art | The Blog of Baphomet

I’m sitting in Julian’s front room and I’m surrounded by a multitude of artefacts from past rituals and hours spent in meditation. While the wood burner and main altar space provide a natural centre piece, today my eyes are drawn to the array of cut-up collages that deck one of the walls. These are not elaborate or overly wrought attempts at occult art; rather they represent raw, psychic high-dives in order to explore fragments of self and the processes that unfold as we try to explore darker, stranger terrain.

Cut-up

Having recently read and enjoyed Queer by Meg-John Barker and Julia Scheele, I started reflecting on the possible connections between how cut-ups and Queer dynamics might interact in our process of exploring Self. I have already written a post reflecting on how cut-ups might interact with aspects of ego psychology, but their book got me to wondering further about how cut-ups might represent a highly queered and magical form of expression. As I observed back then:

“Like collage, cut-ups seek to use existing material in new ways that often involve the combining and juxtaposition of words and images so as to create new insight and meaning.

In tracking the lineage of cut-ups as an approach, from the surrealism of the Dadaists, Brion Gysin, Burroughs and Genesis P-Orridge, we can begin to see the depth of magical thinking embedded in this technique. As we seek to engage with and manipulate reality, the cut-up not only embodies the desired efficacy of our sorcery, but also the fluid shape-shifters that our arte forces us, the magician, to become. If our magic has any real depth, then our ego must undergo a similar process of reassembly.”

Cut-ups for me are a potent means of challenging our attempts at fixed certainty and polarity. Ideas and images that we previously kept apart are cast together in potentially abrupt disruption. These cut-ups don’t allow for tidy answers or for a buttoned-up, linear sense of self, rather they represent a bubbling up from the unconscious that may reveal as much about the dynamic tensions at work as they do potential answers. Apparently unconnected images are juxtaposed with stark headline text and so new meanings and connections are made. To me this dynamic process feels potentially unsettling and hugely creative and thus quite Queer:

“Queer is by definition whatever is at odds with the normal, the legitimate, the dominant. There is nothing in particular to which it necessarily refers. It is an identity without an essence. ‘Queer’ then, demarcates not a positivity but a positionality vis-à-vis the normative.” David Halperin Saint Foucault: Towards a Gay Hagiography

The Queer self is one that has a profound connection to the constructed and performed. As an outsider position it has had to survive by being magpie-like in pulling together those jewels and glimmering half-truths that help make sense of what it means to live with a greater sense of magic and power. Others may dismiss its rag-tag approach for its lack of coherence, but like the trickster or the holy fool it holds up a mirror to those parts of culture whose attempts at control appear all too reliant on dusty outdated certainties.

For me the playful complexity of Queer identity is one that disrupts my attempts at locating my sense of self in fixed descriptors and concrete identities. Any attempt to side-step curiosity and open-handed questioning is unlikely to withstand Queer’s rainbow-laser side-eye. This type of awareness asks that we acquire and develop skills that allow us to more effectively tolerate process, journey and uncertainty.

Wild words

Similarly the process of the cut-up requires vulnerability as we step-back, allowing patterns and (potential) meanings to emerge. Techniques such as cut-ups and automatic writing/drawing are certainly more towards the artistic end of the “Art and Science” dialectic, but such creativity shouldn’t be mistaken for laxity. Ironically it often seems that as we seek to make use of approaches that are less linear and apparently chaotic, that we have to exercise a more focused sense of awareness in gaining benefit from them. It may be that those people who are drawn to more scripted workings do so because it provides them with a greater sense of security and control.

One of the primary reasons that I was drawn to the magical path was its sense of collaboration and play. World views and metaphysics that declared absolute certainty were no longer viable but I was still hungry to explore the mystery of consciousness and the glimpses of awakening that were coming in and out of view. Techniques like cut-ups and collage can provide us with potent and creative means for accessing new insights regarding the paths we are seeking to walk. They are rarely complete answers, more often they are snapshots of a work in progress that we may need to slow down and wait for, rather than rushing to a sensible, adult conclusion.

Thousands of years ago, Plato attended the Rites of Eleusis. He stood in the crowd, and had a deeply meaningful experience which set him, and us, on the road to the split of mind-body duality. He writes:

For, as has been said, every soul of man has by the law of nature beheld the realities, otherwise it would not have entered into a human being, but it is not easy for all souls to gain from earthly things a recollection of those realities, either for those which had but a brief view of them at that earlier time, or for those which, after falling to earth, were so unfortunate as to be turned toward unrighteousness through some evil communications and to have forgotten the holy sights they once saw. Few then are left which retain an adequate recollection of them; but these when they see here any likeness of the things of that other world, are stricken with amazement and can no longer control themselves; but they do not understand their condition, because they do not clearly perceive. Now in the earthly copies of justice and temperance and the other ideas which are precious to souls there is no light, but only a few, approaching the images through the darkling organs of sense, behold in them the nature of that which they imitate, and these few do this with difficulty. But at that former time they saw beauty shining in brightness, when, with a blessed company—we following in the train of Zeus, and others in that of some other god—they saw the blessed sight and vision and were initiated into that which is rightly called the most blessed of mysteries, which we celebrated in a state of perfection, when we were without experience of the evils which awaited us in the time to come, being permitted as initiates to the sight of perfect and simple and calm and happy apparitions, which we saw in the pure light, being ourselves pure and not entombed in this which we carry about with us and call the body, in which we are imprisoned like an oyster in its shell. So much, then, in honour of memory, on account of which I have now spoken at some length, through yearning for the joys of that other time. But beauty, as I said before, shone in brilliance among those visions; and since we came to earth we have found it shining most clearly through the clearest of our senses; for sight is the sharpest of the physical senses, though wisdom is not seen by it, for wisdom would arouse terrible love, if such a clear image of it were granted as would come through sight, and the same is true of the other lovely realities; but beauty alone has this privilege, and therefore it is most clearly seen and loveliest.
Plato, Phaedra, 250 a-e.

Plato can rightly be regarded as the auctor of Western philosophy. His vision of the soul yearning to soar free of the sepulchre of the body has influenced countless generations of those whose world view forms the scaffold of our own individual versions of the body/mind division.

However, he was wrong. Limited by the dichotomy of the Greek language comparing this on one hand, that on the other, he was blind to the multitudinous steps betwixt cup and lip, from objective (out there) to subjective (in here), and slipped up.

I recently read two things posted in close succession on my facebook wall. One was the news of publication of research on the physiological effects of LSD on the brain’s blood circulation. The other was a report on how vision works, how the incoming signals from light striking our retinal cells is smoothed out by the activity of the brain.

Before I draw my tentative conclusions, I’d like to examine these two scientific findings a little more closely.

LSD, similarly to other psychedelic substances such as psilocybin, seems to affect the brain’s blood flow adversely. In contrast to the expected extra activity, stimulating extra colours and shapes, instead the fMRI scanner showed a loss of blood flow (and therefore activity, in its gross sense) in many areas of the brain. Something is not happening which usually does.
Light falls on the cells of our eyes, causing the photo-pigments within the eye to change shape. This chemical change affects the transmission of an electrical signal to the brain. Once the signal has been ‘sent’, the photo-pigment regains its previous shape, and awaits another external input to fall upon it and allow the process to repeat. This takes a measurable amount of time, which if always perceived would cause issues with evaluating the true colour of any thing. To allow a consistent picture of the colour, the brain averages out the inputs received over some seconds, approximately 15 according to this study. A sensible way of overcoming the refresh rate of our mechanistic system.

It occurred to me that this constant activity of the brain in smoothing out these sensorial flickers could be part of what ceases during the low level of blood flow observed when in a psychedelic state. If so, then under the influence we would perceive a world with waves of intense/fading colours, especially if the gaze rests upon an object meaning that colour perception is our main focus of attention.

Freudian

And this seems to be borne out by personal observations. 1P LSD is currently legal in the UK (although probably for only a few more weeks), and having taken one blotter recently in auspicious circumstances I waited to see if my theory might bear fruit. Looking carefully at a painting, I saw the colours appear and disappear clearly, fading in and out of my awareness. Greens, reds, blues, and the mixtures of these, became visible in turns, creating a shifting texture of shape as different elements of the composition revealed themselves in turn.

The painting was a modern one, depicting a hand and forearm. As the colours ‘moved’, the arm came alive. Later, I stood on the doorstep of the house and watched the trees in the front garden shift and sway from the inner breeze originating from my eyeballs’ pigments changing shape.

The experience was profound. Aware intellectually of what was happening at a basic level of my own biochemistry, added to the wonder I felt at the sight, just as the knowledge that the stars are gigantic balls of gas lights years away adds to the magic of the immediate view of them as twinkling pin pricks of light.

There are likely to be analogous effects on other sensory inputs; sound, bodily sensations such as temperature, kinaesthetic awareness, proprioception, taste and smell. So psychedelics, named after the apparent mind-manifesting effects, may actually reveal instead a lack of ‘mind’ as we currently understand this terminology. The reducing valve theory of Huxley has already gained acceptance with regard to integration of brain centres. This visual phenomenon of visible colour waves could provide an easily accessible concrete example of its application. Psychedelics may well reveal the building blocks of our raw state of perception. This could explain that sense of familiarity many people have commented on, the coming home. For really, we ALWAYS see the world this way with our sensory apparatus, the non-psychedelic reality being constructed post-here&now by constant activity within our filtering brain.

Thus, I suggest that the iconography of ‘higher’ levels of consciousness, of the ideal realms beyond our mundane reality, is unhelpful. Rather, we could use linguistic approaches emphasising the physical ground of our existence as those worthy of most awe, exposure to direct lived embodied awareness as the basis of our spiritual awakenings. Shifting our attention downwards, to the felt foundation, could resolve the vertiginous sickness of the last two millennia spent trying to find the Real in the cosmic distance. The ‘other dimensions’ beloved of so many entheogenic gurus may turn out to be the real world, whilst our normal awareness describes for us a practically useful fiction, a steady state narrative within which we see and move.

Ego dissolution, changes to the serotonin system and other physiological effects of classic psychedelic drugs are under investigation. As further results are published, I anticipate greater insights into how our Newtonian mechanistic body, and our idealist Platonic mind, could swirl together beyond divisive labels of classification; this has profound implications for spiritual thinking, panpsychism, and the imminence of the divine. By directly experiencing the bodymind as One Thing, seeing with full cognitive and intellectual awareness even one aspect of how our marvellous complex neural processing creates useful simpler narrative consistency, we may come closer to a unification of this apparent duality into a tangible philosophy.

Previous attempts at describing the numinous have placed it somewhere other, often above us, in higher otherworldly spaces accessible only to those who can climb above others. Top-down hierarchies have given us dry channels to literally non-existent heavens, whilst a model of underground networking provides far more resilience, sustainability, and dare I say it, a better legacy. I posit that instead of shouting our prayers to the stars, we ought to listen to the ground when seeking deeper wisdom. Conceptualise our ‘altered states of consciousness’ as the apocalyptic, revealed, awesome foundation of our beliefs, as the bedrock, the floor of our magick. Sky-dwelling supernatural beings have had their day, and as they fall, the earthly body answers our entreaties. Rise!

Dionysus, god of ecstatic visionary states, Plato’s inspiration, has held the key to this doorway of perception for thousands of years. As the source of philosophical musings, in vino veritas, he seems a fitting deity to honour in naming this observation of mine, regarding the revelation of what is actually seen in these states:- The opening of Dionysus’ Doorway to a truly visionary way of perception.