René Ortega utiliza fórmulas de liminalidad para iniciar al espectador a experimentar los misterios del inframundo. Hay una puerta de flores, una escalera de anillos a túneles, afinada con un aro de colores. Todo esto está aquí dentro de los secretos de nuestra tierra. En estos pasos buscamos un centro que ya es un estado completo, un lugar unido por los opuestos e igual a sí mismo. René agrega esquinas al círculo giratorio para crear una faceta para ver otros espacios y otros tiempos.
Mitchell Pluto
TIERRA PROFUNDA
Mi enfoque se enfatiza en la búsqueda de las respuestas transcendentales las problemáticas ecológicas y sociales de la humanidad que enfrentamos actualmente.
Con mis obras pretendo hacer conciencia para situar al ser humano como parte importante de la naturaleza es el volver encontrándose con muestro yo interno y nuestros sentidos que se encuentran en un estado dormido es el volver a mirar y observar como un niño para situarnos en las profundidades de los infinitos subsuelos y planos de tierra imaginaria de mundos micros organismos vivos subterráneos que se transmutan constantemente en máquinas orgánicas voladoras y así te llevo transportándote a mi imaginario poético donde danzan líneas interminables y planos de vida que se juntan y separan al mismo tiempo incansable búsqueda de lo desconocido como las estrellas y la naturaleza transmutando a infinitos planos profundo de colores y formas que voy realizando atreves de esta incansable y cambiante movimiento y sonido de la vida.
René Ortega, fue uno de los ganadores en la bienal internacional de arte contemporáneo 3 de octubre de 2022. René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural que se han relacionado con hospitales, niños y la enseñanza del arte profesionalmente. Su muestra más reciente fue Mental Labyrinths en la galería de arte del Centro Cultural Til Til el 18 de junio de 2022.
“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo ello condujo a una mutación del lenguaje plástico y pictórico”.
When I read Richard Gessner’s Voyeur Rising I imagined the story as an adult cartoon with liminal existential qualities. Voyeur Rising reminds me of Vladimir Nabokov’s use of an unreliable narrator who is found in most current social media video and reels. This collective trick usually deceives the viewer with a decoy. This is the place where Gessner’s work lurks, to induce the peripheral mind while feeding the predatory eye. Here we see the ultimate conflict and fantasy of the Freudian id haunting the masculine mind. A pleasure principle with an intrusive desire to poach voluptuous women without any commitment- but to squirt sperm, to clone more succulent women so they are everywhere. The fantasy has boundaries in Gessner’s character who is aware of his masculine delusion, that every women he find’s attractive isn’t a possession but an unfulfilled wish. All this takes place by the primordial ocean, a surface alive with waves.
-Mitchell Pluto
Strategically positioning his beach chair, pretending to be reading a daily newspaper, Joey Genauski, nonchalant, invisible, just by chance, settles in a tight rectangle of sand bordering the burgundy beach towels of two 19 year old college girls the age of his granddaughter.
The girls, an ash blonde, and a brunette with auburn highlights, have soft buttery skin, shapely, wide hipped—all curvaceous splendor—
Perfect brown bodies striped with pale tan lines sharply outlining pale pink asses and naturally large breasts jiggling slightly in the warm breeze of early summer.
The tan lines form a pale faded triangle V of panty line extending upwards. From butt crack to lower back, panty lines curving around thighs to below belly buttons—traces of cast of bikini no longer worn.
Gradations of pale pink skin merging to olive, cinnamon, golden brown, pale breasts encircled with D cup outlines of frilly brassieres. Burnt Sienna areoles and nipples a darker shade of brown than their overall tans.
Crisp yellow and gold designer bikinis, light summer dresses, brassieres. And panties are strewn across towels covered with tubes of sun screen, Purses, car keys, fruit, sandwiches cold drinks, a paperback of classic 19th century literature and a current glossy fashion magazine glistening in the sun.
Furtively, through dark sunglasses, Joey Genauski gazes longingly towards the girls’ spread open legs. Their Smoothly shaven vaginas, A reddish salmon pink, are soothed with cooling aloe vera. Blue and white beach umbrellas with a swordfish logo line the beach Landscape. Its a Saturday afternoon in early June, the weekend crowds work to Joey’s advantage, giving him an excuse to sit close to single women without being obvious about it. The crowds camouflaging his true intentions, allowing him to move frequently, unnoticed by the morally reproving beach patrol seeking to squelch his habit of constantly wandering the beach in quest of a perfect view.
Other voyeurs, Joey’s competition, watch the beach entrance from a distance, waiting for the arrival of young ladies, single or in groups. Approaching the ladies after they have gotten naked under their beach umbrellas.
Most women strip naked, but some keep their bikini bottoms on. Some wear Brazilian string bikinis, flesh toned thongs, almost nude, but not quite. Pale maidens wiggle out of floral print summer dresses, shorts, and candy striped one piece bathing suits.
Voluptuous brown girls peel off demure, white see-through-when-wet suits, revealing all to bulging male eyes, looking, gawking, looking away— Diaphanous mesh panties slide down svelte hips, falling to sand. Brightly colored, fancy brassieres pop off as delicate fingers reach behind unhooking clasps shining in the sun, catching the eye of a seagull flying in blue skies above.
Secret cameramen get up in the nooks and crannies of spread eagled women half asleep in the sun. Joey leaves the two girls, vanishing into thick masses of beach regulars, middle aged, tanned and leathery, marking their territory with windscreens, coolers and little plastic flags poked in the sand.
In Joey’s absence, competing beach voyeurs, some bold, well hung, smooth talkers, will succeed in engaging the ash blonde and brunette with auburn highlights in a lively conversation. Mastering bare body language a virile stud will advance to slow massage, rubbing baby oil of their perfect bodies glistening in the sun.
Slick voyeurs who remain at the top of the food chain will return to the beach, summer after summer, appearing like clockwork as in the legendary return of swallows to Mission San Juan Capistrano—
Their pick up routines with the ladies will remain similar and predictable year after year, decade after decade. Enticing the girls with superficial big talk of financial conquest, fancy cookies and little airplane bottles of alcohol.
In the tidal pools of voyeur nursery school, untested new generations of voyeurs emerge like baby sea turtle hatchlings making a mad dash seaward—
climbing the slippery slope of a succulent female ass just over the horizon,
Joey Genauski wanders into a gaggle of girls taking it all off for the first time-
In the distance, randy couples frolic in the surf, avoiding the June Jellyfish in the waves, out at sea, fishing boats come in close to shore, catching a panoramic eyeful of skin.
“Voyeur Rising” (C) 2022 Richard Gessner
Richard Gessner’s fiction has been published in Air Fish: an anthology of speculative work, Rampike, Ice River, Coe Review, Another Chicago Magazine, Happy, The Act, Sein und Werden, Skidrow Penthouse, The Pannus Index, Fiction International and many other magazines. A collection, Excerpts from the Diary of a Neanderthal Dilettante & The Man in the Couch was published by Bomb Shelter Props. Gessner’s drawings and paintings have appeared in Raw Vision, Courier News, Asbury Park Press, Rampike, Skidrow Penthouse, and exhibited at Pleiades Gallery, Hamilton Street Gallery, Cry Baby Gallery, The Court Gallery and the Donald B. Palmer Museum. Richard wrote The Conduit and Other Visionary Tales of Morphing Whimsy. He lives in Montclair, New Jersey.
The Conduit and Other Visionary Tales of Morphing WhimsyAudible
THIS WRITING IS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT
Eric Capron is a self-taught artist. He discovers the arts of the circus and the world of the puppet.
Eric Capron. Artiste autodidacte au parcours singulier. Dès son plus jeune âge, la dyslexie le marginalise. Enfant solitaire, il quitte très tôt les bancs de l’école et l’univers familial. Commence une vie de saltimbanque, découvre les arts du cirque, le monde de la marionnette.
Artiste en perpétuelle mutation. Dorénavant un travail quotidien permanent de production d’œuvres en papier mâché : des corps mis en scène. Des corps non genrés, incolores, sans modèles, mais étonnamment présents à nos regards amis. Ils existent pour eux-mêmes, d’abord.
Les sculptures sensibles d’Eric Capron racontent l’âme humaine, la fragilité de nos destins. L’artiste revisite les mythes fondateurs, puisant ses références dans la mythologie, l’art sacré et profane, l’univers onirique, les grands textes de la littérature.
« J’ai le sentiment d’être l’instrument de quelque chose qui me dépasse, une sorte de miracle, une boite de Pandore qui s’est ouverte…» nous confie-t-il.
like
lunge clump canopy canister fraught ganglia, chop
butterudder back
forward
this way
that
twist turn vertiginate
swallow swelter
claim cluster clank crank rustle roundabout
c l a m
bustle break bother broke brother
bother bustle break brother broke
bristle
breathe
bombin-
ate fables of late bludgeon bark bake
sleight slumber swell
B Flat line periphery-burst stride
intervallic surge sully sulk skulk
atti-T!ude
feud fidelity
ferm en
ta tion
in-
stall
un-
install
FRIDAY THE 13TH
Mitchell Pluto inspired this Hinge to the Monk tune “Friday The 13th” Mitchell writes: One of my favorite tunes is Friday The 13th by Monk and Rollins, at first it takes the listener on a slant- a sort of drunk crab walk, and then the block chords, for me create a square spiral.
WOR studios 1953 thelonious Monk/Sonny Rollins
sloop-de-sloop whirl wind full intake reed fill throat splash slippery slant
peek-a-boo inebriate peregrinate in-
cubate square spiral boulder-roll stroll crab colossal hi-hat crisp
chink snap crystalclarioncrystalline bosomy broth ivories wrought bath breadload beatitude concuss allude wedge hook link sinkseepagelodge
laurel sling
carrion fletch
b e t r o t h
clump stump flummery block lump here
come de Monk scruff scamper liv-
ery lurch paint a birch fu-
rl fistful conflagrate agitate French horn ― fog-caster, frog-hopper ― conflate titillate aerate levitate brindle lop Bird-bop
chordal congregation
hymnal meditation
scintilla aubergine
whisk brisk bask peculiar challenge the ruler
adumbrate gestate
spray a mandate
, man
EPISTROPHY FOR T. MONK
ganglion frieze chop
splash melodic purl surge/underflirt slash the line tease conflatethe outer reaches skim bordersperipheries riff the mad notes cyclonesflush curling cuniculi mucid caves jettison spillsof color mutation migration never beforeheard harmonic swoops triadsscribbled above bison head rage ofmemory snarled rhythms stored in stonecircling and twirling a gathering of data raptorial fingers toolboxof the soul aerial lift and poise& strafe the keysprey for salvation litanous chariotsa last chance passagebump into the finalfour bar essence is exhaustionof complexity buck to theride cymbal bow to the bass
Heller Levinson is the originator of Hinge Theory. His most recent books are Dialogics (Anvil Tongue Press, 2022),Lure, andjus’ sayn’ (Black Widow Press, 2022). His Query Caboodle and Shift Gristle are scheduled for a Spring 2023 release (also BWP). He lives in the Hudson Valley, NY.
BLENDED IN THE HOURS From the place where the abrupt sound of the loica ventures
(1) the evanescence of your future breath appears among the vegetation that hides your name and the blue and gray stones of the primal mystery there I will drink from the mist that shouts the perpendicular miracle the only reason at all that moistens the vegetal belly of the beloved and shines the incessant desire. How long does the star take to announce your coming? or there will be no signs in this already long life of chordates
(2) while the empty horn waits for its winds and the opaque flame of sleep leans into oblivion
(1) Signature and unpredictable bird before being (A) bird in the light areas that are shaken by the wind mythical and loving red that drew a smile on a child to open the celestial fields of my pupil that stirred my early neurotransmitters before the new cycle (B) (A) Before being Before discriminating the gray hours from the clear ones I inhabited the only and always proud clarity of my imaginary friend (B) New cycle My lymph is rocked by the wind in a theater of new opportunities those that favor the sweetness of the coots of sober stride mating in the repetition of miracles so that the aromas perpetuate my arcane name and the wandering clouds welcome their polar persistence. I had the option of ascending to lightning by the cosmic warp where perhaps the root of the word would have questioned in coming times of etheric colors where time would have curved for your eyes and I would raise your elusive silhouette that lies in the angle of a sunset irretrievably withers the thaumaturgical vowel (B1) as simple as a smile or the collapse of a galaxy since everything is corresponding and apparent with its prodigious lightness (B2) Like a breath from the forest.
TRAVEL I went down to the inside of your belly caressing the rafters of your cosmic cloud the one that received me with the aroma of the sacred bulbs. There you were the clear love of wood and the vegetal wisdom that embraces the ancient verb when the wind ceases its journey on the shoulders of the floral liturgy How many skies inhabit your seed that furrows the seer’s eye? Is there a niche of smoke that hides your salty voice? Or simply the root of everything has its home in that mystery.
Each step collects behind you, the daffodils that inevitably lose your mark the one that wanders in the deep sands that in the empire of shadows shelters you. The messenger has a singular noise I’ll feel it that dreadful day I will know then that the epitaphs for the sepulcher arrive, where nothing else needs to be done, the metal swallows are an illusory replacement, since the truths remained in the lock, and blind to certainties, I only rest for a few moments to give me strength in the pilgrim sea, the one who confuses the epistolary tides and enjoys seemingly innocuous sacrifices.
I will kiss your lips according to the prophecy
while the breeze will speak the unfinished language
And you will see me with your green eyes
that are not green
are brown
But when you laugh they turn green
and you can draw a different morning
with an approximate solstice
with snakes in the window,
so my useless life becomes useful
because I’m a hobo of solar systems
and I become a wanderer in your body,
as a geographer of your corpse altar
and intruder in your zodiac cenith.
At this moment the end of the thread
talk about the miracle of one day
unrepeatable and mild luck
How strange of an eclipse
under the brief abyssal tides
like ghostly cardamoms approaching
in the deserts of disease
appealing to the late corrections
as it did for millions of years
moss persistence with its epicness
selecting the right humidity
with your organic and fruity hug
in that I put my hope
in what you find in front of your eyes
because I am the one who reads in the borrascas
as I advance toward your directions
who fires violent canines
before those who offend you
to heal that sadness
that leaves the middle of the night when you slip
inevitably and persistently beneath
out the door.
Chandelier in the mornings
this useless armor
And the leaves are blank
soaking up her violently dance
they burn in front of the cabinets of dubious origin.
I hear the birds giving birth to the woods, in the upper angles of a nebula.
At this moment the end of the thread talk about the miracle of one day unrepeatable and mild luck How strange of an eclipse under the brief abyssal tides like ghostly cardamoms approaching in the deserts of disease appealing to the late corrections as it did for millions of years moss persistence with its epicness selecting the right humidity with your organic and fruity hug in that I put my hope in what you find in front of your eyes because I am the one who reads in the borrascas as I advance toward your directions who fires violent canines before those who offend you to heal that sadness that leaves the middle of the night when you slip inevitably and persistently beneath out the door.
Featured Image: “Beyond the visible world is the non-Euclidean horizon for the dragonfly” acrylic and ink on 250 gm Fabriano paper by Enrique De Santiago
What does it mean to have secrets as the topography of one’s body?
It is true, not all secrets are created equal. Some add a sway to the hips while others…well…they are a poison that eat us from the inside out.
I’m Tellin’
All unsaids, All secrets are not created equal. Some secrets kin with our bodies because our bodies know that they need to be the safe, the harbor for such things. This is not about that. Some secrets turn a walk, a regular gait to a saunter because the body tastes its sweetness. This is not about that. Certain kinds of othas, secrets that is, well….they bloom somethin else, the poison that eats us from the inside out.
This be bout dat. Dat latter kind. Dat otha kind.
It’s not just in the toxic we trust. We grow. We throw seeds. We replicate it.
*
When I was a child , there was a statement that we would say that would check the perceived wrong doer. It would be something like, ’Oooooh, I’m tellin.’ What precedes the ‘tellin’ is the series of oooo’s mixed with the arrangement of vowels and consonants after that short phrase all together, in sum, in calculation, may make the 24 million miles long tail of Hailey’s comet green-eyed.
I’m tellin’ was a threat.
It was to check the doer who was already in deep doin wrong. It was a nod to the way one was willing to betray secrets, willing to betray the real monster who hid under covers.
The tellers of the toxic became the snitches, the snitches is who we said would get stitches In those streets
What does it mean to have secrets as the topography of one’s body?
Be damned, dare stitches, dare the can of whoops ass…I’m tellin.’
No threat…but invocation
Viens
Viens ici
Je ne te l’ai jamais dit mais
Oui je l’ai fait
*
Gwendolyn said it best, “…Even if you are not ready for the day,
It will not always be night.” By not ready, we mean whatever you are holding. Whatever is hiding within the folds and wrinkles and twists of unmade beds. Whatever is being passed across through invisible notes
All ink doesn’t vanish. Some just wears…refusin’ ignoring
By not ready, we mean through the hush of phone calls. The phone calls that contain whispers. The phone calls that have no phone lines that require that and only THAT one other person picks up the receiver
The thing that returns to the pit spiraled tight behind the spiral of the belly’s button. The thing that makes it feel like each look by another means they know it because of the way it reads on the body. Tethered and bound. Whatever it is that you are holding and hoping that the sun won’t beat you to it…It’s coming
Je le referais
Je le referais juste pour le chemin
*
What if we said that the keepers of that kinda…. are the sleepers who never awake. What if we said we will nail their coffins shut
And forbid them from wake. What if we flipped the script on the secret keepers, the pain dwellers, all gates and their guards,
The bottom feeders who feed on the toxic blooms, the corpse eaters who grow fat full and bloated off the bodies that become emaciated from thoooose kinda secrets
What if…We take their power back. We read the topography of the secret laden body and become fluent. Armed with the tongues that know how to untaste poison, daggers in hand.
We the kind who realllll good with the way the sun sneaks up, how it creeps from behind the curtains of dark. The heat, we feel it on our shoulders. We refuse to hide from the way it will come get us
Nous avons tous été pese
Nous sommes toujours trouve…voulant
Nous ne pouvons pas le nier
Something about the way a secret taste
Jevu hu fair sa—
Shanta Lee Gander is an artist and multi-faceted professional. As an artist, her endeavors include writing prose, poetry, investigative journalism, and photography. Her poetry, prose, and personal essays have been featured in The Crisis Magazine, Rebelle Society, and on the Ms. Magazine Blog.
The light of old things, of beautiful old things, awoke in me.-- Sherwood Anderson
swathes wash-lift, titillative
fibers twine through time,
tangle through grasses, air,
the storied
the beheld
these old pliers, bruised, complacent,
loose, slackened by the exigencies
of labor, the perfume of application
seasoned armchair yellowing from
the fade of multitude, stuffed
with the mnemonics of repose, the
armature of provision
spattering through the long cornfields sacred vessels
spring alive, drink the oil of the
corn, flutter to the western winds
things patinated,
foamingricketyhistorical,
flux-chugging
Abyssal Eros
techy telltale totem
odiferous refract
calligraphic concert
a matter of teeth
upwards & out
doesn’t anyone say g l a d e anymore?
gloss the glimmer reef really
hammockSplay over-
tures daub mineral-rinse gyre
cumulous curdle
drift
harmonies
formulate in flour
acculturate spray
love is pertinent to confusion
meticulous punctuation is an expensive luxury
the floorboards rose,
then swallowed
Heller Levinson is the originator of Hinge Theory. His most recent books are Dialogics (Anvil Tongue Press, 2022), Lure, and jus' sayn' (Black Widow Press, 2022). His Query Caboodle and Shift Gristle are scheduled for a Spring 2023 release (also BWP). He lives in the Hudson Valley, NY.
Featured Art Photo Grass Drawing for Sherwood Anderson by Linda Lynch
In his seminal work Madness in Civilisation the American sociologist Andrew Scull examines the way madness has been both an ineradicable aspect of any ordered human society, a haunting image of fear and terror, as well as a fascinating realm that inspires and attracts artists and thinkers. With the Greeks the Hippocratian tradition began, in which physicians tried to explain deviations from the average mental and bodily behaviour in natural terms, with the four humoral elements; blood, phlegm, black bile and yellow bile. Meanwhile, folk explanations of what today is often called mental illness were given in terms of the influence of spirits and demons, as well as the actions, lessons, warnings and spells of the gods. Thirdly, it was also thought, in at least some cases, that the mad were perceiving something real, as Plato says: “We made four divisions of the divine madness, ascribing them to four gods, saying that prophecy was inspired by Apollo, the mystic madness by Dionysus, the poetic by the Muses, and the madness of love, inspired by Aphrodite and Eros, we said was the best.” In this third view, Plato’s view, the madman is not a patient with a disease, neither a sufferer from divine fate, but a seeker close to something of high value.
Madness has been translated as the inner individual working through of feelings of guilt, shame, stress, and recurring traumas, all of which are interacting with the neurobiological level of the brain.
Many centuries later, the medical attitude has become dominant in this domain; since the 20th century the profession and discourse of psychiatry has claimed to know best how to deal with madness, and its accounts have been soaked in ‘naturalist’, medical terms. The earlier folk explanations that interpreted madness as a curse, a revenge, or as a whim of gods, demons or spirits, have been transformed into the dry spiritless jargon of modern psychology. Stripping the gods from their ‘real’ character in a communal world, madness has been translated as the inner individual working through of feelings of guilt, shame, stress, and recurring traumas, all of which are interacting with the neurobiological level of the brain.
But what has become of the third way of interpreting madness, namely as mysticism, prophecy and inspiration? About that possibility from times past Andrew Scull remarks: “Madness might represent another possible way of seeing: bacchic, erotic, creative, prophetic, transformational… there was another concealed kind of knowledge, intuitive, visionary and transformative knowledge and madness might provide the keys to this mystical kingdom.” In our modern age however, this search for ‘concealed knowledge’ has been forced to be played out in the open, in the form of science, which led to ‘exact’ and general knowledge about nature and its ‘concealed’ patterns and laws. Knowledge and truth count only as valid today when they are communicable, explicit, and expressible. The visionary and prophetic, on their part, have been banned from any claims on knowledge and truth, and have been referred to the fictional domains of the narrative and the religious. And the transformative? Searching for transformation has become one lifestyle option among many, permissible as long as it remains an individual striving. This transformational drive has been captured and spelled out in self-help books, coaching trajectories, management books etc.
When, what Scull and Plato refer to as mysticism and as divine madness, is fully translated and reduced to the field of mental health, something risks becoming smothered, neglected or even suppressed and denied.
Such conformist adaptions and down to earth elaborations of what were once ‘mad transformations’ have however not exhausted the underlying longing for platonic ‘divine madness’, and the ways that people still long for – whatever we call it – freedom, the Other, infinity, being or nothingness, are numerous. Some of those longing for these things put their feet on the philosophical path, and lean to the explicit, active, overt or even academic forms of philosophizing. Others go their own way in a more intuitive and passively seeking and dreaming manner. Both run the risk that at some point their strivings are considered to be nothing else than expressions of individual psychological problems, or as by-product of a supposed disturbed dopamine transmission. That is, they run the risk that their roamings and free-floating searches for divine madness are ‘psychologised’ – ascribed to their personal identity, or to personal problems, or even reduced to the only one level that is considered to be ‘basic’ with respect to life: the neurobiological level.
These psychologising and psychiatric views on that ideal realm of Plato are, to be sure, not bad in themselves. Society’s well-being depends on mutual trust and care, and is helped by the professionalisation of health care. But when the vague, ineffable area that Scull and Plato refer to as mysticism and as divine madness, is fully translated and reduced to the field of mental health, something risks becoming smothered, neglected or even suppressed and denied. Some of the more thoughtful practitioners and careful psychiatrists in the mental health field are aware of this, and have attempted to approach the inner life, the experiences and desires of their patients, from a perspective without presuppositions and prejudices about madness, and with an open mind as far as possible. And indeed, some of them, like Ronald Laing or Louis Sass have succeeded to a considerable extent to sketch the worlds of those that are involved in divine madness wander through. But all the more often, those that start from this psychiatric philosophical position remain hampered by the plain fact, that their starting point is the psychiatric diagnosis, and when tracking that diagnostic conclusion or end point back to its origins, they infuse the origins with the supposed crippledness of the endpoint. The diagnosis they make becomes a new identity for the patient, which throws its shadow back to earlier phases. What was once considered day-dreaming, or a peculiar whim, or capricious experience and deviant thoughts, become reinterpreted as only early signs of natural mental disorders: ADHD, autism, schizophrenia, bipolar disorder, etc. – nothing divine to find there! Not only the present state of a person becomes reduced to an amalgam of neurobiological patterns and psychological reactions, but also preceding experiences, thoughts, feelings and behaviour are drawn and reinterpreted into the diagnosis.
Such reinterpretations after diagnosis certainly do have their function: people receive strong narratives that give them a clear sense of identity, and a kind of compass in how to sail further with this diagnosis centered narrative. But the cost could be high as well: the third realm, the realm of divine madness, as I circumscribed it above with help of Scull and Plato himself, might simply vanish. A spiritual search becomes reinterpreted as a psychological search for a strong role model, a philosophical preoccupation becomes an ‘attention deficit’ problem, and a mystical experience becomes ‘salience dysregulation syndrome’.
In my book A Philosophy of Madness I start at the other side of the track: not at the end with diagnosis, but at the beginning with philosophy. What extreme domains of thought are accessible for a philosophically minded person? Where can a study in philosophy, both in its explicit academic form, and in its more intuitive forms, lead to? Where does the impulse to philosophy stem from? What kind of philosophical thought and experiences can push it to the edge? In this exercise I have focused especially on philosophy, and drawn analysis also from the thoughts and experiences of those that are usually called mystics or spiritual. I started with the initial philosophical sense of wonder (also in Plato, from his work, the Theaetetus) in combination with philosophy’s consequent, consistent reasoning capacity. I followed these philosophical paths, and examined what may happen when you go down the philosophical rabbit hole. When you reason away, and/or dream away, through the philosophies, thoughts and ponderings on age-old questions about time, space, infinity or identity, then you may come at strange, fascinating and seducing thoughts and experiences, that may have quite some affinity with what is going on behind those so often frightening, enigmatic and seemingly impenetrable labels like bipolar disorder or schizophrenia. And with this exercise I hope to have induced a kind of ‘breakthrough’, through the wall that all too often separates philosophy and madness, in order to both confront the armchair philosopher with the ‘real life’ situations where their ideas are acted out, and the ‘madman’ with an explicit, exact reconstruction of the thoughts and experiences that are at the basis of their so-called mental health problems.
With this exercise I hope to have induced a kind of ‘breakthrough’, through the wall that all too often separates philosophy and madness.
On the one end this may have a therapeutic value, since I provide a more thoughtful exploration of the ways of the mind other than the usual psychological and psychiatric accounts. On the other hand, it has a destigmatising value, not by arguing that all persons with and without diagnostic labels should be respected equally, but instead by ‘opening up’ those labels, and detecting common patterns of thought and experiences between madness, dreams, art, and, in particular, philosophy. The notion of madness here may then reveal, and express perhaps in a socially unaccepted and clumsy way, the paradoxical and sometimes unbearable tensions that underlie any systematic attempt or philosophical striving to grasp the whole, or to seek unity and harmony. The passion that underlies so many philosophers’ intellectual drift may lead to a kind of ethereal detachment from earthly practical matters, that may lead them to become sucked up as fuel for further drifting away from the common sense and the communal life. Not only among philosophy students, but also among some of the great philosophers we find periods or episodes where they were for longer or shorter periods ‘out of their mind’, and at least some of them would be today diagnosed away, for instance think of Ludwig Wittgenstein, but also Blaise Pascal, David Hume, Michel Foucault.
To be sure, I do not pretend that all kinds of philosophy only lead to benign visions, prophecies or interesting thought experiments. Philosophy contained and will continue to contain ideas that are dangerous for society or for the well-being of individuals. The contagiousness of these ideas is well-known on the societal level, and the powers that be do everything they can to protect order from society destroying or undermining ideas. On the personal level, there are also ideas and experiences that may be drawn from philosophers like Nietzsche or Deleuze, that may induce ‘mad transformations’, and that may also be conceived as ‘unhealthy’ from an outsiders’ usual, normal perspective. However, to gain access to and explore what the mystical kingdom entails, the one Andrew Scull refers to, it will never suffice to prevent contact with dangerous ideas just because they are considered to be ‘unhealthy’. And perhaps there is another sense of health, greater and more important than mental health. Let me end, by quoting Nietzsche: “Anyone whose soul thirsts to experience the whole range of previous values and aspirations, to sail around all the coasts of this ‘inland sea’ of ideals, anyone who wants to know from the adventures of his own experience how it feels to be the discoverer or conqueror of an ideal, or to be an artist, a saint, a lawmaker, a sage, a pious man, a soothsayer, an old-style divine Ioner – any such person needs one thing above all – the great health, a health that one doesn’t only have, but also acquires continually and must acquire because one gives it up again and again, and must give it up!”
Wouter Kusters Issue 96, 22nd June 2021from the IAI Institute of Art and Ideas