Deviations in the dark. About bats, veterans, visionaries and philosophers by Wouter Kusters

Collage by Mitchell Pluto

The author, Wouter Kusters, has graciously provided his consent for us to share the article he has written. Source from Vol. 36 No. 4 (2025): Filozofija i društvo / Philosophy and Society / SPIRITUALITY AND CONSCIOUSNESS.

Only adjustments to spelling, specifically incorporating American English standards, have been undertaken; no other changes have been made.

Introduction

Psychosis is often regarded as something pathological, as a mental disorder, social disruption or brain disease. And no doubt it is all of those things. If you dig deep enough, you may well find abnormal neurological processes or structures under the brain scanner. In people’s life histories, determining circumstances can also be found (trauma, drug use, stubbornness) that can be linked to later psychosis. Epidemiological research may also show that there is a correlation between the size of the city where one lives and the likelihood of psychosis (Vassos et al. 2012). Such research is relevant insofar as one wants to prevent and cure psychosis. Here, psychosis is regarded as an event, a process or a condition that is causally linked to other events at various biological, psychological and social levels. In order to try to prevent or cure psychosis, one can then intervene at one or more of these levels. Such research is valuable for the purposes of care and self-care, management and self-management. However, explanations, prevention and cures do not automatically lead to understanding. Do you understand how an alcoholic feels by researching the chemical structure of alcohol? Do you understand a painting when you have analysed the quality of the paint or researched the life of the painter? The difference between explaining a phenomenon and understanding a phenomenon is essential to the distinction between the natural sciences and the humanities. In section 2, I show how we can gain a clearer understanding of madness in the humanities using three figures of thought: the bat, the veteran and the visionary. In section 3, I show how we can directly address the question of madness with philosophy, and I will show how and why, in the practice of psychiatry, in addition to the archetype of ‘the doctor’, that of ‘the sage’ – in the guise of the philosopher – is also necessary. In this article I will use the terms psychosis and madness interchangeably , the former more in contexts where a medical, psychological or psychiatric association and discussion is dominant, the latter more when it comes to the psychotic experience itself and the way in which it is connected to areas of meaning that are communal, cultural and philosophical.

Three figures: bats, veterans and visionaries

Bats

In 1974, Thomas Nagel wrote his famous article What Is It Like to Be a Bat? in which he discussed many thorny issues surrounding consciousness, experience and subjectivity. He argued that an organism has consciousness only when ‘there is something that it is like to be that organism’. Consciousness does not exist without subjective experience, and if we do not understand experience, we cannot say that we have explained consciousness. According to Nagel, subjective experience is connected to ‘a single point of view’; a unique position that is fundamentally inaccessible to others. Nagel argues that no matter how hard we try to analyze and describe a particular form of perception (in his example of the bat, echolocation), we will never truly understand what it is like to be a bat. Translated to our case of psychosis, this means that no matter how much knowledge we may have of psychological factors or neurological abnor-malities, something escapes our knowledge: we still do not understand what it is like to be psychotic. However, we can try to imagine and empathise with the experience (see also Dings, 2023). Just as someone without a womb can try to imagine what it is like to give birth to a child. Or just as someone living in the Netherlands can imagine what it is like to live in Gaza. In all these attempts to understand the other, our own frameworks, our own ‘single point of view’, our own perspective, background and way of speaking continue to play a guiding, stimulating but also limiting role. In order to get closer to another person, to understand him or her better, it is desirable to relativise and transcend one’s own perspective, to break through one’s own role, to suspend one’s own initial judgement – and to multiply ‘single points of view’. When promoting understanding of bats, this can be achieved by allowing and investigating stories about bats that are different from the usual ones. The researcher leaves the anatomical laboratory and immerses him-self in the ecology of bat colonies, their interactions with other life forms, and their way of life, foraging, communication and reproduction. In addition, the bat researcher can also go to the library or listen to folk tales about bats. The question then is: how do mythical animal stories, fairy tales, fables and their modern cinematic variants (Batman!) influence our views and interactions with bats? In the case of psychosis research, this would mean avoiding endless, monomaniacal observations, categorizations, data analyses, and generalizing theories based on a single point of view. Instead, one would argue for a shift towards the multifaceted and unruly practice, where real, living, insane people walk around, and by doing participatory fieldwork there, to gain a better understanding of the ecology of madness, language, and expressions in art and culture (think also of Van Dongen 1994; Bock 2002). In the library, researchers or other interested parties can also find masses of literature, outside the psychiatric discourse, that undermines the assumptions of the medical view. Questions such as those posed by Thomas Nagel concerning the basis of experience, language, and life, have been asked by many philosophers and other thinkers with regard to madness. And stories in which suggestions for answers are given are part of the canon of literary and non-literary fiction and non-fiction. (See Ramirez et al. 2024). A value such as ‘respect for (neuro)diversity’ is indispensable in this context of the pluralistic search for understanding of madness and other variations in experience. In order for single points of view to interact productively with each other, and possibly merge, and to arrive at a story about – or if not, perhaps a glimpse of it – the foundation, the core or the essence of the bat, a leap of imagination is needed, a receptivity to the radically different, a shift in language from identifying description to expression and groundless metaphor. Since everyone’s single point of view ultimately remains essentially unattainable, it is more a matter of a plurality of stories circling around single points of view than of striving for proven but meaningless evidence and generalizations. Which interpretation, which story sounds best, which one is most plausible in which context? Who makes themselves heard, at what pitch, and from what point of view? Nevertheless, the fact remains that at the end of the day, it is only the bat that is a bat, an anomaly in the ho-mogeneous darkness, and it continues its night flight.

Veterans

Now I turn to the second analogy, that of veterans. From the considerations of Nagel and other philosophers who deal with experience, consciousness, in-terpretation and subjectivity, we can learn about what it means to ‘understand something/someone’, and about our relationship with psychosis, with madness, with the other. Nagel’s bats themselves, however, are not particularly concerned about this. They do not talk back to biologists and ecologists. Outside of fables, they do not transform themselves into humans. Those who do talk back are war veterans, war refugees and other people who – willingly or unwillingly – are experts in the field of war. Here I will discuss the case of veterans, since there are such inspiring analogies between this group and people with psychosis. To understand what war is, it might suffice to study history books that explain why wars break out, how the fighting proceeds, and how they end. You could learn lessons about international relations, about how war can be prevented, and how it can be waged. But would you then understand what war really is? For that, you need the stories and eyewitness accounts from those who have experienced it themselves. But why would you want to hear these stories in the first place? Is it curiosity or a thirst for sensation? Sometimes it is similar to the kind of interest that exists for madness, namely, out of a thirst for sen-sation, but often it is more than that.Let us consider war as an analogy for psychosis, and traumatised soldiers and war refugees as people who have experienced psychosis. People listen to the stories of veterans, refugees and people with psychosis in order to care for them and help them. And a great deal of research has already been done on people who have been traumatised by war. As a result, terms such as shell shock, trauma and PTSD have been around for a long time (see Bistoen, 2024). Trauma therapy can be used to treat refugees and (former) soldiers with PTSD, and in a similar way, (former) psychotic patients receive therapies in which they learn to recover further. These are desirable therapies for the management and (self-)management of people with problems. However, in recent years, people have taken a different view of such individual-focused trauma therapy. According to many trauma theories, trauma – and, analogously, psychosis – is an individual, psychological and/or biomedical problem. However, many of those who have escaped war are struggling with feelings and memories that have social, moral and existential implications. They have been ‘affected’ by the war and changed by it, but not necessarily only because they are victims or personally traumatized. Their problem is not a disturbance of their own psychological balance, but concerns the war itself – just as madness is often not about the ‘experience of it’ or the psychological disturbances it causes, but about the madness itself. Anthropologist Tine Molendijk (2021) and social scientist Hend Eltanamly (2024) show that many of the problems experienced by (former) military personnel and refugees revolve around guilt and shame, and that they are not only victims, but can also be perpetrators, bystanders or witnesses. I will describe the case of refugees in the same way as that of veterans, which is not to imply that there are no significant differences between these two groups, but I will refrain from discussing this in this article. War experiences prove to be complex, just like war itself; some long to return to it, while others ‘see’ – and experience war behind the façades of a peaceful society. In her research into moral injury among returning military personnel, Molendijk discusses issues such as moral disorientation, value conflicts, moral detachment, and ethical struggles. She demonstrates that the dynamics between experiences, memories, thoughts, and feelings are not merely an individual process, but are embedded in the way these issues are discussed and perceived in their immediate environment, as well as in the media and society. As with the bat, archetypal images, myths, and stories also play a role in the background. For (self-) control and (self-)restraint, the individual perspective on war trauma is sufficient in some cases. But in order to relate to good and evil, to war and peace as a society, it is important to gain a better understanding of what war is, and it is not just about getting the traumatized back on track to normality. Similar lessons apply to psychosis. To know what psychosis really is, observational research into individual experiences and individual behavior is insufficient. In some cases, my metaphor of war for madness coincides with the madness of war: war trauma can manifest itself as psychosis. Think, for example, of high-profile cases such as that of terrorist schizophrenic Andreas Breivik, the Unabomber, or some of those who joined IS, but also of all those who fled war zones and later became ‘psychotic’. Just like war trauma, psycho-ses are about something, which can be paraphrased as a different world, or a different kind of reality, and only by connecting with the underlying deep-er motives can we learn something that is useful to us beyond (self) manage-ment. Finally, with regard to the war comparison: we can take this even fur-ther, as madness often involves conflict or struggle, although this may refer less obviously to a ‘real’, observable struggle such as that in war. In philosophy, philosophical anthropology and psychology, there is a long history, a library full of theories, views of humanity and the world, according to which life and the soul are fundamentally characterised by struggle, conflict and contradictions. Heraclitus should be mentioned as the first philosopher in this regard, and from there we can follow a family of thinkers, from Hobbes to Nietzsche, Hegel, Deleuze and Haraway, but also Freud and Lacan. In ideas and theories about madness that refer to these thinkers, there is often a tacit assumption that the primary fundamental state is one of chaos, madness or war, and that order, normality and peace are only secondary temporary masks of the deeper truth: deviations in the darkness. Be that as it may, when psychosis is reduced to a neurological abnormality or a mental disorder, we miss the opportunity to reflect on such deeper motives, packed in inevitable tensions and paradox-es within subjectivity and reality, on questions of good and evil, on ontologies and alternative complex meanings, which would be a missed opportunity for all those involved in war and madness. For the case of war, this means that we could better speak of “moral injury” instead of PTSD (see e.g. Molendijk 2021). For the case of madness, we could coin a term like “existential inju-ry”. The crux in both cases is that the “injury” is not only located within the psyche, within the individual, but also reveals something about the situation outside the war, outside the psychosis. In the case of war, this means that a certain moral hypocrisy within society is revealed by the returning veterans. In the case of psychosis, this means that a certain ontological uncertainty is revealed that is also present beneath common sense reality (see Feyaerts et al. 2021, and Kusters, 2020).

Visionaries

In addition to a comparison with bats and veterans, I would like to bring the theme into the domain of prophets, visionaries, religious founders and sect leaders. In earlier times, there was more receptivity to what we now characterize as religious language, religious beliefs and religious experiences. Those who reported on their experiences, adventures and developments, their world-view and views on reality, as well as their inner struggles and conflicts, did so against a backdrop in which supernatural, religious or spiritual spheres and concepts were self-evident. For concerns, special thoughts and insights, one could turn to religion and to those who claim to know more about it. This is still possible today, as God’s house has no locks on the door, but the first choice in cases of spiritual distress is often that of the doctor or psychologist in the agnostic medical field, which is permeated by a scientific secular attitude and a single point of view on knowledge. Moreover, when one attempts to understand madness in such a detached ‘expert’ manner, one does so from a worldview in which there is little or no room for religious experiences or spirituality. Nevertheless, people often talk about something like spirituality, both those who were ‘in the madness’ themselves and their loved ones. We could consider this spirituality as part of those possible metaphorical stories revolving around that single point of view (see the bat parallel), or as expressions of experiences and feelings that cannot be reduced to an individualistic trauma approach (see the veteran parallel). However, much of what is classified as spirituality has its own dimension: a language with accompanying practices that can be called religious. As far as madness is concerned, this dimension includes messages from self-proclaimed prophets, visions from alleged visionaries, complex expressions of religious ecstasy from those who have seen the light or received other signs from the other side. Sometimes, however, all this is just accepted as ‘part of a possible metaphorical story’. Then the first acute religious/psychotic experiences, the first ecstasies and raw expressions are somewhat tempered, cast into a narrative form, thereby normalised and thus made communicable. That is to say, a narrative approach may reveal something, but may also hide those aspects of experience that essentially resist narration (see Saville Smith 2023). Incorporation into a narrative can be done by the person making the interpretations – whether that is the ‘mad(wo)man’ herself, a second person addressed, or a third person who observes and analyses the mad state. The un-folding, storage and interpretation of mad language and experience within an appealing larger and protective discourse, such as that of religion, nevertheless seems attractive, and it is understandable that compartmentalization in mental health care has also led to the specialism of spiritual care. But then still, even if the proverbial bat and the stray sheep are welcomed by a spiritual counsellor into the bosom of a religious circle, each specific religious movement also imposes its own standards. There is a long tradition of separating the wheat from the chaff, the ‘good news’ (the ‘evangelism’ – etymologically: eu-angelos, good news) from the bad, namely the devilish whis-perings and temptations of selfishness and evil. In other words, the spiritual counsellor must also distinguish between supposed individual pathology and genuine religiosity (see, for example, the many discursive twists and turns that spiritual counsellors such as Ypma and Arends have to contort themselves into). Questions about authority, the legitimacy of judgements, interpretations of experiences and choices of interpretative frameworks are just as thorny and com-plex problems here as they are in neurobiological or psychological approaches. In addition, in the larger context of society, with its diverse range of care practices, there is also a tendency to promote and sell one’s own discourse, practices, and religion in a market of well-being and happiness, in competition with neurobiological medicines and psychological talk therapies. Results are measured in terms of success, normalisation, healing – and ultimately in terms of financial profit and loss. And so religion and a religious approach to madness can gradually change from an attempt to understand madness into a tool for managing madness. The religious sphere is then changed and transformed, ‘made productive’, into one of the many tools that can be used not so much to understand madness, but to suppress or destroy it (think in this context of empirical quantitative research into ‘the usefulness’ of religion as protection against mental disorders; for an overview study, see e.g. Hoenders and Braam 2020). For pragmatic purposes within our fluid, fast-paced, pro-duction-consumption society, this may make sense, but in order to refine and broaden our understanding of madness, a broader and deeper reflection on and critique of religion itself is needed (compare Saville-Smith’s attempt (2023) to safeguard what he calls ‘acute religious experience’ from both reduction and instrumentalisation by established religions and by established psychopatho-logical frameworks). Finally, a reflection on madness that focuses on the ques-tion of the degree of religiosity in the experience can say little about actual cases of violent religious madness when the social, moral and political context is left out of consideration.

Mad philosophising

So far, I have described philosophical circumlocutions, via the bat, the veteran and the visionary, to show what kinds of philosophical and other considerations play a role in the broad field of psychiatry and philosophy. In a narrower subfield, research questions and philosophical reflections are often reduced to a few key questions, largely driven by the concerns, problems and discussions between psychiatrists and other healthcare providers. An important one is the classic discussion surrounding body-mind issues: should patients be treated for something psychological or something physical? Is a psychiatric disorder something that can be remedied by talking – affecting the psyche, or primarily by medication – affecting the body? Within this narrower type of philosophy of psychiatry, the question of this bio-psycho pair is leading, and the philosophical discussion revolves around that apparent contradiction. Those who speak about psychosis, about madness, are experts in either the bio or psycho approach to human beings, and insofar as there are any ‘real patients’ involved in this debate, they function more as data suppliers or consumers (with questions such as: ‘Was what you experienced something with which talking helped, or did you mainly benefit from medication?’) who function more as numbers in statistics than as experts intimately informed about madness. In this kind of philosophy of psychiatry – in the narrower sense – the problematic position in the workplace is in fact repeated: the observer, the psychiatrist or psychologist, has knowledge of statistically substantiated generalizations, reflects on them, and the patient has a problem that needs to be managed and solved with the cheapest possible tools. Therefore, much of this philosophy of psychiatry ultimately revolves around the question of what the most efficient (self-) management methods are, whereby understanding what is being managed away is considered irrelevant. In the paragraph above, I argue that the language and experience of madness itself already escapes the framework of psychopathology, and that it boundlessly follows its nocturnal flight, its deviation in the dark, through domains that are fundamentally terra incognita, proverbial war zones, where in harmonious times of peace and harmony one would rather not set foot, and where one prefers to keep everything controllable and manageable from a distance. Better no people there! But robots, drones and ‘fighting machines’! Better to combat the disturbed, non-functional functioning of the amygdala or hippocampus with a laboratory-tested drug than to wrestle with the angel like Biblical Jacob. In the following paragraphs, I will show some of these struggles, without neutralising them through the distant, controlled – and controlling – language of psychiatry. In the rest of this article, drawing on the more extensive and refined understanding of madness that we have gained from the three figures of thought, I will focus solely on these two, on the two ‘single views’ of philosophy and madness, on their mutual relationship, their contradictions, their similarities, and the ways in which they can together give rise to meaningful and meaningless new languages and practices.

Perplexity and hyperreflection

What philosophical movements and perspectives – what single points of view – can we discern in madness? Let us explore this by assuming that the mad person may not always write fully developed philosophical research papers, but that he or she is a kind of proto-, crypto- or para-philosopher (see Feyaerts et al. 2021). What structures and themes do we find? We find access to the do-main where madness is the principle of philosophy through the terms ‘perplexity’ and ‘hyperreflection’ from psychiatry. The most widely used handbook in psychiatry, the DSM, lists ‘confusion or perplexity’ as a characteristic of the peak of a psychotic episode. Anton Boisen, a theologian who was personally acquainted with madness, noted (1942: 24):

The madman feels absorbed into an eerie and mysterious realm. The generally accepted principles of judgement and reasoning have disappeared. He no longer knows what to believe. His condition is one of utter perplexity regarding the essential foundations of his existence. Questions such as ‘Who am I?’, ‘What is my role in life?’ and ‘What is the universe in which I live?’ become matters of life and death.

Such testimonies of insane confusion and perplexity are legion. The term ‘hyperreflection’ also comes from (phenomenological) psychiatry. Instead of the insane person thinking too little or incorrectly, this refers to the overwhelming intensity and speed of self-conscious thinking in psychosis. Louis Sass states (2003: 155): ‘Hyperreflexivity refers to a kind of exaggerated self-awareness, a tendency towards objectifying attention that focuses on processes and phenomena that one normally experiences as part of oneself. Edward Podvoll (1990: 190) says: “Everything in the mind multiplies: forming clones, branching out into endless varieties of itself, without ever tiring, producing a jungle of new types of thoughts, an insatiable evolution that fills the whole world.” In psychiatry, such a combination of perplexity and hyperreflection is usually considered a ‘disturbed’ experience (note commonly used terms such as ‘exaggerated’ and ‘excessive’ in the definitions), because it often hinders functioning in everyday practice (see, for example, Fuchs, 2020). Hyperreflectivity is often considered and described as ‘delayed consciousness’, as the connection with the environment seems to be slower and more difficult. The experience itself, on the other hand, is often perceived as ‘accelerated’ – an acceleration that caus-es one to leave the slower rhythms of everyday life behind and lose contact.In a philosophical mode, we can relate perplexity and hyperreflection to the basis of philosophy, namely, wonder and reflection. Madness as a combi-nation of perplexity and hyperreflection can then be considered ‘paraphilosophy’, ‘protophilosophy’, or perhaps ‘hyper-philosophy’, driven by the same – but more intense – impulses as ordinary philosophy (see also Derix 2024). When we analyse the expressions of madness more closely, we can distinguish three (linguistic) types of expression in which such proto-philosophy of mad-ness is reflected. First of all, there is the domain of natural language. This is available to everyone, and the madman uses it to articulate his experiences, to say what is going on. Personal backgrounds resonate here, but in general, the means of everyday language are used to try with all one’s might to express something unusual. Consider the enigmatic remarks of the German schizophrenic writ-er Harald Kaas:

When madness rises like water and passes the high-water mark, there are moments when something is revealed that you cannot speak about openly. That is why it is most clearly announced in the stammering of those who have been burned by its light and who are condemned to remain silent about it for the rest of their lives. (Kaas 1979: 61)

In madness, ordinary language explodes and turns into an infinite game of transformations and reflections of signifiers and signifieds, in which the metaphorical character is striking. Some metaphors stand out, such as those of light and dark, fullness and emptiness, and that of fluid and fire. A second domain of expression is the language of mysticism, religion and spirituality – already discussed above in the context of the visionary. It should come as no surprise that extraordinary experiences are described using language from a domain that deals with extraordinary phenomena, questions and problems concerning life and death, good and evil. Terms such as ‘revelation’, ‘enlightenment’, ‘rebirth’ and ‘apocalypse’ are therefore common in delusional discourse. It should be noted here that the avoidance of religious language in most psychiatric practices has not resulted in a more meaningful discourse for developing viable, meaningful narratives from the mad proto-philosophy. Outside of the practices of psychiatry, however, academic medical anthropology has managed to record meaningful narratives (see, for example, Pandolfo 2018 and Van Dongen 1994). In practice, however, the mad(wo)man with their meaningful experiences often ends up out of the frying pan into the fire of med-ical disease discourse, with or without a quasi-spiritual sauce. Charles Taylor (2007: 809) makes a sharp observation on this subject: “The discarding of re-ligion was intended to liberate us, to give us our full dignity as acting persons by shaking off the tutelage of religion, and thus of the church, and thus of the clergy. But now we are forced to turn to new experts, to therapists and doctors who exercise the kind of control appropriate to blind and compulsive mecha-nisms and who may even administer drugs to us. Our sick selves are addressed even more condescendingly than the believers of yesteryear in the churches; they are treated merely as objects.” However, as I described earlier, this does not imply that the specialised branch of mental health care known as spiritual care could always provide an appropriate place for the insane.A third expression of proto-philosophy is… philosophy itself. There is no lan-guage or philosophical approach capable of adequately expressing the domain of madness, since it is a domain where language, experience and reflection are (still and again) inseparable, where receptivity to the world is on the same level of experience as the interpretation and creation of the world (see also the dis-cussion at the end of 2.2). But when madness does speak, the most obvious types of philosophy are those that revolve around such complexities and are closely related to the issues and themes of mysticism, spirituality and religion. These are philosophies that are closely linked to the moment of wonder (and perplex-ity) and are not yet too deeply entangled in their own discourse or tradition. When we consider the floating cosmologies, the comprehensive systems and textual reveries that developed further from mad proto-philosophy, we see some common features. First of all, there is a tendency towards monism. The path to madness is characterized by boundary-crossing thinking; a tendency burned by its light and who are condemned to remain silent about it for the rest of their lives. (Kaas 1979: 61) In madness, ordinary language explodes and turns into an infinite game of transformations and reflections of signifiers and signifieds, in which the metaphorical character is striking. Some metaphors stand out, such as those of light and dark, fullness and emptiness, and that of fluid and fire. A second domain of expression is the language of mysticism, religion and spirituality – already discussed above in the context of the visionary. It should come as no surprise that extraordinary experiences are described using language from a domain that deals with extraordinary phenomena, questions and problems concerning life and death, good and evil. Terms such as ‘revelation’, ‘enlightenment’, ‘rebirth’ and ‘apocalypse’ are therefore common in delusion-al discourse. It should be noted here that the avoidance of religious language in most psychiatric practices has not resulted in a more meaningful discourse for developing viable, meaningful narratives from the mad proto-philosophy. Outside of the practices of psychiatry, however, academic medical anthropology has managed to record meaningful narratives (see, for example, Pandolfo 2018 and Van Dongen 1994). In practice, however, the mad (wo)man with their meaningful experiences often ends up out of the frying pan into the fire of medical disease discourse, with or without a quasi-spiritual sauce. Charles Taylor (2007: 809) makes a sharp observation on this subject: “The discarding of religion was intended to liberate us, to give us our full dignity as acting persons by shaking off the tutelage of religion, and thus of the church, and thus of the clergy. But now we are forced to turn to new experts, to therapists and doctors who exercise the kind of control appropriate to blind and compulsive mechanisms and who may even administer drugs to us. Our sick selves are addressed even more condescendingly than the believers of yesteryear in the churches; they are treated merely as objects.” However, as I described earlier, this does not imply that the specialized branch of mental health care known as spiritual care could always provide an appropriate place for the insane. A third expression of proto-philosophy is… philosophy itself. There is no language or philosophical approach capable of adequately expressing the domain of madness, since it is a domain where language, experience and reflection are (still and again) inseparable, where receptivity to the world is on the same level of experience as the interpretation and creation of the world (see also the discussion at the end of 2.2). But when madness does speak, the most obvious types of philosophy are those that revolve around such complexities and are closely related to the issues and themes of mysticism, spirituality and religion. These are philosophies that are closely linked to the moment of wonder (and perplex-ity) and are not yet too deeply entangled in their own discourse or tradition. When we consider the floating cosmologies, the comprehensive systems and textual reveries that developed further from mad proto-philosophy, we see some common features. First of all, there is a tendency towards monism. The path to madness is characterized by boundary-crossing thinking; a tendency the opposition between philosophy and madness, not to wash away, with the removal of the traditional philosophical bathwater, that child called madness, which is like a deviation in the darkness of chaos.

In conclusion

The thrust of this article is that more understanding and more philosophy are needed when thinking about madness, and I hope to have offered some ideas, perspectives and possibilities in this article. I first sought greater refinement and understanding with three figures of thought, and then took the bull of philosophy directly by the horns. In doing so, I was critical of the limiting and one-sided discourse of psychiatry, as well as that of a philosophically inspired form of psychiatry, in which philosophy is used only instrumentally: as a means to improve psychiatry and better manage the patient’s health, rather than as a domain of fundamental questions and transdisciplinary reflections. This does not mean that the questions of the philosophy of psychiatry in the narrower sense are nonsensical; on the contrary, they are essential to the ins and outs of mental health care practice and must be heard and spoken aloud. However, when we talk about a philosophy of psychiatry in a broader sense, it is not self-evident who has the first word and who has the last, nor who should be heard first and who last. In this respect, there is an underground struggle or conflict between the archetypes of the sage, the doctor, and the madman. It is up to us — to para- and hyper-philosophers, but also to those who feel no need for prefixes to the title of philosopher — to transform such a struggle into a verbal and non-verbal interplay which, although ‘nothing remains’, ul-timately gives Jacob’s struggle with the angel the appearance of a dance, as a livable deviation in the darkness.

References

Arends, Cor. 2014. If Billy Sunday Comes to Town—Delusion as a Religious Experience: The Biography of Anton T. Boisen from the Perspective of Foundational Theology. Zurich/Berlin: LIT Verlag.Bistoen, Gregory. 2024. “Traumaherstel zonder methodisch houvast.” In: Kusters, Wouter, ed. Trauma en waarheid. Leusden: ISVW Uitgeverij: pp.: 99–118.Bock, Thomas. 2002. Psychosen zonder psychiatrie. [Dutch translation of Lichtjahre, Psychosen ohne Psychiatrie, 2001, Psychiatrie Verlag, by M. Stoltenkamp]. Utrecht: Candide.Boisen, Anton T. 1942. The Form and Content of Schizophrenic Thinking, Psychiatry5: 23– 33.Derix, Govert. 2024. Hyperfilosofie. Op zoek naar wijsheid in onwijze tijden. Utrecht: Magonia.Dings, Roy. 2023. Experiential knowledge: From philosophical debate to health care practice? Journal of Evaluation in Clinical Practice 29 (7): 1119–1126.Dongen, Els van. 1994. Zwervers, knutselaars, strategen. Gesprekken met psychotische mensen.University of Utrecht: Dissertation.
SPIRITuALITY AND CONSCIOuSNESS │ 863Eltanamly, Hend. 2024. “Oorlog, vlucht en ouderschap.” In: Kusters, Wouter, ed. Trauma en waarheid. Als taal tekortschiet. Leusden: ISVW Uitgevers: pp.: 33–50.Feyaerts, Jasper, Wouter Kusters, Zeno Van Duppen, Stijn Vanheule, Inez Myin-Germeys, and Louis Sass. 2021. Uncovering the realities of delusional experience in schizophrenia: a qualitative phenomenological study in Belgium. Lancet Psychiatry 8(9):784–796.Fuchs, Thomas. 2020. “Psychopathologie der Hyperreflexivität.” In: Randzonen der Erfahrung. Beiträge zut phänomenologischen Psychopathologie. Freiburg: Karl Alber Verlag: pp.: 21-43.Hoenders, Rogier, and Arjan Braam. 2020. The role of spirituality in psychiatry: important but still unclear. Tijdschrift voor psychiatrie62: 955–959.Jaspers, Karl. 1955. Schelling. München: Piper Verlag.Kaas, Harald. 1979. Uhren und Meere: Erzählungen. Munich: Hanser Verlag.Kusters, Wouter. 2020 [2014]. A Philosophy of Madness. The Experience of Psychotic Thinking. [translated from the Dutch Filosofie van de waanzin. Fundamentele en grensoverschrijdende inzichten. Rotterdam: Lemniscaat.] Cambridge (MA): MIT Press. Molendijk, Tine. 2021. Moral Injury and Soldiers in Conflict. Political Practices and Public Perceptions. London: Routledge.__. 2024. “Oorlog als ontdekking van de waarheid.” In: Kusters, Wouter, ed. Trauma en waarheid. Als taal tekortschiet. Leusden: ISVW Uitgevers: pp.: 17–32Nagel, Thomas. 1974. What Is It Like to Be a Bat? The Philosophical Review 83 (4): 435–450.Pandolfo, Stefania. 2018. Knot of the Soul. Madness, Psychoanalysis, Islam. Chicago: Chicago University Press.Podvoll, Edward. 1990. The Seduction of Madness: Revolutionary Insights into the World of Psychosis and a Compassionate Approach to Recovery at Home. New York: HarperCollins.Ramírez-Bermúdez, Jesús, Ximena González-Grandón,, and Rosa Aurora Chávez. 2024. Clinical narrative and the painful side of conscious experience. Philosophical Psychology 38 (1): 353–377.Sass, Louis A. 2003. ‘Negative Symptoms’, Schizophrenia, and the Self, International Journal of Psychology and Psychological Therapy 3(2): 153–180.Saville-Smith, Richard. 2023. Acute religious experiences. Madness, psychosis and religious studies. London: Bloomsbury Publishing.Schelling, Friedrich W. J. 2006 [1815]. The Ages of the World. [Translated by Jason M. Wirth from the original Die Weltalter]. New York: State University of New York Press. Taylor, Charles. 2007. A Secular Age. Cambridge, MA: Harvard University Press. Vassos, Evangelos, Carsten B Pedersen, Robin M Murray, David A Collier, and Cathryn M Lewis. 2012. Meta-Analysis of the Association of Urbanicity with Schizophrenia. Schizophrenia Bulletin, 38 (6): 1118–1123. Ypma, Sytze. 2001. Tussen God en gekte. Een studie over zekerheid en symbolisering in psychose en geloven. Rijksuniversiteit Groningen: Dissertation.

Wouter Kusters is a Dutch philosopher and linguist. He is the author of Filosofie van de waanzin which was awarded with the Socrates Award in 2015 for the best philosophy book in Dutch. In 2005 he published a smaller essay “Pure waanzin” (Pure Madness) in Dutch, that also won the Socrates Award. A Philosophy of Madness has been published in English in December 2020 at MIT Press.

Auntie Etha’s Cow-Lip Tea by P.D. Newman

AUNTIE ETHA’S COW-LIP TEA: An Early Case of the Use of a Coprophilous, Possibly Entheogenic, Fungus in African American Folk Healing

Ron Hall and Denver Moore’

written by ©P.D. Newman

The psychedelic, psilocybin-rich species, Psilocybe cubensis, is a coprophilous mushroom. This means that it can only subsist in the wild upon the dung of certain animals, especially cattle. While native to Cuba (hence cubensis), this fantastic fungus has been documented in a number of southern states, including Florida, Georgia, Alabama, Mississippi, Tennessee, Arkansas, Louisiana, Texas, South Carolina, North Carolina, and even as far north as Oklahoma, Virginia, and West Virginia—albeit rarely in these latter three. The species is also found in Hawaii. It was in the state of Louisiana, however, amidst its humid cattle fields and dank, swampy marshes, where African American sharecropper, Denver Moore—then just a boy—first underwent what may be an early example of psilocybin mushroom use in North America.

As the book says, Ron Hall and Denver Moore’s New York Times Bestseller, Same Kind of Different as Me—an amazing true tale of a modern-day slave, an international art dealer, and an unlikely woman who brought them together—is a story filled with hardship, betrayal, and the brutality that lines the hearts of some men. But, it’s also a story of hope and perseverance, mottled throughout with thought-provoking anecdotes about black life in the Deep South in the 1950s. Descended from African American slaves, Denver Moore was raised on a scorching southern plantation near the alligator-riddled, mosquito-infested swamps of Louisiana. Having very few monetary resources, Moore was blessed to have an incredibly resourceful wise woman of an aunt, a Conjure woman—called Auntie Etha—who, with the aid of traditional African American folk remedies, was able to help the Moore family make the most of an often difficult situation. Moore recalls,

Lookin back on it, I think Auntie was what you might call a spiritual healer, like a ‘medicine man,’ cept she was an elderly woman. […] Big Mama made me go show my respect and also to help Auntie gather up the fixins for her medicines.

She used to take me with her down by the swamp where she’d be gatherin up some leaves and roots. […] ‘Now Li’l Buddy, this here’s for takin the pain out of a wound,’ she’d say, pullin up a root and shakin off the earth. ‘And this here’s for pneumonia.’

[…] She had a room in her house with a big table in it covered with jars in all kinda sizes.

See them jars?’ she told me one time.

Yes, ma’am.’

In each of em, I got somethin for anything that happens to you.’

[…] She had some kinda spiritual thing goin on in that house. Every time I went in there, she made me sit on a little stool in the same spot, even facin in the same direction, like she didn’t want me to mess up whatever voodoo she had goin on in there.

Moore’s charming description of Auntie Etha clearly betrays her as a practitioner of Hoodoo, known in the Mississippi Delta as a “Rootwork” or “Conjure,” even going so far as to evoke the term, “voodoo,” in his account.

Hoodoo, a traditional African American spirituality that arose from several West African traditions as the same were imported into the New World, may not be stranger to psychoactive plants. For instance, while not entheogenic itself, one of the most common charms carried by Conjure practitioners is the root ball of the Ipomoea jalapa vine, referred to as a “High John the Conqueroo” root. Some species of Ipomoea (morning glory), such as Ipomoea tricolor and Ipomoea corymbosa, are possessed of the hallucinogenic compound, ergine, also known as d-lysergic acid amide (LSA)—a close cousin to Albert Hofmann’s “problem child,” lysergic acid diethylamide (LSD-25). In 1938, Ipomoea corymbosa (formerly Rivea corymbosa), for example, was discovered by American biologist, Richard Evans Schultes, to solve to problem of the identity of the ancient Mexican hallucinogen, Ololiuqui. The formidable effects of Ololiuqui were noted in the colonial document, The Florentine Codex, from the 16th century:

It inebriates one; it makes one crazy, stirs one up, makes one mad, makes one possessed. He who eats of it, he who drinks of it, sees many things that will make him afraid to a high degree. He is truly terrified of the great snake that he sees for this reason.

Francisco Hernandez, the famous Spanish physician, also discussed Ololiuqui in his book, Rerum medicarum Novae Hispaniae thesarus:

When the priests of the indians wish to commune with the spirits of the dead, they eat these seeds to induce a delirium and then see thousands of satanic figures and phantoms around them.

Ergo, there was already a history of the Native use of hallucinogenic morning glories in the Americas long before the arrival of African slaves. But, that doesn’t necessarily mean they learned of jalapa through Native Americans.

Century Illustrated Magazine (1881-1906), XLI, 825.

Before going any further, it is important to note that some African cultures are known to be in possession of their own rich, entheogenic traditions—independent of the export of African slaves to the New World. The Bwiti cult found among the Puna, Mitsogo, and Fang tribes in Gabon and Cameroon, for instance, employ the inebriating root bark of the West African shrub, Tabernanthe iboga, in their lively initiations. Like the “High John the Conqueroo” charms cherished by Southern practitioners of Hoodoo in North America, iboga is harvested from the roots of the shrub, linking the Bwiti cult, at least in spirit, to the black “rootwork” of Southern Hoodoo—a tradition whose own roots are to be sought in the religious practices of the Bantu of the former Kingdom of Kongo in west-central Africa. In fact, when iboga was first documented by the West, English traveler and author, Thomas Edward Bowdich, reported that,

The Eroga, a favourite but violent medicine, is no doubt a fungus, for they describe it as growing on a tree called the Ocamboo, when decaying; they burn it first, and take as much as would lay on a shilling.

While this Englishman is no doubt in confusion regarding the identity of iboga, his observation suggests that some species of fungus was sacred to the Indigenous of the area. And, indeed, a tree fungus, known as tondo, was in fact central to the construction of nkisi statues, whose “kondu gland”—a hollow chamber in the belly of the statue—held samples of the unidentified specimen. One Bantu nganga, making an offering of the mushroom to the spirits, referred to tondo as “the key that opens everything.” The Kongolese and African American practice of surrounding the gravesite of a loved one with inverted plates and saucers, often resting atop poles or sticks, was believed to imitate the appearance of mushrooms around the burial. According to one source, this curious form of grave decoration was meant to recall and old Kongo play on words: tondo / matondo. For, in Bantu, the word for mushroom (tondo) is similar to the word for “to love” (matondo).

Power Figure (Nkisi N’Kondi: Mangaaka), Kongo peoples, mid to late nineteenth century, wood, paint, metal, resin, ceramic, 118 x 49.5 x 39.4 cm, Democratic Republic of Congo. Medicinal combinations called bilongo are sometimes stored in the head of the figure but frequently in the belly of the figure, which is shielded by a piece of glass, mirror, or other reflective surface. (The Metropolitan Museum of Art)

To return to the Americas, Schultes also identified the Aztec psychedelic, Teonanácatl, as belonging to the Psilocybe genus. But, Denver Moore’s would appear to be the first account of the possible use of a psilocybin mushroom within the context of Conjure, as the same was practiced by African American slaves in the Deep South. Many Hoodoo practices continue to be shrouded in secrecy. So, it may be impossible to determine just how far back this tradition among African Americans extends. But, as the famous Tennessee Hoodoo practitioner, Doc “Wash” Harris, founder of the infamous Saint Paul Spiritual Holy Temple in Memphis—inappropriately known by locals as “Voodoo Village”—once said in an interview with the Commercial Appeal in 1984,

God told the black man and the Indian somethings he didn’t tell nobody else.

One of those things may have concerned the powerful effects of a particular species of dung-loving mushroom.

Reminiscing about his great, wise Auntie, Moore briefly continues,

Aunt Etha took care of our bodies and souls. Mostly we never got very sick, but when we did, my auntie sure ‘nough had the cure: Somethin she called ‘cow-lip tea.’

Now cow-lip tea was brown and thin, kinda like the Lipton tea the Man sold at his store, but a durn sight more powerful. Cow-lip tea come from them white toadstools that sprout outta cow patties. […] That’s where cow-lip tea got its name. ‘Cow’ from the cow patties and ‘lip’ from the Lipton. Least that’s what Aunt Etha always told me.

The way you make cow-lip tea is you get the toadstools […] and grind em up in the sifter. [You] put it in a rag and tie a knot on top. Then you add a little honey to a boilin pot and drop that rag in the water til it bubbles up and turns good and brown. Now you got cow-lip tea.

If I was sick, Aunt Etha’d always make me drink a canful.

All good medicine tastes bad!’ she’d say, then put me in the bed underneath a whole pile a’ covers, no matter whether it was summertime or wintertime. In the mornin, the bed’d be soppin wet and the sheets’d be all yella, but I’d always be healed. I was nearly grown before I figured out what I was drinkin.

This historical narrative is simply amazing. Psilocybin mushrooms weren’t brought to the attention of the broader West until 1957, with the publication of the paradigm-shifting photo essay, “Seeking the Magic Mushroom,” in LIFE magazine by R. Gordon Wasson—the “father of ethnomycology.” Moore’s account is at least contemporaneous with Wasson’s publication. But, considering that this particular treatment was likely a timeworn tradition handed down to Auntie Etha by her own teacher(s), it is very probable that this particular use of the fungus went back much earlier than the time of Moore or his Auntie Etha. While no psychedelic effects were noted by the author, the mere fact the mushroom tea was administered in a medicinal context, to treat a sick boy, is highly significant. For, the Mazatec ceremony to which Mexican curandera, María Sabina, invited Wasson, the same wherein the psilocybin mushrooms were ingested, was also explicitly medicinal—velada being the traditional name given to the mushroom healing vigils carried out by Mazatec “shamans.” Moreover, if Moore was administered Auntie Etha’s tea while suffering a high fever, any psychedelic effects—including hallucinations—may have simply been attributed to the symptoms of the contracted illness.

“Seeking the Magic Mushroom,” in LIFE magazine by R. Gordon Wasson 1957

Importantly, Moore’s account is not the sole evidence of the use of entheogenic concoctions in the practice of Hoodoo. Over twenty years before the experience described in Same Kind of Different as Me, African American author, Zora Neale Hurston, in her 1935 classic, Mules and Men, revealed her own experience with what is quite clearly a powerful yet unnamed hallucinogen.

I had to fast and “seek,” shut in a room that had been purged by smoke. Twenty-four hours without food except a special wine that was fed to me every four hours. It did not make me drunk in the accepted sense of the word. I merely seemed to lose my body, my mind seemed very clear. […] Maybe I went off in a trance. Great beast-like creatures thundered up to the circle from all sides. Indescribable noises, sights, feelings. Death was at hand! Seemed unavoidable! I don’t know.

While Hurston’s report does not mention hallucinogenic fungi specifically (or any other substance for that matter), the obvious psychedelic nature of her account is a good indication that entheogenic plants were not unknown to Hoodoo practitioners such as Denver Moore’s Auntie Etha.

Miguel Covarrubias’ Illustration for “Mules and Men” Zora Neale Hurston/ Lippincott, Philadelphia, 1935

 Denver Moore passed away in 2012, so we were unable to interview him concerning his spectacular narration. But, it is our hope that Moore and his Auntie Etha would have been proud to know that their legacy not only lives on, but it may change the narrative as we know it regarding both the history of ethnomycology and the practices of Hoodoo and folk medicine among African Americans living in the Deep South.

Quimbisero + Polypharmakos + Alchemist + Theurgist + Marseillaise Tarotist 

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of FreemasonryAngels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023.

Theurgy: Theory and Practice: The Mysteries of the Ascent to the Divine by P.D. Newman, published by Inner Traditions, Bear & Company will be available on December 5, 2023

Transhumancia by C Rodriguez Lanfranco

-Trashumancia-

Allí se ubicaron en un improvisado toldo levantado con ramas de calafate,
apoyados bajo una gigantesca roca
que le daba la espalda al viento que corría desde el NorEste
y que traía las nubes del Atlántico.

La fogata ardió esta vez a cargo Ocetán
quien no tardó en reunir material combustible
para alimentar las llamas
y depositar cuidadosamente sobre el suelo
los hongos recolectados durante su pasada
por los faldeos de la Sierra Boquerón.

Extrajo de su bolsa (mujii)
los hongos y raíces que forman la dieta
invernal del fueguino
hongos que crecen sobre el suelo
esponjoso de los pantanos
donde sus raíces pequeñas se internan
quedando solo visible la parte superior
algo más colorida por la acción de la luz.

El sabroso shanamain, el suave y
transparente Ahuichi, cubierto de pintas blancas y rojas
la chahuata que crece allí en todos los árboles vivos
y el lechoso chagadakaamáin
que sabe muy bien asado
cubierto entre las cenizas calientes del fuego.

Mientras los ojos de ella ardían en la noche
Selcha hurgueteó en el componente mineral
que formaba las rocas
y con el pehí (cuchillo) raspó hasta dar con una veta
de marcado tono rojizo que llamó su atención
por la inusual extensión que ocupaba en la superficie del granito

Derritiendo luego un trozo de grasa de guanaco
y separando la roca del pigmento, mezcló ambos
logrando una masa colorida y viscosa
que afinó machacándola en un improvisado mortero
ubicado en la roca.

Untó los dedos en la pintura tibia
dibujando primero en su cuerpo y
luego en el de su pareja desnuda
la simbología de su clan
y mientras el silencio de la noche
se apoderaba de ese paisaje solitario,
se alimentaron bajo las estrellas,
al alero de estos grandes bloques
abandonados por antiguas glaciaciones
sobre la inmensidad de la pampa,
allí donde durante milenios
la luz de la luna recortaba sus pálidas siluetas graníticas
en el azul de la noche,
anunciándolas mucho más inmensas y misteriosas
que durante los angostos días antárticos.

Entonces
sólo el aullido de algún animal nochero
se hacía sentir muy lejano
trazando su oscuro guión en la noche,
y pronto ambos se durmieron
abrazados por la naturaleza que sabiamente
todo lo acoge

-DCXCI-

“Trashumancia”, poema inédito del libro “Cuando la Tierra se Acaba”,
de Claudio Rodriguez Lanfranco.

written by ©CLAUDIO RODRIGUEZ LANFRANCO

CLAUDIO RODRIGUEZ LANFRANCO

born in Valparaíso in 1968. After living in Patagonia and in the United States, a product of a scholarship, his first painting exhibitions back to the nineties in Valdivia. Later he moved to Santiago and the Fifth Region, where his visual and literary work materializes in a body of work that addresses different forms of expression, such as painting and drawing, experimental and documentary video, visual poetry and muralism, with public art projects installed in Santiago, Valparaíso. As a visual artist he has exhibited his paintings in 15 solo shows and in more than 60 group shows in Chile, Europe and the United States, and his poetic texts have been published in regional, national and international poetry collections, his work being awarded in different state funds for artistic creation such as Fondart, Cntv, Fondo Carnavales Cultural Centers of Valparaíso, among others. Currently the painter lives and works between Valparaíso, Santiago and Concón, where he develops his artistic projects and teacher training, being in charge of university graduates, painting and mural workshops, becoming a teacher for generations of students and artists who have worked with him.

My Little Selk’nam Army by C Rodriguez Lanfranco

 MY LITTLE SELK’NAM ARMY IS A PAINTING WITHOUT ANY RUSH AND THAT HAS BEEN CREATED OVER TIME, FORMING A VISUAL ASSEMBLY STILL UNDER CONSTRUCTION MADE IN PRINCIPLE FROM THE PHOTOGRAPHIC RECORDS OF MARTÍN GUSINDE AND OTHER STYLE ARCHIVES , BUT WHICH THEN WAS INSTALLED WITH ITS OWN IMAGINARY. WITH THIS WORK I ALSO PAY A DEBT TO MY HISTORY AS A PAINTER, BODY PAINTING BEING ONE OF THE THEMES THAT HAS DIAGONALLY CROSSED ALL OF MY WORK.

“MY LITTLE SELKNAM ARMY” IT IS AN EXERCISE OF REPRESENTATION THROUGH PAINTING OF THIS RITUAL PATTERN OF FUEGIAN CREATION: AN AESTHETIC RELATIONSHIP WITH THE SUPERNATURAL AND A WAY OF UPDATING THE MYTH OF ORIGIN THROUGH A PROPOSAL FOR CONTEMPORARY CREATION THAT AT THE SAME TIME SEEKS TO RESIST FORGETTING.

-ASPECTS OF ETERNAL ADOLESCENCE-

A COUPLE OF NIGHTS AGO I LISTENED TO A SPECIALIST IN THEMES OF EMOTIONAL GROWTH -A SOCIOLOGIST I BELIEVE- TALK ABOUT THE BEHAVIOR OF MODERN ADOLESCENTS WITH REGARD TO THEIR INTEGRATION INTO THE ENVIRONMENT AND OTHER BEHAVIORS RELATED TO THEIR SOCIAL AND GROUP VALIDATION. QUITE KNOWLEDGEABLE ON THESE ISSUES, THE SOCIOLOGIST EXPLAINED CLEARLY REFERRING TO THE IMPORTANCE OF THE LOSS OF RITES OF PASSAGE IN CURRENT SOCIETIES, WHICH WOULD MEAN FOR THE ADOLESCENT GROUP TODAY, A STRONG DEFICIENCY IN THE SOCIAL AND PERSONAL AFFECTIVE FIELD, BY NOT HAVING NO CLEAR GENERATIONAL SIGN THAT CONFIRMS WHEN IS THAT EXACT MOMENT WHEN YOU STOP BEING A CHILD TO BECOME AN ADULT IN FULL MATURITY. THIS WOULD EXPLAIN THE SENSATION OF NOT BELONGING SOMETIMES MANIFESTED BY THE ADOLESCENT GROUP AND WOULD BE ADJUSTED IN SOME CASES,

THIS LACK OF SECURITY REGARDING THEIR PLACE IN THE WORLD WOULD AFFECT ADOLESCENTS IN ALMOST ALL CONTEMPORARY SOCIETIES AND WOULD BE EXTENDERED BY A SYSTEM THAT APPEARS TO IGNORE THE TRANSCENDENCE OF THESE GENERATIONAL ISSUES OR EVOLUTIONARY PROCESSES OF VITAL IMPORTANCE, SUCH AS THOSE THAT THEY ANNOUNCE THE GREAT CHANGES IN THE HUMAN BEING.

TO ADOLESCENCE COMES FROM ADOLESCENCE, TIME OF AILMENTS AND CHANGES. LEAVING AWAY THE FIRST MENSTRUATION OR THE CASE OF SEXUAL INITIATION IN MEN, TRADITIONALLY MARKED BY THE LITTLE GIRL ON TURN THAT DAD CHOOSES, THERE ARE FEW OR NONE OF THE SPACES OF RITUAL TRUST THAT WE PRACTICE SERIOUSLY AS PARENTS AND SONS. IT IS PARADOXICAL THAT REACHING THE AGE OF MAJORITY IS TODAY, IN A COUNTRY THAT BOASTS OF PRIVILEGING FAMILY VALUES, TECHNICALLY NOTHING MORE THAN A MERE PROCEDURE, WHERE AT THE AGE OF 18 THE ADOLESCENT “AUTOMATICALLY” BEGINS TO CARRY A CIVIL RESPONSIBILITY THAT THEY MUST CULTIVATE . FAR FROM ANY CEREMONY, IT IS NOT CURIOUS THEN THAT FINALLY THERE ARE EVERY FEWER RITES THAT CALL US TO COME TOGETHER OPENLY, WITH THE EXCEPTION OF DEATH, WHEN IT IS ALREADY TOO LATE.

FOR ANCIENT CULTURES SUCH AS THE SELKNAM, ONE OF OUR ORIGINAL AUTRAL PEOPLES, THESE CEREMONIES OR RITES OF PASSAGE WERE VERY IMPORTANT, EVEN CAUSING GREAT GENDER WARS FOR POWER AND DOMINATION OF THESE FESTIVALS, WHERE THE HOUSE WAS THROWN DOWN -O EL TOLDO- THROUGH THE WINDOW TO PAY TRIBUTE TO THE KEY MOMENT THROUGH WHICH THEIR CELEBRATIONS PASSED FOR THE ONLY TIME IN LIFE.

THE HAIN CLEARLY EMERGES AS THAT SACRED CEREMONY THAT USED THEATER AND SURVIVAL REPRESENTATIONS TO TEST THE MEASURE OF THE INITIATES, PREPARING THEM FOR A PROCESS OF TRANSFORMATIONS WITHIN THE MILESTONE THAT WOULD MARK A NEW EVENT IN THE BEHAVIOR OF THE KLOKÉTEN NOVICE IN FRONT OF HIS TRIBE, WHO AT THAT MOMENT JOINTLY DECIDED THEIR PASS TO PHYSICAL AND SPIRITUAL MATURITY. A SACRED ACT WHICH WOULD GIVE THEIR LIVES BOTH STRUCTURE AND SIGNIFICANCE AND WHICH WOULD ALLOW THEM TO GENERATE THE TRUST WHICH THE INITIATED COULD LATER HAND ON FOR THE REST OF HIS LIFE. PAST-PRESENT-FUTURE DEFINED WITH SUCH OPENNESS AND CLARITY, ALLOWED THE KLOKÉTEN TO BEGIN THE RITUAL PROCESS TO STOP BEING A CHILD AND THUS TAKE THE REINS OF ITS OWN MATURITY.

BEING AN ADULT, HOW COMPLICATED…. EVERYTHING WRITTEN IS BORN FROM ONE OF THE PICTURES OR  FRAGMENTS”, WHICH I PAINTED YEARS AGO ON A TREE BARK (ABOVE IN THE PHOTO) AND WHERE THE SPIRIT OF HAIN MANIFESTS HOUSING IN THE PAINTED FIGURE OF AKLOKÉTEN . HERE IS REPRESENTED THE COMPLEX SYMBOLISM OF INITIAL OPPOSITION AND TRANSFORMATION BY WHICH THE KLOKÉTENHE WAS SUBJECTED INSIDE SECRET SOCIETIES THAT SEEKED TO TURN HIM INTO A MAN. THE FUSION OF A WORLD IN TRANSIT OR RITE OF PASSAGE IS INCORPORATED INTO THE PICTORICAL SIGN AND INTO THE HISTORY BROUGHT WITH IT BY THE SUPPORT, COLLECTED FOR THAT PURPOSE ON THE SLOPE OF THE VILLARRICA VOLCANO FROM THE CALCINATED REMAINS OF A CONIFER SPLIT BY LIGHTNING. JUST AS THE ANCIENTS DID TO MAKE THE RITUAL MASKS WHICH THEY USED IN THEIR CEREMONIES, I COLLECT THE BARK OF THE TREES TO PAINT THEM WITH PART OF THIS HISTORY THAT DISAPPEARS AND THAT ALSO BELONGS TO ME, BEING THE COLLECTION, A RITE THAT IS SIBLISHED TO THE PAINTING ALREADY THE TELLURIC TEXTURES OF THE EARTH, LIKE BROKEN FRAGMENTS FROM A NOT SO REMOTE PAST, AND IN WHICH WE STILL REFLECT OURSELVES.

-MY LITTLE SELK’NAM ARMY- I

THE VARIETY OF COSTUMES THAT THE SELK’NAM USED FOR THEIR PERFORMANCES DURING THE HAIN CEREMONY, THEY ARE BASED ON A CONCEPT OF CORPORALITY CREATED TO DELIVER THEIR IDEAS REGARDING RELIGIOUSNESS AND INFLUENCES TO WHICH THEY WERE SUBJECTED SINCE THEIR ORIGINS IN A DOMINANT MATRIARCHAL SOCIETY, IN WHICH THE BODY WAS THE MAIN COMMUNICATION INSTRUMENT OF MAN . THIS CONCEPT OF IMAGE, DESIGN AND MOVING COLORS ARE KEY ELEMENTS TO UNDERSTAND THE SYMBOLIC MESSAGE OF ITS CEREMONIES. IN THIS SECRET GAME, THE WORK OF THE SPIRITS WAS TO PUNISH HARDLY THOSE WHO OPPOSED THE ORDERS OF THE WOMEN.

THE PASSAGE OF TIME WOULD BE KNOWN AS THE UPDATING OF THE MYTH -ENDING THE FEMALE DOMINANCE IN CEREMONIES- THE REVEALED MEN FOUND A NEW HUT BUILT OF ROCK WITH SEVEN STONE POSTS DRAGGED FROM THEIR NATAL COUNTRIES. FIRST WACUS STARTED , THEN PAWUS AND AFTER SANU. THEY WERE STRONG AND TALL MEN. WHEN THE FIRST THREE PILLARS WERE WELL SECURED, HE BEGAN TO RAISE HIS SATE , THEN TALEN , THEN KEYAISK AND FINALLY YOISIK . EACH ONE OF THEM STOOD UNDER THE POST HE HAD RAISED, ASSUMING THE ROLE OF THE SEVEN SUPPORTSMAIN. THESE MEN ANCESTORS IN MYTHICAL TIMES WOULD BE TRANSFORMED AFTER THEIR DEATH IN DIFFERENT BEINGS OF THE NATURAL ENVIRONMENT, ACTING AS SIGNIFICANTS IN EACH EPISODE REPRESENTED IN THE RITUAL AND ESTABLISHING AN ORDER THAT WOULD HAVE BEEN THE ONE THAT THEY WOULD HAVE MAINTAINED UNTIL HISTORICAL TIMES.

EACH ONE OF THE SEVEN REGIONS OF THE SELK’NAM TERRITORY HAD A SUPPORT ACCOMPANIED BY HIS XALPEN WIFE . XALPEN WAS A FEMALE SPIRIT OF GREAT POWER FEARED BY MEN AND WOMEN WHO LIVED UNDER THE EARTH AND CALLED ON MEN TO SATISFY THEIR LUSTFUL DESIRES. “IT IS ABOUT AN EXTREMELY DANGEROUS, IRRITABLE, CAPRICIOUSLY UNPREDICTABLE BEING, WHICH WITH GREAT PLEASURE CAUSES MEN THE MOST DIVERSE DISCOMFORT. She alternates them to satisfy her sexual desires with them, REGARDLESS THAT UNDERGROUND, THE INITIATES OF THE KLÓKETEN ARE PERMANENTLY AVAILABLE (…) SHE IS CONSIDERED A WOMAN OF GREAT PROCREATIVE POWER AND BECAUSE OF HER ARBITRARIOUSNESS, SHE IS HATED BY WOMEN WHO HOWEVER, THEY SHOULD MAKE AN EFFORT TO CALM IT OUT OF CONSIDERATIONS TOWARDS THEIR HUSBANDS AND CHILDREN” (M.GUSINDE 1990: 908)

EACH SUPPORT THEN WAS DECORATED WITH PAINTINGS AND DESIGNS DEFINED BY TRADITION. THEIR FIGURES AND MOVEMENTS WERE CONSIDERED BY THE SELK’NAM AS MAGNIFICENT AND BEAUTIFUL, ESPECIALLY AMONG WOMEN. SANUIT WAS THE SOORTE OF THE WEST . WITH A RED BODY AND ABUNDANT WHITE DOTS ORDERED SYMMETRICALLY THROUGHOUT THE ENTIRE BODY, IT INDICATED THE SPIRIT’S BELONGING TO A SPECIFIC CARDINAL POINT THAT COULD BE EASILY INTERPRETED BY ALL BYSTANDERS THANKS TO THE PREDOMINANCE OF COLOR. ITS BODY ORNAMENTATION PRESENTED A DEFINED DESIGN PATTERN, WHICH SEEKED TO HIGHLIGHT A TALL, SLIM, STRONG AND AGILE FIGURE, SOMETIMES REPRESENTED BY MOVEMENTS SUCH AS FLIGHT: “SHOULDERS RAISED, ARMS FOLDED AND SLIGHTLY SEPARATED FROM THE BODY, AND HANDS CLOSED IN FISTS, THE “ACTOR” REPETITATIVELY LIFTS HIS FEET, MOVES HIS HEAD ENERGETICALLY, GIVES QUICK JUMPS, STOPS AFTER EACH ONE OF THEM AND THEN MAKES THE WHOLE BODY SHAKE” .

THE SEVEN MAIN SUPPORTS WERE SYMBOLICALLY RELATED TO THE “FOUR INVISIBLE MOUNTAINS OF INFINITY”, COMBINING A HIGH-LEVEL IDEOLOGICAL CONSTRUCTION OF CONCEPTUAL AND AESTHETIC ABSTRACTION. SOORTE SANU CAME FROM THE WEST KÉNENIK MOUNTAIN RANGE, PLACE OF THE SUNSET OF THE SUN EXPRESSED BY THE ORIGIN OF RED AND THE TRAIL OF DEATH. REPRESENTING AN OWN CULTURAL IMAGINERY THROUGH THE PERFORMANCE OF THE RITE WAS FOR THE SELK’NAM A COMPLEX SHOW OF ANTHROPOMORPHOLIC BEINGS WHOSE MASKS AND ACTIONS REVEALED THEIR PERSONALITY, THUS HELPING TO ORDER AND UPDATE A SYMBOLIC-TERRITORIAL SPACE SUPPORTED BY ATTITUDES AND SOCIAL VALUES.

-MY LITTLE SELK’NAM ARMY- II

IN THE YEARS OF THE HAIN MYTH, THE YOUNGER AND INEXPERIENCED MEN OCCUPY INSIDE THE CEREMONIAL, THE SITE OF THE SECONDARY SUPPORTS; AGILE AND FAST BODIES PREPARED AND DECORATED FOR DANCE WITH COLORS ONLY PARTIALLY VISIBLE TO OTHERS, THUS SHOWING THEIR SURPRISING SPEED AND BODY ENERGY. ULEM IS ONE OF THEM. HE RELATED WITH THE OTHER SOORTES THROUGH THE THREE MAIN COLORS AND HIS FENSE FOR MOVEMENT:

“THE BODY IS DARK RED AND WHITE HORIZONTAL STRIPES ARE APPLIED TO IT, LEAVING SHORT INTERMEDIATE SECTIONS”…”VERTICALLY FROM THE NECK PASSING THROUGH THE NAVEL, LOWERS A WHITE LINE. THE ULEM MASK IS MADE OF COLORED BARK LIGHTER RED WITH THREE WHITE LINES ON THE TOP”.

THIS POINT – LINE – STRIP REITERATING WITHIN THE FIELDS OF BODY DRAWING, REFERS TO THE MYTH OF THE SAME CHARACTERS: MALE SPIRITS WITH IDEAL PHYSICAL QUALITIES FOR A HUNTER-GATHERER IN THE TIME OF THE SELK’NAM SOCIETY: AGILITY, STRENGTH, SPEED AND BEAUTY.

EACH SUPPORT HAD TOTAL CREATION AUTONOMY AND BY NOT REPRESENTING A DEFINED PATTERN IN ITS DESIGN, IT WAS POSSIBLE TO RECOGNIZE EACH OF THEM BY THEIR MASKS.

ALL FIGURES WITH GREAT MOBILITY, BLENDED INTO THE BLACK ANTARCTIC NIGHTS, TRYING TO REPRESENT THE MOVEMENTS OF SOME LOCAL ANIMAL BROUGHT INTO THE FIELD OF THE CEREMONY, WITHOUT FORGETTING THAT DESPITE THEY ENJOYED GREAT FREEDOM, EACH OF THE CHARACTERIZATIONS WAS SUBORDINATED TO A PREVIOUSLY ESTABLISHED SCRIPT INHERITED FROM PREVIOUS GENERATIONS.

THIS SIGN OF BELONGING GAVE SENSE TO THE CYCLE OF LIFE, AND EACH YOUNG INITIATE WHO UNDERTAKEN THE RITUAL UNDERSTANDED IT SO. ULEM IS PART OF SOME 100 FIGURES PAINTED ON COIGÜE PLATE THAT ARE INCLUDED IN THE POLYPTHYTHY MURAL “MY LITTLE SELKNAM ARMY” .

-MY LITTLE SELK’NAM ARMY- III

ACID LIKE A PAINTING COMPOSED OF SEVERAL PIECES THAT TOGETHER MAKE UP A MAJOR WORK, “MY LITTLE SELK’NAM ARMY” IS A POLYPTIC MURAL OF FIGURES IN OIL AND MIXED TECHNIQUES ON COIGUE AND MAÑÍO PLATES THAT I BEGAN TO PAINT IN 1998 AND WHICH I CONTINUE TO PAINTING UNTIL TODAY AS AN EXERCISE OF CREATION ON TRAVEL, CARRIED OUT DURING MY TEMPORARY TRANSIT THROUGH DIFFERENT PLACES IN CHILE SUCH AS THE ANDES MOUNTAINS, THE SOUTHERN CANALS, PATAGONIA OR THE ROUGH ARIDITY OF THE NORTHERN COASTS, TRAVELING ON SOLO EXPEDITIONS OVER THE DECK OF BOATS, BUS SEATS, LOANED CARS, MICROS OR PLANES; RESTING IN HOTELS, SHELTERS OR TENTS, WORKING AND WALKING IN WHICH ARE UP TO NOW 120 FIGURES OF BODY PAINTED IN A SIZE OF 16 X 10 CMS EACH AND WHICH FORM AS A WHOLE,

BODY PAINTING OF REAL AND INVENTED BEINGS, IMAGINED, TORN FROM THE BORDERS OF DEATH (AND OBLIVION) IN A FORMAT OF RITUAL REPRESENTATION THAT THE ANCIENTS KEPT UNTIL THE ARRIVAL OF THE WHITE MAN AS A CEREMONY OF PASSAGE FOR THE NEW GENERATIONS OF INITIATES.

THIS IS THE ARMY OF THE REPUBLIC, MY TERRACOTTA ESCORT. A GUARD OF MOCETONES MADE OF MUD AND FUNERAL WOOD THAT STAND UP AMONG THE CULTURAL LANDSCAPE LIKE A MASTER BEAM THAT SPEAKS TO US WITH THE SILENCE OF THE EXHUMEED BODIES, THAT ADVENTURE OF NAMELESS GRAVES, EMPTY BASINS AND TRACES MISSING LIKE RUBBLE BURIED AMONG THE branches.

THE PETROGLYPHS OF THE CHOAPA VALLEY- TWO IN THE PATH

THE REGION BETWEEN THE ILLAPEL AND CHOAPA RIVERS CORRESPONDS TO THE SOUTH/EAST EXTREME OF THE PROVINCE OF THE SAME NAME, IN THE IV REGION OF CHILE. IT IS ALSO THE SOUTHERN LIMIT OF THE NORTE CHICO, A GEOGRAPHICAL AND CLIMATE TRANSITION ZONE TO THE ABSOLUTE ARIDITY OF THE NORTE GRANDE.

CROSSED BY A LARGE NUMBER OF TRANSVERSE VALLEYS, THIS REGION IS THE NARROWEST IN CHILE -90 KM WIDTH FROM THE SEA TO THE CORDILLERA- WHICH MAKES IT A USUAL HUMAN TRACK SINCE TIME IMMEMORIAL.
FULL OF MOUNTAIN PASSES THAT CROSS THE ANDES AT VERY LOW ALTITUDE, IT HAS BEEN A PLACE OF PERMANENT MOVEMENT OF HUMAN POPULATIONS SINCE PRE-HISPANIC TIMES.
UNTIL TODAY IT IS COMMON TO SEE MUTLEEERS WITH CARAVANS OF MULES TRAVELING THE BEAUTIFUL FOOTPRINT THAT WINDS DRAWING THE NARROW VALLEY THAT FOLLOWS THE COURSE OF THE ILLAPEL RIVER, OR THROUGH THE FERTILE CAUCE OF THE CHOAPA, WHICH OFFERS A GOOD AMOUNT OF NATURAL VIEWPOINTS FROM WHICH THE ANCIENT HAD A PERFECT PANORAMIC OF THE VALLEY.

FOLLOWING A BRANCH OF THE ROAD THAT LEADS TO THE CAVILOLÉN SLOPE, WE GO INTO AN AREA FULL OF FERTILE TRANSVERSAL VALLEYS INHABITED BY MAN FOR MORE THAN TWO THOUSAND YEARS.

PLACE OF ORIGIN OF STRONG POPULAR MYTHS, TODAY WE TRY TO TRAVEL THROUGH THESE ROADS, AS A WAY TO REMAKE PART OF THE ANCIENT TRACES OCCUPIED BY THE NOMADIC SHEPHERDS AND AS POSSIBLE TO DISCOVER THE MYSTERIOUS REASON THAT MOTIVATED THESE MEN TO MARK THEIR PASSAGE THROUGH THESE PLACES , THROUGH THE STONE INSCRIPTION OF ROCK ART.

WE LEAVE THE CITY OF ILLAPEL BEHIND, TO PASS THROUGH THE MYSTERIOUS SALAMANCA -NATIONAL CAPITAL OF IMBUNCHE- AND CONTINUE THROUGH THE COURSE OF THE CHOAPA RIVER TO ITS ORIGIN, SOMETHING SOUTHEAST OF CUNCUMEN, OUR FIRST STOP.

NIGHT FALLS SLOWLY OVER THE GENTLE SLOPS OF THE MOUNTAINS, FROM WHERE THE CACTI RISE LIKE ANCIENT LOOTCH-OUTS OUTLINED AGAINST THE FADING COLOR OF THE SKIES.

THE WIND SLOWS DOWN AND A STRONG SILENCE APPEARS SPEEDING UP FROM THE BOTTOM OF THE EARTH, WHILE WE INSTALL OUR TENTS AND DREAM THAT ON FULL MOON NIGHTS, WITCHES WILL FLY OUT TO THEIR COVENS WHILE POETS WILL WRITE WITH A BONE PUNCH IN THE ANCIENT LANGUAGE OF A BLACK GOAT.

THRESHOLDS

“THRESHOLD IS THAT BRIDGE THAT IS ESTABLISHED BETWEEN ONE PLACE AND ANOTHER, THAT (IN)VISIBLE PATH OR LIMIT THAT SEPARATES THEM, IS THE MINIMUM SIGN, SKIN, TEXTURE OR MATTER, FIRST STEP OR ENTRANCE FOR THINGS TO HAPPEN, OPEN DOOR IN FRONT OF THE THE ABYSS OF A NON-EXISTENT SPACE WHICH IS ALSO THE WORLD OF PAINTING, WHICH MOVES, WHICH MUTS, WHICH CHANGES, WHICH DISAPPEARES; THRESHOLD IS THE FRONTIER AND THE REVERSE OF THINGS, IT IS AT THE SAME TIME THE BEGINNING AND THE END, ORIGIN AND DESTINATION, ENTRY AND EXIT; THRESHOLD IS PAINTING AT THE SPEED OF A NERVOUS IMPULSE STIMULATING UNKNOWN SPACES, EXPLORING A NON-PLACE AND FINDING THE PERMANENT FACES OF ITS ABSENCE IN IT.”

“THRESHOLDS”,SERIES OF 15 PAINTINGS, TWO SHOWN, IN MIXED TECHNIQUE ON COUCHÉ PAPER, 40 X 40 CMS EACH, MADE BETWEEN MY WORKSHOPS OF “LAS ANIMAS” IN VALDIVIA AND “RIO ACONCAGUA” IN CONCON, ON THE EDGE OF THE XXI CENTURY.

written by ©CLAUDIO RODRIGUEZ LANFRANCO

CLAUDIO RODRIGUEZ LANFRANCO

born in Valparaíso in 1968. After living in Patagonia and in United States product of a scholarship, his first painting exhibitions were date back to the nineties in Valdivia. Later he moved to Santiago and the Fifth Region, where his visual and literary work materializes in a body of work that addresses different forms of expression, such as painting and drawing, experimental and documentary video, visual poetry and muralism, with public art projects installed in Santiago, Valparaíso. As a visual artist he has exhibited his paintings in 15 solo shows and in more than 60 group shows in Chile, Europe and the United States, and his poetic texts have been published in regional, national and international poetry collections, his work being awarded in different state funds for artistic creation such as Fondart, Cntv, Fondo Carnavales Cultural Centers of Valparaíso, among others. Currently the painter lives and works between Valparaíso, Santiago and Concón, where he develops his artistic projects and teacher training, being in charge of university graduates, painting and mural workshops, becoming a teacher for generations of students and artists who have worked with him.

Octaves and the Tarot by P.D. Newman

A Second Look at Leary’s Eight-Circuit Model: Gurdjieff’s Law of Octaves and the Tarot
P.D. Newman
Along with Ram Dass, Huston Smith, and Andrew Weil, Timothy Leary was part of what has been called “the Harvard Psychedelic Club.” Fired from his position at Harvard University for failing to attend scheduled class lectures, Leary is perhaps best known as being one of the most vocal advocates of lysergic acid diethylamide (better known as LSD-25), an extremely powerful hallucinogenic drug which Leary et alii helped to popularize during the revolutionary sixties. He was also part of the Harvard Psilocybin Project, which Leary organized following a trip to Mexico during which he was administered psilocybin mushrooms. He later recalled of this experience that he had: learned more about [his] brain and its possibilities [and] more about psychology in the five hours after taking these mushrooms than…in the preceding fifteen years of studying and doing research in psychology.
The Harvard Psilocybin Project went on to conduct the famous Concord Prison Experiment, which evaluated whether psilocybin paired with psychotherapy could successfully rehabilitate repeat offenders, and the Marsh Chapel Experiment, which sought to discover if psilocybin could reliably induce mystical experiences in religiously predisposed theology students. In 1963, Leary helped initiate the Millbrook Experiment, an enormous mansion located in New York where residents spent their days experimenting with psychedelic drugs and living according to the teachings of Armenian mystic, G.I. Gurdjieff. To Gurdjieff, we’ll return below. These experiments, impressive and novel as they were, are not the good doctor’s sole claims to fame, however. During one of his many incarcerations, in 1972, Dr. Leary developed a new theoretical model of the evolution of life on earth—and of individual human consciousness—which he called the ‘Eight Brain’ or ‘Eight Circuit’ model.
Popularized by Discordian Pope, Robert Anton Wilson, Leary’s Eight Circuit model postulates that all life on earth (and indeed in the entire cosmos) evolves through a series of eight successive ‘circuits.’ This same eight-fold process, Leary adds, is recapitulated in the development of consciousness within an individual human being. Just as the human embryo at various times manifests as unicellular, possessed of gills, having a tail, etc., so too does individual conscious unfold through the same successive stages of evolution. Divided into Terrestrial and Post-Terrestrial phases, Leary’s eight ‘circuits’ unfold as follows:
Terrestrial:
1. The Bio-Survival (Marine Consciousness) Circuit
2. The Emotion-Locomotion Terrestrial-Mammalian (Territorial Consciousness) Circuit
3. The Symbolic-Artifactual (Laryngeal-Muscular Consciousness) Circuit
4. The Industrial (Socio-Sexual Consciousness) Circuit
Post-Terrestrial
5. The Cyber-Somatic (Body Consciousness) Circuit
6. The Cyber-Electronic (Brain Consciousness) Circuit
7. The Cyber-Genetic (DNA Consciousness) Circuit
8. The Cyber-Atomic (Quantum Consciousness) Circuit 

Without entering into too much detail regarding the function of these ‘Brains,’ it is sufficient to say that each of the eight ‘circuits’ are further divided into three successive stages (thus giving us twenty-four) of what Leary calls “con-telligence.” Con–telligence is defined as “the reception (consciousness), integration, and transmission of energy signals.” The three stages of con–telligence applied to each of the unfolding circuits then constitute the twenty-four phases of the awareness, mastery, and communication-fusion of each new evolutionary technology—from spineless, floating amoeboid (as well as newborn infant) to meta-physiological nano-technician at the “violet hole” found at the center of our Milky Way galaxy. The people who represent these various stages of evolution Leary refers to as ‘castes.’ 
In an attempt to “relate the psychology of the ancient, pre-scientific world with modern notions of stages [and] phases,” Leary was wont to apply his twenty-four periods of evolution to the Major Arcana of the Tarot, wherein he perceived a clear reflection of his own model. For example, to illustrate the three-stage ‘con-telligence’ of Circuit I, Leary employed The Fool, The Magician, and The Empress cards. In illustration of the con-telligence of Circuit II, he used The High Priestess, The Emperor, and the Hierophant, etc. However, there’s just one problem with this arrangement. The Major Arcana are possessed of only twenty-two cards, leading Leary, to the horror of every Tarot purist in the world, to invent two brand new Major Arcana cards: Starmaker and Violet Whole. As hip and groovy as these two additions no doubt are, they may not have been necessary. Had Leary paid closer attention to his Gurdjieff while residing at Millbrook—or to the Ouspensky title (In Search of the Miraculous) that Charlie Manson slipped him while in solitary confinement at Folsom Prison—he might have thought to apply the sequence of Tarot’s Major Arcana cards to Gurdjieff’s Heptaparaparshinokh, aka his Law of Octaves.


According to the Law of Octaves, everything in the universe that happens or can happen manifests according to a fixed set of cyclic vibrations, called octaves. From the initial impulse of a given thing to that thing’s final completion, this constitutes an octave; that is, from do (start) to do (finish) in the Ionian mode (do re mi fa sol la ti do) constitutes a given octave. Whether it is the birth and death of a galaxy or the beginning and end of an acid trip, taken as a unit, each of these phenomena would constitute its own octave. Considered in the key of C major (which Gurdjieff obviously intends), it becomes evident that a given octave is possessed not only of eight steps, but also of two intervals. For, every note in the C major scale is followed by a sharp—save two: mi and ti. Unlike the other six tones, mi and ti, rather than being followed by semitones, move directly into the following whole notes.  To compensate for these ‘intervals,’ in order to complete a given octave, Gurdjieff postulates that two “additional shocks” are required. P.D. Ouspensky, an early student of Gurdjieff, writes:
In an ascending octave the first ‘interval’ comes between mi and fa. If corresponding additional energy enters at this point the octave will develop without hindrance to [ti], but between [ti] and do it needs a much stronger ‘additional shock’ for its right development than between mi and fa, because the vibrations of the octave at this point are of a considerably higher pitch and to overcome a check in the development of the octave a greater intensity is needed.
It is our understanding that an ‘additional shock’ in an ascending (evolutionary) octave may be constituted by anything from a physical or emotional trauma, a mental break with mundane reality, a mystical initiation, a ritual working, or even by a psychedelic experience. It is the application of ‘super effort’ at two points in an ‘octave’ that will aid in bringing its process to completion.


Possessed of eight steps and two ‘intervals,’ Gurdjieff’s Law of Octaves neatly solves the problem of what Leary saw as two ‘missing cards.’ If we allot the cards of the Major Arcana in sets of three to Leary’s eight ‘circuits’ while keeping true to Gurdjieff’s Law of Octaves, we arrive at the arrangement below. Let the Arabic numerals indicate Leary’s Eight Circuit model. Let the Roman numerals represent those attributed to the Major Arcana cards. Let the asterisks represent Gurdjieff’s ‘additional shocks.’


1. 0 – I – II (do)

  1. III – IV – V (re)
  2. VI – VII – * (mi)
  3. VIII – IX – X (fa)
  4. XI – XII – XIII (sol)
  5. XIV – XV – XVI (la)
  6. XVII – XVIII – * (ti)
  7. XIX – XX – XXI (do)
    As the reader may observe, these ‘shocks’ fall into the ‘transmission’ (per his theory of ‘con-telligence’) slots of Leary’s third (Symbolic-Artifactual) and seventh (Cyber-Genetic) circuits, precisely in the places where the ‘additional shocks’ are necessitated, per Gurdjieff’s Law of Octaves—no invention of cards required. The suggestion here is that ‘additional shocks’ serve as bridges for the transmission gaps between a) the integration phase of the Symbolic-Artifactual Circuit and the reception phase of the Industrial Circuit and b) the integration phase of the Cyber-Genetic Circuit and the reception phase of the Cyber-Atomic Circuit—thus providing the individual (and the species) with the momentum necessary to break the barriers between one evolutionary circuit and the next.
    In the Tarot, these ‘shocks’ appear between a) The Chariot and Strength and b) The Moon and The Sun cards. In the system popularized by the Hermetic Order of the Golden Dawn, The Chariot corresponds to the zodiac sign Cancer. Strength, on the other hand, corresponds to Leo. Conveniently, as Cancer is ruled by the moon and Leo is ruled by the sun, combined with the second ‘additional shock’ which occurs between The Moon and The Sun Cards, we see that both the ‘shocks’ take place at ‘intervals’ between symbolic diametrical moon-sun relationships. These ‘shocks,’ then, both practically and symbolically, serve the same ‘bridging’ function of a mercurial mediator between alchemical opposites. Coincidence? Perhaps. Granted, we may be guilty of ‘confusing the planes’ by comparing the zodiacal attributions of one pair of cards to the titles of another. However, one cannot deny the symmetrical neatness of the structure.
    For this arrangement to work, it goes without saying that all the cards and explanations following The Chariot in Leary’s model must be rearranged and reworked to accommodate for Gurdjieff’s ‘shocks.’ And, in fact, in Info-Psychology, his 1987 revision of Exo-Psychology, Leary kindly invited the reader “to engage in an ‘interactive co-writing’ of these important issues.” That’s all we’re really doing here. In any event, at the very least, we’ve arrived at what would appear to be a totally novel mode of Tarot analysis. The notion that hidden ‘additional shocks’ appear in the major arcana sequence between cards VII and VIII and between cards XVIII and XIX is, to our knowledge, unprecedented. But, does this innovation mean that two of Leary’s ‘castes’ must be sacrificed in favor these ‘shocks?’ Or, is the implication that two of Leary’s ‘castes’ are the ‘shocks?’ Further analysis is required to know. One thing we can say with certainty, however—and that, along with Leary’s friend, Dr. Israel Regardie of the Golden Dawn—is that “posterity […] will have a finer appreciation of what [Dr. Timothy Leary] has contributed to the world than we have today.”
    WORKS CITED
    Alpert, William. Ram Dass: Fierce Grace. Zeitgeist Films, New York. 2003
    Hollingshead, Michael. The Man Who Turned on the World. The Psychedelic Library. http://www.psychedelic-library.org/hollings.htm. Accessed Jan. 9, 2017
    Lattin, Don. The Harvard Psychedelic Club: How Timothy Leary, Ram Dass, Huston Smith, and Andrew Weil Killed the Fifties and Ushered in a New Age for America. HarperOne, San Francisco. 2011
    Leary, Timothy. Info-Psychology: A Manual on the Use of the Human Nervous System According to the Instructions of the Manufacturers. New Falcon Publications, Las Vegas. 1987
    Leary, Timothy. Neuropolitique. New Falcon Publications, Las Vegas. 2006.
    Leary, Timothy. The Game of Life. New Falcon Publications, Las Vegas. 2015
    Ouspensky, P.D. In Search of the Miraculous: The Teachings of G.I. Gurdjieff. Harcourt, Inc., New York. 2001
    Wilson, Robert Anton. Cosmic Trigger I: Final Secret of the Illuminati. Hilaritas Press, LLC., Grand Junction, CO. 2016
    Wilson, Robert Anton. Prometheus Rising. Hilaritas Press, LLC., Grand Junction, CO. 2016

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of FreemasonryAngels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023.

Theurgy: Theory and Practice: The Mysteries of the Ascent to the Divine by P.D. Newman, published by Inner Traditions, Bear & Company will be available on December 5, 2023

ALL RIGHTS RESERVED. THIS POST IS A COPYRIGHT OF P.D. NEWMAN
THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

JoLu Amaringo on Vegetal Ceremonies

My visionary artworks are based on the two plants needed to prepare the ayahuasca brew. A snake emerges from the ayahuasca vine, surrounded by fuchsia flowers. There is also another snake, the chacruna snake, green in color with its luminous leaves. Radiation comes out of his mouth. The chacruna snake penetrates the ayahuasca snake, producing the visionary effect of these two magical plants.

In an Ayahuasca ceremony, the master and his disciples are covered by rainbow-colored radiation emanating from the ayahuasca and chacruna plants. The combined effect of these plants is esoteric: due to their supernatural properties, psychic bodies are created that the eyes have never perceived before, so that one is overwhelmed by this strange new dimension. This world penetrates the top of the head so that the aura stimulates a gland between the eyebrows and activates the third eye.

Ayahuasca reveals its deepest secrets when the visionary dizziness is strongest. They show that human beings need to create a balance between their good and bad sides.

Through ayahuasca you learn to express in thoughts, feelings and words that “I am” and “I exist”. If a person thinks or says, “I am nothing and I have nothing,” she is extinguishing his spiritual strength and is doomed to failure. It is important to think inspired thoughts and say empowering words about yourself and others, rather than complain about the negative aspects of a person, as we all embody both positive and negative qualities.

Ikaros

This work represents all the magic songs that shamans use to cure various diseases, these magic songs are called Ikaros. The ikaros or magic songs are taught by spiritual beings especially by animal spirits, that is why in this painting I have captured various animals with different powers.

The Eagle is considered the supreme emblem of the gods, rulers and warriors. It is a symbol of majesty, bravery and spiritual inspiration. Being seen as the lord of the air personifies power and speed.

The personality of the snake means wisdom, power and health, it is an animal that represents strength and unsurpassed superiority.

Some attributes of the Wolf are: intelligence, cunning, communication, friendship, loyalty, generosity and compassion.

In the realm of spirit animals, the tiger places a special emphasis on raw feelings and emotions. The tiger spirit symbolizes primal instincts, unpredictability and the ability to trust yourself. By affinity with this spirit animal, you can enjoy dealing with life issues spontaneously, relying on your intuition and acting quickly when necessary.

Finally the heron and the butterfly represent self-sufficiency, stability, tact and careful foresight. In other words, you will achieve great success through your efforts. Visioning with these animals signifies your ability to explore and delve into your subconscious.

Arcanes of the Ayahuasca Star

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the orange color, known as “Ayahuasca Star”, a color that shines in this visionary work of art.

The “Arcanes” are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the left side of the work you can see two arcana presented by a tiger and an owl. This is a vision that surprises shamans, because they emerge from the ayahuasca rope. The spiritual tiger contains the almost impenetrable depth of the science of ayahuasca and the spiritual owl represents the ayahuasca vine. These spirits are concerned with the esoteric force of ayahuasca. In these animals, the sense of smell and the eyes are full of hypnotism that are sharpened through rhythmic movements, when these animals prepare to act on something. The masters, who acquire the strength, the cunning and the sharp eye that hypnotizes these spiritual animals, become expert healers of both natural and artificial cures, because the shaman has learned from the intelligence and powerful and intelligent minds of these animals.

In the upper central part of the painting we distinguish a face with a yellow halo; this is the reflection of the mind. It is there that a master healer perceives and feels the rhythmic formation of life, with its forms and motifs that intermingle with its vibrant colors and sounds. There, the teacher is filled with knowledge, when he knows the value of colors; Color reflects human behavior, whether people are good or bad based on dark or light colors. This is also true for the sounds that we carry inside our bodies and external sounds.

In this painting you can see a master shaman, with the degree of “Sumi-Runa” (a man of much knowledge and hidden wisdom), he feels the astral ether very strong, something that is unknown to humans who do not know spiritual things , only with their physical eyes they see the matter that is the deformed space. The Sumi-Rune, Bank-Sumi, Murayas and others who have these high esoteric degrees were for the most part illiterate and naive Aborigines in what is modern culture, but they were integral human beings; a great Sumi-Runa teacher, or any other spiritual degree, seems like an innocent, that when one sees him, it appears that this person knows nothing, yet he covers the infinite knowledge of millions and millions of years, managing to know the kingdoms spiritual of sublime purity. When these great masters travel in time and infinite space they unite spiritual corpuscles to their bodies that form dimensional aureoles that encompass incalculable spaces in the universe, in the process of these trips they see present things where they understand that the past and the future is within the present. For these spiritual beings everything is present, there is no past or future.

Behind the master shaman “Sumi-Runa”, there is the Situlle plant, a plant that grows vines and bitter herbs. Then we see the hawk called “Tive-Mama”. The teacher uses this bird as a guardian who watches the depths of the rivers. The hummingbirds and yellow toad help people to be confident, diligent, active, prepared, optimistic and self-confident.

In the lower left part of the work, a blue snake with a pink aura is seen. The pink color represents Altruism, Philanthropy and Generosity. The blue color represents confidence and tranquility.

Ayahuasca offers a lot of spiritual teaching and physical, mental and moral health. Human wisdom produces various pleasures, such as the experience necessary to obtain material wealth, but not to bring true happiness or lasting satisfaction as spiritual knowledge and spiritual wisdom do. Whoever uses the ayahuasca drink must know how to diet to receive the cure; This is the basis for strengthening the health and proper functioning of the body. It is very, very good to meditate while looking at this painting; In this way you will hear the roidash (spiritual message).

Arcane of the Ayahuasca Bell

There are different types of ayahuasca in the Amazon. These lianas go to the infinity of the universe and meander in many colors, including Campana Ayahuasca green, a color that shines in this visionary work of art.

The arcana are protective spirits of the shaman and the magic liana Ayahuasca, who are represented as people, animals and plants.

At the top and bottom left of the work are the faces of two female spirits with healing abilities, the female spirits take care of the vegetation and the water. These spirits are called “Sacha – Huarmi”, which means “wild woman”; Therefore, plants and flowers together as “Toé”, the “Toé” flower can be seen at the top next to the spiritual face and in the central part of the work, this flower represents the strength that it has. The Floripondio The plant full of electromagnetism, that of The use of shamans for defense is also used for harmful and contagious diseases and for the relief of blood.

In the upper middle part of the work you can see the eye of an owl, these birds that the Master’s healing shaman uses to defend himself from his enemies that attack him from the ground.

We also observe a spiritually named tiger called “Puyo – Puma” in the upper right part of the work, which means “tiger in the cloud”. One of its characteristics is knowing the movement of the earth and making each enemy inactive. . He is very brave in his attacks, but he is very careful. These tigers go through the session or ceremony and give the shaman great healing power for vibrations and powers to fend off the evil of a magician acting against him and his disciples.

The dolphins or bufeos that can be seen in the lower right part of the work are spiritually present in the Ayahuasca ceremony or ritual to allow better vision and meditation. There are the spiritual powers of the gods and goddesses, these energies are conjectures.

“Looking at the spiritual world means seeing another latent world”.

Arcanes of Heaven Ayahuasca

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the color blue, known as Cielo Ayahuasca, a color that shines in this visionary work of art.

The Arcanes, are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the upper left side of the work, you can see the monumental “Celestial Towers”, which serves as an angular protector for the earth. From there come the white zigzags of cosmic energy that in their magnitude can control many other moving energies that serve to develop more life. A little further down you can see the face of the visionary shaman teacher along with her two protectors known as arcana presented as hawk and jaguar.

This visionary shaman teacher is called “Sinchi Muscui Huarmi”, which means “Strong Woman”; This master shaman practices the science of curanderismo, and is much stronger than a male shaman, because the spirits sharpen more with women than with men, because the woman contains the ovule that can make a being fertilize, while with the male does not happen that way, a woman can more easily defeat sorcerers and sorcerers. Her protectors (hawk, jaguar and owl), who are next to her, know how to hypnotize perfectly and can neutralize the Icarus of the enemies and paralyze any damage.

In this session the shaman teacher in her concentration with her power can bring trees, plants, shrubs, plant parasites, waterfalls and all kinds of animals such as birds, snakes, among other animals in a spiritual way, as can be seen in all the work; then the physical practically disappears only the spiritual can be seen, in such a way the vibratory waves of the ayahuasca appear, surrounding the master shaman, where one feels a very high concentration, that one almost feels like being a spirit and not a Being physical with ailments and mental disturbances, one leaves everything physical aside and feels like a super man, full of knowledge, wisdom and intelligence with the intention of living not for centuries but forever, at this moment the person greatly appreciates and values life, because it sees that each one fulfills its function fully, it is something very nice and fair, to see plants that fulfill their function of generating healing forces and food oxygen, to preserve living beings on planet earth where life Physics is in stock.

In the lower right part there is a woman’s face, called “Chuya Huarmi”, which means “Clean Woman”, this woman is an expert in the use of floral aromas. She indicates the invisible force of life present in all the forms found in the universe. In these free-flowing circles, as they accumulate there is abundant and lasting health embodying the art of curing chronic disease.

The flower that is observed in the lower central part of the work, carries the perfumes that symbolize the reproductive organs, because each petal indicates: root, leaf, flower, fruit and seed, and this does its work through the spirit, which works through the mind. One has to better learn the knowledge that ayahuasca gives us, remake the mind to introduce the new knowledge that the sacred plant gives us without being stubborn with what it teaches and shows us.

Everything is valid in life; you just need to know how to use it at the right time and in the right place.

Sanctuary of Onaya

In this visionary artwork we can see the shrine of the sublime master Onaya in this temple we can find the path to heavenly wisdom. The spirits encountered by the vegetalist in this journey are his masters, and from them he gets the entrance to the spiritual temple, which is composed of living pearls and precious gems. The columns of this sanctuary are made of flawless diamonds that can never be defiled.
Only the pure of heart enlightened by love, humility and wisdom can enter the magnificent and sacrosanct temple. In the water of the waterfall we see on the right side of the temple are the anguilamamas, who discharge electromagnetic rays that protect the sanctity of the temple. Also visible are the indigenous warriors who also act as guardians. The extraterrestrial ships at the top are from another galaxy and have traveled for thousands of years and visited many worlds to extract minerals and reach the Amazon jungle to receive vital energy.
The green patiquina in the lower right is used to represent a person’s lungs; the different shades of green from the edge of the leaf to its center indicate the state of the person’s lungs.
The hummingbird we see in this visionary work acts as a messenger. Its sweet trills are the most delicate and sublime icaros to sing to people seeking new strength or suffering from dreadful diseases. However, they must be sung with the utmost precision. These celestial spirits inhabit the palaces and temples at the top, where they gather to sing songs of worship.
Finally below is the sachamama (mother of the forest). She projects an electromagnetic rainbow symbolizing the elements that fertilize the plants. The healers in the ceremony are chanting the icaro of the sachamama to prevent the sorcerers from thwarting their work.

I am Jose Luis Vasquez Gonzales, known as JoLu Amaringo, I was born in the cradle of art on December 5, 1991, in the city of Pucallpa_ Peru, when my famous grandfather, the Peruvian painter International Amazonian Visionary Pablo Amaringo Shuña, flew to Japan to present one of his famous exhibitions on visionary and neo-Amazon art.

During my life in my grandfather Pablo Amaringo’s house with my father Juan Vasquez Amaringo and my mother Lidia Gonzales Laulate, I drank countless stories that I heard in frequent meetings around a table. I also drank the vocation for the art of painting.

I am very thankful to God for making me spiritual brothers and sisters, and that my paintings convey my love, energy and healing to each of you. Many blessings, peace, love and good health to all.

written by ©JoLu Amaringo

JoLu Amaringo and family of healers

JoLu Amaringo Art Gallery

ALL RIGHTS RESERVED. ALL ARTWORK IN THIS POST IS A COPYRIGHT OF JOLU AMARINGO
THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

Orishas by P.D. Newman

“Ifá tells us that when he is enraged, Obaluaiye [Babalú Ayé] takes [his] special broom and spreads sesame seeds (yamoti) on the earth before him, then sweeps the seeds before him, in ever-widening circles. As the broom begins to touch the dust and the dust begins to rise, the seeds, like miniature pockmarks, ride the wind with their annihilating powers: the force of a smallpox epidemic is thereby unleashed.”

—Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy, p. 63 (Vintage Books. New York, NY. 1984.)

Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
I get to sweepin’ this sesame, baby
Babalú pox gon’ be ya doom

And you won’t get better—ya whole body covered in sores
No, you won’t get better—ya whole body be covered in sores
Be nothin’ but dogs a-lickin’ you, baby
Once these bristles start sweepin’ the floors

Lazy Pushin’ Daisy

I know that there’s a man
Who in Bethany stays
Erbody like to call him Lazy
Cause he lay still four days

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know that there’s a man
Who sleep like the dead
Only the power of the good lord
Rouse him out of his bed

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Always got that bed breath
Got a twisted mouth so sour
Breathe out the smell of death

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Who stink to his core
Body raw as his mouth
And dogs licking’ his sores

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

written by P.D. Newman

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of FreemasonryAngels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023.

Theurgy: Theory and Practice: The Mysteries of the Ascent to the Divine by P.D. Newman, published by Inner Traditions, Bear & Company will be available on December 5, 2023

Feature photo: Cryptic God, la science des mystères by Mitchell Pluto. PD Newman collection

ANIMISM IN THE AMERICAN SOUTHWEST by Christine S. VanPool and Elizabeth Newsome

People often imbue their surroundings, including tools, with a “life essence” that makes them active objects. A growing number of archaeologists are beginning to study how such “living” beings impact human behavior. These archaeologists use the term “object agency,” but employ many different ontological approaches. We explore this variation, and present a framework comparing different ontological models archaeologists use. We adopt an animistic perspective, and evaluate its applicability to the Southwest using ethnographic and archaeological data. We further propose that it is applicable through out the New World. Puebloan potters consider pots living beings with a spiritual essence that is affected by and that impacts humans. Pottery manufacture is a mutual negotiation between the potter and the clay to create a “Made Being” with its own spiritual and material aspects. We conclude that a similar ontology is reflected in effigy pots and globular jars from the Casas Grandes region. Ultimately we conclude that this perspective provides useful insights into the placement, decoration, and discard of many vessels that have puzzled Southwestern archaeologists for decades.

A Female Casas Grandes effigy jar. Photo Christine S. VanPool 1999. Used with Permission

Author(s): Christine S. VanPool and Elizabeth Newsome

Duplicated and Intended for Art Educational Purposes Only

THE SPIRIT IN THE MATERIAL: A CASE STUDY OF ANIMISM IN THE AMERICAN SOUTHWEST
Author(s): Christine S. VanPool and Elizabeth Newsome
Source: American Antiquity, Vol. 77, No. 2 (April 2012), pp. 243-262
Published by: Society for American Archaeology
Stable URL: http://www.jstor.org/stable/23486060
Accessed: 02-03-2015 22:47 UTC

Featured image: Fully formed Human Effigy Vessel. Courtesy of the Natural History Museum of Los Angeles County, Los Angeles. Photographed by Chris Coleman.