The Four Pillars of Disaster Shamanism

By Gary Z McGee

Source: The Mind Unleashed

“We need shamans, and if society doesn’t provide them, the universe will.” ~Joe Lewels

In the article The Archetypal Path to Getting Your Shit Together, I wrote about the power of archetypes. A Disaster Shaman is an example of using an archetype to make the world a better place; to become the change we want to see in the world.

The Disaster Shaman recipe combines aspects of The Shadow with aspects of The Hero and then mixes in a little Trickster tomfoolery. The combination of these archetypes creates a particular flavor of nontraditional shamanism that spearheads healthy Cosmic Law through the heart of unhealthy lawfulness.

A Disaster Shaman is a force of nature first, a person second; sowing radical revolution in order to reap progressive evolution. Healthy balance is primary. Even if it comes at the expense of comfort and security. Disaster Shamanism (otherwise known as Apocalyptic Shamanism) is the interdependent shamanic response to apocalyptic times.

The primary tasks of a Disaster Shaman are as follows:

–Heal disaster situations through shamanic cosmology and ecopsychology.

–Listen to Universal Laws to discern the difference between healthy and unhealthy.

–Live moderately so that others may moderately live.

–Diagnose and heal Nature Deprivation.

–Transform weaponry into livingry.

–Bring “water” to the Wasteland.

The sub archetypes of the Disaster Shaman archetype are The New Hero, The Fifth Horseman of the Apocalypse, The Sacred Clown, and The New Oracle. The four pillars of Disaster Shamanism subsume these sub archetypes. Let’s break them down…

Hero-expiation (New Hero or Cosmic Hero):

“Our sole responsibility is to produce something smarter than we are; any problems beyond that are not ours to solve.” ~Ray Kurzweil

The average person is not heroic (courageous). Likewise, the average hero is not prestigious (provident). A New Hero, as opposed to a typical hero, is a hero with prestige. A New Hero has gone Meta with the concept of heroism itself.

The New Hero sub archetype is the first pillar of Disaster Shamanism. New heroism is gained through hero-expiation. Hero-expiation is the voluntary, wise, honorable, moral, and compassionate distribution of power so that power doesn’t get to the point that it corrupts.

It is through the wise distribution of power that a typical hero becomes a New-hero (cosmic hero, next-level hero) with skill, power, honor, and prestige, as opposed to just a typical hero with only skill and power.

Hero expiation is all about getting power over power. Whether one’s own power or the overreaching power of others. It’s about turning the tables on entrenched power by “counting coup” on it.

A Disaster Shaman as New Hero is a social leveling mechanism par excellence. They count coup on power through strategic humiliation (shaming) so that power never has the chance to become absolute.

When a New Hero comes to town, fear-filled blue pills are swapped with wisdom-filled red pills. The Disaster Shaman has come to set the record straight. To recondition the culture that has been conditioned into believing in competition over cooperation and narrow-minded one-upmanship over open-minded compassion. They teach that competition has always been secondary to cooperation; otherwise we wouldn’t have survived as a species (Darwin).

Eco-consciousness (Fifth Horseman of the Apocalypse):

“Extreme positions are not succeeded by moderate ones, but by contrary extreme positions.” ~Friedrich Nietzsche

Eco-consciousness is about uncontrolled order overcoming controlled chaos. Whether the culture (tribe) has become too obese, too greedy, too violent or some other unhealthy excess, the Disaster Shaman arrives to set the record straight; to plant a seed of overt moderation within the covert immoderation.

The Fifth Horseman is the one that cleans up after the original Four Horsemen (the Four Horsemen is a metaphor for anyone caught up (aware or not) in any kind of unsustainable, unhealthy, violent, immoral, or mass-destructive social system). The Fifth Horseman of the Apocalypse is an archetype representing rebirth and renewal in the face of conquest, war, famine, and death.

The Fifth Horseman is ruthless with her healing powers. Her name is Providence, Phoenix-like, she rises up from the ashes of war & decay to spread self-actualized love, open-mindedness, and progressive sustainability by digging up the decay and unsustainable residue of past and present civilizations and then using it all as compost in cultivating and growing a healthier more balanced future.

In that capacity she has devoted herself to planting gardens of eco-centric heroism in the humus of war, hate, close-mindedness and greed, and anything else left behind by the original four horsemen. She is dedicated to, as Buckminster Fuller said, transforming weaponry into livingry.

She subsumes the original four horsemen by teaching them that the new definition of right & wrong must be derived from the universal dictation of healthy & unhealthy rather than the human opinion of good & evil.

The Fifth Horseman is the Goddess of Recompense. She is the Verdant Force. She is the soft hammer of evolution. She has come to blur the false boundaries that have been erected between nature and the human soul.

She is Gaia. She is Lady Justice. She is the return of the Sacred Feminine. She is all of us, men and women, realizing that we are nature first and humans second, that we are soul first and ego second. She is weighing the worth of the human world with the Scales of Justice. With or without us, she will not fail to bring water to the wasteland.

High humor (Sacred Clown):

“What is a tragedy but a misunderstood comedy.” ~Shakespeare

Most of us are familiar with the prototypical clowns: red-nosed clowns, court jesters, and Tarot fools. But sacred clowns take clowning to a whole other level.

Almost all types of sacred clowns combine trickster spirit with shamanic wisdom to create a kind of sacred tomfoolery that keeps the zeitgeist in check. Their methods are unconventional and typically antithetical to the status quo, but extremely effective. They indirectly re-enforce societal customs by directly enforcing their own powerful sense of humor into the social dynamic.

The main function of a sacred clown is to deflate the ego of power by reminding those in power of their own fallibility, while also reminding those who are not in power that power has the potential to become corrupt if it’s not balanced with other forces, namely with humor. But sacred clowns don’t out-rightly derive things. They’re not comedians, per se. Though they can be. They are more like personified trickster gods, poking holes in things that people take too seriously.

Through acts of satire and showy displays of blasphemy, sacred clowns create a cultural dissonance born from their Crazy Wisdom, from which serious anxiety is free to collapse on itself into sincere laughter.

The high humor of Sacred Clowns leads to a higher courage and the audacity to speak truth to power. And they do so with silver-tongued proficiency. There exists no perceived construct of power that’s above their enlightened rebellion. No idol too golden. No high horse too high. No pedestal too revered. No “wizard” too disguised. No God too godly. No title too contrived.

Nothing is immune to the exactness of a Sacred Clown’s rebellion. It’s all merely procrastinating compost. It’s all just well-arranged armor waiting to rust. It’s all an illusion within a delusion. And the Sacred Clown has the enlightened sense of humor to reveal that absolute fact.

Lest we write our lives off to unhealthy stagnation and devolving inertia, we must become something that has the power to perpetually overcome itself. The sacred clown has this power. Paraphrasing William Blake, “If the fool (Sacred Clown) would persist in his folly, he would become wise (New Oracle).”

Self-overcoming (New Oracle):

“To attain knowledge, add things every day. To attain wisdom, remove things every day.” ~Lao Tzu

A Disaster Shaman is a New Oracle who has come to inform the old oracles that they have failed. The self-centered “culture” has been declared a wasteland, and the unhealthy surroundings dubbed unworthy for healthy humans attempting to evolve into a more robust species.

The New Oracle teaches this, above all: Pain should not be avoided at the expense of love. Love should be embraced at the risk of pain.

As such, a master with high humor is needed to resolve the disaster of the self; to usher in an eco-centric, as opposed to an ego-centric, perspective. This master lies dormant inside us all. It can only be found by having the out-of-mind experience of no-mind, in the courageous throes of self-overcoming. There, in the stillness, the master is meditating. The master is connected to the source of all things, his thousand-petalled lotus spinning like a galaxy above his head.

He is radiating inside of you, bursting with wisdom and nth-degree-questions. She pirouettes like Shakti. He foxtrots like Shiva. He/she is the all-dancing, all-laughing oracle of the primordial self, interconnected with all things. And it can only be found there in the silence, between inhale and exhale, between being and non-being, between mind and no-mind, between finitude and infinity.

After disaster, but just before mastery, the Disaster Shaman as New Oracle persistently self-actualizes toward enlightenment.

There, above thought, is the source of human creativity: the place where artists, poets, musicians, and even scientists have discovered the secrets of the universe. Like Leonard Cohen said, “You lose your grip, and then you slip into the masterpiece.”

The mind of Everything holds the heart of Nothingness; the void of Nothingness holds the core of Everything. The masterpiece is the working, self-overcoming, canvas of the New Oracle’s life. The New Oracle is forever in the process of seizing the moment in order to seize the day in order to seize the life.

In the end, the Disaster Shaman is a healthy response to our unhealthy times. Wielding the courage of the New Hero, brandishing the mettle of the Fifth Horseman, harnessing the humor of the Sacred Clown, and channeling the wisdom of the New Oracle, the Disaster Shaman is determined to tonalize an otherwise atonal world.

Weaponized Hyperreality: Social Engineering Through Corporate State Propaganda and Religion

2789bbece2d59ed130d9d0ee1aeea307

By Luther Blissett and J. F. Sebastian of Arkesoul

Perhaps no philosophical concept more aptly describes the current cultural milieu than hyperreality, characterized by wikipedia as “an inability of consciousness to distinguish reality from a simulation of reality, especially in technologically advanced postmodern societies.” The predominance of hyperreality comes at a time when people in power have never had more to conceal, distort and distract the population from while there’s never been more people who have more means and motives to stay distracted. This is evident in many aspects of contemporary life from corporate news narratives shaped by sponsors and “official sources”, increasingly absurd denials of the true state of the economy from (mis)leaders, widespread dependence on pharmaceuticals worsened by direct-to-consumer advertising and a sham drug war, fanatical worship of celebrities, to slavish acquiescence to fads and fashion. But most obvious is the increasing amount of time spent in front of screens whether for work, shopping, social media, education, self-expression, games, web content, or the exponentially growing volume of video entertainment. Though video games and web series are catching up, the primary narrative formats for cultural expression and transmission today are still television and film.

Struggling to retain their cultural/economic status in the face of increased competition while appeasing shareholders of their monolithic multinational corporate owners, large film and television studios are increasingly risk averse. This is glaringly apparent in the output of major studios which are for the most part the media equivalent of comfort food; familiar (formulaic), satisfying (crowd pleasing), full of empty calories (lacking intellectual/emotional complexity or challenging ideas) and generally bland in terms of content and presentation. On television this is commonly displayed through clichéd tropes, characters and situations while films are now more than ever driven by CGI enhanced spectacle. Both rely on repeating what has worked in the past and (for viewers of a certain age) appealing to nostalgia while pandering to current cultural trends.

Of course such strategies overlap, as there’s more than a few television programs that offer Hollywood style spectacle and big budget movies which imitate successful formulas in the form of adaptations, sequels, prequels, reboots, spin-offs, and mockbusters. In fact the majority of Hollywood’s summer blockbuster output is now comprised of such derivative and safe content predominantly in the form of fantasy and science fiction films.

The ideological motives and functions of cinema and other pop culture are manifold, but a major one is control and influence of mass audiences. We now know the US government has been doing it at least since the 1950s. According to a Church Committee investigation detailing Operation Mockingbird in 1976:

“The CIA currently maintains a network of several hundred foreign individuals around the world who provide intelligence for the CIA and at times attempt to influence opinion through the use of covert propaganda. These individuals provide the CIA with direct access to a large number of newspapers and periodicals, scores of press services and news agencies, radio and television stations, commercial book publishers, and other foreign media outlets.”

More recently, in 1991 the Task Force Report on Greater CIA Openness revealed the CIA “now has relationships with reporters from every major wire service, newspaper, news weekly, and television network in the nation,” which enables them to “turn some ‘intelligence failure’ stories into ‘intelligence success’ stories, and has contributed to the accuracy of countless others.” It also revealed that the CIA has “persuaded reporters to postpone, change, hold, or even scrap stories that could have adversely affected national security interests…” (Global Research, Lights, Camera… Covert Action: The Deep Politics of Hollywood)

Government influence of culture factories such as Hollywood through covert infiltration or embedded advisors ensures that the end product reflects the values and behaviors they wish to promote (ie. xenophobia, deference to authority, nationalism, parochialism, narcissism, anti-intellectualism, consumerism, rapaciousness, etc). In some cases, most notably Zero Dark Thirty and United 93,  the goal is to cement an official narrative into the collective consciousness. A more sophisticated method of social engineering via Hollywood is predictive programming; presenting through media societal changes to be implemented by leaders in order to gradually condition the public and reduce resistance to such changes.

Manipulation of public sentiment through mass media also makes sense from a purely corporate perspective. Why wouldn’t media owners gear the ideological content of their products to support the systems they benefit from while screening out more critical messages? Occasional subversive content may get past the gatekeepers if it’s immediately profitable (which it sometimes can be if particularly resonant), can be co-opted in some way that serves the status quo, or if the creative minds behind it are particularly lucky, talented, and/or well connected. Regardless, one could argue uncritical media consumption is a form of pacification through distraction and escapism and all corporate media content are a result of calculating the highest return on investment, which more often than not reflects the culture’s most deeply ingrained values and myths.

This is particularly true for fantasy/sci film films, which have become ubiquitous for a number of reasons including cultural tastes of global demographics, aesthetic trends (eg. hyperreal CG effects for evermore spectacular imagery), impact of changing media technology on the economics of production and distribution, growing awareness of the value of properties belonging to rich fictional universes which can be mined by worldbuilding studio screenwriters, and in many cases, resonance with our increasingly dystopian world. Most fundamental is profitability, especially as sfx technology becomes more advanced and affordable, licensing opportunities increase, and film franchises that come with large and passionate built-in fan bases reduce the need for marketing and practically sell themselves.

Many who grow up immersed in geek culture already have a hyperreal relationship with fantasy and science fiction realms which heightens the nostalgia evoked by the stream of multimedia incarnations and product tie-ins (bolstered by cult-like fan communities). Is it any surprise that fans who’ve extrapolated on the “Jedi” concept from the Star Wars films turned it into a religion? The Jedi cosmology (and similar ones from countless sci-fi/fantasy films) are modeled on mysticism, a philosophical framework which could fill a void for spiritually deprived materialist cultures. For many people, comic book fandom is another safe and entertaining way to explore concepts that might otherwise be too “out there” (perhaps especially among those who share an equally strong interest in materialist science). At the same time, because of the influence of marketing, the greater role of technology in society and changing cultural trends, geek culture has become a larger part of mainstream culture. Combined with celebrity worship, the lure of technology (both on-screen and off), and increasingly omnipotent powers of multinational corporations, modern big budget sci-fi/fantasy films represent a confluence of potent socioreligious crosscurrents.

Recent works such as Christopher Knowles’s Our Gods Wear Spandex and Grant Morrison’s Supergods examine to an extent superheroes as modern mythological archetypes. Bill Moyer’s The Power of Myth explored how Joseph Campbell’s theory of the monomyth (or hero’s journey) influenced and shaped the Star Wars films (which itself has influenced myriad blockbusters since). In The Hero With a Thousand Faces, Campbell identified a story template used in almost all pre-modern cultures across the globe which goes something like this:

A reluctant “chosen one” in an ordinary world receives a call to adventure and warning of a danger that must be confronted. With the training and wisdom of a mentor the hero crosses the threshold into the unknown. Companions acquired along the way assist in overcoming a series of challenges and temptations until reaching the depth of their fears and resultant apotheosis or rebirth. This empowers them to achieve their goal and return triumphant to an admiring family/community/nation etc.

It’s not hard to see the attraction of narratives such as this which tap into primal emotional needs and can be found in a wide range of religious narratives such as the lives of Buddha, Christ, Muhammad and Rama among others. It also serves as a metaphor for spiritual/psychological journeys through life.

In a recent post on his Secret Sun blog, Christopher Knowles states “Myths grow out of times of crisis and upheaval, in one way or another. The current vogue for superheroes is a symptom of the powerlessness felt by a populace under assault by the realities of Globalist social engineering, war-making and economic redundancy.” I would add that myths can also be exploited to function as part of a cultural assault to perpetuate Globalist agendas. Authoritarians are all too eager to depict themselves as monomythic demigod saviors and/or those serving them as self-sacrificing rugged individualist heroes fulfilling their grand destinies.

In the same piece, Knowles concludes: “But myths do die. They aren’t immortal. The next war or wars may in fact sweep away the myths of the 20th Century entirely. The wars may send people reaching back to far older myths as civil wars can rekindle the bonfires of identity, sending people back to the myths of ancestors. This has always emerged in times of close conflict, particularly in conflicts seen as struggles against occupying powers.”

If he’s correct, there may be some hope for our culture to reclaim myths as a means of understanding reality rather than serve as a trapdoor to fabricated hyperreality. The problem is that there is a gap that needs “filling in” between reality and hyperreality. One of the many consequences of postmodernism is the complete blurring of the line between what is real and what is not. A sort of apathy has kicked in within the human psyche given that crushing truths, not easily discernable in the past, are all out there in the raw. Religious and scientific truths once held sacred can be easily discarded. Morality is a rare hobby in a generation both cynical and powerless to discern reality. This is as well due to globalism and technology, which serve as hubs for information retrieval that wasn’t readily available. Humanity has developed thicker skin, while at the same time widened the existential void left by a reality that is less and less objectifiable. Opinion makers are everywhere, information is ubiquitous, and the species is obsessed with being entertained while answers are readily manufactured in the shape of capital fetishes, all the while ideology that purportedly made a call for a “better and different” world, such as Marxism and psychoanalysis, has become both a haunting spectre and an empty promise.

In the past these formulae failed. In the future they seem more and more unlikely. Capitalism has adapted itself to revolutionary ideology. It has generated even more power from it, defusing the motivation for change and twisting the definition of revolution, all the while turning such concepts into brands. The irony. There is call for a “new objectivism”, however. A bet for a system reboot, in which categorical truths can be retrieved and argued from. The analogy is this: keeping what works and dismissing what doesn’t. Sounds like a simple and logical plan. The problem is that those who get to define what works and what doesn’t will be the powerful, uncanny minority. This is their game, and we have cynically accepted it. It is the way it is. Unless we can evolve from reality to hyperreality, and from hyperreality back into reality, as a species that learns, adapts, understands how high the stakes really are, and moves forward as a collective that is conscious and responsible of its flaws, it appears we are doomed. Three scenarios: first, the narrative will continue as is: the majority will continue to be repressed, and will perpetually seek escape by the hand that feeds until lost completely in hyperreality. Technology moves forward, religion condenses into inconvenient myth: we completely “plug in”. Then what? Well, you just have to see Her to see into this future. The second, war extinguishes civilization and winds back the evolutionary clock, think Mad Max, until we reach the first scenario, as if in a loop. The third and most bleak, nuclear war. The species ends.

What we learn from this exercise is that we are at the apex. This is it. The crushing truth of existence is firmly on our shoulders. War is unravelling. An ever-shrinking number of brands dominate the world. And an even smaller number of people call the shots. In between reality and hyperreality there is confusion. There is no longer a basis to discern between the two. We are as it were, lost. We need to fill in this gap. We need to dig deeper than ever before for a reason to dissolve our differences. Somehow the dilemma is set: surrender or die. But the crux of the problem can be overridden if we use the knowledge and tools we have to fight for a better, and more responsible alternative.

Catalyzing the Shamanic Archetype

mushrooms_art2

By Paul Levy

Source: Reality Sandwich

The following is excerpted from Awakened By Darkness: When Evil Becomes Your Father.

Spiritual awakenings oftentimes get precipitated by experiences of wounding, abuse and trauma, which is to say that in a genuine spiritual awakening there is often a co-joining of healthy and pathological factors. The idea is to nourish the healthy aspects of the process so that they become stronger, while allowing the pathological factors to naturally fall away as they become integrated into the wholeness of the newly emerging psyche. To quote the great Hindu saint Ramakrishna, “How to get rid of the lower self? The blossom vanishes of itself as the fruit grows, so will your lower self vanish as the divine grows in you.”

Being wounded almost always initiates and catalyzes the “shamanic archetype” to begin to form-ulate and crystallize itself in the unconscious. Shamanism is the root from which humanity’s various spiritual disciplines have issued; the earliest origins of modern psychotherapy known to history lie in archaic shamanism. When the shamanic archetype is activated, it precipitates a deeper part of the psyche to become mobilized, as people enacting the shamanic archetype journey deep inside themselves, flying on the wings of their creative imagination to become familiar with and address what has gotten activated within them. The shamanic archetype becomes catalyzed in us by a severe emotional and spiritual crisis, oftentimes organically growing out of unresolved abuse issues from childhood—this was certainly true for me.

The shamanic archetype is one of the major processes currently animated in the collective psyche of our species. We’d have to be truly “disturbed” if our emotions aren’t disturbed by the diabolic and dark shadow forces playing out their polarizing, manipulative and exploitive agendas in our world. How we hold what has gotten triggered within us as we both witness and participate in these distressing dramas determines whether the latent shamanic archetype within us manifests in service of our—and our planet’s—healing or not. Just as dreams are the unconscious’s way of balancing a one-sidedness in an individual’s psyche, the shamanic archetype is the dynamically evolving pattern of healing that is being constellated in the collective unconscious as a compensatory response to the trauma and abuse playing itself out on the world stage.

A person would never—if they were in their right mind—choose to be a shaman. It’s not the sort of thing that someone takes a weekend workshop or a class and then becomes a shaman. Becoming a shaman is a vocation, which is to say that it is something one is “called” to do; this calling is typically conceived of as coming from the spirits, i.e., from an autonomous spiritual factor deep within the psyche. Etymologically, the word “calling” has to do with hearing a voice—the voice of the other within ourselves—with which, like a living person, we develop an ongoing and deepening relationship. This inner figure has from time immemorial been referred to by a multiplicity of names—our muse, ally, guiding spirit, angel, genius and daemon, to name but a few. Attracting many names to itself is typical of something numinous; one name doesn’t quite “do it.”

If it is a true calling and we resist, however, we can fall ill, go crazy or even die; the point is that the stakes are high, and being called to shamanize is something to take seriously. It necessarily involves making a descent into the underworld of the unconscious—into the netherworld of the shadow—where we have to confront our own dark side and madness; this is why in a shamanic initiatory experience, the potential shaman looks like they’re having a psychotic break. A Siberian shaman reminds us, “If you find the spirit of madness, you will begin to shamanize.” Becoming a shaman is not for the faint of heart; the initiate typically has to go through a death experience, whose other side, if all goes well, is rebirth. The suffering involved—which is actually a purification—is intense. Speaking of what he calls “shamanic suffering,” Holger Kalweit, author of Dreamtime and Inner Space: The World of the Shaman, writes that the suffering a potential shaman goes through is “a suffering intense enough to kill.” I can totally relate; after the abuse from my father, it was as if the doors of my unconscious opened up, unleashing formidable energies that easily could have killed me.

A key part of the shaman’s initiation is to come to terms with evil. Mircea Eliade refers to shamans as “pre-eminently the antidemonic champions; they combat not only demons [who Eliade refers to as “the true enemies of humanity”] and disease, but also black magicians…. What is fundamental and universal is the shaman’s struggle against what we could call ‘the powers of evil.’” In my life, my encounter with the evil that came through both my father and psychiatry were the forms that my descent into the underworld took; if I hadn’t re-contextualized these experiences as being part of a deeper shamanic initiatory process, I would have been stuck in and personally identified with these experiences in their literal rather than symbolic form, possibly for the rest of my life, which would have been truly tragic. Von Franz wrote, “The symbolic inner experiences which the Shaman lives through during his period of initiation are identical with the symbolic experiences the man of today lives through during the individuation process…curing the soul of individuals and collective states of possession is really the principal task of the Shaman.” The mission of the shaman is to heal—both individually and collectively—the state of possession by unconscious psychic forces of the members of their community, as well as the community as a whole.

In indigenous, shamanic communities, the role of the shaman does not exist in isolation, but as a role that the community collaboratively dreams up for the health and sanity of the wider community. The role of the shaman is relational in nature—only taking on its meaning in relation to others as well as the surrounding environment—not something that exists independent of the field in which the shaman lives. Being a role in the field, in the ideal sense the position of shaman need not be monopolized by or restricted to one person; a shaman is a role that any and everyone can pick up as we become more creative and fluid within ourselves. In a genuinely healthy community, roles are very fluid, which is to say—in a form of “collective shamanism”—the role of the shaman can potentially be played out at various times by each of its members. Because the role is being shared by all of its members, different people can play the shamanic role without necessarily having to descend into the depths of hell; they are required, however, to self-reflectively deal with how their own unconscious darkness is contributing to the collective shadow that is getting dreamed up in and through the community.

We are all potentially “shamans-in-training,” in the sense that we are all being called—both individually and collectively—to deal with the darkness that seems to be ruling our world. The formless archetype of the shaman/healer is thirsting for sentient instruments to express and actualize itself in embodied form. Recognizing, and saying “Yes” to the deeper shamanic calling that is pulsing through our veins inspires us to breathe life into and incarnate the figure of the shaman who lives within us. We are being invited by the universe to step into our shamanic “garments” and consciously participate in our own evolution. Instead of our ritual implements being drums and rattles, however, as “modern-day shamans” our accessories might be something like the keyboard of a computer or the tools of multi-media, as we work to inspire change in the underlying consciousness of the field by a keystroke or the creative use of a video camera or website. Co-operating with our deeper shamanic calling constellates the universe to support us in our endeavor, as the universe itself is the sponsor of our calling. Assenting to our calling gets us “in-phase” with ourselves such that we become our own best ally.

The psyche is easily dissociable; due to trauma it can readily fragment into seemingly separate parts. Being wounded creates a dissociation in us, in the sense that we dis-associate from and lose connection with parts of ourselves. People of shamanic temperament, however, are able to turn the psyche’s natural ability to dissociate to their advantage. They are able to purposely dissociate, which is very different from the unconscious pathology of dissociative disorder. The shaman’s ability to dissociate, and fluidly travel between different reference points within themselves helps them to re-member their dis-membered selves, as well as to retrieve the split-off, and hence unconscious, soul of the community.

A shaman often suffers from the plight of their people. Due to their “standing” at the gateway between the conscious and unconscious aspects of their own mind as well as the community at large, they are able—like a healing enzyme—to act as agents transforming and raising unconscious contents into conscious awareness, making these contents available to the community. I think of Jung—a deeply shamanic personality—who was afflicted with dreams and visions of bloodbaths and catastrophes in Europe which he wasn’t able to understand until soon thereafter the First World War broke out, and he realized that his personal experiences reflected the collective situation that was brewing in the cauldron of humanity’s unconscious.

People going through a spiritual awakening/shamanic initiation find themselves, as if living in an archetypal fairy tale, inhabiting a deeper mythic realm where everything that happens is in-fused with deeper meaning. This deeper meaning doesn’t come from outside of us; we are the arbiters of meaning—“meaning-generators.” Instead of being mute and having no say in things, our world is always speaking to us symbolically, speaking “through” things (so to speak); this can take a little while to interpret, integrate and to learn to navigate. The goal is to bring together the two worlds so that we can fluidly travel between the everyday world of ordinary reality and the deeper mythological, symbolic realm, a dimension which is always having its say—the question is whether we recognize what is being said. This is analogous to having a fluid back and forth, give and take relationship between the conscious and unconscious minds within ourselves.

A key part of the shaman’s vocation is to be able to “see” the spirits, which is to be able to recognize and develop relationship with the forces of the unconscious. Wetiko can be thought of as having its own spirit; this is why I am continually pointing out the importance of “seeing” how this spirit operates—out in the world, through others, via our relationships and within our own mind. Seeing “the spirits,” which von Franz points out is today simply called “the unconscious” takes away their autonomy and seeming power over us, while expanding the light of our consciousness in the service of individuation. The more individuated we become, the wider is our consciousness of the realm of the unconscious which spreads out before us in, as and through the world. To wake up to the dreamlike nature of reality is to realize that we are surrounded on all sides by the unconscious; dreams themselves are the unmediated expression of the unconscious. The process of becoming conscious doesn’t banish the unconscious, but rather, aids us in developing the trust to give ourselves over to it time and again, thereby learning how to receive its gifts of wisdom. When we shed light on the darkness of the unconscious, it’s not that all of its contents become illumined; rather, there becomes a more permeable boundary for the unconscious contents to emerge into consciousness, as well as for consciousness to step into the world of the unconscious.

The shaman is akin to and a kin of the figure of the artist. To quote anthropologist Carlton Coon, “Whatever else he may be, the shaman is a gifted artist.” Mythologist Joseph Campbell draws a parallel between artists and ancient shamans when, speaking about modern artists, he says that “the whole unconscious has opened up and they fall into it.” We continually deepen our individuation only insofar as we don’t cling to our conscious experience, but allow ourselves to submerge into the depths of the unconscious however and wherever it shows up, trusting that we will be able to creatively express—and hence, become conscious of—what is moving us. As Jung points out, “The unconscious no sooner touches us than we are it—we become unconscious of ourselves.” This ongoing dynamic of falling into and giving shape and form to the unconscious, then stepping out of and contemplating what has just come through us—going back and forth between the subjective and objective domains—furthers our realization of the unconscious, both within ourselves and in the world at large. Through this process, the shamanically-oriented person is adding consciousness to and assimilating the unconscious in the field, while simultaneously metabolizing the unconscious parts of themselves that have been activated.

The shamanic personality’s ability to fluidly navigate back and forth between the conscious mind and the deep waters of the unconscious contrasts with people who fall into their unconscious and, unfortunately, become overwhelmed by the experience, losing both the ability to creatively express their experience, as well as their sense of self. The shaman learns to swim, surf and snorkel in the waters of the unconscious while the failed shaman, whatever label we call them by (schizophrenic, bi-polar, etc.), drowns in the depth of its waters. This is why it is profoundly important, as Jung realized, to have a strongly developed sense of ego when we encounter these deeper, more powerful realms, for if we don’t we can easily get swallowed up and lose ourselves. We need a strong sense of self in order to get in relationship with these powerful energies.

As the shaman travels between the worlds of the conscious and the unconscious, the boundary between these two worlds becomes more permeable. There is no clear demarcation point between the conscious and the unconscious; an un-boundaried continuum, one starts where the other leaves off. In their journey, shamans create a bridge so that the conscious mind and the unconscious can more easily pass between, influence and illumine each other, which transfigures everything. Over time these two seemingly opposite realms begin to become indistinguishable from and turn into each other, while at the same time, paradoxically, becoming more distinct from each other. Inseparably and reciprocally co-arising in their interaction, both the conscious and unconscious minds are dynamically contained within the wider totality of psyche.

The psyche is simultaneously “historical”—in the sense that its development can only be understood in the context of its personal and collective past—and “trans-historical,” which is to say that the psyche atemporally abides outside of linear time, yet simultaneously generates events experienced by humans in historical time. Though within its very structure is written the whole history of humanity, the psyche is at the same time teleological, in that it is purposeful, seeking its own actualization. Jung writes, “Anything psychic is Janus-faced: it looks both backwards and forwards.” The psyche is like a pivot through which, both on the individual and collective levels, we choose either to look backwards and re-create the unhealed past, or step into consciously participating in our own creative future evolution in the present. In a spiritual awakening/shamanic initiation, it is as if we are connecting with a healed, whole and awake part of us that, atemporally speaking—outside of linear time—has always existed. We begin to cooperate with and surrender to a deeper impulse within us, as if we are allowing ourselves to be drawn into the strange attractor that is ourselves, a process which can only take place in the present moment. By becoming aware of and stepping into this higher-dimensional part of ourselves, we are attracting this particular part of ourselves, with its corresponding universe, into materialization; this is the sacred power of dreaming.

This seemingly bi-polar process of oscillating between the polarities of the conscious and the unconscious is an apt description of the shaman’s journey between the worlds. As this process unfolds in and over time, a center or mid-point emerges, which contains, embraces and unites the opposites: this is, in Jung’s language, “the Self.” The Self is an expression of the intrinsic wholeness within us, a wholeness which already exists but is paradoxically brought forth into consciousness via this process of collaboration with the unconscious. At points this descent can be experienced as if we are just recursively playing out our unhealed abuse issues (the iteratio stage of alchemy), but is in actuality a deepening descent down a spiral, a circumambulation which ultimately illumines the center point—the Self. Transforming consciousness, the Self acts like a magnet, attracting to itself that which is proper to it. Jung comments, “We can hardly escape the feeling that the unconscious process moves spiral-wise round a center, gradually getting closer, while the characteristics of the center grow more and more distinct. Or perhaps we could put it the other way round and say that the center—itself virtually unknowable—acts like a magnet on the disparate materials and processes of the unconscious and gradually captures them as in a crystal lattice…. Often one has the impression that the personal psyche is running around this central point like a shy animal, at once fascinated and frightened, always in flight, and yet steadily drawing nearer.”

As the shaman’s accomplishment deepens, they are able to tap into and participate in the primordial, timeless source of creativity itself. A person’s ability to heal and facilitate healing for others depends upon their ability to link to the larger world of the “pleroma” (a field of abundant potential, boundless luminosity and creativity, and infinite sentience). Approaching the numinosity of the pleroma is therapeutic at its core—what Jung calls “the real therapy”—as it releases us from what he calls “the curse of pathology.” Connecting with this more expanded perspective within us alchemically transforms what seemed to be pathological into something expressing and leading us closer to the numinosum.

Archetypally, shamans take on and into themselves the illness of those they are working with, falling ill themselves. As a result of the abuse from my father, I feel like I have been sick for years, suffering under the burden of a shamanic sickness. The wetiko bug that used my father to get into me has activated my psychic immune system to go into overdrive to deal with this toxic invader. I have “taken on” my father’s pathology, which carries a double meaning: to “take on” means to confront, as well as to take within myself (so as to suffer with). I’ve been slowly transmuting the virulence of the wetiko germ that I “caught” from my father; this book is my latest attempt to shed light on—and “make light” (of)—what has gotten triggered within me. What makes a shaman an accomplished shaman, however, is that they are somehow able to work with and metabolize the illness, integrating it into the wholeness of their being and subsequently finding their way back to health; this process nonlocally helps the person(s) who were originally ill. In addition, this helps the whole universe, by eliminating that personalized quanta of sickness from the collective field—“lightening” the shadow in the collective unconscious ever so slightly.

I am in no way claiming that I am an accomplished shaman—this is true only in my wildest dreams—but what I am saying is that the archetype of the shaman—which is related to the archetype of the wounded healer—is one of the deeper processes that has shaped and given meaning to the experiences in my life. In addition, the shamanic archetype is one of the fundamental underlying patterns that is informing all of our processes, both individually and collectively, as a species. Humanity as a whole is going through a profound shamanic initiation of epic proportions, writ large on the world stage as well as within each of our hearts and minds. When we realize this, we can connect with each other so as to collaboratively help each other successfully pass through our shared ordeal. What a radical idea!

 

Coincidence, Chaos, & Archetypes in Our Science-Fictional World

4153262_orig

By Eric Wargo

Source: The Nightshirt

You don’t have to be a hardheaded materialist skeptic or an atheist to be troubled by the idea of synchronicity. The fundamental mystery—or really, outrage—of synchronicities is they seem arranged, stage managed, in a way that is impossible without imagining an active higher intelligence taking interest in guiding us and arranging the events of the wider world to produce unmistakeably uncanny outcomes. Even if we believe in God, many people aren’t comfortable living in a world of miracles and signs.

This was the problem faced by Philip K. Dick, whose Christianity couldn’t countenance fully divine meddling in his psyche and life. The story had to be more complex and also more rational. Hence, he tended to think that the synchronicities he experienced in 1974 reflected his own enlarged self haunting him from an orthogonal dimension of time, perpendicular to the four spacetime dimensions we ordinarily experience.

My last post sparked an interesting discussion in the comments about the apparent role of coincidence in synchronicities if they are really, as I argued, cases of misrecognized precognition or premonition. For instance, even if Jung’s famous scarab arriving at the window of his office was a purely random event that his patient had dreamed about the night before, there is still a coincidental element to it: Why a scarab, which has an archetypal meaning connected to the patient’s therapeutic situation, as opposed to some other insect?

Here’s where I think we really need to take seriously the revised picture of time that Dick grappled with through his 8-year frenetic journaling in his Exegesis: What is the connection between the archetypal world and the multidimensional nature of time? In a Eureka moment (not unlike the hundreds recorded by the manic Dick), I think I figured it out: Archetypes are an illusory effect produced by our failure to recognize self-confirmatory actions (feedback loops) made possible by the looping nature of time. Temporal feedback loops amplify the personal significance of symbolic formations, which (because we fail to recognize psi) appear as somehow objective or external to us.

For reasons I discussed in my Psi of Regret post, most information from the future should be negated by one’s own and others’ willed actions; but in a minority of cases, a self-confirming feedback effect could arise which would actually intensify or amplify the significance of the stimulating event in the future. This would happen specifically when that event involves a minor random coincidence (which are myriad) and/or fulfills some kind of unconscious thought or desire we had harbored.

Through this time-loop mechanism, minor coincidences, when they resonate with our own personal meanings and priorities, can be the nuclei of major significant moments (synchronicities) as well as meta-symbols (archetypes). Small coincidences, in other words, may be like grains of sand around which time’s oyster builds Platonic-Jungian pearls.

Bootstrapping Ourselves Toward Meaning

The idea of information from the future reaching us in the present should be unproblematic to parapsychologists and Forteans, yet we still tend to think of it somehow as a very special case. But if we grant the experimental results of Daryl Bem and Dean Radin and the observations of J.W. Dunne and others, then information must indeed be constantly rippling backwards in the time stream; this would have to produce all the paradoxical effects familiar from time travel stories in science fiction: doubling or multiplication or intensification of information (not unlike what happens in the interesting 2004 sci-fi film Primer), as well as self-cancelling effects such as I discussed in the context of Dune Messiah, and perhaps even wholesale self-negation (the famous grandfather paradox). If I am right about the future not being etched in stone (or glass, as in the Minkowski glass football)—that is, as subject to free will—then precognitive material cannot be about what is definitely going to happen but about what is probabilistic, and much of that information will be rendered inaccurate by our willed actions, and thus we would have no way of knowing it (i.e., because it didn’t come true or wasn’t close enough to how events unfolded to be discernible). It wouldn’t even be information, just noise.

However, in special circumstances, for instance when there is a slight perceived (and random) coincidence, such as between a specific genus of insect and the theme of therapeutic rebirth, it could instead have the effect of entraining our actions to the signal, in turn amplifying the felt significance of the signal into the past, generating a precognitive or premonitory experience which in turn feeds forward to intensify the uncanniness of the stimulating event, in turn boosting the signal into the past, and so on … The result would be an informatic/emotional time-loop feedback effect centered on what emerges as a truly uncanny, meaningful, and even decisive coincidence (the ’synchronicity’) that could even alter the course of a person’s life in a significant fashion going forward.

Within Jung’s larger and less radical paradigm of “individuation,” the unconscious is ever seeking out opportunities to progress and develop and change toward wholeness, and its capitalization on significant coincidences provides a way for the individual to bootstrap him/herself toward integration. The unconscious has no sense of time, so it doesn’t recognize this operation of atemporal time-looping—that is, the artificiality of the apparent coincidence (i.e., the fact that the person him/herself created the apparent coincidence through his/her actions and attributed it to objective external reality). The tendency of ‘synchronistic’ events to have a recursive, fractal, or self-similar quality, in some way being ‘about’ the whole notion of synchronicity or coincidence, reflects the tendency of the coincidence-receptive person to be attuned to coincidences in the first place. It is, quite literally, self-fulfilling prophecy.

Jung and Plato Must Die (that Psi May Live)

Thus the kinds of events that spark an emotional ripple into the past will be ones that support the ‘prophetic enjoyment’ I mentioned in the last post: Synchronicities are self-confirming effects produced by misrecognized precognition within an overall attitude of receptivity to mystery, magic, and meaningful coincidence. Belief in synchronicity produces synchronicity, which further reinforces the belief. In a larger sense, this mechanism may underlie the “law of attraction” in all its forms. It really is just like the “strange attractor” in Chaos Theory (and which is also identical to what Lacan and Žižek call the “symptom”).

What this suggests—and this is my Eureka—is that “archetypes” as such—as well as the Platonic world of “forms” that Dick suggested was the “fifth dimension” (printing out archetypes on the paper of history as on an IBM Selectric typewriter)—are really an illusory or anamorphic effect produced by not seeing or recognizing these self-confirmatory time loops, these informational/emotional eddies in the spacetime continuum, and failing to see our own role in feeding them through our perceptions and actions. We ourselves make meaning, including the intensified meaningful nuclei in the collective unconscious that so fascinated Jung and that formed the centerpiece of Platonic metaphysics.

At times, Dick came close to saying this: He suggested that synchronicities occur because we in the future are time traveling, cultivating our own development; that our own enlarged consciousess has the power to “stage manage” not because it is a white-bearded deity sitting up in a cloud reaching down and playing with us like chess pieces, but because of the nature of time itself. Coincidences may be the product of time tampering, our own time tampering in the future.

Where I’m departing from this notion is in emphasizing misrecognition and the role of the unconscious: Instead of our future (conscious) selves meddling in the past, our unconscious minds are constantly receiving and reacting to future information without knowing it comes from the future; through our actions, we thus sometimes confirm this information, particularly when it resonates with our priorities and unconscious beliefs about meaning or our own significance in the bigger cosmic picture. That sort of information will act as an ‘attractor’ in the Chaos Theory sense and give rise to the illusion of BIG coincidences and the meta-symbols that are necessary (in Jungian thinking) to make sense of them.

We live in a world that curves and bifurcates and loops back on itself, and these loopings and crossings and doublings and cancellations exert a shaping force on our lives and larger events via what we call psi, but we (a) think linearly and do not believe in time travel, (b) generally disbelieve in psi, and (c) fail to include the knower in the known even when we do believe in those possibilities. Consciously being open to coincidence and ‘larger meaning’ but failing to recognize our own role in creating significant moments, we inevitably imagine a Higher Knower who recognizes and certifies these eternal forms or archetypes, stage-managing these amazing occurrences as signals or signposts for us. But this is a mistake.

I’m suggesting we kill both Jung and Plato here in one stroke … maybe even God. Not only synchronicities but also archetypes and Ideal Forms are illusions caused by our failure to recognize the truly science-fictional way that informational-emotional time loops may intensify the potency of confluent events and symbols in our lives, and the role we ourselves play in the process.

We live in a science-fictional universe. To move forward, we need to recognize that fact.

Shadows & Light: Understanding Our Archetypal Nature

73a

By Gary S. Bobroff

Source: Reality Sandwich

“I thought of Jung as a noetic archeologist, [he] provided maps of the unconscious.” – Terence McKenna

Most of us imagine that we know ourselves pretty well. But like a periscope that thinks it’s the whole submarine, our self-image makes no accommodation for the fact of the unconscious. Yet there are maps that can help us. If we are honest, we can come to discover how to orient ourselves in the tidal pathways of the unconscious; we may come to see that our shadows and strengths fall into archetypal patterns. If we are lucky, these maps may help us to come into possession of the greatest possible treasure–our inner gold.

In the 1920’s, after they had finished developing their ideas on Psychological Type – the root of today Myers-Briggs Type Indicator™ – Antonia “Toni” Wolff and Carl Gustav Jung discovered that they felt like something was still missing. Not fully satisfied, Toni soon identified larger psychological structures that were evident, yet hitherto unnamed. Calling them Structural Forms of the Feminine Psyche, she initiated the process of identifying the primordial forms of the human psyche, forms which we know today by the singular term, archetype.

She observed two poles, two axes, in our internal world. On the first, she saw displayed a natural split in how our energy flowed toward people: for some it moved toward people in a collective sense, toward the group, the family, the team, the tribe, society and the social group; for others it moved toward people in the one-on-one sense, with thought and concern primarily flowing toward individuals, friends and lovers. Toni saw this difference in what we were fascinated by and drawn to; what compelled us forward in life; in the differing pathways our libido took toward our fellow humankind. In her observations, she brought consciousness to an inherent dialectic tension in human nature.

This characteristic tension is highlighted in bright psychedelic neon in the last fifty years of American history. It is the divide between belonging and freedom from belonging; between a value system that is group-oriented and one that is individual-oriented; one emphasizes escape from society and other connection to it. It has provided us with two opposing views of goodness in American life: the redemption in community of Capra’s It’s a Wonderful Life versus the redemption in breaking away from community of Kerouac’s On The Road and Kesey’s Acid Test and Cuckoo’s Nest. Of course, this split goes back to our earliest days: we can see it in our ancient mythologies and philosophies. It is evident in perhaps the greatest of Shakespeare’s plays, Hamlet, wherein ‘to be or not be’ also has a lot to do with ‘to belong or not to belong.’

Our culture has many names for the first kind, the group-oriented, society-aware folks: patriarch or matriarch, father and mother type. This is the Queen or King archetype and the King can be a ‘my way or the highway’ kind of guy (and notice the pressurized conflict between belonging and freedom from belonging in his motto). However we lack names for the second kind, the non-group-oriented, individual-focused folks. Defined by their freedom from belonging this type has no positive definition in our language, but many negative ones: he or she is the Slacker who has failed to adapt to society; a Rolling Stone, a Peter Pan, an Eternal Boy, in the 1920’s they called him a Gadabout. Here a lack of language reveals the unconscious tension between these two forms and our hidden value judgments.

Yet Toni Wolff saw a universal home for the man and woman of this type in the combination of the Lover and the Eternal Child (puella/puer). He or she is about becoming, about furthering the process of becoming in themselves and others. The archetypal Child brings forward the new into consciousness, and these folks both gravitate to, and create, the original, novel, new quality that’s needed by the culture. The Lover is that part of us that is gifted at seeing and valuing the others around us for who they are and enjoying sexuality and love regardless of societal expectations. They find endless enjoyment in doing with others. At their best, the Seeker’s question of ‘Who am I?’ can flower into beautiful mystic-religious poetry in a thousand forms. It is this energy in us that seeks the ‘road less travelled’, invites us to ‘follow our bliss’ and knows reminds us to “all: to thine own self be true.” As one might expect, these folks tend to resist being categorized (they’re too original/ special/ pathologically anti-authoritarian for that!). And that’s why it’s partially their fault that our culture has no words for their archetype – they refuse to be put in a box and their rebelliousness is part of their strength and part of their shadow.

Each end of this spectrum becomes cartoony when we fall into identification with it. Being too much of a Seeker too long may mean never putting down roots and never settling into a community: ‘I took the road less travelled and now I don’t know where the hell I am.’ Jumping off the cliff and hoping for wings to form on the way down once too often, they can find themselves to have drifted too far from shore. The group-oriented person’s shadow can be equally unsatisfactory (none of these paths are inherently better than any other) and is equally well known to us. Seen in cartoon-like form in TV shows (King of the Hill, That 70’s Show, Archie Bunker), he is the Father who carries forward the values of the past (often unconsciously) and who may be resentful of those who break out of the mold. Finding genuine satisfaction in doing for others, a shadow quality in them may be desire for power over others. When unconsciously identified with the King, their right to power is taken for granted. This is vividly illustrated in the Frost-Nixon interviews, when Frost asks Nixon if it is sometimes okay for the President to do something illegal, he responds “when the President does it that means it’s not illegal.” However, at their best archetypal King or Queen “can deal with your gold without hating you for it. They can see you’re shining and not envy you” – Robert L. Moore. The King or Queen can bless us, knight us, and make us feel seen, valued and a part of the whole in a way that no other archetype can.

The other axis that Wolff observed shows the direction of our impersonal energy, our responses to the world: some people’s energy flows into the search for insight, answers, understanding and comprehension; for others their energy flows outward into action, prowess, achievement and autonomy. Where the Warrior seizes the day, is always up for a challenge (is in fact energized by competition), the Sage finds satisfaction in comprehension and pleasure in problem solving. Many Warriors knew their identity the first time they laced up their skates, paddled out on their boards, put on their ballet slippers or picked up a guitar. A Sage’s self-understanding can also come early in a passion for the world of knowledge and ideas and a wonder for how things work. Additionally, for those folks for whom knowledge comes through the unconscious, Toni saw the ancient tradition of the medial woman. This path was given it’s place in nearly every culture in human history except ours (we’re hooked on ‘rational’ reduction and the illusion that in our measuring of the world, we’ve mastered it). Toni gave the name Mediatrix to this archetype. By including it in her structure she not only honored her own path, she made a place for all women (and men) who recognize that they sometimes possess knowledge non-causally (through the unconscious). Despite our cultural prejudice against this way of knowing, the Mediatrix archetype reflects Nature’s deeper truth: right understanding can sometimes arrive in ways that can’t quite be explained rationally or directly.

Again, there is shadow in these archetypes too. The Warrior sometimes carries the burden of not understanding, of ‘knowing not what he does, but at least he or she know the truth of action–right or wrong. In contrast, the Sage sometimes fails to act, because conscience sometimes does make ‘cowards of us all.’ There is also an inherent between the two axes, between our need for other people and between the calling of action or insight; the personal axis pulls into relationship and the impersonal axis away from them. As master Sage Nikola Tesla describes: “originality thrives in seclusion . . . Be alone, that is the secret of invention; that is when ideas are born.” The genius is quick to serve his muse, but sometimes slow to respond to the warm heart beating right beside him. The Warrior might unconsciously avoid those spaces that make him or her feel vulnerable? Does our compulsive ingenuity or armored hardness keep us safely separated from the love reaching out for us?

Yet there is reassurance in understanding these qualities exist in human nature because they exist in Nature–throughout Nature: in army ants and nurse bees, even at biological and cellular levels. They are at play throughout the world, in everything but conspicuously displayed in our mythologies, philosophies and cosmologies (including and especially astrology – which is not a causal system of explanation, but a reflection of the way that all things in Nature are meaningfully intertwined); these archetypal energies have a life of their own!

“Called or uncalled the Gods are present.” – C. G. Jung

Most of us fall all too easily into the simplifying projection of imagining that everyone wants the same things out of life that we do. But seeing the reality of these other Gods in the psyche helps us to withdraw our projections from each other and accept that different folks are coming from different places and truly do want different things from the world and from us. By understanding this we become better able to see those around us for who they are and it offers us a route to better see ourselves.

Seeing ourselves in our archetypal nature and recognizing our timeless parts, allows us to both gain sight of some of our shadow and to better own our inner gold. In the compulsive ways that we overdo things, we see the shadow of our archetypal selves; we see a rabbit hole that we’re in danger of falling into. Many of us plunge headlong into tragedy throughout our lives because we fail to recognize the story that is playing out through our actions. Having a mythic sensibility about ourselves offers a clue to how we might be unconsciously acting out archetypal patterns and shadows and possession of that awareness is at least half the battle: ‘’knowledge is power, knowledge is safety and knowledge is happiness” – Thomas Jefferson.

But just as importantly, an archetypal self-understanding allows us to own our gifts. Your archetype is the thing that you find ‘flow’ in doing, that thing through which you live an experience of the timeless. How powerful it is to recognize “Hey! This is me giving my gold to the world right now!” Just remember that there are profoundly different paths of expression for that gold.

“There’s nothing you can do that’s more important than being fulfilled. You become a sign, you become a signal, transparent to transcendence; in this way, you will find, live, and become a realization of your own personal myth.” – Joseph Campbell

The moral challenge in the existence of the unconscious lies in the fact that it is unconscious. In other words, we don’t know that we don’t know, we’re missing qualities in the world and in ourselves and we have absolutely no idea that we are missing them. And so we are left to wonder: to which Gods do I never make a sacrifice? Which temples do I pray at and which do I avoid? In asking, you may find that you have begun a journey toward home.

* * *

Footnote re: Wolff & Jung’s authorship–it is impossible to know who contributed what to their individual works as their lives were deeply entwined. It is believed that Toni made direct contributions to Psychological Types. And while Toni presented the archetypal system on her own, it is fair to assume that Jung made a significant contribution to it. I believe that Jung’s psychology is, in fact, best understood as a work of his own and of the women around him.

* * *

Gary S. Bobroff, is the primary developer and facilitator of the Archetypal Nature workshop www.ArchetypalNature.com. He delivers the depth of Jungian approaches in an accessible, engaging, and visual-oriented form. He is hosting the inaugural webinar on Archetypal Nature via SynchCast beginning March 14th. He has an M.A. in Psychology from Pacifica Graduate Institute and his first book, Crop Circles, Jung & the Reemergence of the Archetypal Feminine, was published in August 2014 by North Atlantic Books – www.JungAndCropCircles.net.  You can follow his soulful in-depth Jungian writing on modern questions at www.GSBobroff.com.

The Path of the Sacred Clown: Where Trickster and Shaman Converge

1.200

By Gary Z McGee

Source: Fractal Enlightenment

“If the fool would persist in his folly, he would become wise.” –William Blake

Most of us are familiar with the prototypical clowns: red-nosed clowns, court jesters, and Tarot fools. But sacred clowns take clowning to a whole other level. The Ne’wekwe “mud-eaters” were the Zuni equivalent of a sacred clown. The Cherokee had sacred clowns known as Boogers who performed “Booger dances” around a community fire.

In Tibetan Buddhism it’s referred to as Crazy Wisdom, which the Guru adopts in order to shock their students out of fixed cultural and psychological patterns. But perhaps the most popular type of sacred clown is the Lakota equivalent of Heyoka, a contrary thunder shaman who taught through backwards humor.

Almost all types of sacred clowns combine trickster spirit with shamanic wisdom to create a kind of sacred tomfoolery that keeps the zeitgeist in check. Their methods are unconventional and typically antithetical to the status quo, but extremely effective. They indirectly re-enforce societal customs by directly enforcing their own powerful sense of humor into the social dynamic. They show by bad example how not to behave.

The main function of a sacred clown is to deflate the ego of power by reminding those in power of their own fallibility, while also reminding those who are not in power that power has the potential to corrupt if not balanced with other forces, namely with humor. But sacred clowns don’t out-rightly derive things. They’re not comedians, per se, though they can be. They are more like tricksters, poking holes in things that people take too seriously.

Through acts of satire and showy displays of blasphemy, sacred clowns create a cultural dissonance born from their Crazy Wisdom, from which anxiety is free to collapse on itself into laughter. Sacred seriousness becomes sacred anxiety which then becomes sacred laughter. But without the courageous satire of the sacred clown, there would only ever be the overly-serious, prescribed state of cultural conditioning.

Lest we write our lives off to such stagnated states, we must become something that has the power to perpetually overcome itself. The sacred clown has this power. Christ was a sacred clown, mocking the orthodoxy. Buddha was a sacred clown, mocking ego attachment. Even Gandhi was a sacred clown, mocking money and power.

Like Thomas Merton wrote, “In a world of tension and breakdown, it is necessary for there to be those who seek to integrate their inner lives not by avoiding anguish and running away from problems, but by facing them in their naked reality and in their ordinariness.” Sacred clowns are the epitome of such integration.

Heyokas, for example, remind their people that Wakan tanka, the great mystery, is beyond good and evil; that its primordial nature doesn’t correspond to human platitudes of right and wrong. Heyokas act as mirrors, reflecting the mysterious dualities of the cosmos back onto their people. They walk the Red Road, following in the bloody footprints left behind by their Heyoka fore-brothers.

They go forward, to that place where emptiness is full, and fullness empty. “As a representative of Thunderbird and Trickster,” writes Steve Mizrach, “the heyoka reminds his people that the primordial energy of nature is beyond good and evil. It doesn’t correspond to human categories of right and wrong. It doesn’t always follow our preconceptions of what is expected and proper. It doesn’t really care about our human woes and concerns. Like electricity, it can be deadly dangerous, or harnessed for great uses. If we’re too narrow or parochial in trying to understand it, it will zap us in the middle of the night.”

Sacred clowns are adept at uniting joy with pain, acting on the higher and more inscrutable imperatives of the Great Mystery. They tend to govern transition, introduce paradox, blur boundaries, and mix the sacred with the profane. They are called upon to reestablish the bridge between the physical and spiritual worlds. They dare to ask the questions that nobody wants answers to.

They are the uncontrollable avatars of the Trickster archetype, constant reminders of the contingency and arbitrariness of the social order, poking holes in anything taken too seriously, especially anything assuming the guise of power. They are a conduit to forces that defy comprehension, and by their absurd, backwards behavior, they are merely showing the ironic, mysterious dualities that exist within the universe itself.

Sacred clowns understand that humans fail, and failing means that sometimes we need to change. They remind us that the goal is not to stick to the same old path, but to embrace the vicissitudes of life and to discover new paths and the courage it takes to adapt and overcome. Taking the universe into deep consideration, letting it be, and then letting it go, is far superior to clinging to a “belief” and becoming stuck in a particular view. Sacred clowns realize that the highest wisdom lies in this type of counter-intuitive detachment, in accepting that nothing remains the same, and then being proactive about what it means to change.

Most importantly, they teach us that there is no such thing as an enlightened master. We’re all spiritually dumb. The closest we can ever get to being “enlightened” is simply to understand that we are naïve to it, and then to laugh about it together as a community. Sacred clowns have the ability to plant this seed of sacred humor. They are constantly in the throes of metanoia, disturbing the undisturbed, comforting the uncomfortable and freeing the unfree. They remind us, as Rumi did, that “the ego is merely a veil between humans and God.”

I, Pet Goat II

I-pet-goat-II11

“I, Pet Goat II” is an award winning animated short released in the spring of 2012 by Louis Lefebvre and canadian art collective Heliofant. It quickly gained a following among alternative news/independent media communities for its cryptic symbolism and allusions to recent history weaved with parapolitical concepts. The meaning of some of the more archetypal symbols are easy enough to intuit, but in case you’re curious about the artist’s intent, the following information is from the Heliofant site:

fire of truth

That’s YOU!!! when you stand in the awareness of your sonship with the Divine and the brotherhood of mankind!!!

BO/B

The left-right puppet and additional layer of disenfranchisement, keeping you distracted while Drako weaves his web.

Lily

And suddenly a startling realization arose in Lily: “This apple is not mine”, she thought. “It belongs to someone else.”

Sun-Sue

Opposing courageously those who would enslave her.

Aali

The whirling heart of Islam awakened to the one true God! He is free and needs no control.

Juan “Pepito”

After years of economic exploitation and the environmental degradation, Juan “Pepito” has a decidedly sinking feeling.

L’enfant bleu

The keeper of the flame.

Madame Q

Madame Q’s point of suffering is sex. Is it repression or indulgence?
We don’t know. Yet there is definitely shame there.

Ludovic

In Latin, ludo means to play and ovis (ovum/ovis) can mean egg. The egg is a symbol of the potential, genetics, and of the soul.
Ovis can also mean sheep in Latin.
But in reality, Ludovic comes from a Germanic name meaning illustrious in combat.

Drako

The Sorcerer, the unseen hand and spirit of madness seeking ever more control through trickery, lies, poisons, false-flag events, wars, and mountains of beauracratic and legal framework to siphon off the energy of the inhabitants of the earth. He fears the light of day as he fears life itself, and operates in the shadows. His greatest power is his hold on the issuance of the currency.

Preface

I would like to start off by saying that the film came to me in its visual form, much like a painter who sees colors and forms in his mind’s eye. And I tried to be faithful to what I saw visually without necessarily understanding what the symbols were alluding to. Some of the symbols were pretty obvious to decipher, whereas some scenes had me scratching my head and took me some time to understand.

I do not pretend to be an expert in symbology and am learning this as I go along. I do not claim any truth. As I understand it, language is an outpouring of archetypes which are much more profound and more encompassing. To try and explain the symbols with common language is slightly reductive. It’s like trying to explain a poem.

Having said that, many people have asked me to explain my work and I am sensitive to their request. So I will try to provide some possible suggestions for the interpretation to the most commonly asked questions, but hope you will keep in mind that your answer is probably better. The hope is that it will provide some stimulation for inquiry and discussion.

The Meaning

There are many themes interwoven into the film, but the main story is about the crumbling away of the hierarchical world based on control and oppression, and the rising up of spiritual man, awake to his divine nature, free of intermediaries, fire in his eyes.

About the Egyptian Symbology

The Christ character in his boat is reminiscent of Ra, the Egyptian sun god who travels the sky in his celestial boat. In the evening he descends into the underworld, a sort of death. And in the morning he is resurrected and lights up the sky. The theme of resurrection was an important motif in the life of Egyptians.

Anubis, the jackal-headed god, is the Greek name for the earlier Egyptian Deity Anapa. He is associated with the afterlife and protects the souls of men in their journey through the underworld. He also weighs the truth and the heart of those souls before deciding their fate.
Anubis is often associated with Wepwawet who has a wolf’s head and is a war deity of Egypt. He is called the opener of ways. He opens up the way for the army to move in.

I have heard many people say that the symbology is satanic in nature. I do not believe it is. It is more about the intent invested in them. In all religions there are truth seeking souls and people who corrupted the intent of the original symbols. The fear is that the film subverts the Christ symbol to the message of Satanism. I would say it is the opposite. It is about taking back the symbology that has been corrupted to degrade the human spirit and control man, and redressing those symbols, by placing the Christ at the center of the narration.

The all-seeing eye, in the elite world view, is about control and surveillance of every person and aspect of society. When placed on the Christ character, it means the opening up of the third eye or pineal gland that permits a unhindered communication with God, as well as other dimensions. In other words, clear spiritual vision. The triangle on his forehead represents Divinity and is actually a symbol found in many churches to represent the Divine Source. This is opposed to the pyramids in the final shot which represent a top down control system where each layer is manipulated through deception by the layer above it, giving the very few at the apex incredible power.

The Apple

Little Lily, our girl dressed in white, symbolizes purity. She is like the bride and holds the apple which very much looks like a stain on her immaculate dress. The apple is a symbol of sin, and shame, and all her inward divisions about herself, that have been cultivated by the rulers of society in order that she remain in her place, subservient, like the children driven to apathy behind the barbed wires. Lily sees the ridiculous spectacle in front of her and is completely exhausted. It seems she has been holding this apple forever. So she just let’s it slip away.

You’ll notice that she sits in a circle, a symbol of her wholeness and alignment in spirit. She is centered. Behind her are the symbols of nature all around, intimating that her true nature is this wholeness.


This is a starting point to the commentary. We will be expanding on this in the days and weeks to come. We hope to add a feature which will enable you to add your interpretation as well. We’ll see…

Here are two other interpretations you might find useful:
The Esoteric Symbolism of the Viral Video “I, Pet Goat II” by Vigilant Citizen

And a more complex deciphering:
The Hidden Themes of Heliofant’s “I, Pet Goat II” by Xtraeme at abovetopsecret.com

Thanks!