It is music that provides the strongest support for our thesis that aesthetic experience consists in the interaction between the universal primordial images buried in the unconscious and an external artifact or natural object which we call beautiful.
The incomparable power of music to move a listener to the depths of his being is well-known; it will, on occasion, bring him to tears. What is the explanation of the power of this stimulus which is unparalleled in the other arts? If our thesis is tenable it must be that music is for some reason an unusually effective agent for bringing to the surface archaic images and memories stored in the unconscious. As Jung remarks, "The man who speaks with primordial images speaks with a thousand tongues.. . . That is the secret of effective art." Now musical expression can stimulate archaic emotional experiences very effectively - fear by agitato, mourning by molto legato, excitement by prestissimo, sanctuary by rallentando succeeded by the tonic or home note, and in similar ways. These universal emotionally charged experiences become effective when they are raised from the deep unconscious to the surface mind, and it happens that music, unlike any of the other arts, provides precise and powerful means of effecting this transfer.
- H.E. Huntley - _The Divine
Proportion: A Study In Mathematical Beauty_
- Terence McKenna
Otto holds up book he's about to throw in burning garbage can. Book says "Dioretix: The Science of Matter over Mind. By A. Rum Bi..." (reference to L. Ron Hubbard's _Dianetics_)
Miller: "A lot of people
don't realize what's really going on. They view life as a bunch of unconnected
incidences and things. They don't realize that there's this like, lattice of
coincidence that lays on top of everything. I'll give you an example, show you
what I mean. Suppose you're thinking about a plate of shrimp. Suddenly somebody
will say like, plate or shrimp, or plate of shrimp out of the blue no explanation.
No point in looking for one either. It's all part of a cosmic unconsciousness."
"The transformations of culture do not take place in history, they take place in myth. A model, a hypothesis, or a myth is a way of rendering the invisible. Because the unconscious is outside time, it can perceive transformations beyond the limits of the ego. These unconscious perceptions are expressed in art or mythologies. We ourselves are living in an age of cultural transformation, but if you went to the experts to ask for a description, they would tell you nothing. You have to go to those who are at home in the unconscious and in the subconscious, the artists and prophets: through myth and symbol in art, science fiction or religion, they will describe the present by speaking about the future."
- William Irwin Thompson