This paper, aims at focusing on Plotinus’ concept of beauty, from the perspective of the human person. That is to say, what does beauty do to the human person and how beauty affects and transforms the human person, and by extension how the beautiful soul could transform the world. Attention has been given to Plotinus’ aesthetics mostly within the general scope of Platonism, focusing on the notion of beauty as form (intellectual beauty) and on the question whether or not beauty (...) is conceived as symmetry both in Plato and Plotinus. This paper claims, that the notion of beauty for Plotinus is an ecstatic experience of the soul. Thus for Plotinus, beauty is not just aesthetical, it is more so a spiritual experience in the soul. This focus on Plotinus’ notion of beauty is considered important because the philosophical focus on beauty has largely been on the object out there. And even when a subjective focus is given on the concept of beauty, it is not largely focused on the spiritual transformation of the human person. Hence, this paper, is an analytical exposition of Plotinus’ works on beauty. (shrink)

The word 'archaic' derives from the Greek arkhaios, which in turn is related to the word archē, meaning 'principle', 'origin', or 'cause'; the notion of ecstasy, or ekstasis, implies standing outside or beyond oneself, a self-transcendence. How these two concepts are articulated and co-implicated constitutes the core question underlying this edited collection, which examines both the present day and antiquity in order to trace the insistent presence of the ecstatic amid the archaic. Presented in three parts, the contributors to (...) this diverse book take the concept of the archaic in an entirely new direction. Part I, 'Ecstasy and the psychological', covers topics including Jung, Freud, ancient psychotherapy, desire, and theatre. Part II, 'Ecstatic-archaic history', considers Ludwig Klages, Orestes and Dionysus. Finally, Part III, 'Ancient ecstatic in other worlds', examines Luo Guanzhong's Three Kingdoms and Enki at Eridu. The collection offers a distinctive contextualisation of the dimension of the archaic in relation to the ecstatic experience. The Ecstatic and the Archaic will appeal to readers interested in the relationship between ancient and postmodern worlds, and in how the past manifests itself in the present. It will be of great interest to academics and students of Jungian and post-Jungian ideas, classical religions and the history of ideas, as well as practitioners of analytical psychology and psychoanalysis. (shrink)

The rapper Mykki Blanco is lauded as a trailblazer in the contemporary queer hip hop movement, and it is this reputation that, in part, makes the single of her debut album so curious. The song ‘Loner’ is unequivocally pop and explores health, loneliness, love and sex, echoing Blanco's shifting relationship to gender, genre, sobriety and serostatus. Amidst three key performances of this song, Blanco's consciousness was at various stages of development and they reflect her journey into trans womanhood and through (...) HIV seroconversion. As such, her relationship to gender and disability comes in and out of focus as the legibility of her art and affect jockey across black gay, gender fluid and trans modes of self-determination. This confluence of Blanco's affect, genders, music and performances leads to certain questions. What constellates loneliness during a black trans process of becoming? What collateral genealogies and intellectual and expressive cultural formations come to bear on the affective attachments of black queer, trans, feminist art? In this article, I offer an account of the antagonistic relationship between affect studies and black studies in order to contextualise the stakes of thinking affect alongside gender and race. I also forward a theory of ecstatic loneliness which attends to the ways in which anti-blackness, HIV stigma and transphobia produce negative affects that function as the basis for imagining a trans-inclusive care practice that is empathetic to the experience of seroconversion. Through analysis of three performances of ‘Loner’, I find that wayward commitments to gender lead to various emplacements of the song in black cisgender, transgender and gender-fluid discourses of affect, community and performance, resulting in an interdisciplinary method of black and queer self-making that is underexamined in affect studies scholarship. (shrink)

This paper ventures an analysis of empathy along the lines of Heidegger’s ecstatic structure of being-in-the-world. Empathy is construed as a mode of attunement disclosing the existential weal and woe of others, and as such it serves a basic ethical function of opening up moral import, interest, and motivation. The following conclusions will be drawn: 1) empathy is a genuine possibility in human experience and should not be understood as a “subjective” phenomenon; 2) empathy is “natural” in a (...) way that can trump psychological egoism and open up alternatives to ethical egoism; 3) the role of empathy shows the limits of rationality in ethics and the structural defects in utilitarian and deontological theories; 4) findings in social psychology reinforce Heidegger’s phenomenology, and the latter can help surmount flawed assumptions in the former; 5) empathy is not sufficient for an ethics but it may be a necessary condition for human moral development. (shrink)

This essay considers the way Georges Bataille associates sovereignty with ecstasy through his peculiar emotive reactions to the photographic images of lingchi execution. Aside from the traditional views relating to political authority, I show how Bataille holds an idiosyncratic notion of sovereignty that is firmly connected with ecstasy, which is disclosed and best exemplified in his fascination with the lingchi photos with intolerable imagery of torture and cruelty. I argue that the reasons for Bataille to seek ecstatic experience (...) is to overcome banality and servility derived from the instrumentalization of our culture, so as to allow sovereignty to come into being. Although cruelty is a persistent theme in Bataille’s writings, I point out that what makes the lingchi photos pivotal for him is that it is the mirror of somatic disintegration, extreme physical violence and cruelty that corresponds to the rupture of psychological integrity as the state of ecstatic loss of self in a metaphysical sense, reflecting thus the non-boundary of uncontained sovereign individual. Furthermore, in the experience of ecstatic self-loss, an empathic identity is built up between Bataille and the victim of the lingchi execution, which not only allows the conception of ecstatic sovereignty to be endowed with ethical implication but also makes it an alternative approach to the issue of intercultural communication. (shrink)

Abstract:In the following essay I attempt a Schellingian response to the question of what it means to do philosophy in anticipation of civilizational collapse and the end of nature as we know it. As early as 1804 Schelling foresees how the spirit of modernity would lead to what he called “the annihilation of Nature,” but he also advanced a host of ideas that speak directly to our current dilemma. Most importantly for our purposes he held that every significant idea is (...) always as ethical as it is metaphysical: “the highest speculative concepts” must always be “simultaneously the most profound ethical concepts” (II, 3, 67). Ontology, epistemology, logic, aesthetics must all be understood ethically, a point which is seen most clearly in the demand for thoroughgoing systematic unity: the highest speculative concept of unity that must be informed by the most profound ethical experience of the unity of nature which alone can sanctify the positive meaning philosophy must engender if it is to transform human consciousness by increasing awareness of our nature as nature. Such a transformed awareness founds his call for a new way of thinking and doing philosophy that would be as different from the modern as the modern was from the ancient; as ancient referred to the past and, etymologically ‘modern’ denotes the present, he argues for a new way of thinking directed by the ethical tense of the future, in which the absolute becomes the future understood as that which should be (das Seinsollende). To anticipate, I posit the normativity of nature which, as the sustainer of the relational web of the living world, supplies the absolute value to orient humanity’s future. This requires an ecstatic ontology as well as an ethics and epistemology which unite in an erotics of the earth that, by integrating the immediate and sensuous reality of living nature, opens us to a more dynamic way of doing philosophy; one whose primary mode is more haptic than ocular, working by feeling and touch more than abstraction and sight, as it returns love to wisdom and elevates the future to determine the present. (shrink)

A well-worn trope used by phenomenologists is that things that remain invisible or unnoticed in the course of our everyday being in the world reveal themselves in instances of breakdown. This paper borrows this trope to explicate one instance of breakdown, that of traumatic spinal cord injury (TSCI). We use the phenomenology of Heidegger, especially his formulation of ecstatic temporality presented in Being and Time, to illuminate the temporal issues surrounding this radical rupture in Dasein’s being in the world (...) through data collected from field observations of inpatient rehabilitation, interviews with persons with TSCI, and with their rehabilitation providers. Specifically, we explore the breakdown in temporality (the rupture on thrown projection) that occurs in persons who experience TSCI across three interconnected existential dimensions – understanding, attunement (mood), and falling. We conclude by discussing the value this approach to human temporality might have for both social scientists interested in human temporality and to practitioners interested in research related to the rehabilitation process. (shrink)

Immediate experience localizes the self within the limits of the physical body. This spatial unity has been challenged by philosophical and mystical traditions aimed to isolate concepts of mind and body. A more direct challenge of the spatial unity comes from a well-defined group of experiences called 'autoscopic phenomena' , in which the subject has the impression of seeing a second own body in an extrapersonal space. AP are known to occur in many human cultures and have been described (...) in healthy, as well as neurological and psychiatric populations. In this article we investigate the phenomenology of AP as described in the writings of the ecstatic Kabbalah of the thirteenth century, and search for similarities and differences with respect to AP from these and other populations. The article discusses potential common research areas between cognitive science and the science of religious experience. (shrink)

Towards the end of his life, Bataille became increasingly fascinated by prehistoric culture. His analysis of the Lascaux cave frames it as the symbolic site of our birth, envisioning in its art the final step to anthropogenesis: we, as a species, became human once we began smearing pigment on cave walls. Bataille’s account of this dual birth of art and humanity is neither an ode to our rational mind nor to our capacity for aesthetic contemplation. Rather, the murals adorning the (...) cave would be the result of primordial ecstatic experiences. For Bataille, art ties in with excess: an activity devoid of use-value rising above necessity or instinct. Lascaux becomes the scene of a primordial crime against utility. Bataille’s cave stands as a counterargument to the enlightenment’s fixation on progress and productivity. The decades since, have seen our obsession with productivity grow even more pervasive. This paper explores the constellation of excessive behaviours which Bataille presents as key to the birth of art and, through an autoethnographic study, asks whether, and how, this ‘spectrum of excess’ is still relevant to artists today. (shrink)

Nature and Spirit: An Essay in Ecstatic Naturalism develops an enlarged conception of nature that in turn calls for a transformed naturalism. Unline more descriptive naturalisms, such as those by Dewey, Santayana, and Buchler, ecstatic naturalism works out of the fundamental ontological difference between nature naturing(natura naturans) and nature natured (natura naturata). This difference underlies all other variations within a generic conception of nature. The spirit operates within a generic conception of nature. The spirit operates within a fragmented (...) nature and has its own unique locations. Ecstatic naturalism does not eulogize spirit nor impose a process theodicy upon nature as a whole but carefully describes the ways in which spirit emerges from finite locations within the world. Methodologically, the text radically regrounds phenomenology so that it can work more closely with a metaphysics seeking the most generic forms of nature. The move from a transcendental phenomenology, which rests upon a profound misconception of the parcel of a radicalized naturalism, makes it possible to show how all orders of relevance are related to nature and to the spirit. This, in turn relocates the human process, with its dialectical tension between finitude and transendence, and places the self fully within the emergent structures of the community of interpreters as that community lives out of hope. The concept of worldhood is regrounded in pragmatic and semiotic terms, thus putting pressure on Heidegger's formulations. Peirce's pragmatic categorical structure is used to show how worldhood differs from any other order within the world. The correlation of the potencies of nature, which are presemiotic and preordinal, wit the orders of the world itself, is possible only through an ordinal phenomenology that remains attuned to the fundamental difference between nature naturing (the potencies) and nature natured (the orders of the world). Finally, the text redefines the divine natures in the light of an ecstatic naturalism that sees god as an order within the world that experiences the fragmented quality of nature. Process theology is challenged for its inability to grasp the tensions between god and the encompassing. Four divine natures are laid bare as they relate to nature and to each other. The work concludes with a description of the divine life in the face of the encompassing. (shrink)

What are the possibilities for religious experience in the twenty-first century? While aggressive atheists might respond “None,” in thunder, any good Peircean knows we should not foreclose inquiry. For those who retain a post-orthodox religious temperament in post-modernity, Robert S. Corrington’s evolving account of Ecstatic Naturalism might prove a challenging, engaging framework for a transcendental naturalism. If one can read Emerson and Thoreau and ignore their religious dimension, so be it—attunement is crucial for Corrington, cultivating the habits of (...) thought, the psychosemiosis that enables an engagement with Ecstatic Naturalism and a recovery of the sacred. Those inclined to an experiential, naturalistic... (shrink)

This article studies the phenomenology of chronic illness in light of phenomenology’s insights into ecstatic temporality and freedom. It shows how a chronic illness can, in lived experience, manifest itself as a disturbance of our usual relation to ecstatic temporality and thence as a disturbance of freedom. This suggests that ecstatic temporality is related to another sort of time—“provisional time”—that is in turn rooted in the body. The article draws on Merleau-Ponty’s Phenomenology of Perception and Heidegger’s (...) Being and Time , shedding light on the latter’s concept of ecstatic temporality. It also discusses implications for self-management of chronic illness, especially in children. (shrink)

The tradition of interpreting Plato's Phaedrus as simply a homage to passion ignores many passages that draw on ancient Greek religion, particularly the Eleusinian Mysteries. States of religious mania, particularly that experienced at Eleusis, included visions brought on by the use of some drug, or pharmakon. The experience of truth in the Phaedrus is read through the experience of ecstasy by initiates.

In lieu of an abstract, here is a brief excerpt of the content:Cynthia Willett HEGEL, ANTIGONE, AND THE POSSIBILITY OF ECSTATIC DIALOGUE In his lectures on aesthetics, Hegel argues that drama is the highest form of art. Only drama can resolve, or sublate (auflieben), an opposition between objective and subjective poles ofaesthetic experience.1 This opposition takes its penultimate form in the difference between epic and lyric poetry. Subjective feelings expressed in lyric and the objective representation ofevents in epic (...) are sublated in classical drama as ethical character and action. In this article I will examine both what Hegel does and does not say about the structure and function ofclassical drama in order to determine its role in the education of humanity, or what Hegel calls the "phenomenology of spirit." As it turns out, drama is not only a climactic moment in the development of spirit. The structure ofdrama also traces a paradigm and an historical origin for Hegel's dialectic. The ironic reversals and discoveries that emplot tragic drama also constitute dialectic. An immediate consequence of this parallel is mat, in accordance with Aristode's definition of tragic drama, dialectic demands the catharsis, or purging, of emotion from educated spirit.2 After establishing the analogy between dialectic and cathartic drama, I turn to the exemplary role that is played by Sophocles' Antigone in the Phenomenology ofSpirit. A reinterpretation of the play suggests that Hegel fails to see that emotional engagement, or the unsublated subjective feeling relegated to die lower art of lyric, in fact orients the dramatic action of Antigone. The resemblance between drama and dialectic suggests that desire can no more be purged from dialectic than from classical tragedy. As a consequence, Hegelian dialectic should be reconceived in terms of a notion of tragedy that is not cathartic but ecstatic. Philosophy and Literature, © 1990, 14: 268-283 Cynthia Willett269 In the AesUietks, Hegel places drama after epic and lyric as the third and final moment of the highest stage of art. Drama presents actions that are ethical and thus differs from the lyrical expression of feelings as well as the adventures narrated in epic (A, pp. 1158; 474). Hegel's definition of epic in terms of narration and description suggests that the language of epic functions as representation. Representational language externalizes, or objectifies, spirit's movement in a series ofevents which are related by the epic poet. This narration functions without the mediation ofa subject, which is to say without an "agent's inner will and character" (A, pp. 1160; 476). Lyric poetry, on the other hand, concerns feelings or "the inner life alone" (A, pp. 984; 254). In accordance with its subject matter, the language oflyric is not representational but expressive. Drama presents actions before an audience, such actions occurring primarily in the mode of speech (A, pp. 1159; 475). What we can characterize as the "speech-acts" performed in drama carry out intentions of, or ends soughtby, the main character. Drama advances dialectic because, as Hegel writes, "drama does not fall apart into a lyric inner life and an external sphere as its opposite, but displays an inner life and its external realization" (A, pp. 1 160; 476). First, events which occur episodically in epic attain the unity of a single action that comprises dramatic plot. Secondly, a "cleaned-up" version ofthe "chaotic" feelings expressed in lyric poetry develops into the intention of a character to adher to a universal ethical principle. It is important to emphasize that, according to Hegel, drama should not draw any of its effect from subjective emotions. Drama sublates lyrical feeling into ethical law. Only thus does drama bring together the epic-making events and lyrical subjectivity, notby wayofa mechanical synthesis, but in a metamorphosis enabling elements initially opposed to give rise to an original whole. The proximity ofdrama to dialectical thought appears in the contrast Hegel draws between dramatic action and action which is prosaic, or philosophically insignificant (A, pp. 1159; 475). Dramatic action, Hegel explains, "is notconfined to the simple and undisturbed accomplishment ofa specific aim; on the contrary, it rests entirely on collisions ofcircumstances, passions, and characters... which in turn necessitate a resolution of the conflict and discord" (A, pp. 1159; 475). On the other hand, a prosaic, or ordinary... (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable and (...) put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

In this discussion, attention is focused on the neurophysiological changes recorded in the laboratory during experiences termed religious, since they facilitate contact with the alternate, the sacred reality. The experiences examined are "ritual body posture and ecstatic trance" and "channeling," that is possession. Contrary to previously held opinion based solely on observation, laboratory tests reveal certain differences, indicating that we are dealing with two distinct, albeit closely related, ASC's. Keywords: trance, altered states, channeling, consciousness.

When Werner Herzog states, in his famous Minnesota Declaration, “[fa]cts create norms, and truth illumination”, he not only opposes his own idea of truth as spiritual experience to the notion of factual truth based on a seemingly unmediated representation of reality and purely rational principles. He also points to a societal problem inherent to such hegemonic attributions of veracity as advocated by the representatives of what he calls “Cinema Vérité”: their “truth of accountants” generates a normative perception and understanding (...) of reality. Instead of producing peculiar images that trigger the imagination, they (re)produce benchmarks, fixed values and stereotypes. Thus, they are perfectly in line with the ideology of the “administered society” (Horkheimer and Adorno, e.g. in Dialectic of Enlightenment). Based on the identity principle, this society produces standardized, consumer-friendly forms precluding the individuals from making their own, singular experiences. Films that rely purely on facts instead of seeking for “deeper strata of truth” are thus, for Herzog, not only boring, but also instruments of domination in the service of the status quo. However, Herzog neither avoids the administered society in order to search for an archaic truth beyond or underneath it, nor does he address political issues frontally in the films analyzed in this article. Critique of society rather transpires through particular configurations, notably in moments of confrontation between the “normal” society and the marginalized, “useless”, or otherwise rejected characters (as Kaspar Hauser’s encounter with representatives of the “good society, Strozeck’s misfortune, Woyzeck’s condition as the guinea pig for the sake of scientific progress, or the extravagant setting depicted in Even Dwarfs Started Small). Rather than focusing on the problematic situation of exclusion as such, Herzog emphasizes the very singularity of his protagonists in a dialectical tension with their environment, thus providing an access to the poetic truth which springs out of their individual ways of experiencing as opposed to the normative reality-principle. This is also true for many of Herzog’s documentaries: for example, Walter Steiner’s deep pleasure in ski-flying and the strange beauty of the slow-motion pictures showing him in the air highly contrast with the public pushing him to take dangerous risks and the bloody images presented in the media (The Great Ecstasy of the Woodcarver Steiner). By juxtaposing Steiner’s sensory experience and its singularized image with the societal logic of competition and its stereotyped representation, Herzog discloses the heterogeneous layers of a material truth that escapes factual accuracy. This article aims to approach Herzog’s notion of ecstatic truth by unfolding the dialectical tension between sensory, perceptual and spiritual experiences on the one hand, and the administrated society on the other. -/- . (shrink)

Among the most exciting experiences in our lives are the ones that arouse a magical rapture within us. This may happen when we become engrossed in a musical piece, when dancing becomes ecstatic, when we are passionately in love (or making love) or when we experience an intuitive perception or an altered state of consciousness, get caught by the spell of the infinity of the Universe or the splendor of nature; it can also happen during telepathic contact or (...) in lucid dreams. What I shall try to outline here is a systematic world-view that gives a basis for the interpretation of the special character of those magical actions. A model for the structure of the Universe is shown in which different levels of existence are sequentially telescoped into each other. This model suggests that the different levels of the material and the inner worlds can be in direct connection, thus offering us a new perspective for participating in the process of Creation. (shrink)

Traditional spiritual literature contains rich anecdotal reports of spontaneously arising experiences occurring during meditation practice, but formal investigation of such experiences is limited. Previous work has sometimes related spontaneous experiences to the Indian traditional contemplative concept of kundalini. Historically, descriptions of kundalini come out of Tantric schools of Yoga, where it has been described as a “rising energy” moving within the spinal column up to the brain. Spontaneous meditation experiences have previously been studied within Buddhist and Christian practices and within (...) eclectic groups of contemplative practitioners. Prior explorations of kundalini have emphasized extreme experiences, sometimes having clinical consequences. We conducted a first such investigation of kundalini-related experiences within a sample of meditators from a single Tantric Yoga tradition (known as Ananda Marga) that emphasizes the role of kundalini. We developed a semi-structured questionnaire to conduct an exploratory pilot investigation of spontaneous sensory, motor and affective experiences during meditation practice. In addition to identifying the characteristics of subjective experiences, we measured quantity of meditation, supplemental practices, trait affect and trait mindfulness. We administered it to 80 volunteers at two Ananda Marga retreats. Among reported experiences, we found the highest prevalence for positive mood shifts, followed by motor and then sensory experiences. The frequency of spontaneous experiences was not related to the quantity of practiced meditation or trait measures of mindfulness and affect. Self-reports included multiple descriptions of rising sensations, sometimes being directly called kundalini. Experiences with rising sensations were complex and many included references to positive affect, including ecstatic qualities. There were also reports of spontaneous anomalous experiences. These experiences of rising sensations resemble prior clinical descriptions that were considered kundalini-related. The individuals who reported rising sensations could not be distinguished from other participants based on the incidence of experiences, quantity of meditation practice, or trait measures of mindfulness and affect. In contrast, greater amount of Tantric Yoga meditation practice was associated with greater positive affect, less negative affect and greater mindfulness. Further study of these exploratory findings and how they may be related to spiritual and well-being goals of meditation is warranted along with scientific investigation of purported kundalini phenomena. (shrink)

Carol Zaleski's book is the first objective, comprehensive survey of the mass of evidence surrounding near-death experiences: the extraordinary visions and ecstatic feelings reported by people who have survived a close brush with death. Comparing recent near-death narratives with those of a much earlier period she finds both profound similarities and striking contrasts.

The paper describes the experiences of Nicolae Steinhardt and Viktor Frankl, both imprisoned despite their innocence, and their discovery of happiness and meaning through suffering and pain. Nicolae Steinhardt was a Romanian political prisoner of the communist regime and Viktor Frankl was a Jew imprisoned in the Auschwitz concentration camp. While in prison, Nicolae Steinhardt is secretly baptized and his life takes a very interesting turn. The discovery of God gives him access to the phenomenon of happiness and as he (...) confesses, in prison he will live the happiest days of his life. Despite the miserable conditions, the pain, and the physical and mental torment, Steinhardt characterizes his happiness as ecstatic, passionate and life-changing. Under similar conditions, Viktor Frankl discovers the importance of suffering in determining the meaning of life. For Frankl, life always holds a potential meaning and if there is a meaning in life at all, then there must be a meaning in suffering. Therefore, through suffering and sorrow, and not in spite of them, Steinhardt and Frankl gain access to happiness and meaning. (shrink)

This paper critically examines the philosophical foundations of Colin Wilson’s New Existentialism. I will show how Wilson’s writings promoted a phenomenological strategy for understanding states of ecstatic affirmation within so-called ‘peak experiences’. Wilson subsequently attempted to use the life affirming insights bestowed by peak states to establish an ontological ground for values to serve as a foundation for his New Existentialism. Because of its psychological focus however, I argue that Wilson’s New Existentialism contains an ambivalent framework for establishing ontological (...) categories, which leads his thought into theoretical difficulties. More precisely, Wilson’s strategy runs into problems in coherently integrating its explicitly psychological interpretation of Husserl’s theory of intentionality within a broader, and philosophically coherent, phenomenological framework. Wilson’s psychological reading of Husserl’s transcendental reduction, for example, manifests tensions in how it reconciles the empirical basis of acts of transcendence with an essentialist conception of the self as a transcendental ego. The above tensions, I argue, ultimately render the New Existentialism susceptible to criticism from a Husserlian-transcendental perspective. After outlining a Husserlian critique of Wilson’s position, I end the paper by suggesting how some of the central insights of the New Existentialism might help to bridge the gap that persists between pure phenomenological description and metaphysics. (shrink)

Haartman's analysis of ecstatic experience in early Methodism is contextualized within a brief review of the history of the movement and the theological assertions that underlay these religious behaviors. Wesley emphasized individual, as opposed to institutional religion and affrmed inductive as contrasted with deductive theology. "Sanctification," Wesley's term for personality transformation, is seen as positive ego development rather than regressive splitting of the ego. Maslow's "peak experience" is affrmed as a valid model for analyzing ecstatic behaviors. (...) Methodism no longer emphasizes such forms of religious expression. (shrink)

The article presents an analysis of a mystical practice of letter permutation conceived as part of the practice of “kavannah” in prayer. This practice was articulated by a 13th century anonymous ecstatic kabbalist writing in Catalonia. The anonymous author draws on earlier sources in the kabbalah and Ashkenazi spirituality. The article explores the wider connection between ecstasy and ritual, particularly prayer in the earlier stages of Judaism and its development in medieval theology and kabbalah. The anonymous author describes a (...) unique permutation technique capable of inducing ecstatic experiences as part of the liturgical ritual. (shrink)

This article shows to what extent the new situation in our late-modern societies can see a further deepening of the social control typical of soft totalitarianism we experience in our globalised democracies, through the mechanisms already denounced by Arendt in her The Origins of Totalitarianism (1951): the promotion of rootlessness and superfluity. In particular, the paper focus on what Eliot (1927) called the hollow man or what philosophy and sociology have called the one-dimensional man, the absent subject or the (...) saturated self, which the technological, social, cultural and economic environment in which we live so favours. The article diagnoses the reasons and means by which the alienation of the subject occurs, but proposes narrative and testimony as ways of combating social control of a psychopolitical kind [1]. [1] Investigación financiada por el proyecto del Banco de Santander – CEU titulado “Control social, posmodernidad y comunidad política” (COSOPOC) con código B920PR02 // FUSPBC-PPC14/2018. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bataille and Mysticism: A “Dazzling Dissolution”Amy Hollywood (bio)Within Georges Bataille’s texts of the late 1930s and 1940s, in particular those later brought together in the tripartite Atheological Summa, he repeatedly suggests that his primary models for writing and experience are the texts of the Christian and non-Western mystical traditions (often represented, in Bataille, by women’s writings) and those of Friedrich Nietzsche. 1 Inner Experience opens with evocations (...) of Nietzsche, and the final volume of the trilogy, On Nietzsche, is “devoted” to his work. References to mystical writings occur throughout Inner Experience and Guilty, and significant portions of both texts can be read as providing “guides” for inner experience analogous to the “itineraries” of Angela of Foligno (d. 1309) and Teresa of Avila (d. 1582) or as spiritual daybooks like those of Mechthild of Magdeburg (d. ca. 1275). These models are, I think, the key to understanding Bataille’s own writing strategies in the Atheological Summa. 2 Despite their apparent divergence, moreover, Bataille insists that mystical and Nietzschean texts reflect and are constitutive of the same experience and writing practice.Like both Nietzsche and the mystics, Bataille’s “antigeneric” writing mixes genres and styles within and between texts. 3 Throughout the course of his career, experience and writing are in a constant state of movement, flux, or chaos (to echo Bataille’s self-description in On Nietzsche). The Atheological Summa encapsulates within what purport to be three unified books the diversity of genres and styles that run throughout Bataille’s corpus as a whole. They contain ample quotation of Nietzsche’s texts and those of the mystics—undigested hunks and fragments of these allusive writings 4 —together with philosophical reflections, confessional meditations, diary fragments, letters, and, at the end of On Nietzsche, a set of six brief historical and theoretical appendices. Anything broaching traditional textual commentary is reserved for the margins of these nonbooks. Like many mystics, particularly women who were denied access to the traditional genres of sermon, biblical commentary, and philosophical or theological treatise, and like Nietzsche, who eschews and subverts traditional genre distinctions, Bataille comments and critiques through practice rather than exposition. Although Bataille acknowledges the oddity of his coupling the mystics and Nietzsche, he also rigorously defends it, arguing for a mystical and ecstatic experience in Nietzsche’s work. 5 As I hope to show, Bataille’s [End Page 74] experience of the failures of mysticism and of Nietzsche speak to each other and lead to Bataille’s necessary apostasy as his true discipleship.Repetition of the divergences between Bataille and the mystics, first stated by Bataille himself in Inner Experience, has become something of a commonplace, yet his claims have not been sufficiently explored or challenged. So, for example, Alain Arnauld and Giséle Excoffon-Lafarge unproblematically assert that despite all proximities between Bataille’s texts and those of the mystics, they differ in their aims or aimlessness. Michel Surya joins a host of other scholars whose primary concern is to demonstrate (against the insinuations of Sartre, made now almost fifty years ago) that Bataille was not a Christian. Whereas the mystics’ path ends with the divine encounter, Bataille renounces all objects, aims, or end for his quest and his desire. 6 Most importantly, he rejects all idealism and any hope for salvation. Bataille himself insists on his divergence from the Christian mystics in Inner Experience and Guilty. At the same time, his citations and mimings of central texts from the Christian mystical tradition show that what fascinates him within these writings is precisely the moment in which the soul desires “to live without a why,” embracing the suffering of hell—understood as the absence of/from the “object” of desire—as desire. 7 In a move later echoed by Jacques Lacan, Bataille claims that some medieval mystics attained that beyond of which he writes, but without knowing anything about it: “Exuberance is the point where we let go of Christianity. Angela of Foligno attained it and described it, but didn’t know it.” 8Commentators follow Bataille in resisting his identification with the mystics, then, whereas Nietzsche is a less troubling model for Bataille and his readers. In fact, Bataille... (shrink)

Improvisation is usually either lionized as an ecstatic experience of being in the moment or disparaged as the thoughtless recycling of clichés. Eschewing both of these orthodoxies, _The Philosophy of Improvisation_ ranges across the arts—from music to theater, dance to comedy—and considers the improvised dimension of philosophy itself in order to elaborate an innovative concept of improvisation. Gary Peters turns to many of the major thinkers within continental philosophy—including Heidegger, Nietzsche, Adorno, Kant, Benjamin, and Deleuze—offering readings of their (...) reflections on improvisation and exploring improvisational elements within their thinking. Peters’s wry, humorous style offers an antidote to the frequently overheated celebration of freedom and community that characterizes most writing on the subject. Expanding the field of what counts as improvisation, _The Philosophy of Improvisation_ will be welcomed by anyone striving to comprehend the creative process. (shrink)

This paper seeks to understand Heidegger’s phenomenological analysis of the time experience in Sein und Zeit, from the formal point of view of the Care-structure, and in the Seminars of Zollikon, where time is described as world-time in its fullness. Aimed is to show that the early anthropological reception of his major work of 1927 by some of his pupils, like Löwith, who detected similarities with Psychoanalysis, is somehow strengthed by Heidegger himself later on, as he comes with Medard (...) Boss to develop Daseynsanalysis as a metaonlogical understanding of humans life in health and pathology. Illness as privation of health will be seen as the failure of inauthentic existence. And the full, ecstatical experience of time will be shown as the proper or authentic one, being-in-the-world as well as within the psychoanalytical session and interpretation. (shrink)

Abstract:To respond to the current advocacy of a transcultural inquiry into music education philosophy rooted deeply in Western civilization, the primary purpose of this essay is to provide a broader alternative to examine the phenomena of music teaching and learning to bridge the philosophical gap between the West and the East. This essay also attempts to expand the discussion of Eastern philosophies by including Balinese taksu, an aesthetic and ecstatic experience rarely discussed in music education literature. I juxtapose (...) the intellectual and spiritual methods of attaining enlightenment through Zhuangzi's wuwei (無為), non-action or effortlessly losing self, and Balinese taksu and associate them with Turner's liminality theory, Csíkszentmihályi's flow state, and other Western scholars' discussions on spirituality and music to illustrate the ultimate spiritual enlightenment that an exemplary person or a virtuoso can achieve. The intersecting parallels between wuwei and taksu enable me to suggest a multi-stage development of musicianship as a way of learning that allows students to identify their inner selves, to evaluate the difficulty levels of obstacles challenging their mastery and overcome them, to roam in between practice routines, and eventually to enjoy the ecstatic experience of flow, losing self in performance. (shrink)

The article reviews about esoteric symbolism of the tree of life in shamanic cultures and oriental traditions including classical Hindu and Buddhist systems, together with various esoteric and indigenous traditions. The very idea of the tree of life, in indigenous cultures, which is often called the ‘world tree’ or ‘shamanic tree’, is connected with human illumination process in the form of mystical or ecstatic experience gained through the process of the self-realization. These various forms of mystico-religious experiences could (...) be found in many religious traditions, considered to be cross-cultural phenomena. The author made an attempt to make a classification of chakras and energetic structure of the human body according to cross-cultural analysis of various cultures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Suñña at the Bone:Emily Dickinson’s Theravadin RomanticismAdam KatzA narrow Fellow in the GrassOccasionally rides—You may have met him? Did you notHis notice instant is—The Grass divides as with a Comb—A spotted Shaft is seen,And then it closes at your FeetAnd opens further on—He likes a Boggy Acre—A Floor too cool for Corn—But when a Boy and BarefootI more than once at NoonHave passed I thought a Whip LashUnbraiding in (...) the SunWhen stooping to secure itIt wrinkled And was gone—Several of Nature’s PeopleI know and they know meI feel for them a transportOf CordialityBut never met this FellowAttended or aloneWithout a tighter BreathingAnd Zero at the Bone.1Via the Arabic word cipher, the English word “zero” comes straight from the Sanskrit word shunya (empty). In Pali, the early Buddhist liturgical language, it is suñña. This poem’s story recalls the common Buddhist simile where a rope is mistaken for a snake in the dim light. There is nothing in the rope that should be feared as a snake, and likewise there is ultimately nothing in the five aggregates—basically, everything—that [End Page 111] can be regarded as atman (soul, self). So the aggregates are empty of self: anatta, in Pali. This is the doctrine of emptiness. Fallaciously imputing selfhood to the inherently selfless flux of the aggregates is a major source of suffering, so realizing emptiness brings liberation, just as investigating the rope and finding it empty of snakehood liberates one from fright.Recognizing that the rope is a rope and not a snake is a simile for realizing emptiness. Likewise, in the poem, recognizing that the snake is a snake and not a “Whip Lash / Unbraiding in the Sun” catapults the speaker into a sublime experience of “Zero at the Bone.” This last line may be a metaphor for being chilled to the bone, but the absence of a subject for zero to modify and the sonic and aesthetic overload in an otherwise mostly matter-of-fact nature poem suggest that the sudden recognition of the snake scares us out of ourselves, empties us out, providing a Romantic corollary for Buddhist emptiness.In the Buddhist simile and in the poem, the correction of faulty recognition precipitates the realization of emptiness. But in the simile, what is primarily important is that the rope is recognized as not a snake. One Tibetan text says that substantial progress can be made by, as it were, mistaking the rope for a vine, just so the scary snake perception is cleared away.2 A slightly later Tibetan text says that, simile aside, recognizing that the rope is not a snake and not even a vine but precisely a rope is merely a matter of “conventional valid cognition,” which stops far short of liberating insight into the selflessness of phenomena as such.3 Believing the rope really is a rope is the same as, in the simile, mistaking the rope for a snake, because in both cases it is a matter of perceiving substantiality where there is impermanence. By contrast, Dickinson’s poem emphasizes neither clearing up a particularly pernicious and persistent misconception about existence nor replacing this misconception with complete insight; rather, the poem emphasizes “conventional valid cognition” itself as a vehicle for sublime transcendence. The ecstatic experience of “Zero at the Bone” requires that the snake be accurately recognized as a snake.This “conventional valid cognition” is technically compatible with complete insight into the selflessness of phenomena as such, and it is certainly possible that the speaker experiences zeroness due to an optical illusion or hallucination or dream rather than recognizing a real snake, but the poem does not highlight either of these possibilities. It emphasizes recognitional accuracy, and being thrown from the quotidian as a result. This is quite different from the lesson of the Buddhist simile, where, again, the emphasis is on what is not there, specifically selfhood, rather than on what is there in its precise distinctness from other things. In this regard the poem is, however, eminently compatible... (shrink)

Abstract:This essay excavates the “spherical” and “global” ontological optics that have emerged from Martin Heidegger's thought considered in the context of the whole earth image and global climate change, focusing on the work of Timothy Ingold and Timothy Morton. Probing the boundaries of Morton's perspective in particular, I show how his global vision of Being ultimately reinscribes a fundamentally anthropocentric position in which the human “interior” is privileged and universalized while the inhuman “exterior” is either violently incorporated or altogether rejected. (...) I then propose an alternative vision of Being, one which avows a planetary optics while simultaneously emphasizing the unseen and unknown roiling beyond the boundaries of both spherical and global perspectives. I conclude by suggesting that this alternative vision can begin to be cultivated through attending to the works of Georges Bataille, whom a growing host of contemporary theorists have begun to identify as a resource for an ecological perspective that negotiates both the articulation and the transgression of the ontological and perspectival limits that separate the anthropocentric interior and the inhuman exterior. Bataille's exorbitant vision of Being sublates the dialectic of spherical and global perspectives, joining a consciousness of the limits of earth-bound human seeing-being to the ecstatic experience of a dynamic planet in the midst of an unfathomable cosmos. (shrink)

This article describes a team-taught environmental studies course called Animal Metaphors. Focusing on animal metaphors in literature and film, the course emphasizes various cognitive and perceptual biases that lead humans to place ourselves above and beyond nature, making us more likely to engage in practices destructive to the environment. Whereas the first iteration of the course underscored various ways in which humans are less rational or moral than we imagine, the new iteration shifted more of the focus to what inspires (...) and motivates humans, gives us emotional resilience, and best creates conditions for mental well-being as we cooperate and collaborate. This seemed an appropriate tack to take in an age commonly referred to as the “Anthropocene.” We thus continued to examine our status as evolved animals while also calling more attention to spiritual or ecstatic experience, music, humor, and the uniquely human ability for shared intentionality. (shrink)

This book undertakes a voyage back to the colonial heritage of anthropology to investigate the connection between imperial colonialism and ethnographic research. It is a history of explorers' being “out of our minds” with alcohol, drugs, opiates, fatigue, fear, delusions, and anger in their search for knowledge. In short, it is a story about scientific “travel as tripping” .Nineteenth‐century explorers of Africa often fashioned themselves as intrepid, heroic, and courageous seekers and promoters of rational knowledge in a wild and savage (...) territory. It is this myth of science as a progressive conqueror of the unknown and the wild that Johannes Fabian destabilizes through his deconstructive literary analysis of scientists' travelogues. We learn that explorers were not self‐composed heroic solitary individuals with the ability to control others in a hostile environment. On the contrary, explorers gained knowledge when they reached out and embraced the unfamiliar by stepping outside of their preconceived, established, and rationalist framework of exploration. This experience of the ecstatic proved fertile ground for scientific results.A fascinating discussion of the role of various ecstatic experiences in the daily life of the explorer makes up most of the book. We learn about the organizational structure of scientific caravans, the character and personal desires of explorers, the role of auxiliaries and intermediaries, and the social implications of engaging unfamiliar tribal networks. Each explorer's daily struggle to survive such hardships as fever, malaria, and unknown illnesses, often with the use of foreign medicines, serves as one example of ecstasy leading to new knowledge. Opiates and alcohol were in this respect helpful in easing the encounters between locals and the explorers, and sexual and erotic relationships between them allegedly secured intimate knowledge of local cultures. Likewise did the ecstatic experience of beating and even killing Africans in order to gain access to the unknown. Fabian's account of ecstatic ways to research ends with a long chapter about the interest among anthropologists in studying African tribes familiar with cannabis.There are many valuable aspects of Fabian's critical study of early ethnographic research in Africa, including a rich description of the culture of scientific expeditions and plenty of evidence that the context of ecstatic discovery was different from the logic of explanation in scientific papers and books. Few historians now believe without qualification that imperial scientists were the once‐constructed great heroes expanding rational knowledge; Fabian admits that in this respect he is “fighting a straw man” . Another problem is that he hardly discusses those travelogues that typify the heroic narrative of modernity's march into central Africa, such as those written by David Livingston and Henry Stanley. Instead, he bases his argument on less studied diaries and material by explorers such as, for example, Jérôme Becker, Leo Frobenius, Paul Pogge, and Hermann von Wissmann. Therefore even well‐rehearsed historians of colonial exploration will find something original to enjoy . Yet since the narrative of heroic exploration is mostly known from the writings of explorers such as Livingston and Stanley, it is likely that Fabian could have made his argument stronger if he had scrutinized their journeys to make his point. This is not to say that this book is not a valuable contribution to colonial history of anthropological research—worth both time and attention. (shrink)

The present work introduces the neuropsychological paradigm as a new approach to studying ancient literature. In the first part of the article, an epistemological framework for the proper use of neuropsychology in relation to ancient literature is presented. The article then discusses neuropsychological methods of studying different human experiences and dimensions already addressed by ancient literatures. The experiences of human encounters with gods among ancient cultures are first considered, through the contributions of Julian Jaynes and Eric R. Dodds. The concepts (...) of right and left in the Bible, and that of soul are then discussed. Ecstatic experience in Paul of Tarsus is also presented, with a particular focus on glossolalia. Neuroscientific differences between mindful and unitive meditative practices are then described referring to ancient Buddhist literature, and finally a brief description of dreams in ancient Greek literature is proposed. Neuropsychology variously enables a more profound understanding of themes characterizing human experiences that ancient literature has already explored; these investigations prove that the collaboration of neuroscience and humanistic studies can return fruitful and interesting results. (shrink)

Atheistic Platonism is an alternative to both theism and nihilistic atheism. It shows how any jobs allegedly done by God are better done by impersonal Platonic objects. Without Platonic objects, atheism degenerates into an illogical nihilism. Atheistic Platonism instead provides reality with foundations that are eternal, necessary, rational, beautiful, and utterly mindless. It argues for a plenitude of mathematical objects, and an infinite plurality of possible universes. It provides mindless rational grounds for objective values, and for objective moral laws for (...) the persons who evolve in universes. It defines a meaningful way of life, which facilitates self-improvement. Atheistic Platonists argue for computational theories of life after death. Atheistic Platonism includes a rich system of spiritual symbols. It values transformational practices and ecstatic experiences. Where atheisms based on materialism fail, atheisms based on Platonism succeed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

As we speak about time in the context of everyday life, we have no problem with what we mean by time. We take time as given. Different kinds of theories of development rely on the ordinary concept of time. Time is a sequence of instants, and we are moving along from the past to the future, from birth to death. Moving in time also means development. It does not take into account how a human being is in the time. It (...) flattens our view of human life and cannot describe our manifold being. According to theories of development, if a child does not behave in a certain instant as the theories expect, there must be a problem with that child or she has not developed as well as others. Heidegger uses terms like time-space, temporality and ecstases of time. The question of time is of the same kind as the question of Being. We are in the world and in time in the same way. We all have experience of time, how it sometimes goes quickly and sometimes very slowly. Time is not experienced as moments one after another. It is time-space. Time-space means that time has three dimensions and it consists of the ecstatical opening up of the future, the past and the present. In this article, I will open up the question how the traditional understanding of time and the ecstatic understanding of time understand children differently. What does it mean that little children live exclusively in the present? (shrink)

An analysis of Paul Tillich's three‐volume Systematic Theology and Pitirim A. Sorokin's The Ways and Power of Love: Types, Factors, and Techniques of Moral Transformation reveals how a metaphysical dialogue on God and love contributes to scientific and theological scholarship on altruism. This article focuses on similarities and differences in Tillich and Sorokin. Similarities include a belief in the importance of the ontological/love connection and the conclusion that a special state, ecstasy, is integral to the experience of genuine love. (...) Differences serve to complement rather than negate. For example, Tillich's recognition that ecstatic connections with the divine within finitude are fragmentary balances Sorokin's view that these ecstatic peaks are reached only by the few. The similarities give resonance and point to the overall creation, while the differences often serve as counterpoint to balance the ideas of the scientist and the theologian. (shrink)

Recent reports of the discovery of a “God module” in the human brain derive from the fact that epileptic seizures in the left temporal lobe are associated with ecstatic feelings sometimes described as an experience of the presence of God. The brain area involved has been described as either (a) the seat of an innate human faculty for experiencing the divine or (b) the seat of religious delusions.In fact, religious experience is extremely various and involves many parts (...) of the brain, including some that are prehuman in their evolutionary history and some that are characteristically human. In the continuing integration of such experiences, spiritual formation takes place. Thus the entire human brain might be described as a “God module.”Such a process is only possible because of the brain's complexity. The human brain is the most complex entity for its size that we know of. As used here, complexity is a specialized term denoting the presence of a web of interlinked and significant connections—the more intricate the web, the more complex the entity. Complex systems develop only in a milieu that provides both lawfulness and freedom, and they tend to be self‐organizing, becoming more complex and more effective as a result of both inward and outward experience. The evidence suggests that both personal growth and spiritual growth are processes of complexification of character, and of the brain itself. This thesis is tested in light of the work of William James and James W. Fowler. (shrink)

Recent reports of the discovery of a “God module” in the human brain derive from the fact that epileptic seizures in the left temporal lobe are associated with ecstatic feelings sometimes described as an experience of the presence of God. The brain area involved has been described as either (a) the seat of an innate human faculty for experiencing the divine or (b) the seat of religious delusions.In fact, religious experience is extremely various and involves many parts (...) of the brain, including some that are prehuman in their evolutionary history and some that are characteristically human. In the continuing integration of such experiences, spiritual formation takes place. Thus the entire human brain might be described as a “God module.”Such a process is only possible because of the brain's complexity. The human brain is the most complex entity for its size that we know of. As used here, complexity is a specialized term denoting the presence of a web of interlinked and significant connections—the more intricate the web, the more complex the entity. Complex systems develop only in a milieu that provides both lawfulness and freedom, and they tend to be self‐organizing, becoming more complex and more effective as a result of both inward and outward experience. The evidence suggests that both personal growth and spiritual growth are processes of complexification of character, and of the brain itself. This thesis is tested in light of the work of William James and James W. Fowler. (shrink)

This article opens with a brief phenomenological comparison between Gershom Scholem’s Major Trends in Jewish Mysticism and Moshe Idel’s Kabbalah: New Perspectives. Scholem’s book is diachronic or historical in approach while Idel’s is primarily synchronistic, focusing on devekut (devotion) in Jewish Mysticism, the concept of Unio Mystica, a variety of mystical techniques, Kabbalistic theosophy, theurgy, and Kabbalistic hermeneutics. The author concentrates on four characteristics of Idel’s studies in Kabbalah and Jewish mysticism: ecstatic Kabbalah, the definition of Jewish mysticism, Hasidism (...) as a spiritual movement and the study of Jewish magic. In addition he discusses key criticisms leveled at Idel’s treatment of these subjects. (shrink)

Whereas the Upanishads contain much which is, strictly speaking, of little interest to the historian of Indian thought, the Pre-Upanishadic texts are not completely devoid of passages which are of special importance for anyone who endeavours to trace the origin and oldest form of the main texts of classical Indian philosophy. Too often the difference between Upanishads and Pre-Upanishadic literature has been exaggerated ; too often the philosophical importance of the ritualistic speculations contained in the Brahmanas has been undervalued ; (...) too often these texts have been neglected by the compilers of handbooks. One of those points which have not always received due attention concerns the theoretic foundation of the belief in the possibility of gaining the victory over death and of the efforts to realize this ambition. One of the most important problems in which the Indians have always been interested is the relation between the One and the Many, between this phenomenal world and its source and ground. Already in the Rgveda opinions differ : it has been a divine architect who made the phenomenal world ; it has been an anonymous primeval deity who became a golden germ from which a demiurge was born ; the world has arisen from the impersonal One who desired to create the world, etc. In the course of time these creators and ideas of the original One fused into the great figure of Prajapati, „the Lord of Creatures”. This God, who occupies a central position in the Brdhmawa-texts originally was what he was to remain in popular belief : the deity presiding over biological creation. In the ritualistic speculations of the authors of the Brahmanas he is the Creator, the Father of gods and anti-gods, the origin of creation. In the beginning Prajapati was alone, he was ,all this’, he was the universe in ,concentrated’ and unmanifested form. By way of emanation and self-differentiation he became the manifested universe, including the creatures. After this creative activity he is empty and exhausted, because he has ,entered the universe' or rather transformed himself into the universe. His strength, force and health can however be recovered and restored by means of rites. The world and the creatures which emanated from Prajapati were not perfect ; they were a discontinuum, disintegrated, in the power of death. In order to make life possible and to make the world habitable Prajdpati instituted rites. Prajapati is in the Brahmanas identified with the highest and most general categories ; he is the year, i.e. the complete cycle of time comprising the past and the future, totality and completeness. The year, viewed as an integral structure is the fundamental basis of all that happens. Being also the rite, the sacral act, Prajapati is on the other hand the earthly counterpart of the great cosmic drama. On these two identifications the ritualistic system of these authors is constructed. Among these authorities Sandilya. occupies a prominent place. The mundane events oscillating between the poles of birth and death, of genesis and decay, rites are needed to reintegrate what has become decomposed. They are however also to restore the original unity and totality, to co-ordinate the non-co-ordinated phenomena, to reconstruct Prajapati, to restore his original oneness. The rites reduce, temporarily it is true and with regard to the individual who has them performed, the phenomenal multiplicity to a reintegrated totality, in which the diversity of Prajapati's emanation has been destroyed, and the original unity and oneness has been restored. This theory underlies the structure of the great Fire-altar , by which the sacrificer identifies himself with Prajapati whose original unity is restored. By performing this elaborate ritual the personality of the sacrificer was transformed into a new and divine existence, which was no longer subject to the imperfections proper to this world. That is to say : the sacrificer acquires ,immortality' , he transcends the limits of phenomenal time, he becomes sarva, i.e. safe-andsound, whole. Prajapati-the year will not destroy the man who identifies himself with the totality, with Prajapati-the year, and who has acquired an insight into the meaning of this identification ; that man overcomes disintegration and discontinuity, he gains the victory over death, that is to say : he attains to a sound and complete condition. In the course of time the personal Prajapati and the impersonal Brahman are identified. In the early Upanishads the latter becomes the great fundamental principle. These works resume on the one hand ancient speculations a part of which has been preserved in the Rg- and Atharvavedas, and utilize, on the other hand, the ritualistic theories of the Brdhmawas. The tendency of their authors is however to dissociate themselves from ritualism. Emphasizing the quest for the salvation and spiritual welfare of the individual they go into the problem of the ,Soul' , that is the ,self' or the very core of the personality, which is essentially different from all phenomenal plurality. The hitman is identified with the Punira, the primeval man out of whom the universe arose. It follows that the Atrmn is also cosmic. According to Udddlaka Arum it is the subtle essence of all that exists. All the important potencies in the universe are said to be its manifestations. However, in these works . Htman and Brahman tend to fuse and the great teacher Ydjwavalkya concluded to their being identical. Ordinary men do not understand this identity, but the few who are able to arrive at this highly important insight gain the victory over the imperfections and contingencies of empirical existence. They experience the ecstatic and unanalysable condition of unity, the undifferentiated Plenum or Totality, the ,All'. They know that they are truly Brahman or Sarvam. Now, it is most important to attain to this condition, which implies the victory over death, before one is to die the worldly death. The man who dies without having escaped death will die again and again in the hereafter. Whereas the ritualists attempt to protect themselves from this much feared ,repeated death' by means of rites, especially by the construction of the Fire-altar, the teachers whose words are recorded in the early Upanishads ascribed the delivering power to the esoteric knowledge of the ,under lying theory', to the knowledge of the ritual-cosmic interrelations : the man who knows the relevant speculations will be released. This belief in the redeeming power of the rites and the ,theory' on which they are based was also of special importance with regard to the development of the Karman-doctrine. Thus ritual and spiritual identification with the One which is the Totality, the Primeval Being, the Creator, the Atman enables man by experiencing a transformation to conquer phenomenal time and death. (shrink)

This text deals with Moshe Idel’s perspective on the connections between Maimonide’s philosophy and Abulafia’s esoteric thought. Idel analyses their thinking under the aspect of their appearance, inter-relation, and inner dynamics. Idel’s analysis reveals that Maimonide’s attempt to issue an esoteric book, one that would give back to Judaism a lost esoteric science, gave a particular impulse to the development of Jewish mysticism, and especially to the ecstatic Kabbalah. Maimonide attempted to transform philosophy into a mystic instrument of understanding (...) the secrets of the Torah. This fact determined Abulafia to re-signify the Maimonidean thought and to integrate it into a limit experience of “unio mystica”. In this context, several aspects concerning the arcanization and the super-arcanization of philosophical and mystical texts are discussed. (shrink)

Recent developments in neuroscience that purport to reduce religious experience to specific parts of the brain will not diminish the fundamental cultural or legal standing of religion. William James debunked this possibility in The Varieties of Religious Experience when he noted that “the organic causation of a religious state of mind” no more refutes religion than the argument that scientific theories are so caused refutes science. But there will be incremental legal change in areas like civil commitment where (...) judges must sometimes distinguish between mental disorder and religious belief. The paradox is that the ecstatic religious experience of unorthodox individuals will fare less well in the courts than the beliefs of conventional groups, which is precisely the opposite of James’ view of authentic religious life. (shrink)

The act of dance appears as a pattern of conscious movements in space and time, but a dancer who has the ability to go beyond the limits of space and time (experientially) can bring about a non-local experience of oneself and the audience making it an ecstatic communion. In this paper, we are interested in examining the extent of subjective experience of a dancer and his audience; hence, we take up a case study in first-person to understand (...) the performer-audience interaction. For this purpose, we chose Indian contemporary dancer Astad Deboo, an artist who is known to create such a magical two-way interaction consigning his audience as well as himself to a state of being mesmerized. The art of creating a non-localexperience seems to be his forte, where the audience can feel him within, while he feels his audience within. To explain this phenomenon, we propose the resonance of inner experiential states of the performer and audience as the underlying mechanism that creates a non-local interaction between them. To validate the present hypothesis, one must subject both the performer and observer to experimental studies, which involve simultaneous tracking and monitoring of the active zones in the brain associated with performing and performance viewing. In the above context, it would also be interesting to see if there exists a point of time during the performance event, where both these subjects report similar active zones in the brain. (shrink)

The origins of genocide have been sought by scholars in many areas of human experience: politics, religion, culture, economics, demography, ideology. All these of course are valid explanations, and go a long way to getting to grips with the objective conditions surrounding genocide. But, as Berel Lang put it some time ago, there remains an inexplicable gap between the idea and the act of mass murder. This article aims to be a step towards bridging that gap by adding a (...) human dimension to the existing explanations. Building on Roger Caillois’s anthropological analysis of ‘war as festival’, Georges Bataille’s concept of society’s ‘excess energy’, and Emile Durkheim’s idea of ‘collective effervescence’, and connecting these terms to those used explicitly in relation to the Holocaust by Dominick LaCapra (‘scapegoating’ and the ‘carnivalesque’) and Saul Friedl‰nder (‘Rausch’ or ‘ecstasy’), I argue that prior to and during any act of genocide there occurs a heightening of community feeling, to the point at which this ecstatic sense of belonging permits, indeed demands, a normally forbidden act of transgression in order to ‘safeguard’ the community by killing the designated ‘threatening’ group. This article is a theoretical starting point aimed at stimulating discussion, in which I refer to the Nanjing and My Lai massacres and the genocides in Nazi Germany and Rwanda to show where empirical research is needed to illustrate this concept of ‘genocide as transgression’. (shrink)