
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."
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"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
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