Showing posts with label psychedelic. Show all posts
Showing posts with label psychedelic. Show all posts

29.5.26

It appears that humanity has always ridden the Mindway in search of wisdom, insight, and community

 


The Routledge Companion to Ecstatic Experience in the Ancient World – Diana Stein, Sarah Kielt Costello, Karen Polinger Foster, Editors (2022)

 

            While I treasure and adore all books, it is books such as this one that thrill me the most because of the amazing amount of information included within.  Having read books on shamanism, ancient humans, and myth creation recently, I was thrilled when this book appeared in my hands while browsing the stacks.  The editors of this work, Diana Stein, Sarah Kielt Costello, and Karen Polinger Foster have provided the world with a magnificent resource exploring a seldom-analyzed part of our collective human past, that being the use and exploitation of what the writers term “Altered States of Consciousness,” ASC for short.  For far too long archeologists and anthropologists saw ancient man through our own modern “enlightenment” principles, ignoring all “subjective” experience such as trance, spirit possession, hallucinations, etc., in favor of empirically verifiable data.  This created a vast chasm of ignorance regarding the spiritual and mental lives of our ancestors.  It is the aim of this work to rectify that and to help guide the exploration of our distant human past towards a better understanding of the role ecstatic experiences had in the shaping of our species.  It is an impressive achievement.

            Formatted much like a textbook, each section presents a case for the omnipresence and importance of ecstatic experience in understanding the cultures of our ancient past.  The first section of three chapters, titled “Setting the Stage,” explores the history of ASC dismissal by biased researchers and explorers of our past, providing a firm foundation upon which to expand the explorations each writer takes in turn, and showing how universal these ecstatic experiences were.  These chapters also expand on what used to be the definition of “ecstasy” to include all types of societal, spiritual, and shamanic altered states of consciousness.  The third chapter of the first section aims to provide empirical models to define ritual practices and ecstatic experiences, from ancient man to today’s modern world.  It helps place these studies, and ASC’s themselves, within the greater study of humanity and its development, something which mainstream archeology and anthropology has dismissed for centuries.

            The second section seeks to elucidate the evidence we have for the various types of psychoactive compounds, plants, and substances used by our ancestors to achieve ASC states.  Evidence from archeological digs, mass-spectrometry, and other modern tools is given to show the wide variety of ingestible, smokable, or otherwise applied natural materials used in ecstatic rituals.  The full gamut of intoxicants is analyzed, from botanical specimens and residue found within sealed jars, to the early use of fermentation to create drinkable alcohol, to the various mind-altering plants used by the Babylonians, Hittites and early Egyptians, all recorded in their language and art.  To emphasize the communal use of these substances, the final chapter of section 2 discusses a type of ceramic container found throughout ancient sites.  The Ring-Kernoi is a device consisting of a ceramic tube, shaped into a donut, with four to five adorned containers attached to the ring.  Looking at these artifacts through the lens of ASC experience, the author describes their use in ritual communion.  Each adorned section contained wither a different psychoactive compound, whether opium, cannabis, mandrake, etc., meant to be smoked in sequence and passed around, or they contained different liquid substances which, when mixed up in the Ring-Kernoi, created an intoxicating brew capable of easing the passage into ecstasy.  For our ancestors, the divine, experienced through ecstatic states, was a communal activity, a very important way to define their culture and self-identity as individual groups. 

            The third section of this awesome book goes into detail exploring the numinous world of ecstatic experiences, as described by ancient humans in their own words.  Starting with a dive into the most ancient archeological sites we have found, such as Çatalhöyük, and the discovery of a communal imbibing of alcohol, whether plain or adulterated with other psychotropic substances, which took place in massive megalithic spaces, many of them underground or only accessible through narrow openings.  These are the first evidence for the types of communal, spiritual experiences out of which the human need for religious communion arose.  Delving into ancient rituals for the goddess Ishtar, the writings concerning the dead from Egypt, and the ASC’s described by the ancient residents of Crete and the Minoan civilization that followed, helps us grasp the constant flow of ideas and wisdom that propelled our humanity forward.  From these ancient civilizations we then move onto ritual experience in ancient Greece, and the various cults and oracles which took advantage of ASC’s to promote their ideology.  Ecstatic experiences were a critical part of many cults, including those of the healer Asclepius, and the gods Apollo and Dionysius. As with all roads, the section ends with an analysis of the ecstatic funeral processions recorded from ancient Rome.  These chapters help bridge the gap between our assumed knowledge of the ancients towards a more factual and historical basis, drawing from the many written records we have of Greece, Rome and their neighbors at the time.

            The final section of this great work focuses on the evidence we have from our collective past pointing to, or describing, the experiences of the “Ecstatic” mind.  This section builds on all the previous ones and shares great insights into such topics as spirit possession and prophetic ecstasy as described in Mesopotamian texts, the psychedelic art from the Aegean, and the progression from personal or communal ecstatic experience to that of rigorous, sacerdotally-dictated ASC’s utilized by the very powerful in all societies to control the masses (think of a modern Catholic service, with its rituals, chants, music, incense, and repetition, intended to draw the congregation together into a shared experience).  The insights found in these final chapters help us understand the evolution and propagation of personal ecstatic experiences into the collective religions we see all around us in our “modern” world.

            This book is a masterpiece of research and science.  I hope to see it used as a foundational text, allowing younger researchers to continue down the same path of exploration, and guiding the elders in these fields towards new ideas and possibilities for scholarship.  When we as a culture disdain “unsavory” aspects of our past, dismissing wholesale anything to do with mysticism, or our long-standing use of chemicals, fauna, trance, song, or rhythms to achieve altered states of consciousness, we negate aspects of ourselves that help us understand each other.  It creates divisiveness where these old rituals and experiences sought to create inclusivity.  It is such a shame that our modern world sees everything we do as the pinnacle of human achievement, all the while forgetting that for most of our human existence we have all had the capability of communing with the divine, of understanding ourselves and our place in the world around us, and of accepting that reality is far greater than the basic facts we all choose to agree upon.  This book is a great step in the right direction, and worthwhile reading for anyone interested in humanity’s psychological and spiritual development.


(This great resource can be purchased here: https://www.routledge.com/The-Routledge-Companion-to-Ecstatic-Experience-in-the-Ancient-World/Stein-KieltCostello-PolingerFoster/p/book/9781032108483 )

13.5.19

The Butthole Surfers Regret Not Regretting Anything




Butthole Surfers: What Does Regret Mean? – Aaron Tanner (2019)

            As a teenager, bored with hard rock and heavy metal for the most part, I sought out music that scared and excited and confused me because I was just so sick of the crap that MTV, radio, and the “norms” thought was good music.  I wanted the transgressive, the avant-garde, music that is so fresh and new and different that most people would hate it for years, until their feeble ears and brains could slowly catch up.  The first bands that sent me down this awesome spiral of skronk and freak-out were Jane’s Addiction and Sonic Youth.  Both were loud, rocking, and aggressive in completely different ways, and both sounded nothing like the formulaic heavy metal and thrash that had been rattling in my ears.  One band that was always mentioned alongside these two faves of mine was the Butthole Surfers.  

           My friends and I would drive into town in one of our parent’s cars on a Saturday and hit up the cool record stores.  At Sound Exchange, I would peruse the used cassette section, and every time I picked up one of the Butthole Surfers' albums, I would get a queasy feeling based purely on the visual aesthetic of their releases.  It was just SO WEIRD.  They did not list the band member’s names or song titles all that often, but what I did see is still burned into my mind.  I was too young and naïve to understand that an artist’s image is mostly a fabrication.  I was also too young and naïve to understand that the Butthole Surfer’s image was not in the least a fabrication, and that they were fully the weirdest single group of musicians I would ever have the fortune to listen to and love.

            Sometime in my first year of study at the University of Houston, my friend Barnaby Struve kept playing Butthole Surfers vinyl for me.  At one point he made me a 120 minute compilation cassette (remember when you could record 60 minutes of music on each side of a Memorex cassette?) of what he described as “the choice cuts.”  It was a revelation.  Even without any of the art, liner notes, or bizarre imagery, the music itself blew my teeny little mind.  I grew to LOVE these songs, to understand and relate to the insanity within, to see the undeniable beauty contained within, and to appreciate the balls it took for this band to stay true to their demented idea of themselves.  I played that cassette so many times.  I dubbed it for at least 5 different friends.  At parties, I would commandeer the stereo and play this Butthole Surfers compilation repeatedly (some people were not too happy about this).  The music was like instant intoxication, if that intoxication actually exposed the ugliest sides of ourselves.

            That was in 1991-1994.  The Butthole Surfers had been taking cares biz-nass since 1981.  Never during that time period would anyone even remotely aware of the Butthole Surfers consider that in 2019 a lavish, expensive, and downright beautiful coffee table art book would be released based mostly on the imagery the Butthole Surfers used in the promotional material, records, and merchandise.  Before the internet, the main way you found out about bands was from word-of-mouth, or lucking into seeing them as they opened up for someone you liked, or seeing a cool t-shirt on someone and striking up a conversation.  The Butthole Surfers were a band whose fandom grew in this manner, because everyone that witnessed a live show could not stop talking about it.  There was no other band like them.  There will never be another band like them.

            This book is like a deep time-slip dive into our collective Butthole Surfer past.  I cannot emphasize how often my shit-eating grin would appear on my face as I read this book.  Whether this was because of the many amazing images and fliers and promo materials, all presented like a DIY ‘zine, or because the commentary and remembrances sprinkled throughout brought me back to those times.  I was too young to see the Buttholes perform their insanity at small clubs in Texas, but I did get to see them perform many times, including at Lollapalooza where singer Gibby Haynes used a shotgun loaded with blanks to shoot at the crowd.  That shit was scary.  This book is scary.  The Butthole Surfers are scary.  They have to be.  I would not have it any other way.

            Aaron Tanner’s goal with this book was not to write a history, even though it is constructed sequentially.  He sought to share with the world just how individual and amazing the visual component of the Butthole Surfers’ myth was, from promo materials, to zines, to album notes, and personal photographs.  He has created something that I will treasure all the days of my life.  To top it all off, a flexi-disc is included with the book, containing a track that was to be used as a B-Side during the Independent Worm Saloon era.  Such cool stuff.  For a die-hard fanatic like myself, it is pure joy.

(BTW, I have played my wife 5 different Butthole Surfers songs over the past 8 or so years.  Each and every time she hears a new one, she tells me that it is "the single worst song she has ever heard."  This makes me laugh with glee and appreciation.)

(The Regular edition is sold out.  The Deluxe Edition is still available here: Melodic Virtue )