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Dionysian Mystery and Laughing Gas Teeth

In Dreams, History, Image, Inner Space, Mystery, Pharmacopeia, Science on December 8, 2009 at 4:30 pm

Candy and Cronus take their toll.  I had my wisdom teeth extracted on the 4th.  I was given local anesthesia for my face as well as nitrous oxide and a general anesthesia to dip me into a semi-conscious state for the procedure.  The day before the operation I traveled to Philadelphia to visit the tter Museum.  This vast and eclectic collection of medical curiosities is managed by the prestigious College of Physicians and is truly a spectacular exhibition.   Glass cabinets line velvet walls providing temporary shelters for partial skeletal fragments, waxen fetal reproductions, medical journals and anatomy textbooks bound with human skin, and photographic documentation depicting an endless amount of bizarre cases that would keep Victorian scholars  baffled and intrigued for years.  That night I had a terrible nightmare wherein I was shrunk down to the size of a rodent and dissected in a dark amphitheater to a hostile (and possibly, sinister) public.  And reclining on that dentist’s chair at 7:45 in the morning, I could not help but think of all the butchering that had happened in the name of science and all those rusty, archaic instruments now resting in glass cabinets… waiting to be picked up, and used again.  As the gas kicked in, I briefly hallucinated the surgeon pulling out what could only have been some sort of bone-crushing device meant for extracting brain matter.  Those Bastards, I thought, they are going to butcher me here on this slab and sell the profitable parts to the Black Market… possibly even back to the Museum. I braced myself for a frontal lobotomy, but nothing came and eventually I lost interest as the drugs set in.  I was “awake” for the entire operation.  I heard the crunching, slicing, and whizzing of the drill used break up the teeth, sending tiny splinters across the room.  I distinctly recall the dentist informing me that they would “have to remove an infected molar, as well.”  I used my free arm to give him a big “O.K.” symbol with my hand and managed to mumble something to the degree of, “That’s totally fine with me, dude.”

Re-enactment of the first operation under anesthesia (ether). The actual operation took place on October 16, 1846; this re-enactment took place shortly afterwards.

After the operation I asked for my teeth back.  They told me that I could not have them because they were now a BIO-HAZARD.  “At least let me say goodbye to them… to my babies.”  They consented and brought me to the recovery lounge.  The nurse came in with an extended arm and opened her hand, palm up.  There they were, exposed to the open air:  five half-rotted teeth laying in a pool of blood on her cold, rubber glove.   And observing the teeth for the first time without possession and function, I appreciated them for what they truly were:  five overturned tombstones from a graveyard.  “Now that the gums are unplugged, the souls are bound to escape,” I told the nurse, but she seemed nonplussed.  It was probably too late, anyway.  The ghosts and demons once held at bay by those ivory monuments were now free to roam the far reaches of Earth and pursue their dark, inhuman desires.  “You fools,” I shouted as I was discretely escorted from the premises.  They were all doomed, but I didn’t care.  They had unleashed their own destruction, and there was no escape.  So be it.  Good luck and Godspeed, my babies… Godspeed.

I went home and turned on the television.  Twin Peaks was on the Chiller Network. It was the episode where David Duchovny plays FBI Agent Denise/Dennis Bryson.  It is unclear from the series whether Bryson would self-identify as a cross-dresser, a transvestite or transgender.  Bryson began wearing women’s clothing during a DEA undercover operation and found that it relaxed him. Bryson identifies as “Denise,” wears women’s clothing and presents female behavior during working hours and otherwise. When required for a sting operation, Bryson dons a man’s suit and goes by “Dennis.”  This was interesting for two reasons:

First, there is an obvious connection to Dionysus.  In Greek mythology, Dionysus is described as being womanly or “man-womanish”.  He is the god of duality and was raised by Hermes.  He has two separate origin stories that accent his “twice-born” character.  In one he is the offspring of Zeus and the mortal woman Semele.   The mortal demands Zeus to reveal himself in all his glory as proof of his godhood. He comes to her wreathed in bolts of lightning; mortals, however, can not look upon an undisguised god without dying, and she perished in the ensuing blaze. Zeus rescued the fetal Dionysus by sewing him into his testicles.  In the other origin story, Dionysus was the son of Zeus and Persephone, the queen of the Greek underworld.  A  jealous Hera attempted to kill the child by sending Titans to rip Dionysus to pieces after luring the baby with toys. (See Dionysus and his Mirror)  Zeus drove the Titans away with his thunderbolts, but only after the Titans ate everything but the heart, which was saved, variously, by Athena, Rhea, or Demeter.  Zeus used the heart to recreate him in the womb of Semele, hence he was again “the twice-born.”  As a champion of androgyny, the allusion is obvious.

Two Denises

Secondly, “Denise” Duchovny in drag looks surprisingly like my mother, whose name is also “Denise.”  To further the coincidence, my mother was named after her older brother Dennis who died soon after childbirth.  Their visual similarity is superficial, of course, being two people with Czech/Slavic descent and similar hairstyles.  I was pondering the implications of these events and enjoying the “Percs” of the operation when it occurred to me that losing teeth was a powerful symbol of death and rebirth.  Also, the dream in which I was “transformed” and “dissected” was about a dramatic psychological change.   Manifestations of Dionysus are manifold in this reality and it is necessary to acknowledge and understand the intentions of this divine entity if one is to maintain psychological health.  Therefore, it is imperative that one give respect by honoring the god in the traditional way:  Bacchanalia.

Dionysus is a god who transcends boundaries,  subverting preexisting borders between life and death, man and woman, wilderness and society. The earliest rites took place in the wilderness – in the forests and woods, the marshes, and particularly high in the mountains, where the lower oxygen content was suitable for trance induction. Later the ‘priest’ would simply cast their staff into the ground, at any suitable location, and hang a mask and an animal skin from it, the circle drawn around this center becoming the sacred precinct for however long the staff remained.  Underground chambers were also often used for initiations, which may have originally taken place in natural caves, particularly those by the shoreline. Liminal boundary zones being especially sacred to Dionysos.  The Orphic texts of the late period record a boukolos, or ‘cowherd’, as an offerer of sacrifice, sayer of prayers, and hymn singer, who seems to have been the nearest thing they ever had to a priest. Other inscriptions record an archiboukolos, or ‘chief cowherd’ presiding over these boukoloi, and in some records there is also mention of boukoloi hieroi, ‘holy cowherders’ as well as hymnodidaskaloi,’hymn teachers’.  The cowherds were necessary because the “sacred wine” used in the ceremonies contained hallucinogenic mushrooms that grew on the feces of local cattle.

In intoxication, physical or spiritual, the initiate recovers an intensity of feeling which prudence had destroyed; he finds the world full of delight and beauty, and his imagination is suddenly liberated from the prison of everyday preoccupations. The Bacchic ritual produced what was called ‘enthusiasm’, which means etymologically having the god enter the worshipper, who believed that he became one with the god.

::Bertrand Russell, A History of Western Philosophy::

Traditional offerings to Dionysus include but are not limited to the following: musk, civet, frankincense, storax, ivy, grapes, pine, fig, wine, honey, apples, Indian Hemp, orchis root, thistle, all wild and domestic trees, black diamonds.

I call upon loud-roaring and revelling Dionysus,

primeval, double-natured, thrice-born, Bacchic lord,

wild, ineffable, secretive, two-horned and two-shaped.

Ivy-covered, bull-faced, warlike, howling, pure,

You take raw flesh, you have feasts, wrapt in foliage, decked with grape clusters.

Resourceful Eubouleus, immortal god sired by Zeus

When he mated with Persephone in unspeakable union.

Hearken to my voice, O blessed one,

and with your fair-girdled nymphs breathe on me in a spirit of perfect agape.

Superficial Identities in Emerging Æsthetics

In Art, Image, Internet, Myth, Society on December 4, 2009 at 5:06 pm

Laura Brothers, Danger Dialogue

Who are you? Who cares? With proper self-branding, not only will you find out who you are, you will make the right people care, opening up a slew of the right opportunities specifically tailored for you. Maximize marketing potential and get the type of work and respect one deserves.

::Excerpt, www.artofselfbranding.com::

REVIEW:  EXPENSIVE DEATHSTYLE

In his new project, Santiago Vernetti invites each of us to redefine “selling out”.  Repackaging commodified party culture in Los Angeles to make it appear palatable to intellectual scrutiny, Monsieur Vernetti’s images of lost children slide down our corroded psychic arteries easier than a Caramel Macchiato at Starbucks.

The superficiality of a youth culture obsessed with AND TRAPPED BY an oversaturation of images, readily available for consumption, causes excessive narcissism and a preoccupation with oneself (not to mention an unpleasant feeling of self-consciousness when one realizes that one is being watched or observed, the feeling that “everyone is looking” at oneself, i.e. paranoia).  This leads to a state of constant performance in the struggle to secure a public identity.  Private identity has dissolved giving rise to self-branding and the art of discrimination.  In laymen terms, what Facebook pictures do I choose to associate with myself?  How do I craft a profile that accurately reflects the identity I am trying to sell?

But if all is performance than EDS and FB could be seen as historical documentation of a never-ending, continuous spectacle.  Mr. Vernetti gives us each front row tickets to the Fall of the Times New Roman Empire.  His website gives public access to a fun house of seemingly perverted mirrors.  It is only after a deeper glance do we see the truth: each picture is a portrait of Dorian Gray.

Party photography on the internet as vehicle for the dissolution of celebrity // or // a hypocritical exercise that participates in the creation of celebrity albeit an illusory one // or // things I go to, and the people I see there as platform to launch a moonlighting career // or // just something to pass the time… ::Santi Vernetti::

…this time however I come as the victorious Dionysus, who will turn the world into a holiday…Not that I have much time…  ::Nietzsche, Letter to Cosima Wagner::

Indeed, as reported in his mythic death/rebirth:  unable to recognize himself in the vague and distorted reflection produced by the mirror, Dionysus nods his head in a vain search for his own image and identity.  The Titans interpret this action, in its telling motions and gestures, as his consent to be sacrificed. They kill and dismember him, and then proceed to boil and broil his flesh. After which they party.  Dismemberment can be unserstood psychologically as a transformative process.  It is original unity submitting to dispersal and multiplicity for the sake of realization in spatio-temporal existence.  Party Photography as a dissolution of celebrity is a psychological transformation of a non-event:  The Autonomous Zone:

Stephen Pearl Andrews once offered, as an image of anarchist society, the dinner party, in which all structure of authority dissolves in conviviality and celebration…  The media invite us to “come celebrate the moments of your life” with the spurious unification of commodity and spectacle, the famous non-event of pure representation.  In response to this obscenity we have, on the one hand, the spectrum of refusal and on the other hand, the emergence of a festal culture removed and even hidden from the would-be managers of our leisure. “Fight for the right to party” is in fact not a parody of the radical struggle but a new manifestation of it, appropriate to an age which offers social networking sites as ways to “reach out and touch” other human beings, ways to “Be There!”

Pearl Andrews was right: the dinner party is already “the seed of the new society taking shape within the shell of the old” (IWW Preamble). The sixties-style “tribal gathering,” the forest conclave of eco-saboteurs, the idyllic Beltane of the neo-pagans, anarchist conferences, gay faery circles…Harlem rent parties of the twenties, nightclubs, banquets, old-time libertarian picnics–we should realize that all these are already “liberated zones” of a sort, or at least potential TAZs. Whether open only to a few friends, like a dinner party, or to thousands of celebrants, like a Be-In, the party is always “open” because it is not “ordered”; it may be planned, but unless it “happens” it’s a failure. The element of spontaneity is crucial.

The essence of the party: face-to-face, a group of humans synergize their efforts to realize mutual desires, whether for good food and cheer, dance, conversation, the arts of life; perhaps even for erotic pleasure, or to create a communal artwork, or to attain the very transport of bliss– in short, a “union of egoists” (as Stirner put it) in its simplest form–or else, in Kropotkin’s terms, a basic biological drive to “mutual aid.”

::Hakim Bey, T.A.Z.::

Primitive / Occult Revival in Modern Æsthetics

What is clear now is that the West’s fascination with the primitive has to do with its own crises in identity, with its own need to clearly demarcate subject and object even while flirting with other ways of experiencing the universe.   ::Bell Hooks::

We find ourselves in an uncertain state.  We seek structure and security.  This mediated world increasingly produces feelings of alienation and loss.  In our desperate attempt to understand our own nature, we seek the company of others. Obsessed with the material reality of the flesh we long to touch one another.   The intimacy once conferred by community and religion in tribal life has dissolved into a state metaphysical restlessness.  We travel from city to city but all is the same.  Italo Calvino recognizes that, “arriving in each new city, the traveler finds again a past of his that he did not know he had:  the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.”  What we look for is value and meaning.  “What is the meaning of life?”  The question cannot be answered in this form because it confuses objective, abstract meaning with subjective, living meaning.  In this case, it is an actual or possible derivation from sentience, which is not associated with signs that have any original or primary intent of communication.  Occult imagery, with its emphasis on the unknowable and its use of highly potent symbols allows exploration without limitations.

Laura Brothers, Robo Pop Float Void

Surrealism / Collage

In Art, Dreams, Image, Surrealism on December 1, 2009 at 2:36 pm

Lou Beach, World Of Men C

Lou Beach, Preggers

The Futurists and the Dadaists employed collage to protest entrenched values, while the artists of the Russian avant-garde used photomontage, an outgrowth of collage, to demonstrate their support for a progressive world order. For the Surrealists, collage served as a surrogate for the subconscious. Pop artists recognized it as a means of directly incorporating elements of popular culture into their work. Robert Rauschenberg expanded collage in his own way by creating Combines, assemblages of paintings and found objects that were intended, he said, to act in the gap between art and life.

Emphasizing concept and process over end product, collage has brought the incongruous into meaningful congress with the ordinary. With its capacity for change, speed, immediacy, and ephemerality, collage is ideally suited to the demands of this and the prior century. It is a medium of materiality, a record of our civilization, a document of the timely and the transitory. It is no wonder that today’s artists continue to use collage as a way of giving expression to the unorthodox, both in art and life.

::DIANE WALDMAN::

Max Ernst, image from “Une Semaine de Bonté”

Each of these… projects recurrent themes of sexuality, anti-clericalism and violence, by dislocating the visual significance of the source material to suggest what has been repressed.

Jindřich Štyrský, Marriage

Alexis Mackenzie, Just This Once

Alexis Mackenzie, Jade Moon

PREVIEW:   Digital Collage as a Popular New Aesthetic?  What are the roots/implications of this resurgence in occult imagery?  Stay tuned for a follow-up post.

Laura Brothers, Earth Chant

Santi Vernetti, whatiseesometimes

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