At the center of a large, circular wooden coffee table in my upstairs study sits a copy of The Findhorn Garden: Pioneering a New Vision of Man and Nature in Cooperation, published by Harper & Row in 1975 as part of the Lindisfarne series. This latter was a book series under the editorship of William Irwin Thompson “devoted to an exploration of the newly emerging planetary society and the future evolution of man.” Other books in the series include Thompson’s Passages About Earth and Satprem’s Sri Aurobindo, or The Adventure of Consciousness. Do changes in mass sentiment correlate with changes in collective serotonin levels? Steven Johnson lays out the beginnings of a theory to that effect in his book on videogames and related forms of popular culture. Am I interested in practicing a kind of bibliomancy? The versions of Tarot and I Ching and astrology that hold meaning-making potential for me require belief in the power of “symbol-sets” to prompt “synchronicities.” The idea is that all of the above-mentioned symbol-sets allow some “acausal connecting principle” to manifest, as Carl Jung would say. This principle or power behaves as befits a trickster. We know it through its effects to be some sort of distributed intelligence, of which I and other users are but a part. We share with this intelligence a capacity for kindness and benevolence and care. We exercise this capacity by assembling daily reality into a jubilant, communicative mystery, containing inexplicably meaningful correlations and correspondences, there in the background like birdsong, for those who have ears to hear.
Time to welcome Spuren into the discourse, a concept central to the writings of Western Marxist philosopher Ernst Bloch. The essential scheme of these writings is as follows: Bloch finds in the world evidence of “the imperceptible tending of all things toward Utopia” (121). Spuren is his name for this evidence. Fredric Jameson translates the term as “traces, spoor, marks, and signs, ‘signatures of all things I am here to read'” (Marxism and Form, p. 121). The trace isn’t just an external object; it happens, it is a noetic experience, an alteration of consciousness. We pause in astonishment, Jameson says, before these Spuren, “these glowing emblems in which some urgent yet utterly personal secret seems to be concealed” (122). Real philosophizing begins with this lived experience of astonishment. An astonishment born in Bloch’s view from an encounter with “the concrete new in its unimaginable plenitude” (127). The Spuren intervenes, disrupts the ideological slumber, wakes the sleeper from a state of forgetfulness, causing not just remembrance or anxiety but hope. For these reasons, we might liken Spuren to those events Jungians call synchronicities. Spuren are meaningful coincidences, only instead of just realizing psyche in cosmos, they hint prophetically of happier states ahead. One becomes possessed or pulled inwardly by the urging not of the Freudian unconscious, but by a Blochian not-yet consciousness, a beneficent spirit that wishes well. One is driven, steered by unconscious forces, Jameson says, into “the not-yet-existent, rather than back into the endless repetition of childhood fixations” (130). Bloch regards the utopia as a form that reveals this movement of reality toward the future. They educate us to our heart’s desire. “The meaning of Being…comes into being, if at all,” Jameson writes, “only at the moment when the world passes over into Utopia, and when that final Utopian destination returns upon the past to confer a sense of direction upon it” (Marxism and Form, p. 131). I step outside to birds everywhere, the world alive with song. Anxiety can be transformed into positive anticipation — a lifting of the world with hope.
A cat has been sitting on a chair on our deck these last few days, napping midday. I like having it around. Deck chair cat. Classes are going well. After a full day of teaching (a pretty magical performance, I must say), I hang out with colleagues at a department party. Once home again, I splash water under my arms and rinse my feet. I spent the day talking with students, dialoguing about Plato’s Allegory of the Cave, where the freed prisoner ascends toward sight of the sun, much as the philosopher ascends toward knowledge of the good, and by evening, I’m attending a show by the band Sunwatchers. Life assembles into these weird coincidences, these synchronicities. I share Gabriel Marcel’s view: “Hope is a memory of the future.” As Sam Keen and Anne Valley-Fox note, “Memories of primal pleasure are alive and well in the unconscious; all we need to do is call them forth.”
Driving a shady, tree-lined section of road on the way to work the other day, I remember feeling mildly disappointed by the line of cars passing in the opposite lane, wishing there were more VW buses, not just to beautify the drive, but to reinvent reality as a place of eupsychian possibility. Lo and behold: there before me this morning, a gorgeous white and red one, restored, pristine, passing me at the same point where I’d wished it the day prior. A magic bus! And with it, a lesson: stay open to the possibility of its appearance. Reflecting on it afterwards, sunlight just so, I imagine colors and textures from the pages of old comic books, as in Ed Piskor’s Hip Hop Family Tree or X-Men: Grand Design. Later for that, I tell myself, and meet some friends for drinks.
Laid out on a futon on a screened-in porch at my sister-in-law’s house in upstate New York, I sip a Belgian-style wit brewed locally with hints of lavender, children’s voices rising up from the park across the street. Origami birds hung with wire circle and converse beside a Japanese maple. My favorite moments are ones like these when, through modest experiments with sense and awareness, I’m able to reach out and investigate my surroundings. The books I’ve been reading these past few days all seem connected in accordance with what the Three Initiates refer to as “the Principle of Correspondence.” Brian C. Short’s New People of the Flat Earth, The Kybalion, even the movie Back to the Future, which my nephews watched for the first time last night: all of these works seem to resonate when properly aligned. The same can be said of these origami birds hanging by the window, their forked tails and black-and-white plumage resembling those of the frigatebirds I noticed last night flying in the sky above my sister’s back yard. The question now is: how might I utilize this principle in service of the good?
To celebrate J.’s birthday, the three of us board the tube to Kew Gardens. Due to an unexpected station closure at our place of transfer, however, we’re diverted onto an overpacked bus, an old man in the seat by the door loudly berating the driver in Jamaican Patois. “Dis be terrorism,” he complains, pleading with the driver to deny access to further passengers. “Please no let no more people on dis bus.” Upon our arrival at Kew, we promptly run into J.’s friend, the writer Bhanu Kapil — a remarkable synchronicity, we all acknowledge, given that we also crossed paths with Bhanu yesterday at the ICA. In both cases, we had no foreknowledge of each others’ plans. “What does it mean?” we wonder, particularly since Bhanu is here in town to hold a seance a few days from now wherein she’ll be using the Shining Tribe Tarot, an art deck given to her by Rachel Pollack. Bidding leave of her until next time, my companions and I journey out amid Crystal Palace greenhouses, a treetop walkway, a Victorian herbarium, a Japanese pagoda, a pseudo-Roman “folly.” These gardens form a kind of totalizing floral architecture, I think to myself. A literalization of the fruits of empire.
I plug in Walter Wegmuller’s Tarot and float down a canal.
Sarah and her colleague J. are preparing to teach a course about witches this summer. The course includes a screening of Suspiria, and who did J. run into at the Leonora Carrington exhibition this afternoon? None other than one of the stars of the recent Suspiria remake, Tilda Swinton. Let us muse upon this most witchy of synchronicities as geese fly overhead.
I roll down the passenger-side window and sit in my wife’s parked car beside a prickly bush, bothered by my historical moment but trying to breathe, trying to find joy and cheer despite the gridded, hyper-branded environment. A kiss and I feel much better. Roses, rainbow umbrellas, Moses Boyd’s “Rye Lane Shuffle.” Or better still: Yussef Kamaal’s “Black Focus.”
The relationship to capitalism is one forced upon me, my consent squeezed out of me every time I share space with others, i.e. every moment of every hour. How do I shed the anger I carry about, so as not to be troubled by headlines, flags, courts, markets, affairs of state — the recklessness and hostility of the American present? One way is to discover a secret history of underground resistance, like the one featuring Michael Aldrich, author of “Marijuana Myths & Folklore,” the first Ph.D dissertation on cannabis in the US, completed at SUNY Buffalo in 1970. Aldrich founded the first college chapter of LEMAR in 1967 and was co-founder of Amorphia (1969-1973), the organization that sponsored the first California Marijuana Initiative in 1972. Download issues of old counterculture newspapers like Oz, Gandalf’s Garden, the Ann Arbor Sun, and The Marijuana Review. Allow magical meanings to reveal themselves day by day. By that, I suppose I mean synchronicities and sermons heard in birdsong. Leary associate Art Kleps seems to have preferred something more than that. For him, “ideas of reference” are where it’s at, as he claims in The Boo Hoo Bible (161). But mine is the path of Ahimsa, Satya, Asteya, Aparigraha, and Brahmacarya: the five principles of Yama.
I am he, apparently, who prepares the table and watches in the watchtower. As I carry around my copy of Vagabonding in America, a synchrony of separately-arrived-at roads all lead to Isaiah 21. Chariots, horsemen, a student asking to lead a discussion about the Dylan song “All Along the Watchtower”: does this mean Babylon is fallen, is fallen?
A low robotic voice speaks to me in another language. I imagine myself riding around behind set in a golf cart as crew members arrange backdrops for upcoming scenes in my life narrative. One of these crew members, watching me read David Toop’s Ocean of Sound and knowing that this book contains a reference to a famous London music venue of the 1960s called The Roundhouse, places in my path in a bin at Goodwill a VHS recording of a Doors show at The Roundhouse from September 1968. Genesis Breyer P-Orridge and their crew Thee Temple of Psychick Youth bequeathed to heads the concept of “occulture,” referring to “anything cultural yet decidedly occult/spiritual.” It is by way of occulture, then, that I intuit meaning of some sort, evidence of a sentient other, in whose possession is held the torch of enlightenment. I now have a receiver station, above which may open portals out of which may drop gifts, each one a vessel or talisman containing instructions, tools for self-actualization. Access to unconscious powers. I watch myself escorted down into a state-run institutional facility housing the holding cell of the Id. Shadow-dramas of past eras play upon the walls. Under neon lights, we speak.