Understanding and the Imagination in the Light of Nature
Los Angeles, California, October 17, 1987
I want to mention this is a benefit for Botanical Dimensions and KPFK. Botanical Dimensions is the real world kind of real politick response to all the issues that Kat and I hammered out over the last 11 years. And what it boils down to is a plant rescue project built around a 20-acre botanical garden in Hawaii. What we're doing there is trying to bring in plants that are threatened in the warm tropics; either the extinction of the species is threatened, or the knowledge of its medicinal or herbal or shamanic use is in danger of being lost. There are a lot of fancy organizations, World Wildlife Fund, Earthwatch, Earth First!, that are saving the rain forest or at least fighting that battle, legally and by getting huge tracts of forests in the tropics made into reserves. But nobody really even cognizes or is focused on saving ethno-botanical lore, data that concerns the very subtle relationship between aboriginal people and botanical resources in their environment. So that's something we're doing.
A theme was touched on last night which is one of the centerpiece themes of aboriginal shamanism; the felt presence of some kind of alien intelligence. An intelligence that is somehow co-present with the human sense of self, for different people, in different ways, with varying degrees of intensity in different times and places. At the bedrock of shamanism is the notion that life is really finally a mystery wrapped in an enigma, but without resolution. Nevertheless as you close distance with this mystery there are a series of analogical metaphors that don't really suggest themselves but that are communicated to you by the other.
One of these analogical metaphors is the presence of an alien intellect, an organized other that is folklorically present in tradition as fairies, gnomes, elves, jinns, afreets, sprites, tree spirits -- that sort of thing -- and anecdotally present in rural cultures throughout the world as the poltergeist and the milk-souring fairy -- these things seem to reside in a curious area that is not epistemically clearly defined for the culture.
Among aficionados of these domains the question of, "is it real or not?" is thought to be mildly tasteless. You would intuitively sense if you were drinking in an Irish pub and people began to spin leprechaun stories, that the question "is it real?" is a real bring down. It isn't really like that because the question "is it real?" can ultimately be shown to be infantile in any situation. I mean is the Bank of America real? Immediately we realize that ordinary experience is simply assumption skating over the mystery.
But I choose to talk so much about the felt presence of the other because it was for me such an astonishing personal surprise. I was raised Roman-Catholic and indulged in the kind of theological fiddle-faddle that involves. And then grew out of that into atheism, into agnosticism; by the time I got to college I was reading Jean Paul Sartre and Husserl. My intellectual ontogeny had followed historical phylogeny and I had arrived in the 20th century. And then having thought I had absorbed the lessons of LSD, which seemed to me to be to reinforce and confirm the theories of Freud concerning the dynamics of the psyche: that it was about repressed memory, repressed desire, sexual neurosis, parental foul-ups and the imprinting of traumatic behavior experienced in infancy.
And then someone came to me one rainy February evening, in 1967, really a mad person, a kind of a social menace and intellectual criminal. A person who had said to me only months before, "we must live as if the apocalypse has already happened." Here he was on my doorstep, he wore little black suits that he buttoned up to the throat. He came in and he said "here's something that you might be interested in." And he brought out a sample of di-methyltryptamine that he had somehow come into contact with. And I said, "well what is it?" And he said, "well, it's short acting -- it's a flash." And I said, "how long does it last?" -- that was my first mistake. He said, "oh it doesn't last long." So I said, "OK, we'll do it." And we did it.
And I discovered, I had, I guess it's called a peak experience, or a core revelation, or being born again, or having your third eye opened, or something, which was a revelation of an alien dimension; a brightly lit, inhabited, non three-dimensional, self-contorting, sustained, organic, linguistically intending modality that couldn't be stopped or held back or denied. I sank to the floor -- I couldn't move. I had become a disystolic hallucination of tumbling forward into fractal geometric spaces made of light, and then I found myself in the sort of auric equivalent of the Pope's private chapel, and there were insect elf machines proffering strange little tablets with strange writing on them. And I was aghast, completely -- appalled -- because the transition had been a matter of seconds and my entire expectation of the nature of the world was being shredded in front of me. I've never gotten over it.
And it all went on, they were speaking in some kind of -- there were these self-transforming machine-elf creatures -- were speaking in some kind of colored language which condensed into rotating machines that were like Faberge eggs, but crafted out of luminescent super-conducting ceramics, and liquid crystal gels, and all this stuff was so weird, and so alien, and so "un-english-able" that it was a complete shock. I experienced the literal turning inside-out of the intellectual universe and I had come to this -- I thought -- fairly intellectually prepared: A kid, but nevertheless double-Scorpio, art history major, Hieronymus Bosch fan, Moby Dick, William Burroughs.
And as I came down -- this went on for two or three minutes, this situation of disincarnate dimensions orthogonal to reality engulfing me -- and then as I came out of it, and the room re-assembled itself, I said "I can't believe it. It's impossible. It's im-possible." That to call that a "drug" is ridiculous. It means that you just don't know, you don't have a word for it and so you putter around and you come upon this very sloppy concept of something which goes into your body and there's a change -- it's not like that, it's like being struck by noetic lightning.
The other thing about it, which astonished me, was there is no clue in this world -- in the carpets of Central Asia, in the myths of the Maya, in the visions of an Archembolo or a Fra Angelico or a Bosch -- there is not a hint, not a clue, not an atom of the presence of this thing. When you look at the religious hierophanies of the human species they don't have the same vibe, don't have the same charge. Religion is all about dissolving into unitary states of love and trans-linguistic oceanic unity and this sort of thing. This was not like that. This was more multiplistic than the universe that we share with each other. It was almost like the victory of neo-Platonic metaphysics -- everything had become made out of a fourth-dimensional tesseractual mosaic of energy.
I was quite knocked off my feet. And set myself the goal of understanding this. There was really no choice you see. I don't know how it hits other people. There are many things that can be said about introducing a chemical into your body. They've shown that certain people are 50,000 times more sensitive to the odor of certain compounds than other people. And part of the unique genetic heritage of each of us are our complement of synaptic receptors for psycho-active alkaloids. So that there may be something to the notion that the Celts tend to be poets, that certain peoples tend to be expressive in certain artistic modes, or certain senses seem to be accentuated for certain human sub-groups.
But whatever the explanation for how it hit me, I felt it like a call -- there was no turning back from trying to understand, because there is no place for it in our world, and yet it is overwhelmingly, existentially real. You see? And easily accessed. I'm not telling you that you have to go some place in India with poor sanitation and put yourself at somebody's feet for a dozen years or something like that. The enunciation of the presence of this dimension should inspire some kind of coming to terms with it. It's preposterous that we can entertain in our popular journalism the titillation of the search for extra-terrestrial intelligence and prop up all reductionist personalities, and trot them out to give the statistics on the distribution of G-type stars, and this sort of thing. Because the fact is, what blinds us to the presence of alien intelligence is linguistic and cultural bias operating on ourselves. The world which we perceive is a tiny fraction of the world which we can perceive, which is a tiny fraction of the perceivable world, you see.
We operate on a very narrow slice based on cultural conventions. So the important thing, if synergizing progress is the notion to be maximized (and I think it's the notion to be maximized), is to try and locate the blind spot in the culture -- the place where the culture isn't looking, because it dare not -- because if it were to look there, its previous values would dissolve, you see. For Western Civilization that place is the psychedelic experience as it emerges out of nature.
As human societies interact with the psychedelic experience in nature, they inevitably secrete the institution of shamanism. Like a pearl around a sand grain, a nexus point, a loci of inter-dimensional data-flow, which is really what it is. Under certain conditions, which have to do with molecules that have evolved in these species which have a weirdly quasi-symbiotic relationship to our species, you strike through the veil. Melville said, "if you would strike, strike through the mask." And that's what's done, you strike through the mask of the coordinates of apparent reality. And then, something is there which to me is a miracle.
It transcended any miracle I could ever ask for because it not only had the quality of a miracle as I imagined it, it had the quality of a miracle as I could not have imagined it. It was entirely charged with the energy of the other. It had the ambiguity of a pun: A kind of zany, impossible, improbable, hysterical revelation of the joke, the self-contradiction, the provisional nature of it all -- that it really is a Marx Brothers movie in some sense.
So I pursued it. First to Nepal, and involvement with pre-Buddhist shamanism in Tibet. The thing that puzzled me most, I guess because I was an art historian, was the absence of the theme in the artistic productions of human kind. I felt that maybe there was a trace of it in the artistic conceptions of the old pantheon of Tibetan shamanism. And that Central Asian Tibetan shamanism had actually created astronauts of inner space that had gotten good recon on this same area. The Dharmapalas -- the guardians of the Dharma -- are not Buddhist deities per se, they are autochonous Tibetan folk demons that protect the Dharma by virtue of the fact of having been overcome in magical battles by great Buddhist saints who came to Tibet. In fact, there are, or were before the Chinese occupation, monasteries in Tibet where the vow of fealty to the Dharma, on the part of the Dharmapala, had to be renewed by the monks every 24 hours or the thing would run amok and be on its own and bust up the countryside. (I'm just telling you what they told me.)
It seemed to me that the raw sense of the shamanically accessed demonic realm was there. I also saw traces in Hellenistic gnosticism, and alchemy. But such thin traces. So I went to Nepal, immersed myself in those studies, and decided ultimately that it was inaccessible -- I wasn't sure whether it was there or not. Then I placed myself in the context of nature by moving my sphere of operations to eastern Indonesia. To the climaxed, continental rain forests of the ancient continent of Sundaland. You see Indonesia was a continent until as recently as 120,000 years ago. And then with the melting of the glaciers and the subsidence of the land, it became a vast group of islands. It was my good fortune, or fate -- because it was prudent for me at that time in the late sixties to remain outside the United States -- to become the hero I had pretended to my friends that I was. Which I wasn't. I had an around-the-world air ticket and was entirely a preppie poseur. But suddenly return was not a possibility. So I became, and my apologies to Buddhists in the audience, a professional butterfly collector.
I pursued this blood sport for many months in these remote montane jungles of eastern Indonesia. And it was there that the missing link in the quest for the resolution of the meaning of DMT and spirit fell into place. Because I saw what most of us only see on National Geographic specials; the real fact of the rain forest; the real fact of organic nature. And how nature is communication. Not only are the species that comprise the biota linked by pheromones and acoustical signals and color signals and other various methods by which communication is seeping around.
In fact, nature ultimately resolves itself into a self-reflecting, syntactical metasystem, right down to the DNA. DNA working as it does, with nucleotide sequences that code -- that means arbitrarily assign association -- code for certain amino acids. It means that organic objects are essentially utterances in three dimensional space and express of some kind of universally distributed linguistic intent. This is what it means when it says, "In the beginning was the word." Nature is that word. This infinitely self-adumbrating, fractal, syntactical hallucination with an infinite number of facets for potential regarding and self-regarding.
And having said all of this, I might invoke here Godel's Incompleteness Theorem, which as I'm sure many of you know was Kurt Godel's brilliant contribution to theoretical mathematics where he showed that the possible set of true formal statements generated by any formal system exceeded the possible set of true formal statements which the rules of that system allowed. He showed this for simple arithmetic. And what this means, friends, is that what was called truth up until the beginning of the twentieth century, is absolutely impossible. That's what Godel's Incompleteness Theorem secures. It shows that there is no ultimate closure in an effort to describe a formal system.
And so in a way, my take on nature, and culture, and man, is that human language is a meta-linguistic system, generated out of the necessary formal incompleteness of nature. Nature is a self-describing genetic language and yet out of it arises something which is not formally predicted by its constraints and rules. There's a symmetry break there, and a so-called emergent property comes into view. This emergent property is our unique ability to provisionally code sound to meaning so that we then can freely command and reconstruct the world. We imagine that we do this for our own purposes of communication. The analysis that I'm suggesting would seem to indicate that actually we do it because we are complicated enzyme systems that are moving linguistic charge around inside some kind of metasystem. A metasystem that is very important for the emergence of new order out of nature.
The fact that it is contrived, provisional, is very interesting. It doesn't arise out of the gene structure. Rather it is agreed upon by individuals who are living at the time that the linguistic structure, whatever it is, emerges into consciousness. Since individuals are replaced, the language is much more in flux than the genome. The genetic component of an organism is a physical structure stabilized by atomic bonds -- possibly stabilized by a phenomenon like room-temperature's superconductivity. In that the way nature works is to conserve the genes. Molecular machinery has evolved to do that. But there is no mechanism in nature with the same kind of binding force that conserves meaning. Meaning is some kind of freely-commanded, open-ended, self-evolving system. The rules are that there are no rules.
Meaning consequently addresses itself to a much larger potential modality of expression than the genes. The genes basically repeat themselves, over and over. Almost like Homeric poetry, where the idea is that it be memorized and repeated. And that's what sexuality is about: memorizing and repeating gene structures, handing on parts of the story. But the epigenetic domain is different, the creation of linguistic systems, where meaning can be freely commanded, allows very rapid evolution of cultural forms.
I suggested last night, and want to say more about it tonight, that this process is mediated by plants. It is synergized in human beings by plants, of all sorts. We are obsessed with drugs, and short-term spectacular effects, but think about the effect on a culture of the presence or absence of say, sugar; or the presence or absence of coffee. Human culture can essentially be seen to be a series of plant-established developmental creodes for a higher mammal. The fact that we are omnivorous lays us open for the formation of weird relationships to things in our food chain. Everybody is taught in school that the Renaissance, the close of the Middle Ages, the rise of urban culture all had to do with the search for spices. Bringing spices back to Europe. Why was it so important that a drive to simply broaden the palate of Europe is given credit for the re-defining of post-medieval civilization? Very strange.
Hofmann and Ruck and Wasson, showed that the Eleusinian Mysteries, which were the philosophical and experiential linchpin of the ancient world's cosmology -- the Hellenistic cosmology -- was a cult of ergotized beer. Every September at Eleusis, this Mystery was carried out, and everyone who was anyone participated in it. The rule was that you only got to do it once in your life so you had only one opportunity to understand it.
The point is clear: in human culture in all times and places, the way in which our cultural institutions have been molded by these so-called tertiary compounds in plants is very suggestive. It seems to me that the felt presence of the other, the alien intelligence felt as being from outer space, is actually co-present with us on this earth. And that the problem is not the finding of it, but the recognizing of it when it is seen. In the same way that in the present cultural crisis everyone is crying `answers, answers, we have to have answers,' the fact is we have the answers. The question is to face the answers.
The answer to self-empowerment lies in the psychedelic experience. The answer to dissolving the hierarchically-imposed set of mythical conventions that disempower us, lies in the psychedelic experience. Because what is really happening is a return to the primacy of feeling. And feeling is not something you convey to people the way you convey facts to them. Facts can be handed down every week through Time magazine, and the latest issue of Science News and Nature. But feelings will not lend themselves to that marketable, hierarchically-distributed system. Consequently feelings represent a backwash against that. Yet feeling is the modality in which we all operate. So as long as we are under the umbrella of the print-created, linear, post-medieval institutions that promote the myth of the public, the notion of the atomic individual, the notion that we are all basically alike then we are going to be unempowered.
The amazing thing to me about the psychedelic experience, is that it can be kept under wraps; that people don't insist; that somehow we're leaving it to experts to figure it out. But did you know that the experts are not allowed to work it out? That in this particular area, the entire human race has been relegated to an infantile status. It is not really professionally possible, to do work with these things.
Nevertheless, our cultural crisis is deepening. Deepening mainly because we have very poor connections among our fragmented and autonomous psychic structures -- within ourselves as individuals and within ourselves as a society. Our whole problem is that we can't communicate with each other, we can't express intention. Yet the psychedelics are sitting there waiting to unify us, to introduce us to the trans-linguistic intention. To carry us forward into a realm of appropriate cultural activity, which is to my mind, the realm beyond history. Beyond history lies effortless and appropriate cultural activity. And nature has proceeded us, as it always does, by laying out models that can be followed to realize this.
As an example, I'll point out that the 19th century had a titular animal. Its titular animal was the horse, idealized as the steam engine, the Iron Horse. Marx talked about the locomotive of history, and there was a whole focusing on the horse archetype. Which in the 20th century, gave way to the titulary animal, the raptor, the bird of prey, as exemplified by high-performance fighter aircraft, as the kind of ultimate union of man and machine in some kind of glorification of the completion of a certain set of cultural ideals.
In thinking about this and in thinking about how language is the cultural frontier of our species, I went to nature looking for models of how we might move beyond the bird of prey, which when you think about it, is the American symbol. It was also the symbol of the Third Reich. A lot of creepy scenes have actually been into birds of prey, when Alleric the Visigoth burned Eleusis, it was the crow that fluttered on his battle standard as the greasy smoke swept by. These dark birds have been ever with us.
In looking for a new titulary animal and drawing the conclusion of what it would mean, I was drawn to look, strangely enough, at cephalopods, octopi. Because I felt, first of all, they are extremely alien. The break between our line of development in the phylogenetic tree, and the mollusca, which is what a cephalopod is, is about 700 million years ago. Nevertheless, and many of you who are students of evolution know, that when evolutionists talk about parallel evolution, they always bring out the example of the optical system of the octopi. Because, isn't this astonishing? -- it's very much like the human eye, and yet it developed entirely independently. This shows how the same set of external factors impinging on a raw gene pool will inevitably sculpt the same organs or attain the same end, and so forth and so on.
Well, the optical capacity of octopi is one thing. What interested me was their linguistic organization. They are virtually entirely nervous system. First of all, they have eight arms in the case of the octopods, and ten arms in the case of the squid, the decapods. So coordinating all these organs of manipulation has given them a very capable nervous system as well as a highly evolved ocular system.
But what is really interesting about them is that they communicate with each other by changing the color and texture of their skin and their physical shape. You may know that octopi could change colors, but you may have thought it was camouflage or something very passive like that. It isn't that at all. They have a vast repertoire of traveling bars, dots, blushes, merging pastels, herringbone patterns, tweeds, mottled this-and-thats, can blush from apricot through teal into dove gray and on to olive -- do all of these things communicating to each other. That is what their large optical system is for. It is to be able to see each other.
The other thing which octopi can do -- besides having these chromatophores on the surface of their skin --they can change the texture of the skin surface: can make it rugose, papillaed, smooth, lobed, rubbery, runneled, so forth and so on. And then, of course, being shell-less molluscs, they can hide arms, and display certain parts of themselves and carry on a dance.
When you analyze what is going on here, what at first seems like merely fascinating facts from natural history, begins to take on a more profound aspect. Because it is an ontological transformation of language that is going on in front of you. Note that by being able to communicate visually, they have no need of a conventionalized culturally reinforced dictionary. Rather, they experience pure intent of each other without ambiguity because each octopus can see what is meant -- this is very important -- can see what is meant. And I think that this heralds, or could be made to herald, a transformation in our own definitions of language and communication.
What we need is to see what we mean. It's not without consequence or implication, that when we try to communicate the notion of clarity of speech, we always shift into visual metaphors: I see what you mean, he painted a picture, his description was very colorful. It means that when we intend to indicate a lack of ambiguity and communication, we shift to visual analogies. This can in fact be actualized. And in fact, this is what is happening in the psychedelic experience. There we discover, just under the surface of human biological organization, the next level in the organization of language: the ability to generate some kind of acoustical hologram that is manipulated by linguistic intent.
Now don't ask me how this happens, because nobody knows how it happens. At this point it's magic. Nevertheless, the fact is it does happen -- you can have this experience. It represents a synesthesia in the presence of ongoing communication. It is, in fact, telepathy. It is not what we thought telepathy would be, which I suppose if you're like me, you imagine telepathy would be hearing what other people think. It isn't that. It's seeing what other people mean. And them also seeing what they mean. So that once something has been communicated, both parties can walk around it and look at it, the way you study a Brancusi, or a Henry Moore in an art gallery.
By eliminating the ambiguity of the audio signal, and substituting the concreteness of the visual image, the membrane of separation, that allows the fiction of our individuality, can be temporarily overcome. And the temporary overcoming of the illusion of individuality is a much richer notion of ego-death than the kind of white-light, null-states that it has imagined to be. Because the overcoming of the illusion of individuality has political consequences. The political consequences are that one can love one's neighbor, because the commonalty of being is felt. Not reasoned toward, or propagandized into, or reinforced, but felt.
This is why there is a persistent notion, which accompanies these psychedelic compounds, of a new political order based on love. This was a hard thing to say in the panhandle in 1965, it's not easy to say in heavy-metal LA.. in 1987. But it seems to be the fact of the matter. That love, which poets have celebrated for eons as ineffable, may in fact have certain ineffable dimensions attached to it, but it may in fact be more affable than we had previously cared to imagine. And the invoking of the effability of love has to do with discovering the shared birthright, the atemporal dimension that is co-present with this reality, a dimension that is a vast reservoir of anchoring -- existential anchoring -- for each and all of us in our lives.
So my response to feeling the political pull of this, feeling the power to transform language, that resided in these things, was to go to the people who I thought would know most about it: the shamans for whom hallucinogenic shamanism has never been an issue; for whom the notion that you're supposed to do it on the 'natch, is a patent absurdity. If you're serious about doing it on the 'natch I suggest you eliminate all food. Because this notion of the pristine self somehow riding above the muck of the world, carrying on a spiritual evolution is absolute foolishness. We are made of the stuff of the world.
People who do not confront the presence of the hallucinogenic possibility, are turning their back on their birthright. In the same way that if you do not experience sex throughout your life you are turning your back on your birthright. After all we could argue that to allow another person to touch you, is to not do it on the 'natch, right? But, dear friends, we're slicing too close to the bone here to take that approach. It's much better, I think, to open to the world.
The world is communication. Nature is the great teacher. All human gurus are simply distillations of the wave of nature that is coming at you. So you can just short-circuit the whole human boil-down, and go straight to the executive suite by putting yourself under a tree in the wilderness. The Great Ones all have said this but they need to be taken more seriously on the subject of their own expendability. Me too.
Going to the Amazon with these kinds of notions, and looking at what had been achieved there, I came to have a vision then, of the future that could be. That we are hurling ourselves into a new stone age, where the fruits of the prodigal wandering, that I discussed in such detail last night, can be used to infuse new meaning into that paradise. That the imagination of man and woman is so incomparably rich, and exerts such an attraction on us as the builder-monkey, that we have to honor that. We cannot demonize that and preach a kind of naturalism that if actually put in place would cause the starvation of tens of millions of people.
We have passed the point where some kind of Luddite reform can save us. Only self-indulgent elites can preach voluntary simplicity, because a lot of people are experiencing involuntary simplicity. And, unless you're one of them it rings rather hollow to be told that Zen values are best.
Re-inserting ourselves into nature is inspiration for cultural design. That's what it is -- it's not flight from the design process but a re-invigoration of it. Some of you may be aware of the concept of nanotechnology in which everything is built at the molecular level. By studying the mechanisms of the cell, and the immune system, and DNA, we begin to have a picture of how molecules and atoms are the machine parts of a microcosmic world that if we were elf chemists we could make our way into and create anything that we could imagine. I can foresee a world where all machines will be made by DNA-like polymers that will code base materials into larger and larger aggregates.
The minaturization of our world is a great frontier. As culture becomes more enveloping, its physical manifestation should become less material. So the ultimate notion is of the world turned back to the form it held, let's say 35,000 years ago, in which people lived in an environment of entirely climaxed natural perfection. However behind their eyelids would lie a culturally and consensually validated data phase space that is culture, civilization. Turn each of us into a telepathic aquarium, that has a direct pipeline to the general ocean of mind and being. This is possible. In fact, its not only possible, it may be the only decent solution: to down-load ourselves into another dimension. (And I want to note in passing the collapse of Max Headroom. What a tragedy I think it is that his last show was tonight. This was a weird force for cultural transformation, but to be applauded. If anybody here tonight has anything to do with it, I wish them luck.)
But this sort of notion -- the Max Headroom people and the William Gibson people have a very high-tech take on this, because they are interested in accentuating this tight blue-jean, cyber-punk kind of notion. But in fact the worlds that they describe will have many many different social sub-groups and social eco-systems forming in them. What the future really means is choice to become who we are, to flower out, to find our own way.
McLuhan saw all this 20 years ago: he said that the rise of global electronic feudalism would create an atomistic fragmentation of culture. It may well be that within 50 years the largest organizational entity on the planet will be corporations with a few million loyal employees, and all larger social institutions will have disappeared because they were unable to command loyalty in a social environment where direct experience has become empowered. And this empowering of direct experience, this return to the feminine, this legitimizing of the presence of the vaster regions of the unconscious -- these are all aspects of this emerging paradigm of the spirit. Understanding and the imagination in the light of nature, which is what this two-night party has been called, is a definition of the spirit.
In other words, true understanding, poetic imagination, standing as a mirror before nature as object, will cause the hologrammatic presence of the spirit to magically appear. It will be then seen to be a kind of emergent quality of the situation that was previously masked, simply because the elements had not fallen into the correct arrangement. As we move forward through time over the next 25 years there will be many prophets of the transcendental object at the end of time, many takes.
The important thing is to recall Godel's Incompleteness Theorem, and to always recognize the provisional nature of the metaphysical goods that you're going to be sold. Nobody has the faintest notion of what's going on. It's important to keep that in mind. If you have that in mind, then the game proceeds much more cleanly.
What is ahead of us is true high adventure. The essence of it is its unknowability. Its promise is transformation. Its theater of occurrence is the here and now. We are not waiting for it to begin, it has already happened for us, and our job is to understand how that can be so.
Plato said time is the moving image of eternity. My notion of shamanism is, it is that state of mind which accrues to those who have seen the end. By cultivating this notion of closure with hyper-space, imaged as the archaic return to the world of the pre-cultural ambiance, we can have an anticipation of the transcendental object. It is still in Eden. It is we who have undergone the fall and the recurso. And now the laden prodigal son returns to beat at the doors of the manorial home, the birthright. And within lies the beginnings of true civilization.
We are the forerunners of a truly moral and ethical human society. The deepest aspirations, however badly mangled and mishandled by our traditions, nevertheless still have the potential for archetypal fruition within them. The torch that has been passed from generation to generation, ad infinitum back into the distant past, is alive. And by some strange quirk of the metaphysical machinery it's our great privilege to live through this symmetry break, this revelation of the next level of the open-ended mystery. I think that the real thrill lies in relating to our world with an open mind, a sense of caring, a sense of wonder, and a sense of real, grounded, intellectually firm hope. So that's all I want to say this evening. I think we'll break for about 15 minutes and then we'll have questions. Thank you very much.
Question and Response
Now comes my favorite part of these things which is the period where there's interaction because I think this is really a group process. Every one of you to some degree has taken upon yourself the role of the Magellan-in-the-living-room, and probably every one in this room has at some time or another gazed upon things no other human eye has ever beheld. The psychedelic dimension is not yet a science. We're more like explorers comparing our crudely drawn maps, and hastily scrawled journal notes, trying together to get a picture of this new continent in the imagination. So, I'm yours. Sir -
Question: You have said in your book that the mushroom was genetically engineered for producing psilocybin by an alien intelligence. What do you think now about the possibility of us using psilocybin genes within other kinds of organisms like fungi or plants, or, I don't know about animals.
Response: Well, interesting question. The question was I've described the mushroom as genetically engineered by some other agency for the production of psilocybin, what do I think about the possibility of human beings being able to genetically manipulate organisms to produce psychedelic compounds? I think that the technology and theory has reached the stage where, if there's an enterprising graduate student within the sound of my voice, the way to go is to locate the gene for psilocybin in the mushroom genome, and to translate it via standard techniques to E. coli, to Escherishia coli. Then you would have an easily grown bacterium which would be a chemical factory for pouring our psilocybin. So if any of you are aspiring genetic pharmacologists, this would be a fine project.
I might elaborate on the answer for some of you who are not familiar with the premise. The reason I suggested that the mushroom might have been engineered and be in fact an artifact of an alien intelligence was number one, of course, the informational content of the trip, but number two, the fact that psilocybin is one of the few four-phosphoralated indoles known to occur in nature. Out of thousands and thousands of compounds and organisms, only a few four-phosphoralated compounds are known. This suggests that such compounds are artificial, or at least highly unusual.
Every week the science magazines are full of talk of strategies for locating and identifying extraterrestrial life. Well a very obvious practical and scientifically reasonable way to proceed would be to look at the DNA of various life-forms on earth, and see if there are any in which there is a wild statistical departure from the norm. Whenever you get an organism which is producing, or has genes that no other organism has, this is highly suggestive. Because species evolve incrementally out of each other. So you would expect that there would be a relative smoothness in the expression of chemical taxa. That one fungus would be rather like its taxonomic near relatives. One member of a genus would be chemically similar to another. In fact, of course, we do find subtle chemical variations, but the presence of a four-phosphoralated indole in a fungus like that is very suggestive.
There's an interesting book by Cyril Punampurama called Perspectives on the Problem of Extraterrestrial Communication. In it he outlines what he believes would be a general strategy for extraterrestrial contact that any kind of species would have to operate with if it were to seriously conduct a search through space. And the model posits a ship, which at a certain distance from its origin planet, must replicate itself. And then at a certain distance, replicate again. And then again, in order to keep the density of ships constant as the sphere of the area being explored expands. These ships could be as small as an animal cell. They don't have to be thought of as Star Trek-type ships.
But the point is this ship contains instructions that you must read and follow in order to call in. There are so many planets and star systems to be surveyed that the only way such a survey could be conducted is if there were a message in the ship-qua organism, such that in the gene swarm of an alien planet it would eventually be read by an organism on the planet that would act to do the things necessary to call the central switchboard. Then the folks who made the ship would say: `ah-ha, we have contact in sector alpha sub-N 362,' and they would concentrate all their attention there.
Q: Yes would you speak on the time-line a little?
R: Oh what a kind questioner, to lead me to my favorite subject. Well, it has to do with why (people do this for different reasons), why people take psychedelic plants and what lies behind it always. And what always lay behind it for me, from that very first DMT trip that I described to you at the beginning, was the notion, `My god, this stuff has historical significance. Nobody knows about this,' carrying with it the notion, `we are discovering it.'
If we could bring it back, somehow, it would change the world. Perhaps people are bringing it back, by designing buildings and creating fashions or fashioning mathematical descriptions of reality. I never had that aspiration. I just simply defined myself, more humbly than that, as a consumer of ideology, as an intellectual who would learn what has been said and done and proposed.
But after the DMT experience I realized that there is unclaimed stuff out in those dimensions. James Joyce says in Finnegan's Wake, "Up-nee-ent prospector you sprout all your worth and woof your wings." Well, the key word is prospector. A prospector is a rock hunter. I wanted to prospect for the alchemical stone, for the lapis philosoforum. And I conceived it as an idea: the timewave -- I think it would come differently for each of us -- for me it was an incredibly formal, aesthetically symmetrical, and therefore satisfying idea about what time is.
That the Tao is something which could be mathematically described as a flux of a quality in time. A quality that I named Novelty. And once I had enunciated it for myself I saw that it was the part of the world that we have no description for. Science gives us descriptions for what is possible. But we have no descriptions for what, out of the set of the possible, undergoes the actual formality of occurring. Why are certain things selected to come to be? And I saw then the notion of the Tao, which is generally presented as a kind of intuitive notion -- you're not supposed to demand too much hard-edged clarity. You say, `just flow with it man, flow with it.' Well when someone says flow to me, I think of equations which would describe flow. Flow as a dynamical system which therefore can be mathematically modeled.
What the timewave is, is a seeing that the very largest patterns which describe the whole birth, evolution and death of the universe, are repeated at successively shorter and shorter spans of time, down into the quantum-mechanically and micro-electronically cognizable realms of time. The realm of nano and pico seconds. I saw the I Ching, which as a kind of phenomenological description of time, produced by the oriental mind completely unencumbered by our particular set of cultural conventions. Certainly it has its own set of peculiar conventions -- but not ours -- that there is a pattern in nature, not in three dimensional space, but in time, a pattern in time on many levels that reproduces itself and can be known, can be formally described. And once known, can be seen to control the ebb and flow of connectedness. Or the forward and backward surge of novelty. I thought that this was a great insight -- since it was the only one I had, I could hardly sell it short. And what pleased me most about it was that a rap is only as good as the rapper. But here was a mathematically formal idea, that could stand on its own; be examined in the absence of the rapper; be examined by critics who were as hostile as they cared to be.
It's simply a tool. It's in a long line of tools that stretches back toward the first chipped flint, and stretches forward toward the soul made manifest as starship and alchemical transformation. But it was the tool that I came upon and what is always put against the psychedelic experience is they say, `well, big deal, what's ever come out of it?' So I was pleased that here was a concrete notion that came out of it. Richard -
Q: Along the line of this timewave, can you give us a reading of our current time in the not-too-distant future?
R: I would be only too happy to. The question is would I care to prophesy based on this timeline? Yes, one of the assumptions built into the theory is that time is a series of nested resonances. And that each time is composed of resonance with previous and future times on varying levels. The time we are living through, I call the Roman Twilight. Simply because we are living through a period that is in resonance with the time of the last Roman emperors. And I think that if you look at it carefully, you can begin to see the way this theory proposes to be analogical and yet formal at the same time.
What was happening in the decades immediately preceding the fall of Rome? A progressively weakened series of self-indulgent propagandists ruled the greatest empire on earth with a more and more shaky hand as they succumbed to gonorrhea, mercuric poisoning, various occult pursuits, millenarian obsessions and so forth. Meanwhile in the east, in Byzantium, a new civilization was unleashing itself, and if you think of those events, which unfolded over a few hundred years, as telescoped into a few years in our own era, you see that with the rise of Gorbachev and the continued mis-management of the American empire under the crypto-fascist series of rotating bimbos and buffoons that we have suffered through; that what is happening is an empire is being betrayed into eclipse by self-indulgence, stupidity and bad management, and its cultural adversary is in ascendancy.
Now Byzantium never conquered Rome -- it doesn't happen like that -- but what ended was the Roman world of indulgent, cohesive imperialism. And what it was replaced with was a rise in religious fundamentalism, a stricter and more puritan kind of morality, the rise of epidemic diseases, and a vast economic retrenchment which initiated what we call the Dark Ages.
Now, in the present situation of the 20th century these themes are being recapitulated at an extremely rapid rate. So their Dark Age is for us, a tough three or four years, fortunately. It's said history occurs first as tragedy, then as farce. We are the heirs of the vast tragedy of extended history who live through the curiously mediaized and dehumanized farce of the recapitulation of these same themes. Because the very notion that the last ten Roman emperors could be symbolized by someone like the present American chief executive cannot fail to bring a small smile to any open mind.
So what I see happening over the next twenty-four years really, is first this retrenchment which, hell, it may be upon us judging by the market's performance Thursday and Friday, I may not be doing prophesy at all, this may be recap at this point. But whether that is a technical move, or the actual beginning of the unraveling of the over-bought western capitalistic system, one can't say. But I will say that by mid-1989, by the time the next presidential ritual has been enacted, it will be clear I think, that we have entered into a whole new kind of temporal domain. A kind of temporal domain that will appear superficially to be fairly bleak. Because the situation will be highly chaotic, highly novel, and tending to oscillate wildly around a mean. So in other words there will be no clear trend visible. There will appear to be progressive surges, and then losing of ground, and then progressive surges, and losing of ground. And this will go on through until the mid-nineties.
Around 2000 the resonance pattern will have shifted, and we will be occupying a relationship to the late high Middle Ages, and the emergence of the new social forms created by the emergence of the mercantile class and the bourgeois. In other words private wealth, cities, end of cultural insularity, a re-starting of the economic machinery, and a kind of new flowering. But still under the shadow of these fundamentalist forces that will have come into ascendancy in the previous dark age.
Then in 2004 we come into that area which is in resonance with the period of the discovery of the new world. 1492 in other words. And the exploration of the New World and its subjugation over about a hundred and fifty years will be going on as we open the millennium.
What the discovery of the new world will mean, in terms of our reenactment of these great themes, is any body's guess. It could be the vindication of my style of rap: a nearby inhabited dimension filled with alien intelligence. Or it may be the vindication of a more orthodox sort of expectation of extraterrestrial contact. Or perhaps, ultimately, the launching of large telescopes into orbit which will confirm for us the existence of oxygen-rich water-heavy worlds around nearby stars. That alone would make an intellectual revolution that would leave our world unrecognizable to itself.
We have to recall that as recently as 500 years ago the continent that we are inhabiting was unknown, it was something talked of by wild-eyed dreamers. It was an impossibility, a psychedelic dimension. Everyone knew that when you sailed west far enough there be monsters and that was the end of it. It was, literally, the unconscious. Now we deal in the real estate of that unconscious. And there is no reason why our children should not deal in the real estate of the psychedelic dimension that we are discovering and confirming over the next ten years or so. Let me carry this through to the end because the good part comes at the end.
After the turn of the century, the acceleration of the unfolding of these resonances becomes more and more intense and eventually we reach the super-compression of modern times. This is why I proposed to you last night, the term "compressionist" for this school of thought that myself, and Sheldrake, and Frank Barr, and Ralph Abraham represent. Because we all are talking about the dense nesting of concrescent systems. And ultimately, in my own point of view, the emergence of a transcendental object at the end of time. And the end of time is not far off. As Joyce says in The Wake -- it may not be as far off as you wish to be congealed. It is, I think within the lifetimes of all of us, that there will be an ontological transformation of the human mode. The transcendental object is emerging.
Once it has emerged there will be no big deal about it. In the same way that we look back at the emergence of language. And nobody gets excited about it, or only a few philosophers do. And yet the fact that we possess language is the thumbprint of God upon our species. It's an impossible break with previous animal organization. You can talk all you want about Coco the talking gorilla, this and that, but then you turn to a poem by Andrew Marvel you realize there is an ontological break here -- there is not an even progression.
So as we anticipate this thing, it could be anything. It could be the visible language that I indicated as a possibility earlier this evening. It could be emergence in an extraterrestrial mind. It could be the transcendental emergence of all and everything -- the Tao made flesh, the actual collapse of the state vector into some kind of mysterious completion. It's much more rational to place this kind of singularity at the end of a complex evolutionary process, like the life of the universe, than at the beginning which is the scientific approach. To just say everything sprang from nothing, for no reason, in a single instant, and please don't ask questions about that because our map begins one ten-trillionth of a pico second after that happened. We don't talk about that. Well isn't this somewhat begging the question, for an intellectual enterprise that purports to offer an explanation of how things came to be?
The transcendental object, suggests to me a negative casuistry -- a purpose in the universe that is focusing and drawing everything toward it. And in fact I've said, history is the shock-wave of eschatology. History, which lasts 10,000 years, is a microsecond of ultra-complex experience, where the penetration of the natural world by the transcendental object occurs, each exists co-temporaneous with the other for a historical or geological microsecond and then the two terms are merged and all opposites are dissolved and somehow the gift is claimed, the pearl is restored and the project is ended.
We are living through that moment. A 10,000 year rush, from chipping of stone flint, to walking through the violet doorway of a self-generated, hyper-dimensional vehicle that carries us to our true home. No wonder it leaves an explosive set of eddies in its wake. This is what happens when a culture prepares to depart for the stars. This is not business as usual, this is something else entirely. And it's the intellectual adventure and challenge of our time for each of us to understand this in terms relevant to ourselves and the people immediately around us.
So this is the inspiration for TimeWave Zero. This is what it maps. The odd thing is that when the time-map came through, it wasn't only a map of historical process, but there was the transcendental object mapped into it, and all of its sub-reflections could be seen. This is what Christ was about. This is what Buddha was about. This is what your most enlightened moment was about. You, each of you, and me. It is the hyper-dimensional, particulate reflection of God-head scattered back through the flatter plane of this lower-dimensional slice of experience. It's hard to say it any clearer than that...