Weird Studies

This is the first of two conversations that Phil and JF are devoting to C. G. Jung's seminal essay, "On the Relation of Analytical Psychology to Poetry," first delivered in a 1922 lecture. It was in this text that Jung most clearly distilled his thoughts on the power and function of art. In this first part, your hosts focus their energies on Jung's puralistic style, opposing it not just to Freud's monism (which Jung critiques in the paper) but also to the monism of those other two "masters of suspicion," Marx and Nietzsche. For Jung, art is not a branch of psychology, economics, philosophy, or science. It constitutes its own sphere, and non-artists who would investigate the nature of art would do well to respect the line that art has drawn in the sand. Weird Studies listenters will know this line as the boundary between the general and the specific, the common and the singular, the mundane and the mystical... REFERENCES C. G. Jung, "On the Relation of Analytical Psychology to Poetry" Joshua Gunn, Modern O

For over two centuries in early modern Italy, boys were selected for their singing talent castrated before the onset of puberty. The goal was to preserve the qualities of their voice even as they grew into manhood. The procedure resulted in other physiological changes which, combined with an unnaturally high voice, made the castrati the most prodigious singers on the continent. As Martha Feldman shows in her book The Castrato, a masterpiece of cultural history, the castrated singer was such a singular figure that he invited comparisons with angels, animals, and kings, attracting adoration and ridicule in equal measures. The castrato was a true liminal being, and as JF and Phil discover in this episode of Weird Studies, an unlikely herald of the present age. REFERENCES Martha Feldman, The Castrato: Reflections on Natures and Kinds Stanley Kubrick, American filmmaker Alessandro Moreschi, the last castrato, singing "Ave Maria" Baruch Spinoza, Ethics X-Men Gabriel Garcia Marquez, "A Very Old Man with Enormo

On the surface, the phrase "the medium is the message," prophetic as it may have been when Marshall McLuhan coined it, points a now-obvious fact of our wired world, namely that the content of any medium is less important than its form. The advent of email, for instance, has brought about changes in society and culture that are more far-reaching than the content of any particular email. On the other hand, this aphorism of McLuhan's has the ring of an utterance of the Delphic Oracle. As Phil proposes in this episode of Weird Studies, it is an example of what Zen practitioners call a koan, a statement that occludes and illumines in equal measures, a jewel whose shining surface is an invitation to descend into dark depths. Join JF and Phil as they discuss the mystical and cosmic implications of McLuhan's oracular vision. REFERENCES McLuhan, Understanding Media The Playboy interview McLuhan and Quentin Fiore, The Medium is the Massage: An Inventory of Effects Graham Harman, American philosopher Clement Greenb

James Curcio is an American multidisciplinary artist and nonfiction writer whose works include the novels Join My Cult, The Party at the World's End, and the upcoming Tales from When I Had a Face. Recently, Curcio edited Masks: Bowie and Artists of Artifice, an anthology of essays by various thinkers and artists on the complex interplay of fact and fiction, self and other, in the life of the modern creator of artistic works. David Bowie's career, from the early experimentations to the great working that was his final album Blackstar, provides the book's gravitational field. In his effort to better plumb the mysteries of the aesthetic universe, Curcio penned the anthology's opening essay, "Masks All the Way Down," and it is on that piece that this conversation focuses. Join James, Phil and JF as they discuss the terrifying and liberating idea of an aesthetic cosmos as seen from the vantage point of the artist who learns that with new each work comes a new face, an amalgam of symbols and forces drawn from a dep

What is there to say about the COVID-19 virus that hasn't already been said, over and over again, all around the world, in quaratined houses and on TV and social media and countless Zoom chats ... what can we say that you haven't heard? Well, probably nothing. But we are now at the point where we realize that the real importance of the things we say is not their content, but the mere fact of saying them. As Marshall McLuhan said, the medium is the message, and at a time when we have been driven into separate solitudes, we are discovering that the real meaning of our utterances might be something like "hello, are you there?" and "I am here, talking to you." In that spirit, Phil and JF have a conversation about William James's essay "On Some Mental Effects of the Earthquake," partly to discuss the ways that it's relevant to our present circumstances and the ways it's not, but mostly to make human connections, both with each other and with Weird Studies listeners. As JF says, stay close, but keep your distan

In preparation for an upcoming special episode on living in the early days of the Covid-19 Pandemic, here's Phil Ford reading an essay William James wrote on his experience of the 1906 San Francisco Earthquake. REFERENCES William James, "On Some Mental Effects of the Earthquake" Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 1979, the American psychologist James Hillman published The Dream and the Underworld, a polemical meditation on the nature of dreams. Rejecting the orthodoxies of both Freud and Jung, Hillman argued that the the "nightworld" of dream should not play second fiddle to the "dayworld" of waking life, because in the soul as on earth, day and night are equally essential, and equally real. To reduce a dream to a message or interpretation is to fail the dream. In order for dreams to do their work on us, says Hillman, we must cease to regard them as hallucinations, mere metaphors, epiphenomena, or illusions, and instead see them as the imaginal other life we all must live. Every night, for Hillman, each of us descends into the underworld to encounter those forces that shape us and our surroundings. The way down is the way up. REFERENCES James Hillman, The Dream and the Underworld T. S. Eliot, "The Hollow Men" Walter Pater, The Renaissance: Studies in Art and Poetry George Steiner, Real Presences Hakim Bey, Orgi

On the night before this episode of Weird Studies was released, a bunch of folks on the Internet performed a collective magickal working. Prompted by the paranormal investigator Greg Newkirk, they watched the final episode of the documentary series Hellier at the same time -- 10:48 PM EST -- in order to see what would happen. Listeners who are familiar with this series, of which Newkirk is both a protagonist and a producer, will recall that the last episode features an elaborate attempt at gate opening involving no less than Pan, the Ancient Greek god of nature. If we weren't so cautious (and humble) in our imaginings, we at Weird Studies might consider the possibility that this episode is a retrocausal effect of that operation. In it, we discuss the show that took the weirdosphere by storm last year, touching on topics such as subterranean humanoids, the existence of "Ascended Masters," Aleister Crowley's secret cipher, the Great God Pan, and the potential dangers of opening gates to other worlds ... or of l

In the paper discussed in this episode, Phil Ford coins the term "diviner's time" to denote a particular feeling that will be familiar to anyone who has engaged in divinatory or magical practice, namely the feeling that it all means something, that the universe, with all its chaos and randomness, nevertheless contains -- or is itself -- a kind of music. This episode goes deep down the rabbit hole as Phil and JF try to wrap their heads around conceptions of time, causality, and meaning that are very different from our usual understanding of those terms. REFERENCES Phil Ford, "Diviner’s Time" (Patreon exclusive) Karl Pfeifer (director), Hellier Joshua Ramey, "Contingency Without Unreason: Speculation After Meillassoux" E. E. Evans-Pritchard, Witchcraft, Oracles, and Magic Among the Azande Jung, "On Synchronicity" Jung, Synchronicity: An Acausal Connecting Principle Bruno Latour, An Inquiry Into Modes of Existence: An Anthropology of the Moderns Grant Morrison on chaos magic, the occult, and sigil creati

B. W. Powe is a Canadian poet, novelist, essayist and professor at York University, in Toronto. His work, though it covers an immense range of topics from politics and poetics to magic and technology, proceeds from a mystical apprehension of the universe as the locus of magical operations, the site of experiments in cosmic becoming. In his various books and essays, Powe continues a uniquely Canadian form of the visionary tradition whose luminaries include his former teachers Marshall McLuhan and Northrop Frye. In this episode, he joins JF and Phil for an exploration of the meaning, potency, and danger of the visionary in art and literature. Header image: Detail of "Green Color" by Gausanchennai (Wikimedia Commons). REFERENCES B. W. Powe's website B. W. Powe, The Charge in the Global Membrane B. W. Powe, Marshall McLuhan and Northrop Frye: Apocalypse and Alchemy Frank Lentricchia, "Last Will and Testament of an Ex-Literary Critic" Lorca's concept of duende Hildegard of Bingen's concept of viriditas Gi

In her National Book Award acceptance speech in 2014, Ursula K. Le Guin intimated that, far from being superseded by digital technology, fantastic fiction has never been more important than it is about to become. Soon, she prophesied, "we will need writers who can remember freedom -- poets, visionaries, realists of a larger reality." In this episode, Phil and JF plumb the prophetic depths of one of her most famous books, A Wizard of Earthsea. A discussion of the novel's style and lore leads us into the politics and metaphysics of fantasy as developed by Le Guin and her predecessor, J. R. R. Tolkien. In the end, we realize that fantasy is not the literary ghetto it's been made out to be, but the sine qua non of all fiction. SHOW NOTES John Keats, "Ode on a Grecian Urn" Heidegger, "On the Origin of the Work of Art" Beowulf, An Anglo-Saxon epic poem Weird Studies, episode 41 -- On Speculative Fiction, with Matt Cardin Weird Studies, episode 61 -- Evil and Ecstasy: On 'The Silence of the Lambs' Weird Studies

At its simplest, what Colin Wilson calls Faculty X is "simply that latent power in human beings possess to reach beyond the present." Yet its existence is evinced in all those phenomena that modernity files under "supernatural" or "occult." As difficult to explain as it is impossible to omit from any honest survey of human existence, the occult haunts the modern, not just as a vestige of the past but also, perhaps, as a promise from a time to come. For Wilson, magic isn't the living fossil the arch-rationalists would like it to be, but a "science of the future." Faculty X is an evolutionary power, innately positive, inseparable from the will to live and the unshakeable conviction that, somehow, this world has some real, ineffable meaning. In this episode, JF and Phil discuss Wilson's concept of Faculty X as elaborated in his monumental 1971 work, The Occult. REFERENCES Colin Wilson, The Occult: A History Rick and Morty, American sitcom Colin, Wilson, Dreaming to Some Purpose Colin Wilson, The Outsider G

The 1947 British film Black Narcissus is many things: an allegory of the end of empire, a chilling ghost story with nary a spook in sight, a psychological romance, and a meditation on the nature of the divine. Its weirdness is as undeniable as it is difficult to locate. On the surface, the story is straightforward: five nuns are tasked with opening a convent in the former seraglio of a dead potentate in the Himalayas. But on a deeper level, there is a lot more going on, as Phil and JF discover in this conversation touching on the presence of the past, the monstrosity of God, the mystery of the singular, and the eroticism of prayer, among other strangenesses. REFERENCES Michael Powell and Emeric Pressburged (dirs.), Black Narcissus Rumer Godden, author of the original novel Stanley Kubrick, The Shining Gilles Deleuze, Difference and Repetition Tim Ingold, British anthropologist -- lecture: "One World Anthropology" Jonathan Demme (dir.), The Silence of the Lambs Pierre Bourdieu, French sociologist Bruno L

The Welsh writer Arthur Machen defined good and evil as "ecstasies." Each one is a "withdrawal from the common life." On this view, any artistic investigation into the nature of good and evil can't remain safely ensconced our modern, common-life construal of thinigs. It must become fantastic and incorporate aspects of "nature" that feel "supernatural" from a modern standpoint. Jonathan Demme's screen adaptation of The Silence of the Lambs is a powerful example. The film oscillates undecidably between a straightforward crime story and a work of supernatural horror. In this episode, JF and Phil cast Hannibal Lecter and Clarice Starling as figures in a myth that pits the individual against the institution, the singular against the type, and the forces of light against the forces of darkness. REFERENCES Jonathan Demme (dir.), The Silence of the Lambs Thomas Harris, The Silence of the Lambs (original novel) Carl Jung on the doctrine of Privatio Boni Johann Sebastian Bach, The Goldberg Variations William Gibs

Somebody once said, "No prophet is welcome in his own country." Whether this was true in the case of jazz musician and composer Sun Ra depends on whom you ask. With most, the dictum probably bears out. But there are those who can make out certain patterns in Ra's life and work, patterns that place him among the true mystics and prophets. Of course, these people already believe in mysticism and prophecy, but Sun Ra's total devotion to his myth does not leave much wiggle room on this front. He is asking us to choose: believe or disbelieve. And if you go with disbelief, you'll need to explain the sustained coherence and lucidity of his message, and the transformative power of his music. In this episode, Phil and JF take a look at Sun Ra's unforgettable film Space is the Place, interpreting it as a document in the history of esotericism, using gnostic thought and the tarotology as instruments to bring some of his secrets to light. REFERENCES Sun Ra, Space is the Place Sun Ra: Brother from Another Planet_ D

"Perhaps the truth depends on a walk around a lake." This line from Wallace Stevens' "Notes Toward a Supreme Fiction" captures something of the mysteries of walking. It points to the undeniable yet baffling relationship between walking and thinking, between putting one foot in front of the other and uncovering the secret of the soul and world. In this episode, JF and Phil exchange ideas about the weirdness of this thing most humans did on most days for most of world history. The conversation ranges over a vast territory, with zen monks, novelists, Jesuits and more joining your hosts on what turns out to be a journey to wondrous places. Header image by Beatrice, Wikimedia Commons REFERENCES Dogen, The Mountains and Waters Sutra Weird Studies listener Stephanie Quick on the Conspirinormal podcast Weird Studies episode 51, Blind Seers: On Flannery O'Connor's 'Wise Blood' Lionel Snell, SSOTBME Henry David Thoreau, "Walking" Arthur Machen, "The White People" Herman Melville, Moby Dick Vladimir Horowitz, Rus

What is the role of the critic in the world of art? For some, including lots of critics, the figure exudes an aura of authority: her task is to tell us what this or that work of art means, why it matters, and what we are supposed to think and feel in its presence. Cast in in this mold, the critic is an arbiter, not just of taste, but also of sense and meaning. The American art critic Dave Hickey categorically rejects this interpretation, which he says gives off a mild stench of fascism. For Hickey, the critic plays a weak role, and it's this weakness that makes it essential. In his essay "Air Guitar," published in 1997, Hickey argues that criticism can never really penetrate the mystery of any artwork. Criticism is rather a way to capture the "enigmatic whoosh" of art as one instance of the more pervasive "whoosh" of ordinary experience. So, no act of criticism can ever exhaust an artwork. The critic interprets a singular experience of art into words so that others might be encouraged to have their own, equal

Raiders of the Lost Ark is more than a Hollywood movie made in the summer blockbuster mold. As Phil says in his intro to this popping Weird Studies episode, the film is "a Trojan horse of the Weird, easy to let in but once inside, apt to take over." This conversation sees him and JF discuss a movie we dismiss at our own risk, a cinematic masterpiece replete with enigmas that reach back to the foundations of Western civilization. What does the Ark of the Covenant signify? What does it contain? What happens if you open that box of god(s)? And whose god is this, anyway? These are questions that have puzzled theologians and mystics for centuries, and Steven Spielberg's great work asks them anew for an age gone nuclear. Image by arsheffield REFERENCES Steven Spielberg, Raiders of the Lost Ark Steven Soderbergh’s version of Raiders with sound and color removed Weird Studies Patreon extra, “Weird Genius” Weird Studies episode 28, “Weird Music Part 2” Camille Saint-Saëns, Danse Macabre M. Night Shyamalan, S

The German poet and philosopher Jean Gebser's major work, The Ever-Present Origin, is a monumental study of the evolution of consciousness from prehistory to posthistory. For Gebser, consciousness adopts different "structures" at different times and in different contexts, and each structure reveals certain facets of reality while potentially occluding others. An integral human being is one who can utilize all of the structures according to the moment or situation. As Gebserian scholar Jeremy Johnson explains in this episode, modern humans are currently experiencing the transition from the "perspectival" structure which formed in the late Middle Ages to the "aperspectival," a new way of seeing and being that first revealed itself in the art of the Modernists. Grokking what the aperspectival means, and what it might look like, is just one of the tasks Jeremy, Phil and JF set themselves in this engaging trialogue. Jeremy D. Johnson is the author of the recently released Seeing Through the World: Jean Gebser

No survey of weird literature would be complete without mentioning Algernon Blackwood (1869-1951). As with all masters of the genre, Blackwood's take on the weird is singular: here, it isn't the cold reaches of outer space that elicit in us a nihilistic frisson, but the vast expanses of our own planet's wild places -- especially the northern woods. In his story "The Wendigo," Blackwood combines the beliefs of the Indigenous peoples of the Eastern Woodlands with the folktales of his native Britain to weave an ensorcelling story that perfectly captures the mood of the Canadian wilderness. In this conversation, JF and Phil discuss their own experience of that wilderness growing up in Ontario. The deeper they go, the spookier things get. An episode best enjoyed in solitude, by a campfire. Header Image: "Highway 60 Passing Through the Boreal Forest in Algonquin Park" by Dimana Koralova, Wikimedia Commons SHOW NOTES Glenn Gould, The Idea of North Algernon Blackwood, "The Wendigo" Game of Thrones (HBO series)