[P2P-F] Fwd: Modernism and Psychedelics
Michel Bauwens
michelsub2004 at gmail.com
Thu Feb 11 15:19:40 CET 2021
---------- Forwarded message ---------
From: Daniel Pinchbeck from Daniel Pinchbeck’s Newsletter <
danielpinchbeck at substack.com>
Date: Thu, Feb 11, 2021 at 8:43 PM
Subject: Modernism and Psychedelics
To: <michelsub2004 at gmail.com>
How visionary intoxication informed Western
culture
Modernism and Psychedelics
<https://email.mg2.substack.com/c/eJxdkk2zmjAUhn-N7K4TkgBhkYWj1cqI9vbeVuuGCckRoxAYCEX89Y3aTTtz8vWer0yeSGGhqNuRN3VnvceU2bEBbmDoSrAWWq_voM204mEYRwgxT3GqfBYwT3fZqQWohC65bXvwmj4vtRRW1-aRgFnMqHfmWOanmObyFOaAI8RIEAHLMQojeSI5i15tRa80GAkcfkM71ga8kp-tbboJmU3w0pkSRkPZaCPPOcjrtOvzzgq3kXXl3I0bVa2gNbqr3oRRb003yjMocJdyVZa2voKZkAWMiS_xz_GAy-v6UuPt5UrSxYxu5smQky36q9_Ty_t995kO6XzQYr9ETrttL1_u6eLHsPssfBffSJLqnU4GtV_b9FIEu8W7dvrdnZ_6o97mkJS_9lsk9nG_NmiaHD7NV1DfNzf2EeBvx2RV4hA-lscbbITSNhvnx5XyV4WZeZpjhH1nvk8oDtjUn2IsCJMEkMRRHFBKoiCOlAogjChBLJpQVBX4n9fxWl5p9xSlEzFC1IUUD2xPn6OWubXqjbZjBkbkJagXUPv6Fk_EWQEGWvddVCYs90OfoADFLESEvQA64gRTEhOEPNdH1S7L8P-g_QGmDdD_>How
visionary intoxication informed Western culture
<https://email.mg2.substack.com/c/eJxdkE1qxDAMhU8z3s1gy_8LL7rpNYJjq4mp4wTHacnt65lAoQUhCek9HnzBN5zWerpt3Rt5tqGdG7qC33vG1rCSY8c6pOiUsppSQ6ITkRlpSNqHj4q4-JRdqweS7RhzCr6ltTwNYKwRZHbKdzVYIbykgXOtunsUjGGQGmLQV6w_YsIS0OEX1nMtSLKbW9v2G3-7wXuv6EvCvKUS5hHD52M_xr35voR16e8N1y1jX0CDUZbfL_3910CSAwqsF2NcgDQP9gDw3ASONIC2UgiupdUxSlRacGr0TdBlgj9RpLolhRlzPwKlokumJ4PXryMY-lyOkto5YPFjxnjRaRfjF69hwoK1s4-Db44pxqmk1ijKzUWj4-MguOWUkp4T1-4q7h-BH8pbkxk>
Daniel Pinchbeck
<https://email.mg2.substack.com/c/eJxdkE1qxDAMhU8z3s1gy_8LL7rpNYJjq4mp4wTHacnt65lAoQUhCek9HnzBN5zWerpt3Rt5tqGdG7qC33vG1rCSY8c6pOiUsppSQ6ITkRlpSNqHj4q4-JRdqweS7RhzCr6ltTwNYKwRZHbKdzVYIbykgXOtunsUjGGQGmLQV6w_YsIS0OEX1nMtSLKbW9v2G3-7wXuv6EvCvKUS5hHD52M_xr35voR16e8N1y1jX0CDUZbfL_3910CSAwqsF2NcgDQP9gDw3ASONIC2UgiupdUxSlRacGr0TdBlgj9RpLolhRlzPwKlokumJ4PXryMY-lyOkto5YPFjxnjRaRfjF69hwoK1s4-Db44pxqmk1ijKzUWj4-MguOWUkp4T1-4q7h-BH8pbkxk>
Feb 11
<https://email.mg2.substack.com/c/eJxdUkuPmzAQ_jXhtpEfPMyBQx7diighSrvdLLkgY0-CAxgKZiPy62uS7aGVrBn787znE9zApenGqG1640wiM2MLkYZbX4Ex0DlDD12mZOT7YYAQc2TkSsw85qg-O3cANVdVZLoBnHbIKyW4UY2eHAgLmesUUU58hhHxKQqBSw95WOY0JDmTVJ5ZmD_T8kEq0AIi-IRubDQ4VVQY0_YzupiRV3sk1wqqVmlR5CDKeT_kveH2IprafvNWWfmJrZgCWvUo7aUDLqaSZvTVNCVYvYZxgwV5Hz9IVcbXhiTXku7WC3e72txymqAv_L67Hu77t91tt7opUb8XKf3R5sRVe7VVmh-UtW_Tj4PaX7-RnbVL3hbefv2rj-vqLsbYj_USpwqN-3XpJqu4j3Vi3xO-qdJjgvgxHGKN5via3g_r4-nle4HP9bKiP4ftWKjqdjqgi-edlinN47L8LUU6I_5g6qxvhk6AbeXvEL7wGqQa6qnFqXdHRQQRO3uMMXWJx-Z4TginTFBAggSh57o08MJASg_8wKWIBTMX1Rfyz3CdLqqVKKCyIEHItSaXKfzjzy49s7oetDJjBprnFcgnH8yTVY9Ssgto6CzbZMZNhH1MkYdC5iPKnvu3hKHEpSFFyLF5ZGO9dPTfzv8AelblsA>
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<https://email.mg2.substack.com/c/eJxdUkuP2jAQ_jXktsiPPJyDDysolIhAt0sL5RI59hAMiRMlTtnw6-vA9tBKY8v-5v3NSGGhqNuBN3VnvfHK7NAAN3DrSrAWWq_voM204mEYRwgxT3FfYRYwT3fZqQWohC65bXvwmj4vtRRW12Z0ICxmvnfmlMbk5J-IxEKpXOATlZJQBBELZR7F8plW9EqDkcDhN7RDbcAr-dnappvQ1wlZOFHCaCgbbeQ5B3mddn3eWeEesq6cunGnqhW0RnfVizDqpekGeQYFrqjOKZ1ZBca6gAtbX8FM6ByGBEvycziQ8rq61GRzudJ0_uqvZ8ktpxv0id_Ty9t9u0tv6eymxX6BHPaxuXy5p_Mft-2uwM6-kTTVW53c1H5l00sRbOdv2uF393_gY7z1ISl_7TdI7ON-ZdA0OezMV1Df1x_sPSDfjsmyJCG8L44fsBZK22yYHZcKLwvjOAh7W2Vd3bcSXOl_u__EK1C6r8aWxnl4mhNEsBOMqU8CNsVTQgRlkgKSJIoD36dREEdKBRBGPkUsmvioKsg_rHotr7SjsHQgQch3JsUY_qFz085GSnuj7ZCBEXkJ6rkI9rlOj1KyAgy0bs1UJizHIaYoQDELEWXPwbtNocSnMUXIc3lU7bwM_2_YfwBkaOWF>
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<https://email.mg2.substack.com/c/eJxVUsuu3CAM_ZrJLhHPBBYsrir1NyIeTobeBFIg93b69XUmq0rINjb2MT72tsGay8scubbuEnN7HWASfNcNWoPSnRXKHIMZRz0RorpgRKBKqi7WeSkAu42baeWE7jjdFr1tMacrgSmtRPc0aqHUKh9AOqED05LzoCzzxCpOHB9vWHuGCMmDgS8or5yg28yztaM--MeD_cTjQxrq6Wqz_nPweUdX3O0KqBdo_nlpLNPyg_34fRv8Y8054H3Z5qPktUCt8QvQXxvAgRk3BJMXiLxgULjTfwLGSw9EOueV6J21vBd8gl5LqnobHGcOpgl_OFQ-2N3-zcl-17svrHHP4m2-m6xvk_hpoQtAzzhRvZBM98qPsicUCA12JNq6mRGh_lxi-HXA2kXDCKN4KOWCSTXQgTHLledAPJu0FNiX1FMIEsZJYOHpIci-sv-G1RWzR_-EDZ2MEIFP1ou5dwybnVHvZ4rtNUOyboNwc9ruzXizPK-QoODGhNk2Q0fKiSRajYSrm0MknTPBNSekQ5yQMSuZYFOE7YjJPx34z3_hh8l9>
In the first session of my seminar, *Breaking Open the Head and the
Psychedelic Renaissance
<https://email.mg2.substack.com/c/eJwlkcsO4yAMRb-m7BLxSoAFi9nMb0QE3AQ1IRE4U-Xvx20l87Kx7tVxDAjLUW9_Hg3ZZ5vwPsEXeLcNEKGyq0GdcvLj6AznliWvk7CDZblNzwqwh7x5rBew85q3HAPmo3wapHVWs9UrDRFUUMFJHS3dpHg-1dOJ6IwZ3fyTDVfKUCJ4-Af1Pgqwza-IZ3uoPw_5l-L9fvdULDjXjNDHY6ck0JorhFcuS3ecUDpcoVshpC6U9H2c7Y4rJCBvXYUScmuBhDrM8QXYOqGMMQMfhROOZS-5FBRCKC0H24teyqBsVMCjNG7QWpnBmZQGGI1W3JqH5vsi-3bNDUN8fYyx6vdMohslJeeaviwfTt8aYZro3K-S8Z7I0LxB-hHE3xy-TKcFClSaT5oCejEKxQfu7MiV_REjxEpq5RTnjHTSQV3Fp1AybGcucZ0hvv4Dxcmgjw>*,
we tracked back through the early history of humanity’s relationship to
visionary plants, looking at evidence for psychedelic use in Ancient
Greece, South America, and India. We explored the archetypal model of the
shaman as defined by religious historian Mircea Eliade in his
groundbreaking book, *Shamanism: Archaic Techniques of Ecstasy*. We
discussed initiation as a ritualized process found cross-culturally, until
the birth of modern civilization. We looked at the psychedelic origins of
contemporary folk archetypes like Santa Clause and the witch’s broomstick.
This Sunday, we will explore the relationship between the psychedelic
experience and modernism as reflected by many artists, thinkers, explorers
and anthropologists over the last centuries. We will also have a special
guest: Brian Muraresku, author of The Immortality Key, his recent
bestseller inspired by my book, *Breaking Open the Head*.
You can still join *Breaking Open the Head and the Psychedelic Experience*:
Watch the recording of the first session, become part of the the community,
and join the next three. Please use the code ‘*AreYouExperienced*’ for
1/3rd off the ticket price. More info and tickets *here
<https://email.mg2.substack.com/c/eJwlkcsO4yAMRb-m7BLxSoAFi9nMb0QE3AQ1IRE4U-Xvx20l87Kx7tVxDAjLUW9_Hg3ZZ5vwPsEXeLcNEKGyq0GdcvLj6AznliWvk7CDZblNzwqwh7x5rBew85q3HAPmo3wapHVWs9UrDRFUUMFJHS3dpHg-1dOJ6IwZ3fyTDVfKUCJ4-Af1Pgqwza-IZ3uoPw_5l-L9fvdULDjXjNDHY6ck0JorhFcuS3ecUDpcoVshpC6U9H2c7Y4rJCBvXYUScmuBhDrM8QXYOqGMMQMfhROOZS-5FBRCKC0H24teyqBsVMCjNG7QWpnBmZQGGI1W3JqH5vsi-3bNDUN8fYyx6vdMohslJeeaviwfTt8aYZro3K-S8Z7I0LxB-hHE3xy-TKcFClSaT5oCejEKxQfu7MiV_REjxEpq5RTnjHTSQV3Fp1AybGcucZ0hvv4Dxcmgjw>*.
Paid subscribers can access 1/2 price tickets for this and free entry for
one-time seminars and discussions.
<https://email.mg2.substack.com/c/eJxVUtuOrSAM_Zrtmwa5CD7wMDnJ-Q3DpbrJVnAAZ2bP15-qTychbSm0a8GqMxWWlN96T6U2p5nqewcd4busUCvk5iiQp-D1MIySENV4zX2vhGpCmeYMsJmw6poPaPbDrsGZGlI8C6gaFW-eGqy1lInZOyN6EMIPfFZe9dRKa52jN6w5fIDoQMMX5HeK0Kz6WeteHuzjQf_icj525bClGvfqXNowFTazAPoZqnueHtvU9KB_Pu-AfSwpedzP67TntGQoJXwB5ksF2LHihqDiBBEnDBp7uBfgeW6BCKSoeGuNYS1nEtpR9Ko13jJqQUp8YVdYZzbzm6L5Ljcv7HH_xRVeJMsVSuKEnOXcqpH7lpMRO1PF2nFgMHDBAGY1UcLVz2m6PS5N0JTQHlffM06F6vqOUsOUY0AclaPgSEuM0nsBg-SMKPngZFvof3_VZL0F94QVk5QQjleWU7jrDLlO6LcjhvqeIBq7gr8lrfdgXCJPC0TIODB-MlX3Q8-IIKMaCFO3hKg5o5yNjJAGcXzCqqi9iQHWPUT3tOBe_wCuPcnV>
Below is a chapter from *Breaking Open the Head*, ‘Walking in Mysteries’,
probing some of the themes of this week’s seminar:
WALKING IN MYSTERIES
What if the origin of culture, what Carlo Ginzburg called "the matrix of
all possible narratives,” was the shamanic journey? Then art and
literature, dance and theater would be elaborated or degraded forms of the
original impulse to reach the "other worlds" through trance and ritual.
Perhaps modern culture and faith-based religion is a short-term experiment
within the larger context of shamanism and its untold millennia of
continuity: an experiment in turning away from actual visionary knowledge
in favor of cathartic spectacles, symbolic codes, and the mimetic
techniques of literature and film; in substituting personal knowledge of
sacred realities with faith, and finally, in the secularized West,
extinguishing faith entirely in favor of nonbelief in any spiritual
dimension of human existence.
The "rediscovery” of shamanism is not just a New Age phenomenon. The
Western world has made repeated attempts to understand shamanism, often
seeking to reduce it to simple quackery. The process of forgetting and
rediscovering, reevaluating and dismissing, shamanism has continued for
centuries. From the sixteenth through the eighteenth century, explorers in
Siberia and the New World wrote reports of jugglers, conjurers, and tribal
sorcerers that were avidly studied by the intelligentsia of Europe. The
tone of these accounts ranged from sneering attacks on fraudulent practices
and shrill denunciations of devil worshiping, to objective and even
compassionate studies of shamanic healing practices.
<https://email.mg2.substack.com/c/eJxVUsuu3CAM_ZrJLhHhEWDB4qpSfyPi4WToTSAFcm-nX19nsqqEbGNjH9sHbxusubzMkWvrLjG31wEmwXfdoDUo3VmhzDGYadKSENUFw8OohOpinZcCsNu4mVZO6I7TbdHbFnO6EqjSindPI0au_RiI4x6oEmMIhPAgJQilghDihrVniJA8GPiC8soJus08Wzvqg3086E88PqShnq426z8Hn3d0xd2ugHqB5p-XxjItP-iP37fBPtacA96XbT5KXgvUGr8A_bUBHJhxQ1BxgYgLBoU7_SdgvPRAhHNe8d5Zy3rOJPRajKq3wTHqQEqccKhssLv9m5P9rndfWOPexdt8N1nfpuYLjq5dL8nke47jY-Vg-7Bw7bSXmstlFhP_owgZfh2wdtFQQkc848g4FWoYB0otU54B8VRqwbEroWUIAibJGVHywcm-0v9W1RWzR_-EDZ0Ut49P1ou3dwxbnVHvZ4rtNUOyboNwM9ruf_HmeF4hQcH_EmbbzDiNjAii1USYuhlEyhnlTDNCOsQJGbOSCTZF2I6Y_NOB__wHdTvJcw>
18th Century illustration of a Siberian shaman, fascinating for Europeans
“While some Europeans continued to ridicule what they considered public
trickery and ignoble credulity, others began taking shamanistic practices
very seriously,” writes the historian Gloria Flaherty in her book *Shamanism
and the Eighteenth Century*. “Shamanism seemed to them to epitomize a grand
confluence of ageless human activities the world over.” Flaherty suggests
the evolving cult of the genius, the magic powers of enchantment attributed
to Mozart or Goethe, arose out of Europe’s fascination with shamans.
<https://email.mg2.substack.com/c/eJxVUsuu3CAM_ZrJLhHPAAsWV5X6GxEBJ0NvAimQezv9-jqTVSWEjcHnGB9712DN5WWPXFt3bVN7HWATfNcNWoPSnRXKFIMdR6MI0V2wIlAtdRfrtBSA3cXNtnJCd5zzFr1rMacrgWmjRfe0zBnql2Wmix6FUkyDG41XIyEQggzhpnVniJA8WPiC8soJus0-Wzvqg3882E9cPqShnnNtzn8OPu8YirtbAe0CzT8vizAtP9iP37fDP9acA56XbTpKXgvUGr8A47UBHJhxUzB5kciLBrf59J-A96UHIufZa9HPzvFecAW9kVT3LsyczaAU_nCofHC7-5uT-653XYhx9-Ltvousb1e4ZaHSLD3jiCI04jlOQg-GgYLgjPdkooyQP1SObPh1wNpFywijuCjlgkk90IExx7XnQDxTRgqsSxqFvYRRCU60egiyr-y_ZnXF7tE_YcMg4gt8sl7Kve-w2AntfqbYXhMkN28Qbk3bPRlvlacVEhScmDC5ZulIOZHE6JFwfWuIonMmuOGEdMgTMmYlG1yKsB0x-ecM_vMfSZvKhw>
The archetypal figure of the eighteenth-century Enlightenment, Goethe
amassed information on magic and ghosts, rejected Newton’s mechanistic view
of nature, believing that nature was animated by spiritual forces. "We all
walk in mysteries,” the poet and scientist wrote to a friend. "We are
surrounded by an atmosphere about which we still know nothing at all. We do
not know what stirs in it and how it is connected with our intelligence.
This much is certain, under particular conditions the antennae of our souls
are able to reach out beyond their physical limitations.” Goethe
incorporated many aspects of the shaman archetype — contact with ghosts
during Walpurgisnacht, drug-induced trance, journeys into the world of the
dead, etcetera — into the figure of Faust, the modern magician.
In the nineteenth century, Romantic poets like Samuel Taylor Coleridge,
Edgar Allan Poe, and Percy Bysshe Shelley obsessively explored their dreams
as a bridge between the unconscious and conscious mind. "I should much
wish, like the Indian Vishnu, to float about along an infinite ocean
cradled in the flower of the Lotos, and wake once in a million years for a
few minutes — just to know I was going to sleep a million years more,”
wrote Coleridge, whose most famous poem, “Kubla Khan,” was reconstructed
from an opium revery.
<https://email.mg2.substack.com/c/eJxVUtuOrSAM_Zrtmwa5CD7wMDnJ-Q3DpbrJVnAAZ2bP15-qTychbSl0rcKqMxWWlN96T6U2p5nqewcd4busUCvk5iiQp-D1MIySENV4zX2vhGpCmeYMsJmw6poPaPbDrsGZGlI8C6gaFW-emkoFcuBmHswozUyN594Q1YNzDno73LTm8AGiAw1fkN8pQrPqZ617ebCPB_2Ly_nYlcOWatyrc2nDVNjMAuhnqO55eoSp6UH_fN4B-1hS8rif12nPaclQSvgCzJcKsGPFTUHFSSJOGjT2cC_A89wCEdY6xVtrDGs5k9COolet8ZZRC1LiC7vCOrOZ3xTNd7n7Qoz7L67warJc4SyIhEG6Fuw4n3hzq2CULSfgyDAI7wSfKOHq5zTdHpcmaEpoj6vvGadCdX1HqWHKMSCOylFwhBGj9F4gMmdEyQcn20L_-6sm6y24J6yYpIRwvLKcwl1n2OuEfjtiqO8JorEr-FvSeg_GJfK0QISMA-MnU3U_9IwIMqqBMHVLiJozytnICGmQxyesitqbGGDdQ3RPC-71D90ByjY>
Like shamans, the Romantic poets were practical technicians who
investigated their own dreams and trance states, using drugs among other
methods to probe the far reaches of the mind. They trained themselves to
produce hypnagogic imagery — the semi-controllable hallucinations that can
rise up just at the edge of sleep. Thomas De Quincey, who founded the
modern genre of drug testimony with *Confessions of an English Opium-Eater*,
described these visions as "heraldries painted on darkness.” The dream
lyricism of the Romantics was an act of resistance to rational empiricism
and the Industrial Revolution.
While the Romantics sought to linger in their dreamworlds, the Modernists
explored the moment of awakening as the model for a new type of
consciousness that could fuse rational and irrational processes. For
writers like Marcel Proust, James Joyce, and Virginia Woolf, the effort
made by the sleeper to awake from the dream served as a metaphor for the
disconnect between the progressive scientific and social thought of their
era, and the primordial, ritualistic slaughter of the First World War.
"History is a nightmare from which I am trying to awake,” announces Stephen
Daedalus, near the beginning of *Ulysses*, a book that includes a
one-hundred-page play that takes place in "Night Town,” a transcript of a
semi-coherent nightmare or ghost trip that reads like it was dreamt by the
book itself.
*In Search of Lost Time* begins with Marcel Proust's protagonist lying in
his bed, sorting himself out from confused and vivid dreams of the past.
Proust's opening reveals the moment of waking up as a mysticaltransgression
between the self and the not-self:
.* . . when I awoke in the middle of the night, not knowing*
*where I was, I could not even be sure at first who I was; I had*
*only the most rudimentary sense of existence, such as may*
*lurk and flicker in the depths of an animal’s consciousness; I*
*was more destitute than the cave-dweller; but then the mem-*
*ory — not yet of the place where I was, but of various other*
*places where I had lived and might now very possibly be —*
*would come like a rope let down from heaven to draw me up*
*out of the abyss of not-being, from which I never could have*
*escaped by myself: in a flash I would traverse centuries of civi-*
*lization, and out of a blurred glimpse of oil-lamps, then of*
*shirts with turned-down collars, would gradually piece to-*
*gether the original components of my ego.*
Each night, Proust's narrator journeys from psychic dissolution to
self-possession, from dismemberment to remembrance. The image of a "rope
let down from heaven" is akin to the shamanic motif of a ladder from the
sky, leading between this world and the other realms. The vast undersea
kingdom of sleep called into question the solidity of the waking reality:
“Perhaps the immobility of the things that surround us is forced upon them
by our conviction that they are themselves and not anything else, by the
immobility of our conception of them.” The sickness that exiled Proust to a
cork-lined room, out of contact with other human beings, in a kind of
living afterlife, was like the shaman’s initiatory sickness and nervous
disorder, his celibacy and his compulsion to separate from his tribe while
exploring the spirit realms.
The Modernist writers and artists, consciously or not, borrowed elements
from the shamanic archetype. Like tribal shamans, the artists saw
themselves, in Ezra Pound’s phrase, as “the antennae of the race.” In a
secular culture, they were the ones who journeyed into the land of the
dead, who crafted images of an elusive sublime, who went into ecstatic
states of inspiration. They believed their icons and testaments, like magic
fetishes, contained the power to heal the culture’s spiritual maladies.
Writers like Gertrude Stein, Tristan Tzara, or James Joyce explored private
languages or languages explicitly made out of nonsense — similar to the
shaman’s common practice of glossolalia, speaking in tongues, during
trance. The shaman’s songs were taught to him by the spirits; the chants of
the Modernist poet were expressions of alienation from a dehumanized and
demystified world.
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