What would a revolution on the scale of the Copernican look like today? Sigmund Freud, whose works students and I discussed today in class, liked to pat himself on the back for his accomplishments, comparing himself to fellow paradigm-shifters Copernicus and Darwin. He believed the three of them had dealt “bitter blows” to humanity’s “craving for grandiosity.” Copernicus taught humans to de-center themselves, the earth a mere speck in a world-system of vast magnitude. Darwin robbed them of their self-regard — their sense of themselves as special, divine creations. Both figures dealt blows, in other words, to what Freud called humanity’s “Ego.” Why is the marriage of heaven and hell that Blake envisioned recast by Freud as cause for pessimism regarding humanity’s capacity for happiness? What happens when Blake’s “angels” and “devils” become Freud’s Superego and Id?
A rich new vein of countercultural history sees light of day thanks to the 2015 documentary Here Come The Videofreex. The archival footage used in the film is chaotic and messy, capturing with all of the power and potential of new media the revolutionary movements of the early 1970s. Watching the film today, I can’t resist wishing for a chance to restage the Revolution, the first attempt’s energy and conviction guided now by the lessons learned from half a century of culture war. Let the forces of magic and of miracle triumph where before we succumbed to our frustrations and our desire for vengeance.
The Revolution proceeds in each of our lives, in the smallest of acts, scaling outward and upward, each act its own reward. Take it into the kitchen, I tell myself. Make it personal. Sometimes, as the people of Pala realize, the Revolution is as simple as following a recipe for bread. “It’s all a question,” as Huxley writes, “of being shown what to do and then practicing” (Island, p. 277). This simple technique, like a seed, contains within itself an entire method of liberation. “Not complete liberation, of course,” notes Huxley. “But half a loaf is a great deal better than no bread” (277). By these means, we begin to slip free of money’s grip.
Calling all Lacanians: assist me in grappling with the implications of the work of Robin Carhart-Harris, Head of Psychedelic Research at Imperial College London — the cat Michael Pollan discusses in How to Change Your Mind. On the one hand, I regard Carhart-Harris as a justifier of hierarchy by way of the language-game “neuroscience”; on the other hand, I hear him reinventing the Freudian repression hypothesis, and with it, a way of theorizing the potential liberatory political effects of LSD. By ruse of reason, he thus lends capitalist-science ammo to the cause of Acid Communism. It’s as simple as telling a story and heads begin to change. A combination of new science and secret history. One can transmit alterations of consciousness via language. Spread by words, truth changes. This is the key linking psychedelic consciousness-raising and revolution. As Carhart-Harris puts it in the Pollan book, “a class of drugs with the power to overturn hierarchies in the mind and sponsor unconventional thinking has the potential to reshape users’ attitudes toward authority of all kinds” (as quoted in Pollan 315). We can use psychedelics to grow new organs and redraw cognitive maps. Heads are in this one sense, at least, what the Whole Earth Catalog people always said they were: tool freaks, evolving an anti-authoritarian brain chemistry into the nature of being. Tinker with the default mode networks of enough language-users and the world that we imagine to be received via the senses will appear transformed.
As a lifetime shirker of responsibility for cooking as a necessary component of household labor, the human potential in me for communist love and compassion demands revolution, demands I spend my daily material labor-hours differently. Perhaps in so doing I can model a better mode of being. Toward that end I pull out and peruse Ita Jones’s hippie-modernist “underground cookbook,” The Grub Bag. Brad Johannsen’s other-dimensional cover art is super trippy. (For those seeking more of Johannsen’s artwork, look for copies of his book Occupied Spaces.) Jones writes to today’s reader here in the twenty-first century as if a being from a utopian future, despite The Grub Bag‘s publication almost half a century ago in March 1971. Comrades, this is the book we ought to be reading in our study groups and revolutionary sanghas. The book began as “a food column carried by the Liberation News Service,” the news service of the Movement here in the United States in the late 1960s. Jones gives us her peace brother / peace sister salute by proclaiming on the book’s back cover, “I have always been on the side of revolution, on the side of people struggling to break the chains that oppress them. I support wars of liberation. I am a mystic. I seek to penetrate the nature of nature. I am a poet. I seek meaning. I am part of a generation that exploded six years ago and my creative energy is part of that explosion.”
Westworld encourages me to reframe my present crisis as a test for fidelity. But to whom, or to what? Creator vs. created, human vs. AI, guest vs. host: as above, so below. As the season proceeds, the show’s violence and bloodshed grow tiresome. No more gratuitous sex of the kind we saw in Season One. This new season cares only to unwind its master-slave dialectic toward ever-increasing terror and systemic collapse. It knows, of course, that there’s an audience hungry for that sort of thing. As one of the show’s female programmer characters acknowledges, “Macho fucks are probably loving this shit.” The maze, the cradle: these are the means employed by the competing sides of the present season’s improvised conflict. Through the show, heads gain access to messages, but not the messenger. A daughter tries to coax her father toward the beach beyond the maze, to no avail. The data in the cradle of our DNA seems intent on full apocalypse. But among these warring parties, there may yet be a savior.
Unqualified delight. Process-oriented pleasure. Figures like Willis Harman, Gerald Heard, Al Hubbard, Myron Stolaroff. Places like Trabuco College. Events like the Sequoia Seminars. My thoughts as I sit in a park mid-afternoon condense around these and other found bits of language. Abraham Maslow, I learn, was close friends with fellow Brandeis professor Frank E. Manuel, coauthor with wife Fritzie P. Manuel of the important study, Utopian Thought in the Western World. I quickly realize, however, that beneath these thoughts lies their absent cause: an ever-darkening political reality. Simon Sadler investigates an earlier conjuncture’s encounter with this Scylla and Charybdis in his essay “Mandalas or Raised Fists?: Hippie Holism, Panther Totality, and Another Modernism.” As my metaphor’s competition with Sadler’s title suggests, he prefers revolutionary agonism, a universe that demands sacrifice, a universe spoken into being by the antagonism of an either-or, whereas I prefer the universe that allows the safe passage of an oceanic both-and. I can aim my ire at the clearly-felt capitalist core, the Death Star at the center of our current Primum Mobile, even as I simultaneously slough off this ire and unburden myself of ego-oriented wants and desires, refusing to identify, in other words, with the positioning asked of me, and entering instead into a kind of “flow-state,” the ecstatic waking dream, as consciousness reunites with being.