Jung's motivation was to conduct a difficult "experiment" on himself consisting of a confrontation with the contents of his mind, paying no heed to the daily occurrences of his ordinary life. The journal entries continue over several following years and fill the next six notebooks. In these notebooks he recorded his imaginative and visionary experiences during the transformative period that has been called his "confrontation with the unconscious." These journals are Jung's contemporaneous clinical ledger to his "most difficult experiment", or what he later describes as "a voyage of discovery to the other pole of the world." He later termed the process "mythopoetic imagination".
Wikipedia links:
The Real (additionally: See also)
Metaxy (additionally: Metaxu; in poetry)
Blogs:
Laudator Temporis Acti by Michael Gilleland
The Socialist Industrial Union Program of Daniel De Leon
The Autodidact Project by Ralph Dumain
Quotations from antigonick.tumblr.com
Groupname for Grapejuice by Znore
RICHTIGE DAUERN
play a sound
play it for so long
until you feel
that you should stop
again play a sound
play it for so long
until you feel
that you should stop
and so on
stop
when you feel
that you should stop
but whether you play or stop
keep listening to the others
At best play
when people are listening
do not rehearse
UNBEGRENZT
play a sound
with the certainty
that you have an infinite amount of time and space
VERBINDUNG
play a vibration in the rhythm of your body
play a vibration in the rhythm of your heart
play a vibration in the rhythm of your breathing
play a vibration in the rhythm of your thinking
play a vibration in the rhythm of your intuition
play a vibration in the rhythm of your enlightenment
play a vibration in the rhythm of the universe
mix these vibrations freely
leave enough silence between them
TREFFPUNKT
everyone plays the same tone
lead the tone wherever your thoughts
lead you
do not leave it, stay with it
always return
to the same place
NACHTMUSIK
play a vibration in the rhythm of the universe
play a vibration in the rhythm of dreaming
play a vibration in the rhythm of dreaming and slowly transform it
into the rhythm of the universe
repeat this as often as you can
ABWÄRTS
play a vibration in the rhythm of your limbs
play a vibration in the rhythm of your cells
play a vibration in the rhythm of your molecules
play a vibration in the rhythm of your atoms
play a vibration in the rhythm of your smallest particles
which your inner ear can reach
change slowly from one rhythm to another
until you become freer
and can interchange with them at will
AUFWÄRTS
play a vibration in the rhythm of your smallest particles
play a vibration in the rhythm of the universe
play all the rhythms that you can
distinguish today between the rhythm of your smallest particles
and the rhythm of the universe
one after the other
and each one for so long
until the air carries it on
INTENSITÄT
play single sounds
with such dedication
until you feel the warmth
that radiates from you
play on and sustain it
as long as you can
SETZ DIE SEGEL ZUR SONNE
play a tone for so long
until you hear its individual vibrations
Hold the tone
and listen to the tones of the others
—to all of them together, not to individual ones—
and slowly move your tone
until you arrive at complete harmony
and the whole sound turns to gold
to pure, gently shimmering fire
KOMMUNION
play or sing a vibration in the rhythm of the limbs of one of your fellow players
play or sing a vibration in the rhythm of the limbs of another of your fellow players
play or sing a vibration in the rhythm of the cells of one of your fellow players
... of another ...
play or sing a vibration in the rhythm of the molecules of one of your fellow players
... of another ...
play or sing a vibration in the rhythm of the atoms of one of your fellow players
... of another ...
play or sing a vibration in the rhythm of the smallest particles that you can reach
of one of your fellow players
... of another ...
try again and again
don't give up
ES
think NOTHING
wait until it is absolutely still within you
when you have attained this
begin to play
as soon as you start to think, stop
and try to retain
the state of NON-THINKING
then continue playing
GOLDSTAUB
live completely alone for four days
without food
in complete silence,
without much movement
sleep as little as necessary
think as little as possible
after four days, late at night,
without conversation beforehand
play single sounds
WITHOUT THINKING which you are playing
close your eyes
just listen
Quotations (a too partial smattering
Which may as well go here as anywhere):
The glacier knocks in the cupboard,
The desert sighs in the bed,
And the crack in the tea-cup opens
A lane to the land of the dead.—Auden
One evening late in the war he was at the crowded bar of the then smart Pyramid Club, in uniform, and behaving quite outrageously. Among the observers an elderly American admiral had been growing more and more incensed. He now went over and tapped Teddie on the shoulder: "Lieutenant, you are a disgrace to the Service. I must insist on having your name and squadron." An awful silence fell. Teddie's newlywon wings glinted. He snapped shut his thin gold compact (from Hermès) and narrowed his eyes at the admiral. "My name," he said distinctly, "is Mrs Smith."—A. H. Clarendon [fictional author], Time Was [fictional book]
Meanwhile the great loa ... repeat their ultimate threat—that they will withdraw. And, indeed, very gradually, their appearances have begun to be rarer, while the minor deities now come often and with great aplomb. The Haitians are not unaware of this. They say: "Little horses cannot carry great riders." ... When they do appear, many of the major loa weep. Various explanations are given for this. But the loa presumably have vision and the power of prophecy, and it is possible that, with such divine insight, they sense, already, the first encroaching chill of their own twilight. It is not surprising that this should come. It is more surprising that it has not, already, long since passed into night. Yet the gods have known other twilights, and the long nights, and then the distant but recurrent dawn. And it may be that they weep not for themselves, but for the men who served and will soon cease to serve them. —Maya Deren, Divine Horsemen
AM I IN YR ROOM SO ARE ALL YR DEAD WHO HAVE NOT GONE INTO OTHER BODIES IT IS EASY TO CALL THEM BRING THEM AS FIRES WITHIN SIGHT OF EACH OTHER ON HILLS U & YR GUESTS THESE TIMES WE SPEAK ARE WITHIN SIGHT OF & ALL CONNECTED TO EACH OTHER DEAD OR ALIVE NOW DO U UNDERSTAND WHAT HEAVEN IS IT IS THE SURROUND OF THE LIVING
THE PATRON IS OFTEN DUMB WITH APPREHENSION FOR IT IS EXTRAORDINARY WHAT WE DO U COMMUNICATE THRU MY IMPARTIAL FIRE U MATERIALIZE WITHIN MY SIGHT AS FIGURES IN THE FIRE & A PATRON CALLED UP KNOWING NO SUCH DIRECT METHOD IS NERVOUS LEST HE EXPOSE TOO MUCH OUR TALK IS TO HIM BLINDING FOR OFTEN HE COMES TO OUR FIRE & HIS REPRESENTATIVE SITS LOOMING UP THE HOPE & DESPAIR THE MEMORY & THE PAIN O MY DEARS WE ARE OFTEN WEAKER THAN OUR REPRESENTATIVES IT IS A SILENT LOVE WE ARE IN A SYSTEM OF SUCH SILENT BUT URGENT MOTIVES U & I WITH OUR QUICK FIRELIT MESSAGES STEALING THE GAME ARE SMUGGLERS & SO IN A SENSE UNLAWFUL THE DEAD ARE MOST CONSERVATIVE THEY COME HERE AS SLAVES TO A NEW HOUSE TERRIFIED OF BEING SOLD BACK TO LIFE
& NOW ABOUT DEVOTION IT IS I AM FORCED TO BELIEVE THE MAIN IMPETUS DEVOTION TO EACH OTHER TO WORK TO REPRODUCTION TO AN IDEAL IT IS BOTH THE MOULD & THE CLAY SO WE ARRIVE AT GOD OR A DEVOTION TO ALL OR MANYS IDEAL OF THE CONTINUUM SO WE CREATE THE MOULDS OF HEAVENLY PERFECTION & THE ONES ABOVE OF RARER & MORE EXPERT USEFULNESS & AT LAST DEVOTION WITH THE COMBINED FORCES OF FALLING & WEARING WATER PREPARES A HIGHER MORE FINISHED WORLD OR HEAVEN THESE DEVOTIONAL POWERS ARE AS A FALL OF WATERS PUSHED FROM BEHIND OVER THE CLIFF OF EVEN MY EXPERIENCE A FLOOD IS BUILDING UP EARTH HAS ALREADY SEEN THE RETURN OF PERFECTED SOULS FROM 9 AMENHOTEP KAFKA DANTES BEATRICE 1 OR 2 PER CENTURY FOR NOTHING LIVE IS MOTIONLESS HERE OUR STATE IS EXCITING AS WE MOVE WITH THE CURRENT & DEVOTION BECOMES AN ELEMENT OF ITS OWN FORCE O MY I AM TOO EXCITED SO FEW UP HERE WISH TO THINK THEIR EYES ARE TURNED HAPPILY UP AS THEY FLOAT TOWARD THE CLIFF I WANT TO DO MORE THAN RIDE & WEAR & WAIT ON THE FAIRLY LIVELY GROUND OF MY LIFE I HAVE BUILT THIS HIGH LOOKOUT BUT FIND TO MY SURPRISE THAT I AM WISEST WHEN I LOOK STRAIGHT DOWN AT THE PRECIOUS GROUND I KNEW THERE IS AHEAD A SERIES OF PICTURES I BELIEVE I CD SHOW U TO MAKE CLEARER MY SELF & WHAT IT IS I THINK THE FORCE OF THE FLOOD HAS ONLY ADVANCED A DROP OR 2 DOWN THE FACE OF THE CLIFF & MAN HAS TAKEN THEM TO BE TEARS NOW U UNDERSTAND MY LOVE OF TELLING MY LIFE FOR IN ALL TRUTH I AM IMAGINING THAT NEXT ONE WHEN WE CRASH THROUGH IN OUR NUMBERS TRANSFORMING LIFE INTO WELL EITHER A GREAT GLORY OR A GREAT PUDDLE—Ephraim, 26.x.61
αἰὼν παῖς ἐστι παίζων, πεσσεύων· παιδὸς ἡ βασιληίη.
Time is a child, playing a board game: the kingdom of the child.—Heraclitus
The wind gives me
fallen leaves enough
to make a fire—Issa
He put on a suit of armour set all over with sharp blades and stood on an island in the river. The dragon rushed upon him and tried to crush him in its coils, but the knives on the armour cut it into little pieces which were swept away by the current before the dragon could exercise its traditional power of reassembling its dismembered parts. Lambton had sworn that if victorious he would offer in sacrifice the first living creature he came upon, and had arranged for a dog to be set loose to meet him. But his old father, overjoyed at his success, tottered out of the castle ...—John Michell, The View Over Atlantis
October 18, 1949
Dear Jim,
In Geneva it is a habit that all strangers have their silhouet done,
and so one afternoon I went to a sitting for mine.
Tonight we are going to leave this nice old city, and I will write you as soon as I am home again. Here
I have spent my time travelling on the lake in fast white wheel-boats, reading Keats and Byron, and
wandering through the narrow streets which are full of small dark bookshops. We went to a concert with
Furtwängler, and to another with Ansermet. It is very pleasant to stay here
best wishes
Hans—Lodeizen, on the back of his "silhouet"
... désir ... des tempêtes, désir de Venise, désir de me mettre au travail, désir de mener la vie de tout le monde ...—Proust
... the famous grotto. Here Pope had constructed a private underworld ... encrusted ... with a rough mosaic of luminous mineral bodies ... On the roof shone a looking-glass star; and, dependent from the star, a single lamp—'of an orbicular figure of thin alabaster'—cast around it 'a thousand pointed rays'. Every surface sparkled or shimmered or gleamed with a smooth subaqueous lustre; and, while these coruscating details enchanted the eye, a delicate water-music had been arranged to please the ear; the 'little dripping murmur' of an underground spring—discovered by the workmen during their excavations—echoed through the cavern day and night ... Pope intended ... that the visitor, when at length he emerged, should feel that he had been reborn into a new existence.—Peter Quennell, Alexander Pope
But were it not, that Time their troubler is,
All that in this delightfull Gardin growes,
Should happie be, and haue immortal blis,
For here all plentie, and all pleasure flowes,
And sweet loue gentle fits emongst them throwes,
Without fell rancor, or fond gealosie;
Franckly each paramour his leman knowes,
Each bird his mate, ne any does enuie
Their goodly meriment, and gay felicitie.
There is continuall spring, and harvest there
Continuall, both meeting in one time:
For both the boughes doe laughing blossomes beare,
And with fresh colours decke the wanton Prime,
And eke attonce the heauy trees they clime,
Which seeme to labour vnder their fruits lode:
The whiles the ioyous birdes make their pastime
Emongst the shadie leaues, their sweet abode,
And their true loues without suspition tell abrode.—Spenser
Geh' hin zu der Götter heiligen Rath!
Von meinem Ringe raune ihnen zu:
Die Liebe liesse ich nie,
mir nähmen nie sie die Liebe,
stürzt' auch in Trümmern Walhall's strahlende Pracht!—Wagner
The powers have to be consulted again directly—again, again and again. Our primary task is to learn, not so much what they are said to have said, as how to approach them, evoke fresh speech from them, and understand that speech. In the face of such an assignment, we must all remain dilettantes, whether we like it or not.—Heinrich Zimmer, The King and the Corpse
There are many good literary studies of Joyce, but the best introduction to Finnegans Wake is probably Dr. Stanislaus Grof's Realms of the Human Unconscious, a study of the head spaces experienced under LSD. In particular, Grof's term "coex systems" should be understood by everybody who writes about Joyce or tries to read him. A "coex system" is a condensed experience montage. E.g., you are reexperiencing the birth process, remembering prebirth interuterine events, reliving ancestral or archaeological crises of people/animals from whom you are descended, seeing the subatomic energy whorl from which Form appears, previsioning the Superhumanity of the future, and suffering horrible guilt over your unkindness to another child when you were four years old . . . all at once!
Critics have tried to explain Finnegans Wake by means of Freud and Jung, but Joyce was a quantum jump ahead of the psychology of his time. Everything in Finnegans Wake is a coex system in Grof's sense. We can only understand it in terms of the latest findings in neurology, genetics, sociobiology, and exopsychology. To learn to read Finnegans Wake with ease and pleasure is to learn to think with your whole brain, "conscious" and "unconscious" circuits included, in holistic coex systems.
— Robert Anton Wilson, The Illuminati Papers
"Eros and Thanatos: Freud's two fundamental drives"
by Timofei Gerber
"Freud on The Subject/Object Division"
by John C. Brady