Episodes
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Modern discussions on healing individual minds, cultural wounds, and painful societal histories now revolve around the word ‘trauma.’ Yet addressing trauma is nothing new — traditional cultures across the globe have historically had their own forms of trauma work, without ever labeling it trauma work. For many cultures for many years, cathartic ritual practice that bypasses the conditioned mind has served multiple purposes as it regrows and re-patterns brains and bodies and communities. These ritual enactments, communal ecstasies, and group catharses — these weepings over the bodies of lost gods — are traditionally tied to something very specific… vegetation. There is a profound link between the myths and rituals of the old vegetation gods and what we might now term trauma work — because the cycle of vegetative birth, growth, decay, and death mirrors our own cycle. This episode explores the deep link between the repatterning of the nervous system — which itself is described in a language of trees — and vegetation, from the numerous studies that show the healing power of the presence of plants, to the plant medicines that are literally regrowing nerve tissues, to the old vegetation deities whose theatrical ritual enactments, repetitive singing and dancing, and relationship to altered states of consciousness are deeply tied to trauma repatterning. The stories and rituals of the vegetation gods reveal a language around trauma which does not vilify or sanctify trauma, or isolate it, or see it solely as something to be extracted or released, but rather addresses it as part of a larger network of patterning and repatterning, regrowth and assimilation, a greater cycle of nature. If we start looking through this ritual lens, we see ritualized trauma work everywhere in cultures around the world. And it doesn’t always look like we think it would. Sometimes it even looks fairly… traumatic.
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The rise of Artificial Intelligence has generated a rush of conversation about benefits and risks, about sentience and intelligence, and about the need for ethics and regulatory measures. Yet it may be that the only way to truly understand the implications of AI — the powers, the potential consequences, and the protocols for dealing with world-altering technologies — is to speak mythically. With the rise of AI, we are entering an era whose only corollary is the stuff of fairy tales and myths. Powers that used to be reserved for magicians and sorcerers — the power to access volumes of knowledge instantaneously, to create fully realized illusory otherworlds, to deceive, to conjure, to transport, to materialize on a massive scale — are no longer hypothetical. The age of metaphor is over. The mythic powers are real. Are human beings prepared to handle such powers? While the AI conversation centers around regulatory laws, it may be that we also need to look deeper, to understand the chthonic drives at play. And when we do so, we see that the drive to create AI goes beyond narratives of ingenuity, progress, profit, or the creation of a more controllable, convenient world. Buried deep in this urge to tinker with animacy and sentience are core mythic drives — the longing for mystery, the want to live again in a world of great powers beyond our control, the longing for death, and ultimately, the unconscious longing for guidance and initiation. Traditionally, there was an initiatory process through which potentially world-altering knowledge was embodied slowly over time. And so… what needs to be done about ‘The AI question’ might bear much more of a resemblance to the guiding principles of ancient magic and mystery schools than it does to questions of scientific ethics — because the drives at play are deeper and the consequences greater and the magic more real than it’s ever been before. Buckle up for a wild ride through myths of magic and human overreach, and all the kung fu movie and sci fi references you can handle. Featuring music by Charlotte Malin and Sidibe. Listen on a good sound system at a time when you can devote your full attention.
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In the myths and fairytales, everything teems with sentience and agency... Everything is alive. There are talking trees and singing stones and hedges that move of their own will. Mirrors speak. Swords dance. There are flying carpets and far-seeing spyglasses and cloaks and boots that leap by themselves. This pervasive insistence in the old stories that absolutely everything is alive — that everything has eyes — butts up against modern rationality and therefore gets marginalized as childish 'fantasy.' But as science discovers more and more that the lines between living and dead, conscious and not, human and non-human are not as clearcut as we'd once imagined, as science starts to unpack the sentience of trees and the latent life within clay, we start to (re)discover that 'things' are not just dead objects at all, and that this whole world hums with animacy. And so the vision of a world of persons, a world with eyes, is not simply a child's eye view — it's actually much closer to the way things are. In taking our attention to the least of things, and remembering that we inhabit a world with eyes, we open up the possibility of redefining our relationship with the cosmos itself. Sparked to life by a conversation with sculptor Rose B. Simpson and featuring original music by Peia, Marya Stark, Sidibe, Ben Murphy, and Andy Aquarius, this episode takes us on a journey through talking stones and living clay and animate bells and drums into a world in which everything has eyes, everything has agency, everything is a portal to the infinite — even the seemingly 'inanimate.' Even... your car. Listen on a good sound system, at a time when you can devote your full attention.
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For 98% of human history — over 10,000 generations — our ancestors lived, breathed, and interacted with a world that they saw and felt to be animate — imbued with life force, inhabited by and permeated with beings with which we exist in ongoing relation. This animate vision was the water in which we swam, it was consciousness in its natural dwelling place, the normative way of seeing the world and our place in it. It wasn’t a theory, a philosophy, or an idea. It wasn’t, actually, an "-ism." It was direct, felt experience. It was, simply, how things were. Which is why it has been commonly understood across the entire world for all of time. In this musically reimagined reissue of a classic episode of The Emerald, we explore how foundational the animate worldview is to the human experience and to human consciousness, and what we lose when it starts to fade. Listen on a good sound system when you have time to devote your full attention.
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Báyò Akómoláfé is an author, celebrated speaker, teacher, and self-styled trans-public intellectual whose vocation goes beyond justice and speaking truth to power to opening up other spaces of power-with. In this episode of The Emerald, Báyò joins Josh for a deep-dive discussion into how the Western psychological vision shapes modernity, and the need to expand into alternative stories of what 'being' means. Says Báyò: "Psychology is complicit in the creation of Western modernity. It is not a thing apart. Its disciplinarity, its history, and its legacies are tied up with the industrialization, commodification, the manufacturing, the replication and the reproduction of the human subject. How we think about what it means to be human, what it means to have agency, what it means to think, who has cognition, who doesn't have cognition — all of this is tied in with the historicity of psychology." Using animate tradition as a foundation, Josh and Báyò explore Norse and Polynesian trickster myths, trauma discourse and Puritanism, and pay homage to the gods of in between spaces as they explode open a vision of being, bodies, and sentience that is vast, wild, and porous.
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Once upon a time, psychologist James Hillman spoke of anima, the breath of life, the soul of the world, as something that had to be rescued by psychologists from theologians. Now, with pop-psychology vernacular inundating all aspects of life, it may be time for the breath of life to be rescued all over again. The New York Times recently released an article entitled 'The Problem with Letting Therapy Speak Invade Everything.' Philosopher Bayo Akomolafe writes of the need to 'decenter Western psychology.' It seems that psychology discourse has grown from a simple means of understanding and evaluating the forces at play in the psyche to be the medium through which much of modern discourse takes place, through which nearly everything is evaluated. If there is a value to ritual, it is increasingly articulated as a psychological value. The traditional yogic process has become deeply conflated with the psychological process. Traditional plant medicines are on the verge of a global psychologization. Psychology vernacular has been adopted en masse — and also weaponized en masse — so that simple disagreements in viewpoint or worldview are now called out as psychological pathologies. Activist movements have abandoned the spiritual vocabulary of Martin Luther King and Gandhi and the Dalai Lama in favor of outing narcissists and addressing collective traumas. Part spoken-word rant à la Gil Scott-Heron, part devotional ode to the breath of life, this episode is not an indictment of psychology or of therapeutic systems that benefit many people, but rather a glimpse into what goes missing as we increasingly evaluate everything through the psychological lens. As always in the modern west, what gets sidelined first is... the animate itself. There are textures and depths to the way that traditional systems understand relationality with the larger animate world that get lost when seen through the modalities that have arisen out of individualism. And in traditional animate systems, we find visions of consciousness, animacy, and relationality that make us deeply rethink psychological visions of trauma, safety, agency, and alterity. Listen on a good sound system, at a time when you can devote your full attention.
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Human beings adorn. Scientists now say that the earliest adornments date back over 160,000 years. Why is adornment so universal? It is easy to see adornment as simply an indication of status, wealth, and identity. But adornment is also more than this. The word 'adorn' and 'ornament' relate directly to the word 'order,' to the pattern of the cosmos. And so to adorn has also been associated with aligning to a greater pattern, a pattern evident in the harmonic structures of nature and expressed in the aesthetics of culture and ritual. So in many traditions, to adorn is to directly enhance and pattern consciousness. To assume the boar-tooth mask or the macaw-feather crown is to bring consciousness into greater unification with the pattern of nature — to both heighten perception and to defend against unwanted forces. So adornment plays a key role in the shamanic navigation of the cosmos. In Tantric traditions, deep, loving, attention is paid to adornments. Hymns are sung to the goddess's adornments. The entire universe itself is seen as the adornment of the primal mother power, and practices of invocation and imaginal architecting deliberately adorn the consciousness of the practitioner. Such meticulous adornment has been foundational in many animist traditions. Yet in a world of decontextualized spirituality, the architecting and adorning of consciousness through ritual patterning is often discarded in favor of spiritualities that put all the emphasis on ridding the mind of constructs rather than deliberately patterning it. Perhaps in a post-modern, post-structuralist world, modern minds need deliberate patterning. Like the Sumerian goddess Innana, we need to adorn... for survival. Featuring music from Sidibe, harpist Andy Aquarius, and Nivedita Gunturi and drawing on the work of Tantric scholar Sthaneswar Timalsina, this episode is a patterned journey through that which shines, shimmers, jingles, defends, and aligns... listen on a good sound system, at a time when you can devote your full attention.
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Birds in myth are messengers, deliverers of prophecy, and instigators of journeys. But birds are much more than this. Human neurobiology is deeply linked to birds, who, through the arcing patterns of their flight, their hypnotic songs, and their high, piercing calls, awakened human sense faculties, taught us to look up in wonder, and therefore gave us the ability to soar into imaginal spaces. Somatically, we ideate, journey, and soar because of our coevolution with birds. So we find the influence of birds everywhere in human culture —particularly in the core foundations of global spiritual traditions, whose visions of spirit are deeply tied to birds. The first recorded word for spirit itself is a picture of a bird, and birds have provided the primary means of shamanic and mystic travel for centuries. All across the world, birds influence language, poetic meter, musical composition, ritual vision and artistic expression. Most fundamentally, birds invite us to see farther, soar higher, imagine, initiate, ideate and dream. At a time when planetary futures seem bogged down in bleak inevitability, birds remind us that the ability to soar upwards, see far, imagine, ideate, dream, and navigate spaces of heightened awareness is more vital than ever. In fact, mystic flight is a somatic necessity that provides potential solutions for the future. For if we are going to ideate our way out of the mess we're in, we have to be able to see far and soar high. With original music from Peia, Sidibe, and Charlotte Malin, this episode recounts mythologies of eagles, falcons, macaws, roosters, ravens, hummingbirds, hoopoes and more as it invites a whole lot of upward soaring. Note — The Emerald podcast is meant to be listened to with full attention, preferably on a rocking sound system or a good set of headphones.
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Modern embodiment discourse has arisen as a reaction to the Western world's fraught history with bodies. In a world of deep fracture from the natural world, the current emphasis on embodiment serves to help reclaim a relationship with ecology and with the sacredness of the immediate. But what does 'embodiment' really mean? For some, embodiment is synonymous with wellness. For others, embodiment is related to ongoing personal processing. Often, traditional cultures are held up as examples of embodiment. Yet traditional mythic and ritual visions of embodiment are very different from modern wellness embodiment and from therapeutic/psychological visions of embodiment. Bodies, in ritual, go through agonizing repetition. Bodies are driven to the point of rupture. In myths, bodies do not exist in a kind of happily embodied stasis — bodies are ripped apart. Bodies shrink. Bodies expand. The individual self in initiation is specifically meant to be taken to the brink and then ritually dismantled. Ritual and mythic visions of embodiment ask us to expand our vision of what the body is, to embrace all the paradoxes of embodiment. As we explore in this episode, sometimes, to be embodied requires tearing the body into pieces. Sometimes it requires soaring out of the body. Ultimately, we find that in mythic and ritual traditions, embodiment is less about us and our individualized journey, and more about the great transformative journey of the body of the community and the cosmos itself. This episode seeks to challenge some of the common narratives of embodiment discourse in order to help return embodiment discourse to its living, breathing, paradoxical body. Best listened to when you have time to devote your full attention, on a bumping sound system or with really good headphones.
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Death is universal, an undeniable fact of existence that every single one of our ancestors faced, just as we will. So mythic traditions around the world are full of stories of death. Many initiatory rituals directly enact death, taking the initiate through a process of dying while alive. For Ancient Egyptians and Tibetan Tantrikas, death was not something to run from, but something to actively embrace, as acolytes regularly plunged into the intermediary state. Yet modern culture tries to run from the reality of death. For in an individualistic world, what could be more terrifying than individual death? So billionaires feverishly seek to reverse the aging process and 'solve death.' And yet, in seeking to stave off death at all costs, and in the absence of a healthy intimate relationship with death, modern consumerism also enacts death on a massive scale. For modern culture to reconcile its terror of death requires a deep re-orientation around the place of the individual within the universe. For if “I” am not an isolated unit but rather a continuum of ancestry, then what actually dies? If "I" am water molecules momentarily repurposed as a human on my way to become streams and summer thunderstorms, then what actually dies? So death, as described by tradition after tradition, is a great continuance, a great cycling of matter... and perhaps more. This episode dives deep into the mytho-somatics of death, providing a felt journey into a place many fear to tread, but a place that for many traditions was absolutely essential to navigate while alive. Join us as we explore Tantric death texts, Japanese death poems, Siberian death realms, heroic death epics and culminate with a journey into 4500-year-old Egyptian funerary texts in which death and spoken poetry are intimately linked. Rising Appalachia reprise the old folk classic 'Oh Death' specifically for this episode. Note — The Emerald podcast is meant to be listened to with good headphones or on a high quality sound system, at a time when you can give it your full attention.
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Human beings need ecstatic trance. Trance states have played a vital and necessary role in human culture and in the shaping of human history, causing some anthropologists to label the attainment of these states the 'main need' of the 'ceremonial animal' that is the human being. Trance states traditionally help communities reinforce shared bonds, establish values, gain insight into the nature of reality, establish reciprocal relation with the natural world, and even heal. Yet in the modern world, trance states have been pathologized by both institutionalized religion and science, and ecstatic ritual has lost its centrality. Finally, anthropologists are recognizing what many cultures have known all along — that trance states are essential for human thriving, and that when we lose access to these states we seek ecstasy in darker, more destructive ways. This episode goes deep into the trance states that have defined cultures and traditions for thousands of years. We look at trance in India, Ancient Greece, Africa, South America, and beyond and explore what it means when a culture loses its ecstasy.
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Not easy listening, but possibly necessary listening — this episode of The Emerald dives deep into the heart of the grief many are feeling over the social and environmental ills that are plaguing the planet. The consequences of ecosystem destruction, species loss, industrialization, social inequality, and rising extremism can be felt everywhere — acutely, in the bodies of those affected by environmental toxicity, armed conflict, and class divide, and more subtly in the gnawing sense of anxiety that pervades the modern psyche. Our experience of the world feels diminished. A vastness and wonder, a fundamental hope has been seemingly lost. Faced with such devastation, what is there for us to do? The mythic traditions have much to say about grief and woe. Rather than simply being 'about' grief, this episode takes us on a direct journey into the tears, into heartwrenching mythologies of lamentation and woe, through rivers that weep and fields of flowers that cry to the skies. The journey follows Demeter's search for her missing daughter, weaving its way through the story of the sirens, who were fated to sing forever of the violation of the world. Featuring original music by Peia Luzzi and Serena Joy, this is one great keening for the loss of the world, a journey through the depths that emerges at last into the morning meadows where grief and joy are one. It is recommended to listen to this episode on a good sound system or with headphones, when you have dedicated time to feel.
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Traditional mythic, animist, and astrological systems have long told us that the moon is more than a distant, detached object in space, but rather plays an active role in governing the daily rhythms of life. The moon — in its repetitive pulse — gave early humans the first systems of measurement and the first calendars. So the word 'moon' is directly related to the words meter, measure, and memory, and is tied to all human endeavors that repeat. Repetitive ritual enactment — humanity's primal means of remembering — is something we learned from the moon. Poetic meter, in its repetitive cycles, is similarly lunar. But the influence of the moon goes far deeper than this. Scientists now find this lunar influence in all bodies, aquatic and terrestrial. "It is plausible that… the first life forms adapted to the different rhythms controlled by the moon," says one new study published in the Journal of Molecular Biology, and it is becoming increasingly clear that living bodies — all of which are made of liquid — have fundamentally tidal, lunar structures. Our somatic ancestry is lunar. The pulse of the moon lives in the valve structures that formed the very first sea life, and the very fact that cells pulse and breathe at all can be attributed to the moon. Within human bodies, the tides of hormones, neurological signals, and the feelings and thoughts of consciousness are built around the lunar rhythm. This lunar structure to consciousness has implications for everything from how we align our lives around ritual, to how we navigate cycles of thought and feeling, to the 'hard problem' of consciousness itself. In diving into lunar mythologies and Tantric understandings of lunar goddesses, we start to see consciousness not just as an isolated function of individual biological units, but a billion year agreement between bodies across time and space. The moon begs the question — if an 'inanimate object' is the source of so much animacy, is it really inanimate at all? Come, let us build a ladder to the moon. Featuring music by Sidibe and Robby Rothschild.
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How many myths and stories and fairy tales take place in... the forest? The forest in these stories is more than just setting or backdrop. It is a character of its own, alive, awake, animate, both treacherous and beautiful. The forest doesn't 'represent' something abstract in the myths, it is exactly what it was for our ancestors — a place of beauty and peril, of life and death, of food and devouring, of danger and wonder. To step into the forest is to step outside of linear, organized time and space into the liminality of trance. In the forest, sounds are different, everything is immediate and up close, and every choice matters. To navigate the forest well — like the protagonists of so many fairy tales show us — is to use discernment, to cultivate sensory wakefulness and a deep respect for protocols of animacy. Animism, therefore, is not simply about acknowledging nature's beauty. It is about cultivating a deep relationality with the varying forces of the forest — some of which are perilous. Traditional forest-dwelling cultures recognized the danger of the forest, while the modern world tends to flatten the forest into something either to be destroyed or to be adored from a distance. But to deeply know the forest also means knowing how to navigate unfriendly forces. It's easy in the modern world to view traditional understandings of malevolent forces as 'primitive,' or 'superstitious.' Yet for cultures who actually navigate the forest and its intricacies, knowing how to navigate these forces means survival. And so — if we value animism, it means not looking at the forces of the forest as an 'illusion', or as something to 'move beyond' but something to be treated with deep discernment and respect. Take a step into the forest, this time on The Emerald. Featuring music from Rising Appalachia, Charlotte Malin, and Nivedita Gunturi.
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The horrors of war have been part of the human story since the beginning. While there have been differences in how different cultures have done it, war is so widespread that it is impossible to see it as anything other than a primal human drive that fulfills some type of deep somatic need. What is that somatic need? It is easy to chalk war up to a base and 'primitive' aggression or to cold, calculated policy objectives. But an increasing number of scholars and thinkers are finding something else when they examine the roots of war — war involves many of the same protocols and therefore serves much of the same purpose that traditional ecstatic ritual once served. Both traditionally involve group syncopation, drumming, invocation, consciousness alteration, all built around a ritual enactment within a dedicated time and space that leads participants towards a sacrificial catharsis that follows a mythic narrative. So war becomes a way of fulfilling the human need for ritual intensity. In a day when we live without initiation rites, when we have no ecstatic ritual outlet for the intensities we crave, war becomes — sadly, tragically — the acceptable way for people (men, particularly) to feel ecstasy. So to truly understand war involves understanding why human beings crave ritual intensity to begin with. This inquiry takes us deep into our ancestral past, when the intense ecstasies and traumas we felt were hardwired into us as the basic experience of being within the cycle of predator and prey. Drawing heavily on the book Blood Rites by Barbara Ehrenreich, this episode goes into the origins of war, and as we understand more its ritual, ecstatic foundations, leads to the conclusion that the way to peace is not a process of 'reason' triumphing over the 'primitive' — for humanity' s worst wars have come during the age of 'reason' — but rather in looking to rediscover ecstatic ritual outlets for our need for intensity.
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Shapeshifting is nearly universal to global mythic tradition. The myths of the world feature shapeshifting gods, shapeshifting animals, shapeshifting spirits, and, of course, shapeshifting people who assume the forms of tigers, bears, wolves, eagles, and more. The prevalence of shapeshifting in myth challenges our assumptions about the static nature of selfhood. Yet even from the scientific view, we are shapeshifters. We contain multitudes of beings within us — we are at once fish, bird, mammal, reptile, and more. Understanding and connecting to this permeable, malleable self was key for our ancestors for many thousands of years, as we learned about things primarily by becoming them in states of conjunctive trance. Shapeshifting, accomplished through the animal dance, through the assumption of the animal form in states of ecstasy, formed the foundation of how we learned, communicated, and cultivated empathy for the world. In a world that has turned its back on the sensate animal body, shapeshifting is more important than ever, as it offers a way back to a deep relationship with the living world. Simon Thakur of Ancestral Movement and Biblical Scholar Dr. Natalie Mylonas join us for this episode on shapeshifting, conjunctive knowing, and the sensate body.
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There’s a lot of cultural clutter these days around 'The Goddess.' She appears everywhere, her many names are invoked free of context in a hundred thousand ways. She’s what? An empowerment tool. An archetype. A self-help course. A political symbol. Something that is invoked to bring more creative energy or material abundance into our lives. Something that, in an individualistic modern world, always seems to have a whole lot to do with us. Yet the goddess, traditionally, is much more than this. She is the animating power of the universe itself, felt in bodies, realized in states of deep conjunctive rapture, accessed through ritual protocols, alive in trees and stones and living geography, alive in song, alive in the myths and stories of her, alive in sound, alive in longing, alive in trance, alive in the states of consciousness realized by those who feel her. This devotional episode honors the goddess as the animating power of creation, drawing on her texts, her myths, her songs, and on personal experiences of journey to her sacred seats to evoke her as a living presence rather than as a conceptual abstraction. With songs and slokas from special guest Nivedita Gunturi.
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Modern culture increasingly encroaches on unknown, uncharted space, both geographical and mental. This primordial space is accessed during times when we unplug, slow down, and allow ourselves to incubate and connect to a deeper rhythm. Traditionally, this space was accessed in trance rituals, in journeys to underworlds and otherworlds and in festivals which exist outside of mundane time. Access to this space is the true intention of the holidays — the holy days — that are meant to be time outside of time and so serve as portals to the eternal, to true unknown wild. Yet in the modern vision, this unknown space must be quantified, categorized, mapped, and regurgitated into a commodity at all costs. Why? Beyond the obvious monetary implications, the want to colonize these imaginal slow spaces stems from a deep-seated fear — the fear of nature, of an order that exists beyond our control... and the fear that if we succumb to this larger order we may experience the annihilation of our mundane concerns and encounter instead a world that operates in slow, spiraling, billion-year cycles that have very little to do with us. Yet we vitally need these unknown spaces. Defined, articulated access to unknown space is essential to maintaining our alignment to the greater rhythms of the world around us and is therefore vital to the process of planning for and creating lasting change. In a world that is facing the consequences of its own addiction to urgency and anxiousness, access to such spaces remains essential, even in the midst of all that needs to be addressed right now. Special guest Leah Song from Rising Appalachia chimes in for this episode on the ongoing necessity of access to the deep, slow, primordial and wild.
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Science fiction writers and tech enthusiasts have long spoken of a digital Metaverse — a virtual otherworld that, as the narrative goes, is the logical next phase in human technological development. This Metaverse serves a deep mythosomatic function — it satisfies our collective need for otherworlds, for trance, for mythic narrative, for journeying, and even for shapeshifting. Yet it does so removed from all somatic context — without the accompanying ritual, without any somatic sacrifice, without the sweat of the dance or the fast or the vision quest and without providing any larger contextual purpose or individual/cultural renewal. The brokers of the new digital Metaverse seek to sell us a shamanic otherworld, while traditional access to such otherworlds takes place through the simplest of all vehicles — the body. Traditional trance practices harness breath, movement, vocal invocation, and artistic visioning as portals to otherworlds, whose ultimate purpose is not escape, entertainment, or distraction but to re-invigorate our relationship with this world. And so the magisters of tech veer into what, according to the myths and fairy tales, is profoundly dangerous territory — misusing the power of the otherworld, harnessing mass trance-induction techniques for profit rather than for communal transformation and renewal. Tech dystopias, shapeshifters, plant beings, Tantric meta-anatomies, fairy woods and more... on this episode of The Emerald.
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Just in time for Holiday season, an episode that dives into the deep role of festivals in providing regular, ritualized access to states of rapture and initiation. For thousands upon thousands of years, the festival formed the drumbeat of culture. Festivals forged bonds and provided communal and individual focus. The festival gave space for grief, for rapture, for joy, for renewal. Hurts were healed at the festival… thresholds crossed, revolutions hatched, at the festival. The festival renewed our relationship with the vegetal world and established us in right relation with plants. The festival was able to accomplish all these things specifically because the festival was a shared agreement around time, an architecting of temporal reality to construct a portal to the eternal. Yet at a certain point in the history of the modern west, the festival was de-sanctified. And so, we are left with a schism between the sacred and the profane, in which the festival and its associated arts become simply ‘entertainment.’ The results of this schism are deep. Traditional festivals took participants on a fully enacted journey through pain, grief, loss, death, and then renewal and ecstatic communion, while the modern holiday celebrates only the consumptive side of this cycle. The ethos of modern capitalism removes all possibility of ‘sacred time,’ and gives space only for debauchery as an antidote to the numbing cycle of the workplace. What do we lose with the de-sanctification of the festival? Ultimately, we lose the potential for the festival to provide one very important thing — enacted access to the initiatory moment, to what Byung-Chul Han calls the brilliance of eternity.
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