Tag: Shamanism

  • Psychogeography: What a long, strange trip it has been

    Psychogeography: What a long, strange trip it has been

    Introduction

    The subtitle mischievously implies a knowledgeable psychogeographer reflecting on his work. This is not the case; all I know is that I know nothing. I had been peripherally aware of psychogeography for about a decade; the concept appeared pretentious and excessively bloated with philosophical posturing. Everything changed in that weird liminal space between Christmas and New Year 2024. Disparate interests that psychogeography embraces magically coalesced. I do not understand the alchemy that transformed my scepticism into fascination. Now, psychogeography frames my sense-making and inspires my writing.

    There is a high literary wall surrounding psychogeography.  Pity the limitations of those who haven’t read Debord, Benjamin, et al.

    Thankfully, benevolent intellectuals kindly espouse radical change on behalf of the less knowledgeable.   It all smells a bit like the intellectualism characterising contemporary universities. My list of references was always bigger and more critical than yours.  Once upon a time, I would have excitedly applied for my library card only to lose myself in the contested terrain of psychogeography literature. Today, pragmatically, I have neither the time (lifespan) nor the intellectual insecurity to embark on a psychogeography literature field trip.

    The single amulet I chose to take on my journey was Merlin Coverley’s Psychogeography. There were other potential books. When I read his book, the psychogeography magic felt right. I have spent too long searching for life in literature; today, belatedly, I choose life. Coverley’s informative overview features in the inspirations below, but first, I must clarify my favoured meaning of psychogeography.

    The study of the specific effects of the geographical environment, consciously and unconsciously or not, on the emotions and behaviour of individuals. (Coverley, 2018:120).

    This is taken from an Internationale Situationniste glossary. Now, there is a name drop for you. This definition captures the central interface between geography and psychology, not limited to urban cityscapes. The reference to emotions speaks to the importance of lived experience and reflexivity. Greater acknowledgement of history informing physical and human geography would be good, but I take that as embedded in this favoured definition. Also, an openness to occult strangeness is integral to psychogeography.

    I could happily drift through the next few thousand words discussing and contrasting definitions. Today, however, impatient and purposeful, rather than a discipline, psychogeography inspires.  

    The pleasing vagueness of psychogeography

    Coverley (2018) warns about the pleasing vagueness of psychogeography and the peril that we are all psychogeographers now.  He critically concludes that perhaps too much has been written about psychogeography. Is this a call to subvert an orthodoxy that scholarly gatekeepers pejoratively maintain?

    In academia, I encountered a definitional critique about a word that means everything to everybody but suddenly means nothing to nobody. Yes, if the goal is to advance the objective study of psychogeography, then definitional critiques are an academic best practice. However, life is not purely an academic exercise.

    The deep-rooted willingness inherent within psychogeography to embrace subjective vagueness is an inspiration, not a shortcoming. Coverley (2018:27) cites Debord’s frustration: “the subjective realm of human emotion remained stubbornly resistant to the objective mechanisms he chose to employ”. Similarly, explaining Blake’s contribution, he notes “… the precedence given to the subjective and the anti-rational over more systematic modes of thought” (2018:43).  I appreciate that systematic, rational and objective psychogeographic studies serve performative academic agendas.  However, occult strangeness isn’t objective, and it isn’t rational. I am inspired to go on very different psychogeography field trips.

    As a child, I wanted to look at nature; today, I want to do psychogeography

    As a six-year-old, adults asked me what job I wanted to do when I grew up.  The expectation was an exciting and purposeful job such as a racing car driver, fireman or astronaut. My Mum told me my verbatim answer was always “I want to look at nature”. Frustrated adults then tried to turn this foggy and passive notion into remunerative labour, missing the subtlety of my muse. I did plenty of remunerative labour between then and now, but my childhood ambition was sound. Today, I garden and ramble, but most importantly, I look at nature. Psychogeography inspires us to look at nature beyond the exclusively visual.

    Psychogeography and imaginary voyages into isolation

    Coverley (2018) discusses Robinson Crusoe, highlighting the twin motifs of Defoe’s novel: an imaginary voyage and isolation. As part of a mass thought experiment in the late sixties, youngsters were exposed to multiple repeats of a black-and-white adaptation of Robinson Crusoe throughout their summer holidays.  Crude dubbing into English only added to the otherworldliness of this grainy European production.  The accompanying orchestral music was wonderfully drenched in frustration and melancholy.  Robinson roamed about a little island with very little happening.  As children, we joined him in our imaginations, and his isolation was our isolation, over and over again.  Psychogeography frames understanding imaginary voyages into isolation.

    VHS Sleeve for The Adventures of Robinson Crusoe

    Psychogeography and the seduction of existential novels

    A little older, now a lonely teenager, existential novels offered life meaning. Hesse, Dostoyevsky, Camus and Kerouac spoke loudly from different geographies and times.  I anticipated existential literature featuring more prominently in Coverley’s (2018) overview, although, in mitigation, it was an introduction.

    Sal Paradise and his companions aimlessly drift across America in On the Road, hitching rides on random goods trains. In this novel and others, Kerouac catalogued the changing landscapes and emotions that Sal encountered.  The magical hallucinatory experiences achieved through drink and drugs, which accompanied these journeys, finally swallowed up Kerouac’s life.  Another way psychogeography frames the understanding of increasingly painful imaginary voyages into isolation.

    Psychogeography, subversion and suburbia

    Today, I happily live in a small suburb (Saltdean) a few miles outside Brighton. Unlike the city, you can still walk along the pavements, and people are neither rushing nor scrolling while walking. Coverley’s (2018:148) citation of Ballard had particular meaning: “In the suburbs you find uncentred lives … So that people have more freedom to explore their own imaginations, their own obsessions.”

    In front of my home, the sea and behind my home, the South Downs, I reside in the space in between. I have an Easter Island (Moai) figure in my garden. One day, Moai and I decided to go on a subversive little trip together.  Moai posed whilst looking out over the English Channel.  Far removed and out of context from Easter Island (see here).  In later life, I randomly enjoy roaming the countryside on my doorstep.  Saltdean hinterland now speaks to me, and I have the time and inclination to listen.

    Known pasts, rather than unknown futures

    For three decades, I studied organizational change academic theories and practices.  The focus was on managing from a known present to an unknown future. We rarely acknowledge that an unknown metaphysical future was exciting and problematic for theory and practice. Consequently, theory and practice worked with an implicit assumption about a known future.   Psychogeography appears to reverse the known future logic.

    Psychogeography looks towards physical and emotional landscapes and magic to engage with competing explanations of known geographies.  Art and inspiration are embedded in different ways of viewing known landscapes.  Today, I find competing and contested accounts of the past more meaningful than assertive future prophesies.

    I like the musty smell of psychogeography in the morning

    A landscape without history is merely a view.

    Coverley (2018) invokes Baudelaire as a man not so much of his time as a man out of time.  My interest in history noticeably increased in my early sixties. The sad epiphany was that I have far more history than future to reflect upon.  History has more meaning than the future offers reassurance.

    The season for my psychogeography studies is autumn. I stroll purposefully in the woods with the decaying leaf mould beneath my feet, holding the hand of someone I never quite got together with.  There is a slight smell of dampness in my home before the central heating is turned on for winter. Increasingly, I crave the spring seasonal resuscitation, hoping it will not be the last one.

    We all eventually return to nature, woodlanddecay.com and psychogeography

    I began writing woodlanddecay.com posts back in 2011 with neither plans nor ambitions. Best practice prescribed having a unifying theme. However, I was more interested in writing whatever I wanted, whenever I wanted.  Even the woodlanddecay title wasn’t that sexy. However, it became more applicable as my decay became more imminent.

    An interesting academic exercise is to ask, does the theory fit the practice, or does the practice fit the theory? In my case, it is both.  Psychogeography concepts, theories and practices could be applied to some of the posts on this site, whereas other posts have nothing to do with psychogeography.  As I return to looking at nature, I detect an unintended emotional undercurrent in my writing. This is most explicit in posts about music and adventuring in nature. A Place to Rest on Iford Hill, is illustrative.

    The post features a short ongoing account of a memorial bench high on the South Downs. Over three decades, this bench has slowly decayed. Nature reclaims the bench as the memories of the deceased fade.  In parallel with the decay of the bench, I appreciate that I am in the process of my final return to nature. I wrote about this bench before I had read or heard about Martin Coverley’s (2018) book. In retrospect, I believe my practice fits his theory.  Reading his book now inspires me to go beyond describing the natural world and engage with such landscapes more deeply. Today, psychogeography offers a theme for my rambling posts on this site.

    Psychogeography as an antidote to aphantasia

    Approximately 2% of the population does not have visual imagination.  Thankfully, we have a label to unify and reassure us: “aphantasia”. As a small child, I was at the other end of this spectrum, having imaginary friends for company. In my teens, I could conjure the fantasies teenagers conjure up, but by my late twenties/early thirties, my visual imagination began to depart. A treasured long-time companion (visual imagination) has gone forever.

    More positively, my imagination is strong, there is just nothing showing on the internal movie screen. For example, I imagine changes to my garden conceptually rather than visually as I play with my back garden topography.  I only see the garden when I have invested the physical time and labour, working from a conceptual mental map rather than a visually descriptive image.  Psychogeography nudges us out of the realms of landscapes as literal paintings and into the realms of a more multi-sensory experience.

    Psychogeography is ok with magical thinking

    On leaving academia in 2019, I enthusiastically reoriented my non-fiction reading focus towards books on esoteric, occult and mystical practices. In hindsight, I gave two fingers to the more rational and theoretical literature, which defined most of my working life. More positively and proactively, I read the literature I’d always wanted to read.

    The Book of English Magic, Magic: An Occult Primer and The Master and his Emissary were particularly enjoyable in different ways. The commonality was their respect for magical thinking, the unconscious and the importance of intent.  It is symptomatic of scientific/intellectual arrogance today that anything strange or unusual is disparaged as “magical thinking”. We used to be fascinated by and respectful of the strange and unusual, particularly in the natural world.  Psychogeography consciously embraces and engages with magical thinking today and celebrates the magical thinking of yesterday.

    Psychogeography and journeying to other worlds

    Coverley’s (2018:93) discussion of Breton’s concept of deambulation intrigued me: “… a medium through which to enter into contact with the unconscious part of the territory.” Accessing this unconscious territory means everything to me. However, it is neither as well signposted nor as unambiguous as conscious territory.  What I liked most about Martin Coverley’s book was his encouragement to visit the unconscious part of the territory. I had begun to do this intuitively, but his vivid illustrations of how respected authors visited and mapped unconscious territories were informative.

    As part of my mystical literature review (see previous section), I delved deeper into shamanism in different parts of the world. The Hawaiian Huna practices made the most sense in my quest.  I have been fascinated by shamanism for decades. Shamans are my archetypal psychogeographers in their ability to combine nature, emotions and magic. This is most impressive given that they haven’t read Debord, Benjamin et al.

    I was fortunate to attend a series of Saturday Schools facilitated by two wonderful local shamanic practitioners, Susan Greenwood and Brian Bates.  As students, we sat in a circle, and Susan asked us to imagine a place in nature. I imagined the undercliff walk on the seafront near Brighton at the bottom of the chalk cliffs. As we began, the sea was calm, a beautiful warm day in summer.  Susan changed the beat of her shamanic drumming, and the water became blood-red and turbulent. The landscape in front of me had changed dramatically and emotionally.

    Book cover of The Way of Wyrd by Brian Bates

    On another occasion, after an intense and informative Saturday School, I was lying on my bed, tired but awake.  I became a salmon swimming through the forest. I became the landscape, exploring this territory from a completely different perspective.  If I could repeat a single journey from my lifetime, it would be that salmon’s eye perspective of the forest.  Sadly, the aphantasia shutters came down (see earlier entry), and such visual journeys are now out of reach.  Psychogeography feels like my best chance of journeying into other unconscious worlds.

    This year, I will be mostly tripping through landscapes, emotions and imaginations

    Books teach us to imagine other worlds, empathise with characters’ struggles and process complex emotions. Source: Stefano Hatfield, i Newspaper 30/12/24 (Page 24)

    Hatfield wasn’t focused on psychogeography in this article, but by association, writing involves imagining other worlds, empathising with characters’ struggles and processing complex emotions.  In 2025, I hope to write further woodlanddecay.com posts. The following is a fluid and flexible agenda; after all, the only authority is myself, but provisionally:

    Today, I enjoy imagining, empathising with and processing the strange trip that is everyday life. I make no claims to be a flaneur, to know any of the poems of Baudelaire or to have ever been to Paris.  However, something within psychogeography excites and gives purpose to my tripping. I was surprised by how much I enjoyed reading Psychogeography by Martin Coverley (2018). His concise book located a portal into another world.  The philosophy bouncers will never let me into Strollers – the psychogeography night club – but at least now I know where they meet and the way in.

    Connections

    I have embedded book links into the text.  On this post, comments are open, alternatively, I respond promptly to constructive feedback via the Contact page.

    Psychogeography What a long strange trip it has been
  • The Dance of the Moon and the Sun : NSB Album Review

    The Dance of the Moon and the Sun : NSB Album Review

    A celebration of the outsider art and music of Natural Snow Buildings (NSB) focussed on The Dance of the Moon and the Sun four CD set. Alternatively, musical accompaniment to a shamanic journey into nature, life, death and everything beyond.

    Introduction

    On August 9th 2021, I posted Natural Snow Buildings: An Appreciation.  I was gratified that there have been 972 views to date. In this post, I focus on the most well-known NSB album, The Dance of the Moon and the Sun.

    As outsiders NSB have always been enigmatic and a search these days invariably takes you to the NSB Archive.  A title suggesting a hiatus, probably permanent, but who knows? The upside is that they have been able to make their large back catalogue far more accessible. The NSB Archive Soundcloud Page offers a helpful listing of their albums in general and the albums under review in particular.

    The Dance of the Moon and the Sun over the years has acquired a legendary status. It has been released in different formats at different times with some releases being particularly rare. As always Discogs is very helpful in differentiating the different releases.

    The earliest release of the album appears to have been a self-release in 2006 on the Not On Label. According to Discogs, there were 31 copies with a red sleeve and 19 copies with a blue sleeve. The album was recorded on 8-tracks at the home of the duo Mehdi Ameziane and Solange Gularte in Vitré (France) between 2004-2005.

    In 2008 the album was reissued on Students of Decay (SoD/70-71) with a limited pre-order edition including two extra full-length CD-Rs, limited and hand-numbered to 120 copies and two mini-CD-Rs, both limited and hand-numbered to 250 copies.

    The version I am listening to here is the 2008 reissue (SoD/70-71), but without the two extra full-length CD-Rs, but with the two mini-CD-Rs. I never received the two extra full-length CD-Rs which I guess were contingent on how quickly you pre-ordered. The easiest way to view the full track listing of the albums reviewed here is to scroll through the Soundcloud album listings until you reach The Dance of the Moon and the Sun (Deluxe Edition). The Deluxe Edition listing covers the 33 tracks from the two CDs and the two mini-CD-Rs.  The total running time of these four discs is 3 hours, 22 minutes and 6 seconds.

    Between 2006 and 2008 the album sleeve and colour changes from the red often featured on internet references to the gold, white and black featured here. I prefer the gold of the sun and the moon, but I would say that.  The discs are contained in a square cardboard CD box with tab locking and embossed lettering, as always, the artwork is beautiful. There are three inserts, two hand-numbered cards (the sundowner) and (the moonraiser) with a CD-size fold-out information sheet. On the fold-out sheet, there is a November 2007 extract from Nemo at Time-Lag Records. Nemo reminisces about the beauty of the music and the artwork and how quickly the red and the blue editions sold, concluding.

    I had sold over half the whole pressing before I even knew just how quick these little beauties would evaporate and turn to myth. But so it goes, and as it should be, the myth is again reality … so enjoy the dance …

    Yes, I am with Nemo the mythical aspect of NSB fuelled my interest and acquisition of the 2008 release and my writing this post. The liminal nature of the art, the music, and the distribution is as it should be.

    Pagans, shamanism and other outsiders

    I am fascinated by the natural world in general and nature religions in particular. NSB appear to share similar interests.  It is not essential to share such interests, but it is informative when engaging with NSB music and art.  Pagans before the arrival of Christianity would celebrate on the 25th December the birth of the sun.  It was a time of optimism about the light, warmth and harvests still to come, rather than an extended eating and shopping experience.   Today, everything we take for granted is contingent on the sun and the moon; our climate, our seas, and our agriculture. Yet strangely nature worship is still perceived as a pastime for marginal outsiders. 

    Shamanism accesses altered states of consciousness through varied methods. One approach involves hypnotic repetitive drums and rattles.  I have engaged in such practices even experiencing becoming a salmon swimming through a quiet forest.  If you want to experience a forest, I recommend a salmon’s eye view.  There are many occasions on The Dance of the Moon and the Sun when the drums and rattles remind me of shamanic practices. NSB frequently employ repetitive drumming, rattles, shakers, church bells and other found sounds.  Much of the music on the album has a ritualistic feel and certainly would fit a hypothetical cinematic goal of music to invoke the dead. Again, this chimes with a healthy respect for the ancestors amongst shamanic communities.

    Time, place and mood

    On the South Coast of England, it is October 2024.  I have been fortunate enough to spend plenty of time recently roaming around local forests, on my own, but not alone.  It has been a powerful time of misty reminiscence, leaves changing colour, and damp mustiness everywhere.  A time of transition and melancholy.

    October has been just the right time to listen to NSB transitioning and journeying music.  This isn’t joyous uplifting music, but it does emotionally resonate. This isn’t spring or summer music, this is autumnal music. My mood is mellow, a mild sadness for what has been lost during a lifetime, but balanced with gratitude and acceptance.

    It is fitting to publish this post on Halloween, alternatively, the Mexican Day of the Dead would have worked well. Tracks include awkward themes of death, dying and decay.  NSB would make a very suitable house band here at woodlanddecay.com headquarters. I consciously chose to group the 33 tracks into a single playlist. It was why I needed to share the importance of time, place and mood.  Different tracks will speak to you at different times and in different ways. So, in my study, lounge and on the bus the playlist has been accompanying me.

    On one level it is sacrilege to convert four CDs into a single playlist to be randomly shuffled. I remember one ego-driven pop star banning her fans from shuffling her music on a lucrative streaming site.

    Over time, I made a note of shuffled tracks which particularly spoke to me and the two following playlist entries are the outcome of that exercise. There was only one playlist, but I have differentiated them into two playlists to aid exposition. There is so much more on the four CDs, but I was keen to share emotions, rather than describe each track in a soulless mechanistic way.

    Mellow melancholia playlist

    Mellow melancholia is for romantics, lovers and the broken-hearted.  On these tracks acoustic guitar is often prominent and often Solange’s lyrics are evident, or half evident, as often her words are barely discernible. It adds an ethereal misty quality to the music, though I feel like I am eavesdropping rather than hearing the poignant words being sung.

    If you wanted to sample only one track out of the 33 tracks, I would respectfully suggest Wisconsin (11 minutes 59 seconds). Beautiful melodies are drenched in mellow melancholia. I never understood why women would choose to watch a sad film, but this track helps me to understand. Guitars gently plucked reverberate and build on earlier echoes. After about three minutes we go into a slower reflective refrain which seems to gently spiral up into the ether.  I imagine being spirited up to some kind of cosmic holding zone.  And then a more purposeful melody begins to build, gaining confidence, but ever so slowly.  You find yourself waltzing to an unknown destination. You intuitively know the music is taking you to a good place, you don’t want the repetition to end as you mainline on melody.  Inevitably the melody slows down, sadness invoked for something lost. I never want to leave this place.

    Eu un miroir, obscurement (4 minutes 40 seconds). This is beautiful, hypnotically repetitive music.  There are found sounds of women’s voices, they are background to the rhythmic loop that has been set up. There are slight variations, but mere ripples in the water as my canoe is gently rocked sailing towards the lemon-low light of an unknown celestial place.

    Carved Heart (1 minute 7 seconds). Desperately sad love song.  NSB chose to open with this track, in a way the most accessible, but in another way the least representative.  The breathy lyrics are discernible, even to my weary ears. When Solange sings about “the ring carved on your finger” I imagine the imprint left after a ring has been worn for a long time. However, she laments that you cannot throw it away/give it back, I imagine love lost.  She refers to “her voice from the grave”. The track ends with the reflective humming of somebody lost in a world of their own.

    Tunnelling into the structure until it falls (7 minutes 5 seconds). The enigmatic nature of this track makes labelling/classifying challenging. It begins with an upbeat, meditative and reflective rhythm, imagine coming out of a depression.  The drumming subsides and these rhythmic loops take over. The music quietens and slows drawing you into the breathy eerie lyric “She’s stealing your soul, piece by piece.” As a hopeless romantic I heard this lyric as “she’s still in your soul” a reassuring call – back to Carved heart. It was only when I checked what I was hearing on a lyric site that I appreciated the call–back might be darker.

    Raising the dead playlist

    In contrast to the mellow melancholia playlist, the Raising the dead playlist is far less reflective, more percussive, and more agitated. The previous playlist was about fondly remembering the ancestors.  This playlist is about the turbulent and at times traumatic journey to reach the ancestors.

    If you wanted to sample one track in this spirit it would have to be Trench (2 minutes 42 seconds).  If nightmares had musical accompaniment, this would be the deeply disturbing soundtrack.  It reminds me of my relationship with early 1970s horror movies as a teenager, simultaneously attracted and repulsed.  I think guitars are feeding back and indistinguishable voices are played backwards.  Profoundly, disturbing and remember that I was a teenage Throbbing Gristle fan.

    They raise the dead don’t they (11 minutes 53 seconds). The deep horn sounding at the beginning offers an ominous call to arms. Tambourines, feedback, and repetitive drumming all create a strong feel of a Native American Indian ritual.  A very particular form of shamanism, unique to a particular place in the world.  Peyote is now ingested, initially nothing seems to be happening.  The repetitive drumming continues for a few minutes and then slows slightly, sounds begin to splinter and subtlety is introduced with the drumming continuing in the background. Sounds swirl like mists around a fire pit, and melodies begin to dance out of the fire pit like flames. As that disco tune once went, we are lost in music, caught in a trap.

    A ten guardian – spirits mother……. (9 minutes 35 seconds). I am caught up in stereotypes from the Westerns of my formative years.  After a drone introduction, drums and rattles are introduced alongside the drone feedback.  The percussion is very regimented and purposeful suggesting preparation for confrontation. After about five minutes the percussion ebbs away and gives way to gentler harmonies. The track concludes with ghostly unspoken vocals echoing and reverberating.

    Cut joint sinews and divided reincarnation (15 minutes 20 seconds). A very slow ponderous introduction sounds like a deep timpani drum or perhaps a bass guitar feeding back. It suggests to me that we are entering a place or a state of mind.  Then the extended drone is interrupted by percussion, which begins to build up pace, this is in sharp relief to the slow drone. The repetitive drumming accompanied by the tambourine enables the waking/reincarnation of the ancestors. As the repetitive drumming is extended it becomes quite hypnotic before slowing down and moving into echoes, reverb and feedback we are about ten minutes into this track. A muffled vocal track is introduced into this melee, it is more troubling than reassuring. A different muffled voice is played backwards a deep church bell ringing as accompaniment.

    Dawn celebration (7 minutes 20 seconds). Native American Indian music, drums, rattles, shakers and harmonic singing, very gently ebbs and flows. Slowly, the early morning sunlight shines through with guitar feedback which sounds almost like an organ. The ritual is complete.

    In the morning after the night, I fall in love with the light

    The words above are taken from The Orchids lyric by Genesis P. Orridge.  No longer with us, but certainly, a cultural outsider who was open-minded about paganism, shamanism and so much more.  His lyric acknowledges the duality of dark and light, echoing the importance of the sun and the moon for everything we do. It was never about either/or as we are invariably force-fed. We are sold a world of illuminated, bright shiny lights, baubles and consumerism. But we need the dark/the night if we are to fall in love with the light. You cannot have the sun without the moon. I have been overindulging in dark NSB themes and melancholy melodies and it is now time to step out of the dark into the light.  

    As my come down (up) music, The Supremes Gold collection invokes the light, no more reaching for the dead today.   The lovelight shines celebrating love, life and joy in lightening the darkness.  We need the sun as much as we need the moon.  We need the dark as much as we need the light.  Unfortunately, spirit guides such as NSB who can guide us through the dark are too few and far between.

    Outer cover of Natural Snow Buildings - The Dance of the Moon and the Sun CD Album
    The Dance of the Moon and the Sun NSB album review