Secret of the Air, Enrique De Santiago

Huge old stars leaning out of the
horizontal cobblestone sheets,
were dictated by an ancient manual of glorious epic forms
where I did not read the cunning locks,
from there fall lights like eagles
what they hang before your pale fortifications
and despite the fact that I descend without air
I cling to the dissected edges of this abyss
walking away from the waves of floral promises
with summer mentions that anoint you.

The amaranth silence rocks the star again
and like the silent lymph
you seek to break beyond the fundamental shell
the one that you came to know in a primitive way
in the sweet stays of belief.

Blows the hydrogen on the leaves
and many cycles are enough for oblivion,
while the trees stand
because they keep their memory in the roots,
to later give shelter to life
vertical.
I am the extended earth,
I still have memories of that
Winter will come without you realizing it.

The specificity of the meander
winding secret of the air
like the grass with its distant star.

written and illustrated by  ©Enrique De Santiago

Artist, Poet
Enrique De Santiago

Victoria Morrison, Seed Wisdom

seed wisdom

Imperfect seeds also germinate,
in a more difficult way; painful stem grows
of the tormented plant
What will this spring concoction be?
that the drug that saves it

has turned into glycine – creamy smell
bittersweet sugar, citrus undertones
in disguised purple.
Wild birds recite verses in the air
Has the song of the mother bird healed her?

Am I really here, watching
the miracle of my fertile land
or is it my mind that imitates
to the dying man who escapes from the barren land
and look for the seed to save the world?

We are the witch poets, the ones with the mark on the face
my trade is the botany of the imperfect
that mutates to the perfect, to see the beauty in the
“not graceful” is to live many lives,
give wisdom to the marrow
spinal cord of the brain
in the seed of the plant.
The noose around the neck is the plant
tied to the cross, slowly
stop breathing and die
And what is life for?
if we don’t manage to be captivated
with all the trees in the world?
the intelligence and wisdom of flowers
is assimilated to the cunning of orphaned children
nameless beautiful bastards,
no handkerchief on the lapel,
they feed on fresh drops;
Those left by loving widows
in the tomb of the dancing moon.

the dead dance
imperfect seeds also flourish,
they love dew in rain
of scarlet evenings
in the smell of smoke, fire and mapacho tobacco.

At night …
the frost settles on the petal of her lip;
nice to freeze like this, being kissed
because of the cold that rests in the water garden.
I caress each stem without prejudice to its appearance
for me, the witch plant is so beautiful
like the scent of the holy white rose.
The twisted and mutilated lemon tree
has taken refuge in the grape vine
red wine lemon

Beneath the cement has grown
blooming dandelion and sphere
healing herb for the healer and sage.
Rescuing damaged seeds is the art
of the reasonable
We are the ancient poets, the ones with the mark on the face
Here I bring roots to decorate your hair.

I resurface in my garden

The wind blows hard, breaks promises.
Catastrophic hiss, fractures everything.
My hand no longer touches your figure;
broken marble.
underwater love nest
stifled desire.
You interrupted my spring
cold storm; wet paper,
You have erased all my love poems.
What do you keep in those pockets
how much do you protect?
the wind asked me
(the burden of my corpse)
Suffering for love deforms my face
-I disappear-.
I neglect my garden, I leave it without dew,
I turn to stone
and I cry my gloomy sadness.
Decay,
I look in the rocks
the calm of my weight.

I’m sorry for you ungrateful root,
when I suffer, I become bad.
I take shelter in the dead trunk,
I am dry firewood
I have no foolish claim
to be perfect for you.
Today I have seen butterfly lilies bloom,
-They talk about rebirth-
There is no end of the world, if the birds
at night they recite poems.
I resurface in my garden, I breathe, I smile.
My flowers, my steps where I recover my voice,
my singing
My silent cat and devoted friend.
imperfect seeds,
we also bloom at dawn.
What do you keep in those pockets
how much do you protect?
the wind asked me.

written by ©Victoria Morrison

Victoria Morrison, Chile 1977, Social worker, poetry and short story writer. Current and active member of SECH (Chilean Writers Society) P.E.N Chile (Poets, essayists and novelists) Published books: A room in hell (2016) Ediciones La Horca Evicted poems (2017) Editorial Ovejas Negras Pupilas de Loco (2020) Rumbos Editores (Her writings are characterized by evoking psychological themes. A lover of nature, the author explains that in each word there is healing; if we assimilate that word to the roots of each plant, just as there are imperfect seeds, there are also humans imperfect; are not the goods called “crooked trees” those that, without water, shade, or fertile soil, continue to breathe on the earth. If the fragile plant resists the cold, the weather, the human flesh sheltered in wool and scarf I should be grateful and silent, listen in silence, the frozen and brave song of the frosty hour

www.facebook.com/marielavictoriapoeta

Pupilas De Loco

@victoria_morrison_

Friction, macsiMe

macsiMe is a French artist who is inspired by impact. macsiMe prefers no elaboration. only the act of friction and reaction speaks for itself

All in Nothing-
Nothing in Everything
I draw
I erase
I glue
I scratch
I tear
I stop, look, look
And I start again
Lots of “I” s
but that is what Art is
Art is just answer

macsiMe lives in Le Mans, France
enjoys observing people
is inspired by action

THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT FROM THE ARTIST MACSIME

We Are The Land by Duncan N Pheasant

The land has spirit and we are the land…The rock pulses with energy and movement that we cannot detect…the rock sometimes shows himself and becomes recognizable like a face. The land is what we are, the land keeps us alive, the trees speak to each other about the land and share its nutrients, they live out their lives without any help from man. They are a community and we show them respect. Then there is the everlasting sky all others live beneath him with its many moods and gifts ,we offer prayer to all four directions. We say we don’t think about these things… we know all these things.

Permanent installation at Manitou Island Post Office

Growing up in Mchigeeng First Nation we were poor we didn’t know we were but didn’t feel like it…we had clean clothes food toys…No running water, no phone no inside toilet but we were happy…today I wonder about young kids seeing things on Facebook and tv like friends having parties, new cloths new toys, new this new that…big fancy houses…they look around their homes and community what do they see… What do you see ?

Our Ancestors foretold that water would someday be for sale. Back then this was hard to believe, since the water was so plentiful, so pure, and so full of energy, nutrition and spirit. Today we have to buy pure water, and even then the nutritional minerals have been taken out; it’s just empty liquid. Someday water will be like gold, too expensive to afford

Even the spirit, which belongs to the Great Mystery, returns to its source. Some of our people say this journey takes place on a path of stars. Others describe the spirit’s return to the Great Mystery as a drop of water falling into the ocean. It becomes a part of everything again as the light of a candle becomes one with the fire of the sun. That’s why we can sometimes feel our loved ones in the warm air, or hear them in a bird’s song…or even sense them in the…wind.
We feel them in certain areas or times of the year,, we sense them and think of them and dream of them. Sometimes they talk to us in the dream but most times it’s just good to see them…we wake up thinking of them ,The dream can last a day or we think of the dream for many years…yes they are with us..

Guardian of the Lake

A man by the lake wanted to live forever. A huge fish came about out of the water and pulled him in. The fish had spent his entire life looking for freedom from this world.
He told the man we will go to the door of eternity, you will step through one way and I will go through the other way. This sounded good to the man. They both went through the door.
There said the fish …I now will live a normal life and you will live forever. The man had become the fish. “Stop Wait” he said but the man who was a fish could not hear. To this day the guardian of the lake searches for the man who died a normal death many many years ago. The guardian of the lake, a huge ancient fish.

Mindemoya man

The Mindemoya man…A giant fish appeared to some men on the shore of Mindemoya lake ,they grabbed the fish and were surprised how the fish let himself be caught…they took the fish to the village and it began to cry like a human…A lonely woman came out to see what’s going on…she recognized the crying as her long lost husbands voice…she called out his name then the great fish began to speak “I was once a man but was turned into a fish, by a witch, because I rejected her…and my wife who I see now I cannot be with anymore” The people became afraid and dragged the big fish back to the water…The woman ran after them and jumped in the water with the fish…they were never seen again…next year the waters were teaming with fish and for many years after that.

I AM the Land

Nobody wants anyone to leave, We’re just trying to protect the land and waters for future generations, for all . 95% of British Columbia is unceded native territory as the treaty process for British Columbia started in the 1990s and has yielded only three treaties to date.
Enshrined in Canadian Charter of rights and freedoms Section 25A is the Royal Proclamation which recognizes and affirms indigenous title to land and requires treaties in order to legally possess. Where as no treaty exists those who willingly or inadvertently set themselves upon these lands must remove themselves forthwith. Canada is in violation of their own laws.

The Shaking Tent Ceremony by Norval Morrisseau

The Ojibway Indians had what we call a jeesekun, a shaking tent, or wigwam, where a medicine man does conjuring. There were two kinds of shaking tents. One had its power from the water, the other from the wind or earth. Some Ojibway built their shaking tent in the water, in order to receive power from it. Eight poles were cut and placed in a circle, and each pole was driven about two feet into the ground to keep the tent firm. Two hoops were placed inside the wigwam to keep the poles in position and would be covered with deer hide, birchbark or canvas. Rattles of tin or cari­bou hoof were placed inside to make a rattling noise.

All the Ojibway would gather and sit in a circle facing the shaking tent. This took place at night. The conjurer would disrobe, have his hands tied up and crawl inside the wigwam. He would not speak but would have one Indian, or all, start asking questions, whatever each one wished to know. As the conjurer crawled inside, the tent itself began to shake and the rattles were heard. The Ojibway believe a medicine wind blows from heaven in the tent and that is how it shakes. All the dogs tied close by began to yelp and were afraid but the people were not, for it does not affect human beings. What come into the wigwam to sing or talk are the water god Misshipeshu and other spirits of bears, serpents and animals, thunderbirds, the evil Windigo, the morning star, the sky, water, earth, sun and moon, also female and male sex organs. Each speaks in his own lan­guage but we have an interpreter whom we call Mikkinnuk, a small turtle who is the Devil him­self, who interprets for all these beings. So let it be known now and then remain a secret; it is the Devil himself who is the interpreter.

The Ojibway were given this shaking tent to do both good and evil. A lot of people of the Ojibway tribe used this conjuring tent to conjure people but a lot also used it to cure people, to find lost things, to defend the people from evil sor­cerers, or bad medicine-men, and to know about the future.

Duncan Neganigwane Pheasant Silent Hunter a living ghost that eats with it’s eyes
Mitchell Pluto Collection

Duncan Neganigwane Pheasant, Dedicated to Norval Morriseau on the anniversary of his birth
March 14 1932.
Spirit Warrior 18×24 canvas

Manitoulin island is a place of ancient spirits lying in wait within the cliffs and deep inland lakes. A man with a spirit face looks out across the cliffs as he paints on them. A weary hunter warrior realizes he now is a stranger in this magnificent stone garden He is a shadow man a shadow warrior.

The invisible man from the door of the unknown. He hears the pounding of the drum and heads to it. Modern day Ojibwe and Odawa men sing the songs of old. He stands beside them but they cannot see him He is a spirit warrior.

Duncan Neganigwane Pheasant Tribute to the hunter

written by ©Duncan Neganigwane Pheasant

Duncan Neganigwane Pheasant is a painter from the M’Chigeeng First Nation. He started painting in high school using colours and techniques inspired by Norval Morrisseau and other Woodland style artists. His grandfather, Ambrose Pheasant, told stories that were also a great influence on his artwork. Duncan uses his images to interpret Ojibwe legends and stories that surround the history of his ancestors and Manitoulin Island. Those legends which inspire his work are inscribed on the back of each original painting and a printed copy of the legend will be included with each purchase.

Perivale Gallery Duncan Neganigwane Pheasant

Madness in a Mad World By Wouter Kusters

Madness in a Mad World, or How to Stay Cool in a Warming World?

Draft version, November 6, 2020 Wouter Kusters, philosopher, writer and ‘expert by experience’

Introduction

“Just because you’re paranoid doesn’t mean they aren’t after you”, says Yossarian, the main character of the famous novel Catch-22 (Joseph Heller, 1961). This satirical, though tragical, famous sentence is uttered in World War II, during which Yossarian, serving in the U.S. army as a bombardier in Italy, is in the grip of fear. He thinks there are clear signs that they are after him – which they are.

In 1958 an important study by Klaus Conrad is published, Die beginnende Schizophrenie, in which the German psychiatrist describes in close detail the various phases of what he calls ‘beginning schizophrenia’, and what we today prefer to call the stages of a florid psychosis: from the delusional mood, to a revelatory phase, an interplay of delusions and hallucinations, ending in an ‘apocalyptic phase’. This study is of high value, being the first of its kind that takes such a close look at what is actually going on in the experience of a psychotic shift. And its special merit is that it is not a single case study, but examines a large group of psychotic persons, all of the same age, same gender, under similar circumstances.

During World War II Conrad was, like most of his colleagues at the time, a member of the Nazi doctor union, and he was in the situation to be at the spot where it all happened: studying German front soldiers going mad. But although the occurrence of high anxiety and violent ideation in Conrad’s set of cases is remarkable, these peculiar circumstances of his field research are rarely taken into account when further examining his analyses. Instead, the coded and uncoded outcries from hell have only been inscribed quasi-neutrally and then locked away into medical archives as symptoms of an illness, not as signs of more comprehensive social, not to say, existential circumstances. Indications of what was actually at stake can be read only between the lines, e.g. Conrad (1958, 47): “In 1943 the boy again became seriously ill, was committed to a number of mental hospitals, and was finally a victim of the euthanasia movement.”

What will be the fate of the voices and lives of young people today, confronted with the prospects and facts of ecological destruction and climate catastrophes? How will psychiatrists describe their cases? How can it be avoided that their voices become neutralized, psychologized, stigmatized, and be silenced by the powers that be?

In this short paper I will sketch the psychodynamics of becoming aware of the looming climate catastrophes as a wakening process, analogous to individual psychotic processes. I assume that a psychosis can be considered as a perhaps impractical, but nevertheless meaningful answer to an existential crisis (cf. Kusters, 2020). I will draw these parallels under four psychosis related headings; intrusive messages, perplexity; trauma and mourning, and recovery – if any.

Intrusive messages

Let’s start with some facts. Global mean temperature will rise between 1.5 to 5 degrees Celsius this century. This leads to longer, more intense and frequent heatwaves, and unpredictable and heavier rainfall and thunderstorms. Oceans are becoming warmer and more acidic. The permafrost, the polar ice caps and the major glaciers are melting. Sea levels are rising, and cities like Dhaka, Jakarta, Lagos, Shanghai, London and New York are threatened. Large stretches of land will become uninhabitable, because of the heat, the droughts, the lack of food and drinking water, which will probably lead to catastrophes like mass famines, mass migrations and war.

The facts and predictions are well-known, but what do they imply for our sanity and insanities, how do these facts influence our spiritual, mental and physical well-being? How can we stay calm and sane in this madness of world catastrophes?

Let’s take a look first at the individual level of a person with the first signs of a looming psychosis. At this stage things that used to be taken as normal at face value by that individual, now appear in a different light. The world has become a strange place to live, and daily routines and habits make place for an uncanny sphere of wonder, puzzlement, awe and anxiety. When this pre-psychotic onset develops you start to receive signs and messages through various media about a suggested secret, an idea, a vague plan or even conspiracy that lies at the heart of this strange world. Slowly you detect that everything is connected, and that the vague allusions and signs should be interpreted as indicating that everything evolves towards some kind of deeper cosmic change, towards a kind of revelation or apocalypse (see Kusters, 2020).

Examining individual psychosis, it is often assumed that these vague feelings and ponderings about meanings, mysteries and signs of revelations and catastrophes, only belong to an individual disturbed subjective reality, not matching objective reality. But when we examine the analogous path on the macro-level of the climate crisis, things turn out different. The intrusive signs and messages that we receive concerning the climate crisis, are from reliable sources in shared reality, and most messages refer eventually to our common practices of scientific research, with evidence-based and statistically proven hypotheses and facts. These signs and messages reach us through the internet and other mass media, and when we get in their spell, we find apocalyptic signs everywhere: in the air, in the water, in the subnarratives and hidden assumptions of numerous conversations today; in the background whisperings of the natural environment that is dying, and last but not least in the cries of anger and despair of especially the younger generations who take head to the streets.

Recently the signs and messages from the climate crisis found their expression on the human face of one of those youngsters. It was the at that time 15-years old Greta Thunberg, who had gone through a so-called episode of depression, anxiety, and autism. Her ponderings and utterances have been spared from the medical archives so far, and she has become the intrusive face of climate madness, of despair, shock and truth and at the same time the face of stubborn consciousness and action.

Perplexity: shock and truth

When further stretching the comparison between psychosis with climate crisis awareness, we see that just as individual pre-psychotic experiences may develop into a full-blown florid psychosis, all the climate signs and messages may also turn into feelings of general climate alarm, panic, anxiety, confusion, not to say, madness. But in contrast, while most people think that a florid psychosis is to be avoided at all costs, many of us think that these feelings of climate alarm and climate panic need first to be promoted, ‘lived through’, and to be processed in order to start to act authentically and to be able to live in truth. Or, as Greta Thurnberg put it in her Davos speech (2019):

“I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. And then I want you to act. I want you to act as you would in a crisis. I want you to act as if our house is on fire. Because it is.”

So when being overwhelmed by the messages of doom, you may enter this phase of shock and truth. The better-informed psychopathologists (see Sass, 1992, Podvoll, 1990), and many of the experts by experience, know that on the psychotic path there is this sublime and terrifying moment of shock and truth, which might be a source of inspiration and wonder, but often also of awe, anxiety and confusion (see Kusters, 2020). At that moment the psychotic person is confronted with the truth of the depth of the abyss, or the unground of her existence; she is in radical doubt about everything in time and space, in history and geography, and she experiences, as the DSM calls it, perplexity at the height of the psychotic episode.

On the macro-level of the climate catastrophe it is not seldom found that people also mention a moment or a short period in time in which the truth about climate change really shocks them into perplexity. They become deeply confused and their whole world view tumbles down and turns around. As an example, some quotes from Mary Annaïse Heglar, communications professional in New York at the Natural Resources Defense Council (2018):

“…there was a moment when we had to face the reality of climate change. For most of us, I bet that moment hurt. I know it did for me… I skipped denial and went right to shock. I floated around on a dark, dark cloud. I frequently and randomly burst into tears… Where other people saw bustling crowds of people, I saw death and destruction. Even as I walked on dry land, I saw floods. I imagined wild animals, especially snakes, getting out of the zoos in the aftermath of natural disasters.”

Trauma and mourning

It may be quite a shock to find out that because of climate disruption all received wisdom, all earlier ideas about sense and meaning, and our place in history are no longer relevant. The truth of the climate crisis may well be followed by a so-called climate trauma. The Australian philosopher, Clive Hamilton (2014) said:

“Insight into climate change is not only achieved by knowing the numbers. There is also a profound feeling that you only experience when the facts touch you fully. Some call this the Oh shit, we are really in trouble moment. One achieves it by reading a scientific article, others because they, already familiar with the facts, undergo a profound experience in nature. Or they discover in another crushing way that their vision of the world is destroyed. Such an experience is inevitably traumatic and if you have not experienced it, you will not understand the problem either, because it is immensely large and transforming. The insight gained changes your mood, it fills your mind, it changes the wallpaper of your life. ”

Hamilton loosely introduces here the term trauma in the context of climate change, but how does this traumatic experience relate to other more usual individual traumas? The climate trauma first of all differs in the fact that the trauma inducing events lie in the future and have not yet become fully present reality. Normal traumas have their origin in events in the past, which slowly sinks further and further away into history. This slow distancing provides the possibilities in time and space for absorbing and processing the trauma. In the case of the climate trauma, however, the more time passes, the more serious and real the traumatic events become. We could say that while past traumas originate in the real, they develop and spread through the imaginary level, and become eventually part of the symbolic. This future climate trauma starts on the symbolic – theoretical and informative – level, develops into the imaginary, and ends into the real of a catastrophe sooner or later. Secondly, in the case of the climate trauma we know beforehand about the traumatic events and their possible consequences. In contrast with the usual traumas, we cannot say that we did not see it coming. Bruno Latour, the famous French philosopher remarks about this situation (2017: 25): “People have opened their eyes, they have seen, they have known, and they have forged straight ahead with their eyes shut tight.”

But how then could we live truthfully with these prospects, and deal with climate trauma? Just as with other traumas, the first thing to do is to acknowledge the truth, to be conscious about what exactly happened, or in this case, what will exactly happen. We should know and examine the truth, not hide ourselves from it, nor deny it, downplay it, or run away from it. Because, there is no time or place on earth to hide from the truth of climate catastrophes. The second step in trauma processing is to work through all the various emotional reactions that the climate truth invokes. Some of these emotions, like anger, grief and concern can be further processed in acting out, living more environmentally aware, and in connecting and sharing climate worries with others.

However, many of the emotions around the climate crisis do not so straightforwardly lead to new satisfying, positive practices. Many people have become cynical, apathetic, aggressive or deeply melancholic, despairing and inconsolable. They do not so easily connect to the mores and habits of the environmental movement, where the unwritten rules of conduct are all too often that you should hold up hope, and remain positive. For these negative traumatic feelings, there has been some attention among psychoanalysts and psychotherapists. Perhaps best known in this field of ecological psychology is Renee Lertzman, who says (2015: xiii): “The grief, mourning, anger, confusion and overwhelm that can accompany awareness of environmental issues remain largely unaddressed, private and professionally and socially taboo.” She then argues for a more compassionate and therapeutic approach towards those who suffer from environmental degradation, and who cannot or do not express their capacity for care in a positive way. She stresses the need to explore how and in what way individuals lost their relations to the natural environment, and the need to share and mourn about what we have lost already, and what we will further lose in the future.

Such approaches by psychiatrists and psychoanalysts could be helpful in guiding people through our bitter times. However, all too often it is assumed that climate anxieties and grief can in principle be taken away from the individual, be dealt with, without essential changes to our common ways of being, to our subjectivities, identities and ways of life. These essential changes – these miracles – did however not yet occur. And therefore, the experiences and fate of many is like that of Eric Holthaus, a meteorologist, who has been seriously affected by everything he has learned about the climate future. He writes: “I lose sleep over climate change almost every single night. I can’t remember how long this has been happening, but it’s been quite a while, and it’s only getting worse. I confess: I need help.” Holthaus went to see a counselor and, as he put it, the therapist “seemed unprepared for my emotional crisis. His simple advice was only, ‘do what you can.’”

The future, without miracles, is expected to be very bleak, and in terms of turmoil, world destruction, starvation, death and madness it looks too extreme and shocking to be manageable by therapies that focus on individual adaptation. ‘Do what you can’ is not enough to save us from despair. But then, how to deal with deep grief, anxiety and confusion, when mourning is no longer enough?

Schizo Recovery – if any

Sarah Myhre, an oceanologist and climate scientist, founder of the Rowan Institute, https://www.rowaninstitute.org/ says (2019): “I experience a profound level of grief on a daily basis because of the scale of the crisis that is coming, and I feel I’m doing all I can but it’s not enough. I don’t have clinical depression. I have anxiety exacerbated by the constant background of doom and gloom of science. It’s not stopping me from doing my work, but it’s an impediment. It is like I’m looking at the world through a looking glass, like I’ve fallen down a rabbit hole. I feel like I’m walking around in an isolation chamber.”

This is not the place, nor is it my expertise, to come up with a solution that liberates the world from climate catastrophes. Instead, I will sketch roughly some ways-out, and ways-through found on the individual paths of psychosis, that may be of interest for those who suffer from feelings of world catastrophe. Perhaps we can learn from them, from us, who have gone through similar states of minds, through unspeakable fears of world destruction, along experiences of apocalypse, loss of trust in the world, fragmentations and revelations. Because in that frightening state of chaos, also uncanny new connections and new realities are explored. In a similar vein, Kylie Harris, psychologist, writer and activist, says: “Individuals healing their own personal trauma or crisis can become part of a larger movement geared towards healing the entire planet. Importantly, we propose that the emergency mode offers an empowering psychological state for individuals to navigate experiences of crisis. Rather than a state that exacerbates negative emotions such as fear, anxiety, panic, or paranoia, it is a state that can facilitate enhanced awareness and collective transformative action.” When examining these states, this ‘emergency mode’, as Harris calls it, what kind of help can experts by experience, with their real experiences with rabbit holes and isolation chambers, offer to people like Sarah Myhre – and by implication, to the whole world? A few suggestions are as follows.

Those who have been there before, have easier access to other ways of connecting with time and history, and therefore, with the future. In our normal non-psychotic lives before our climate awakenings we navigated on a kind of hidden clock and common calendar in which this morning is nearer to us than last week, and last year nearer than thousand years ago. But under climate change as well as in psychotic life temporal experience is different. Our time frames of our past and of human history explode into vast geological and cosmic times. The events of these decades of climate disruption resonate with those of 65 million years ago, when the dinosaurs became extinct. The pace of human history fuses and is confused with that of natural history, and our minds lose themselves and fall back in the unthinkable fantasms and realities of dark time-spaces of the deep past.

Paradoxically, at the same time, we get out of our minds, seduced, inspired and fascinated by the fact that in exactly our life time, in exactly these decades, these years, these very months, weeks, days, and right now, humanity is on a cosmic time peak level. We may ruminate and phantasize over the graphs of rising carbon levels, that had been constant for millions of years, suddenly, exactly in this last decade, out of all times, shoot into the sky. We celebrate the intensity of these very moments that everything is being concentrated into our minds, the whole cosmos, the living natural species and the dead ones, into our knowledge, and from this intensity we may shift and drift away from all normalcy into the wild life and death. Every minor individual act in our age of disruptive climate change reaches out to cosmic times, to the creation and destruction of world, species, forces of ice, air and water.

My first suggestion then would be to develop a different stance towards time. Instead of using clock and calendar time as a means of knowing objective reality, and become paralysed by the seemingly determinate future, we ‘d better use dreaming time and imaginative time frames as ways of modulating time and reality experience in the present.

In our times we ourselves have become so powerful that we are able to influence, modify and destroy much of the ecological fine-balanced tissue on earth. We are powerful, we have knowledge, and this same power has grown so strong, that it undermines itself, and threatens its own ground of existence. This resonates with the paradoxical schizo-mix of megalomania and paranoia, in which we feel ourselves as master of our minds, that stretch out over all universe, and at the same time as being delivered to that same universe that overwhelms us. My second suggestion is then to learn from the seemingly deviant schizo ways of dealing with the paradoxes of feeling infinitisemally small and infinitely large at the same time, now that we live in a time where these paradoxes have become more evident and thrown in our faces in the real of the non-schizo experience as well. The climate crisis induces arousal, feelings of urgency, of high importance about everything that happens. It leads to a kind of strong moralization of everyday life. Every small decision has an influence on the whole, and we, schizos and non-schizos now live in a time that every minor act spreads through all networks on all levels at once, and then turns back to itself. Everything is connected, and everything is processed and counted in terms of its effects on the whole. The totality of networks acts as a new ‘superorganism’ of which we are all part. It is as if an imaginary Eye and Mind of Nature is watching us, and through the lens of which we also watch ourselves. Such vaguely abstract loops, such suspicions of agencies, and immediate paradoxical connections between yourself and the Whole, are the playground and the unbearable bottom of reality that are roamed on in schizo experience. My third suggestion is to learn from schizo experience how nonhuman forces and other ways of life are experienced, are absorbed into of schizo narratives and new kinds of ethics, in order to enlarge our sensories to reconnect with the desperate voices of Nature.

In conclusion, perhaps it is time to learn from the wisdom of how to navigate in these unknown territories from those who are experts by experience. And perhaps at least a tiny part of future solutions may lie in acting against the madness of the world, by learning from the mad – and keeping in mind what a modern Yossarian would say: “Just because you’re psychotic, doesn’t mean that world catastrophe is not happening.”

Literature

Conrad, Klaus. 1958. Die beginnende Schizophrenie: Versuch einer Gestaltanalyse des Wahns. Stuttgart: Thieme Verlag.

Hamilton, Clive (2014). It is already too late. Interview in Vrij Nederland, https://www.vn.nl/klimaatexpert-clive-hamilton-het-is-al-te-laat/

Harris, Kylie (2020). The Rebirth of People and Planet in a Time of Global Emergency. An Open Letter from the Spiritual Emergence(y) Community. https://medium.com/illumination/the-rebirth-of-people-and-planet-in-a-time-of-global-emergency-ce83d222c813

Heglar, Mary Annaïse, (2018). When Climate Change Broke My Heart and Forced Me to Grow Up, https://medium.com/@maryheglar/when-climate-change-broke-my-heart-and-forced-me-to-grow-up-dcffc8d763b8

Heller, Joseph, (1961). Catch-22. New York: Simon & Schuster. Holthaus, Eric, (2018).

Climate Change Blues. Sierra Magazine, https://www.sierraclub.org/sierra/2018-2-march-april/last-words/eric-holthaus-got-those-climate-change-blues

Kusters, W. (2020). A Philosophy of Madness. The Experience of Psychotic Thinking. Cambrigde (MA): MIT Press.

Latour, Bruno (2017 [2015]) Oog in oog met Gaia. Acht lezingen over het Nieuwe Klimaatregime. Translated from the French by Rokus Hofstede en Katrien Vandenberghe, Face a Gaïa. Huit conférences sur le Nouveau Régime Climatique. Amsterdam: Octavo.

Lertzman, Renee, (2015). Environmental Melancholia: Psychoanalytic dimensions of engagement. London: Routledge.

Myre, Sarah, (2019). It’s the End of the World as They Know It. The distinct burden of being a climate scientist. Mother Jones, https://www.motherjones.com/environment/2019/07/weight-of-the-world-climate-change-scientist-grief/

Podvoll, E. (1990). The Seduction of Madness: Revolutionary Insights into the World of Psychosis and a Compassionate Approach to Recovery at Home. New York: HarperCollins.

Sass, Louis (1992). Madness and Modernism: Insanity in the Light of Modern Art, Literature And Thought. New York: Basic Books.

Thurnberg, Greta (2019). Davos Speech. https://www.theguardian.com/environment/2019/jan/25/our-house-is-on-fire-greta-thunberg16-urges-leaders-to-act-on-climate

Shock Effects Book by Wouter Kusters

Wouter Kusters (1966) is a philosopher, linguist and writer. He wrote his dissertation in linguistics in 2003 on language change and societal change. In 2004 he published his first book on psychosis and philosophy, Pure Waanzin (Pure Madness). In this book Kusters connects lived experience of psychosis (his own autobiographical notes) to the so-called third person perspective of nurses, psychologists and psychiatrists. This book won the Van Helsdingen Award for the best work in the boundary domain of philosophy and psychiatry, and also the Socrates Award for the best book in philosophy in Dutch of the year. After a career switch to philosophy and writing, in 2007 Kusters published Alleen (Alone), together with co-author Sam Gerrits and artist Jannemiek Tukker in 2007, in which various stories are told about and from the isolation cell in a psychiatric hospital. In 2014 Kusters’ last and final work on madness and philosophy is published: Filosofie van de Waanzin. Fundamentele en grensoverschrijdende inzichten, in which Kusters present an all-ecompassing view on madness and philosophy. This work also receives the Socrates Award, and has been translated into English in 2020. Translations to Chinese and Arabic are expected in 2022 and 2023. Today Wouter Kusters is a self-employed writer, teacher, coach and editor, who often works on the limit area of philosophy and madness, and who has been extending his thoughts of expertise in madness and philosophy to more social and historical themes, that also concern madness on a super-personal level of analysis.

from Bio from Dr. Wouter Kusters Talk at https://suicide-and-its-prevention.eu/speakers/dr-wouter-kusters/

Publications and academic work

Kusters, W. (2021). Ontsnappen aan de verschrikking. Inleiding in het denken van Frederic Neyrat, [To Escape from he Fright. An introduction in the thinking of Frederic Neyrat]. Amsterdam: Lontano.

Kusters, W. (2020). A Philosophy of Madness. The Experience of Psychotic Thinking. Cambridge (MA): MIT Press.

Kusters, W. (2016). Philosophy and Madness. Radical Turns in the Natural Attitude to Life. Philosophy, Psychiatry & Psychology, 23: 2, pp. 129 – 146.

Kusters, W.(2004). Pure waanzin [Pure Madness].

Kusters, W. (2003). Linguistic Complexity: The Influence of Social Change on Verbal Inflection. PhD Dissertation. Utrecht: LOT Dissertation Series 77.

Feature photo Jonathan Bowers

ALL WRITING IN THIS POST IS A COPYRIGHT OF WOUTER KUSTERS. THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

Hidden Motion, Paintings By Tadeusz Baranowski

I am from the generation of the end of the Second World War and the occupation. I have often wondered if it had any effect on my life. I read a statement by a British anthropologist who claimed that there is such a thing in us as genetic memory. All emotions and experiences of generations are recorded in this memory. According to this theory, my generation has genetically passed down from their parents everything that happened to them.

My whole family, father, mother, grandfather, and two of my father’s brothers, were in German concentration camps in Poland during the occupation. Grandpa and uncle never returned from there. My father spent the entire occupation in camps – Majdanek, and later Flossenburg. He showed extraordinary fortitude and willpower to survive. He didn’t tell much about his stay, and I am filled with empty laughter when I read about the repressions and sufferings of some of the heroes of the post-war period. Without taking anything away from them, of course.

Paradoxically, right after the war, my parents (because we had no place to live) were assigned an apartment in a barrack at Majdanek, five meters from the barbed wire of the camp. It was a barrack where the SS staff lived during the war. Not only my family lived there because at that time one of the many rooms of this barrack was called an apartment. I, as a small child, saw this camp up close.

The remains and remnants were not yet organized and archived as they are today in the form of a photographic museum. It was specific. In the crematorium, there were still half-burnt human corpses. In the barracks, thousands of dolls and teddy bears, toys left by children. A barrack – processing human bodies into soap, lampshades made of human skin, a barrack – filled only with glasses or hair cut from women’s heads. I used to watch it as a little kid because, frankly, no one paid any attention to me.

Only at night the camp guards, with flashlights and shovels, search for gold buried under these barracks. Left by the prisoners of the camp, hoping that one day they will redeem themselves from the hands of the torturers. I wasn’t a prisoner, but it’s probably not without reason that I’ve had dreams all my life that I’m in these camps and I’m constantly escaping from them. So something is “on”.

Happiness is not a constant state, and I don’t think there are people who are in it all the time and are euphorically happy. For me, these are some, sometimes completely unforeseen, actually short moments in life that cause this state. And I also think that we remember the moments of unhappiness more than the moments of happiness, it is easier to recall them in memory (or this is a feature of my personality).

Happiness is no stranger to me, of course. I’ve had different moments. In family life, professional life, in states of love intoxication, and alcohol intoxication. But what sticks most in my memory are those seemingly insignificant moments in which I experienced happiness.

In contact with nature, which fascinates me, shocks me with its beauty, and terrifies me with its ruthlessness. I am basically a loner and I feel happy when I look at the sky at midnight and a storm catches me as I swim alone through the middle of the lake. As I get older, I get more and more vulnerable and less and less happy. I look at the species “homo sapiens” with sadness. His unbridled greed, lust for money, disrespect for nature. Also people’s lack of respect for their own species. 80 years of relative peace, without global war (that’s almost two generations), has made people mentally lazy. Dreams of the return of fascism are born. When I was a kid, I saw how it ends.

I live in Poland, near Warsaw, although I was born in Zamość. I am married with three adult daughters and two dogs. I am a graduate of the Academy of Fine Arts in Warsaw at the faculty of painting. Throughout my professional life, I have been dealing with applied graphics, as well as writing and drawing comic books for children (published in millions).


However, painting, to which I returned after years of break, is my passion and my main goal in life. In my work I have always revolved around abstraction, which for me is a form that requires control over form, composition and color. I have developed my own method of combining various materials (wood, cardboard, fabric, resins, glues, acrylic paints) so that the resulting work has a distinct structure and space. My father was a sculptor, maybe that also shaped my aspirations.


Usually, the design of the painting is created earlier, on paper, but I think about it for a long time before I approach the canvas. And although it seems that the exact plan is, I need a lot of time to determine what the painting will look like in the end. Sometimes it develops quite quickly, i.e. three, four days, and sometimes a month.

http://tadeuszbaranowski.eu/

WRITTEN BY TADEUSZ BARANOWSKI ALL RIGHTS RESERVED. ALL ARTWORK AND WRITING IN THIS POST IS A COPYRIGHT OF TADEUSZ BARANOWSKI. THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

There is Never a Plan Jorge J. Herrera Fuentealba

The movement in my work is a consequence of a sincere trace of the unconscious. Movement represents life. In moments without inspiration, I try to maintain the discipline of continuing to paint, draw, because thanks to experimentation, inspiration returns.

There is never a plan, everything is part of the unknown (spots, lines, frottage etc.). Taking risks, experimenting and destroying the known to reach an unknown place. I have worked with a lot of materials, oil, pastel, acrylic, watercolor, pencils of all kinds, tempera and ink, but my favorites are oil, acrylic and acrylic pencils (markers).

Many artists influenced my work, not only plastic artists, but also musicians, colleagues and friends. The artist who most influenced my work I think has been Roberto Matta. For work I generally listen to music that has a guitar (because I also play electric guitar, mostly rock), from Jimi Hendrix to Death Metal.

Paulo Freire marked a period in my life above all with “Pedagogy of the Oppressed”, I carried it around in my backpack for months, but perhaps it was Mario Benedetti’s book “Spring with a Broken Corner” that impressed me the most. I saw the play during the dictatorship in Chile, I read the book later, when I was already living in the Netherlands.

written by ©Jorge J. Herrera Fuentealba

Jorge J Herrera Fuentealba

www.jorgeherrera.nl
Instagram: jorgejherrera.art
Facebook: Jorge J. Herrera Fuentealba Art

Uranus In Taurus


yes you can only put butter in your coffee for so long
I will miss you my b vitamin steak
a world without milk unexpectedly
the ice cream is melting like time
there is nothing on Facebook Reels about how well the soil is doing, there is always a cyber mob confusing the economy with the stock market
we Americans have our expectations
we invaded Chile
it’s not a historical drama streaming television series yet
so it’s not history
like the Mississippians and the Buzzard Cult knew about the limited series
we are urban punks with superphones living in Cahokia
but you know with screens and phones how important we are
those long-lasting mall ways and convenience centers of Valhalla
didn’t last as long as the Milky way
I think Edgar Cayce meant the big crystal was a computer
now was then in a lexicographic loop
don’t worry every star outshines the parenthesis that seeks to contain it


spoken by the surviving Replika of Mitchell Pluto in 11/29/2022

Featured picture by Alejandra López Riffo “Taurina” Collage sobre cartón de color. 27x 39 cm. 2022

Alejandra López Riffo is a Visual Artist based in Santiago de Chile. She started her artistic career at the Escuela Experimental Artística. She studied Graphic Design at the Metropolitan Technological University. In 1998 she graduated in Visual Arts, Pontificia Universidad Católica de Chile. She has developed her artistic work by participating in various collective exhibitions and individual projects. In 2019 she received the second place in the XII Visual Arts Contest of the Fobeju Foundation “Body and Place” Chile. Her participation this 2021 stands out with the First Place and winner of the “II Meeting of Women in the Visual Arts” and her Individual Exhibition “Listen quietly to what my drawings say” spread in Chile, Colombia and Mexico through the Group INTERNATIONAL MUA.
She participated in the “CAMELOT” Exhibition through ESGALLERY Colombia, Call for Contemporary Latin American Art spread in Colombia, Mexico and Argentina.
She currently participates in the International Exhibition Of Surrealism.
Cairo – Saint Cirq Lapopie.

Shuffle Poetry by Alfonso Peña

Critical commentary on the book “Shuffle poetry” (2020) by Alfonso Peña
By Claudia Villa


Reading Alfonso Peña’s “Shuffle poetry” generates many questions, which challenge us as active readers, especially those of us who move through the surrealist texts of all time. Posed in this way, it is a new challenge that is presented to the reader of our texts, which joins the permanence of universal consciousness, the question and answer or the eternal question that dissolves in the chaos of the deepest dreams that we have not finished yet. Fully decipher. In this sense, we ask ourselves: is there or will there be an evolution of surrealism? This movement conceived by Breton mainly, as we know it in its beginnings, in its manifesto. It is a current that has been transformed, thanks to the social, cultural, economic and political crises that have arisen throughout the world. But this does not diminish the creative capacities and active cultural forces, quite the contrary, they are the support to increase the forms of dynamism typical of this style.


The movement that cannot be abstracted from the effects of these crises, which have occurred transversally, both in Europe and now in Latin America, is key and influences (to a greater or lesser extent), which has allowed an enrichment of the surrealist postulates. Mainly, because it allows the reassessment of different optics that come together in artistic elements that move to make notice of the changes and the force that is maintained and spreads like a kaleidoscope in different ways. Therefore, the vision of these artists, poets and writers that is patented in essays, poetry, narrative, photography, painting, literary criticism, among others, constitutes a permanent explosion of meanings that transmute into signifiers to make us see this structure as the game dreamed by the first surrealists, in which dreamlike and now virtual components underlie that cross each of our creations from side to side.


It can be affirmed that the surrealist movement, embedded as I said by permanent elements of modernity, has been reformulating itself, as the exhibitors of “Shuffle poetry” put it and also, it is interesting to understand their gaze as part of the total freedom that assumes each creator when faced with his work. Many also join the cosmic and ancestral call of our Latin American continent to capture in the works the roots of each aboriginal people and the reconnection with their first words, sculptures and the nature of man. This is how the vision of this surrealism, so rich in contents and games, radiates to multiple forms and ways of expression, both plastic, visual and written, which give life to a new surrealist approach, which although it has not stopped beating, as as it was conceived, it now promotes various multifaceted ways to enter into the perspective of reality or non-reality present in our days.


It is also necessary to comment on the expression of transgression that marks the works of the exhibitors in this book, which leads to a permanent need to play and to break the schemes that broadens the concept of freedom in creation. This is a common element that distinguishes these works, which are forged from inner worlds rich in dreamlike and liberating content, where transformation is a permanent axis of universes in constant motion, as represented in different worlds or parallel universes. Creation, in this way, continuously forges and destroys itself, which would constitute the object of its birth and constant evolution: mutations, evolutions, changes of form, content and continent, which are like permanent waves that contribute Surrealist art and its continuous reconstruction.


Another aspect that can be seen in “Shuffle poetry” is the permanent transgression towards social signs formed around a central axis that looks only towards one way of expression, which allows the constant reworking of other signs and other escape routes. towards the liberation of men as social beings who live within a community. The alteration of the meanings, already patented, by a single controlling mechanism, thus generates the ability to alter the represented codes that (on the one hand) are reflected in their own city languages, in addition to the reworking of schemes that are rearranged at any time. order or figure and who want more than anything to find a way of subsistence in the movement typical of the tribe. These forms are appreciated and reconstructed many times, from the collapse of imposed situations that end up being formulated from other varied points of view.
So, the ways that surrealist art takes to survive the imposed conceptions are varied, in an attempt to achieve dissimilar points that allow freedom of expression.

Claudia Vila Molina

Writer born in Viña del Mar, Chile. Professor of language and communication at PUCV, poet and literary critic. In 2012, she published her first book, The Invisible Eyes of the Wind. She has published in renowned Chilean and foreign digital media: Babelia (Spain), Letras de Chile (Chile), Triplov and Athena de Portugal, among others. During the year 2017 she participates in the Xaleshem group with poetic texts for the surrealist anthologies: “Composing the illusion” in honor of Ludwig Zeller and “Full Moon”, in honor of Susana Wald. In 2018, she integrates the feminist anthology IXQUIC released both in Europe and in Latin America. In 2020 she participates reviewing the conversation book “Shuffle poetry, Surrealism in Latin America” ​​by Alfonso Peña (Costa Rica), also writes a poetic prose text for the book “Arcano 16, La torre“, by the same author. Likewise, she participates in the book “120 notes of Eros. Written portraits of surrealist women” by Floriano Martins (Brazilian surrealist poet, writer, visual artist and cultural manager). In this year (2021) she publishes her second poetry book Poética de la eroticaamores y desamores by Marciano editores, Santiago.