With the two interpenetrating domains in play, it’s time to turn to the wind-up that ends Whitehead’s account by focusing on what the most intense expressions of the interaction between God and World looks like (350–51). It’s a dynamic process (no surprise), but Whitehead does suggest a basic fourfold pattern that describes it. It is along this axis that complex and durable spiritual entities form, most importantly our selves. That process (not the subject of the process) loops back upon itself, the result being the initiating element in another dynamic process.
Of late, I keep coming back to Althusser’s conception of interpellation. The basic idea is simple enough—namely, that your subjectivity becomes constituted on the receiving end of an ideological system that expresses itself through and in the apparatus of political power. When you are called a criminal, you are made a criminal, subjected to practices that compel you to accept that assignment, not just performatively, but in your own self-conception.
Now that I have cleared out my drafts folder, published or trashed everything there, and emptied the trash, I am ready to start in on the summation proper. The summation will present an organic and (hopefully) dynamic model that moves beyond the more partial conceptual frames that I have employed here over the last few years. Metaphor and metonymy, witch and wizard, gnosis and doctrine, duality and triplicity, will find their ground.
I have wanted to pick up a few threads from earlier pieces and weave them together. The discussion of aesthetics and occultism at the end of Phase I and my concern with the disruptive role of capital in spiritual practice come together in this piece focusing on Walter Benjamin’s “The Work of Art in an Age of Mechanical Reproduction.” It also has some connection to the hesitation I have around relying on narrative discourse for a deeper understanding of spiritual experience, too.
Story’s have beginnings and endings. Even those stories that end leaving us with a sense of messiness and incompleteness, or that open in a disorienting en media res, they have a beginning and end. The sense that they continue, that they extend indefinitely beyond themselves on their own terms is a narrative illusion, trompe l’oeil, but for our sense of time.
Rewatching the original run of Twin Peaks is an illuminating experience, especially alongside the third season. The show establishes joins the surreal and magical to an increasingly traumatic series of scenes in a way that suggests the traumatic material forms the axis of the series. More than that, it suggests that there is a kernel of suffering and cruelty at the center of the ‘mysteries’ that distract us from it.
Every time I think I have a handle on what that trauma is, it deepens and broadens itself, encompassing a wider gyre. There is a question that opens here about the nature of time that necessarily entails asking after the particular shape time takes in relationship to human consciousness. Part of the temporal patterns of repetition have their roots in an inability to confront our culpability in suffering, that we repeat certain patterns precisely because we use them as a form of distraction, a dream from which we dread waking. There is a hint of Freud in this, but in many ways Freud performs this distraction more than he is able to grasp it.
Ancestry and lineage are hot topics in magical circles these days, but in talking about these things we often fall into vague and romantic notions about how kinship is constituted and defined. Having talked about the very concrete connections between kinship and kalunga recently, Lucien Scubla’s Giving Life, Giving Death: Psychoanalysis, Anthropology, Philosophy has been a timely read. The way in which Scubla repositions kinship studies to emphasize the central fact of maternity (and highlight how it is often overlooked) resonates with much of my own thinking.