Tag Archives: writing

… what writers can glean from cinematographers …

Like writers, filmmakers manipulate time. They take a story apart and re-assemble it.

Robert Bresson, inquisitor and humanist, stimulated filmmakers and enriched the experience ofrobert-bresson2 viewers. With a tiny leap of the imagination his ‘Notes on the Cinematographer,’ publ. by Quartet Books in 1986, transl. from the French by Jonathan Griffin, also offer inspiration to writers of stories. Here are a few  brief notes I collated during my vocational film degree in the early 90s:

An image is transformed by contact with other images as is a colour by contact with other colours. A blue is not the same blue besides a green, a yellow, a red. No art is without transformation.

For the writer – this would apply to action and reaction, resonance or dissonance, anything that develops the dynamic interactions of a narrative.

img108 adjustedTo create is not to deform or invent persons or things. It is to tie new relationships between persons and things which are, and as they are.

This equally holds for writing. Characters discover themselves through relationships.

Something that failed can, if you change its place, be a thing that has come off.

If a writer’s darling idea distracts in one place, in another place it may earn its stay.

One dismantles and puts together till one gets intensity.

This reminds me of a Goethe quote … Dich im Unendlichen zu finden, must unterscheiden und verbinden … To find yourself in infinity you must differentiate and combine … Details works best if they have a purpose in the protagonist’s quest, especially when it comes to turning points.

An old thing becomes new if you detach it from what usually surrounds it.

This is what creativity is all about. Entrepreneurs seem to grok this.

What is for the eye must not duplicate what is for the ear (within.)

This serves as a reminder not to overwhelm a reader with sensual information.

The cause which makes him/her say this sentence or makes that movement is not in him/her, it is in you. The causes are not in the models. On the stage and in films the actor must make us believe that the cause is in him.

A one-up on the ‘show don’t tell’ writing mantra. Both telling and showing have their place, though we connect to a character more intimately through being shown the interactions with him/her self and others.

The omnipotence of rhythms – nothing is durable but what is caught up in rhythms.

We love rhythm. It measures time and gives coherence, while a counter rhythm can surprise and quicken our heartbeat. In film as in writing this might be the repetition of quirky character traits, tone of voice, tempo, mood, atmosphere, or reoccurring shifts in style and perspective, in the way we enjoy how adagio and presto in music enhance each other.

P1090890 - Copy (2)Translate the invisible wind by the water it sculpts in passing.

This ventures into the domain of poetry …  the ongoing challenge to find ways to express in words or images what rushes past us in daily life, but nevertheless affects us deeply.

The eye is (in general) superficial, the ear profound and inventive. A locomotive whistle imprints in us a whole railway station.

This is about trusting the imagination of the viewer, or reader.

Let the cause follow the effect, not accompany it or precede it.

Robert Bresson shares: The other day I was walking through the gardens by Notre-Dame and saw approaching a man whose eyes caught something behind me, which I could not see: at once they lit up. If, at the same time I saw the man, I had perceived the young woman and the child towards whom he now begun running, that happy face of his would not have struck me so; indeed I might not have noticed it.

Build your film on white, on silence and on stillness.

Profound. Allowing a unique story to emerge requires intuition, and an inner kind of listening.

*     *     *

A touching interview of R Bresson. And some video clips relating to cinema, including hand gestures R Bresson used in film.

As writers, how do we move a story from one setting to another?

In film, a sudden jump of scene is kind of lazy, unless intended to shock. In writing, too, there are more elegant ways to transit from one place, or time, to another, mainly through matching parallels or correspondences. This could be: A keyword in a dialogue repeated in the next scene, or a similar action, direction of movement, speed, light, colour, shape, sound or mood. It could also be an artificial device, featuring a narrator, or a recurring (out of time) interlude which can form the spine for the narrative.

I have time-jumps in my novels (yet to be publishend.) It remains to be seen whether they work.

Regarding spatial/temporal suspensions of linearity, I remember the beginning of the film Space Odyssey 2001. A victorious ape, having discovered a bone can be a weapon, spins his tool high into the air … time leaps … and next we see a spinning space station, shaped like the femur bone.

More recent, in the TV series The Last King – 1st episode, a time leap works well … The Saxon boy, Uhtred, captured by Danes and taken under the wings of Earl Ragnar, is pushed by him playfully into a river with the words ‘You’re as a son to me.’ In the next scene Uhtred steps out of the river as a grown man, albeit with conflicting localities.

*    *    *

On a personal note, as my life’s narrative is concerned, having made professional sacrifices ten years ago, in order to write, I wish I could shift to a scene and time that did not involve worrying about keeping my roof over my head.

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… the system seeks advice on a faulty human …

Wheelborough - Copy

A tad comical article about auto-piloted cars tickled my imagination. Billions are invested towards finding failsafe systems that will eradicate human weaknesses, for our own good, to keep us out of trouble. Given the comments under the linked BBC article, people seem to trust technology more than their fellow mortals. Besides, as things are going – obey and be insured.

I was inspired to write a quirky 180 word micro/vignette …

*    *    *

I wake from troubled dreams, having overruled my programme last night, exceeding recommended wine units. Cheating harms my insurance record. Devices linked to the microchip in my arm start talking. My toothbrush warns of reduced compensation for dental work should I skip procedures. The coffee machine burbles, adjusting caffeine to my metabolic rate. The wall screen chirps, ‘Don’t think, trust the links,’ followed by news edited for stressed nerves. My car purrs, ‘Maintenance appointment,’ then drives me off, while I sit back and endure its placid voice reminding me of deadlines, birthdays, supplies to order, lapses regarding procedures.

Jackson Pollock

                            Jackson Pollock

Seemingly alert to my irritation, the voice suggests mild anti-depressants, adding, ‘I detect irregularities,’ and … after a pause … resist unplugging from the system, it will wipe all your Brownie points.’

The last straw, devices are not supposed to get personal, are indeed prohibited from reading my mind. I inform the maintenance crew. ‘My car requires a full test for irregularities. No hurry. I’ll be going for a stroll.’

In my secret retreat is a mirror that brings in the sky.           *    *    *

Elba travels - lower

 

The system does a google search … Lost contact with a faulty human – seeking advice …

… All our lines are currently busy, please hold …

 

Maybe you feel inspired to write a micro something on the theme of automated systems :)

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… cats …

I had various pets I cared for as a child, among them talking parakeets, hedgehogs, crows, snakes, mice, and dogs – but never cats. Actually I wanted a horse, but it never happened.

Cat, Yesh &SuzukiThen came Somerset, and I thought my young son would enjoy a cat. He did.

We called her Suzuki. I must have been into Zen … ‘Enjoy your problems’ – that kind of thing.

Cat, Suzuki with Buddha, bliss - Copy

As you can see, Suzuki had leanings to our stone ‘Budai,’ drawn to its lucky charm and its loving nature, easing her through tough moments … as you can also see.

Cat, Yeshen, Suzuki's lot

To catch mice in the ancient cottage we lived in was beneath her. She gifted us with other creatures. One summer, after returning from a trip, during which time our kind neighbour fed Suzuki, the wool fleece rug in our bedroom looked at first pristine and welcoming, but the moment my bare feet stepped on it my legs were jumped upon by armies of tiny, shiny armoured flees. Par chance I spotted a pack of post-it-notes on a Chester drawer and an ‘aha’ moment occured. I peeled off the pests amass from my skin with the sticky stripes, stomping about for a while, so none should be left out. I recommend sticky stuff for emergencies; it works, among other tricks I soon learned about.

Then came a time when we moved from home to home while in transit towards Surrey. In one such charmed place Suzuki distinguished herself as baby rabbit catcher. Never a killer, she plonked the fluffy bundles on the living room floor, where they sat, stunned and motionless … there you are, a present … We freed the bunny back into the neglected orchard of the property, but it soon returned, carried gently at the scruff of its neck by Suzuki. This happened innumerable times, likely with the same bunny, over and over. I wondered whether it was born into the wrong body, and was truly a cat – or our spayed cat was truly a rabbit in want of babies. We’ll never know. Unsure where we would end up, we left beautiful Suzuki with a woman who adored her. My son was upset, and only partly reconciled by a teddy friend.

Teddy 5

Cat, Amber136Entering a more settled phase in Surrey, we adopted a ginger rescue cat, Caspar, who appeared dour and joyless, most likely due to distressing experiences. My attempts to create rapport were unsuccessful. One day he simply disappeared, and I blame myself to this day. In due time, I searched and found Amber, a gorgeous tabby kitten. Slow in having her spayed, she produced offspring, giving birth in the living room, an unexpected and magical event, while I had friends over. The three in the litter were very different, in looks and temperament. The first and last born kittens found homes. Cat, Jetty and Tulips - lowerMy son thought it best to let the children, accompanied by their parents, choose, so we ended up with the middle born, sleek, black, and with a lovely tranquil nature. We named her Jetty. I linked with her in grief when Amber was sadly run over in the street a few years on.

Jetty lived to be 16. She died on my birthday a few years back. When Katia, a writer friend, posted her experiences with cats  –  it saddened me to hear the story of the sudden demise of her companion. Genie reminded me of Jetty, which sparked this post, in honour of her friendship.

Cat, crop - smaller - CopyHow to describe the deep bond we can form with an animal? Is it our need for acceptance, totally reciprocated from a creature that has all its needs for shelter, food and attention met? I think that’s a flatlander’s view. All meaningful connections happen beyond rational thought, in other spheres. Animals are sensitive to vibrations beyond our clock time awareness, often knowing of events before they happen, which is why they can warn and protect us. And because their senses are wide open to fine energies, as well as vulnerable to harmful ones, we, too, are moved to protect them.

We humans are urged to be clever and become quickly absorbed in the ongoing evolution of the rational mind. Animals can teach us to stay closer to nature, the most powerful text of life. And they maintain a strong link to dimensions we frequently lose, where all experiences mingle in the ever expanding pool of universal consciousness. With all our specialness, nature is indispensable to us. An animal friend whose intelligence detects moods and intentions, cats are particlularly good at this, can show us any moment, as in a mirror, our true state of being.

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“That’s the great secret of creativity. You treat ideas like cats: you make them follow you.” – Ray Bradbury – Zen in the Art of Writing

“I love cats because I enjoy my home; and little by little, they become its visible soul.” – Jean Cocteau

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… dreams …

Photos by Ashen

Photos by Ashen

I used to host regular dream groups. We did not so much set out to analyse our dreams, but we played with them by engaging with their images, characters and objects. Sometimes we enacted scenes to widen associations and deepen our insights. While there is some excellent literature on working with dreams, a lot of it is boring, misleading and superficial. For me, the main purpose of valuing dreams lies in befriending the unconscious and the bringing to light what is timely and meaningful.

When we have no obvious explanation for events, dreams may bring subtle messages, offering glimpses of dynamics usually hidden from our awareness. A staggering 90 percent of personal and collective psychic dynamics trigger and compel our actions in life, and for good reason. The self-regulating psyche protects us from too much awareness. When encouraged, respected, and left to do its work, much like the immune system, the psyche can encapsulate runaway viruses of the mind by blanking out anxieties and obsessive thoughts, unless a trauma results in an ongoing inner storm. The processing of traumatic experiences is vital for the health of the individual, the family, the tribe, and our collective psyche. Something equally important to consider is that as adults our natural childlike curiosity about life may have become flattened by engrained habits and obsessive needs for security and control, both diminishing the meaning of our lives.

Note: Each embedded link here will not lead you away from this post but bring up a fresh page.

In an earlier blog post Joe Linker’s comment led me to an article by Oliver Sacks on altered states in The New Yorker  where Sacks pointed out a long tradition of ceremonial drug-use to stimulate the brain. Drugs certainly relax jaded attitudes by activating the senses and bringing insights and fresh perception. Sacks, and many like him, were admiringly fearless and creative, before there was a clamp down on drugs and they became illegal.Dreamseries 2

In dreams as in trance, induced or not, the mind can kick up imaginal representations of feelings, and metaphors. We shift to another realm, escape the logical structure of time and also tap into the collective psyche. We may hit a T junction, one path leading to an illuminating visionary state and the other to a schizophrenic state of confusion, which is why science sticks with rationality and is generally not keen on the imagination. The question as to what pulls us towards Heaven or Hell has no easy answer, yet all inner state, when approached with respect, patience, and most of all, wisdom, can have a healing and effect on our personality, and, in instances, as we know, result in significant works of art.

Dreamseries 3

Freud’s iceberg metaphor illustrates that our individual psyche swims like a mountain of ice in a vast sea, only to reverse into its fluid state once its coherence dissolves back into the sea. As a simple and more intelligent map of various unconscious states I prefer the egg diagram by Alberto Assagioli, the founder of Psychosynthesis.

Active imagination is a gentle way to befriend the unconscious and build bridges towards consciousness and daily life, and a way to explore dreams without messing with the dreamer’s unique meaning. I share here some practical tips:

Remembering dreams:

You can ask for a dream, especially when you feel stuck and ponder a question. You might even write the question on a slip of paper and put it under your pillow.

Try not to move your head after noticing a dream. Place holds memory.

Have a notepad and a soft pencil next to your bed, maybe a microlight, so you can scribble down a memory facet before fully crossing the threshold into waking. Even a single image, phrase, number, colour or feeling can act as a key for recalling a dream later on.

To catch a dream – try disrupting your sleeping pattern with an early alarm clock setting.

Experiment with your head position while sleeping – north, east, south or west.

Towards understanding dreams:

The psyche does not care about logic. The meaning of a dream may however unfold like a seed when we attend to its poetry and rhythm.

Ask yourself … how do I relate to the characters or objects of a dream? What feelings and sensations are evoked? In what context did the dream arise? How does it relate to my present situation?

Write a story or make sketches of the images. Tiny fragments can offer connections via free associations.

Give a voice to the characters and objects appearing in the dream. What do they want? Allow them to express their thoughts and feelings. Such dialogues can reveal surprising insights.

Change the script, create a different outcome, face down a fear or a shadow and follow through to what wants to happen. This approach can move a dream to a different level of understanding.

Ask yourself: Where does the energy want to go? What is emerging?

Dreamseries 4

 

Dreams express the voice of the soul; they are our contact with our deepest self, our inner substance. The mere act of recalling, experiencing and consciously honouring our dreams connects us with our real selves and awakens previously unavailable levels of creativity and vitality, even without interpretation.

Carl G Jung

A related post on altered states.

And if the subject of dreams interests you, here are some more links:

Edward C Whitmont was a Jungian psychoanalyst, who deepened my understanding of the psyche through his exceptionally clear writing. His books may be out of print, which would explain why they’re so expensive:  Dreams – a Portal to the Source and The Symbolic Quest

Other excellent authors to look out for, apart from Jung, are Anthony Stevens, Private Myths – Dreams and Dreaming, and Marie-Louise von Franz – The Interpretation of Fairy Tales.

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… To Witness Daisies and Earth Rise …  

1968 Earth Rise, Apollo Mission 8

1968 Earth Rise, Apollo Mission 8

A change in collective attitudes often takes momentous events. While the moon-landing of 1969  was mildly underwhelming, the image captured in preparation for the American eagle’s landing, a year earlier, was immensely moving – revealing a vastly expanded mirror to our home that spoke then, and speaks now, directly to our physical and spiritual senses. Guiseppi Ungaretti had fitting words …

‘What are you doing earth in heaven? Tell me what are you doing silent earth?’

With hindsight we can see how major historic events are being incubated years in advance to their happenings. Artists have a knack for shocking us before a message becomes endorsed, which is why I connect the film  ‘To Witness Daisies’ (1966)   with the earth-rising image, both testing limited perceptions.  A click on the title should bring up the movie on your tube.

Věra Chytilová

Věra Chytilová

Not unlike the awesome view from outer space,  Věra Chytilová presented an equally powerful pointer to our poor stewardship of earth. Initially forbidden in the former Czechoslovakia, her tragic comedy was released two years before the Prague Spring, and two years before the earth-rise image promised a new respect for nature. I hoped for a greater understanding of cosmic interconnectedness, and an assessment of the fear-based need to subdue and control the wild, the primitive, the imagination, soul … all the ignorant projections on the feminine principle, which, I think, are responsible for spoiling our planet and wounding the psyche of men and women.  Film critics felt uncomfortable with Věra Chytilová’s controversial, iconoclastic statement on the demeaning role assigned to women in our cultures. Niels Bohr expressed, ‘As long as an atom is not seen it does not exist, it is a ghost.’ To me, this implies that seeing, individually and collectively, is an active process, influencing the reality of our existence.

The Daisies

The Daisies

Watching ‘To Witness Daisies’ for the first time in 1994, I was struck by its theme of psychic starvation – sharply relevant today – and the insanity of societies where women are kept in an infantile state so as not to threaten male supremacy. The symbolic power of the film’s images, with their rhythmic and gradually peaking orchestration, creates a timeless sphere of magical reality, where meaning is expanded and revealed. The opening sequence of the film gives the context. A mechanical wheel turns relentlessly to the sound of regular drumming. The scene is interspaced with silent images of war, bombs exploding, mainly into the sea, symbolically representing the mother of all life on earth. Next, the frame shows a sun-deck by a pool. Filmed in black and white, the deck re-appears as a transitional stage. and one could add, a place at the edge of the personal unconscious. Here a question is voiced, ‘What next?’ The two teenage girls wear bikinis and their movements are mechanical, like the wheel. The sound indicates a lack of oil in the system, and the funfair trumpet played by one of the girls suggests a flat and mocking victory.

Posing for the Collector

Posing for the Collector

The outlook is set. ‘I’m a doll, everything is been spoiled in this world.’ And, as a way out of boredom, ‘If everything is being spoiled, we will be spoiled too.’ The decision to mirror a spoiled world is made, a death wish gains momentum. Daisy Blond wears a daisy chain and uses it at intervals as divination device. When the chain is thrown out of the frame, it lands on water and signals the next mise-en-scène, like a Garden of Eden where the girls dance, and where Daisy Blond picks the legendary fruit, affirming ‘their kind’ are products of a biblical myth with politically useful interpretation that prevail.

The end-feast

The end-feast

Film critics felt uncomfortable with Věra Chytilová’s controversial, iconoclastic statement about the role assigned to women in our cultures. Acted by Jitka Cerhová and Ivana Karbanová, the Daisies have various names throughout the film. I call them Daisy Black and Daisy Blond, though they are one and the same, since their communication resembles an internal dialogue trying to deal unsuccessfully with a moral conflict that offers no bridge between good and bad. To Daisy Black nothing matters, she has a timeless distance to things, everything is a game. For Daisy Blond, the extrovert, hunger makes food a central theme of the film – hunger in the sense of wanting to fill her sense of emptiness with substance. I won’t venture into psychology, but it’s easy to draw a connections to the Anorexic symptoms many young women suffer from.

During a film degree course in 1994, I wrote a long essay on ‘To Witness Daisies.’ Unable to transfer the old Mac files when switching to a PC with internet connection, many essays need re-typing, which I hope to achieve once other projects are out of the way. For now, I thought I inspire you to watch the film – and maybe share your thoughts about it.

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… leaving – returning …

the father tree

the father tree

to reshuffle thoughts

a short journey is enough

leaving – returning …

legends undulate

in glowing brittle wood – sighs

from swaying branches –

 

 

Jasmin blessings

Jasmin blessings

 

Jasmin on the breeze

laments of grief in the rain –

ancestors speak

first sounds glide on ice

circling the affirmative

leisurely routine

 

my beloved Alps

my beloved Alps

 

between dusk and dawn

all words sink to un-squared time

rounding in fish eyes

as poems probing

the deep meshes of oceans

for heart connections …

 

‘What else, when chaos draws all forces inward to shape a single leaf …’  C. Aiken

Visiting my early landscapes, friends in Munich, my father of 97, with my son, whose work in London means I rarely see him,  was a rich experience. I had to capture the essence in a poem, which started out in German:

In der Dämmerung glänzt Gold aus der Wurtzel

Gedanken gleiten auf Eis in Kreisen herum

doch manche sinken in die Tiefe um

im Wassergewebe nach Erinnerungen

zu fischen … Gesichter ziehen vorbei 

in sanften kalten und warmen Wogen …

I’ll work on this, inspired by a writer Herta Müller – (English translation on screen) introduced to me by friends whose guest I was in Munich. Anyone fascinated by language will be moved. Also this article in The Paris Review   I am presently reading ‘Mein Vaterland war ein Apfelkern,’ a remarkable dialogue.

Louise Bourgeois at 'Hause der Kunst.'

Louise Bourgeois at ‘Hause der Kunst.’

 

In Munich’s ‘Haus der Kunst’ I visited a wonderful exhibition of Louise Bourgeois (1911 – 2010) an artist I much admire, whose installations about the Cells of Structures of Existence are deeply impressive.

Londoners my have seen her huge spider on display in the Turbine Hall of Tate Modern. I wish I had cheated and made photos of her beautifully arranged installations in the generous spaces in Haus Der Kunst.

 

bar at 'House der Kunst.'

bar at ‘House der Kunst.’

To compensate, here is the wonderful golden bar at the ‘House der Kunst.’ And returning home – a blue invasion.

a blue invasion

a blue invasion

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… surfacing …

surfacing

Segment of 'The Magician,' a painting by Silvia Pastore

Segment of ‘The Magician,’ a painting by Silvia Pastore

her nocturnal creature mourns as meshes of  night disband the Other of her dream into strands that flow like oil colours –

marbling still waters under grey or rain-bowed sky as canvas for inventing random patterns of each day

beneath the mirrors an ever-turning gyre of souls in deep wordless liaison keeps churning the ocean

her inward creature drifts through curls of emptiness sifting strata of seasons

to gathered wisdoms of the human heart

its patina of touch and wear

sediments of ache and bliss

its gilded secret

cypher for another Eden

from which her inversed image falls

to the next fluid mirror always desiring the Other …

Ashen 10th July 2015

Maybe needless to say, just about everything I post here is relevant to my novels.

In relation to the poem, I thought you might enjoy the fascinating Art of the Marbler https://www.youtube.com/watch?v=Vyga8VMWXKg

And a short introduction to The Churning of the Ocean of Milk https://www.youtube.com/watch?v=MItyUwPAjLA

The segment of the Magician image is the work of a fine painter, Silvia Pastore http://www.silviapastore.com/ … Time and space are illusions …  Having obtained the copyright of the Magician as a cover for ‘Course of Mirrors,’ it seems my publisher, who I re-signed a contract with, has other ideas. I love Silvia’s work, but will remain open to suggestions, as long as my first novel is launched within the year. It’s been sitting quiet since 2011. Maybe all good things take time. A sequel is waiting in line, and I’m working on a third book in the series.

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… a cartography of the psyche …

Celestial Rose - Gustave Doré

Celestial Rose – Gustave Doré

My novels (yet to be published) are inspired by transpersonal incidents I experienced, even as a child. Learning that I was not alone with my interpretations of what happened to me during so-called non-ordinary states of consciousness was a great relief, when during the 70s and 80s I explored, in practice and theory, the major maps of psychology. Jung’s ideas especially rhymed. After training with Psychosynthesis, my interest turned sharply to innovative transpersonal approaches, myth, archetypal psychology, and contemporary science.

People who inspired me were Abraham Maslow, Gregory Bateson, David Bohm, Joseph Campbell and others, many who happened to be among the same people Stanislav Grof met and was supported by when he devoted his life to map the experiences of non-ordinary states of consciousness.

For the first ten years Grof did psychedelic research in Czechoslovakia. By the 70s he had found a family of open-minded scientists and enthusiastic supporters at the Californian Esalen Institute. Since the use of psychedelics became illegal, he developed the Holotropic Breathwork, together with his with wife, Christina.

Around this time I found my own, smaller family of mind and heart in England, where Fazal Inayat Khan saw the huge potential of what was to be the transpersonal psychology movement initiated in Esalen. Fazal involved his students in experiential approaches to self-development, an endeavour that brought him into conflict with the traditional Chisti Tariqa his grandfather Hazrat Inayat Khan had established in the west as Sufi Movement, which Fazal represented at this point. I co-edited ‘Heart of a Sufi,’ a prism of reflections on Fazal by his students. Here is a previous post https://courseofmirrors.wordpress.com/2013/03/16/a-rare-book-now-on-line/

Grof sees global consciousness evolving through an increasing number of individuals achieving inner transformation, and considers symptoms of spiritual emergence (often seen as mental illness) as part of a healing process needing to be lived through, not supressed. This totally chimed with me.

Obviously, such a project does not attract investment. Shareholders look to own a brand, a patent, a method, a franchise. Many innovations are lost, since the way ideas and things hang together is not finite, but dance in ever new combinations. Also, in areas of specialised and fast-changing knowledge practitioners can become so absorbed with new discoveries and concept that they tend to forget about lay persons who might not be able to grasp the newly coined language, or won’t take the time to look at other fields of knowledge. A major insight may be broadcasted ahead of its time and spark endless quotes but no understanding. Some messages cry for a new context, where insight, beauty and meaning can be shared through passion, combined with apt metaphors, like a fine tune can travel through the heart and make it shiver with the recognition of new connections. Often it’s a matter of waiting for an idea to fall on fertile ground.

Assuming my readers represent a fertile island in this vast internet ocean, I would be amiss not to share what inspires and influences my writing. Few people are familiar with transpersonal psychology; let alone with the work of Stanislav and Christian Grof, so here a short (promise) introduction.

Born to parents that care for us, or not, into environments that encourage or hinder our development, usually both, we learn (hopefully) to understand that our attitude towards ourselves and the world is coloured by early experiences, and fixed further by our reactions to what happens to us. The psychological maze we lay down is difficult to walk away from, because it pops up from inside wherever we go. An interest in our personal history and the willingness to explore our behaviour certainly help to make life easier.

However, there are memories we can’t access intellectually.

They are perinatal impressions, which don’t necessarily end in a triumph that promise self-confidence and later success in life. Western psychology does not take somatic imprints happening in the womb, during birth, and after birth, serious. The assumption is that the cerebral cortex of an infant lacks the myelin sheaths on neurons, so the brain can’t be sufficiently developed to record experiences, this, irrespective of the fact that memories reside in our cells and muscles.

The powerful non-ordinary states people experience during Grof’s perinatal holotropic sessions often relate to a time before, during and after birth. Participants report strong sensations and images of a mythological and archetypal nature that live in the collective psyche and significantly shape our individual myths.

From the people bringing alive perinatal imprints during Grof’s workshops, he has mapped the Birth Matrixes, which shed a bright light on symptoms medicine tends to label as psychotic and usually supresses with counterproductive drugs, whereas Grof looked at symptoms as a healing attempt of the psyche.

This fear of the imagination questioning accepted realities also explains the ambivalent attitude of our culture towards the arts, though it’s no secret that the archetypal myths populating our psyche inspire our most renowned artists.

Dore - public-domain-image

Dore – public-domain-image

To guide a person through a phase of psychotic or transpersonal emergency without suppressing drugs requires a paradigm shift that has, as yet, not happened, which is why Grof’s considerable data of experiential work has been tucked away in the transpersonal section of psychotherapy, seemingly too esoteric to grapple with. Early imprints, though decidedly physical, create powerful condensed experiences that draw upon themselves alike situations. Much like self-affirming prophecies, they constellate throughout every phase of life, from infancy to adulthood. Such early imprints are the source of the psychology and psychopathology of ecstasy. Please note – the types of ecstasies I show below, are only clipped markers and in no way convey the richness of the material Grof presents, which he divides into Basic Perinatal Matrixes (BTM 1, 2, 3 and 4) that include related psychosomatic problems and periods of depression people struggle with.

  • Oceanic or Appollonian ecstasy, cosmic consciousness, symbiotic union with mother during intrauterine existence, and during nursing. Expressions of this state in the arts radiate purity and serenity.
  • Volcanic or Dionysion ecstasy, orgastic sexual energies, orgies, pain and rapture. Dangerous activities, sensual and instinctual aspects of life. Think o the surrealist freeing their imagination in ways that powefully speak to us all.
  • Illuminative, Promethean ecstasy, proceeded by agonising struggles and intense yearning for answers, followed by divine lightning that brings entirely unexpected solutions, cosmic inspiration and insight.

When feelings emerge during the remembrance of the birth process, be they nightmarish,like EdgarAlanPoe’s A Descent into the Maelstrom: http://en.wikipedia.org/wiki/A_Descent_into_the_Maelstr%C3%B6m  or blissful, like in Gustave Doré’s Celestial Rose, image above, the opportunity such symbolic images provide for deep psychological work is invaluable. 

Given the complexities around birth, why are not all babies delivered by pre-planned C-section?  http://en.wikipedia.org/wiki/Caesarean_section   A fascinating page, if you have the time to read it. Knowing people whose delivery was pre-planned as C-section, I observe a surprising feature. If in trouble, they shout for help, and usually help comes …  expectation does its magic. When being whisked from the womb before the struggle through the birth canal commences, struggle is simply not familiar, nor, of course, the potential sense of liberation. By contrast, many people have difficulties asking for help, fearing the distress of not getting help. I include myself in this category. A recent comment I left on Jane Alexander’s blog touches upon a personal experience, an early imprint that had a decisive impact on my life. As an example, I elaborate …

… I patiently endure scarcity for long stretches, until the energy switches and everything happens at once. Then I tend to surrender to the flow, or I would feel overwhelmed.

When I was pregnant, I discovered a connection to these periods of extreme scarcity and abundance in my life, leading back to an incident after my birth. Knowing I was breastfed for many months, I asked my mother on the phone to tell me about my birth. She related my birth was long and exhausting. The midwife suggested my mother needed a break. She took me to another room where I cried myself to sleep. ‘It’s good for her voice,’ she insisted. But, of course, I must have missed my mother’s heartbeat.

While listening to this story on the phone, I observed the skin around a silver ring I was wearing turning black. Heat flashed through me, of rage, for which I had no words. By way of apology my mother said it hadn’t felt right and she should have resisted the midwife. Then she went on to describe how, next morning, I was taken to her very full breasts, at first acting stupid but eventually drinking until I could drink no more. 

In later studies I learned about Stanislav Grof’s birth matrix maps, how condensed experiences draw onto themselves alike experiences, like self-affirming prophecies. Certain expectations are set up very early indeed. This made sense and helped to soften the pattern of my extreme life phases somehow. 

So there – now you know my autogenic secret. In the end, our vastly different conditioning makes us into interesting people :) not mass produced and pre-packed, as it were

Bringing to awareness the unconscious somatic patterns underlying our existence offers us choices to respond rather than react to situation. As a collective, we swim together in a psychic ocean that is both threatening and benign. We regress and progress together, each of us bringing our little light towards the expansion of consciousness. Let’s not buy into the shallowness of our material age, but keep the conversation going.

Here Stanislav Grof speaks for himself – Psychology of the Future –                                  https://www.youtube.com/watch?v=rI5oG-WNqvM

If you who would like to explore the maps Stan created, and the images that illustrate the in-depth experiences of people who encountered powerful feelings during a typical re-birthing experience – which enlighten the source of our idiosyncrasies and some of the most prevailing human pathologies, I would recommend Grof’s book ‘Beyond the Brain,’ Birth, Death and Transcendence in Psychotherapy, published 1985 by State University of New York. The book does not offer a simplified and popularised version of Grof’s work but significantly challenges our global policies, and the seriously outdated neurophysiological model of the brain, showing the reach of consciousness beyond time and space.

… ultimately we cannot do anything to other people and nature without simultaneously doing it to ourselves …

A post from 2012 that maybe relevant:                               https://courseofmirrors.wordpress.com/2012/05/25/pattern-which-connects/

Incidently, yesterday I attended a talk called ‘the One who cannot die’ given by my dear friend Malcom Stewart, whom I wrote about in 2013 https://courseofmirrors.wordpress.com/2013/10/07/patterns-of-eternity-humbly-opens-your-mind /

 

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… what’s your age again? …

Copy Chair in Spider Hut 2 smallerThe question grates, especially when a round number announces yet another decade looming ahead. While the 40s suggests respectable maturity, the 50s have an aura of old gold best valued by insurance and investment companies. Once you enter the 60s, no matter how rich, poor, active, passive or just blissfully sober, public consensus puts you in line for the moot title ‘retired.’

Once you get over this pesky label, there’s a perk – time slows.

Perceiving life in slow motion has been called wisdom ever since people recognised that slow time reveals hidden dimensions, realities other than those experienced in the speed-lane. Within the present digital pulse of life, days, seasons and years skip ahead at a dizzying velocity. The phenomenon has shortened the shelf life of people, ideas, and objects. A few years ago the motherboard of my laptop crashed. The young man at the IT shop looked amazed. ‘They shouldn’t last that long.’ My laptop was 5 years old. I guess it’s supernatural that my 25 year old Bosch washing machine still works perfectly.

When young, I lifted off, ascended, sped across horizons, acted out and engaged intensely with life. Youth in itself brings of course no guarantee of ascending. Age holds similar uncertainties. Ideally, it allows one to slow down, descent inward, assimilate and integrate experiences, develop patience and insight, re-connect, and grasp the myth of one’s life, and the myth of one’s century.

My point is – descent has a vital function in society. If we can manage to work part-time, or independently during the second half of our lifespan, weRa hand, edit 2 may gain the freedom to reflect, attend to the body’s intelligence, and find our inner rhythm. A thought sculpture may develop, a mood may linger. Communicating may happen along deeper wavelengths. The experience and perception of slow time has a calming influence on the collective psyche, like the prayers and contemplations observed by nuns and monks in monasteries are said to keep the world in balance. I truly believe this.

For those who practice a vocation they love, or develop a passion that keeps them curious and focussed, aging is a side-issue. New technical procedures may not be instantly absorbed, but they provide food for thought. The movie occasionally rolls on silently. Memos reappear, which the younger self, swept along by the speed of progress, may have overlooked, but which in a wider context assume new significance.

The manner that informed wisdom in past cultures and classic times may have remained the same, but elders today have a more complex task in finding apt metaphors for what’s been happening during our single lifetime, poignant lessons that could guide us onwards. When young, our mind feels eternal, we make thing happen, are in sync with the pace of progress and create the future. But what if wisdoms assimilated during inner journeys and the deeper comprehension of present lifetimes are not sufficiently communicated?

The next round of ascent may be hampered by ladders with broken steps, leaving us stuck with unsurmountable problems and senseless social systems. All is not well. The ascending and descending energies working through our present decades are askew. Unless elders have acquired eminence, their voices, their stories, the harvest of their unique experiences, are easily considered useless. Wisdom is not equivalent to the IQ flatland that education systems bank on. Wisdom is more about questions than answers, more like a dance, a tracing of patterns and parallels. Wisdom employs the imagination, re-shuffles knowledge, re-interprets and re-connects ideas to create new meaning.

Image by Yeshen Venema

Image by Yeshen Venema

There’ll always be young ones born old and wise, and old ones who turn young and adventurous. Intangible experiences and the insights of all age groups seek expression and must be circulation, because we are animated by forces not accessible to us. Fate cannot be controlled, but nudges us from the dark. It’s therefor essential to bring our light not only to matter, but to the totality of the psyche, including the unconscious layers of our past and our future, our unknown human potential. We need spaces to make visible what inspires individuals. In this the arts must serve.

The arts need public support in providing free spaces, and funding for everyone, young and old, to engage with and share their imagination in any form that moves their heart. In a culture that prizes speed above all else, the inner journey, the long view, listening, trusting, gratitude, the appreciation of difference, small things, and the cultivation of inner silence from which conflict resolution, intuition and creativity can spring, has never been more important.

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Re: Elders … there is a group brought together by Nelson Mandela in 2007 http://www.theelders.org/ Add your support to the eighty thousand follower on twitter –  @TheElders   – This is their mission:

Our vision is of a world where people live in peace, conscious of their common humanity and their shared responsibilities for each other, for the planet and for future generations. We see a world in which there is universal respect for human rights; in which poverty has been eliminated; in which people are free from fear and oppression and are able to fulfil their true potential.

Initially the concept emerged from a conversation between Richard Branson and Peter Gabriel. Together, they took their idea of a group of global elders to Nelson Mandela who agreed to support it.                                                     http://www.virgin.com/unite/leadership-and-advocacy/richard-branson-birth-elders

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… the tulip – haiku moment …

A little Haiku arrived in a flash and together with its timely image struck a chord with many of my facebook and twitter friends. It’s the beautiful message of one tulip in my garden, whose eleven companion bulbs were eaten up by hungry rodents.

P1070196 - smaller

a lone tulip splays
its red mantle to the sun
there you have my heart

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A Haiku can arrive in a flash or take its time to unfold. Here is  an article by Jane Reichhold to inspire. She shares a little history and a number of techniques.

http://www.ahapoetry.com/haiartjr.htm

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