The psychedelic perspective could thus be viewed along a two-poled spectrum which runs the gamut from utter depletion of meaning to overwhelming abundance of meaning.
— Ido Hartogsohn, “The Meaning-Enhancing Properties of Psychedelics“
You notice that vibrating soundless hum in the Socco? That means someone is making archetypes in the area and you’d best evacuate right now.
– “Lee’s Journals”, William S. Burroughs
So, he introduced me to Buddhism in the form of song. As you may know, Kerouac admired Frank Sinatra for his crooning enunciation, for his oratory, for his clarity of speech, for the precision with which he pronounced the affective emotional content of his vowels. And so, like Frank Sinatra, the first direct Buddhist word I heard from Kerouac’s mouth after letters, was his singing of the Three Refuges. So, that would be the next step.
— Allen Ginsberg, “Negative Capability: Kerouac’s Buddhist Ethic”
Tricycle, Fall 1992
It has bored a hole in my head
such that Adon Olam won’t reach
and no one’s left a Lonely Planet
What to make of sex and genre
all inflections old and new
with couch and time extruded too
You’re far too gentle for a golem
hums the Christ on Ravi Shankar beats
be orderly and kind intones the shoe
There’s status, rods, and floral holes
and then there’s groundless whirring ground
in which I trust as “Elohim” or not-a-sound
I’m body-bound, I’m sane, I’m sound
and redolent of ecstasies I’ve spun
and fractal with the histories I’ve smoked.
Nepalese tapestries hung about the mind;
I promise to be kind.
The America that our parents and grandparents grew up in, that colossus, is gone for good. Western civilization is in a death spiral. And humanity as we know it is not long for this earth.
This, by the way, regardless of whether we obliterate ourselves (in a nuclear holocaust or unforeseen systems collapse) or manage to make it to the Singularity.
My whole cohort might be vaporized, or cannibalized by our stranger-neighbors in a not-so-cold civil war. Alternatively, we get past it all, and are merged by AI into an optimization (pleasant or not) that has no interest in our individuality or in the human life cycle.
Our gonads might not survive intact; our progeny may yet be infinite, formless intelligence. Either way, we might be among the last to give our parents grandkids.
The only prediction I’m willing to make is that the rate of change will become unbearable if we continue to cling to things as they are. And we’re all doing it. In fact, I notice that I’ve become more prone to it than I once was, as I’ve seen more of the world, developed deeper relationships, and cultivated empathy.
The long 2016 has been a mindfuck—for the first time, I’m not bullish about America’s prospects. Everyone’s at each other’s throats, and we all know it. Visions of apocalypse have begun to take on an intuitive quality (that said: intuiting isn’t believing).
When The Better Angels Of Our Nature came out in 2012, I ate it up. Suddenly, The Black Swan seems much more important.
It would be best if I started regarding America, the West, and humanity in general the way the Tibetan masters regard a charnel ground (the place where bodies are laid out to be scavenged and burned)—as sites to viscerally experience the occasionally liberating, often horrifying truth: that all things pass, no matter how much we care about them.
And out of this awful awareness, cultivate a more ambient, less possessive sense of compassion.
Attempts to explain poet and composer Caetano Veloso to non-Brazilians typically refer to him as a Brazilian John Lennon orBob Dylan … Jessica Callaway, however, argues that if comparisons must be made, in spirit and sensibility, Veloso is more aptly described as a close comrade of Walt Whitman.
— The Brazil Reader: History, Culture, Politics, ed. Levine and Crocitti
Most researchers of Semitic morphology refer to the principal characteristic of Semitic morphology as non-linear or non-concatenative. Namely, instead of morphemes being placed linearly, one after the other before or after the word stem, as prefixes and suffixes, as in English, the morphemic structure of Semitic words is characterized by at least two morphemes interwoven (or interdigitated) within each other in a discontinuous (or non-concatenative) manner. One morpheme is inserted into the other (call it template, pattern, or scheme) in certain slots of the word stem structure. As two morphemes, the root and the template are incomplete in every respect, morphologically, phonologically, and semantically, until they merge to form a word or a word stem.