My Breaking Convention talk from July 2015 is now up on Vimeo.
In their writings and lifestyle experiments, the Beat writers Kerouac, Burroughs and Ginsberg were very much the precursors of the psychedelic movement – in particular with regard to their employment of drugs for recreational and psychonautic purposes. They were pioneering users of ayahuasca, mescaline, psilocybin and LSD; and when Timothy Leary began his Harvard work he naturally tried to induct the three as elder statesmen figures. The results were somewhat volatile and unexpected, with one resounding success, another a mix of good and bad, and another a resounding failure. Nevertheless the Beats remain highly influential figures and today’s psychedelic culture would not be the same without them.
I attended the recent Breaking Convention at Greenwich University and gave a talk entitled ‘Beat Writers and the Psychedelic Movement’, which covered the story of how the major Beat figures – William Burroughs, Allen Ginsberg, Jack Kerouac and Neal Cassidy – preempted and were later inducted into 1960s psychedelia by Timothy Leary. It gave me the opportunity to again explore in detail the fascinating facts of Burroughs’ early involvement with ayahuasca – previously covered in William Burroughs: Ayahuasca Tourist and The Soundless Hum – which in the context of the conference and the current huge interest in ayahuasca were most pertinent.
At Breaking Convention there were many talks relating to use of the vine, covering ayahuasca in group therapy, tools for navigating its altered states, the current wave of tourism versus tradition, soma and ayahuasca; and also the related areas of tryptamine plant mythos, the pineal portal, the ontology of entities in the DMT realm and what it’s like to be a machine elf. In fact the whole ayahuasca/DMT/pineal gland nexus is the hottest area in the current psychedelic zeitgeist.
And good old Bill Burroughs was there first – a fact that other speakers and participants picked up on as well as myself. Luke Goaman-Dodson gave an illuminating talk on the parallels between Burroughs and Terence McKenna as ayahuasca psychonauts, comparing McKenna’s thoughts on the syntactical nature of reality with Burroughs’s cut-up technique, an area that touches on both post-structuralism and chaos magic – the notion that the world is made of words and that reality can be manipulated through them. Burroughs developed his cut-up technique into form of magic using recording devices and used it effectively; once he attacked the Moka Bar in Soho, where he’d received rudeness and bad service, and after several sessions the business began to collapse and eventually closed down.
The transgressive nature of Burroughs’ activities – the ‘literary outlaw’, drug addict and gun nut – cropped up in Alan Piper’s excellent presentation on psychedelics as a key tool for alterity in the twentieth century avant garde. Burroughs’ writings in The Yage Letters and Junkie were juxtaposed with some excellent photos of the older writer in a three-piece suit, pistol in hand of course! Alan posed the question of whether psychedelics would lose their transformative powers if they become officially sanctioned, commodified and safely marketed – a route that Burroughs never traveled in his art and life.
And Burroughs’ hand could also be seen in the area of the convention’s installations, in particular with regard to hypnagogic light machines. Burroughs explored flicker-effect altered consciousness with his collaborators Brion Gysin and Ian Sommerville, who designed and built a ‘Dreamachine’ – a cardboard cylinder containing slits, with a light bulb inside, rotating on a record deck so that it would flash at the correct rhythm to induce hallucinations.
Dr Dirk Proeckl and Dr Engelbert Winkler discussed their Lucia No.3 Light Machine, a very high tech variant where a pulsing whirring light is aimed at the subject’s face, with closed eyes, to induce psychedelic displays of colours and shapes, out-of-body feelings and deep relaxation. But retailing at £16,000, it resides at the high end of one’s pocket also!
More in keeping with the original concept, digital artist Luciana Haill displayed dreamachines augmented with EEG installation. Subjects sit with closed eyes and monitored brainwaves, listening to sounds on headphones, in order to create an interactive participatory artwork. Luciana is also involved in the academic side of brainwave research; she is a Visiting Research Fellow at Sussex University’s Department of Informatics and has written a paper on ‘Dreamachines and Electroencephalographic Signals in Art’. Mr Burroughs and Mr Gysin would have definitely approved!
Also at Breaking Convention, Muswell Hill Press launched its anthology of the best of PsypressUK writing – Out of the Shadows – covering subjects such as the use of psychedelics in medicine and psychotherapy, archetypal psychology and spiritual awakenings, creative surges in literature, myth and visionary art, and philosophical theory to ayahuasca healing. It features top psychedelic commentators such as Stanislav Grof, Rick Strassman, Ben Sessa, Rob Dickins, Tim Read, Maria Pap, Sam Gandy, Andy Roberts, Dave King, Henrik Dahl, Jack Hunter and David Luke, and an interview with activist Casey William Hardison. It also contains my article ‘Beats on Acid’, which provided the original basis for my Breaking Convention talk.
In the words of Dr David Luke:
Florid as psychosis, poetic as the elements, insightful as meditation and intellectual as the noosphere: PsyPressUK is a ragtaglledy mag loaded with psychedelic word mongery from far-flung medicine bags and the academy’s finest pharmacographers, and this anthology assembles the best of those essays in one book. Not just writing on drugs, but writing about drugs, with the light fully switched on.
Copies are available from the Psypress Shop.