Old Wine in New Skins Part 1: Timed Cultural Interventions & Jacques Vallee’s Paraspiritual Control System

Psi phenomena are problematic precisely because they involve events in the real world and thus become candidates for a physical explanation, yet at the same time they are critically bound up with certain states of mind. Thus they cross the dividing line between objectivity and subjectivity which normal mental phenomena do not.

–John Beloff

One can study UFO reports and abduction tales for decades and remain more or less convinced these are physical beings from elsewhere who must possess advanced technology that is indistinguishable, to us, from magic.

But what kind of magic? Of the ritual…or of the stage?

As Jacques Vallee and John Keel long ago pointed out,[1] retaining an “ET spaceship” framework as a UFO report investigator requires one to ignore much potentially relevant information from witnesses that enters the realm of high strangeness: instances of telepathic messages, psychokinesis, apparitions, and coincidences that verge on synchronicity. In other words, the sort of “magic” materialist science denies exists.

If you embark on comparative historical research into fairy and djinn stories, poltergeist accounts, ceremonial magic, mediumship, NDEs, OBEs, shamanism, and world mythology, the UFO material tends to either assume a wider context of shared meanings or shrink in its uniqueness…You might realize you’ve been fixated on one narrow band in a spectrum of very similarly-structured experiences involving altered modes of consciousness that, ostensibly, are as old as humanity itself.

After such a study course, at least for me, the belief in technological ETs succumbed to attrition in the face of this historical evidence; the hardware proponents lost the argument. I became interested in exploring the raw experiences of otherworldly encounters (as far as that’s possible). What, prior to that, was a side-interest (the occult/folklore in general) to an interest in ufology has become my central focus. The two are intertwined in astonishing ways.

Foxsisters

Curious Timings?
In 1848, the Fox family are plagued by a poltergeist in their house in Hydesville, New York. By using raps on the wall or clapping, sisters Margaretta, 15, and Katie, 12, learn to communicate with the “spirit” in a manner that primitively mimics the dot-dash of the telegraph.

After causing a sensation throughout upstate New York, the two children are separated but the poltergeist activity follows both girls. The news spreads and within four years hundreds of thousands of people worldwide are attempting seances with the same results. Some persons attending séances claim the rappings follow them home upon return to their houses; sometimes a person even merely reading about them or deciding to attend a séance causes the activity to arise in their surroundings.[2]

The Shaker winds

Shaker member Miranda Barber’s apocalyptic vision, as seen in trance

But before the (in)famous Fox sisters’ experiences, the Shaker communities from New York to Kentucky had experienced many interactions with the spirit world. The “Era of Manifestations” that began in 1837 didn’t directly involve poltergeist-like rappings, but rather trance-states (lasting sometimes up to 9 hours) in which Shakers’ founder Mother Ann Lee, “angels,” “ladies in white,” spirits of the dead, and unclassifiable entities visited congregants, mostly young people, in visions. These episodes showed all the signs of what would come to be called out-of-body experiences and “astral travel.” Glossolalia, epileptoid fits, spontaneous unconscious preaching, and hallucinated music were exhibited during these attacks; during many trips, “movements” were learned, then mimicked by bystanders, then taught as divine motions that would become incorporated into the Shakers’ ritual dances.[3] Often, the entranced claimed to visit rooms in which conferences were held with the passed-on Shaker leaders and congregants, who admonished them to repent further and reform themselves; in one of these accounts, 14-year old Ann Goff witnessed “indescribable” chairs and a huge book upon a table as the Shaker elders, dressed in white robes with crowns, exhorted her to pass on a message to the community to curb their worldly behaviors.

Messages from beyond that demand behavioral change and redemption—which are so prevalent in “ET entity”-inspired communications regarding our treatment of the ecosphere—have always been a part of trance communications.

By 1841, the Shakers’ trance-entities included the spirits of Indigenous peoples, “antediluvian giants,” and ineffable apparitions. By 1842, so many outsiders were visiting the spectacles that the community leaders ceased holding open meetings.[4]

—–

So by 1860 Spiritualism has exploded into a fragmented but huge quasi-religion that expands upon, mutates, or even excludes Christianity as the truth; the message of most spirits are ecumenical or Universalist in content. Those with genuine talent at mediumship become superstars over the next five decades: Andrew Jackson Davis, Stainton Moses, Daniel Dunglas Home, Leonora Piper, Gladys Osborne Leonard, and Eusapia Palladino. While most of the “controls” used by the American mediums are the famous dead like George Washington or Beethoven, others are claimed to be spirit-guides, angels, or even extraterrestrials, who explain the workings of the physical and aetheric universes.

AndrewJackDavis

Two years after the Shaker experiences and four years before the Fox sisters’ fame, Andrew Jackson Davis engaged spontaneous trance using Mesmeric techniques. Considered mentally challenged as a child, by 1845 Davis was successfully diagnosing medical problems by clairvoyance, just as several of Franz Mesmer’s subjects were able to do sixty years earlier.[5] In a trance vision Davis signed a document offered by “an old Quaker man,” then Galen and Swedenborg appeared and taught him. After having a vision of “Galen’s staff” he diagnosed people while magnetized. At 19, he dictated The Divine Revelation, a massive work on metaphysics. [6] This same type of edificatory channeling occurred in many dozens of subjects under Mesmeric trance in France, Belgium, Switzerland, and especially Germany, from 1810-1850.[7] Documented, veridical displays of clairvoyance and telepathy were regularly demonstrated by Mesmerized persons as well.[8]

But Davis’s trance led to more: his dictated speeches produce a huge 1847 book, The Principles of Nature. At one point he speaks of the inhabitants of the planets in our solar system, singling out Saturn as the home of advanced beings.[9] He also apparently prophesied the coming Spiritualist tsunami of 1848 onward:

Davis paved the way from modern American spiritualism in four ways. He accustomed a wide public to the idea that a clairvoyant somnabule might engage not just in medical diagnosis and traveling clairvoyance, but in the transmission of social, religious, and cosmological teachings; he propounded neo-Swedenborgian doctrines about the future state and the spirit spheres and about the features and inhabitants of the planets; he propagated the view that some new and stirring revelation was about to rock mankind; and he implied that this revelation would involve a bursting of the barriers that separate our world from the spiritual one.(emphasis added)[10]

As Alan Gauld notes above, the claims were very similar to those of Emanuel Swedenborg (1758).

Swedenborg, Davis, John Newbrough (in OASPHE, 1882), and Helene Smith (1897) were the only well-known mediums who spoke at length about physical or spiritual beings from other worlds during the Spiritualist period.

KardecSpirits

In France, education reformer Hippolyte Ravail becomes fascinated with mediumship. He establishes general rules for distinguishing true clairvoyance from impostures, draws up a list of literally a thousand questions, puts them to his best mediums, and publishes a book of the answers in 1857 under the pseudonym Allan Kardec, founding the religion that will eventually be called Spiritism.

In 1905, author Sara Weiss publishes the “scientific romance” (as science fiction was then known) Journeys to the Planet Mars, or, Our mission to Ento (Mars): being a record of visits made to Ento (Mars) by Sara Weiss, Psychic, under the guidance of a spirit band, for the purpose of conveying to the Entoans a knowledge of the continuity of life. Despite its genre association with science fiction, Weiss is a medium and claims the book is one of genuine contact with extraterrestrials. It is a channeled work, complete with phonetic dictionary of Entoan.

By 1890, with the onslaught of ET-inspired messages that would come 60 years hence, much more should have been said about visitors from other planets by the many mediums or channelers of the Spiritualist period–one would think!

Arnold

Pilot Kenneth Arnold with a depiction of the UFOs he’d seen near Mount Rainier, Washington, 1947

Then…
Exactly 99 years after the Fox/Hydesville events, 1947: UFOs begin to show up in our skies (and backyards and seas).

Investigator Meade Layne claims in 1952 that these are interdimensional ships and their “aetherial pilots” can be contacted through trance mediums.[11] From 1948 onwards, dozens of individuals like George Adamski and George van Tassel claim friendship with “Space Brothers,” whose advice to humanity differs little from Kardec’s spirit-channeled philosophies of 1857-1868…

Shorn of the preposterous Theosophical history lessons Guy and Edna Ballard provide, virtually the same Spiritist advice is presented by their I AM cult, which begins in 1930 when Guy encounters the “immortal ascended master” Count St. Germain on Mount Shasta, California, then a group of “Venusians.”

A Paraspiritual Control System?

Culturally, the Spiritualist phenomenon of 1848 may be considered the right cure at the right time. Some strains of it were the first modern split-off from all religious hierarchies, favoring a direct-experience approach to the divine. The spirits on the Other Side would teach humanity, even if the truths they offered were old wine in new skins.

When Spiritualism broke upon the world, Darwin had yet a decade to publish his evolutionary theory, but the impact of mechanistic science was everywhere felt in America, the UK, and Europe. Machines were inspiring wonder and contempt alike. Helped by the new mass media, beliefs in a clockwork universe needing no creator deity were gaining adherents in the academies and inundating popular consciousness.

Scientific discoveries were undermining the religious faith of millions. The geological work of James Hutton and Charles Lyell suggested the earth was much older than the 6,000 years the Bible taught, further eroding Judeo-Christian faith. Electricity became a dominating metaphor for life, for vigor, for magic like mesmerism—and humanity would harness it for health and longevity.

Then, just at the tipping point in mass consciousness towards a de-enchanted universe, along came inspiring messages from one’s departed relatives in seances, psychokinetic magic in table-tilting and ectoplasm, prophesies and promises.

A great emotional need for certainty and meaning in the continuity of spiritual life was filled by the Fox sisters’ fame and the widespread folk adoption of seances.

So, what parallel happened socially and culturally in the decade just before the UFO craze began? Well, as many have pointed out, it might have had something to do with the terror and despair over 20 million deaths in a World War whose final punctuation marks were the bombing of two cities with a superweapon that could instantly turn human beings into dissipated energy. By 1947, the US Navy had tested the survivors of those two cities and discovered the lingering damage that the Bomb infected in those exposed to it, and by 1950 the US was engaged in a game of mine’s-bigger-than-yours with the Soviets over these evil weapons.

A part of humanity definitely wanted new saviors—preferably of a non-human, more evolved kind.

This was just what was needed in the popular imagination, especially the fact that the Space Brothers and many of the reported “ufonauts” preached against nuclear weapons.

Curiously, by the mid-1990s, UFOs were no longer putting on dramatic close encounters of the first, second, and third kind “performances” as they had since 1947…No more reported up-close (-500 feet) sightings of structured craft, no more UFOs buzzing cars and stopped their engines, no more observed sky-to-ground landings and weird pilots zapping and burning witnesses with beams of light…

By the 1990s, night-time bedroom abductions largely seemed to have become the method of Otherworldly interaction…It is possible that enough of the populace had come to believe in extraterrestrials visiting the Earth that a hundredth-monkey effect had taken place: the ETs no longer manifested geologist-biologist-like behavior, that is, space-suited beings taking soil samples and zapping witnesses with those damned “flashlights.” Such trappings were of the Space Age 1960s-70s, in line with expectations of ET space explorers…Interestingly, once the international treaties banning the testing of nuclear weapons were instituted by the 1990s, the aliens’ message had dropped the explicit nuke warning and they began preaching about the environmental degradation of the earth.

Again, it is a message that meets a popular psychological need, and tracks with cultural change.

There is a parallel to this change of manifestation within the Spiritualist movement: By the 1910-1920s, Spiritualism as a world religious movement had run its course (except in Brazil, where the Kardec Spiritist church is still popular). By the 1930s, reports of the most spectacular physical effects that can occur during séances had declined. It was as if the contacted spirits were no longer compelled to tilt tables and raise ectoplasmic spooks as they did in the 19th century; it was as if a certain number of people believing in them had reached a critical mass—so these supernatural displays were no longer necessary.[12]

Many Mesmerized persons from 1780-1850 produced astonishing, well-documented examples of “traveling clairvoyance” (remote viewing), telepathy, distant healing, and diagnosis.

The same decline effect can be said for the population frequency of extraordinary individuals such as Friedrike Hauffe, brothers Adolphe and Alexi Didier, and many of the reported “somnambules” associated with Mesmerism and “phreno-mesmerism.” That is to say, the number of mesmerized individuals prone to demonstrating spectacular feats of psi declined as Spiritualism ascended, then new spirit-virtuosos appeared within a few decades using self-entrancement methods without the Mesmeric trappings.

As Spiritualism became a worldwide craze, the core ideas of Mesmerism passed from the scene by 1850, but hypnotic states continued to be explored by laypersons and the early psychologists. For the next five decades, psi feats seemed to limit themselves to individuals “in the Spirit,” those suffering extreme conversion disorders, “hysteria,” dissociation, or those under hypnotic trance, as evidenced by the research of physicians Jean-Martin Charcot, Charles Richet, psychologist William James, and philologist Frederic Myers.

As noted above, the spirit-mediums of the late 19th century needed no Mesmerist nor hypnotist to entrance them; they could induct themselves, perhaps through self-suggestion, to speak via the denizens of the Other Side. The most famous extemporaneous acts of remote viewing and telepathy in which the offered information could be verified were thoroughly checked out by Society for Psychical Research (SPR) members such as Richard Hodgson and Frank Podmore, both who started out as hardcore skeptics yet eventually became convinced of the human personality’s survival after death and the existence of telepathy, respectively.[13]

From 1884 to the 1920s, the SPR and its American counterpart preserved, annotated, and analyzed much anecdotal and experimental evidence for apparitions, telepathy, bilocation, and psychokinesis. By the 1920s, they had published many volumes of this evidence on mediums and psi phenomena.[14]

By the time the Spiritualist craze had apparently met its need and served its purpose, Upton Sinclair published a book on telepathy in 1930 called Mental Radio. The title says it all: Technology has increasingly become the lens through which we analogize psi phenomenon and prescribes the preferred method of verifying its existence: a machine…In other words, if it doesn’t show up on the scientists’ screen, or needle, or graph, it doesn’t exist.

And thus what we think of as reality constricts a little more.

It was also in 1930 that psi effects first came under strict scientific scrutiny in the laboratory experiments of J.B. and Louisa Rhine, eventually followed in the next decades by Charles Honorton, Hans Bender, Helmut Schmidt, Charles Tart, Robert Jahn, Brenda Dunne, Russell TargHal Puthoff, Dean Radin, and Daryl Bem who indisputably proved the existence of psi.

Through tight experiments that probed dice-throwing influence (psychokinesis/PK), random number generator control (PK), autoganzfeld (telepathy), and remote viewing (“traveling clairvoyance”), these researchers demonstrated cumulative average statistical results against chance for these phenomena by factors of hundreds of billions to one—to any reasonable person willing to examine their experiments.[15]

Case studies of extraordinarily talented mediums like D.D. Home or Leonora Piper became very rare. Where they did pop up in the 1920s onward (like “PK-boy” Rudi Schneider, “poltergeist girl” Eleonora Zugun, or remote viewer extraordinaire Stefan Ossowiecki), the ratio of skeptical greyfaces ready to declare “bullshit!” to the open-minded investigator was probably a hundred to one…so you tabulate the odds of “standard science” studying anything further in those fights.

But by 1950, say, mediums who communicated with the dead had mostly gone shut up to the cultural attic.[16] Why? Had the spirits on the other side abandoned this world? Mediums still practiced but it took the new, very “physical” flying saucer to re-fit the metaphysical messages of the seance room, and since these were ostensibly independently existing beings, anyone could potentially see and interact with a UFO.

At least this is how the main narrative at first seemed.

Seance

Ships are meant to float and move upon the waters; they are animated by the living force that animates all things here, and if we wish to move them over the water we have but to focus our thoughts in that direction…Our host handles his craft skillfully, and increasing and diminishing its speed he could create, by the different degree of movement of the water, the most striking alternations of color and a musical sound, the brilliant scintillations of the sea showing how alive it was. It responded to the boat’s every movement as though they were in complete unison—as indeed they were.

-medium Anthony Borgia, Life in the World Unseen, from 1914.[17]

Change “ship” to “spacecraft” and “water” to “atmosphere” or “space” in this declaration and it could read as part of a UFO contactee’s narrative, or even part of an alien abduction account.

So what is this all about? Spirits and aliens are the same?

Not exactly, but close. The same, but different.

Jacques Vallee’s conditioning-stimulus “scheduled reinforcement” process hypothesis provides a framework for understanding the changing face of the Otherworldly:[18] we get accustomed to one mask that appears to undermine our general orientation to reality; a numerical tipping point of humans come to believe in the phenomenon; then it changes its form, but ever reminds us of its presence—and symbolizes a further mystery we shall perhaps never explain but are goaded into coming to terms with.

Vallee points out that the UFO experiences (as much as we can be said to know them) cannot be separated from the media filters through which they pass, much like the signal-noise model of information he studied in his career as a computer scientist. Distortion of the actual phenomenon is inevitable for the human mind; these deformations are culturally shaped, and in turn feed back into society and help shape further instances of the phenomenon, whether it is conceived as entirely “physical” or “psychological” in origin. The distortion is always present, and the one definite factor certain to be in play.

The phenomenon itself is not directly observable, but its effects certainly are—specifically on cultural concepts of the “Other/Alien/ET,” by either creating new religious beliefs or altering existing ones. Both the phenomenon itself and the resultant forms created by the media feedback fulfil societal needs (and can also thus be manipulated by cult leaders or governmental agents).[19]

Vallee has many times pointed out the self-negating nature of UFO contactee’s claims, the always-ambiguous authenticity of landing traces, or the obvious fact that there has been a vast zoo of differing ET-entity appearances whose behaviors are many times in conflict with one another. Parasychologist John Beloff addressed this very problem of intractability (and perhaps absurdity, as Vallee so often puts it) when analyzing the history of parapsychological research:

One truth about psi phenomena which every parapsychologist learns the hard way is that they are not just elusive, in the sense of being difficult to pin down, they are, or at any rate they seem to be, actively evasive. One well-known contemporary experimentalist (William Braude) has spoken of the “self-obscuring” aspect of psi…By the 1940s mediumistic séances were “old hat” and the new respectable and sanitized parapsychology that J.B. Rhine had introduce at Duke University was all set to take the academic world by storm. But Rhine’s new science soon ran up against the same obstacle that had beset traditional psychical research—the evasiveness of the phenomena. The “new era” which Pawlovsky thought so imminent is still pending. Time and again since then it has looked as if parapsychology was poised to sweep away all the familiar doubts and objections, overcome all prejudice and opposition and take its rightful place in the spectrum of human knowledge but so far this aspiration remains still-born… What is it that makes psi so evasive? One possible answer lies in the fact that, more perhaps than any other psychological phenomenon, psi appears to be extremely sensitive to situational factors. It is more than just a question of the subject being in the right frame of mind. The whole cultural milieu in which the subject operates might influence decisively what is or is not possible for the subject to achieve.[20](emphasis added)

Beloff’s is the tack Vallee has often taken with regard to UFO interactions and their aftermath: the systems of cultural information (scientific, religious, social, material) plays a determining and invisible part in what is regarded as an anomalous message that transgresses the norms of that matrix. Incorporating the raw message, which to the contactee is entirely subjective or even spiritual, into the existing matrix is impossible without diluting/translating it—but this drawback is only possible through the current epistemology (and something we will address in the latter part of this essay). Beloff continues with a metaphor that parallels Vallee’s idea of the control system operating as a thermostat that is seeking equilibrium with itself by altering human behavior and conceptions of reality:

Let us, then, think of nature as one vast immune system. Paranormal phenomena, on this metaphor, correspond to infections comparable to the intrusion of viruses or bacilli into a healthy body. A new paranormal phenomenon for which there was no precedent, say table levitation or metal bending, would correspond to a powerful infection of this kind. The immune system of nature would go in to action with the result that such phenomena would thereafter be eliminated. But nature would still be helpless in the face of a new infection, and so a constant search for novelty would become the sine qua non of successful attempts to demonstrate whatever lies outside the normal course of nature or violates the laws of physics. Pursuing this metaphor, we may say that another method that would allow us to get away with the paranormal would be to introduce it in very dilute doses. In that case, the immune system of nature need never be activated just as in our own immune system very minor infections, as occurred with the vaccine, need not elicit any symptoms. This, indeed, seems to be the logic of much in current experimental parapsychology, such as attempts to bias the output of a random event generator. The drawback of that strategy, however, is the difficulty of a rousing any interest in such marginal results among those who are not professional parapsychologists.[21] (emphasis added)

The same of course applies to the subject of the ufologist: how can one gain the interest of mainstream scientists to study what amounts to an entirely unpredictable apparitional event?

Tulpa

The Hermetic Take on Guides from the Other Side

As Havan Blomqvist and others have noted,[22] Theosophists always claimed to have knowledge of—or even direct contact with—the Great Mahatmas of the Himalayas and other diversely named yet similar “ascended brotherhoods” (the Yucatan, the Great White Lodge, the Ellora, etc.) that are said to intervene in human affairs at times to guide our evolution. This claim is very similar to Beloff’s and Vallee’s control-system idea.

Hermetic scholar Jocelyn Godwin discusses the hidden hand of these spirit intelligences at work in the phenomena of Mesmerism, Spiritualism, and Theosophy, who also, by extension, continue to influence our culture through the UFO Space Brother.[23] This myth posits that these beings—or spirits—are said to take whatever form is needed and communicate cosmic truths via both traditional mediums and anomalous experiences. One can attempt contact with them through conventional methods such as meditation or entrancement, but as Vallee might argue the mode of contact for the technological West is now one of disruption of our materialist worldview via what appear to be technological marvels that defy physics and almost all known science—UFOs and how they alter our worldviews.

Contact with Other intelligences was once an accepted part of the natural order of social life via shamanistic practices before totalistic systems such as the monotheistic religions, science, and their resulting social pressures reframed and marginalized those worldviews and techniques. Now, contact is mediated through several layers. One cannot call upon aliens (Steven Greer’s claims notwithstanding) in the way séances once called upon the passed-on.

Or can we?

Betty Andreasson-Luca’s depictions of her experiences

As we’ve noted, by 1995, alien abductions had overwhelmingly become the media focus of the contact experience; abduction-related books outnumbered in both publishing and sale numbers all other aspects of the UFO phenomena.[24] Seeming genetic experiments upon percipients replaced space exploration hardware as the dominant narrative of these books.

In many abductions, the person undergoes a bedroom visitation by greys or other beings and is taken through the house walls into a circular room; many times, a UFO is not even seen, but only inferred by means of previous experiences, or the accounts of other experiencers.

The Others’ scientist-like activities tracked with advances in reproductive technology, yet the frequency of this particularly medical manifestation has apparently dwindled in public reports over the past decade.[25]

Contact has become entirely a matter of myths that use our technological metaphors of “upgraded DNA” and “psychic downloads” of information—what was once called spiritual evolution and “reading the Akashic record” in the 19th and early 20th centuries.

After studying the history of paranormal events, many investigators have noted that many persons who experience alien abductions also experience poltergeist-like elements in their lives.

In poltergeist events:

–there is usually a single focus person.

–the experiences often follow this individual around from location to location.

–a sense of a conscious, often malicious presence in a room is experienced prior to “main event” (it may produce bangings, flying objects, etc.)

–apparitions may be seen that are generally human-like in form.

–physical marks are left on the body and environment, i.e, presences that pinch, prick, or scratch the individuals. Fingerprints, “claw marks,” and scrape marks are sometimes seen in dust, furniture, clothes, or bed dressings, during the poltergeist attack.

–electrical interference occurs; lights, televisions, or radios will turn themselves on/off, lightbulbs burst, flicker, or strobe.

–levitation of objects (and, rarely, even persons) occurs.

–balls of light, often blue, are seen; blue flashes and “cold breezes” accompany some mediums’ trance states, such as Stella Cranshaw’s, that were accompanied by poltergeist-like physical effects, studied by the SPR in 1923-26.[26]

–hazes, often blue in color, are seen.
–objects may disappear (sometimes from locked or hidden places) and reappear in the open or in incongruous places (teleportation).

–objects, most often stones, seem to materialize or pass through solid objects such as walls. Often they are found to be warm or hot to the touch.

–“teleported” or “apported” objects (such as stones, cups, plates, etc.) are seen to make all sorts of impossible maneuvers mid-flight as they fall, such as zig-zags, parabolas, leaf-like motions, corkscrewing, hovering in mid-air—much in the manner many UFOs are observed to move in the sky.

–buzzing, crackling, or bell-like sounds may be heard; sometimes incomprehensible speech, groans, or screams.

–rarely, and perhaps circumstantially, animals have been found mutilated in surgically precise manners during poltergeist manifestations, suggesting a tentative connection to the link between UAP activity and animal, especially bovine, mutilations.

These poltergeist-specific phenomena parallel only some of the superficial features of abductions and UFO sightings…Nevertheless, these parallels are clear.

There is usually no “story” to a poltergeist infestation (a contrary view by sociologist Eric Ouellet can be found here).[27]

Abductions, on the other hand, involve a distinctive narrative that over time can acquire a deep meaning to both experiencer and their auditor(s) alike.

The important point is that both poltergeists and abductions involve escalations of the paranormal activity. In the poltergeist the intensification occurs in a short period of time, months at the most, while for the abductee it occurs over years, decades, or a lifetime. The latter seems to wane with the experiencer’s age.

Following Alan Gauld’s and A.D. Cornell’s criteria of comparison,[28] hauntings may contain some or even all of the poltergeist elements listed above, but they are location-specific, not person-centered.

Seeing apparitions is rare in poltergeist episodes, so there are general boundaries between hauntings and poltergeists. Yet alien abductions also unequivocally contain apparitional/haunting-like elements. In both:

–the entities/apparitions appear either suddenly or gradually materialize into sensible form from a haze or light; often the percipient feels the Others’ presence before sensibly interacting with them.

 — buzzing, crackling, bell-like, or humming/vibrating sounds may be heard at the outset of an abduction (this has occurred in a small minority of apparition appearances); conversely, a total dampening of sound often precedes or accompanies the apparition/alien.

–a sense of unreality precedes and accompanies the apparition; in abductions or UFO entity sightings, this depersonalization or derealization has been noted in many dozens of cases.

–a change in ambient temperature is very often noted.

–paralysis of the percipient is sometimes experienced in apparitional sightings, especially crisis apparitions wherein the “hallucinated” person has just died or is near death; in abductions, the experiencer almost universally finds themselves paralyzed while in bed.

–apparitions appear fully clothed, and sometimes with accompanying accessories (canes, sticks, bags, even horses, etc.); Otherworldly beings are almost always clothed and carry devices (“boxes,” “guns,” “wands,” etc.).

–apparitions, whether of the living or those near death, may appear imbedded within hallucinatory scenes that are veridical, that is, they are later verified as the actual surroundings of the “sender” at the time of the percipient’s experience; similarly, abduction experiencers report holographic or televisual scenes that float as if being emitted from disembodied screens, or are immersive, augmented-reality-like programs. (Sometimes these screens’ appearance precedes the abduction, and in some reports incongruous beings or people, like figures of Jesus or a similar protective deity, have been reported to show up in the midst of an abduction).

–a message is often transmitted from the apparition, aurally or telepathically.

–conversations with apparitions can either be aural or telepathic, but mostly the latter.

–many times, UFOs or apparitions are seen by only a few persons present in a group setting of potential percipients; in UFO sightings (and even abductions), sometimes only the abductee(s) in the group see(s) the UFO (and may subsequently undergo an abduction experience). There are many cases of apparitions that appear to one or two people within a group of more potential percipients.

With their massive study Phantasms of the Living (1886), SPR investigators Edmund Gurney and Frederic Myers came to speculate that apparitions (especially of the crisis-type that occur within 24 hours of the “ghost’s” death) were the result of a telepathic transmission from the “crisis agent” to the friend/acquaintance percipient (and even multiple percipients).

Mathematician and physicist G.N.M Tyrrell further developed a hypothesis that involved the conception of an idea-pattern[29] that is projected from the agent that may affect one or more targeted persons in a drama.[30]

Tyrrell’s idea of the apparitional drama is based upon studies of hallucination and a crucial distinction he makes between the sense-data perceived by the brain and the physical objects that may cause the sense-data. In his scheme, physical objects may or may not produce sense-data, despite their being within one’s sensory field.

Tyrrell’s conception is meant to be a general philosophical basis for the astonishing examples of hallucination of which the human mind is capable, as Oliver Sacks describes in his book on the subject.

For Tyrrell, our subjective experiences are simply the sense-data that appear in the mind, regardless of whether they are physically caused by objects in the outer world or not. On his definition, dreams, hypnagogic imagery, daydreams, and hallucinations are all sub-groupings of possible sense-data.

These seemingly disparate mental states may or may not help the successful management of meeting life’s needs; the focused “center” that primarily assists in self-preservation we call the ego is, for Tyrrell (and Myers) at once more akin to a stream with multiple subconscious ideas and affects active within it at all times.

An apparition for Tyrrell is a construction of sense-data co-created by sender (agent) and the percipient(s). It may behave in every way like a physical object, interact with the environment, even be touched, but is not physically present. Any interaction between the apparition and its environment that may leave a physical trace Tyrrell tentatively puts down to possible psychokinesis on the part of the percipient.

During events in which the apparition appears solid, elements of the percipient’s environment must be hallucinated as well—in this case, it is called a “negative hallucination” and plays a crucial part in the perceived apparition (this accounts for how an apparition can block out the space/objects behind it to conform to the percipient’s three-dimensional space).

Tyrrell’s idea was further developed by parapsychologist Celia Green into the concept of a metachoric hallucination,[31] in which the percipient’s mind might generate the whole of one’s surroundings—sense-data that overwrite the direct perception of the environment, attitudes, and even actions while perceiving the apparition. According to Green, it is conceivable the percipient is simply still lying down, still in a chair, or even standing, mildly entranced, while unconsciously producing the entire experience. Essentially, it is as if one suddenly enters a waking dream state.

This peculiar state can make the sense-data amenable to drastic alteration by a force other than the percipient’s conscious ego.

The force that shapes these alterations, which may be conjectured to also be the force behind UFOs, some human apparitions, images of the passed-on, otherworldly beings, has not yet been specified—for our present stage of science lacks a developed vocabulary of “topological” concepts to bridge and map the mental, physical, and third space in which such events may be said to occur (which has been given countless names over the centuries, from Plato’s realm of Forms to Myers’s “metetherial field” to the Imaginal world of Sufi mystics).

Apparition experiences may seem random, although 90% of the time the apparition’s identity is not unknown to the witness (and the connection to a crisis for the sender-agent has been noted). Poltergeist victims may seem random as well, but psychological explanations have been put forward regarding unconscious and overwhelming psychological stress on the victims, especially for pubescent children and teenagers, as the source of the psychokinetic events in as many as half of the solid cases.

In both cases, for the witnesses/victims, neither willpower nor choice is apparently involved. What, then, if anything, may be conjectured to connect these two manifestations?

There happens to be a class of person that bridges the two manifestations: the physical medium.

Discounting the many hundreds of frauds that have been uncovered by investigators, there remain four compelling individuals whose careers attest to the concept of “controllable PK”: Daniel Dunglas Home (1833-1886), Indridi Indridason (1883-1912), Rudi Schneider (1908-1957), and Nina Kulagina (1926-1990). Please see my essay on Wikipedia’s attempted debunking of Home and Indridason for in-depth narratives of their talents. 

Home’s performances were witnessed by thousands of persons, including eminent scientists and heads of state across Europe. He was never caught in fraud and his physical phenomena never seriously debunked. Indridason unfortunately died at 28 after six years of strenuous and spiritually taxing physical mediumship. His seances were witnessed by a few hundred persons, the core of these being a small investigative society specially set up to study him.[32] Both Home and Indridason produced spectacular light manifestations; poltergeist-like rappings, poundings, flying objects; full and partial bodily materializations of spirits who interacted with the present séance sitters; wind gusts in closed rooms, some lasting as long as 20 seconds; physical contact by invisible hands; and, most spectacularly, full bodily levitation (in both cases their bodies rose above six feet into the air before witnesses)…Home and Indridason claimed the “possessing” spirits were wholly responsible for the observed phenomena, using the men’s material-bodily energies to produce the psychokinetic displays. Physical and mental exhaustion resulted after these long seances in which they produced a spectrum of the activities.

Rudi Schneider was examined and tested by under some of the strictest controls imaginable (total physical restraint in many cases) and still he produced PK effects around him.[33] In several instances, infrared beams were used to detect any attempt at his releasing himself from the restraints and moving objects in the lab. However, the beams were broken while he was still trussed up and at the same time his “control spirit” announced its projection of PK energy to move the target object.

At the more extreme ends of pseudoskepticism, debunkers put forth mass hallucination by the witnesses as an explanation, or some kind of “group hypnosis” on the mediums’ part. Such waving away the problem is almost as supernatural an explanation as purported spirit manifestation.

If we grant that people with these talents exist, can exhibit and, to a degree, control psychokinetic manifestations (whether by subconscious energies or “spirits”), what is the likelihood that certain persons exist (and always have existed) who can create, say, lightforms that are actually a type of “Imaginary thought-form”?

And what if these psychically-produced forms can exhibit an independence of their creators?

Anne Whitley

From 1987-1991, Anne Strieber had been helping her husband Whitley read through the thousands of letters he’d received after the publication of his bestsellers Communion and Transformation. They found that many people were mentioning encountering “aliens” during Near Death Experiences, or images of their passed-on loved ones during abductions. Anne said to him, “this is about the dead”—giving her husband a founding revelation as to the meaning of his strange experiences.[34]

Eventually Strieber remembered seeing a childhood friend who had passed on during his first recalled abduction experience in 1986, and, although he has never considered himself a medium as such, has had extended interactions with the passed-on and “ghost-like persons”[35] for over 40 years.

From 1989-90 onward he looked at the Visitors (as he has always called them) as some sort of communication conduit to our own evolution. This has become a common idea in the experiencer and channeling communities, and was accepted dogma to Theosophists and contactees such as Guy Ballard and George King.[36]

In Part 2 of this essay, we will examine how technology has now become an dominant metaphor for the transmission of messages and humanity itself.

—————————-

[1] See Vallee’s Passport to Magonia and other works, and Keel’s Operation Trojan Horse.

[2] For even one of these reports to be taken as the truth, we have to conjecture that a very strong form of mental suggestion was at work at the least. Fair enough. But if multiple good witnesses were present at such a display, what are we to make of the physical manifestations?

[3] This “vocabulary of divine movement” is, strangely enough, echoed in the series The OA, in which the protagonists’ magic motions are learned during near-death experiences.

[4] See The Shaker Experience in America by Stephen J. Stein, Yale University Press, 1992, pgs. 165-200.

[5] Gauld, Alan. A History of Hypnotism, Cambridge University Press, 1995, 41-49, 53-57, 62-64, 79, 103, 107, 143-44, 165, 252-53.

[6] See Brown, Slater. The Heyday of Spiritualism, Pocket Books, 1972, pgs. 84-110.

[7] Gauld, pgs. 141-155.

[8]Ibid, pgs. 85-86, 103, 137-38, 146-9, 151-53, 182, 234-39.  

[9] Saturnine spirits or “gods” figure as the focus of many religions, like the Nommo, teachers of the Dogon of Mali. In their case, the Dogon claimed the Nommo are now in “hibernation” in a vehicle or moon around Saturn but originally came from Sirius.

[10] Gauld, 1995, pg. 191.

[11] UFO researchers who believe that physical ET craft are visiting earth are mostly astronomers, engineers, physicists, etc.—those who adhere to the materialist mindset. They predictably scoffed at Layne’s explanation for the ET interlopers. Most of our religious and physicalist-oriented society ridiculed both camps of ET believers. A hierarchy of the damned (as Charles Fort might have put it) came into being regarding the origin of UFOs, and in the 1950s, the lowest in the food chain was the quasi-Theosophist channeler of ET wisdom.

[12] This has a parallel in general psi studies, called the decline effect, which occurs to individuals who may initially score high against chance in tests, then eventually revert back to the average. The decline in spectacular séance phenomena, at least as recorded by parapsychological associations, seems to be a collective manifestation of this same statistical effect, and plays into Vallee’s idea of an intermittent schedule reinforcement.

[13] Excluding today’s popular spirit channels such as John Edwards (who never submit to SPR-like experimental strictures), where are such persons who, were they test subjects, would by all accounts easily challenge the physicalist paradigm? One could make the case that Edgar Cayce, Stefan Ossowiecki, Uri Gellar, Ted Owens, Ingo Swann, Hella Hamid, Joseph McMoneagle, or the talented SRI remote viewers have been our contemporary equivalents, but none except Cayce (and sometimes Gellar) required a trance. Most achieved their psi-conducive states either consciously, that is willfully, or through self-suggested mild trance. In the 1970s-1990s the US military and intelligence agencies secretly entered the psi research field via the Stanford Research Institute/NASA/CIA remote viewing programs and the DIA’s Project Stargate (of which McMoneagle was the central psychic). This originated partly in reaction to similar Soviet programs at the time—a clandestine “psychic arms race,” as SRI coordinator Russell Targ put it. I’d submit these projects are still ongoing, and thus the most talented individuals have been sought and vacuumed up (perhaps even on a worldwide scale) by these secret programs for the intelligence/military agencies’ exclusive use, probably for significant remuneration as “contractors.”

[14] For anyone inclined with an open mind to read through this voluminous case-study research and analysis, it is pretty clear that the strict materialist model of reality must be bullshit.

[15] Carter, Chris. Science and Psychic Phenomena: The Fall of the House of Skeptics, Inner Traditions, 2012, pgs. 63-65, 70-71, 76-77, 82-104.

[16] Seances were old hat and wouldn’t make good television. Is this transformation to invisibility just an artifact of how radically media changed forms? An “information glut,” although of a slower pace, existed before the internet threw everything at us at once; thousands of magazines competed for attention, mass market paperbacks made home libraries cheaper, and television flooded the living room with visions of what life was supposed to be like. Invisible though were its electromagnetic means, radio and TV mass media were compelled by market forces to focus on the tangibles of the world: war, politics, economics, scandals, social movements, etc.  Combined with the unspoken embargo on promoting religious views, the media offered no outlet to the “alternative altars” of countercultural spirituality that nevertheless existed (and flourished in some places).

[17] Anthony Borgia, Life in the World Unseen, Corgi Books/Transworld Publications, 1970

[18] Vallee, Jacques. Dimensions: A Casebook of Alien Contact, Anomalist Books, 2008, pgs. 271-281; The Invisible College, Anomalist Books, 2014, pgs. 194-206.

[19] See Vallee’s Messengers of Deception: UFO Contacts and Cults. Also Diana Walsh Pasulka’s American Cosmic and M.J. Banias’s UFO People. 

[20] Beloff, John. Parapsychology: A Concise History, pgs. 231-32.

[21] Ibid, pg. 233.

[22] https://ufoarchives.blogspot.com/2019/02/the-esoteric-intervention-theory-updated.html

[23] https://ufoarchives.blogspot.com/2016/04/paranormal-phenomena-and-academic.html

[24] The Gods Have Landed, State University of New York Press, 1995, James R. Lewis, ed.; from the essay “Religious Dimensions of the UFO Abductee Experience” by John Witmore, pg. 66.

[25] Although there continue to be self-published abduction memoirs, by the millennium the mainstream publishing industry had moved on. Another reason for this may be that since roughly the year 2000, abduction experiencers have shunned reporting the experiences to scientists or psychologists or therapists and turned instead to the communities of other experiencers on the internet.

[26] See Wilson, Colin. Poltergeist! A Study in Destructive Haunting, Putnam, 1982, pgs. 278-79, and the case of Icelandic mediumIndridi Indridason.

[27] That is, unless some “deceased person” is found to be associated with the site or attached to the focus person, or a crime against the focus person is revealed by subsequent/concurrent therapeutic procedures with the focus. One theory holds that a discharge of repressed psychic energy through therapeutic abreaction often causes the poltergeist activity to cease. But it does cease, unlike those abduction experiencers who report the events continuing for years or even decades.

[28] Gauld, Alan and Cornell, A.D. Poltergeists, White Crow Books, 2018, pgs. 176-180, 188-89, 202-207, 283-84.

[29] Tyrrell, G.N.M. Apparitions, Collier Books, 1963, pgs. 110-114.

[30] Tyrrell, (1963) pgs. 102-127, 131-34.

[31] Green, Celia, and McCreery, Charles, Apparitions, Hamilton Press, 1975; Green and McCreery, Lucid Dreaming, Routledge, 1994; UFOs: The Final Answer? Ufology for the 21St Century, Barclay, David and therese Marie, eds., Blandford Press, 1993, pgs. 130-153.

[32] See Haraldsson, Erlendur and Gissurarsson, Loftur R. Indridi Indridason: The Icelandic Physical Medium, White Crow Books, 2015, for a full account of Indridi’s short but astounding career.

[33] Schneider

[34] Strieber, Whitley and Kripal, Jeffrey J. The Super Natural: A New Vision of the Unexplained, Jeremy P. Tarcher, Penguin, 2016, pgs. 37, 53, 82.

[35] See Strieber’s book The Key, in which, while on a book tour in 1998, he had a late-night visit from an anonymous man who communicated to him revelations, not unlike a spirit-guide or Carl Jung’s daemon Philemon.

[36] We might examine the overlap between poltergeist/hauntings and fairy/djinn encounters (the evidence for which there is plenty), but that would involve a monumental cross-cultural comparison. All we can say is that the maturation of scientific classification systems from the 18th to 20th centuries allowed distinctions to be made between apparitions, hauntings, fairy/djinn encounters, and the poltergeist. And for the past 70 years we have had UFOs and “alien beings” to add to the unexplained. The folk division between the fairy-daemon and the dead was always indistinct, from antiquity to the beginning of the 20th century. (See the works of Katherine Briggs, Thomas Keightley, Reverend Robert Kirk, and W.Y. Evans-Wentz). Fairies’ status as the “dead awaiting salvation” (as one fairy in an encounter tale openly admits) caused the Protestant elite no small manner of discomfort, because it paralleled the Catholic belief in Purgatory. The middle ground between binarities must be excluded, in religion as well as science. Let’s just say that what always distinguished human ghosts from the Good People was the fairies’ interests in partying and dancing, staying aloof from humans who disrespected them, and kidnapping people to marry or—especially—have sex with them to hybridize a new kind of being, one perhaps closer to full corporeality.

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Old Wine in New Skins, Part 2: The New Dispensation of the Non-Human Intelligence (NHI) vs. Natural Human Creativity

Spear Machine

If things like this are going to happen, the ladies will be afraid to sleep alone in the house if so much as a sewing-machine or apple-corer be about.

                           —P.T. Barnum, 1855, referring to John Murray Spear’s Machine

In popular current, some people now refer to “extraterrestrials” as “non-human intelligences” (NHI), and “contact modalities” (CM) can be used for human interaction with them.

The nebulous concept of contact modalities is wide enough to encompass what we call synchronicities, NDEs, OBEs, vivid “unwilled” daydreams, intense hypnagogic visions, or conscious encounters with traditional beings such as elementals, earth-spirits, and fairies.

PasulkaVallee

Diana Pasulka & Jacques Vallée

In her recent book American Cosmic,[1] religion scholar Diana Pasulka speaks of this Otherworldly communication phenomenon in the cases of NASA aerospace engineer Timothy Taylor and geneticist Dr. Gary Nolan (“Tyler D” and “James” respectively in the text).

Taylor received “transmissions” from meditative procedures. Designs or concepts for biomedical technologies occurred unbidden in his mind during these processes. He apparently linked these ideas’ irruption to NHIs.

It started for him when he had a strange experience in the aftermath of the Challenger disaster: a memory that a military-proposed experiment on the next shuttle Columbia would work—which it eventually did, but he hadn’t even proposed it yet. He traces this “anomalous reception” to being exposed to a type of energy at a “very special facility” at NASA after briefly leaving then returning to the Administration:

“There was something in (that special room) that either emitted frequencies or signals and they didn’t want those to escape or they didn’t want signals to get in. I never knew which. It was a mysterious place, and we weren’t allowed to talk about it.”

 That room, Tyler felt, zapped him with energy that changed the “frequencies” of his body and his thoughts. It was after this experience that he began to have more “memories” of bio-medical technologies.

 In the program, I started to find myself on jobs where I interfaced directly with the phenomenon. I know its language. It does speak to us, in space. I don’t know who is responsible for putting me on those on these jobs. I think that somehow they are responsible for it. My own direct boss doesn’t know what I do. This is how the program works.”[2]

Eventually Taylor came to believe that NHIs communicate with persons via a field connected to the energies surrounding DNA.

Gary Nolan had classic abduction experiences while young and in his 30s but kept them secret, apparently, until the past few years. He, too, holds many patents and believes some of his idea-germs to be of non-human origin.

Currently, Taylor and Nolan are pursuing an informational “DNA-antenna” model to potentially explain paranormal phenomena. Along with ex-(?)CIA physician Christopher “Kit” Green, Nolan is investigating MRI scans and the genomes of contactees and experiencers for DNA markers that may predispose them to undergoing the contact modalities.[3]

Pasulka links Taylor’s and Nolan’s experiences with testimony given to her by astronaut Dr. Edgar Mitchell, who founded the Institute for Noetic Sciences and Foundation (1973-present) and the Foundation for Research into Extraterrestrial Encounters (FREE). FREE uses and seeks to establish contact with NHIs using the various contact modalities.

FREE was founded in 2012 by Mitchell, astrophysicist Dr. Rudy Schild, therapist Mary Rodwell, and attorney Rey Hernandez.

In March 2012, Hernandez had an experience (including missing time) involving a “plasma-like being” in his house that healed the family’s dying pet terrier; his wife Dulce described it as an angel, because she had been intensely praying for the dog. Dulce Hernandez then witnessed UFOs (her “angels”) regularly for several months…One night in August 2012 Rey, on a lark, “called down” an enormous craft witnessed by neighbors, friends, and family.

Then driving to work one morning soon after this he received a vision of the contact modalities all arrayed out as spokes in a wheel and seen during what he describes as an out-of-body experience.

This vision so energized Hernandez that he emailed ET abduction/contactee therapist Mary Rodwell, who put him in contact with Rudy Schild, then through Schild, Edgar Mitchell, with whom he ended up having a meeting that very day (Mitchell lived close by).

Within 72 hours of Hernandez’s OBE experience the groundwork had been laid for FREE (in both their views, this was further evidence of a kind of collaboration with these higher intelligences).

Schild became the science advisor and Mitchell would set up the new organization, which would primarily study consciousness with reference to “anomalous cognition” using Mitchell’s quantum hologram theory of physics and consciousness as a model. It has since brought in dozens of researchers including channeling expert Jon Klimo, Dr Joseph Burkes, and perhaps members of the “invisible college” such as Jacques Vallee.[4] Five years of field work canvassing experiencers produced a book on contact with non-human intelligences.[5]

Is this just a new-coined interpretation of natural inspiration during or after the fact?

We have no idea in the least how human imagination and creativity work, let alone how a non-human intelligence would mix with or add to it.

But we do know this: no new idea exists or springs from a vacuum. Except for anecdotes about geniuses such as Leonardo, Ramanujan, Nikola Tesla, and Buckminster Fuller, ideas usually do not spring fully-formed and translatable to paper in the human psyche. When they have done so in the UFO/NHI community since the 1950s, they’ve often been laughable mish-mashes of misunderstood or fantasy science.

The idea of a technology being gifted by higher powers is one of the oldest human myths, and Pasulka elaborates on the myth in the context of Silicon Valley. Much of it involves information theory and DNA, fields, and transmission, in which the arrow of signification is dangerously reversed by literalizing the metaphors between biology and machines.

In Pasulka’s and our contexts, NHI intervention would seem to undermine the idea of the personal ownership of new creations; the inventor instead becomes the “receiver” or “discoverer” of intellectual property.

Such a humble concept becoming accepted in today’s Silicon Valley has the likelihood of Squeaky Fromme making parole.

Pasulka mentions the “extended cognition” that our computers are making possible and believes this mirrors the talk of “Oneness” in traditional mysticism.[6]

Again, none of this is really new. It is just that inventions indistinguishable from magic are now so widespread that they are almost met with yawns…

John Spear

Consider the fate of Unitarian minister John Murray Spear. After recuperating from a severe beating by thugs in Portland, Maine that put him in a coma, he encountered Andrew Jackson Davis’s work in 1846.

While experimenting with seances in 1851—in true utopist fashion—Spear proclaimed that Spiritualist commune with discarnate intelligences was humanity’s future.

Following his spirit guides’ commands to the letter, he formed an organization consisting of six groups: the Healthfulizers, Educationalizers, Agriculturalizers, Elementizers, Governmentizers, and the Electricizers. As the chosen head of the Electricizers, Spear voraciously channeled the American Founders and, after nine months of trance communications in 1853, claimed to obtain from the spirit of Benjamin Franklin plans for a perpetual energy machine whose fuel was something called the “New Motive Power.”

The machine would grant “life” to other devices via the Mesmeric “electric fluid” and further, could replicate itself or any object one needed—basically, it was a biomechanical 3D nano-printer envisioned in 1854. This device was meant to free humankind from labor.

IMG_5868

Through Spear the spirits had chosen to build the machine in a stone cottage upon the hill High Rock in Lynn, Massachusetts—a fitting locale, for two years earlier, channeler Andrew Jackson Davis had a spiritual blowout in which he’d seen angels congregating in the clouds above that hill.

The motor required nine months of “gestation.” A bizarre quasi-alchemical, transhumanistic ritual birthed the working machine: the physical part, having been finished in June 1854, was subject to a laying on of hands by several groups of semi-magnetized persons; then Spear was encased inside the machine in layers of metallic strips of “positive and negative polarity” within a grid of jewels and precious metals, where he went into a trance and emitted a glowing umbilicus from his body that engulfed the machine, to the amazement of his confederates.

Next, a Mrs. Newton, wife of a journalist chosen by the spirits, was to “mother” the half-living contraption—and duly showed signs of physical pregnancy in response. The spirits dictated that she appear at the High Rock house on a certain day to literally give birth to the accumulated energies gathered within her and transfer them to the machine—which she did, showing for several hours the agony of parturition.

The emanations from her body mixed with the chemical auras of the device. Then “its purpose and results were wholly incomprehensible to all but herself; but her own perceptions were clear and distinct that in these agonizing throes the most interior and refined elements of her spiritual being were imparted to, and absorbed by, the appropriate portions of the mechanism—its minerals having been made peculiarly receptive by previous chemical processes,” Reverend S. Crosby Hewitt wrote.

She then spent weeks “nursing” the machine with the New Motive Power. After this, its rotors and bearing supposedly began to work—but not enough to impress any visiting Spiritualists, who opined the motion they witnessed was “not enough to turn a coffee mill.” Davis himself, while praising Spear and his community’s faith, believed Spear to have been misled in principles of science and explained the machine’s weak motions to random fluctuations in the “ether” via the electrical generator to which it was attached.

When asked by Spear and his mediums, Benjamin Franklin & co. answered from the other side in a typically tricksterish way: while the motor didn’t operate properly in the physical sphere, it had succeeded in moving opinion and the spiritual outlook of humanity.

At the spirit cadre’s bidding, the machine was dismantled and taken to Randolph, New York. After having moved it, the machine survived only a few months in its new atmosphere; a mob broke into the room and destroyed it. As Spiritualist journalist S.B. Brittan concluded, “if the New Motor is to be the physical savior of the race, it will probably rise again.”[7]

Spear’s was a Silicon Valley utopian dream 150 years too early. It could be asked, was Spear having precognitive visions of our present inventions? Were NHIs feeding him these ideas in the guise of the Founders—that is, the “best moral and intellectual” persons of which he could conceive?

We will never know, but the contemporary parallel with non-human intelligences seeding minds with technological ideas is striking. Perhaps these Others do possess a kind of physical existence, and perhaps they are much closer than we realize.

Fifteen years after Spear’s fiasco, Utica, New York “electro-alchemist” Cyrus Reed Teed would experiment with exposing himself to dangerously high electrical currents. During one session, “I bent myself to the task of projecting into tangibility the creative principle. Suddenly, I experienced a relaxation at the occiput or back part of the brain, and a peculiar buzzing tension at the forehead or sinciput; succeeding this was a sensation as of a Faradic battery of the softest tension, about the organs of the brain called the lyra, crura pinealis, and conarium. There gradually spread from the center of my brain to the extremities of my body, and, apparently to me, into the auric sphere of my being, miles outside of my body, a vibration so gentle, soft, and dulciferous that I was impressed to lay myself up on the bosom of this gently oscillating ocean of magnetic and spiritual ecstasy. I realized myself gently yielding to the impulse of reclining upon this vibratory sea of this, my newly found delight. My every thought but one had departed from the contemplation of earthly and material things. I had but a lingering, vague remembrance of natural consciousness and desire.”[i]

Hollowkoresh

The zapping produced an OBE-like state. Immediately after this, by force of galvanized will, he called forth “the ultimate power in the universe” to guide him: a beautiful goddess who was the “Father, Mother” who materialized from a mist to give Teed his mission on earth. And also revealed the truth that the earth’s surface actually curves into a perfect concavity containing the sun, moon, stars and rest of the visible universe. Yes, the earth is hollow—but the rest of the cosmos is nestled within it:

“The universe is a cell, a hollow globe, eternally and perpetually renewing itself by virtue of involution and evolution and all life exists on its inner concave surface.

God being perfect is both male and female—a biune being, and personal to every individual.

Matter and energy are inter-convertible. Matter is destructible, resulting in transmutation of its form to energy and conversely, from energy to form.

Reincarnation is the central law of life—one generation passing into another with all humanity flowing down the stream of life together.

Heaven and hell constitute the spiritual world. That is, they are mental conditions and within mankind.

The Bible is the best written expression of the divine mind but is written symbolically. The symbolism must be interpreted by a prophet, who would appear in every age and in the context of that age.

Man lives best by communal principles to correspond with the primitive Christian church. The Koreshan form of socialism would be the expression of the natural laws of order, to include the elimination of money power and wage slavery.

Equity, not equality, is a natural law for women as for men. There is no equality, and to see any two people are equal is merely trying to enforce uniformity.

Dr. Teed indicated there was a great deal more knowledge that had been imparted to his mental consciousness, but he felt the ordinary minds of mortals could not immediately comprehend or evaluate it. It would be presented to the world in time.”[ii]

Apparently, Cyrus Teed received what is typically now called a “download” of which a major part could not be translated into human language.

[i] Teed, Cyrus. The Illumination of Koresh: Marvelous Experiences of the Great Alchemist 30 years ago, at Utica, New York, Chicago, Guiding Star Publishers.

[ii] Sarah Weber Rea, The Koreshan Story, Guiding Star Publication House, 1994.

On the other hand…

An Excursion into Natural Human Creativity, Involuntary/Automatic Imagination, and St. Nick  

Kenneth Ring’s abduction experiencer profile fits that of many trance mediums, persons who can receive both self-willed and spontaneous imaginary material with more ease than a non-dissociative person.[8]

Because of the dissociative states to which they are prone, the experiencer/medium possesses minimal to no conscious control over the images that may appear in their mind, and the images that do appear are far more vivid and longer-lasting for them than in the general population.

Spontaneous creative activity can often involve controlled dissociation rituals that partially or completely efface the conscious personality and, paradoxically, through this constricting of the normal ego, make its “reception bands” wider for the intrusion of unexpected material, whether it takes aural, verbal, visual, or physical (automatic writing) forms.

An artist, for instance, may welcome these intrusions and a musician may revel in them. For creative persons, an element of intention is obviously present in the execution of the final product. What we call creativity in general, and the types of work evaluated as genius-level, involves a special state of consciousness that allows material to flow into the artist’s or scientist’s mind:

“(Frederic Myers) linked genius with the classical notion of inspiration, saying that an “inspiration of genius” is a “subliminal uprush,” an emergence into supraliminal consciousness of ideas that the person has “not consciously originated, but which have shaped themselves beyond his will, in profounder regions of his being” (Human Personality Vol. 1, page 71). Another central element of creativity for Myers was the integration of ideas arising from subliminal regions with those of the supraliminal self, the “utilization of a greater proportion of man’s psychical being in subservience to ends desired by his supraliminal control” (HP, Vol. 1, pg. 155). The outcome of the creative process is something intended and desired by the supraliminal, and the supraliminal does plays a key role in the completion of what begins with a subliminal uprush. The heart of the creative process is an automatism, but its combination and completion occur in the realm of the supraliminal. Thus, creativity is a highly desirable integration of the two aspects of the psyche and an instance of superior functioning. It is also an indication of what the human soul is capable of, because there is a hint of something “beyond,” “something incommensurable” with “the results of conscious logical thought” (Vol. 1, pg. 98).” [9] (emphasis added)

Mystics historically also have cultivated methods of altering their physiological and mental states to enter trance that brings their consciousness closer to the “source,” or God, such as extreme fasting, repetitive prayer, or self-mortification. Michael Talbot discusses the Sufis’ repetitive meditational practices of creative visualization meant to bring about both contact with Allah and materialize His emanations of an alternate reality:

“(The Sufis) held that it is a world created solely out of the subtle matter of alam almithal, or thought. Even space itself, including ‘nearness,’ ‘distances,’ and ‘far-off’ places, was created by thought. But this does not mean that the country of the hidden Imam was unreal, a world constituted out of sheer nothingness. Nor was it a landscape created by only one mind. Rather it was a plane of existence created by the imagination of many people, and yet one that still had its own corporeality and dimension, its own forests, mountains, and even cities. The Sufis devoted a good deal of their writings to the clarification of this point. So alien is this idea to many Western thinkers that the late Henry Corbin, a professor of Islamic religion at the Sorbonne in Paris and a leading authority on Iranian-Islamic thought, coin the term imaginal to describe it, meaning a world that is created by imagination but is ontologically no less real than physical reality…Because of the imaginal nature of the afterlife realm, the Sufis concluded that imagination itself is a faculty of perception, an idea that offers new light on why (psychotherapist Joel) Whitton’s subject materialized a hand only after he started thinking, and why visualizing images has such a potent effect on the health and physical structure of our bodies. It also contributed to the Sufis belief that one could use visualization, a process they called ‘creative prayer,’ to alter and reshape the very fabric of one’s destiny.” [10]

This reiterates the theory of Romantic poet Samuel Taylor Coleridge and the 18th-19th Century poets’ conception of the Imagination. Consider this famous quote from Coleridge:

The Primary Imagination I hold to be the living power and prime agent of all human perception, and is a repetition in the finite mind of the eternal act of creation in the infinite I AM. The secondary imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create or where this process is rendered impossible, yet still, at all events, it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.[11]

The current ideas of a non-human extraterrestrial intelligence both figuratively and literally alienate the natural human ability to produce novel ideas (signals) that have been filtered down from the noise of the total consciousness, supraliminal and subliminal, of humanity. Is there a genuine justification to externalize these intrusions to a non-human type of consciousness?

When in trance or mild dissociation, the resting state of a brain’s filtering mechanism is altered to a degree.[12] This allows material that is, to use a metaphor, a mental/aural snapshot of something outside the normal boundaries of personal egoic habitation. Much of the brain’s activity, on both synaptic-neuronal and hemispheric/sectional levels, functions in inhibitory ways to make possible what is considered smooth conscious functioning. The study of damage to a tiny area of the brain can reveal the ostensibly global function that area controls with regard to normal consciousness; collectively accumulated over a century, this catalog of functions helps us understand the productive or inhibitory scheme of the human cognitive world with regard to the brain.

In this way the physical aspects of certain base-level filtering mechanisms have been mapped. Blood flow, electrical activity, and coherent communication between hemispheres all contribute to the norm, of course, but tissue death, damage, or anesthesia can produce states similar to hypnosis, hypnagogia, dreams, or OBEs—and also extraordinary feats of psi activity. The original mesmerists and hypnotists of the 19th century proposed models of the hypnoid mesmeric state that implicated general loss of integrated brain and nervous system functioning during the self-healing, remote healing, telepathy, clairvoyance, and even psychokinesis observed in various patients and volunteer subjects.[13]

There seems to be a general principle, in line with Myers’s thinking, that for every physical loss of a brain function that produces a physical compensation there are ancillary effects to behavior that are sometimes extraordinary.

Neurophysiologist Karl Pribram once puzzled over neurosurgeon Wilder Penfield’s “engram” conjecture that everything ever experienced by a person is recorded in the brain’s trillionfold complex of connections. Penfield had electrically stimulated parts of epileptics’ brains while they were in surgery and received detailed accounts of memory replays (engrams) from earlier moments in the patients’ lives, sometimes going back to early childhood.[14]

Pribram’s work with psychologist Karl Lashley added to the mystery: Lashley had discovered that maze-running rats could still remember the paths they’d figured out despite having both the memory and learning portions of their brains removed—and even having the entire organ rearranged in their skulls. This indicated that the physical substrate was not where the engrams of experience reside. At the very least, memories are distributed throughout the entire brain and can be retrieved despite damage to the areas where they should reside.

Consider the fact that animals, including humans, can still competently function with severe physical brain damage and even without fully formed brains. In cerebellar agenesis, a person is born with an incomplete or even entirely missing cerebellum, which controls motor movement of the limbs and the ability to speak. Yet there are people born with cerebellar agenesis who function relatively normally, such as the Chinese woman found in 2014, where these capacities are only impaired and not entirely absent, as should be the case if the substrate was entirely responsible for the motor competency.[15] There are also startling examples such as the man who suffered from hydrocephaly when a child; at 44, in 2007, he was discovered to have only 30-50% of his brain intact, the rest being simply cerebrospinal fluid. He had an IQ of 75 and led a normal life until the discovery.[16] A boy born in Scotland in 2013 with only a brainstem and a fluid-filled skull is now six and can speak, despite the medical opinion that he should still have only the capacities of a newborn. Another child born in 2014 lacks both a skull and brain and could speak rudimentarily.[17]

These cases obviously at least imply that something more than the physical brain is the key to understanding consciousness and memory; physicalist science has no answer yet as to how these people can function.

An obvious hypothesis is that consciousness does not reside in or is produced by the brain but is filtered via brain structures from a “field” of possible conscious experience, as Myers hinted. This is idea with a long pedigree and has been much denigrated by mainstream scientists since the 19thcentury.

Metachoria

Creativity may involve a narrowing of the physical markers (brain activities) of normal consciousness that produce a corresponding expansion of access to another part of the mind—or even another kind of consciousness altogether.

I believe Coleridge and Corbin are speaking of an energy field we may call (adapting Celia Green’s coinage) the metachoria and the specific images that emerge from it into consciousness (and back again into “unconsciousness”) metachores.

Metachores such as the “heavenly cities” created by the Sufi) are invested with meditational energies both mental and emotional. They may be equivalent to the Buddhist concept of the energies that create an emanation body by prodigious psychic focus over a long period.

Moreover, these images may appear as unwilled and spontaneous in anyone’s consciousness, but the artist as a trained receiver may be able to capture and develop them.

This capacity, of course, comes with repeated practice and discipline. A metachoric impression may linger only temporarily in the short-term memory. This is what causes the distraction so common to a creative person; in the middle of a conversation they may struggle, multitasking, to remember and clarify the sudden intruding idea as the brain produces the proteins to store it in long-term form. The napkin sketch, the pocket notebook, or the digital voice recorder comes out as they get down the idea before it disappears.

The future work—all available choices to the path of a finished, tangible product (a painting or recording, etc.)—are in a superposition of sorts as they hover about the metachore, like a cloud of electrons prior to observation and wave-function collapse.

But recognized works of genius, both great and lesser, are fashioned through a process that is generalizable to all acts of creation:

A traditional descriptive model of the creative process, based on the self-observation and testimony of large numbers of variously eminent persons, provides a useful organizing framework for this discussion. Credit for explicitly formulating this model is usually given to Graham Wallas (1926), a political scientist and administrator primarily concerned with the pedagogical matters, but it was also formulated in nearly identical terms and in greater detail by psychologist Eliot Dole Hutchinson (1931, 1939). The model posits four stages or phases that can often be discerned in a high-level creative effort: (1) preparation; (2) incubation; (3) illumination; and (4) verification. Briefly, preparation refers primarily to the initial stages of intense voluntary effort on a particular work or problem (although it is sometimes generalized to include the typically lengthy period of time in which high level technical skills relevant to the task are laboriously acquired). If this initial effort fails, the work or problem may temporarily be put aside in frustration, this being the stage of incubation or renunciation, in which conscious effort seems to be largely or wholly absent. Something more than simple rest or dissipation of inhibitions seems to be involved during the incubation period, for then comes illumination, inspiration, or insight, in which radically new ideas intrude into consciousness, often suddenly, copiously, and with strong accompanying affect. This leads to a further stage of voluntary effort, verification, in which the new material may be evaluated, elaborated, and worked into the structure of the evolving product.[18]

While cognitive neuroscientific accounts explain Hutchinson’s renunciation-inspiration phase of creativity as a sort of “unconscious cerebration” or a “cognitive unconscious” that functions during both consciousness and sleep, it is still a behaviorist’s black-box model that explains nothing.[19]There are cases of problem solving (if we roughly want to define creativity that way) which so confound science as to be magical. As we noted, a calculating prodigy like Ramanujan could instantly tabulate complex operations on prime numbers within seconds.[20] Since no one had called into public existence the particular prime numbers Ramanujan was asked to do, we still need to ask how he in particular and prodigies in general can do it…It is the same, albeit in slow motion, with the creative constellation of ideas that eventually become artworks that deeply resonate with people down the ages.

Of course, there are only finite numbers of prime numbers (an objective fact) while art almost wholly involves subjective value judgments, but in what sense do they share at least a family resemblance, or a direct parallel at most?

Getting consistently good sleep has been positively correlated with higher levels of creativity; this probably has to do with the integration of emotional and intellectual experiences into one’s general psychological mindset.[21]

Every night, people enter temporary worlds fashioned entirely by their minds, briefly inhabit them, and become agents in them. Our emotional preoccupations drive the dreaming process via the brain stem and limbic system.[22] These centers are very active in emotional states during waking consciousness, and are the most active during dreams, especially the vivid REM dream stage that occurs in its third cycle in late morning.[23] Any dream can show the creative potential for recombination and synthesis that is shaped into a narrative, whether that story is implicit in the dream or imposed during the hypnopompic process of awakening. Something other than the conscious ego imposes these images and the story-like order to them.[24]

Creative breakthroughs come in a flash, or gradually in pieces. This is Frederic Myers’s “subliminal uprush,” in which the solution is often fully-formed and often surprises even the artist or scientist. The artist/scientist’s amazement indicates for Myers the existence of a secondary agency parallel to the stream of willed, accessible memories of consciousness.

AI systems cannot as yet produce the qualitatively different process of creating novelty of the quality that Myers’s uprush solves. Solutions may involve context, “nested contexts,” cross-pattern-recognition, and even decontextualization of individual elements needed to find satisfactory results. The brain’s immense processing power of its present conscious experiences and emotions plus its lifetime’s worth of potentially memorable experiences dwarfs current quantitative computational capabilities. The faculty for understanding context is missing in the cognitive-computational models. It is not enough to say that a human’s personal memory store of experiences can be “algorithmically reshuffled” to produce a novel thought or a creative act, for doesn’t that imply that the answer pre-exists (in some form) in the mind to be discovered as the solution? How is it recognized by the artist or scientist as the eureka! moment?

An additional problem is that an answer to a problem has one meaning in computing and another altogether for an artist. If an AI scientist programs a computer to write an original song based on a style of source material (which has been done in the case of the Beatles) or write poetry (which also has been done), the computer possesses no intentionality in its steps towards the completion of the work; it all depends on the selection process of the person(s) feeding the raw material into the system. Many millions (perhaps billions) of combinations have to be algorithmically tried by the brain when, as a “computing system,” it does not with any exactitude know what it is looking for. In other words, the eureka! moment cannot be programmed for—the emotional rush of re-cognition that the near-perfect to perfect solution has arrived. Again, the artist may be surprised at the result and delighted that the answer appeared, many times accompanied by a numinous eureka! sensation. This emotional component and contextualization of a non-linear process cannot be ignored or minimized by anyone explaining creativity using an AI/computational approach.

What is invoked as explanation when a musician or gymnast or scientist respectively a) plays an astounding violin solo while on “autopilot” (and may herself be as astonished as the audience when she listens to the subsequent recording); b) the gymnast moves her body without conscious volition in a way thought impossible and is equally amazed on viewing a video of the performance; or c) happens to suddenly perceive an insoluble problem with a Gestalt-switch-like perception and its resolution is now easy and almost obvious?

In case C, what has usually been invoked by materialist neuroscience is, again, some kind of “unconscious cerebration” involving the recombination of all past imprinted (or memorable) instances in which the problem figured in her cognition. In the first two examples, an altered state of the consciousness can be used to explain how an artist can leap far beyond what they believe themselves capable of (the so-called flow experience). This can apply to the scientist as well; we all know the feeling of intense concentration/absorption on a task that suddenly breaks into ease.

Yet if we deconstruct these scenarios second by second, let’s imagine we can perceive the biochemical-electrical loops occurring between brain, fingers, and muscles of all three people during this flow state. Just before the astounding performance, in the near future, something quite out of the ordinary is about to occur, relative to the performer, the audience, and field of aesthetic judges. The performance is at this time unimaginable to everyone. It will emerge from the feedback between mind and matter, tension and release—the creatrix’s conscious will plus something extra or outsidetheir consciousness. Might we not say that the answer does not originate inside the brain structures and neuronal firings at all, but somewhere in a field of possible realities being simultaneously scanned in superposition, like a person searching bandwidths for a certain frequency?

Spontaneous actions may end with the person being called a genius. Yet in the current physicalist’s approximation, all that has occurred is a concentrated act of will that, from the outside, is described as conscious because the person exhibits certain signs of consciousness while performing, whether that performance is on a musical instrument or parallel bars or a blackboard. To be a good neo-behaviorist/epiphenomenalist, all our physicalist has to say is that the genius’ years of reward for competent learning has achieved its pinnacle; for the physicalist, there would be no significance to the artist-scientist’s statement that they were not even aware of their mind/body during the performance or when the answer came, when this may be precisely the crucial point of the matter.

Along with the considerations of the sources of genuine creativity comes the problem of evaluating a work as a product of genius. In a 1996 book, psychologist Mihaly Csikszentmihalyi divided creativity as a total activity as having three components: the creative person, their domain, and the field. The domain is any area of endeavor, such as topological mathematics or oil painting or DJing. The field is the peers and experts and audience adjudicating the worth or novelty of the creation. Thus:

…the definition that follows from this perspective is: Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it.[25]

Myers (and I) would embrace this view inasmuch as it recognizes a social collective that responds to a work as something that may communicate truths transcending a particular period and place of origination. We would modify this stance, however, on the grounds that it effaces the element of a shared unconscious or subliminal element whose existence is being displayedthrough the stupendous quality of the work.

Works of genius in poetry, music, and the plastic arts often engage multiple levels of interpretation and position themselves at the edge of an indeterminacy of meaning; they possess a richness of content that evokes a multiplicity of possible responses. The numinous spiritual experience that theologian Rudolf Otto speaks of may very well be encountered in a monumental work of art or a new complex mathematical formula describing, for instance, “imaginary” dimensions that the field of mathematicians have never before noticed.

Many times, a new community is called into existence by the genius; as Luigi Pareyson once said, a genius is a type of person who creates the audience for their work. I think Pareyson means that their works are of such quality that they 1) remind the persons in their audience of profound things they already know, but have never been able to consciously formulate (put into words, sounds, or images themselves); 2) broaden the audience’s perspective on the meaning and/or limits of the domain (as Csikszentmihalyi has it); 3) create converts to the transformative power of art—and thus create new artists; 4) broaden the spectator’s experience of community with other human beings, that is, induce a sympathetic/empathic response that does not diminish in time.

Perhaps Pareyson’s claim sounds glib when one considers the changing tastes and standards of genius throughout history—but it in no way impacts the accomplishments of persons like Leonardo or St. Hildegard, whose lives and works very well could have been forgotten or suppressed in history. This impels a question like Bishop Berkeley’s about the falling tree: if the genius creates a unique masterpiece and no-one is around to experience it, is it still a masterpiece? Against Csikszentmihalyi’s definition, I would argue yes. If an artist had a vision originating via an altered/dissociative state then labored over what they were blessed with experiencing into physical being, whether or not the work is discovered at some later point is irrelevant. It had meaning for the artist, and it signified both the truth of their metachorial encounter and their direct relationship to a field of possible experience far greater than themself.

It is important here to stress that the metachoria is populated with and produces in minds images that may have intrinsic intentionality but do not yet possess an existent referent at the time they occur; they have sense to their experiencer but no reference yet in the world.

Suppose you think of Santa Claus pausing from his toy-making work to have a lager. Santa Claus in a strict sense doesn’t exist, but he can do just about anything one can imagine a human doing—even things humans can’t. The thought of Santa drinking has intentionality: we have a thought that “Santa is/was/will quaff a pint.” It has sense to us, but no referent—that is, it refers to no existing reality, other than the imagined action in the imaginer’s mind. Santa is a “prop.”[26]

Similarly, a painter might have, say, a spontaneous vision of a nightclub filled with nightmarish chimeras performing actions upon one another that no other human has ever imagined.[27] She is chilled by the image’s intensity but also very alert to its details. The imaginal scene also has sense (being set in a phantasmal nightclub, etc.), but no reference in the outer world—the vision does not yet exist in a public way, like Santa Claus does. Her job is then to bring this image’s subjective sense to external form in a tangible work: a painting.

Now suppose the painter were to spend ten years making this one work, and it became spectacularly popular and survived down the centuries, like Bosch’s landscapes. Suppose people named her visionary creatures, wrote iconographies and fiction based around them, made movies and narratives using the rich symbolism of the painting’s world. These creatures too could eventually become imaginative “props” like Santa Claus—they could quaff weird beverages, have adventures, take over the White House, etc.

All because a singular, vivid, unwilled image entered one artist’s head. Did the depicted creatures call themselves into existence via a non-human intelligence? Were they given their long ideal lives via her metachorial imagination?

Or (to get really out there) did her huge future audience’s familiarity, admiration, and even love for her creations somehow retroactively cause the vision to occur in her mind in the first place?

In part three we will summarize the case for the novelty of non-human intelligence communications via the contact modalities in the light of the historical parallels outlined here. Just what part of these phenomena are new?

——————

[1] Pasulka, D.W., American Cosmic: UFOs, Religion, Technology, Oxford University Press, 2019.

[2] Ibid, pgs. 34-35.

[3] See Banias, M.J. UFO People: A Curious Culture, August Night Book, 2019, pgs. 92-97.

[4] Pasulka, pgs 188-95; 198-201.

[5] See Beyond UFOs: The Science of Consciousness & Contact with Non-Human Intelligence Vol. 1, CreateSpace Independent Platform, 2018.

[6] Pasulka, pgs. 140, 203-04, 207-08.

[7] Brown, pgs. 178-189.

[8] See Ring, Kenneth. The Omega Project: Near-Death Experiences, UFO Encounters, and Mind-at-Large, William Morrow & Co., 1992.

[9] Kelly, Edward and Kelly, Emily Williams. Irreducible Mind: Toward a Psychology for the 21st Century, Rowman and Littlefield Publishers, 2009, pg. 354.

[10] Talbot, Michael. The Holographic Universe, Harper Perennial, 1991, pg. 260.

[11] Coleridge, Samuel Taylor. Biography Literaria, 1817.

[12] Kelly 353-362; see Mavromatis, Andreas. Hypnagogia: The Unique State of Consciousness Between Wakefulness and Sleep, Thyrsos Press, 2010, pgs. 71-80, 194-203, 221-23 for the relationship between relaxation, natural dissociation, and spontaneously unwilled imagery in the hypnagogic trance, the first stage of sleep.

[13] See Gauld, Alan. A History of Hypnotism, Cambridge University Press, 1995, pgs. 105-107, 143-44, 278-79, 284-85, 301, 326-27.

[14] Maybe the specific amplitude or wavelength of Penfield’s charge resonated with amplitude/wavelength of random encoded memories in the patients’ brains. These relived memories by the patients seemed entirely “meaningless” recollections, because most of our lives consist of just these sorts of experiences.

[15] http://yalescientific.org/thescope/2015/03/the-woman-born-without-a-cerebellum/

https://www.newscientist.com/article/mg22329861-900-woman-of-24-found-to-have-no-cerebellum-in-her-brain/

[16] https://www.newscientist.com/article/dn12301-man-with-tiny-brain-shocks-doctors

[17] http://www.cnn.com/2015/10/01/health/baby-born-without-complete-skull-turns-1/index.html

[18] Kelly (2009), 427-428, 432-433, 600.

[19] See Kelly, 240-252 for criticism of the unconscious cerebration/cognitive unconscious thesis in neuroscience and psychology, and Kelly, pg. 455 on the shortcomings of the “black” box approach.

[20] Many times, these persons are diagnosed with autism-spectrum disorder or have a type of detriment to the left side of the brain, which has been shown to process experience linguistically in a linear fashion. The right brain, which has been demonstrated to perceive images and wholes with a minimal linguistic, linear component, may in fact, for persons such as Ramanujan, imaginally perceive the entirety of a mathematical world as 3-dimensional table-matrices through which they will the answer not through calculation but location via the matrices’ axes. See Kelly (2009) pgs. 87, 433, and The Master and His Emissary: The Divided Brain and the Making of the Western World by Iain McGilchrist, Yale University Press, 2012, pgs. 12-13, 57-58, 61, 87, 132.

[21] Rock, 142-147.

[22] Rock, Andrea. The Mind at Night: The New Science of How and Why We Dream, Basic Books, 2004, pgs. 22, 122.

[23] ibid, 47-49.

[24] This other could be said to be the realm of the right brain. The difference between a verbal description of an anomaly and a visual representation of it (of a Nordic being such as Adamski’s, or Strieber’s “woman visitor” on the cover of Communion) is profound in its emotional effect. Images activate the right hemisphere of the brain that deals in the symbolic. Symbols can be said to reside and recombine in those areas of the brain. It may be for this reason that traditions from Sumerian religion to mystical Judaism to Roman and Gnostic mythology tell of a “divine twin,” hypnopomp, daemon, szyzgus, or guardian angel that is an everpresent part of us that exists to communicate truths that elude propositional form. The symbolic/emotional nexus has no grasp of linear time, because it exists partially outside it, in the metachoria. These are the dreams we most remember.

[25] Csikszenmihalyi, Mihaly. Creativity: Flow and the Psychology of Discovery and Invention, Harper Perennial, 1996, pg. 28.

[26] See Kendall L. Walton’s Mimesis as Make-Believe: On the Foundations of the Representational Arts, Harvard University Press, 1993, pgs. 37-38, 42-43. Props function within sets of rules that generate fiction. They possess the same intentionality as objects in the “real world.”

[27] The works of surrealists such as Roberto Matta would be very much like the vision suggested by this thought experiment: landscapes that appear as complete abstractions at first, then on close inspection gain signifying details that suggest familiar forms but never get there. Pareidolia alternately fails and succeeds in effectively interpreting the imagery in his works; they are entirely liminal in their engagement with the eye and brain.

[28] Yet ironically, the “true” name is never the real name if they are telling the truth. Although many such as Carla Rueckert’s Ra admit that the names higher entities use are just convenient, human shorthand for what they really are—the “social memory complex” of an evolved race on another dimensional plane—they usually preach that identity itself, of any form, is a metaphysical fiction, as Advaita and madhyamika Buddhism holds.

[29] See the opening pages of Vallee’s Messengers of Deception.

[30] The Akasha idea originated in Alfred Percy Sinnett’s gloss (1883) on H.S. Olcott’s A Buddhist Catechism (but was probably inspired by Indra’s net in the Atharva Veda of 1,500 BCE). The Akashic field can be made to explain and bolster belief in the reality and truthful preachings of new channels in a mutually reinforcing way.

[31] As writer M.J. Banias has pointed out, the UFO is a “cultural apparition.” This characterization can be extended to cover most anomalous manifestations throughout history, including NHIs, but their liminality can be especially corrosive and pronounced to society in our lightning-fast information networks. Building on the seminal 2008 essay “Sovereignty and the UFO” by Alexander Wendt and Raymond Duvall, Banias claims the UFO is disruptive to nearly the entire spectrum of capitalist cultural discourse, while simultaneously having no unambiguous physical signified to what it represents. There is nothing but the report, the aftereffects of the encounter, and the beliefs by others in the encounter. Belief in UFOs requires a rejection of many factors that make up the worldview consensus that drives our society: physics, religion, trust in the mass media, and products of the “creative class” (novels, TV shows, films) that are products of the same consensus. But judging by the contents of Pasulka’s and Vallee’s books, there are many scientists paying attention and engaging with this taboo subject at the highest levels of the military-space-industrial complex. Or so we are led to believe.

[32] P. Phillips and W.L MacLeod, Here and There: Psychic Communication between Our World and the Next, Corgi Books/Transworld Publications 1975.

[33] The problem may be what psi investigators call “analytic overlay,” which is when a psychic misinterprets an imagistic “signal” by using their own mind’s associations and the left-brain’s labeling power. See MacGilchrist, Iain, The Master and His Emmisary: The Divided Brain and the Making of the Western World, Yale University Press, 2010, 106-110, 113-115, 118-126, 195-203.

[34] See Beyond UFOs: The Science of Consciousness & Contact with Non-Human Intelligence, CreateSpace Independent Publishing, 2018.

[35] I recently read some documents on a person’s lifelong communicating with the “Zeta grey race” that could’ve come straight out of Allan Kardec, Blavatsky, or Alice Bailey’s writings. Clearly the influence of Theosophy on the framing of any kind of channeled or non-human contact experiences is incalculable. I read the first two Ra Materials books (published 1981/82) and found them interesting as channeled teachings. But again, until some channeler of NHIs makes unambiguous predictions that come true, or writes the formula and plans for an antigravity field generator or something far beyond the normal capabilities of the channel, society will continue to marginalize these things.

[36] This also usually implies an atomistic conception of individual human beings compelled to struggle over many lifetimes to learn their spiritual lessons—and it must be noted that the evolution of humanity only became a channeling trope since Darwin put natural selection into intellectual currency in 1860 and was duly picked up by the Spiritualist mediums.

[37] See Heywood, Rosalind, The Sixth Sense: An Enquiry into Extra-Sensory Perception, Chatto & Windus, 1959, pgs. 69-102;Oppenheim, Janet. The Other Side, 132-135; Tymn, Blum, Deborah. Ghost Hunters, 174-178; 276-281.

[38] In the SPR-studied medium-communications from the deceased there at least is a template for proof: the dead person’s survivors may encounter pet phrases, mannerisms, and memories that only they know and can verify as close to or identical with their loved ones. This occurred hundreds of times in the cross-correspondences.

[39] Parapsychologist Jon Klimo—a major contributor to the Contact Modalities book Beyond UFOs—promised in 1998 to produce such a book, but it has yet to see publication.

[40] See McClenon, James. Wondrous Events: Foundations of Religious Beliefs, University of Pennsylvania Press, 1994.

[41] But we know that Santa Claus as we think of him was created from an amalgam of sources in the 19th century.

[42] See https://space.nss.org/life-in-extreme-environments/  https://www.space.com/25133-extreme-earth-life-alien-lifeforms.html

Marcel Duchamp’s Collaborative Alchemical Game with the Given

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I used to have this postcard portrait of Marcel Duchamp stuck on my car’s dashboard. This image is both ironic and a fitting sentiment of the artist. Perhaps whoever made it also was trying to reference Magritte’s The Treachery of Images:

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Duchamp never wanted to be a role model. The art world filled him with ambivalence. After he failed by his own admission at “fine” painting, all he wanted to do was pose questions and experimentally answer those questions with punning riddles in the guise of paintings, sculptures, films, iconologies for existent and non-existent works, writings, and music. And play chess.

I’ve had very few art experiences in life where a transformation of my world occurred. Encountering Duchamp’s readymades was one of them, especially his criterion for choosing them: “visual (or aesthetic) indifference.” He chose them precisely because he’d never considered them in any aesthetic terms. An object you’ve lived with your whole life, ignored, invisible, suddenly announces its presence as a form. Nothing has changed. Everything has changed. You’ve just “enshrined” the object but just as it begins to glow with significance it fades once again into the background, inert. It’s lost, but you never possessed it in that way in the first place; you were indifferent. It’s free to reappear in its own time.[1]

With this oscillating “frame” of significance Duchamp anticipated (perhaps created?) the cultural world we now live in; the repurposing of objects has become known as appropriation or the mash-up.

At some point early on he discovered that the norms of the art world were more important than, and actually preceded, the physical objects which they instantiated. To make a game out of aesthetic choices, and art a realm of “possible worlds” an artist could by choice inhabit or change, was revealed. Duchamp just showed us that we play hide and seek with our own and society’s values, our artistic success depending on a host of occult and marginalized factors.

Duchamp couldn’t be a role model because he was a singularity. He was his own “factory” long before Warhol could envision a Factory to produce the “aura” (aurea=gold) of art. Duchamp tried via his readymades to break the barrier between the mundane and the sacred, the haute monde of art and the mass produced culture, decades before Warhol; Warhol is unthinkable without Duchamp—as well as hundreds of other famous artists. He’s arguably the most important artist of the 20th century.

Duchamp was attracted to alchemical texts and imagery because they were the product of symbolic codes between solitary practitioners. He could understand his own position vis a vis society and the art world through the lens of the consummate outsider/insider, an inhabitant of the liminal space—the trickster. Hermes-Mercury, the trickster-messenger figure, was also the patron of magic and alchemy. To the public, alchemical texts made no sense, just as they were designed to. Their arcane vocabularies, neologisms, and often-violent imagery were meant to protect the sacred truths against profane eyes (as well as confuse the authorities who might detect a whiff of necromancy).

Many of the Dadaists and Surrealists were interested in alchemical jargon and images, but only because it satisfied their taste for apparent irrationality; they understood them only as hallucinations or automatisms brought on by the alchemists’ chemical experiments or drug ingestion.

We have since learned much more about the history, methods, codes, and goals of alchemy. At its most basic you might say alchemy is the transformation, by natural yet hidden means, of elements that make up everything known in the universe. Traditional alchemy concerned obtaining the prima materia, the unchanging essence that underlies all elements, and using it to transform metals into “nobler” forms. All of the procedures had counterparts in the psyche of the practitioner, and, some say, originate and end there.

The Philosopher’s Stone is, of course, most associated in the popular mind with the turning of lesser metals into gold. We could easily interpret the concept and execution of a readymade as an attempt at inducing mental and emotional alchemy on the spectator—but only those who might already be primed to understand such a thing.[2] At some point in 1912-13 Duchamp claimed a retreat from the plastic arts and denigrated them as retinal art: “retinocentric,” we might now say. We could expand this criticism to include time and notation as superfluous in music, as John Cage eventually did, and typography of linear words and their significations, as e e cummings, say, did in poetry—and center art in the mind. The perception makes the thing intelligible and special to the viewer, who co-creates the art experience. Duchamp in a sense democratized the art experience to be whatever moved one to experience it as such.

Obviously this tremendously undermined the social values of the art world and its tendency (at the turn of the 20th century) towards increasing commodification.

Duchamp was an atheist, but did he hold any spiritual values? He certainly denigrated art’s power as a surrogate for religious sentiment…At some point, with material science replacing the qualitative values of religions into the quantitative values of the physicist and technocrat in society, the plastic arts came into their own as a source of spirituality. Eliphas Levi’s occult writings, the Spiritualist movement, and Blavatsky’s Theosophy inspired a counter-current to the quantitative mindset that was indoctrinating millions of minds. Along with these came waves of art movements: Neo-Classicism (Academic art), Impressionism, Symbolism, Post-Impressionism, Fauvism, Cubism, Orphism, Die Brucke, and pure abstraction (the Blaue Reiter movement, with Theosophist Kandinsky as its proponent). The manifesto-mills were at full capacity.

Duchamp, however, shared in the burgeoning technological fascination and the cult of automation. He was enamored with the machine’s anti-aesthetic, it’s pure functionality, and viewed them as allegories for social relations, sex, and certain modes of human consciousness, a multi-variant mirror that yet was not “reductionist” as we’ve come to know that term. His stance was more like a prefiguring of Marshall McLuhan’s view of technology as extensions of the human form, senses, and capabilities. For Duchamp high technology was more material to be worked with, to other ends than the pragmatic—to engage the “useless beauty” of the artistic gesture. Here was yet another reversal of values.

Then came the Great War. In the wake of this catastrophe, “civilized” values became suspect to the art world in the political oasis of Zurich. Freud’s ideas of the unconscious thanatos drive in the European/American psyche spread and found expression in the Dadaist’s shocking destruction/deconstruction/dismissal of “bourgeois” aesthetic standards, a social counterpart to the deaths of the war and1918 flu pandemic. The techniques associated with Spiritualism (trance states, automatism in writing/poetry-making and painting and drawing) and utilizing chance became working procedures for artists via the Dadaists.

Duchamp never formally associated himself with the Dada movement; he’s rather considered via the readymades their “patron saint” or an isolated inspiration. His conceptions of the rationale for the readymades changed over the decades; he was never certain, in retrospect, what impelled him to make such a move in the first place. But with the readymades, a transformation of consciousness perfectly in sync with the alchemists’ project was made possible. Collage had been used in Picasso’s and Braque’s Synthetic Cubist experiments, and by 1917 the Dadaists were cutting up all sorts of things into collage. But to hack the art world by recontexualizing an everyday object, unaltered, whether a coat rack or bottle rack or tilted urinal, was unthinkable until Duchamp did it. Puzzlement and derision followed Fountain (1917), now considered the most important work of 20th Century art.

Fountain 1917, replica 1964 by Marcel Duchamp 1887-1968

He did many variations of readymades. Some, like Pharmacie, were “rectifications:”

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This is a simple store-bought painting, “completed” or “redeemed” by the addition of two dots, one red and one green—the colors associated with drug stores in France. What he did was reverse the arrow of signification in Walter Benjamin’s “age of mechanical reproduction”: he took a “pre-reproduced” object and exhibited it as a unique object. He reversed the value of the negligibly valueless. But only a small number; the majority of his readymades were “rectified” objects or altered to fit his idiosyncratic personal mythology. Other rectified readymades were deliberately provocative, like the goateed Mona Lisa, LHOOQ:

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In French, this title phonetically sounds like the phrase “she’s got a hot ass.” Besides repurposing the trivial, Duchamp’s other long-time exploration was with gendered identity. His alter ego Rrose Selavy (eros, c’est la vie—a bad pun, indeed!) appears on several works. Here’s his Belle Haleine/Eau de Voilette (1921), a title, via the transposed letter V for T, apparently meaning “Beautiful Breath of the Veil Water”:

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It’s unfortunate, but there seems to be a rule that both modern and (post)modern art’s meaning to the audience and art history, as measured in the amount of ink spilled in explaining it, is oft times in inverse proportion to the amount of “craft/skill/representational talent” the given work being explained actually displays. This thought occurred to me while reading Clement Greenberg’s and Harold Rosenberg’s defenses of Abstract Expressionism—and a similar thought formed the basis of Tom Wolfe’s notorious screed The Painted Word.

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With Duchamp’s The Bride Stripped Bare by Her Bachelors, Even, or The Large Glass, we have this tendency to explanation brought to its absurd extreme, and all the hermeneutics done by the artist himself in the subsequently published Green Box, a collection of all his notes, diagrams, and explanations of the iconology of the piece. So we have an artist imagining the context, history, function, and critique for his own piece in advance of and alongside its creation, a dialogue with his unconscious. He was thus ahead of his own posterity in creating his own mythology…The same occurred when the Philadelphia Museum of Art revealed Duchamp’s final work, Etant Donnes: la chute d’eau 2. La gaz d’eclairage (Given: 1. The Waterfall 2. The Illuminating Gas) which he’d secretly spent decades on and seems at once a condemnation of the museum-goer/haute monde critic/collector as voyeur, and a literal wooden “façade” behind which a “truth” is to be discovered.

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This is its “aesthetically indifferent” facade.

Get up close and personal, gaze into a certain crack in this mask, and hello!:

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Inside

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Many thousands of artists can claim Duchamp as a direct inspiration (or those inspired by him as a secondary muse). Robert Rauschenberg, Jasper Johns, Claes Oldenburg, and the other quasi-Pop artists of the late 1950s and 1960s incorporated found-object (readymade) elements in their work. Collaborations between Rauschenberg, choreographer Merce Cunningham, and John Cage resulted in multi-media events that prefigured the late 60s Happenings. Some of Warhol’s films elevated the mundaneness of the “retinal” to absurdity, yet they prefigured the video painting-installations of Bill Viola. Stripping art of its need for embodiment led to the jokes of Piero Manzoni and Yves Klein, the Arte Povera movement, the whimsical “experience recipes” of Yoko Ono and Fluxus, and the artist’s ego dissolution into actions like Joseph Beuys’s. Individuals from the “postmodern” dance world, influenced by Duchamp via Cunningham and Cage, came together with Robert Wilson’s unique theatrical visions to produce tremendous operas that almost defy rational explication. Out of the Sixties’ Happenings and theater such as Wilson’s came the performance art of the 1980s, embodied most successfully in the multimedia presence of Laurie Anderson.

But this latter movement produced very few memorably shocking events (comparable to Fountain) that erased further the boundaries Duchamp had begun to; those had been rehearsed and “perfected” in performances during the free-for-all 1960s and 70s, like Chris Burden’s Shoot, Ono’s Cut Piece, Shigeko Kubota’s Vagina Painting, or the multimedia conceptual works of Sophie Calle and Genesis P-Orridge.

When we talk about contemporary international art, which names come up? Tracey Emin? Banksy? Jeff Koons? Damien Hirst? Christo? These persons are more like rock stars. Damien Hirst gets pounded all around for his faux-whimsy and creative bankruptcy and is perennially sued for plagiarism. Emin has coasted on the notoriety of one Biennale piece for quite a while. At a more “normal” level of “craft” we have Gerhard Richter, Matthew Barney, Anish Kapoor, Andy Goldsworthy,

 

 


[1] This recalls a story the composer John Cage, a Duchamp disciple and friend, once told about visiting a woman friend and having a few drinks while some strange music played from her stereo speakers. He enquired what it was and she replied, “you can’t be serious?!” It was a recording of his music, probably one of his star-map derived scores that were meant to mutate with each performance; the scores had come from transparencies laid across star clusters that Cage used the I Ching to determine which would be notes and which would be tone-clusters. The pianist-interpreter would read these as notes. Cage wanted to create pieces that were free from human ego as possible, for them to become a part of the world of sounds as sounds spontaneously appear to us. For him to unexpectedly encounter in the world the product of a “recipe” he’d devised must have delighted him.

[2] A person’s opinion of Duchamp’s readymades—whether they are brilliant ideas that expand one’s conception of art, or a bad (and poorly executed) joke—largely determines how one views many of the 20th century’s art movements (such as Dada, Surrealism, Abstract Expressionism, Pop Art, art brut, arte povera, Fluxus, etc.). The irony is, Duchamp would probably disavow the former and mildly agree with the latter!

Bill Viola’s “Tiny Deaths” and the Inversion of the Gallery Space

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Video artist Bill Viola’s oeuvre spans four decades and hundreds of works. Known best for his tableau video installations and huge scrim projection works, there is one “minor” work from 1993 that I think is his most intriguing and startling. Confronting it was a life-changing aesthetic event.

Tiny Deaths is an installation piece for a very darkened square room. As one enters, muted distorted voices become apparent, softly moaning and speaking unintelligible mantras from some undefinable space, as if unconnected to the room. The immediate effect is spooky as hell. The walls are soon found to be shimmering in very dark grey-scale projection, like the snow of an old television screen with the brightness and contrast at zero. But the projectors are hidden. As one walks about the dark you will come to notice a shadow—perhaps your own—is on the barely lit wall before you. But it stands still as you move; it is a phantom presence. You inspect it. The mutated voices are growing louder and illumination is bleeding rapidly into the space. Suddenly the sounds crescendo in a whoosh and there is a flash behind you. You turn but everything is the same: three barely shimmering walls. Your eyes once again must adjust. The voices murmur low. You look back at the shadow before you, which seems washed out by the intense flash. But it’s still there and growing dimmer. If you choose to concentrate upon it, over a period of a moment and a half or so you notice it has begun to take on details. There is a face. Eyes, a mouth. Clothes. It is glowing slightly brighter with a light that is somehow generated by the image itself and not from a projector. The details appear quicker. The voices are growing louder again. Suddenly a person in black and white in full detail appears before you but is gone in a flash before you discern fully any details.

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On reflection you discover that the light is acting two ways, as projection and reflected illumination, causing a “third realm” in the gallery—or the viewer’s mind—where the viewer(s) is a part of the work. You are gradually washed out by the light and equally disappear to the other patrons.

This is one of the greatest works of art I’ve ever experienced. You have to be there a while to get it. The flashes create a “liminal space” between the depicted persons and the spectators. You can view a two dimensional representation of a person on a wall or a living person standing beside you in the gallery space and the same fleeting effect occurs, but the latter is the “real” world—the world of mortal beings who grow old and die. The images could theoretically cycle through eternity.

Thus the work has a subtext about the visual preservation of the human form that photography grants but can never encompass. We in the gallery are the real subjects of the piece. Viola has reversed the arrow of signification on us, brilliantly.

Illumination in a spiritual sense. Viola has been a Buddhist for 40 years. Suddenly the frail human being appears from the nigredo of a roiling, dimly sparking wall, only to vanish in less than a second and return to darkness. We witness a sudden, finite drama on a two-dimensional surface that reflects its light onto our three dimension world. But like these trapped representations, we exist coursing along the dimension of time as well…The voices drifting through the room offer no condolence or condemnation. They are beyond legibility and meaning. And so is this mystery of existing as a representation of something beyond this four-dimensional and ceasing to inhabit it. It asks us: to what realm are we akin to these persons displayed upon the wall?

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