Saturday, May 9, 2009

The Vine of the Soul


Ayahuasca, or the vine of the soul as some call it, can propel one's consciousness into radically dissociated (and psychedelic) states of beingness. Recently, I have become very interested in hallucinogenic substances as a doorway into another realm of experience. Granted, I have already had my share of youthful excursions into psychedelics, but those trips were juvenile and, ultimately, pointless (but, then again, maybe that is the point…).

However, I began to wonder about the deeper potentials that may or may not reside within those experiences. I was already familiar with MDMA therapy and the work of Claudio Naranjo—a Chilean intellectual with a degree in medicine, advanced training as a psychiatrist, and extensive work in the field of anthropology. Besides looking into the therapeutic benefits of MDMA-enhanced treatment, Naranjo can also be linked to the Human Potential Movement and the Fourth Way, but this is becoming an unnecessary tangent so before I wind up wandering into a diatribe about Pierre Teilhard de Chardin's Omega Point, I will digress (though I will return to that in a later post).

So, perhaps illicit drugs could be the key to advancing our consciousness. Perhaps it is wrong to think about these substances within a particular moral frame, i.e. as an illicit drug. After all, our consciousness would not exist without chemistry and our human chemical composition is just one expression of form—of being. Perhaps there are others—no, perhaps is wrong—there are other modes of beingness (this thought was the launching pad).

And as that concept of varying arrangements of beingness erupted, a swirl of thoughts and ideas spread across the sidewalk of my mind's eye like a child's crayons left out on a hot day and as that motley, mental gunk oozed in every direction like psychedelic lava, I began pondering the weird ideas and brilliant works that I have encountered in the past few months, i.e. David Icke's interdimensional reptilian conspiracy theories, Grant Morrison's The Invisibles, Carlos Castaneda's the Teachings of Don Juan, and Shea and Wilson's The Illuminatus! Trilogy.

Then I discovered that adventurous tourists can actually trek down to the Amazon for Ayahuasca ceremonies lead by authentic curanderos. I seriously contemplated reserving a trip, but, unfortunately, such a thing resides outside of the dimensional possibilities that exist within the confines of my budgetary existence (being in marketing only earns me so much).

Instead, I picked up my copy of the Shea and Wilson masterpiece. Halfway through the first page, I encountered the following passage:

I happen to know all the details about what happened, but I have no idea how to recount them in a manner that will make sense to most readers. For instances, I am not even sure who I am, and my embarrassment on that matter makes me wonder if you will believe anything I reveal…There is nothing I can do to make things any easier for any of us, and you will have to accept being addressed by a disembodied voice just as I accept the compulsion to speak out even though I am painfully aware that I am talking to an invisible, perhaps nonexistent, audience.

This kicked my mind into overdrive. Immediately, I was reminded of a similar moment of disembodied self-awareness in issue 3 (trade paperback Entropy in the U.K.) of The Invisibles. A character named Malcom is struggling to seal a dimensional rupture, while the narrator provides us the details and context of this challenging task. However, at the climax of the action when we the reader are entirely sucked into this fabricated reality, the narrator shatters our faith in this world and our own when he, she, or it concludes, then queries:

All of it comes to an end. Which leaves, apart from who he's going to be, now that Brian Malcom's dead, only one question. Who is telling this, and to whom?

In following this runaway train(s) of thought, I was also struck by my own sense of (or lack thereof) self-awareness. After all, who the hell am I writing this blog to? And why? Are the thoughts in my head my own? Or is it just some narrator stuck trying to explain the events of a world beyond his or her (or its) own self? Perhaps, the thoughts in my head are already disembodied, but I don't realize it. Perhaps, the dissolution of the ego that one experiences while on a psychedelic trip—or, to be more accurate, the experience that one does not experience, but simply is while dissociated—frees that voice from the page, i.e. the narrator is cleaved from the story and can finally and simply, BE.

And, finally, that brings me back to the digital realm where I spend most of my time (and is the primary focus of this blog). What kind of consciousness do we experience online? Do we experience time and human interaction in the same ways we do when we're off the grid? Do we have a different sense of self and possibility when performing within the digital utopia? I know that I can bowl a 274 on a Nintendo Wii, but will be lucky to hit a 38 at the local alley. How does that affect my sense of achievement? Capability? Am I being convinced that I am better than I am, and with relation to a whole lot more than Wii bowling? Am I even an I when I slide into my online existence? Or am I a Facebook page? A MySpace page? A Digg account? A tweeting Twitter? What am I in this digital sphere? Because I'm certainly not a body anymore, but I am certainly somebody…I think.

Perhaps, that's the trick—the big scam. I'm no more real than the drying ink on a freshly reprinted page of Shea and Wilson's book and all I have is this confused, disembodied voice trying to assemble a story for a mass of confused, untrusting readers that may not even exist. Damn the compulsion!

Who's got those illicit drugs?

Ayahuasca from Hello Pixels! on Vimeo.


[Relevant Link: http://www.sociology.org/content/2005/tier1/ajana.html]

Friday, May 8, 2009

Alice


I absolutely adore this video. What an amazing remix.

Deconstruction = Reconstruction = Evolution



[Relevant Link: http://www.kristisiegel.com/theory.htm#poststruct]

Welcome to Euphoratopia


Well, here it is—the digital compendium of my life. A regurgitation. A simulacrum.

The Signifier and I am the Signified. Or, at least my personal brand is the signified—not the real me, but that distinction only returns us to the simulacrum. Alas.

However, that's enough sciolistic pontificating for now (an ironic choice of words, perhaps). I am just completely fascinated with the nature of reality—always have been. What is it? Do our eyes really allow us to see it as it is? All that pseudo-philosophical junk. And in today's digital age it's even more fascinating.

Signs exist all around us—pointing us to something—or maybe just distracting us from something else. Digital media has and is rewriting (rewiring, maybe…) information transfer models. Consumerism has gone psychotic and hedonistic. And we are all caught right in the middle of this glorious, schizophrenic mess.

It can be ultimately euphoric at times, but, at its peak, the euphoria is usually fabricated. The reality we are enjoying has been constructed, tested, processed, and broadcast. The truth behind the reality does not exist—it is, in essence, a utopia, which literally means no place. Hence euphoria + utopia = euphoratopia.

A real word would not have sufficed, so it was necessary to create the new from the old—to reassemble—recreate.

And this blog is nothing more than an extension of that hyperreality—a digital diary that will house and disseminate my thoughts, reflections, and experiences as I bounce about this sick Disney Land we call a world.

Cheers.

--William Thomas Stone    

The simulacrum is never that which conceals the truth—it is the truth which conceals that there is none. The simulacrum is true.
~Ecclesiastes (Jean Baudrillard)

______________________________________________________________________________________________________________________________________________________

P.S. For those interested in exploring certain concepts more in-depth, I have provided a few links and snippets on hyperreality, postmodernism, and semiotics.

I.

The concept most fundamental to hyperreality is the simulation and the simulacrum (see Simulation/Simulacra). The simulation is characterized by a blending of 'reality' and representation, where there is no clear indication of where the former stops and the latter begins. The simulacrum is often defined as a copy with no original, or as Gilles Deleuze (1990) describes it, "the simulacrum is an image without resemblance."

[Source Link: http://csmt.uchicago.edu/glossary2004/realityhyperreality.htm]

II.

Hyperreality is an inability to distinguish between what is real and what is not. Hyperreality can be described as enhanced reality. Some people become more engaged with the hyperreal world than with the real world.

Hyperreality is thought to be a consequence of the age that we live in. Hyperrealism is a postmodern
philosophy that deals in part with semiotics, or the study of the signs that surround us in everyday life and what they actually mean. For example, a king may wear a crown that symbolizes his title and power. The crown itself is meaningless, but it has come to take on the meaning that society has given it. The reality of the crown and the hyperreality of what it stands for are interwoven.

[Source Link: http://www.wisegeek.com/what-is-hyperreality.htm]

III.

It is in the two Disneys, where he finds the ultimate expression of hyperreality, in which everything is brighter, larger and more entertaining than in everyday life. In comparison to Disney, he implies, reality can be disappointing. When he travels the artificial river in Disneyland, for example, he sees animatronic imitations of animals. But, on a trip down the real Mississippi, the river fails to reveal its alligators. "...You risk feeling homesick for Disneyland," he concludes, "where the wild animals don't have to be coaxed. Disneyland tells us that technology can give us more reality than nature can."

…But, perhaps his most interesting perception occurs when he discovers, behind all the spectacle in Disneyland, the same old tricks of capitalism, with a new twist: "The Main Street facades are presented to us as toy houses and invite us to enter them, but their interior is always a disguised supermarket, where you buy obsessively, believing that you are still playing," he writes. He similarly finds in Disney, "An allegory of the consumer society, a place of absolute iconism, Disneyland is also as place of total passivity. Its visitors must agree to behave like robots."

[Source Link: http://www.transparencynow.com/eco.htm]