ANTHROPOLOGY OF CONSCIOUSNESS最新文献

Spiritualist mediums are sought out from a variety of cultures for their advanced spirit communication healing techniques. Otherworldly spirits use mediums to create spirit art, which guides an individual to discover their authentic self and work through self-limiting beliefs. To serve as a bridge for the spirit world, the medium develops an ability to enter an altered state of consciousness and use a multisensory embodied language to communicate with spirits. I describe this language as “dancing with spirits.” To investigate this language, I use my own spirit art as an innovative experiential ethnographic tool that blends auto-ethnographic perceptions of spirits with sensory and artistic ethnography, and cultural healing techniques. I provide three case studies of how my spirit art provides unique insights into the less explored experiential dimensions of spirit communication. I layer my experimental ethnographic approach with Deleuze and Guattari's “rhizome” to show that spirit communication overcomes limitations of normal linguistic models. The spirit language serves as a rupture for unconscious forces to offer individually tailored healing and insight to a recipient through heightened sensory and physiological phenomena. Art, altered states of consciousness, and anomalous sensory experiences may offer insights to address a pressing global challenge, mental ill-health.

Drawing on Heidegger’s The Origin of the Work of Art and Art and Space, this article explores how people experience Harpa, a world-renown work of architectural art. Following partners from Henning Larsen Architects, the firm responsible for supervising the design process with the artist Olafur Eliasson, I trace the impact of spatial experience from architectural experts to people struggling to articulate their encounter, unpacking links between Harpa and the quiet transformation of tourists, the stacking of stones, and the performance of art in a space that is widely regarded as a work of art in its own right. Folding Heidegger through Harpa, the text explores art as a non-representational way of approaching phenomena that evade other forms of understanding, opening a space of revelation: an immeasurable distance in which the transcendent interconnectedness world and earth step forward.

Among his later works, Peter Lamborn Wilson—known to many as Hakim Bey—began performing ritual art pieces in Upstate New York, which he referred to as acts of “Endarkenment.” This paper explores Endarkenment from the beginning of its organic growth in the fertile soil of The Temporary Autonomous Zone, to its blossoming as fully-realized ritual art, nourished by Bey's intention of returning enchantment back to the land. Through parallels in the works of antiquity, Surrealism, Georges Bataille, Giordano Bruno, Djuna Barnes, and others, an adumbration of the body of Endarkenment comes into view at the very moment of its disappearance into Nature, giving an idea of what Endarkenment could be as a fully realized form of internal transformation.

Inspired by the use of naming and portraiture together in the Black artivism–such as that protesting the murders of George Floyd and Breonna Taylor–this paper reflects on the use of portrait drawing as a practice of genealogy. While working on a project to raise the visibility of scholars and their works in the African Diaspora, specifically Francophone women anthropologists, I felt compelled to draw their portraits. Drawing African Diasporic women into dialogue from the archive attends to temporality, vision, and listening, elements centered within anthropological practice, but also implicated in the attachment of the discipline to colonial logics, particularly of allochronism, objectification and silencing. The multisensory, embodied and slow practice of drawing alongside reading scholars' works allows for diasporic time-travel, shifting the gaze, and constructing a decolonizing “listening genre”.