Notes for an Anthropoetics of the Flying Saucers

Talpazan, Ionel (1955 - 2015) - UFO Swarm

Ionel Talpazan (1955 – 2015): Illustrating a UFO Swarm (No Date Given)

Classicist Robin Lane Fox (born 1946) sets aside a chapter in his compendious study of Pagans and Christians (1986) to discuss the topic, current in the 1980s, of “close encounters,” a phrase originating with the Ufologist J. Allen Hynek and made popular by cinema director Steven Spielberg in his Close Encounters of the Third Kind (1977).  Fox’s study surveys the religiosity of what scholars now refer to as “Late Antiquity,” a period comprising the centuries from the Third through the Fifth during which the Roman Imperium saw its organizational collapse in the West and, perhaps more importantly, the demise of Paganism as the public religion of Imperial society and its replacement by Christianity in the form of the Church in its Latin, Greek, and Coptic branches.  The religiosity of Late Antiquity has, for Fox, a peculiar flavor.  It runs to intensity, not only in the contest between the old religion and the new, but within the old and the new, where disagreements over belief set people at odds theologically.  Another element in that peculiar flavor is that, on both the Pagan and Christian sides, theology absorbed philosophy, which, at the time, the school of Neoplatonism dominated.  This absorption of philosophy into theology resulted in elaborate systems of strict syllogism, on the one hand, interconnected with mystic speculation, on the other.  Folk-religion also infiltrated these systems and along with it, the motifs of magic.  People of Late Antiquity all over the Mediterranean world had vivid, personal encounters with gods, angels, and demons.  Although Fox criticizes the arguments of E. R. Dodds in the latter’s Pagan and Christian in an Age of Anxiety (1966), he acknowledges that in the folk-basis of Late-Antique worship, prophylaxis against bad luck played a prominent role.  Such prominence indicates a linkage between the psychological state of anxiety, longstanding and pervasive, and the character of religious practice. The mere appearance of a god — on the road, at sea, or in a public place before a crowd — placated the ubiquitous unease of the age.

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Never Panic

There are two options now before me; before America; before the West; before Christendom, as we all approach what seems to be a cultural crisis hundreds of years in the making: either to panic, or to commend our spirits to God, so renewing our pledge of fealty to him our Captain, and then to keep fighting, and before all else to keep praying.

There must be a demonic aspect to the present crisis. Our adversaries on all sides are too various, distributed and yet spookily coordinated for any merely human agency to have organized them so well. Another clue to their demonic inspiration: they are rather dense, as befits an army dedicated to confusion and disorder. They make stupid, obvious mistakes, such as threatening election officials – a federal offense – and then posting recordings of those threats online.

Synchronistically, I just finished the book Daimonic Reality: a Field Guide to the Otherworld, by Patrick Harpur. I have been reading about demons and angels a lot over the last five years or so. I had not wondered why, until yesterday morning. The topic is interesting, but so are many others. Why had I got on to it? Perhaps, I then thought for the first time, out of the blue: perhaps, it has something to do with our present crisis. Perhaps I have been prepared. Or we: for, I am not special. Lots of people in recent years have begun to take angels and demons rather more seriously than had been the case since 1900 or so.

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On Worship

Having followed the link in my latest Philosophical Skeleton Key on prayer to a prior post in which I set forth some of the metaphysical prolegomenae thereto, commenter Hambone there wrote the other day:

Kristor, you said:

Having no way to comprehend spiritual realities, I could not even understand quite exactly what the articles of the Credo properly mean, or what I was meant to be doing in worship.

I’m somewhere in the middle of understanding this post and applying it – I have long struggled with making my faith *real* rather than mental affirmation coupled with ritual observance. What ARE you meant to be doing in worship? And how does that flow from the fundamental spiritual nature of life?

Commenter Rhetocrates then suggested that my response should be promoted to a post of its own:

That’s the $64 question, isn’t it? I’m still working on it. One never finishes working on it. One cannot. Worship is fathomless. How not? Its object is infinite. We cannot begin to have a complete answer to your question.

But, I can say a few things about it.

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Lectures d’Automne 2020 (Sélections d’Octobre)

Readings of Autumn 01 Guthrie

W. K. C. Guthrie (1906 – 1981), Orpheus and Greek Religion (1952): Guthrie, a Cambridge classicist, regards Orphism – taking its name from the legendary prophet-singer Orpheus – as the first religion to emphasize cosmogony and eschatology. For Guthrie, Orphism counts also as the first thematically moral religion. Guthrie argues that Hesiod adhered to the Orphic faith and he cites details of the Theogony to prove his case.  Even more boldly Guthrie presents the thesis that cosmology, as distinct from cosmogony, derives from Orphic lore; he sees Plato’s Timaeus, for example, as an item in the genre of Orphic discourse.  Indeed, Guthrie sees Plato as an Orphist.  In Plato’s philosophy, after all, the seeker of wisdom wanders like an orphan in this punishing world.  By dint of intellectual and moral askesis the wanderer might fulfill his obscure desire to go home.  One of the etymologies would have it that the name Orpheus stems from orphanos, which English borrows from Greek via Latin, a derivation fitting itself rather closely with Guthrie’s thesis.  Some stories tell that Orpheus hailed from Thrace, but Guthrie affirms his Hellenism.  The Thracian connection seems to Guthrie a metaphor.  Orphism differed so much from the reigning theologies of the archaic period that it struck people as having a distant provenance – in some accounts, a Hyperborean one.  Orphism stands in tension with the Dionysus cult; and in the myth preserved by Ovid in his Metamorphoses, the Maenads murder Orpheus in a classic sparagmos.  In the Imperial centuries, however, Orpheus and Dionysus seem to have merged, with the former’s irenic quality overwhelming the whole.  Orpheus’ expertise on the lyre affiliates him with Apollo.  Through that affiliation, Orpheus maintains his status as the first lyric poet and the first musician.

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The Boomer Epidemic

The covid pandemic is mostly a Boomer thing. The Chinese Flu kills a tiny percentage of people younger than the Boomers. Like every other medical difficulty, it kills rather more of their parents than it does of Boomers. Only the Boomers and their parents then are much at risk from the disease. Their parents are no longer much able to sway either public discourse or public policy. The Boomers are in charge. So the panic about covid, and the policies implemented in respect thereto, are mostly the result of Boomers worried about themselves. They have shown themselves – in the person of such governors as Cuomo – totally willing to throw the generation of their parents under the bus. Because, hey, those guys were going to die soon anyway. They have also shown themselves utterly indifferent to the manifold catastrophe their disastrous policy responses to the disease have inflicted upon all younger generations.

As with every other thing they have touched, the Boomers have ruined public health by ruining civil society.

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Clark Ashton Smith’s “City of the Singing Flame” & Synchronicity

CAS 06 Plants

Clark Ashton Smith (1893 – 1961): Plants (Decade of the 1940s)

Orthosphereans have discussed the topic of synchronicity on several occasions. Synchronicity, a coinage of the psychologist Carl Jung, refers to the phenomenon of “lucky coincidences” or meaningfully convergent events.  There are several orders of synchronicity.  The one that I want to discuss in the following paragraphs is of a low order, but it serves to illustrate my conviction that we live, not merely in a physical world, but in a web of meaning whose source can only be immaterial – that is to say, spiritual.  Events of a low order can arrange themselves, after all, in meaningful patterns.  Patterning attracts the mind because patterning, at least in part, informs the mind, just as it informs the universe.  Recently I posted at The Orthosphere my essay on “Eco-Music from Mahler to Rasmussen,” in two parts.  “Eco-Music” means music permeated by the composer’s sense of the cosmos as a finely woven, complex pattern of spirit and body, temporality and spatiality, causality and spontaneity.  I attempted to relate the compositional process of such artists to the visionary quest of the vates, seer, or shaman, who intercedes for the tribe in the realm of the sacred and on the home ground of the gods.  When contemporary composers like John Luther Adams or Sunleif Rasmussen, express themselves in written word, they not only reveal their knowledge of the vatic tradition; they also reveal themselves as trying to communicate lore acquired on a level higher than the everyday, rather in the manner of an initiate in the mysteries.  Listening to their music – which I did, intensely, over the period of accumulating the essay – convinced me of the validity of such statements.

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Earth Anew: Eco Music from Mahler to Rasmussen – Part II

Joseph Anton Schneiderfranken (1876 - 1943) Erfuellung

Joseph Anton Schneiderfranken (1876 – 1943): Erfuellung (1925)

Part I of “Eco-Music from Mahler to Rasmussen” broaches the topic of the Weltanschauung in music.  By “world view” is meant an adequate understanding of the cosmic complexity of life (to borrow a phrase from Monty Python), the universe, and everything.  Does an artist – especially a composer of ambitious scores – grasp the many-layered, spatially and temporally dimensioned super-matrix of what Christian theology calls Creation?  In the preening world of postmodernity, the righteous everywhere proclaim an ecological sensitivity, but that same time postmodernism roundly rejects metaphysics, including the venerable notion of a Great Chain of Being.  For the materialistic mentality, what can the cosmos be except a mass of resources?  It can have no non-material component.  It can correspond to nothing living — inhabited by spirit — except in a purely mechanico-biological sense.  Now as Part I observes, there is a critical anti-modern strain in modernity.  This is more familiar in literature than in music, but it nevertheless presents itself.  In music, one finds this critical attitude, with its intuition of a cosmic complexity exceeding the grasp of so-called science, in the radical work of an avant-garde composer like Arnold Schoenberg, but also in the work of a somewhat more conventional composer like Frederick Delius.  Part II of “Eco-Music,” beginning with Section III, explores the work of contemporary composers who take an explicitly ecological view of the world, but who also venerate Tradition – and it finds in those works a genuine understanding of the Great Chain of Being. Both Parts of “Eco-Music” remark on the relation between literature, especially poetry, and music. The essay continues with Part II

III. A few phrases from the reigning, reductive ecology, the ecology of “global warming,” occur in the much-polished journalism of the contemporary composer John Luther Adams (born 1953), but they seem decorative or obligatory and never convey any essential meaning.  Adams lived by choice in Alaska, near Fairbanks, from the late 1970s until recently.  His music takes inspiration from the Arctic landscape and from the traditions of the people who have lived in taiga and tundra immemorially.  The reader will encounter Thoreauvian overtones in the accompanimental essay to Adam’s Clouds of Forgetting, Clouds of Unknowing (completed 1996).  “Quantum physics has recently confirmed what shamans and mystics, poets and musicians have long known,” Adams writes; and, “the universe is more like music than matter.”  In his related “Credo” (2002), Adams echoes Nietzsche: “My faith is grounded in the earth, in the relationships between all beings and all things, and in the practice of music as a spiritual discipline.”  Adams accommodates Christianity, which Nietzsche haughtily rejected, in calling it “a complete and beautiful ecosystem” although he makes no profession of the creed.  Clouds, one of Adam’s first fully mature scores, draws inspiration from a medieval book of Christian mysticism – and from a natural phenomenon that fascinates vision and activates imagination.  The eyes look up to the clouds, just as they look up to the mountain peak.  One can climb to the clouds, but only by climbing the steep path to the rocky summit.

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Earth Anew: Eco-Music from Mahler to Rasmussen – Part I

Joseph Anton Schneiderfranken (1876 - 1943) Himavat

Joseph Anton Schneiderfranken (1876 – 1943): Himavat (1925)

Romanticism revived, or attempted to revive, the sacrality of the countryside, re-establishing the tutelary spirits of river, forest, grotto, and hill.  As Ralph Waldo Emerson writes in Nature (1836), whose epigraph he draws from Plotinus, the ecstatic contemplation of natural phenomena entails redemption from routine, to which the ego maintains a spiritually diminishing attachment.  Emerson writes: “The greatest delight which the fields and woods minister, is the suggestion of an occult relation between man and the vegetable… They nod to me, and I to them.”  The encounter with natural forces, such as “the waving of the boughs in the storm,” carries with it the paradoxical character of being “new to me and old.”  The renewed familiarity, as Emerson divulges, “Takes me by surprise and yet is not unknown,” having an “effect… like that of a higher thought or a better emotion coming over me, when I deemed I was thinking justly or doing right.”  Friedrich Nietzsche, who prized Emerson highly, distills the general figure of Nature into the particular figure of the Earth.  In Thus Spoke Zarathustra, Book I (1883), Nietzsche gives it to his eponymous spokesman to say, “The superman is the meaning of the earth” and, “My brothers, remain true to the earth.”  (Hollingdale’s translation)  The superman in Nietzsche’s rhetoric participates however in another figure.  “I teach you the superman,” says Zarathustra: “He is the sea.”  If mere man were “a polluted river,” then the superman, Nietzsche emphasizes, “must be a sea,” for only such “can receive a polluted river and not be defiled.”  For Nietzsche, modern civilization has cut itself off from the sources of vitality; modernity lives – not quite the right word – in vacuous abstractions and needs to re-root itself in the elemental bases of the cosmos.

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Philosophical Skeleton Keys: Ideas Cannot Conceive Themselves

I feel sure that I am nowise unique in having struggled for years with the difficulty of the ontological status of the Platonic Forms. On Plato’s account, so far as it went, the Forms subsisted in a different realm – indeed, a different sort of realm – than our own. I could see well enough that, as immutable, that Realm must be more actual than our own. But, what is that Realm, where is it (is that even an appropriate question to ask?), and what relates it to our own? Indeed, how could a purely formal realm link up at all to our material world? I found I could not even begin to think about it.

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