Religious practices centered on controlled trance states, such as Siberian shamanism or North African zar, are ubiquitous, yet their characteristics vary. In particular, cross-cultural research finds that female-dominated spirit possession cults are common in stratified societies, whereas male-dominated shamanism predominates in structurally flatter cultures. Here, we present an agent-based model that explores factors, including social stratification and psychological dissociation, that may partially account for this pattern. We posit that, in more stratified societies, female agents suffer from higher levels (...) of psychosocial trauma, whereas male agents are more vulnerable in flatter societies. In societies with fewer levels of formal hierarchy, males come into informal social competition more regularly than in stratified contexts. This instability leads to a cultural feedback effect in which dissociative experiences deriving from chronic psychosocial stress become canalized into a male religious trance role. The model reproduces these patterns under plausible parameter configurations. (shrink)

Here, we describe how Casas Grandes Medio period (AD 1200 to 1450) shamanic practices of the North American Southwest used tobacco shamanism, a ritual stance called the Tennessee Diviner (TD) posture, and cultural expectations to generate trance experiences of soul flight and divination. We introduce a conceptual model that holds that specific trance experiences are the emergent result of human minds interacting with additional factors including entheogens, cultural expectations, physiological states, postures/movement, and sound/stimulation. Experimental and ethnographic (...) evidence indicates initiating trance with either tobacco intoxication or the TD posture accompanied with a rapidly beating drum or rattle corresponds with perceptions of soul flight, transformation, and divination/information acquisition. Both have similar results but pairing them together as they were during the Medio period likely helped ensure the culturally desired trance experiences. This practice of mutually reinforcing factors was likely part of tobacco‐based shamanism found in other New World cultures as well. We suggest our general model can be applied to other contexts to examine how various aspects of trance induction interact to produce the cultural patterns (and resulting cosmological and spiritual frameworks) anthropologists have documented in other cultures. (shrink)

The aim of our paper is to analyze the position the psychedelic trance subculture takes on drug use and whether it applies to prescriptive regulatory systems on drug-taking. A qualitative field research strategy was adopted with the use of semi-structured interviews and participant observations. Actors at three levels of participation in the subculture (experts, long-term participants and newcomers to psychedelic trance parties) were interviewed. The results showed that the subculture distinguishes between tolerated and non-tolerated drugs. This distinction is (...) different from the mainstream paradigm. The subculture also has unwritten rules relating to the behavior expected of an intoxicatedperson. However, there is only limited potential for the subculture to enforce these standards and recognition that this represents a threat. Psychedelic trance stands out from other dance scenes in the use of specific drugs—hallucinogens—that dominate and inform its culture. (shrink)

Shamans, including medicine men, mediums, and the prophets of religious movements, recur across human societies. Shamanism also existed among nearly all documented hunter-gatherers, likely characterized the religious lives of many ancestral humans, and is often proposed by anthropologists to be the “first profession,” representing the first institutionalized division of labor beyond age and sex. In this article, I propose a cultural evolutionary theory to explain why shamanism consistently develops and, in particular, why shamanic traditions exhibit recurrent features around the (...) world; why shamanism professionalizes early, often in the absence of other specialization; and how shifting social conditions affect the form or existence of shamanism. According to this theory, shamanism is a set of traditions developed through cultural evolution that adapts to people's intuitions to convince observers that a practitioner can influence otherwise unpredictable, significant events. The shaman does this by ostensibly transforming during initiation and trance, violating folk intuitions of humanness to assure group members that he or she can interact with the invisible forces that control uncertain outcomes. Entry requirements for becoming a shaman persist because the practitioner's credibility depends on his or her “transforming.” This contrasts with dealing with problems that have identifiable solutions, in which credibility hinges on showing results and outsiders can invade the jurisdiction by producing the outcome. Shamanism is an ancient human institution that recurs because of the capacity of cultural evolution to produce practices adapted to innate psychological tendencies. (shrink)

Spirit possessions, trance, and other forms of altered states of consciousness are fascinating manifestations of brain states that are often seen as alien or exotic in Western media and discourse. Yet, these experiences are very common for a large number of humans around the world. In this paper we use a predictive processing perspective to examine spirit possession in Taoist rituals in Southern Thailand. These rituals involve tens of thousands of spirit mediums that enter into trance and perform (...) various acts of selfmutilation. These activities can shed new light on how sensory input is modulated and reinterpreted through top-down expectations driven by cultural narratives and frameworks. Our key argument is that, instead of being exotic and different, these states of altered consciousness provide us with powerful insights into how the mind and perception work in a culturally constructed world. Considering the role of culture as providing input into a common human cognitive architecture allows for a deeper understanding of the various facets and expressions of communalities in altered states of consciousness across human populations. (shrink)

Electronic Dance Music Culture (EDMC) is one of the largest subcultural musical movements in history. The dance floor is a creative context that engenders a freedom among participants to reshape their social identity within the Temporary Autonomous Zones (TAZ) that raves, the central spaces for EDMC, provide. On the dance floor, participants enter into powerful trances that have the capacity to reshape notions of self and personhood. This paper examines such identity discourses and suggests that trance consciousness re-constitutes the (...) bodily self as an interaction rather than a corporeal body, radically altering the internal dialogue from which notions of self originate. I illuminate this process by articulating the phenomenal experience of musical trancing with scientific theories of human consciousness. Drawing on the ideas of Merleau-Ponty and Damasio, I suggest an integrative model of consciousness that sheds new light upon the complex layering of trance experiences. The potential benefit of this model lies in its ability to theoretically capture the ineffable musical experience and reveal salient processes underlying the self-transformation reported in subjective narratives. This is pertinent not only to EDMC and other musical cultures, but to our more general understanding of the relationship between self and experience in the world. (shrink)

“Awak, and thenk on Cristes passioun!” So exclaims John the carpenter in the Miller's Tale, simultaneously performing the sign of the cross in his frantic efforts to stir Nicholas from a feigned trance. Then, babbling folk charms and prayers, John continues his attempts to wrestle the young astronomer free from supernatural forces, the “elves” and “wightes” he supposes have afflicted his boarder. Here the text of the urbane late-fourteenth-century Chaucer apparently reflects upon a tradition often considered characteristic of fifteenth-century (...) devotional literature and praxis, that is, “affective piety.” Tantalizingly, John's claims for the spiritually cathartic benefits of thinking “on Cristes passioun” parallel a construction used at the beginning of the Meditations on the Supper of Our Lord where the author states, “Whan þou þenkest þys [of Christ's Passion] yn þy þoʒt / Thyr may no fende noye þe with noʒt.” This kind of idea resonates throughout the pseudo-Bonaventuran tradition, a cluster of meditative literary treatments of the lives of Christ and Mary based on versions of the Latin Meditationes vitae Christi . The Privity of the Passion similarly promises “comforthe and gostely gladnes” to those who “with a besy thoghte … duell in it [the Passion].” The Middle English translation of the Meditationes de Passione Christi , a text that was probably composed during Chaucer's lifetime, is representative of the tradition in how it promotes thinking on Christ's Passion as a means of spiritual renewal. (shrink)

In spite of scientific developments, paranormal beliefs remain widespread, especially in South Asian societies. Numerous disorders connected to possession and trance have been theorized in recent years. In this study, three community samples were used to develop a comprehensive scale of Belief in Jinn Possession Scale (BJPS) and to examine its consistency and relevance. The BJPS scale was proposed to be multidimensional with four factors displaying satisfactory internal consistency reliability estimated by the exploratory factor analysis (EFA) ( n = (...) 300). However, confirmatory factor analyses ( n = 300) reduced the number of factors to two. The BJPS demonstrated excellent reliability and statistically significant positive correlations among its factors of beliefs about signs of possession and beliefs about vulnerability and preventive measures. Convergent and discriminant validity ( n = 316) was supported by a high correlation between BJPS, Revised Paranormal Belief Scale (RPBS), and Paranormal and Supernatural Belief Scale (PSBS) and a low correlation between BJPS, Narcissistic Personality Inventory 16 (NPI-16), and Moral Identity Measure (MIM). These results suggest that the BJPS is a well-grounded and sound tool for evaluating one’s irrational beliefs about possession states in Pakistani culture, and it may be the first attempt to conceptualize possession. (shrink)

Because actual social experience is often damaging to conceptions of self, individuals in all societies engage in identity work beyond ordinary social interaction. For people in religious groups, identity work may involve the subjective experience of interactions with spirit beings as in altered states of consciousness such as dreams, reverie, or trance. In memories, anticipations, and fantasies, secular Americans, too, may experience gratifying imaginary social interactions when they gain recognition and acclaim from imagined others. Unlike spirit relations these fantasies (...) are not culturally defined as “real.” However, like spirit relations, they may have very real effects on self‐maintenance. (shrink)

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it (...) uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing ideas about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women--scientists and philosophers--who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in color and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self as in the case of the zombie, a popular figure of soulessness, in modern times. (shrink)

Through the ages, ritual dances have been part of human culture. Although artistic, the _umxhentso_ dance is a ritual dance performed by the Xhosa _amagqirha _(traditional healers) to establish connections with supernatural beings. During the dance performance, the amagqirha enter a state of trance and connect with the spiritual realm. During this state of trance, they seek guidance and vision from their ancestors. The _amagqirha_, in all the Xhosa communities, perform these dance rituals at initiation and healing ceremonies. (...) The objectives of this study were to examine the religious and social purposes of _umxhentso_ dance in amagqirha rituals and determine how it assists amagqirha in establishing connections with their ancestors during ceremonies. This study adopted the naturalistic research approach in studying the _umxhentso_ dance during the amagqirha ceremonies. The researchers examined, evaluated and assessed the research participants’ actions and behaviours in a natural setting within a societal and cultural framework. (shrink)

El estudio acerca de la influencia de las pasiones en el voluntario libre ha sido recurrente en la tradición tomista. Sin embargo, las causas de los dos efectos psicológicos de la intentio volitiva mencionados por Tomás de Aquino, la redundantia y la distractio, pasaron desapercibidas, y podrían aclarar algunos comportamientos consecuencia de la dinámica de las pasiones del hombre. La acción de la intentio volitiva originada por los afectos, al alcanzar cierto grado de intensidad, puede llegar a sobrepasar el control (...) de la voluntad y la inteligencia. Además, otro punto original de esta temática es que, a la par que el influjo de “abajo hacia arriba” (pasiones hacia la voluntad) —algo ya mencionado por Aristóteles cuando habla de la intemperancia y por los medievales en el estudio de la voluntad—, también puede detectarse otro de “arriba hacia abajo” (influjos afectivos superiores que influyen en la inteligencia —conocimiento afectivo⎯ y ésta sobre la voluntad), de tal manera que cierto tipo de concentraciones psicológicas hacen que la persona deje de tener sensaciones somáticas hasta producirse en él evasiones temporales, trances inconscientes y efectos extremos similares. Finalmente, desde el punto de vista de la Historia de la Filosofía, este trabajo también muestra que ha habido un olvido en el estudio de esta faceta volitiva de la intentio, ya que se ha estudiado sobre todo su aspecto ético, pero sin relación con la intentio cognoscitiva (“intencionalidad”). En cualquier caso, las tesis sobre la intentio y sus efectos muestran cómo es preciso rebasar el estudio del ámbito natural-biológico para completarlo con el ámbito personal-cultural. (shrink)

Known to produce out-of-body states and profound changes in sensory perception, mood, and thought, DMT is a potent short-lasting tryptamine that has experienced growing appeal in the last decade, independent from ayahuasca, the Amazonian visionary brew in which it is an integral ingredient. Investigating user reports available online as well as a variety of other sources consulted in extended cultural research, this article focuses on the “breakthrough” event commonly associated with the DMT trance. The DMT breakthrough event coincides (...) with significant revelatory outcomes associated with perceived contact with “entities” and the transmission of information often in the form of visual language. Examination of the breakthrough event offers insight on the liminal phenomenology of DMT and other tryptamines, a liminality that is given primary expression in reported travels in “hyperspace.” The article examines user reports of DMT “hyperspace” observing a transitional process that, unlike conventional passage rites, is private, individualized, internal, and “ritual like.” As an exploratory discussion of an under-researched phenomenon, the article enters this virtual terrain through a discussion of the gnostic, therapeutic, and recreational modalities of DMT use, before exploring ritual-like modes of transmission and concluding with comments on the ontological significance of the DMT trance. (shrink)

Although in modern times and clinical settings, we rarely see the old characteristics of tribal shamanism such as deep trances, out-of-body experiences, and soul retrieval, the archetypal dreams, waking visions and active imagination of modern depth psychology represents a liminal zone where ancient and modern shamanism overlaps with analytical psychology. These essays explore the contributors' excursions as healers and therapists into this zone. The contributors describe the many facets shamanism and depth psychology have in common: animal symbolism; recognition of the (...) reality of the collective unconscious; and healing rituals that put therapist and patient in touch with transpersonal powers. By reintroducing the core of shamanism in contemporary form, these essays shape a powerful means of healing that combines the direct contact with the inner psyche one finds in shamanism with the self-reflection and critical awareness of modern consciousness. The essays draw from the contributors' experiences both inside and outside the consulting room, and with cultures that include the Lakota Sioux, and those of the Peruvian Andes and the Hawaiian Islands. The focus is on those aspects of shamanism most useful and relevant to the modern practice of depth psychology. As a result, these explorations bring the young practice of analytical psychology into perspective as part of a much more ancient heritage of shamanistic healing. Contributors: Margaret Laurel Allen, Norma Churchill, Arthur Colman, Lori Cromer, Patricia Damery, C. Jess Groesbeck, Pansy Hawk Wing, June Kounin, Carol McRae, Pilar Montero, Jeffrey A. Raff, Janet S. Robinson, Meredith Sabini, Dyane N. Sherwood, Sara Spaulding-Phillips, Bradley A. Te Paske and Louis M. Vuksinick. (shrink)

As an artist I am interested in creative states of consciousness and the direct expression of altered states of consciousness in forms such as musical improvisation and the automatic writings and drawings of the Surrealist Artists. I have been investigating a particular spectrum of altered states characterized by an enhanced experience where out-of-the-ordinary information is accessed or an enhanced ability is realized beyond what would ordinarily be possible. Within this realm we would find the ‘peak performance’ state of athletes and (...) musicians, as well as a state of intellectual inspiration where a complex problem is solved and also the phenomenon of premonition. It is related to the ‘flow state’ as described in Flow, The Psychology of Optimal Experience (Mihályi Csíkszentmihályi, 1990) and the experience of the American clairvoyant Edgar Cayce who resolved complex medical ailments when in a self-induced hypnotic trance. Additional examples include Haitian Vodou ritualized possession and all experiences where healing and foretelling of the future takes place through a communion with spirits. It is a broad spectrum that has been described in various ways throughout history and within all cultures. But though the descriptions vary, this spectrum of consciousness shares the common characteristic of accessing extraordinary information or demonstrating extraordinary skill or ability. This article is an attempt to help clarify and define this particular spectrum of consciousness. (shrink)

Still Life: Suspended Development in the Victorian Novel rethinks the nineteenth-century aesthetics of agency through the Victorian novel's fascination with states of reverie, trance, and sleep. These states challenge contemporary scientific and philosophical accounts of the perfectibility of the self, which privileged reflective self-awareness. In dialogue with the field of literature and science studies and affect studies, this book shows how Victorian writers used narrative form to respond to the analytical practices and knowledge production of those other disciplines. Drawing (...) upon canonical texts--by Charlotte Brontë, George Eliot, George Meredith, and Thomas Hardy--Still Life contends that depictions of non-purposive perceptual experience suspend the processes of self-cultivation central to Victorian aesthetics, science, psychology, and political theory, as well as most critical accounts of the novel form. Departing from the values of individual cultivation and moral revelation associated with the genre, these writers offer an affective framework for understanding the subtly non-instrumental powers of narrative. Victorian novels ostensibly working within the parameters of the Bildungsroman are suspended by moments of "still life": a decentered lyricism associated with states of diminished consciousness. They use this style to narrate what should be unnarratable: experiences not dependent on reflective consciousness, which express a distinctive ambivalence toward dominant developmental frameworks of individual self-culture. (shrink)

This paper will describe the rite for the exorcism of toch'aebi and examine its symbolic significance in the wider social reality of Cheju shamanism. Toch'aebi is a stranger deity who visits Cheju randomly and tries to get on good terms with the people. However, this deity afflicts people, particularly women, wearing down their vitality and causing a kind of “madness” (turida). The exorcism ritual of toch'aebi requires a sacrificial feast of roast pig and several days of dancing by the possessed. (...) For this reason, the exorcism ritual is called a dancing rite, or ch'unun kut. It is supposedly toch'aebi himself who has the desire to dance. Shaman's songs (seouje sori) are used to induce the toch'aebi, who is hiding in the patient's body, to dance and reveal his identity. The trance dance and singing are directed toward a dialogical construction of the demonic reality, which entails a romantic entanglement of toch'aebi and the possessed. By translating a history of personal suffering into the idiom of love, the shaman's songs develop a particular cultural logic of cure. Through an analysis of curing song texts, along with various modes of performance such as dance and comic play, this paper explores the transformative process in which a particular cultural logic of illness and cure are produced and enacted to reintegrate the patient into the social world. In practice, the analysis addresses the articulation of a personal case of madness that afflicted Sunho, a twenty-one year old female factory worker, whose social values and understanding are reflective of contemporary Korea. (shrink)

A deeply personal account of the scientific, shamanic, and metaphysical encounters that led to the development of Metzner's psychological methods Recounts the author's meetings and friendships with Albert Hofmann, Alexander Shulgin, the McKenna brothers, Wilson Van Dusen, Myron Stolaroff, and Leo Zeff Details his lucid dream encounters with G. I. Gurdjieff, profoundly healing sessions with Hawaiian healer Morrnah Simeona, experiences with plant teachers iboga and ayahuasca, and ecological and mystical lessons learned from animal teachers Shares his involvement in the beginnings (...) of the therapeutic use of MDMA and how it safely and effectively supports the healing of trauma, PTSD, and interpersonal relationships Just as the search for the philosopher's stone is the core symbol of the alchemical tradition, Ralph Metzner, Ph.D., psychotherapist and one of the respected elders of the psychedelic research community, sees it as the central metaphor of his life-long quest to find methods of healing and insight through heightened states of consciousness. Through captivating stories Metzner shares his encounters from the 1960s through the 1990s with genius scientists, shamanic healers, mystics, plant spirits, and animal guides that led to the development of his "alchemical divination" psychological methods, a structured intuitive process of accessing inner sources of healing and insight. He details lessons learned with psychedelic research legends Albert Hofmann, Alexander Shulgin, Terence McKenna, and Dennis McKenna. He reveals his deeply healing encounters with the Kahuna bodywork healer Morrnah Simeona, the first to introduce the Hawaiian Ho'oponopono healing method to the West, and his experiences with West African trance dancing and the psychoactive plant-drug iboga. Metzner recounts in vivid detail his unwelcome encounter with malignant sorcery during an ayahuasca experience in Ecuador and the lessons it taught him about connections with spirits, both harmful and beneficial. He tells of his involvement in the beginnings of the therapeutic use of MDMA and shows how it is an effective and safe substance to support psychotherapy for healing trauma, PTSD, and interpersonal relationships. In sharing his remarkable encounters, Metzner shows how the most meaningful lessons in the alchemy of life come not only from the geniuses we meet but also from the spirits we encounter along the way. (shrink)

Amidst the current profusion of research on consciousness, discussions of the historic origins of the topic are frequently overlooked. At the beginning of the nineteenth century in the West, the nature of consciousness was barely understood, nor differentiated from its esoteric and religious contexts. By the end of the century, however, novel ideas about the structure of consciousness were proposed by Janet, James, and the Society for Psychical Research. This article proposes that these discoveries were intrinsically linked to popular nineteenth-century (...) explorations of unorthodox religious experiences and trance states. Operating outside mainstream religious, medical, and academic settings, alternative spiritual and medical sub-cultures such as Mesmerism, Mind Cure, Spiritualism, Transcendentalism and Orientalism provoked scientific discourse about consciousness that advanced the field. Examining these developments sheds light on the current renaissance in consciousness research and its relation to popular interest in states of consciousness, meditation and powers of mind. (shrink)

Perceptual diversity allows human beings to access knowledge through a variety of perceptual processes, rather than merely through everyday waking reality. Many of these perceptual processes are transrational altered states of consciousness (meditation, trance, dreams, imagination) and are not considered valid processes for accessing knowledge by science (which is based primarily upon quantification, reductionism, and the experimental method). According to Erika Bourguignon's (1973) research in the 1970s, approximately 90 percent of cultures have institutionalized forms of altered states of consciousness, (...) meaning that such types of consciousness are to be found in most human societies and are "normal." Now, however, transrational consciousness is being devalued in many societies as it is simultaneously being replaced by the monophasic consciousness of "developed" nations. Not only are we are losing (1) biodiversity (biocomplexity) in environments and (2) cultural diversity in societies, we also are losing (3) perceptual diversity in human cognitive processes. All three losses of diversity (bio, cultural, and cognitive) are interrelated.Cultures that value perceptual diversity are more adaptable than cultures that do not. Perceptually diverse cultures are better able to understand whole systems (because they use a variety of perceptual processes to understand systems) than are cultures that rely only on the scientific method, which dissects systems. They also are better stewards of their environments, because they grasp the value of the whole of biodiversity (biocomplexity) through transrational as well as scientific processes. Understanding through perceptual diversity leads to a higher degree of adaptability and evolutionary competence.From the perspective of an anthropologist who has worked with development organizations, development will continue to destroy perceptual diversity because it exports the dominant cognitive process of "developed" nations, i.e., monophasic consciousness. Destroying perceptual diversity, in turn, leads to the destruction of cultural diversity and biocomplexity. Drawing from research I conducted among traditional healers in Namibia, I conclude that development organizations need to listen to those who use transrational perceptual processes and also need to find a way to incorporate and validate perceptual diversity in their theoretical and applied frameworks. (shrink)

Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate relation with the (...) fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material Gothic.The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate.. The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to a stale of “unlife” and a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of propagation; Chapter 4 considers the flatlining of fiction itself in the context of hyperreality. (shrink)

Author: Kowalski Andrzej P. Title: CULTURAL ARCHAEOLOGY AND PREHISTORY OF THE CONTINENT OF ART (Kulturoznawcza archeologia i prehistoria Kontynentu sztuki) Source: Filo-Sofija year: 2011, vol:.12, number: 2011/1, pages: 291-310 Keywords: JERZY KMITA, CULTURAL ARCHAEOLOGY, THE CONTINENT OF ART, SHAMANISTIC ORIGINS OF ART Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The paper presents an attempt at application of Jerzy Kmita’s achievements in philosophy of art, aesthetics, axiology, and history of culture to (...) the research on genesis of art. The problem of cultural genealogy of art shall be addressed in following contexts: 1. The context of the so-called ‘end of art in postmodern culture’ which manifests itself in the thesis concerning elimination of “grand narrations”, myths, and ideologies. According to J. Kmita, the art takes recourse to idea-meanings which are not ascribed to a handicraft. The meanings of superior axiological level express themselves in the art only. 2. The context of Bild-Anthropologie developed by H. Belting. Works of art are regarded here as images, especially—images of a cultural type. The accent lies here on genealogy of iconoclasm and theological discourse which uses Greek philosophical terminology. Ontology of “image as a presence” is analyzed with regard to magical realism and symbolism. Primordial and prehistoric images do not operate with signs of objects but instead they constitute objects themselves. 3. The context of structural anthropology where the art is interpreted within the horizon of mytho-logics and metaphoric-metonymical transformations. Kmita’s adjustment shows that metaphorical and metonymical meanings are indistinguishable. The art—which was ascribed a classificatory meaning—provided also socio-morphic categories. Totemic signs were more appreciated than totems themselves. It shows that the art transcends the reality which itself becomes a subject of the image. 4. The context of shamanistic origins of art. This conception universalizes results of neuropsychological research. Trance-practices are considered here as the origin of cave painting which presents a scheme of shamanistic visions. However, in folk cultures not all imaginary objects originate from trance-experience and the acceptance of their reality does not presuppose sensory deprivations (which is one of ethnological arguments showing limits of such interpretation). (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

The Journal of Scientific Exploration is devoted to the open-minded examination of scientific anomalies and other topics on the scientific frontier. Its articles and reviews, written by authorities in their respective fields, cover both data and theory in areas of science that are too often ignored or treated superficially by other scientific publications. This issue of the Journal is devoted to a single multifaceted topic: mediumship, and mental mediumship in particular. The authors of the lead paper describe several varieties of (...) mediumship, and propose that the psychosocial and cultural aspects of mediumship are as important as its psychophysiological features. They consider the differences between spiritism and spiritualism, the relevance of the trance state to mediumship, and the extent to which processes properly considered mediumistic infiltrate many everyday human activities. The next paper surveys some of the major nonparapsychological issues that have fascinated researchers into mediumship. These include the nature and prevalence of the mediumistic trance, the varieties of mediumistic mentation, the evolution of mediumship over time, the dramatic capabilities of the subconscious, and the relationship between mediumship and psychopathology. The third paper focuses on positive aspects of mediumship, and in particular its connection with various forms of artistic and practical creativity, as well as its potential for personal development or transformation. The fourth paper considers whether mediumship ever indicates that human personality survives bodily death, or whether even the best cases instead indicate psychic functioning among the living. The author surveys types of mediumship that have been especially relevant to this question, and advocates the revival of so-called proxy sittings with mediums. The final paper recounts a period in France's recent history during which a group of researchers lobbied to have parapsychology broadened into a multidisciplinary field embracing (in additional to strictly experimental and proof-oriented investigations) wide-ranging enquiries that could be applied to mediumship and other apparent instances of psychic functioning in real-life settings. This issue of the JSE is then filled out, as usual, with correspondence and substantive book reviews. (shrink)

Corposcopio is a collaborative project that integrates two different worlds or territories: circle dances and new media technologies. Ancient circle dances are cultural manifestations present in different countries around the world. They have a great power of community integration and provide a unique experience of extended consciousness. In Brazil there are a number of amazing circle dances and one of the most popular is called ciranda, whose movements are inspired by sea waves. Ciranda is performed by hundreds of people (...) and some participants fall into a trance. The purpose of the interactive performance is to stimulate, simultaneously, the perception of the media in contemporary reality and the collective body emergence. Corposcopio invites the participants to experience some circle dances and aggregates real-time image manipulation, software art, VJ and remix aesthetics. The transparent, ubiquitous and pervasive presence of computer systems in contemporary spaces is a quotidian fact. Nevertheless, the emergence of digital communities demonstrated the power of the human factor in the disruptive use of technologies. Human beings are social beings. Our depart point is to invite the participants to dance within the scenery of real-time image manipulation, ubiquitous computing and mixed reality. The performance itself deals with co-creation development and uncertainty. Each performance has peculiar characteristics hence it is an open system, open to receive the group interaction and participation. The experience stimulates an extended consciousness, a simultaneous perception of the individual body and the collective body. Our hypothesis is that each group will catalyze the emergence of an embodied consciousness of our mediated situation in a different way. As Bernhard Wosien (1988), one of the pioneer researchers on circle dance, has said, dance is a path to totality. In Wosien's view, circle dance has deep ritual characteristics and evokes a tremendous collective enthusiasm. (shrink)

As the poet T.S. Eliot said, 'Where is the wisdom lost in knowledge? Where is the knowledge lost in information?' Our postmodern 'information culture' forces us to be over-cerebral, but it doesn't teach us to think; consequently it becomes nearly impossible for us to imagine a knowledge that is beyond information, much less a Wisdom that is beyond knowledge. We all know what it is to uselessly 'spin our wheels' in barren thought and fantasy; certain valid contemplative disciplines even have (...) as their main goal the pacification of the 'monkey mind', the over-heated brain that prevents us from genuinely living our lives, from being fully present to the world, to each other, and to ourselves. But such pacification can also have a nihilistic side to it. It can subtly fool us into believing that the pursuit of meaning, the attainment of intellectual stability and certainty, is neither possible or desirable - a belief that is of great use to the political and economic Powers That Be in the emerging global society, who are always delighted to hear people express the opinion that there is no such thing as objective Truth, that we can't really know what is real, or if anything is real, beyond our own subjective experience. To the degree that the people start to believe that nothing can be known (our hidden masters reason), they will stop asking embarrassing and inconvenient questions. The notion of objective truth - not to mention Absolute truth - immediately suggests oppression, tyranny and fanaticism to the postmodern mind. Why? Because we have been systematically taught to see things this way by those Social Engineers who construct and impose the terms by which Reality is to be viewed. In order to break free from this socially-imposed subjectivism, we need to remember that Reality is not something determined by belief, but rather that belief is only true when it conforms itself to Reality. If we see nothing beyond this material/social world, we will be forced to take our own subjectivity as the only way to awaken from the social trance, and so fall even more deeply into that very trance, which is precisely a collective subjectivity. But if we know Objective Truth as metaphysical, beyond material nature and human society, then we have begun to catch a glimpse of the One Way Out. The traditional notion of Knowledge maintains that, 1) Truth can be known with certainty, and, 2) that the reason for knowing Truth is to transform our lives from a state of chaotic uncertainty, vulnerable to all the suffering that illusion and impermanence can produce, into one of eternal certainty and stability, where the knower becomes one with the Thing known - a state that goes by the name of bliss. To begin the path toward this bliss, however, we will need to know how to know; and this requires, as the necessary first step, that we know how to take knowledge seriously. As metaphysician Frithjof Schuon put it: 'Knowledge only saves us on condition that it enlists all that we are, only when it is a way and when it works and transforms and wounds our nature, even as the plough wounds the soil'. The shifting illusions of individual and collective subjectivity cannot protect us, and will always betray us. But if we are firmly rooted in that Truth which, in the words of Lew Welch, 'goes on whether we look at it or not', then we have a Protector - one Who is always there, upon Whom we can always rely, and to Whom we can always turn, when we can no longer remedy or deny or escape from the suffering and insecurity of conditional life. So let's begin. (shrink)

The component structures of two distinct neuropsychological systems are described. "System-Y" depends upon "system-X" which, on the other hand, can operate independently of system-Y. System-X provides a matrix upon which system-Y must operate, and, system-Y is transformed by the operations of system-X. In addition these neuropsychological structures reverberate in political history and in the cosmos. The most fundamental structure in the soul, in society, and in the cosmos, has the form of a conical spiral. It can be described mathematically as (...) an harmonic system and mythologically in terms of the birth, marriage and death of the divine-king. ;System-Y corresponds to the neocortex. System-X corresponds to the region below the cortex including the limbic brain. Many of the essential structures of system-Y are captured by Plato's image of the helmsman: orientation, locomotion, manual control and dexterity, visual guidance, verbal command, intention, and volition. System-X on the other hand has been systematically neglected by Western culture, beginning with Plato. ;The dissertation builds upon Yakovlev's distinction between "teleokinesis," "ectokinesis" and "endokinesis." "Teleokinesis" refers to goal-directed action in external space, and belongs to system-Y. Ectokinesis and endokinesis are components of system-X. "Endokinesis" refers to movements within the body. "Ectokinesis" refers to the emotions, which are expressions of endokinesis. The mechanics of ectokinesis is that of an harmonic or vibrational system, as is the mechanics of a musical instrument. ;Within a trance the structure of system-Y is temporarily altered, such that system-X enters the foreground of awareness. Because ectokinesis is analogous to music cultures inspired by trance experience understand the universe in terms of music. The structure of ectokinesis in a trance is that of a conical spiral. Plato inherited the mystical traditions of the ancient Near East but replaced the spiral of emotions with a spiral of ideas , by understanding the axis of the cone as the paradigmatic dimension, and the angular rotation of the spiral as the syntagmatic dimension, of language. Finally I explain how the mythology and political structure of theocratic society imitated the neuropsychological structures of trance experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Wezel, “The Magic of Music”Joyce Eastlund GromkoIn her paper, "The Magic of Music," Kertz-Wezel proposes that music be "a means to transform emotions and experience life more intensely." She goes on to speculate that "not only the way of listening and performing Western European art music in educational settings, but also the music itself may prevent individuals from further involvement in classical music." Her goals are (...) involvement [End Page 117] in art music and a deepening and enhancing of individuals' lives through aesthetic experience. Kertz-Wezel grants as reasonable the idea that education should start with an individual's experience 1 and should follow with a series of "intensive musical experiences." With all of this, I can agree.However, whereas we share the goal of transformative music education through aesthetic experience, we differ in the means by which we would accomplish our goal and we differ for philosophical reasons. Kertz-Wezel promotes an approach to music experience that celebrates individuality and a return to Romanticism.2 By contrast, I have developed an approach to music experience that depends on collaborative music-making and that emphasizes the social and interpersonal context, as opposed to the individual. I would like to describe how my approach, contrary to the individualistic approach espoused by Kertz-Wezel, nevertheless accomplishes the goal of transformative music education.My approach is grounded in principles abstracted from the writings of John Dewey.3 Like Dewey, I believe that the only true education comes through the stimulation of an individual's powers by the demands of the social situations in which individuals find themselves.4 Therefore, in the schools that serve as field and research sites for our university, we create communities of musical practice in which individuals gain the full and ready use of all their capacities while performing newly composed art music.5 Every year a set of new works are composed especially for our students by composers at our university. Through the process of actualizing a piece of art, our students are "stimulated to act as member(s) of a unity, to emerge from (their) narrowness of action and feeling, to conceive of (themselves) from the standpoint of the welfare of the group to which (they) belong."6 The image of a fully engaged community member stands in stark contrast to that of the young woman in Kertz-Wezel's paper who, in describing her experience at the rock concert, said, "You don't think about what you are doing. You do what you feel like, without even thinking about it." When in a trance, individuals are detached from, not connected to, their physical surroundings.7 When in a state of ecstasy, individuals are carried beyond rational thought and self-control.8 It is impossible for me to imagine how an individual in a state of semi-conscious detachment, lacking in rational thought and self-control, can be learning.9Students in communities of musical practice are fully conscious of the value that they have to the group and "the value is reflected back into them."10 They learn to listen intently to other performers within the ensemble. They learn to communicate with one another in the symbol system of music and their musical babblings are transformed into articulate language.11 They become literate when they actualize into musical art what is embedded in the abstract symbols in a score. Through the process of actualizing pieces of musical art, students [End Page 118] heighten their perceptions and strengthen their connections. They have the kind of aesthetic experience described by Dewey:The material of esthetic experience in being human—human in connection with the nature of which it is a part—is social. Esthetic experience is a manifestation, a record and celebration of the life of a civilization, a means of promoting its development, and is also the ultimate judgment upon the quality of a civilization. For while it is produced and is enjoyed by individuals, those individuals are what they are in the content of their experience because of the cultures in which they participate.12The active, social, music-making approach to music education has considerable resource implications for... (shrink)

Considers the legacy of Thomas Merton and his relevance for contemporary times. With the publication of The Seven Storey Mountain in 1948, Thomas Merton became a bestselling author, writing about spiritual contemplation in a modern context. Although Merton (1915–1968) lived as a Trappist monk, he advocated a spiritual life that was not a retreat from the world, but an alternative to it, particularly to the deadening materialism and spiritual vacuity of the postwar West. Over the next twenty years, Merton wrote (...) for a wide audience, bringing the wisdom of Christianity, Buddhism, and Sufism into dialogue with the period’s contemporary thought. In Thinking through Thomas Merton, Robert Inchausti introduces readers to Merton and evaluates his continuing relevance for our time. Inchausti shows how Merton broke the high modernist trance so that we might become the change we wish to see in the world by refiguring the lost virtues of silence, contemplation, and community in a world enamored by the will to power, virtuoso performance, radical skepticism, and materialist metaphysics. Merton’s defense of contemplative culture is considered in light of the postmodern thought of recent years and emerges as a compelling alternative. Robert Inchausti is Professor of English at California State Polytechnic University, San Luis Obispo. He is the author of Thomas Merton’s American Prophecy and The Ignorant Perfection of Ordinary People, both also published by SUNY Press. (shrink)

Resumen: La poeta mapuche-williche se autodenomina “champurria” como forma de alejarse de la pureza lingüística y cultural en que se desenvuelven la lengua hegemónica y el mapudungun formal. Este posicionamiento, más el reconocimiento de que la poeta es portadora del mapuche kimün porque también es machi, sugieren la posibilidad de comprender sus textos como una morfogénesis comunicativa, atendiendo a las nociones de mestizaje que nos ofrecen Gloria Anzaldúa, María Lugones y Silvia Rivera Cusicanqui. La lectura de la poeta-machi nos (...) interpela a profundizar en el conocimiento del mapuche kimün para comprender los mundos que crea en su trance morfogénico, mientras disloca el español y el mapuzugun, en una unidad textual múltiple, intercultural, impredecible, inconmensurable. Abstract: The mapuche-huilliche poet Adriana Paredes Pinda calls herself “champurria” as a way to distance herself from the linguistic and cultural purity of both the hegemonic tongue and formal mapudungun. This position, plus the knowledge of the poet as a bearer of the mapuche kimün as a machi, suggest the possibility of understanding her texts as communicative morphogenesis, taking heed of the notion of “mestizaje” proposed by Gloria Anzaldúa, María Lugones and Silvia Rivera Cusicanqui. The reading of the machi-poet demands of us a deeper knowledge of the mapuche kimün to understand the worlds created in her morphogenetic trance, as she dislocates both Spanish and Mapudungun on a measureless, unpredictable, intercultural, multiple textual unity. (shrink)

Consciousness has been described as one of the most mysterious things in the universe. Scientists, philosophers, and commentators from a whole range of disciplines can't seem to agree on what it is, generating a sizeable field of contemporary research known as consciousness studies. Following its forebear Music and Consciousness: Philosophical, Psychological and Cultural Perspectives, this volume argues that music can provide a valuable route to understanding consciousness, and also that consciousness opens up new perspectives for the study of music. (...) It argues that consciousness extends beyond the brain, and is fundamentally related to selves engaged in the world, culture, and society. The book brings together an interdisciplinary line up of authors covering topics as wide ranging as cognitive psychology, neuroscience, psychoanalysis, philosophy and phenomenology, aesthetics, sociology, ethnography, and performance studies and musical styles from classic to rock, trance to Daoism, jazz to tabla, and deep listening to free improvisation. Music and Consciousness 2 will be fasinating reading for those studying or working in the field of musicology, those researching consciousness as well as cultural theorists, psychologists, and philosophers. (shrink)

The ethnographic description of story-telling and narrative transmission of cultural facts is an aspect of Locke & Bogin's (L&B's) article that should be amplified. Innate shared gene patrimony is biased by the kinship structure of particular societies and interacts with the transmission of narratives. Trance experiences are another interesting aspect of verbal and agonistic “performances.”.

The cognitive and evolutionary sciences of religion offer a standard model of religious representations, but no equivalent paradigm for investigating religiously interpreted altered states of consciousness (religious ASCs). Here, I describe a neo‐Durkheimian framework for studying religious ASCs that centralizes social predictive cognition. Within a processual model of ritual, ritual behaviors toggle between reinforcing normative social structures and downplaying them. Specifically, antistructural ritual shifts cognitive focus away from conventional affordances, collective intentionality, and social prediction, and toward physical affordances and behavioral (...) motivations that make few references to others’ intentional states. Using synchrony and dance as paradigmatic examples of antistructural ritual that stimulate religious ASCs, I assemble literature from anthropology, cognitive neuroscience, and philosophy of language to offer fruitful empirical predictions and opportunities for testing based on this framework. Among the empirical predictions is that antistructural ritual may provide for cultural change in religions when religions are construed as complex adaptive systems. (shrink)

This paper is a historical study of stage hypnotism from the early nineteenth through the early twentieth centuries. The hypnotists' stage performances over this period reveal cultural tensions related to modernization. Public responses to these shows also indicate the shifting dynamics of reform. When mesmerists first toured the U.S. in the early nineteenth century, the hypnotic trance confirmed popular belief in the ultimate perfectibility of the individual and society. By the late nineteenth century, however, hypnotic shows seemed more (...) a model for human enslavement than liberation. Medical experts also began to express concern at the possible health damage hypnotism might inflict. Despite stage hypnotists' efforts to defend their art, hypnotism became increasingly marginalized as the growth of the middle class and of mass culture dictated an increasingly sanitized popular culture. (shrink)

Ambitious and elegant, this book builds a bridge between evolutionary theory and cultural psychology. Michael Tomasello is one of the very few people to have done systematic research on the cognitive capacities of both nonhuman primates and human children. The Cultural Origins of Human Cognition identifies what the differences are, and suggests where they might have come from. -/- Tomasello argues that the roots of the human capacity for symbol-based culture, and the kind of psychological development that takes (...) place within it, are based in a cluster of uniquely human cognitive capacities that emerge early in human ontogeny. These include capacities for sharing attention with other persons; for understanding that others have intentions of their own; and for imitating, not just what someone else does, but what someone else has intended to do. In his discussions of language, symbolic representation, and cognitive development, Tomasello describes with authority and ingenuity the "ratchet effect" of these capacities working over evolutionary and historical time to create the kind of cultural artifacts and settings within which each new generation of children develops. He also proposes a novel hypothesis, based on processes of social cognition and cultural evolution, about what makes the cognitive representations of humans different from those of other primates. -/- Lucid, erudite, and passionate, The Cultural Origins of Human Cognition will be essential reading for developmental psychology, animal behavior, and cultural psychology. (from the HUP website). (shrink)

We would like to open some questions here about the institutional and cultural conditions of anything that might be called cultural studies or multiculturalism. By introducing cultural studies and multiculturalism many intellectuals aim at a more democratic culture. We share this aim. In this essay, however, we would like to argue that the projects of cultural studies and multiculturalism require: a more international model of cultural studies than the dominant Anglo-American versions; renewed attention to the (...) institutional environments of cultural studies; and a questioning of the relations between multiculturalism and identity politics. We seek less to “fix” these problems than to provide a critical analysis of the languages, the methods of criticism, and the assumptions about identity, culture, and politics that present the problems to us. Because the thickets entangling what our group calls cultural studies are so deeply rooted in Western academia, which to a large degree constitutes our own group, the counterexample of cultural criticism in other contexts can be more than usually instructive. We begin by considering the position of cultural studies in China, since our group includes a number of Chinese intellectuals, on whose experience the following section is largely based. The Chicago Cultural Studies Group began meeting in June 1990. It includes Lauren Berlant, David Bunn, Vinay Dharwadker, Norma Field, Dilip Gaonkar, Marilyn Ivy, Benjamin Lee, Leo Ou-fan Lee, Xinmin Liu, Mathew Roberts, Sharon Stephens, Katie Trumpener, Greg Urban, Michael Warner, Jianyang Zha, and Jueliang Zhou. (shrink)

Many recent evolutionary psychology and human behavioral ecology studies have tested hypotheses by examining correlations between variables measured at a group level (e.g., state, country, continent). In such analyses, variables collected for each aggregation are often taken to be representative of the individuals present within them, and relationships between such variables are presumed to reflect individual-level processes. There are multiple reasons to exercise caution when doing so, including: (1) the ecological fallacy, whereby relationships observed at the aggregate level do not (...) accurately represent individual-level processes; (2) non-independence of data points, which violates assumptions of the inferential techniques used in null hypothesis testing; and (3) cross-cultural non-equivalence of measurement (differences in construct validity between groups). We provide examples of how each of these gives rise to problems in the context of testing evolutionary hypotheses about human behavior, and we offer some suggestions for future research. (shrink)

This paper examines the influence of cultural and socioeconomic factors on the growth of enterpreneurship in Vietnam. Traditional cultural values continue to have a strong impact on the Vietnamese society, and to a large extent adversely affect the entrepreneurial spirit of the community. Typical constraints private entrepreneurs face may have roots in the cultural facet as legacy of the Confucian society like relationship-based bank credit. Low quality business education is both a victim and culprit of the long-standing (...) tradition that looks down on the role of private entrepreneurship in the country. (shrink)