
Neuroscientists, psychonauts and
tribal cultures alike know that we've already got some animals inside us.
Evolution
has built up layers of brain tissue, so that the human brain can be seen as
being composed of an old reptilian brain, an overlaying mammalian brain, and
the most recent and explosive development, the uniquely human neocortex. It
seems that this neocortex developed so rapidly that it failed to fully integrate
with the older animal brain sections, leaving a neural discrepancy that has
been held responsible for humanity's notorious inhumanity. And yet techniques
for forcing integration of these layers have existed for many thousands of years.
Frequently, researchers have come
to the conclusion that the copious animal mythologies of tribal cultures around
the globe, and the many pagan human/animal hybrid deities, represent an ancient
awareness of our animal inheritance. And perhaps the most direct method of
contacting
and integrating this inheritance lies in the
shamanic
practice of shape-shifting.
Besides providing ideal fantastic
maps, SF and fantasy work in
MUDspace
because the
magic
and future science of these genres bend the same rules of
reality
that MUD code does. In MUDs, you can communicate telepathically, shape-shift,
teleport,
create little machine selves, and conjure birds and pleasure domes out of thin
air. As Vernor Vinge recognized in the novella
_True
Names_, which placed his (pre-
_Neuromancer_
)
vision of cyberspace in a world of
D&D
medievalism, magical imagery functions as paradoxically pragmatic metaphors
for the odd laws that rule the
digital
astral
planes of
VR.
_The
Fly_, the genetic splicing idea, and its subsequent developments represent
a
science-fiction
model of this ancient consciousness-expansion technique, which finds its modern
equivalent in Austin Spare's 'atavistic resurgence' (Spare's art contains numerous
shape-shifting motifs). Using various techniques, a state of consciousness is
induced which allows total identification with a certain animal. This may be
used for achieving certain effects in the world, but often it functions as a
method of psychic integration - balancing. It seems clear that Brundle's experiences
propel him through an unexpected and violent
process
analogous to many aspects of the traditional
shaman's
vocation.
As befits a
psychedelic
god,
Dionysus
was given to a bewildering series of mutations and transformations. Again echoing
shamanism, with its traditions of shape-shifting, Dionysus variously appeared
as a girl, a man, a woman, a lion, a bull, and a panther. He was also an occasional
cross-dresser, and was the god of the theatre, masks and illusion. Use of psychedelics
inevitably reveals the role-playing nature of identity, and the story of Dionysus
shows that we may take advantage of this shifting quality of the masks we wear
to the world. The metamorphic god persistently used his transformations to conquer
foes and work his way out of difficult situations.
Archon is quickly described as a fantasy
chess
game where the pieces fight over who takes the square. There is thankfully more
to it than that simple explanation: The shifting tide of the game that distributes
power from
light
to dark adds challenges (attack, or run?), and each piece has specific strengths
and weaknesses (don't use the shapeshifter if you aren't a better player than
your opponent). In other words, you can define your own strategy when playing.
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A tired mind become a shape-shifter
Everybody need a mood lifter
Everybody need reverse polarity
Everybody got mixed feelings
About the function and the form
Everybody got to deviate
From the norm
- _Vital Signs_ MP3
by
Rush
off of _Moving Pictures_ 12"
(
1980)
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604 entity Shapeshifters
Members: Hugh Sharpe, Kent Friedman
604 release _Shapeshifter_ CD by Space Tribe on Spirit Zone
hip hop entity Shape Shifters