Category Archives: Psychology & Consciousness
A puppet is a magical object. It is not a toy, is it? Here they see it as puppet theatre, as puppets for kids. But it’s just not like that. These native tribes — in Africa or Oceania, etc. — the shamans use puppets in communication not only with the upper world, with the gods, but even in relation when they treat a sick person. Those shamans, when they dress as some demon or some deity, they incarnate genuinely. They are either the totem animal or the demon.
Here are some choice passages from an insight-rich essay by historian James McWilliams at The American Scholar, in which he discusses two major and complementary options for dealing with digital technology’s epochal assault on the stable self: first, take serious and substantial steps to humanize the digital world; second, retain (or return to) a serious relationship with the physical book.
The underlying concern with the Internet is not whether it will fragment our attention spans or mold our minds to the bit-work of modernity. In the end, it will likely do both. The deeper question is what can be done when we realize that we want some control over the exchange between our brains and the Web, that we want to protect our deeper sense of self from digital media’s dominance over modern life. . . .
The essence of our dilemma, one that weighs especially heavily on Generation Xers and millennials, is that the digital world disarms our ability to oppose it while luring us with assurances of convenience. It’s critical not only that we identify this process but also that we fully understand how digital media co-opt our sense of self while inhibiting our ability to reclaim it. . . .
This is not to suggest that we should aim to abolish digital media or disconnect completely — not at all. Instead, we must learn to humanize digital life as actively as we’ve digitized human life.
No one solution can restore equity to the human-digital relationship. Still, whatever means we pursue must be readily available (and cheap) and offer the convenience of information, entertainment, and social engagement while promoting identity-building experiences that anchor the self in society. Plato might not have approved, but the tool that’s best suited to achieve these goals today is an object so simple that I can almost feel the eye-rolls coming in response to such a nostalgic fix for a modern dilemma: the book. Saving the self in the age of the selfie may require nothing more or less complicated than recovering the lost art of serious reading. . . .
[A]s the fog of digital life descends, making us increasingly stressed out and unempathetic, solipsistic yet globally connected, and seeking solutions in the crucible of our own angst, it’s worth reiterating what reading does for the searching self. A physical book, which liberates us from pop-up ads and the temptation to click into oblivion when the prose gets dull, represents everything that an identity requires to discover Heidegger’s nearness amid digital tyranny. It offers immersion into inner experience, engagement in impassioned discussion, humility within a larger community, and the affirmation of an ineluctable quest to experience the consciousness of fellow humans. In this way, books can save us.
Full text: “Saving the Self in the Age of the Selfie“
Now live: my interview with Canadian filmmaker J. F. Martel, author of the just-published — and thoroughly wonderful — Reclaiming Art in the Age of Artifice, which should be of interest to all Teeming Brainers since it comes with glowing blurb recommendations from the likes of Daniel Pinchbeck, Patrick Harpur, Erik Davis, and yours truly.
Here’s a taste of J. F.’s and my conversation:
MATT CARDIN: How would you describe Reclaiming Art in the Age of Artifice to the uninitiated, to someone who comes to it cold and has no idea what it’s about?
J. F. MARTEL: The book is an attempt to defend art against the onslaught of the cultural industries, which today seek to reduce art to a mindless form of entertainment or, at best, a communication tool. In Reclaiming Art I argue that great works of art constitute an expressive response to the radical mystery of existence. They are therefore inherently strange, troubling, and impossible to reduce to a single meaning or message. Much of contemporary culture is organized in such a way as to push this kind of art to the margins while celebrating works that reaffirm prevailing ideologies. In contrast, real works of art are machines for destroying ideologies, first and foremost the ideologies in which they were created.
MC: What exactly do you mean? How do real works of art serve this subversive function?
JFM: A great art work, be it a movie, a novel, a film, or a dance piece, presents the entire world aesthetically — meaning, as a play of forces that have no inherent moral value. Even the personal convictions of the author, however implicit they may be in the work itself, are given over to the aesthetic. By becoming part of an aesthetic universe, they relinquish the claims to truth that they may hold in the author’s mind in the everyday. This, I think, is how a Christian author like Dostoyevsky can write such agnostic novels, and how an atheistic author like Thomas Ligotti can create fictional worlds imbued with a sense of the sacred, however dark or malignant. Nietzsche said that the world can only be justified aesthetically, that is, beyond the good-and-evil binary trap of ideological thinking. The reason for this is that when we tune in to the aesthetic frequency, we see that the forces that make up the world exceed our “human, all too human” conceptualizations.
FULL INTERVIEW: “Reclaiming Art in the Age of Artifice“
“The Madhouse” by Francisco Goya [Public domain], via Wikimedia Commons
So brilliant: an implicitly ironic but outwardly straight-faced reading of the DSM-5 as a dystopian horror novel, complete with a quasi-Ligottian assessment of the book’s narrative voice and view of humanity.
Great dystopia isn’t so much fantasy as a kind of estrangement or dislocation from the present; the ability to stand outside time and see the situation in its full hideousness. The dystopian novel doesn’t necessarily have to be a novel. . . . Something has gone terribly wrong in the world; we are living the wrong life, a life without any real fulfillment. The newly published DSM-5 is a classic dystopian novel in this mold.
Here, we have an entire book, something that purports to be a kind of encyclopedia of madness, a Library of Babel for the mind, containing everything that can possibly be wrong with a human being. . . . DSM-5 arranges its various strains of madness solely in terms of the behaviors exhibited. This is a recurring theme in the novel, while any consideration of the mind itself is entirely absent. . . . The idea emerges that every person’s illness is somehow their own fault, that it comes from nowhere but themselves: their genes, their addictions, and their inherent human insufficiency. We enter a strange shadow-world where for someone to engage in prostitution isn’t the result of intersecting environmental factors (gender relations, economic class, family and social relationships) but a symptom of “conduct disorder,” along with “lying, truancy, [and] running away.” A mad person is like a faulty machine. The pseudo-objective gaze only sees what they do, rather than what they think or how they feel. A person who shits on the kitchen floor because it gives them erotic pleasure and a person who shits on the kitchen floor to ward off the demons living in the cupboard are both shunted into the diagnostic category of encopresis. It’s not just that their thought-processes don’t matter, it’s as if they don’t exist. The human being is a web of flesh spun over a void.
. . . The word “disorder” occurs so many times that it almost detaches itself from any real signification, so that the implied existence of an ordered state against which a disorder can be measured nearly vanishes is almost forgotten. Throughout the novel, this ordered normality never appears except as an inference; it is the object of a subdued, hopeless yearning. With normality as a negatively defined and nebulously perfect ideal, anything and everything can then be condemned as a deviation from it. . . . If there is a normality here, it’s a state of near-catatonia. DSM-5 seems to have no definition of happiness other than the absence of suffering. The normal individual in this book is tranquilized and bovine-eyed, mutely accepting everything in a sometimes painful world without ever feeling much in the way of anything about it. The vast absurd excesses of passion that form the raw matter of art, literature, love, and humanity are too distressing; it’s easier to stop being human altogether, to simply plod on as a heaped collection of diagnoses with a body vaguely attached.
. . . For all the subtlety of its characterization, the book doesn’t just provide a chilling psychological portrait, it conjures up an entire world. The clue is in the name: On some level we’re to imagine that the American Psychiatric Association is a body with real powers, that the “Diagnostic and Statistical Manual” is something that might actually be used, and that its caricature of our inner lives could have serious consequences. Sections like those on the personality disorders offer a terrifying glimpse of a futuristic system of repression, one in which deviance isn’t furiously stamped out like it is in Orwell’s unsubtle Oceania, but pathologized instead. Here there’s no need for any rats, and the diagnostician can honestly believe she’s doing the right thing; it’s all in the name of restoring the sick to health. DSM-5 describes a nightmare society in which human beings are individuated, sick, and alone. For much of the novel, what the narrator of this story is describing is its own solitude, its own inability to appreciate other people, and its own overpowering desire for death — but the real horror lies in the world that could produce such a voice.
MORE: “Book of Lamentations“
For more on the DSM-V and the controversy it has elicited, see this.
Dr. James Fadiman
Just published and now available here at The Teeming Brain: my interview/conversation with Dr. James Fadiman, one of the pioneers of transpersonal psychology and modern research into the spiritual and therapeutic applications of psychedelics. This has been a long time in coming, for reasons that I explain in the interview’s introduction.
The interview is ten thousand words, so be prepared to settle in. A lot of what we talk about focuses on the practical and philosophical inadequacies of dogmatic scientific materialism in dealing with things like anomalous and paranormal experiences such as inspiration and perceived communication or encounters with supernatural entities. Here’s a key excerpt:
JAMES FADIMAN: The reductionists eventually paint themselves into a corner. Consider the people who talk about the neurophysiology of dreams. They say, “Look, here’s this little part of the brain that turns on when you’re dreaming, and therefore dreams are psychophysiological in nature.” Then we ask, well, what generates a sex dream, a dream where a dead person appears with information, and a dream where you’re seated before a large pizza? And of course they say, “Why don’t you just go away.”
MATT CARDIN: I think you’re raising the basic question of phenomenology as it relates to ontology.
JAMES FADIMAN: But if you take the position that the brain is the place through which consciousness moves, so that it acts kind of like a radio, then all of those different dreams are much more understandable, because we can say they’re coming from different channels, different stations, different gods, different muses. And that makes much more sense. . . . Science’s fundamental error is a religious sort. Science says, “Certain data (since we know it does not exist) you shall not look upon.” Science holds up the story of the church and Galileo to emphasize how dogmatic the church was in its refusal to look at evidence. But if you say to scientists, “What do you know about telepathy? What do you know about clairvoyance? What do you know about near-death experiences?” they say, “Those don’t exist, and I’ve never spent a moment looking at the evidence, because they can’t exist” . . . . Scientism — science as a religion — and science are quite far apart. You see, I think I’m a scientist. That means that anything that happens, whether subjective, objective, sensory or whatever, I look at it. That may be due to my psychedelic experiences, which reminded me that, “Whatever you think the world is made of, James, you have a very limited view.” My muse chimes in and says, “Obviously, if you look at the size of the universe and contrast it with the size of your brain, the chances of your being able to know everything are statistically almost non-existent.”
Virginia Woolf at age 20
Inspired by a reading of Virginia Woolf’s Mrs. Dalloway, Joshua Rothman, writing for The New Yorker, offers some rather enchanting reflections on a profoundly important meaning of privacy that cuts much deeper than the word’s contemporary framing in purely political terms:
These days, when we use the word “privacy,” it usually has a political meaning. We’re concerned with other people and how they might affect us. We think about how they could use information about us for their own ends, or interfere with decisions that are rightfully ours. We’re mindful of the lines that divide public life from private life. We have what you might call a citizen’s sense of privacy.
That’s an important way to think about privacy, obviously. But there are other ways.
. . . Woolf often conceives of life this way: as a gift that you’ve been given, which you must hold onto and treasure but never open. Opening it would dispel the atmosphere, ruin the radiance — and the radiance of life is what makes it worth living. It’s hard to say just what holding onto life without looking at it might mean; that’s one of the puzzles of her books. But it has something to do with preserving life’s mystery; with leaving certain things undescribed, unspecified, and unknown; with savoring certain emotions, such as curiosity, surprise, desire, and anticipation. It depends on an intensified sense of life’s preciousness and fragility, and on a Heisenberg-like notion that, when it comes to our most abstract and spiritual intuitions, looking too closely changes what we feel. It has to do, in other words, with a kind of inner privacy, by means of which you shield yourself not just from others’ prying eyes, but from your own. Call it an artist’s sense of privacy.
. . .[T]he benefits of remaining “impenetrable” can be profound. Clarissa, famously, buys the flowers herself, and that allows her to enjoy the coolness, stillness, and beauty of the flower shop; the same, Woolf suggests, happens in Clarissa’s inner life, where her heightened feelings are allowed to stay pure, untouched. Even Peter, with time, comes to regard himself in this way: “The compensation of growing old,” he thinks, is that “the passions remain as strong as ever, but one has gained — at last! — the power which adds the supreme flavour to existence, — the power of taking hold of experience, of turning it around, slowly, in the light.” By learning to leave your inner life alone, you learn to cultivate and appreciate it.
And you gain another, strangely spiritual power: the power to regard yourself abstractly. Instead of getting lost in the details of your life, you hold onto the feelings, the patterns, the tones. You learn to treasure those aspects of life without communicating them, and without ruining them, for yourself, by analyzing them too much. Woolf suggests that those treasured feelings might be the source of charisma: when Peter, seeing Clarissa at her party, asks himself, “What is this terror? what is this ecstasy? … What is it that fills me with extraordinary excitement?,” the answer might be that it’s Clarissa’s radiance, never seen directly, but burning through. Clarissa, meanwhile, lets her spiritual intuitions lift her a little above the moment. Wandering through her lamp-lit garden, she sees her party guests: “She didn’t know their names, but friends she knew they were, friends without names, songs without words, always the best.” That’s the power of an artist’s privacy. It preserves the melodies otherwise drowned out by words, stories, information.
MORE: “Virginia Woolf’s Idea of Privacy“
One is reminded of Lewis Thomas’s thesis in his classic essay “The Attic of the Brain” about the importance of preserving the mystery of one’s own mind:
It has been one of the great errors of our time that to think that by thinking about thinking, and then talking about it, we could possibly straighten out and tidy up our minds. There is no delusion more damaging than to get the idea in your head that you understand the functioning of your own brain. Once you acquire such a notion, you run the danger of moving in to take charge, guiding your thoughts, shepherding your mind from place to place, controlling it, making lists of regulations. The human mind is not meant to be governed, certainly not by any book of rules yet written; it is supposed to run itself, and we are obliged to follow it along, trying to keep up with it as best we can. It is all very well to be aware of your awareness, even proud of it, but never try to operate it. You are not up to the job. . . . Attempting to operate one’s own mind, powered by such a magical instrument as the human brain, strikes me as rather like using the world’s biggest computer to add columns of figures, or towing a Rolls-Royce with a nylon rope. . . . We might, by this way [i.e., by deliberately hiding a portion of our psyches from ourselves], regain the kind of spontaneity and zest for ideas, things popping into the mind, uncontrollable and ungovernable thoughts, the feeling that this notion is somehow connected unaccountably with that one.”
One is also reminded of Henri-Frédéric Amiel’s words in his Journal Intime about the need to protect the mystery of one’s inner self by avoiding a too-quick and too-keen attitude of psychological self-awareness:
Let mystery have its place in you; do not be always turning up your whole soil with the plowshare of self-examination, but leave a little fallow corner in your heart ready for any seed the winds may bring, and reserve a nook of shadow for the passing bird; keep a place in your heart for the unexpected guests, an altar for the unknown God. Then if a bird sing among your branches, do not be too eager to tame it. If you are conscious of something new — thought or feeling — wakening in the depths of your being — do not be in a hurry to let in light upon it, to look at it; let the springing germ have the protection of being forgotten, hedge it round with quiet, and do not break in upon its darkness; let it take shape and grow, and not a word of your happiness to any one! Sacred work of nature as it is, all conception should be enwrapped by the triple veil of modesty, silence, and night.
Photo by George Charles Beresford [Public domain], via Wikimedia Commons
In a fascinating article from 2008 at The Daily Grail, Aeolas Kephas (a.k.a. Jason Horsely) reflects at some length on the roles of Whitley Strieber and Carlos Castaneda as literary shamans whose dedication to sharing their paranormal experiences, encounters, visions, and insights brought them much trouble:
Both Castaneda and Strieber were apparently singled out by mysterious parties to undergo an extraordinary initiation process and bring account of it to the world. Without the intervention of don Juan Matus and his party of sorcerers, it’s doubtful we would ever have heard of Castaneda, and the same holds true of Strieber. Although he was already a best-selling author (of horror fiction) before his alien encounter of 1985, it was only with the publication of Communion, in 1986, that Strieber established himself as one of the most puzzling and original writers of our time. In the field he has chosen — or been chosen — to write, that of UFOs and alien visitation, Strieber is probably the current leading exponent.
. . . Caught between a strange and deeply threatening new reality and an old reality that no longer offers comfort or assurance, that seems increasingly hollow and illusory, is it any wonder if both Strieber and Castaneda took refuge in writing, and in the grand gestures of prophet-gurus?. . . The very gift for which they were chosen as conveyers of forbidden knowledge would make Castaneda and Strieber outcasts, both in the world of men, and the realm of sorcerers and “aliens.” Like Mercury, the price of being granted free passage between the realms meant that they belonged to neither. Intellect, like the messenger, like language itself, is a means and not an end; it has no place in the primal realms or the supernal spheres: the one is beneath it, the other beyond it. This is the comedy and tragedy of the word, and why a day comes in the life of every writer when he or she is forced to choose between the illusory control of the written word — being the messenger — and the power and freedom of direct experience: becoming the message. He who lives by the pen, dies by the pen.
But of course such dangers, and the existence of people who willingly court and/or accept them by taking on that literary shamanic role, are nothing new. Case in point: Charles Robert Maturin, author of the towering Gothic classic Melmoth the Wanderer, published in 1820. Melmoth is a novel that, with its distinctly Faustian plot of a man who sells his soul to the devil and then spends 150 years trying to undo the deal, has long been recognized as one of the greatest and, as it so happens, appallingly darkest novels of its kind. No less a light than Lovecraft described it as a masterpiece “in which the Gothic tale climbed to altitudes of sheer spiritual fright which it had never known before. . . . No unbiassed reader can doubt that with Melmoth an enormous stride in the evolution of the horror-tale is represented.”
Apropos to Kephas’s words about Castaneda and Strieber above, Maturin’s masterwork gains a resonance that’s all the more riveting when considered in light of the following words from one of his biographers, Robert E. Lougy, who notes that Melmoth arose out of a very real and very deep psychic well of darkness that very nearly undid Maturin when he assented to its opening:
[O]ne has the feeling that Maturin, in writing Melmoth, calls forth a reality that is so powerful, yet so grotesque, so cruel, and so foreign to Maturin’s daily existence, that the dividing line between genius and madness is throughout it very thin. (Indeed, a contemporary account of him during the time he was writing this novel suggests that he was virtually obsessed with his creation.) And Maturin himself frequently alluded to his own creativity in terms of witchcraft — of how he wanted his reader to “sit down by my magic Cauldron, mix my dark ingredients, see the bubbles work, and the spirits rise.” The danger, of course, in evoking spirits is that one can never be certain whether he can control them or of the price they will demand from him. The dangers would appear to be multiplied when one calls upon the spirits in their own territory, as Maturin seems to have done in Melmoth.
For to write such a novel is to probe those areas of knowledge, both “the visions of another world” and the darkest recesses of the human psyche, which strain the endurance of the mind, and to cross, perhaps irrevocably, forbidden boundaries. The writer then becomes isolated from the world around him, having used the incantatory power of the world to bring forth a reality that borders on the irrational and the insane. He is at once the possessor of secrets he will share with those readers who dare to sit down by his “magic Cauldron” and also possessed by those demons whose presence his art will reveal.
For a lengthy excerpt from Lougy’s 1975 monograph that includes this very passage, see the entry on Maturin in Gothic Literature: A Gale Critical Companion.
For more on the same general theme, see “Shirley Jackson: Witchcraft, madness, and the uncanny dangers of writing.”
I’m always struck by the passion and power of Chris Hedges’ words whenever he mingles his signature brand of journalistic-prophetic doomsaying with reflections on spiritual and artistic issues. (No surprise that he’s quite lucid in the latter area, by the way; he does have a Master of Divinity from Harvard, after all.)
Current case in point: his recent column about the power of imagination in an age of spiritual suicide.
Oracles were revered in premodern societies. These oracles were in touch with realities and forces that lay beyond the empirical. All societies have oracles — such as Thomas Paine, Emma Goldman, W.E.B. Du Bois and James Baldwin in the United States — but in a modern society they are pushed to the margins, ridiculed and often persecuted. Those who spoke out of their vision quests in Native American society, or from Delphi in ancient Greece, did not employ the cold, clinical language of science and reason. They spoke, rather, in the nebulous language of love, tenderness, patience, justice, redemption and forgiveness. They paid homage, and called on us to pay homage, to the mysterious incongruities of human existence. A society that loses its respect for the sacred, that ignores its oracles and severs itself from the power of human imagination, ensures its obliteration.
Reason makes possible the calculations, science and technological advances of industrial civilization. But reason does not lift us upward to the heavens. It does not bring us into contact with the sacred. It does not permit us to curb our self-destructive urges. Herman Melville, Fyodor Dostoevsky, Emily Dickinson, Marcel Proust, William Faulkner, James Joyce, Samuel Beckett, Lorraine Hansberry and August Wilson mocked the myth of human progress and the folly of hubris. They, like Shakespeare, warned that conflating technological advancement with human progress deforms us.
. . . It is through imagination that we can reach the dark regions of the human psyche and face our mortality and the brevity of existence. It is through imagination that we can recover reverence and kinship. It is through imagination that we can see ourselves in our neighbors and the other living organisms of the earth. It is through imagination that we can envision other ways to form a society. The triumph of modern utilitarianism, implanted by violence, crushed the primacy of the human imagination. It enslaved us to the cult of the self. And with this enslavement came an inability to see, the central theme of “King Lear.”
. . . Songs, poetry, music, theater, dance, sculpture, art, fiction and ritual move human beings toward the sacred. They clear the way for transformation. The prosaic world of facts, data, science, news, technology, business and the military is cut off from the mysteries of creation and existence. We will recover this imagination, this capacity for the sacred, or we will vanish as a species.
MORE: “The Power of Imagination“
(Hat tip to Michael Hughes for alerting me to this item. And on a separate [but related?] note, why haven’t you read Michael’s paranormal/occult thriller novel Blackwater Lights, out last year from Random House’s Hydra imprint?)
Image: “King Lear in the Storm” (1788) by Benjamin West [Public domain], via Wikimedia Commons
Here’s Erik Davis, in a recent interview conducted by Jeremy Johnson, briefly discussing the similarities between the respective realms of high weirdness exemplified by Philip K. Dick’s VALIS and Robert Anton Wilson’s Cosmic Trigger. Erik and Jeremy also make some interesting observations about the way the reading of these types of texts can often kick off explosions of bizarre synchronicities and psychic transformations, and thus serve as a kind of involuntary practice of bibliomancy. It’s an effect that I have experienced myself many times, and that I suspect you may have as well, if you find yourself drawn to books like these.
ERIK DAVIS: VALIS is a masterpiece whose power partly lies in its ability to disorient and enchant the reader. I suspect that for readers today it continues to resonate, as our world in many ways has simply become more PhilDickean. I am reminded of Robert Anton Wilson’s idea of “Chapel Perilous”. Wilson had somewhat similar experiences in 1974 — cosmic conspiracies, syncronicities, blasts of insight — and he suggested that there was a stage of the path, a kind of dark night of the soul, where the seeker can’t tell what’s paranoia and what’s reality. There is a surfeit of meaning — after all, there is definitely something like too many synchronicities. Valis is Dick’s Chapel Perilous, and he brings readers along for the ride. Some of them never quite get off. But Chapel Perilous is a place to pass through, not to call home.
. . . JEREMY JOHNSON: Professor Richard Doyle, who recently held a class on Synchcast for P.K.D., warned his students that reading Dick’s novels could induce what he calls an “involutionary” affect — meaning one’s life might start getting taken up by synchronicities and uncanny moments. I know you’ve mentioned in some previous presentations that you have experienced these moments (we might call them P.K.D. moments) where the book seems to become a divinizing tool for bibliomancy.
What do you think is happening here, if anything? And secondly: isn’t it interesting that this phenomenon seems to occur regardless of the perceived value of the text? It seems to happen as readily to a pulp scifi novel as the Bible.
ERIK DAVIS: The specific “occult” practice of bibliomancy is key to PKD. The first time I gave a talk on him, which was my first public lecture back in 1990 or something, I realized I hadn’t prepared an adequate definition of “Gnosticism.” With five minutes to go, people already sitting down, I panicked, and opened the book randomly and my eyes fell precisely on Dick’s pithy definition: “This is Gnosticism. In Gnosticism, man belongs with God against the world and the creator of the world (both of which are crazy, whether they realize it or not).” These sorts of gestures are also made by the characters in many Dick novels, a number of which feature oracular books that are opened to any page, or accessed with other random processes, like the I Ching in The Man in the High Castle. Researchers and scholars know these synchronicities well, however you might think about them, and Dick was very interested in seeding those sorts of connections in his novels. Reading, drawing connections, in a sense is invoking these kinds of uncanny links. For Dick, writing itself is alive.
(For more on Chapel Perilous itself, see here.)
Image courtesy of Dan / FreeDigitalPhotos.net
I have sometimes wondered about the reactions of my readers whenever I mention the writings of Eckhart Tolle with approval, as I have done several times. Tolle is a best-selling writer whose books occupy the same general “mind/body/spirit” publishing niche as those of Deepak Chopra, Wayne Dyer, etc. He’s a speaker who has now appeared at Google’s headquarters, the Wisdom 2.0 Conference, and other trendy signature places and events representing the front line of tech culture’s faux fusion with spirituality. He has famously been associated with Oprah Winfrey. (One of the most read posts here at The Teeming Brain, by the way, continues to be “Oprah, Eckhart Tolle, and the fundamentalist hijacking of Christianity.”) The organization that is set up to promote his work puts out a veritably relentless flood of merchandising associated with his books and teachings. All of the marketing markers point toward his being another fluffy new-gen spiritual guru of the kind whose apparent mission is to make money by encouraging the wealthy and the upper middle class to feel good about themselves by exploring their own specialness.
The thing is, he’s more than that. As I and a bunch of other people discovered well over a decade ago when Tolle’s The Power of Now became a grassroots publishing phenomenon at the turn of the millennium, he is a writer and teacher of frankly astonishing power who manages to communicate to a general audience, in exquisitely lucid prose and spoken words, the same nondual spiritual message that was formerly propounded to a much more rarefied audience by the likes of J. Krishnamurti, Ramana Maharshi, and others (and indeed, Tolle has named Krishnamurti and Maharshi as being among his primary influences). Say what you will in criticism of the various directions his “brand” has taken in recent years — and a number of such criticisms, some that I view as valid, have indeed been offered — the man himself appears to be the genuine article, as in someone who experienced a profound spiritual awakening/transformation (arising out of intense personal suffering, by the way) and then found that other people wanted to hear about it, and that he was gifted to convey it in words and personal presence. I sometimes wonder whether, in both sociological and religious or spiritual terms, his presence in modern digital mass media culture, including the various aspects of it that invite criticism, might not represent the arrival of a new guru/anti-guru model that’s valid for the present age.
And in a way, I said all of that to say this: hey, look, Eckhart is talking about apocalyptic collapse again. I’ve quoted his apocalyptic observations before. Now here’s a new one, appearing in a recent interview for The Huffington Post that was conducted by Arianna Huffington herself (who has headlined with him at the Wisdom 2.0 Conference). I never fail to find it fascinating when he says things like what’s quoted below, because although on one level he might be taken as just another spiritual guru who is barking about the supposed imminent end of the world and possible advent of a new spiritual age involving a forward leap in consciousness, on another he is truly saying something insightful when he links the age-old nondual realization about the fraught relationship between ego and world, self and other, inner and outer — and about the ground reality that encompasses and gives rise to both — to the quite real disruptions that are visibly attending our ongoing journey into formerly unknown realms and configurations of technological, ecological, economic, and sociological reality on a new planetary scale. Which is all to say that I find his words well worth attending to, not least because he offers not a rosy optimism but an honest recognition that we may well fail the challenge:
Collectively, we are at a point where the old — I call it the old, dysfunctional, egoic state of consciousness — has become extremely dangerous. We can go back 100 years ago, which is 1914, when World War I started, and that was the first time humans fully realized how insane warfare was because of all the advances in technology that had happened by that time. Millions upon millions of people died in World War I from chemical warfare, tanks, poison gas, machine guns and all the other clever inventions of the egoic mind. That was the first time we realized the magnitude of the dysfunction in the collective consciousness, as it became amplified by the advances in science and technology.
We have reached a point now where if there’s no shift in consciousness away from the dysfunctional, egoic state that generates all that insanity, then humans would most likely destroy themselves, or at least bring about a complete collapse of civilization. We have arrived at a point of great danger, collectively, but danger also means great opportunity for change. There’s a fundamental universal truth, and that is humans do not change until they reach a point of crisis. That applies not only to individuals, but it also applies to humanity as a whole. It’s only when we reach a state of crisis, the suffering that it produces creates the impetus behind the shift in consciousness. This is the point that we have reached now, and we’ve been moving towards this for the past 100 years. This is why so many people are now ready to undergo that shift.
So this is a very important moment in human history, where there is a possibility of almost a quantum leap in human consciousness. There’s also the possibility, of course, that humans are not going to make it, that the shift won’t happen, in which case there would be a regression in human evolution that could throw us back several thousand years. Hopefully, that’s not going to happen, but it could happen, and even that would not be ultimately tragic, because I believe that consciousness is destined to grow and flower on this planet. I’m fairly confident that it is happening already, but we must not underestimate the gravitational pull, so to speak, of the old, dysfunctional consciousness that is still here and operates, as you can see when you watch the daily news. Most things you see on the daily news are reflections of the old, dysfunctional consciousness, or, rather, unconsciousness. We have reached a very interesting point in human evolution. It’s quite amazing to be alive at this time.