Incontrovertible Participation Mystique of 1492

Priests traveling across kealakekua bay for first contact rituals by John Webber

PARTICIPATION MYSTIQUE is a term derived from Lévy-Bruhl. It denotes a peculiar kind of psychological connection with objects, and consists in the fact that the subject cannot clearly distinguish himself from the object but is bound to it by a direct relationship which amounts to partial identity. (Jung, [1921] 1971: paragraph 781). Psychological Types, Collected Works, Volume 6, Princeton, N.J.: Princeton University Press.

Although Levy-Bruhl later went against his own logic and recanted his theory, Jung continued to affirm his theoretical suppositions.

He later retracted this term under pressure of adverse criticism, but I believe that his critics were wrong. It is a well-known psychological fact that an individual may have an unconscious identity with some other person or object (Jung et. al., 1964:24). Man and His Symbols, New York, N.Y.: Anchor Books, Doubleday.

Jung quotes from Wikipedia article, "Participation mystique"

Related article, "Particpation mystique: mythological cosmologies are functions of dreams and visions" on Mythic Dreams

It is wildly fascinating when we apply the logic of "participation mystique" to the impact of the mythic 1492 first contact, as the beginning time when dream and reality were clearly delineated in global history. Dream being the riches of the orient and our pre-contact Eurocentric notions of the world and Reality being another continent inhabited by non-Christian and thriving societies. Both of these two separate European lenses through which the Americas were experienced illustrate the post-virginal spring of absolute earthly delusion, and thus our entire consensual knowledge base, commenced.

Indeed, our "unconscious identity with some other person or object" has moved from the unconscious to the subconscious of our collective national consciousness, and only fully bloomed in the mind of each individual of mindful conscience.

_________

On a concert stage, a fantastically roomy floor for our world fusion quartet, my wife plays on the zheng, and our friend masters the Indian tabla drums, while I gather Middle Eastern style percussion and touches on woodwind. A guest to our homebound trio takes center stage. He is an expert percussionist on the Turkish davul. 

Odalisque with Slave by Jean Auguste Dominique Ingres and Paul Flandrin

When the music begins, he takes the lead rhythm by storm, without mind to our accompaniment. He is so overly animated in his egotistical inertia. I become exceedingly frustrated, so much so that I stop playing altogether, and it seems our other percussionist is contemplating the same. As I talk with my wife about the unseemly course of events, he stops playing as well and begins handing out gifts to the audience, smilingly captivating them with an open charisma that effectively portrays our music with underhanded nonsense. For me that’s the last straw. I grab a glass of milk and throw it at him as I walk out in disgust.

Internal view of the O'Neil cylinder by Donal Davis

On the street outside the concert hall, industrial trucking and convenience store culture intermingle in an altogether drab disarray of poverty and addiction. Over-the-hill men glare at me, wondering about their next fix with vampire teeth and screwy eyes. I silently glide past, entering the dismal folly of a culture affixed to the worthless distractions of fame and light personified in an attractive male with the maturity of an anxious adolescent. I won’t return, and the horizon is still empty. 

_________

Morose, pangs stir my subtle breath, walking up the nerves,
To break down with laughter and see ocean’s rise
From the abysmal core of first being,

The naked home of belief,
Cradling Lover’s net
As a down-pressed skeleton, chained with ire

...

Coldly moving from place to place
Like numbers spit into the viral joke of God
Seeing white rice burn to blackish brown on the needy plate of the human universe

Believed so beautifully
In the back of a working man’s mind,
Stepping to the bold indecision of a wakeful conspiring

...

Across pyramids, tunneled to the foot of known reason
Yet, to be detached from an able body
Now roasting at the offering spit and waiting for mass death

To plummet from our towers, piercing heaven with a sufferer’s torment
Across worlds, times and into the imagined memory of the once-respected
Human insanity behind the art of the worldly races

excerpts from "Art of the Worldly Races"

Persian Mysteries and the Immortality Rites of Zoroaster

Tower of Silence (Dakhma), Mumbai by Cornelius Brown

“…never age and never die, never decay and never rot, ever living and increasing, being master of its own wish: when the dead will rise, life and immortality come, and the world be restored to its wish.” 

Yasht 19.2.11. James Darmesteter, The Zend-Avesta, Part II, The Sirozahs,Yashts and Nyayis; Sacred Books of the East, Vol. XXIII (Oxford, 1883), p.290

__________

It is 12^th century Persia, the continental-temporal mirror image of 21^st century Canada. After a lesson on the estate, I a youth of educable age, begin to row across a placid lake with my father. The day is warm, with cool breezes flushing our skin in a mixed haze of natural praise and remorse for the end days of summering. My father, a muscular, bearded intimidation of manhood, speaks with the grazing lurch of intense commanding. As we row, in separate crafts, the waters turn rapid. In that moment, he begins testing me on my learned material. 

The oral literature of the day is mind-bending and terse in its memorable strings of morality, geography and spirituality. I’m able to recall various characters and events, and as I extrapolate, the waters toss and turn unexpectedly. At my wavering voice, my father’s eyes brim with the frosted fire of dark Persian mirth. Yet, as soon as I veer into future’s allusions, spouting the literary names and waves of later centuries unheard, a fire burns in his eyes of serious intent to quiet my youth’s wandering. As he reaches out to grab me into his craft and row back ashore to the consistent presence of historic symmetry, we are both swallowed by the apparition of a waterfall along the other shore, pouring us downward with the turbulent waters in a vein of undone chronology and placeless imagination. 

World According to Avesta by Orijentolog

I call out the names of literary history upwards along the upended future. Until the 21^st century’s own dawning, my mind, feckless among the archaic forms of Iranianization, is unceasing in its deliberations on the foreshadowed youth of humanity. I turn and writhe with ancestral might into the sheer unknowable mists. My father has since disappeared, and in that silence I begin to know my name.  

_________

Driving out demons with Masonic symbology
         Over the infinite sands of civilization,
         breathed and created out of time
In the sun’s ravishing corner of a universe,
         un-tempted and forever at a loss
                Between the child’s two eyes
                closing
On death and the holocaust of our forsaken government
         Laughing at the trees’ roots


When stretched to the bottom of India’s or Africa’s wells
         Ousting up the belief in life as a drunken tragedy
                              Yet, be not humourless
                              nor without comic sophistry


In the dance and song
         Come alive by the sexual majesty
                              In theatre’s delicate ways,


To present the creative being
as one with truth’s bold and upheld music
         Reflecting back in the caged mirror
                              A creator anew

- excerpt from "From Behaved Freedom to Absolute Nonsense"

Spiritual Murder of the Mythopoetic Role

Fuxi and Nuwa by Anonymous

"Mythopoeisis is the act of shaping a myth into a new form, of making it anew; now I believe each of us does this poetic act daily, only we are not conscious of it, but myths, if alive, are always being renegotiated; we cosign them once more each day we wake up and go about our lives; but the action is unconscious. Poetry makes these processes conscious."

"...the individual psyche cannot, much as often it would like to, to be separated from the collective. Understanding the archetypal nature of our waking life and of our dream life would go a long way to revealing this truth."

- Dennis P. Slattery, from an Interview with Archetype in Action

________

“I have never traveled through West Africa! I have only seen East Africa.” I shout to the unconcerned on a bus through mud flats on the outskirts of town in Ghana. “It’s more industrialized here.” Suburban homes, colorful and well-roofed lie interspersed atop the unstable ground. Nothing grows here.

The plains shake off their sanded winds out onto a horizon as flat and majestic as any under a dim gorge of sky above. We approach an underprivileged village. The beams of their homes show with skeletal fright, a ghost of a shelter buries the inhabitants under a schema of incongruous monetary divisiveness. I am let out here with a group of excitable travelers. After a few bitter hours gazing into the masked poverty, the rest saunter off, straight into the shale-thin horizon, across the plain desert, leaving me behind to my shameful enjoyment.

The first unusual occurrence I notice is an old man, an elder, conducting witchcraft rites from a burlap, animal hid covered hut, half-emerging from a height of wires in the modern town center. He presses his hand up against a carved, convex piece of bone and wood overhead, pressed into the ceiling of his dusty keep. With that, the town comes alive. Animate devotion is surpassed unto grandiose might through communal dance, a powerful music enticing all to couple and find happiness in group intercommunication through a thankful greeting of sprites.

Then, chaos breaks loose from the fire. I disentangle the group of its emotional stability. I use a dull knife, a metal shard from their central structure. Cutting off hands and brazenly ambushing in an intoxicated insanity, bloodthirsty, I drive the community from their healthy nest. Only a few bodies remain, hanging onto life with the remaining ligaments and tendons still connecting their pulse, vibrating with accepted fate, a spiritual murder.

I flee. Following what I had learned in the village, I begin to collect seeds in the wilderness, these are jujus of flight. I need a new identity. I received wind of another African meeting, in the next town. Before I can get there, the Red Cross identifies me, soon to be incarcerated, deadened with madness I swallow the seeds. My flesh speaks of me, it says, “I am guilty.”

________

Murder

"If you commit murder, it signifies that you are engaging in some dishonourable adventure, which will leave a stigma upon your name...If you have a dream of murdering another, this is a warning that you must keep in control of your temper and emotions at all times and not get enraged to the point of murderous intent...You may also have some repressed anger at yourself or at others." (iDream)

________

clockwork porridge

clockwork porridge
spread over an island tongue
marauding, blasphemous
across seven oceans

timely
with education's pandemic drug:
the book

compromising home speech
on the First People's sand-quipped names
harboring love in their own unique hearts
with a history untold,
forgotten and enslaved to foreign grammar
to safekeep continued histories
of colonial struggle
in the vault of young minds
playing sound asleep
in the therapeutic mud
of their own beautiful creation.

March 7, 2011

Chinatown Calgary