Weird Studies

In the mid-1960s, Pauline Oliveros was a composer of experimental electronic music. But at the end of the 1960s, shocked by the political violence around her, she turned away from electronic technology and towards to a different kind of experimentation, which Dr. Kerry O'Brien calls "experimentalisms of the self." The immediate result of this turn was Oliveros's Sonic Meditations, a series of instructions for group bodymind practice. This work became the seed of Deep Listening, a sort of musical yoga Oliveros developed throughout the rest of her long career. Dr. O'Brien joins JF and Phil for a conversation on practice, "gaining mind," the ritual value of art, the wisdom of the body, and whether Deep Listening is really best understood as art at all.

REFERENCES

Kerry O'Brien, "Listening as Activism: The 'Sonic Meditations' of Pauline Oliveros"

Special Guest: Kerry O'Brien.

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Neil Gaiman wrote, "If literature is the world, then fantasy and horror are twin cities, divided by a river of black water." Flame Tree Publishing underwrites this claim with their recent publication, The Astounding Illustrated History of Fantasy and Horror. The book is a veritable gazetteer of these two cities in the heartland of the imaginal world. Writer and scholar Matt Cardin, founding editor of the marvellous [Teeming Brain](www.teemingbrain.com), wrote a chapter for the book focusing on the books and films of the Sixties and Seventies. In this episode, he joins JF and Phil to discuss the kinship of horror and fantasy, the modern ghettoization of mythopoeic art, the prophetic reach of speculative fiction, and the "cauldron of cultural transformation" that was the Sixties and Seventies.

Header Image by Moralist, Wikimedia Commons

REFERENCES

The Astounding Illustrated History of Fantasy and Horror

American literary critic S. T. Joshi

Special Guest: Matt Cardin.

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In Jonathan Glazer's loose screen adaptation of Michel Faber's novel Under the Skin, a creature of mysterious origin drives around Scotland in a white van, collecting lonely men and spiriting them away to an otherworld where they are turned into food.... or something. Drawing on a deep well of literary, visual, and musical tradition, Glazer (with help from his score composer Mica Levi) create a vivid work of tragedy and horror, masterfully executed for maximal weirdness and unwaveringly true to the auteur's intent to reveal our world from an "alien perspective." In this episode, Phil and JF discuss some themes and ideas they've pried from this exquisite tangle of image and sound. Along the way, they discuss the role that serendipity, coincidence, and fate play in both art-making and scholarship.

REFERENCES

Under the Skin (Jonathan Glazer, 2013)

Barry Lyndon (Stanley Kubrick, 1975)

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"The world is not simply composed of physical causes strung together in strictly materialistic and mechanical fashion," writes Prof. Jeffrey J. Kripal in his seminal book, Authors of the Impossible. "The world is also a series of meaningful signs requiring a hermeneutics for their decipherment." This, in a nutshell, is Kripal's position vis à vis the fact of paranormal experience, a fact that he has explored in numerous works of scholarship over the last 25 years. For Kripal, whether we see supernatural entities as beings from other worlds or creatures of the human imagination is secondary to the question of whether they merit serious philosophical thought and consideration. On that point, he says, "it's not an option to be neutral." JF and Phil had the honor of sitting down with Jeffrey Kripal to discuss the super-natural, the sacred, and the reasons why these categories remain as vital now as they ever have been.

Header image: "Artist's Impression of the Mothman," by Tim Bertelink, Wikimedia Commons.

REFERENCES

Jeffrey J. Kripal, Authors of the Impossible: The Paranormal and the Sacred, The Serpent's Gift: Gnostic Reflections on the Study of Religion, Mutants and Mystics: Science Fiction, Superhero Comics, and the Paranormal, The Super Natural: Why the Unexplained is Real (with Whitley Strieber), and Changed in a Flash: One Woman's Near-Death Experience and Why a Scholar Thinks it Empowers Us All (with Elizabeth G. Krohn)

Stanley Kubrick's The Shining

Special Guest: Jeffrey J. Kripal.

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Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world.

SHOW NOTES

Phil Ford, "Style as Analysis" in The Routledge Companion to Popular Music Analysis: Expanding Approaches, edited by Ciro Scotto, Kenneth M. Smith and John Brackett

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Several years ago, on New Year’s Eve, a tall, purple-robed praying mantis appeared to multidisciplinary artist Stuart Evan Davis as he meditated while running a fever. “Remember who you work for,” the entity said after beaming a zettabyte of information into Stuart’s febrile mind. Though it lasted less than a minute, the encounter sparked a series of life-changing -- and hair-raising -- events worthy of a Philip K. Dick novel.

JF and Phil talk to Stuart Davis to get his thoughts on nonhuman intelligences, the artistic cosmos, a movie trilogy the Mantis commissioned, and Stuart’s brilliant audio documentary, Man Meets Mantis.

Header image by OLJA, Wikimedia Commons

Stuart Davis Official Website

Special Guest: Stuart Evan Davis.

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Happy holidays, Weird Studies listeners! In this short "Christmas Bonus" episode, your intrepid hosts finish up what began as a discussion of Nick Land's concept of hyperstition. Following last week's closing remarks about the importance of "banishing" ideas that might otherwise take us over, the segment focuses on the dividing line between the personal and the political. Where does the one end and the other begin? What do we risk when we choose to make a necessarily limited standpoint the locus of some totalizing view? The answers will take back to the birth of eukaryotic cells, the sin of Cain, and the wisdom of Sun Ra.

References made in this conversation were included in the show notes for Episode 36.

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Hyperstition is a key concept in the philosophy of Nick Land. It refers to fictions which, given enough time and libidinal investment, become realities. JF and Phil explore the notion using one of those optometric apparatuses with multiple lenses -- deleuzian, magical, mythological, political, ethical, etc. The goal isn't to understand how fictions participate in reality (that'll have to wait for another episode), but to ponder what this implies for a sapient species. The conversation weaves together such varied topics as Twin Peaks: The Return, Internet meme magic (Trump as tulpa!), Deleuze and Guattari's metaphysics, occult experiments in spirit creation, the Brothers Grimm, and the phantasmic overtones of The Communist Manifesto. In the end we can only say, "What a load of bullsh*t!"

Header Image: Still from the 1920 German Expressionist film The Golem: How He Came in the World, by Paul Wegener.

REFERENCES

JF's notes on Deleuze and Guattari's concept of the refrain

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The first step in any pottery project is to center the clay on the potter's wheel. In her landmark essay Centering: In Pottery, Poetry and the Person (1964), the American poet M. C. Richards turns this simple action into a metaphor for all creative acts, including the act of living your life. The result is a penetrating and poetic reflection on the artistic process that values change, unknowing, and radical becoming, making Richards' text a guide to creativity that leaves other examples of that evergreen genre in the dust. Phil and JF get their hands dirty trying to understand what centering is, and what it entails for a life of creation and becoming. The discussion brings in a number of other thinkers and artists including Friedrich Nietzsche, Norman O. Brown, Carl Jung, Antonin Artaud, and Flannery O'Connor.

Header image: NASA

REFERENCES

M. C. Richards, Centering: In Pottery, Poetry, and the Person

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Although he is one of the luminaries of the weird tale, Robert Aickman referred to his irreal, macabre short works as strange stories. Born in London in 1914, Aickman wrote less than fifty such stories before his death in 1981. JF and Phil focus on one of his most chilling, "The Hospice," from the collection Cold Hand in Mine, published in 1975. In it, Aickman uses a staple ingredient of the classic ghost story -- a man is stranded on a country road at night, lost and out of petrol -- to concoct an unforgettable blend of fantasy and nightmare, reality and dream. Indeed, Phil and JF argue that Aickman deserves a place alongside David Lynch and a few others as one of those rare fabulists who can adeptly disclose how reality is more dreamlike, and dreams more real, than most of us would care to admit.

Header Image: Detail from photo by Ivars Indāns (Wikimedia Commons)

REFERENCES

Robert Aickman, "The Hospice" from Cold Hand in Mine

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