Having failed to give the excellent Dreamflesh Volume One the glowing review it so richly deserved here on The Quiet Road, Gyrus threatened to “burn down your home, and the homes of everyone you’ve ever met!” unless I at least mentioned his latest tome.
Well, he’s a man of his word. So I shall do more than just mention it. I shall post a big shiny graphic showing the rather striking cover (designed by Andy Hemmingway) and urge y’all to get hold of this fantastic anthology.
Entitled Archaeologies of Consciousness: Essays In Experimental Prehistory, it’s billed as a collection of writing on “ancient monuments, prehistoric rock art, folklore, mythology, and altered states of consciousness”. But don’t let what may sound like a specialist book on a selection of niche subjects put you off. The essays in this book are explorations of consciousness, of what it means to be human, and of the environment and landscapes that shaped our development. It’s a book that drags these “niche subjects” out of the cosy, dusty libraries in which they’ve locked themselves and takes them for a much needed hike across a windswept moor to get their blood flowing again.
But what’s it actually about?
[...] in Freudian language [we say] that the operations of the unconscious are structured in terms of primary process, while the thoughts of consciousness (especially verbalized thoughts) are expressed in secondary process.
Nobody, to my knowledge, knows anything about secondary process. But it is ordinarily assumed that everybody knows all about it, so I shall not attempt to describe secondary process in any detail, assuming that you know as much about it as I.Gregory Bateson | Style, Grace and Information in Primitive Art
In the space of these five extended essays and a few shorter bits and pieces, Gyrus boldly strides where Bateson fears to tread.
To be honest, that last line is hyberbolic to the point of sheer inaccuracy, but it’s a good pull-quote. In actual fact, the writing of Bateson and Gyrus complement one another in interesting ways. Both are examining the unsettling, blurred region where a number of disparate disciplines intersect; archaeology, anthropology, mythology, psychology (along with psychoanalytic theory) and biology. Both are aware that, for a whole bunch of reasons, traditional academia finds it difficult to comfortably accommodate research in this area, but are equally aware that for their work to be influential within these disparate disciplines (as it damn well should be), it must be accessible to them.
But where they differ is the fact that Bateson is writing from within the establishment; emerging from it as it were; while Gyrus is approaching it from outside. Both approaches have their strengths and both have certain limitations. Thankfully there’s nothing stopping us from reading both and allowing them to, as I say, complement one another.
One thing that strikes me though, is that Gyrus generally overcomes the limitations imposed by his position as a “freelance” / “amateur” researcher (a tendency towards flights of fancy, tangents and a perceived lack on intellectual rigour) better than Bateson overcomes the limitations imposed by his own (conservatism, unimaginativeness and a tendency to obscure meaning with over-complex prose and jargon).
Now Bateson can’t be accused either of conservatism or a lack of imagination, but his writing does occasionally become rather dense and opaque. In Archaeologies of Consciousness however, Gyrus presents his readers with clear, flowing prose that is at turns poetic, at turns scientific, but always comprehensible. And it’s not the patronising comprehensibility of “popular science” books that spoonfeed complex ideas to a mass market by simplifying them to the point of meaninglessness. This is the real deal… exactly as complicated as it needs to be, but no less accessible for it.
The collection opens with The Devil & The Goddess which I recall reading when it was first published over a decade ago. It was around that time that I first met Gyrus, and during the intervening years — in private discussions and through reading subsequent articles — I’ve seen how his ideas and research have evolved. So it’s interesting to revisit The Devil & The Goddess; not the start, but certainly an important early milestone, on a unique intellectual journey; and to find it’s still vital, still relevant and is filled with the questions and themes that would dominate his work for the next ten years.
Culture and civilization are inseparable from material technologies, and things are no less confused in the technophile / Luddite debate. The real dichotomy to be tackled here is that of harmonious / unharmonious technology. Do our tools help us achieve our desires, or do they become our desires?
This spiritual poverty, this rigid division of life into the sacred and profane (in their modern senses), has only been the norm of human experience for several hundred years, if that. And in their historical accounts, modern scientists have been projecting this division back in time for far too long. A re-vision of anthropology and archaeology is overdue, necessary and, I feel, imminent.
And concluding with…
For ourselves, living in a culture where the dominant spiritual institutions have insisted not only on separating themselves from everyday life, but directing their spiritual aspirations outside this world, it’s evident that a new vision of spirituality more directly concerned with life, the Earth, our bodies and survival is needed. We cannot live on bread alone, but I don’t want to try to live without it. It’s no coincidence that it took an affluent society like our own, where day-to-day existence is taken for granted, to produce a device capable of utterly destroying the biosphere.
… via a route that takes in Shamanism, Satanism, the Kundalini experience, anal eroticism, the origins of blood sacrifice, the Knights Templar and the landscape of Avebury…
It’s the least focussed of the essays in the collection, certainly, but it provides a perfect opener to the book by setting up many of the themes that are expanded upon in the later pieces.
My personal favourites (if one can be said to have favourites among essays on abstract and esoteric subjects) are probably the final two of the long pieces; Form & Meaning in Altered States & Rock Art and Aeons Past & Present. The former contains my favourite line of the book, where the author is examining some neolithic rock art while under the influence of 2CB (a synthetic phenethylamine which is known to produce, among other things, visual distortions not unlike the geometrical patterns found in much primitive art) and has the multi-layered revelation that “There’s no ‘blank canvas’ in rock art!” While the latter draws together theories about time and evolution from a remarkably wide range of sources and makes all manner of intriguing and insightful connections between them, eventually concluding with a call to action in the face of the seemingly paralysing desires manufactured by modern culture.
From the upbeat and characteristically enthusiastic preface by Julian Cope, to the meticulous indices, Archaeologies of Consciousness succeeds in being a well-researched, informative; indeed illuminating; collection of essays which is also a pleasure to read. This makes it a very rare item indeed; so I recommend you grab a copy.