web01.fireside.fm Sat, 04 Apr 2026 17:46:02 -0500 Fireside (https://fireside.fm) Weird Studies - Episodes Tagged with “Drugs” https://www.weirdstudies.com/tags/drugs Wed, 18 Mar 2020 16:00:00 -0400 Professor Phil Ford and writer J. F. Martel host a series of conversations on art and philosophy, dwelling on ideas that are hard to think and art that opens up rifts in what we are pleased to call "reality." en-us episodic Art and philosophy at the limits of the thinkable Phil Ford and J. F. Martel Professor Phil Ford and writer J. F. Martel host a series of conversations on art and philosophy, dwelling on ideas that are hard to think and art that opens up rifts in what we are pleased to call "reality." yes weird, art, philosophy Phil Ford and J. F. Martel admin@weirdstudies.com Episode 68: On James Hillman's 'The Dream and the Underworld' https://www.weirdstudies.com/68 65a24606-9755-4f99-bc7b-2ae7dd071e3a Wed, 18 Mar 2020 16:00:00 -0400 Phil Ford and J. F. Martel 68 On James Hillman's 'The Dream and the Underworld' full Phil Ford and J. F. Martel JF and Phil discuss James Hillman's archetypal psychology as it pertains to dreams and death. 1:15:14 yes In 1979, the American psychologist James Hillman published The Dream and the Underworld, a polemical meditation on the nature of dreams. Rejecting the orthodoxies of both Freud and Jung, Hillman argued that the the "nightworld" of dream should not play second fiddle to the "dayworld" of waking life, because in the soul as on earth, day and night are equally essential, and equally real. To reduce a dream to a message or interpretation is to fail the dream. In order for dreams to do their work on us, says Hillman, we must cease to regard them as hallucinations, mere metaphors, epiphenomena, or illusions, and instead see them as the imaginal other life we all must live. Every night, for Hillman, each of us descends into the underworld to encounter those forces that shape us and our surroundings. The way down is the way up. REFERENCES James Hillman, The Dream and the Underworld (https://www.amazon.com/Dream-Underworld-James-Hillman/dp/0060906820) T. S. Eliot, "The Hollow Men" (https://msu.edu/~jungahre/transmedia/the-hollow-men.html) Walter Pater, The Renaissance: Studies in Art and Poetry (http://www.gutenberg.org/ebooks/2398) George Steiner, Real Presences (https://www.amazon.com/Real-Presences-George-Steiner/dp/0226772349) Hakim Bey, Orgies of the Hemp Eaters: Cuisine, Slang, Literature and Ritual of Cannabis Culture (https://www.amazon.com/Orgies-Hemp-Eaters-Literature-Cannabis/dp/1570271437) Erik Davis, High Strangeness: Drugs, Esoterica, and Visionary Experience in the Seventies (https://mitpress.mit.edu/books/high-weirdness) Brad Warner on drugs and Buddhism (http://hardcorezen.info/sex-and-drugs-and-buddhism/5962) Aldous Huxley, [The Doors of Perception](https://en.wikipedia.org/wiki/TheDoorsofPerception)_ Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep (https://www.versobooks.com/books/1570-24-7) Christopher Nolan (dir.), Inception (https://www.imdb.com/title/tt1375666/) Jorge Luis Borges, "Nightmares" in Seven Nights (https://www.amazon.com/Jorge-Luis-Borges-1984-10-16-Paperback/dp/B00H86QLHK) Henri Bergson, Dreams (http://www.gutenberg.org/ebooks/20842) dream interpretation, Jung, freud, hillman, psychoanalysis, underworld In 1979, the American psychologist James Hillman published The Dream and the Underworld, a polemical meditation on the nature of dreams. Rejecting the orthodoxies of both Freud and Jung, Hillman argued that the the "nightworld" of dream should not play second fiddle to the "dayworld" of waking life, because in the soul as on earth, day and night are equally essential, and equally real. To reduce a dream to a message or interpretation is to fail the dream. In order for dreams to do their work on us, says Hillman, we must cease to regard them as hallucinations, mere metaphors, epiphenomena, or illusions, and instead see them as the imaginal other life we all must live. Every night, for Hillman, each of us descends into the underworld to encounter those forces that shape us and our surroundings. The way down is the way up.

REFERENCES

James Hillman, The Dream and the Underworld
T. S. Eliot, "The Hollow Men"
Walter Pater, The Renaissance: Studies in Art and Poetry
George Steiner, Real Presences
Hakim Bey, Orgies of the Hemp Eaters: Cuisine, Slang, Literature and Ritual of Cannabis Culture
Erik Davis, High Strangeness: Drugs, Esoterica, and Visionary Experience in the Seventies
Brad Warner on drugs and Buddhism
Aldous Huxley, The Doors of Perception
Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep
Christopher Nolan (dir.), Inception
Jorge Luis Borges, "Nightmares" in Seven Nights
Henri Bergson, Dreams

]]> In 1979, the American psychologist James Hillman published The Dream and the Underworld, a polemical meditation on the nature of dreams. Rejecting the orthodoxies of both Freud and Jung, Hillman argued that the the "nightworld" of dream should not play second fiddle to the "dayworld" of waking life, because in the soul as on earth, day and night are equally essential, and equally real. To reduce a dream to a message or interpretation is to fail the dream. In order for dreams to do their work on us, says Hillman, we must cease to regard them as hallucinations, mere metaphors, epiphenomena, or illusions, and instead see them as the imaginal other life we all must live. Every night, for Hillman, each of us descends into the underworld to encounter those forces that shape us and our surroundings. The way down is the way up.

REFERENCES

James Hillman, The Dream and the Underworld
T. S. Eliot, "The Hollow Men"
Walter Pater, The Renaissance: Studies in Art and Poetry
George Steiner, Real Presences
Hakim Bey, Orgies of the Hemp Eaters: Cuisine, Slang, Literature and Ritual of Cannabis Culture
Erik Davis, High Strangeness: Drugs, Esoterica, and Visionary Experience in the Seventies
Brad Warner on drugs and Buddhism
Aldous Huxley, The Doors of Perception
Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep
Christopher Nolan (dir.), Inception
Jorge Luis Borges, "Nightmares" in Seven Nights
Henri Bergson, Dreams

]]> Episode 25: David Cronenberg's 'Naked Lunch' https://www.weirdstudies.com/25 38711c33-1e0a-4536-b97b-fd5861fc4628 Wed, 12 Sep 2018 10:00:00 -0400 Phil Ford and J. F. Martel 25 David Cronenberg's 'Naked Lunch' full Phil Ford and J. F. Martel Phil and JF discuss David Cronenberg's 1991 film, "Naked Lunch," an adaptation of William S. Burroughs' hallucinatory classic. 1:20:06 yes JF and Phil head for Interzone in an attempt to solve the enigma of Naked Lunch, David Cronenberg's 1991 screen adaptation of William S. Burroughs' infamous 1959 novel. A treatise on addiction, a diagnosis of modern ills, a lucid portrait of the artist as cosmic transgressor, and like the book, "a frozen moment when everyone sees what is on the end of every fork," Naked Lunch is here framed in the light Cronenberg's recent speech making the case for the crime of art. Image by Melancholie, Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Gabel.jpg). REFERENCES David Foster Wallace, "Westward the Course of Empire Takes Its Way," (https://en.wikipedia.org/wiki/Girl_with_Curious_Hair) from Girl With Curious Hair Gilles Deleuze and Félix Guattari, Anti-Oedipus (https://en.wikipedia.org/wiki/Anti-Oedipus), and "How Do You Make Yourself a Body Without Organs?" in [A Thousand Plateaus](https://en.wikipedia.org/wiki/AThousandPlateaus) David Cronenberg (writer-director), Naked Lunch (https://www.imdb.com/title/tt0102511/) (the film) William Burroughs, [Naked Lunch](https://en.wikipedia.org/wiki/NakedLunch)_ (the novel) Thomas De Quincey, [Confessions of an Opium-Eater](https://en.wikipedia.org/wiki/ConfessionsofanEnglishOpium-Eater) Dale Pendell, Pharmako/Poeia: Power Plants, Poisons and Herbcraft (https://www.amazon.com/Pharmako-Poeia-Revised-Updated-Herbcraft/dp/1556438052) "David Cronenberg: I would like to make the case for the crime of art," (https://www.theglobeandmail.com/opinion/article-the-crime-of-art/) Globe and Mail June 22 2018 JF Martel, [Reclaiming Art in the Age of Artifice](https://www.amazon.com/Reclaiming-Art-Age-Artifice-Manifesto/dp/1583945784/ref=sr11?s=books&ie=UTF8&qid=1536764053&sr=1-1&keywords=reclaiming+art+in+the+age+of+artifice) Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Derek Bailey (director), [On the Edge: Improvisation in Music](https://www.youtube.com/watch?v=edy2QlPjaU)_ Phil Ford, "Good Prose is Written By People Who Are Not Frightened" (https://dialmformusicology.com/2017/08/10/good-prose-is-written-by-people-who-are-not-frightened/) Geroge Orwell, "Inside the Whale" (https://en.wikipedia.org/wiki/Inside_the_Whale) burroughs, naked lunch, cronenberg JF and Phil head for Interzone in an attempt to solve the enigma of Naked Lunch, David Cronenberg's 1991 screen adaptation of William S. Burroughs' infamous 1959 novel. A treatise on addiction, a diagnosis of modern ills, a lucid portrait of the artist as cosmic transgressor, and like the book, "a frozen moment when everyone sees what is on the end of every fork," Naked Lunch is here framed in the light Cronenberg's recent speech making the case for the crime of art.

Image by Melancholie, Wikimedia Commons.

REFERENCES

David Foster Wallace, "Westward the Course of Empire Takes Its Way," from Girl With Curious Hair
Gilles Deleuze and Félix Guattari, Anti-Oedipus, and "How Do You Make Yourself a Body Without Organs?" in A Thousand Plateaus
David Cronenberg (writer-director), Naked Lunch (the film)
William Burroughs, Naked Lunch (the novel)
Thomas De Quincey, Confessions of an Opium-Eater
Dale Pendell, Pharmako/Poeia: Power Plants, Poisons and Herbcraft
"David Cronenberg: I would like to make the case for the crime of art," Globe and Mail June 22 2018
JF Martel, Reclaiming Art in the Age of Artifice
Phil Ford, Dig: Sound and Music in Hip Culture
Derek Bailey (director), On the Edge: Improvisation in Music
Phil Ford, "Good Prose is Written By People Who Are Not Frightened"
Geroge Orwell, "Inside the Whale"

]]> JF and Phil head for Interzone in an attempt to solve the enigma of Naked Lunch, David Cronenberg's 1991 screen adaptation of William S. Burroughs' infamous 1959 novel. A treatise on addiction, a diagnosis of modern ills, a lucid portrait of the artist as cosmic transgressor, and like the book, "a frozen moment when everyone sees what is on the end of every fork," Naked Lunch is here framed in the light Cronenberg's recent speech making the case for the crime of art.

Image by Melancholie, Wikimedia Commons.

REFERENCES

David Foster Wallace, "Westward the Course of Empire Takes Its Way," from Girl With Curious Hair
Gilles Deleuze and Félix Guattari, Anti-Oedipus, and "How Do You Make Yourself a Body Without Organs?" in A Thousand Plateaus
David Cronenberg (writer-director), Naked Lunch (the film)
William Burroughs, Naked Lunch (the novel)
Thomas De Quincey, Confessions of an Opium-Eater
Dale Pendell, Pharmako/Poeia: Power Plants, Poisons and Herbcraft
"David Cronenberg: I would like to make the case for the crime of art," Globe and Mail June 22 2018
JF Martel, Reclaiming Art in the Age of Artifice
Phil Ford, Dig: Sound and Music in Hip Culture
Derek Bailey (director), On the Edge: Improvisation in Music
Phil Ford, "Good Prose is Written By People Who Are Not Frightened"
Geroge Orwell, "Inside the Whale"

]]>