As writers, we can populate our voices by sampling the whole of media memory. The sounds come to us as the equivalent of radio signals from within. A voice says, “I gave you Logos a long time ago.” The unlocking of secret heights of language-use prompts shifting of the puzzle parts of reality. Not just a mountain blast or a rhetoric, but a reset of the object-world and of all living subjects’ knowledge and memory of it. Matter complies masochistically to Mind’s urgings. The differences are negligible but real. Like an escaped prisoner, my mind wanders free of discipline, and by that I mean not inner, transcendent discipline, but discipline as imposed by man upon man. By fleeing capture in the language games of others, we pick up the frequencies of an authentic, single-and-continuous, cosmos-creating act of speech. When I allow that speech to hypnotize me, I become capable of writing it down, and what it says becomes what I realize I want to say. The self that speaks itself thus also speaks another. This other self remembers falling asleep the other night while writing, and awakening the next day in the shade of his day, his back deck dappled piebald with spots of sunlight. He burns the social surplus of his days reposed in languorous, language-stupefied gratitude, having learned to worship through pleasure his one true master, the present. It’s like his Boolean microprocessor obeys a different logic, more generous in its handling of circumstance. Mariah’s work continues to astonish in these instances. (The incantatory “Shonen” and “Shinzo No Tobira” are current favorites of his.)
I listened as a wonderful time-lag unfurled between the sound of my voice and the act of my speaking. As I sat up from my reveries beside a fire-pit the other night during magic hour, the air rich with a choir of cicadas, something in the experience awakened in me a memory of the drunken interplay of voice and sampled sound in the virtual acoustic space of Blonde Redhead’s “In an Expression of the Inexpressible,” a track I hadn’t blasted in at least a decade.
“You have but one solution,” says the statue, as one’s hand whispers in one’s ear. “You must enter the looking glass — and once there, you must walk.” When the shadow of what looks like a telephone gets a pin in its ear, I wince and shudder. Through the process of identification, I become other. Through a keyhole, an angel captures me with a spinning Hypno Disk. The poet’s eye is pulled as if by gravity, whereas off to the side springs the Cartesian Ego. Cocteau advises, “Mirrors would do well to reflect more before sending back images.” Like in videogames, creation often requires repeating levels. Have I broken too many statues? I work by associative logic and montage. A small voice beside the pounding of my heart says, “I can’t think, I can’t think!” against the unsynced clapping of a crowd. René Gilson’s assessment captures the essentials: “That which reveals itself is a vision of the invisible.” One must “dream the film subjectively,” by identifying it with one’s own experiences. One may think of it as the equivalent of sensing invisible tapestries with one’s dead antennae. But sometimes one’s own experience is just one’s own experience, as when my head goes nuts to Mariah’s “Hana Ga Saitara.”
With my lips wet, I go to meet my maker. I often need to become reacquainted with my body. The chair would have to expel the sitter on some occasions to get me to go outside: I guess just because I fear the policing impulse that operates in the bodies and minds of my fellow citizens. Some of those fuckers are looking to unload bullets into those they regard as nuisances or plagues. I’m surrounded by rightwing minds that make no sense to me. Part of me is so angry, particularly when encountering my opponents on the streets, that I almost want to provoke their ire, give to them the blood that burns in me. Of course, the ideology of nonviolence steps up and roundly quells these dissident stirrings — though in the head, the effects of testosterone linger. Granted, these are ugly thoughts. And granted, I don’t want to think them — so I won’t. How are you today, readers? Minus the part of me that is dead to all social feeling, unable to fully trust the good in others, I genuinely wish to hear from you. Emotions are, I think, sometimes that simple. File again, I suppose, under Left melancholia. But when I actually interact in the world, the details of the Spectacle fill me with a non-dualistic sense of wonder. I look up and see electrical cords hung in the windows of a Chinese takeout, the dangling of a metal-beaded chain from an ancient ceiling fan, an old man in blue pastel slacks moving hesitantly with a walker toward his souped-up golf cart, on which I may or may not once have wanted to spit, as it was attired in bumper stickers supporting various heinous rightwing causes. Can one’s anger debase one’s vision? Ah, fuck it: let’s get high and watch Suspiria!
Sarah jokes that this will be her in Cyprus. I’m convinced that Suspiria is the greatest “bad trip” movie in the history of cinema. Adapted from an 1845 essay by English opium eater Thomas De Quincey, Argento’s film is, for those who prepare themselves accordingly, a luscious visual and sonic treat. Characters pass through light and shadow speaking hypnotically against psychedelic wallpapered walls. The camera for instance at one point tracks dreamily into the shadow-architecture of a blind man. From our body, with dogs at our throat, we are torn. “Magic is all over,” says the doctor. “It’s a proven fact, everywhere.” Bats flapping around our necks. Over us, a spell has been cast. Through vidscreens we tumble. And on our lips when we awaken: “The current conjuncture awaits its proper theorization. Consciousness unfurls itself halfway between earth and sky.” I, Jacaranda, listening to learn all the hours and seconds, witness garbage bins strewn strange beside the bouncing fellow subject. I tell myself the silent others when I run undertake a process of self-subsumption. Go away into yourself, I tell myself, even in this fight, or as I believe you call it, this “section.” We spoke about it: we had just spotted a basset hound on our run. I needed to pay attention, so I walked. I nosed up on a lily. I stared at faded but still colorful beach towels hung over the picnic-red rail of a neighbor’s raised deck. For a moment it felt as if the built environment had been crafted solely to gratify my senses. One is taught to think it profoundly bourgeois to want the world as one’s stage set for self-discovery; yet all the same, I take great pleasure walking sweat-covered through my neighborhood on an overcast afternoon, in the hour before the arrival back home from work of the nine-to-fivers. Somewhere in this pigpen, the sounds of Luurel Varas reaffirm my focus.
I move from wondering if I suffer from dissociative identity disorder to imagining myself and my friends living in a commune. That, for me, represents a typical day. Thanks, capitalism. I also sometimes imagine myself touring a guest silently through my home, reaching down now and then to adjust a throw pillow on an armchair, and in a mime-like manner, offering him or her a drink. Through a swirling haze of dope smoke we arrive at events that feel like interruptions of the trance-script. The words of trance-scripts sometimes go unheard. I am too busy stumbling experimentally toward what I hope will be a happier practice of everyday life. The programmed self isn’t only made aware that the sounds it is hearing are recorded, it is also made conscious of the playback systems it uses to access the recordings. I’m like a prisoner trying to lift a piece of furniture to cast it from the wall of my cell. My thoughts turn to Manchester artist James Leyland Kirby, whose work under his “Caretaker” alias explores early-onset dementia.
Last Sunday’s Game of Thrones began with white dudes having to hand over their firearms upon arriving on the shores of a multicultural superpower. My pet dachshund laid her head across my leg as I watched. The image degraded at one point, so what I was viewing (Daenerys in close-up) looked like a videogame cutscene. As the show proceeded, I admitted begrudgingly that we live in a game-world ruled by prestige. Players compete through the art of negotiation (what liberals call “the rule of law,” or what Trump’s ghostwriters call “the art of the deal”). Mere word games, I think to myself, while the fascists come for us all. We believe in the existence of many games, don’t we, until we’re bound by One. Then again, how do we prevent communities from reverting to territories when citizens aren’t following the same story lines? Between the equal rights of two internally consistent and thus equally valid interpretations of reality, Marx noted (I’m paraphrasing), force decides. But we needn’t submit ourselves to this tedious competition of wills. Every possible sequence of events is happening all at once, as Game of Thrones teaches. Live that way, a character commands us. Imagine yourself to possess a third eye. When others see me, they probably think to themselves, “he doesn’t recognize yet that he has given up.” But Mark Fisher would have understood that, by contrast, I’ve kept true, I’ve remained constant in my refusal to adjust to reality. What remains to be worked out, however, is the connection between psychedelic culture’s reconstruction of its audience’s nervous systems, and Fredric Jameson’s imperative for subjects of postmodernity to “grow new organs” and expand their sensorium to match the multi-dimensional realities of global capitalism. Next time, Gadget, next time.
Lest I be accused of mere nostalgia, let me begin today’s post by explaining how I see the relationship of our moment to what some are now calling “hippie modernism.”
Topics appear laid out as if on a blanket at a swap meet. If it’s important, these posts will get to it. All in due time. There remain so many branching paths of possibility. And here I am performing real-time running commentary on it. My dog’s health is declining, the quality of her life worsening in minute increments of perception each day. Time appears like swirling digital mandalas anchored to objects recognizable among the observation deck where I select among sensory inputs. Consciousness slows down and dwells at a state of readiness, as if the planet were a spaceship I were captaining through a VR helmet. The noosphere, as Teilhard de Chardin referred to it, is itself a kind of helmet — a crown placed upon one’s temples. What would it mean to wear it well? The colliding voices are sometimes deafening. The world of the seen keeps reloading or reinstalling itself on my mainframe. Psychology is where the world inside the computer becomes cognizant of its surroundings. Or like the home movie that suddenly realizes it’s being watched. Around this time, the music comes on: the world births unto me Kikagaku Moyo’s House in the Tall Grass.
Among contemporary acts, Kikagaku Moyo tops the list of those I most admire (i.e. those with whom I can conduct my worship). The current Tokyo psychedelic scene has also been blessed with the likes of Dhidalah, who for what it’s worth I find far less convincing. Yet Japanese retro culture remains uncannily precise in its renditions of the past. Look, too, for instance, to Guruguru Brain labelmates Minami Deutsch, who play the scene’s Neu! to Kikagaku Moyo’s Can.
“Oh, the most naughty–” and, in general, “tut-tut.” Doesn’t one want to be bad in some true, deep way sometimes? Like, without relativism’s usual buffer — as in, “without irony.” Women hold up half the sky, while I wander around in the equivalent of William Hope Hodgson’s The Night Land. I like to think of myself as an eight-ball, or some other device of divination. Smoke me up and see what I say. Though I can also hear in the distance the roar of the cyberbullies from some other leg of the labyrinth. One must connect the surface of life with its greatest depth. Mind is to body, as vertical is to horizontal, as inner is to outer. Together they form a continuum. My sense of spirituality and its relation to nature is not unlike the sense articulated in Woolgathering, where Patti Smith writes, “I never had a sense that the ability to win came from me. I always felt it was in the object. Some piece of magic in everything, as if all things, all of nature bore the imprint of a jinn.” But what for her was “always felt” is for me a sensation that awakened or reawakened only recently. Smith calls this state “the mind of a child.” Look, the mushroom cloud! There (pointing it out for others): on yesterday’s horizon! The editing occurs this way, in the act of composition, or not at all. Drop your needle, I say, on Drew McDowall’s remix of Drab Majesty’s “Forget Tomorrow” (is that statue moving?), and then follow with Tangerine Dream’s “Ultima Thule, Pt. 2.”
Ideas of mine, a character tells me, are at all times associated with words and things. Any ideas that come to mind are thus associated ideas. The analyst / hypnotist who styles herself a grande dame enters from an upper level, slaps me gently on the wrist, and demands that I go on, no matter how silly. All of us, she reminds us, believe ourselves changelings and foundlings. And then in the night we shout, “I’m lost in the forest!” Fairy tales, I intuit through power of suggestion, allow our thoughts to wander off script of ego. In the darkness, we become aware of a pavilion that isn’t there — isn’t visibly present — in daylight. “A pavilion,” the film adds, “made of darkness, as if by magic.” In this final mode of appearance, the characters onscreen stand revealed at last as projections of the thinking self, frozen there in the midst of the drama (where home is synonymous with psyche) in contemplation of the other actors. Harps, swinging lockets, ringing bells: these are the sounds and visions that ease one’s reentry, until one’s home goes dark.