octopus

I had a nice “surprise” the other day, in the form of seeing an old video of Grant Morrison speaking at a Disinformation convention in 1999.

He talked quite a bit about magick, time, being, “individuality” and culture, and mentioned Aleister Crowley and Austin Osman Spare, as well as the work of Terrence McKenna and Stan Grof. The latter two were real inspirations for me in the 90s, and there was plenty of times during this talk that I just thought “were we all reading the same stuff, and thinking the same things in the late 90s?!”. It was pretty delightful.

Terrence McKenna was a neo-psychedelicist, a playful and visionary thinker, and a beautiful mind to behold. Catch up on True Hallucinations if you get the chance. Stan Grof is a consciousness researcher with roots in psychedelic psychiatric therapies, who with his wife Christina pioneered Holotropic Breathwork, a technique I credit with freeing me significantly near the end of my thirties.

I found both these writers after I had gone through my own breakthrough at the beginning of the 90s, where I came to experience the Oneness of Being, and the inversion (or suspension) of conventional ideas of causality, and of temporospatially located being. It’s not so much a long story as a big one that isn’t conventionally describable, but it was one in which “the heart” became central. A lot of things opened up for me after that, because my understanding was so utterly different at a certain level. Grant Morrison really reminded me of that.

At one point he talks about how if you were a two-dimensional being, and someone stuck their fingers through your plane of existence, you would not see four fingers of a hand, you would see the four separate circles formed by the intersection of those fingers with the plane you existed on. And we, with our normal idea of being are that far from the higher dimensional reality of being. We see slices through time and we think “we” are “here”. And Grant exclaimed that same, common perception that  has occurred to so many people, that we are all the same thing. And that being is way more stretchy, continuous, and non-local than we imagine.

Contrary to what people sometimes think, this is not some kind of religious propaganda to divest you of your individuality. The propaganda comes into the limitations of repeated langauge, and how that gets used, but the perception is entirely original and experienceable. And when you experience this, the hilarious enigma of “how can I seem to be here in this body, experiencing myself as really separate?!” presents itself very naturally. It’s a complete mind boggler.

How I came to see “being” (ontos) was as the conscious content of what could be described as tunnels (the fingers of Grant’s “hand”), fractal tunnels that spiralled and branched, in the sensing of my inner imagining. In our identification with the separative body-mind we were right at the tip of these tunnels, and when we are squashed right down the end of these tunnels, we get into all kinds of claustrophobic problems. We struggle in a game that is already over. What we need to do is ease back, to a less cramped, more spacious part of the tunnel, were we can experience a greater bandwidth, and a greater range and inclusion of consciousness. We then find parts of our mind which we weren’t conscious of. Eventually we find that our being is greater, more multiple and more inclusive than we could have imagined. Eventually the tunnels join on to greater tunnels. I can also imagine this as being like an enormous sea creature of consciousness, a massive octopus. We’ve lived in the tips of this creature’s tentacles, as that is how we come to feel (maybe). But as we get to ease back, to inhabiting the tentacle, and not just the tip, and then the branches that the tentacles branch off of – are the tentacles “extinguished” in the whole? No, of course not. It just becomes more intelligent.

Grant was aware of the paradoxical place of “individuality” in this, as it can be identified with the constricted, troubled, tip of the consciousness tentacle. But I think individuality is still important here. If you are talking about conditioned ego and its primate compulsions, then yes, of course it is just a means to an end. A means that cuts us off from our own life in Big Squid (or whatever you want to call “it”). But here’s the conundrum. You need the tip, and the tentacle and everything; and the life of Big Squid is just what we feel in ourselves as living individuals. I don’t think the individual is, as Grant thought, just “scaffolding” for building this other thing. And remember as well, Big Squid is not in time the way that we are. It’s a very enigmatic scheme, which we can mainly only intimate, as it is itself the stuff of which our consciousness is made. Like a language that writes itself, and writes its own reading into its very texture. We are the implicit stories and meaning that emerges from this self generating langauge.

You might ask where is the Satanist in all this, and I would say right in the magick, in the paradox, in the exploration. I’m not so much a mystic, as a marine biologist here, albeit part of the animal. Most Satanists acknowledge “Nature”, albeit as including those things we pretend to be “against Nature”.

Magick itself needs both perspectives. That is why I love both the underestimatedly trippy work of Marion Weinstein, and the original (but more oppositional or poetic) brilliance of Crowley and Austin Osman Spare. Big Squid is just about everything, and the “extended being” experience does have applications in both magick and healing. But the paradoxical condition of the lights being on and someone really being home is down to you, just you. You, that unique, ruthless, tentacular beauty. Otherwise you are not writing the part of the langauge that only you can write, and you are reading the wrong script, acting in a film you are not included in. And how could you possibly enjoy that? You absolutely need both, and you’d be right to not want to be hoodwinked into being part of a film that doesn’t even have a director. You are the only director for your film. You just don’t realize how big and deep “you” is. That’s why Grant in the video was so insistent that you try this stuff out.

You could do so much with this.

Octopus vulgaris by Beckmannjan at the German language Wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)], via Wikimedia Commons - digitally altered

Octopus vulgaris by Beckmannjan at the German language Wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)%5D, via Wikimedia Commons – digitally altered

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