Weird Studies

On the surface, the phrase "the medium is the message," prophetic as it may have been when Marshall McLuhan coined it, points a now-obvious fact of our wired world, namely that the content of any medium is less important than its form. The advent of email, for instance, has brought about changes in society and culture that are more far-reaching than the content of any particular email. On the other hand, this aphorism of McLuhan's has the ring of an utterance of the Delphic Oracle. As Phil proposes in this episode of Weird Studies, it is an example of what Zen practitioners call a koan, a statement that occludes and illumines in equal measures, a jewel whose shining surface is an invitation to descend into dark depths. Join JF and Phil as they discuss the mystical and cosmic implications of McLuhan's oracular vision.

REFERENCES

McLuhan, Understanding Media

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James Curcio is an American multidisciplinary artist and nonfiction writer whose works include the novels Join My Cult, The Party at the World's End, and the upcoming Tales from When I Had a Face. Recently, Curcio edited Masks: Bowie and Artists of Artifice, an anthology of essays by various thinkers and artists on the complex interplay of fact and fiction, self and other, in the life of the modern creator of artistic works. David Bowie's career, from the early experimentations to the great working that was his final album Blackstar, provides the book's gravitational field. In his effort to better plumb the mysteries of the aesthetic universe, Curcio penned the anthology's opening essay, "Masks All the Way Down," and it is on that piece that this conversation focuses. Join James, Phil and JF as they discuss the terrifying and liberating idea of an aesthetic cosmos as seen from the vantage point of the artist who learns that with new each work comes a new face, an amalgam of symbols and forces drawn from a depth of surfaces, a paper-thin dream that goes ever so deep...

REFERENCES

James Curcio (editor), [Masks: Bowie and Artists of Artifice](www.intellectbooks/masks)

David Bowie, Blackstar

Special Guest: James Curcio.

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What is there to say about the COVID-19 virus that hasn't already been said, over and over again, all around the world, in quaratined houses and on TV and social media and countless Zoom chats ... what can we say that you haven't heard? Well, probably nothing. But we are now at the point where we realize that the real importance of the things we say is not their content, but the mere fact of saying them. As Marshall McLuhan said, the medium is the message, and at a time when we have been driven into separate solitudes, we are discovering that the real meaning of our utterances might be something like "hello, are you there?" and "I am here, talking to you." In that spirit, Phil and JF have a conversation about William James's essay "On Some Mental Effects of the Earthquake," partly to discuss the ways that it's relevant to our present circumstances and the ways it's not, but mostly to make human connections, both with each other and with Weird Studies listeners.

As JF says, stay close, but keep your distance.

REFERENCES

William James, "On Some Mental Effects of the Earthquake"

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In preparation for an upcoming special episode on living in the early days of the Covid-19 Pandemic, here's Phil Ford reading an essay William James wrote on his experience of the 1906 San Francisco Earthquake.

REFERENCES

William James, "On Some Mental Effects of the Earthquake"

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In 1979, the American psychologist James Hillman published The Dream and the Underworld, a polemical meditation on the nature of dreams. Rejecting the orthodoxies of both Freud and Jung, Hillman argued that the the "nightworld" of dream should not play second fiddle to the "dayworld" of waking life, because in the soul as on earth, day and night are equally essential, and equally real. To reduce a dream to a message or interpretation is to fail the dream. In order for dreams to do their work on us, says Hillman, we must cease to regard them as hallucinations, mere metaphors, epiphenomena, or illusions, and instead see them as the imaginal other life we all must live. Every night, for Hillman, each of us descends into the underworld to encounter those forces that shape us and our surroundings. The way down is the way up.

REFERENCES

James Hillman, The Dream and the Underworld

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On the night before this episode of Weird Studies was released, a bunch of folks on the Internet performed a collective magickal working. Prompted by the paranormal investigator Greg Newkirk, they watched the final episode of the documentary series Hellier at the same time -- 10:48 PM EST -- in order to see what would happen. Listeners who are familiar with this series, of which Newkirk is both a protagonist and a producer, will recall that the last episode features an elaborate attempt at gate opening involving no less than Pan, the Ancient Greek god of nature. If we weren't so cautious (and humble) in our imaginings, we at Weird Studies might consider the possibility that this episode is a retrocausal effect of that operation. In it, we discuss the show that took the weirdosphere by storm last year, touching on topics such as subterranean humanoids, the existence of "Ascended Masters," Aleister Crowley's secret cipher, the Great God Pan, and the potential dangers of opening gates to other worlds ... or of leaving them closed.

REFERENCES

Karl Pfeiffer (director), Hellier

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In the paper discussed in this episode, Phil Ford coins the term "diviner's time" to denote a particular feeling that will be familiar to anyone who has engaged in divinatory or magical practice, namely the feeling that it all means something, that the universe, with all its chaos and randomness, nevertheless contains -- or is itself -- a kind of music. This episode goes deep down the rabbit hole as Phil and JF try to wrap their heads around conceptions of time, causality, and meaning that are very different from our usual understanding of those terms.

REFERENCES

Phil Ford, "Diviner’s Time" (Patreon exclusive)

Karl Pfeifer (director), Hellier

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B. W. Powe is a Canadian poet, novelist, essayist and professor at York University, in Toronto. His work, though it covers an immense range of topics from politics and poetics to magic and technology, proceeds from a mystical apprehension of the universe as the locus of magical operations, the site of experiments in cosmic becoming. In his various books and essays, Powe continues a uniquely Canadian form of the visionary tradition whose luminaries include his former teachers Marshall McLuhan and Northrop Frye. In this episode, he joins JF and Phil for an exploration of the meaning, potency, and danger of the visionary in art and literature.

Header image: Detail of "Green Color" by Gausanchennai (Wikimedia Commons).

REFERENCES

B. W. Powe's website

Frank Lentricchia, "Last Will and Testament of an Ex-Literary Critic"

Special Guest: B. W. Powe.

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In her National Book Award acceptance speech in 2014, Ursula K. Le Guin intimated that, far from being superseded by digital technology, fantastic fiction has never been more important than it is about to become. Soon, she prophesied, "we will need writers who can remember freedom -- poets, visionaries, realists of a larger reality." In this episode, Phil and JF plumb the prophetic depths of one of her most famous books, A Wizard of Earthsea. A discussion of the novel's style and lore leads us into the politics and metaphysics of fantasy as developed by Le Guin and her predecessor, J. R. R. Tolkien. In the end, we realize that fantasy is not the literary ghetto it's been made out to be, but the sine qua non of all fiction.

SHOW NOTES

John Keats, "Ode on a Grecian Urn"

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At its simplest, what Colin Wilson calls Faculty X is "simply that latent power in human beings possess to reach beyond the present." Yet its existence is evinced in all those phenomena that modernity files under "supernatural" or "occult." As difficult to explain as it is impossible to omit from any honest survey of human existence, the occult haunts the modern, not just as a vestige of the past but also, perhaps, as a promise from a time to come. For Wilson, magic isn't the living fossil the arch-rationalists would like it to be, but a "science of the future." Faculty X is an evolutionary power, innately positive, inseparable from the will to live and the unshakeable conviction that, somehow, this world has some real, ineffable meaning. In this episode, JF and Phil discuss Wilson's concept of Faculty X as elaborated in his monumental 1971 work, The Occult.

REFERENCES

Colin Wilson, The Occult: A History

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