generalist dude indicate that he's a 9/11 "Truther"? Explain your answer.

Promiscuous Neurotheologist, Vol. 5 (or so)

I've recently immersed myself in the so-called New Atheism, trying to figure out some of the deeper structures, or at least some interesting tendrils, provocative musings, or pregnant metaphors. It's becoming evermore interesting, but I don't really want to blog about it here, now. I find offshoot hidden threads and want to bring them out in the open. If you're a believer, atheist, agnostic, Mormon, Discordian, Hindu, or a devout adherent of Bobby Henderson's Pastafarian The Church of the Flying Spaghetti Monster, or whatever, here I will talk of religious not-knowing, which seems underrated.

In the 1300s, an unknown Christian mystic wrote lines such as this, from The Cloud of Unknowing:

"And so I urge you, go after experience rather than knowledge...On account of pride, knowledge may often deceive you. Knowledge tends to breed conceit, but love builds. Knowledge is full of labor, but love rest."

This seems something like zen, or taoism, or some strain of Buddhism. Go after experience.

We can delve into the neuroscience of religious, mystical, or ecstatic experience, and find some relation to activity in the temporal lobe; we may look at dogmatic religious recitations and find other areas that light up on an fMRI. Of course. But what we all want is something like the experience, right? The dogma, the paint-by-numbers phoning-it-in generic "faith"may act as security blanket or allow the illusion you have Fire Insurance or a Free Get Out of Hell Card in your hip pocket, but deep down, don't we all know that's just bullshit?

"Oh yes! I tried to have a religious experience and nothing came, but I have faith that it will come, if I just keep praying and saying the right words." Yep. I hope it works for you eventually, but I won't hold my breath. Experience of something extraordinary and Other takes work, usually.

                                         A rendering of Rumi, who would qualify as one
                                         of Max Weber's "religious virtuosi."

The Negative Way, by Jalaluddin Rumi the Sufi
In the presence of the drunken Turk, the minstrel began to sing of the
  Covenant made in eternity between God and the soul.
"I know not whether Thou art a moon or an idol, I know not what
  Thou desirest of me,
I know not what service to do Thee, whether I should keep silence or
  express Thee in words.
'Tis marvelous that Thou art nigh unto me, yet where I am and where 
  Thou, I know not."
In this fashion he opened his lips, only to sing "I know not, I know not."
At last the Turk leaped up in a rage and threatened him with an iron 
   mace.
"You crazy fool!," he cried. "Tell me something you know, and if you
  don't know, don't talk nonsense."
"Why all this palaver?" said the minstrel, "My meaning is occult."
Until you deny all else, the affirmation of God escapes you: I am deny-
  ing in order that you may find a way to affirm.
I play the tune of negation: when you die death will disclose the mystery ---
Not the death that takes you into the dark grave, but the death whereby
  you are transmuted and enter into the Light.
O Amir, wield the mace against yourself: shatter egoism to pieces!
-Rumi, 1207-1273, translation by R.A. Nicholson

                                                   Uncle Al, a Great Modernist

DIY Scientific Approaches to Religious Experience...
...Seem best developed by The Most Evil Man in the World, according the British press at the time of the Evil Man's flourishing. He died in 1947. His name: Aleister Crowley. I can't go into it here - and many of the readers of OG are probably ahead of me here anyway - but Crowley developed a dizzying array of methods of systematic Faith, then systematic Doubt, with much alteration between the two poles until Something New happened to one's organism: ecstatic experience. However, we must not "lust after results," and always note the findings of any experiment, even if unexciting. Keep a magickal diary. Most scientists toil in agonizing dead-ends, but their work is still valuable: they know what did not work after hypothesis X23 was creatively implemented into a testing procedure. Write up your findings. Note the amount of time put in, the conditions in the room, any unforeseen problems or effects. Note it all, and keep working at it. And my word: how much Crowley will have you work!

?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?...

These are soldiers and hunchbacks: it seems we use them to get into extraordinary experience.

The thing is, and the reason I'm including Crowley here, after The Cloud of Unknowing and Rumi: Faith and Doubt are fine, but they only get you so far. If you want experience, that is. Use both Faith and Doubt as an means to an end: experience. Crowley sees Doubt as more powerful though, being trained in the Sciences:

I slept with Faith and found a corpse in my arms upon awakening; I drank and danced with Doubt all night and found her a virgin in the morning. -The Book of Lies

The following lines seem also to come very close to the spirit of the modern magickal mode:

We place no reliance

On Virgin or Pigeon

Our Method is Science

Our aim is Religion.

Chemical Means
You already know what to do, but please be careful. And you know what? You really ought to pay attention to the Law of all Pharmacology: your mental set and the setting in which you do your experiments really ought to be considered, deeply, before you go into it. With recent findings on the weirdness of the placebo effect, this Law probably holds even with aspirin. There are some Adepts who say one ought not take anything unless it's been used in a general population for a considerable amount of time; the species-wide knowledge of its effects are a hedge against a Very Bad Time. Other Adepts - often the same ones I just mentioned - urge the use of substances that have not passed through a pharmacy, but are biologically produced by Gaia, straight from Her to your nervous system.

Here I urge you to Know so that you will have an experience of Unknowing.

Non-Chemical Means
You do these all the time, but do your work in tuning into them on a much deeper level: music, breathing, doing math, reading Finnegans Wake, drumming, fancy bathing techniques, learning a new language, not speaking for three days. There are many ways up. I just now thought of our friend Douglas Rushkoff's first book, Stoned Free: How To Get High Without Drugs.

Why Neurotheology?
It seems true that all theology and atheology is better termed "neurotheology" and "neuroatheology." Why? Because we don't "know" for sure about God, Goddess, Gods, etc. Especially the Pope: he does not know. The Dalai Lama seems to know a bit more than the Pope, but who knows? We only know what impinges on our sensoria, and passes through and gets sifted by our nervous systems. Some of you assert you have "faith," which has always seemed to me oh-so appropriately a private affair.

I know, I know: you want to see infinity in a grain of sand. We all do. Let's get better at figuring out how. And share your work!

History and Perception of Time: Labeling and Control

I use the word "control" in the title but I think in this semantic sense it's human; oh-so human.

Here's What I'll Ramble On About Here:
- Noocene Epoch
-"human progress"
- acceleration of data, information
- Anthropocene Epoch
- Holocene Epoch
- a final riff

So: How do you think we're doing so far in the Noocene Epoch? (There oughtta be an umlaut over that second "o" in Noocene.) I copped this Epoch from The Biosphere and Noosphere Reader. There it was defined as something like: how we manage and adapt to the immense amount of knowledge we've created. My answer is: I don't know, but I suspect a lot of us are having birth-pangs of a rather longue duree, if we can use that term on a personal scale.

Mutt: We can't.
Jute: We can.
Mutt: You won't.
Jute: I will.

With something like a logarithmic increase in world population and technological development, including Teilhard's global media/communications vision of a noosphere (the human mind permeating the electromagnetic spectrum), we seem to be going a bit nuts; it may be coming too fast for our biologically-evolved selves. And are we making logarithmic-like gains in empathy, understanding, and a general updating of ethics and manners, a cosmopolitan outlook? My knee-jerk says nay; Steven Pinker wants to argue something like a "yes" to this in his recent doorstop The Better Angels Of Our Nature. And I so want to believe his basic thesis is right.

Human "Progress"
On the other hand, there's a long tradition of denial of "progress" by heavyweight thinkers. I usually read them as necessary correctives to a general cultural mindlessness about "progress." Chris Hedges has a bit of a jeremiad this week: the very technological boom that we've created - it started only a few minutes ago, on the vast homo sapiens sapiens timescale - is the very thing that may be taking us down. For those of us with an atavistic need for Bad Time when there's one to be had, read Hedges's "The Myth of Human Progress."

Acceleration of Info
Robert Anton Wilson thought the general rise of social lunacy and conspiracy theory was related to the information flow-through in society, which, according to statistics he derived from French economist Georges Anderla, was doubling at ever-increasing rates. Bytes, Data, Information, Knowledge, and Wisdom may all "be" different things, indeed, but RAW's (and Kurzweil's for that matter) notions of pegging an idea and a method for counting, then watching the curve rise absurdly quickly, seems an effective rhetoric to get us to think of acceleration of processes, however flawed the methodology may be.

Futurist Juan Enriquez talking about data-doubling for 2 minutes.
Ray Kurzweil's Law of Accelerating Returns (ancient!: from 2001)
Robert Anton Wilson and Terence McKenna on information doubling; 4 minutes

Anthropocene Epoch
According to RAW's Jumping Jesus, we were at 4 Jesus in 1500, then 8 by 1750 and the start of the Industrial Age. I increasingly see the Industrial Age as now being described as the beginning of the Anthropocene Epoch. Can we get out of it unscathed? I increasingly doubt it. I don't mean the human experiment on this rocky watery planet will end soon, but I do think we will radically alter what it means to be "human" in the next 30-50 years.

                                                  Cesare Emiliani

Holocene Epoch
The Age of Faith. The call of Being. The Mind of Europe, the Ming Dynasty, the "postmodern," The Sixties...All of these ways of conceptualizing our time here (and any other one you can think of) happened during the Holocene Epoch, which was coined by Cesare Emiliani: he thinks our calendar, which shifts when a Jewish rabbi-carpenter-anarchist was born, is too subjective. The "entirely recent" (AKA "Holocene") is, for Emiliani, anything from 10,000 years ago to today, roughly the Neolithic to now. The last great Ice Age had receded: the human story is told in the last 10,000 years, and so why don't we just add a "1" to whatever year we're in now and think of time that way? So, we're living in 12013 now.

I confess I'm a sucker for romantic intellectuals who are so overweening in their grandiosity of ideation that they think they can change the basic calendar. Do I think Emiliani's idea will ever catch on? Not a chance. But it has caught on with me. I like the psychological sense of a new way to control my perception of time with the Holocene.

Final Riff
To whatever extent human's many problems represent an Existential Risk: climate change, lurking plagues, asteroid collisions, Mutually Assured Destruction, and continued overpopulation (the world had roughly 200 million total when the anarchist rabbi was born; 791 million in 1750; 1.6 billion in 1900; 2.9 billion in 1960; 3.6 in 1970; 4.4 in 1980; 5.2 in 1990; 6.0 in 2000; and we passed 7,000,000,000 around Halloween, 2011); whether there's another Great Dying, or a Robot Apocalypse, or a happy Singularity or Omega Point: we will need to pass through something Ahead that we might later think of as a Bottleneck Epoch.

On another level and despite the many charming cyclical models of Time and History proffered by some of our more ingenious thinkers, the ideas from Hegel, Marx, Heidegger and Derrida lead me to agree with Derrida: there is no lost original language or vocabulary that will restore our sense of being grounded in some sort of Absolute Ultimate. All that is or seems, seems as metaphor, and we must find our way bravely in this present (which we want, at times, to be "timeless"). We post-postmoderns: can we believe in a teleology for our species, within an historical trajectory? Do we take seriously an eschatology? Clearly some do, but they seem in a negligible minority. In the previous paragraph I hazarded a Bottleneck Epoch, my optimism winning out. I, like Buckminster Fuller, am biased: I like the humans and I, as Bucky said, want them "to be a success in universe."

Nonetheless, how do we think about our present eschatoteleological dilemma? (A: mostly, we don't.)

I wrote this entire post in hopes that someone will think me a Heavy Cat.

Erisiana: Kerry Thornley Snippages, Featuring Ayn Rand, Lee Harvey Oswald, Robert Heinlein,and Jim Garrison

I just got done channel surfing and caught Rand Paul, pretty worked up over Obama's gun safety initiatives. I have had a long day and have built up some sleep debt, so I thought of the chaos in the midnight theater in Aurora, the mentally ill student at Virginia Tech, the mentally ill guy who slaughtered a bunch of children recently in Connecticut...And "Rand" Paul, his father, and Ayn Rand, and her cult of "rationality," and Rand and Kerry Thornley, who is quoted in Adam Gorightly's The Prankster and the Conspiracy. It's August, 1960, and Thornley had just been discharged from the Marines and was a pretty hardcore Marxist. Then he accidentally had a look at Atlas Shrugged and was instantly converted to capitalism, Rand-style. Here's a quote from a mid-1964 letter Thornley wrote, in Gorightly's book:

"What had driven me to Marxism was simply that, as a political philosophy it was the only thing I could find without a blatantly mystical base. I had seen enough of U.S. foreign policy to know who was winning the Cold War, and all of Ike's prayers left me no more secure in the face of a system with both coercive methods and moral (altruist) justification as its disposal. So I was about ready to look up a friend in San Francisco who belonged to the Communist Party and ask him what I could do to speed up the revolution, when I picked up Atlas Shrugged as a good, long book to read at sea. Well, by the time I set foot on U.S. soil again I knew I'd happened upon a genius. It took me about two years to work out and adjust to my new philosophy, but I knew it'd be worth it. It is." - on pp. 42-43 of The Prankster and the Conspiracy

This letter was written around the time Thornley's book Oswald was being written. As many of you know, Thornley knew Lee Harvey Oswald before Oswald allegedly shot JFK; they knew each other as Marines. I still find this surreal to think about.

This general train of thought - true yet quite surreal - seems almost too rich for words. Thornley reads The Warren Report, and by 1967 his politics had undergone a radical shift again: to "sex, drugs, and treason." Everything Rand was against, all authority, laughing at the "free market" ideology of Rand. He found liberation in zen, psychedelics, anarchism, and free love. And he, like Robert Anton Wilson, wrote about a psychedelic orgy cult, The Keristans, for the underground press. (RAW's article on a NY chapter of the Keristans in 1965, for Ralph Ginzburg's magazine Fact.)

The Keristans were heavily influenced by Robert Heinlein's 1961 novel Stranger in a Strange Land. One can easily trace today's polyamorist adherents (movement? sects? citizens?) to the Keristans, although it seems quite possible that, for every polyamorist or ethical non-monogamist you run into, few today would make the connection to the seminal science fiction novel. Perhaps the urge for open sex is universal enough I'm giving Heinlein and the Keristans too much credit for influence? At any rate...

                                     Thornley, from later in his mad life. The "Norton"
                                     he's talking about is San Francisco-based Emperor
                                     Joshua Norton, Lord High Protector of Mexico. 

At any rate, Kerry Thornley and his wife Cara were living in Watts in 1966, a year after the famous riots, when Robert Heinlein received a letter from the LA Keristans offering him $100 to come to LA to speak to them, as they considered him "the 'New Testament'." It is not known if Thornley wrote the letter. The neo-Pagan Church of All Worlds was definitely influenced by Heinlein's novel, for which, if I were Heinlein, I'd be sorta pleased. Charles Manson was heavily influenced by the same novel; Heinlein has about as much responsibility for the Tate-LaBianca murders as Jesus had for the Inquisition.

[Heinlein's novel has had at least the occult power to colonize weirdo minds as Salinger's Catcher In The Rye has. So far...- The Mgt]

At any rate, Heinlein turned the Keristans down, calling them a "far-out cult." (Grumbles From The Grave, ed. Virginia Heinlein, p.236)

Margot Adler (grand-daughter of Alfred Adler, who famously broke with Freud) was a terrific observer of this underground scene. She wrote that Thornley's coverage of the Keristans greatly influenced the neo-Pagan movement: free love communes, Wicca, back-to-nature ideologies, and others who sought an unhindered life of psychedelic experimentation and open expressions of sexuality.

In 1967, DA Jim Garrison, through various bizarre machinations, decided he wanted to indict Kerry for perjury. He issued a press release: "In September of '63, Kerry Thornley was closely associated with Lee Oswald at a number of locations in New Orleans." A witch-hunt? You betcha. Nevertheless...

The underground press, for reasons not totally clear to me, despite plenty of digging, sided with Garrison, despite the fact that Kerry had written for such stellar underground papers as the L.A. Free Press and The Great Speckled Bird. As Gorightly writes, "This irony did not go unnoticed by Robert Anton Wilson, who encountered a media blackout when trying to address Kerry's situation. As Wilson explained during our July 2001 interview:

"'In '67 or '68, most of the underground press was publishing a lot of stuff pro-Garrison, and this included Kerry's role in the assassination. And I had lots of contacts in the underground press, so I started sending out articles defending Kerry, which nobody would print, because the underground press was behind Garrison and the official corporate media was totally anti-Garrison - I was trying to send the message to the wrong place.'" - Gorightly, pp.91-92

Kerry had known Oswald in the Marines. He'd published two books about his connections to Oswald, but the first was a sort of novel about the craziness of military grunt life; it felt sorta "beatnik" to me when I read it...and Oswald was in it...before the JFK hit. (I read The Idle Warriors and it's still unheimlich that Oswald was the focus of a novel before November 1963...maybe it's just me...but read the one reviewer comment at the Amazon link; there's something to CIA and/or military LSD experimentation at the American base in Japan the writer mentions. You can look it up. But let me get on with other weirdness.) Then Kerry published a book on Oswald in 1965. Many people remarked that Oswald and Thornley looked very much alike. And Kerry had been in New Orleans while Oswald was militating for "free play for Cuba." What were the odds?

If this material is new to you and it seems like I'm making it up...I often feel like I'm making it up, but it's true. And it gets far, far weirder.

Garrison did charge Thornley with perjury, and Kerry wrote to his Principia Discordia co-writer and boyhood friend Greg Hill that he was afraid he'd do 20 years for being "up to my ass in a spy novel." He wrote to Hill that the reasons he might go to prison were, "1.) having gone to USC at the same time [alleged spy] Gordon Novel did; 2.) having written a novel based on Oswald which re-inforced his apparent Marxist cover; 3) having been from that point out the victim of either the most fantastic chain of incriminating co-incidences or the most satanically evil plot in history..."(Gorightly, p.97)

Well, Kerry got out of it, but he really just sunk deeper into a darker well. The story of Thornley seems underappreciated, and I highly recommend Gorightly's book for rousing good read about his life, which, if you wrote it as a novel, it might seem too fantastic. The subtitle is "The Story of Kerry Thornley and How He Met Oswald and Inspired the Counterculture."

Meanwhile, Eris reigns. And so does Discordianism. As Margot Adler writes, quoting Robert Anton Wilson on Eris in 1976, "Whichever Eris you choose, she always seems to take the form of paradox, and an Erisian notice printed in Green Egg said that the Erisian path generally appealed to those who have 'an affinity toward taoism, anarchy and clowning; who can feel comfortable in a Neo-Pagan context, and who probably have a tendency toward iconoclasm.'" - Drawing Down The Moon, 1997 revised and expanded edition, p.333
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An article by Gorightly on Thornley, "Prankster or Manchurian Candidate?"