Jung's Near Death Experience-or-Dream Vision and the Human Condition: 3

"Now am I light, now do I fly; now do I see myself under myself." Friedrich Nietzsche, "Thus Spoke Zarathustra

Also Sprach Zarathustra -or- Neuroscientific Mosaic of the Collective Unconscious  

As a student, one of my professors at the University of Zürich used to say that if Carl Jung had not existed, then society would have had to "invent him". My first contact with Jung and his theory of the archetypes of the collective unconscious was in the spring of 1977. I felt after that exhilarating reading experience that I somehow understood the world, and life. However, as a student reading Jung's collected works, it left me feeling that a great deal was missing in the psychophysical form of a complete neuroscientific theory of the social evolution of communication and the human condition. 

It was not until I discovered the dreams of the physicist Wolfgang Pauli (1) and his influence on the "Copenhagen Interpretation" (and his collaboration with Jung) that I began to completely understand the thoughts and feelings that I had as a student. Pauli's dreams about culture and nature provide the missing scientific foundation and communication link for understanding archetypal dreams, and the evolutionary psychophysical function of dreaming and dream interpretation. Freud's quintessential "Project for a Scientific Psychology" and "Interpretation of Dreams" provided a more rational symbolic logic (2) perspective to understanding the driving forces of the conscious-dreaming brain, mind and body communication. Yet, as a student I already knew based on my own dreams, that Jung's theory (ways of seeing) was "more right" than Freud's. 

Carl Jung's interest and turn to the religious (3), occult and the parapsychological aspects of dreams and dreaming contributed to the scientific parting of ways between himself and Sigmund Freud (Read Field Note "The Occult Dream Dectective"). Jung's life experiences and dream journey including those with Freud are recorded in Jung's "Memories, Dreams and Reflections" (4). Jung reports a dream that reflects the observer's "Archimedean Point" referenced to in "Dream Vision and the Human Condition: Part 2". This "Field Note" contrasts Jung's memories, dreams and reflections, with my own anthropological literary "anatomicalbricolage perspective of dream vision. Here is Jung's transcendental Archimedean dream that he reported having in 1944, the lengthy dream vision is found in ‘Memories, Dreams and Reflections"; 

Chapter X "Visions"; 

    "It seemed to me that I was high up in space. Far below I saw the globe of the earth, bathed in a glorious blue light. I saw the deep blue see and the continents. Far below my feet lay Ceylon, and in the distance ahead of me the subcontinent of India. My field of vision did not include the whole earth, but its global shape was clearly distinguishable and its outlines shone with a silvery gleam through that wonderful blue light. In many places the globe seemed coloured, or spotted dark green like oxidized silver. Far away to the left lay a broad expanse-the reddish-yellow desert of Arabia; it is as though the silver of the earth had assumed a reddish-gold hue. Then came the Red Sea, and far, far back-as if in the upper left of a map-I could just make out a bit of the Mediterranean. My gaze was directed chiefly towards that. Everything else appeared indistinct. I could also see the snow-covered Himalayas, but in that direction it was foggy or cloudy. I did not look to the right at all. I knew that I was on the point of departing from the Earth. 

     Later I discovered how high in space one would have to be to have so extensive a view--approximately a thousand miles!  The sight of the Earth from this height was the most glorious thing I had ever seen.

    After contemplating it for a while, I turned around. I had been standing with my back to the Indian Ocean, as it were, and my face to the north. Then it seemed to me that I made a turn to the south. Something new entered my field of vision. A short distance away I saw in space a tremendous dark block of stone, like a meteorite. It was about the size of my house, or even bigger. It was floating in space, and I myself was floating in space. I had seen similar stones on the coast of the Gulf of Bengal. They were blocks of tawny granite, and some of them had been hollowed out into temples. My stone was one such gigantic dark block. An entrance led into a small antechamber. To the right of the entrance, a black Hindu sat silently in lotus posture upon a stone bench. He wore a white gown, and I knew that he expected me. Two steps led up to this antechamber, and inside, on the left, was the gate to the temple. Innumerable tiny niches, each with a saucer-like concavity filled with coconut oil and small burning wicks, surrounded the door with a wreath of bright flames. I had once actually seen this when I visited the Temple of the Holy Tooth at Kandy in Ceylon; the gate had been framed by several rows of burning oil lamps of this sort. 

    As I approached the steps leading up to the entrance into the rock, a strange thing happened: I had the feeling that everything was being sloughed away; everything I aimed at or wished for or thought, the whole phantasmagoria of earthly existence, fell away or was stripped from me - an extremely painful process. Nevertheless something remained; it was as if I now carried along with me everything I had ever experienced or done, everything that had happened around me. I might also say: it was with me, and I was it. I consisted of all that, so to speak. I consisted of my own history and I felt with great certainty: this is what I am. I am this bundle of what has been and what has been accomplished. 

    This experience gave me a feeling of extreme poverty, but at the same time of great fullness. There was no longer anything I wanted or desired. I existed in an objective form; I was what I had been and lived. At first the sense of annihilation predominated, of having been stripped or pillaged; but suddenly that became of no consequence. Everything seemed to be past; what remained was a "fait accompli," without any reference back to what had been. There was no longer any regret that something had dropped away or been taken away. On the contrary: I had everything that I was, and that was everything. 

    Something else engaged my attention: as I approached the temple I had the certainty that I was about to enter an illuminated room and would meet there all those people to whom I belong in reality. There I would at last understand - this too was a certainty - what historical nexus I or my life fitted into. I would know what had been before me, why I had come into being, and where my life was flowing. My life as I lived it had often seemed to me like a story that has no beginning and end. I had the feeling that I was a historical fragment, an excerpt for which the preceding and succeeding text was missing. My life seemed to have been snipped out of a long chain of events, and many questions had remained unanswered. Why had it taken this course? Why had I brought these particular assumptions with me? What had I made of them? What will follow? I felt sure that I would receive an answer to all the questions as soon as I entered the rock temple. There I would meet the people who knew the answer to my question about what had been before and what would come after. 

    While I was thinking over these matters, something happened that caught my attention. From below, from the direction of Europe, an image floated up. It was my doctor, or rather, his likeness - framed by a golden chain or a golden laurel wreath. I knew at once: "Aha, this is my doctor, of course, the one who has been treating me. But now he is coming in his primal form, as a "basileus of Kos." [footnote; "Basileus=King. Kos was famous in antiquity as the site of the temple of Asklepios, and was the birthplace of Hippocrates.]  In life he was an avatar of this basileus, the temporal embodiment of the primal form, which has existed from the beginning. Now he is appearing in that primal form.  

    Presumably I too was in my primal form, though this was something I did not observe but simply took for granted. As he stood before me, a mute exchange of thought took place between us. The doctor had been delegated by the Earth to deliver a message to me, to tell me that there was a protest against my going away. I had no right to leave the Earth and must return. The moment I heard that, the vision ceased. 

    I was profoundly disappointed, for now it all seemed to have been for nothing. The painful process of defoliation had been in vain, and I was not to be allowed to enter the temple, to join the people in whose company I belonged. For it seemed to me as if behind the horizon of the cosmos a three-dimensional world had been artificially built up, in which each person sat by himself in a little box. And now I should have to convince myself all over again that this was important! Life and the whole world struck me as a prison, and it bothered me beyond measure that I should again be finding all that quite in order. I had been so glad to shed it all, and now it had come about that I - along with everyone else - would again be hung up in a box by a thread." 

Jung's thoughts about his "near death" "autoscopic" (OOBE) mystical (5) experience continue and anyone interested can read about them in "Memories, Dreams and Reflections".  

The Mind's Eye of Gravity -or- Anthropological Varieties of Visual Experience 

"What is Life?" asked the physicist Erwin Schroedinger in a book published in 1944. Schroedinger believed that life was formed by a yet to be revealed DNA molecule, that he believed had a crystalline structure. Provided with this scientific clue, Francis Crick would discover the crystalline DNA molecular structure of inherited information transfer of genetic traits. Is it a coincidence or "sychronicity" that Jung saw the archetypes of the collective unconscious as an "axial crystal"? (6) Schroedinger's "What is Life" philosophy appears sympathetic to the Hindu concepts of the Upanishads, where individual consciousness is a manifestation of a "collective consciousness" (7) of life pervading the earth and the universe. 

This 1944 dream, is in stark contrast to the 1913 vision Jung reported he had in "Memories, Dreams and Reflections" which prophesized the European "bloodbath" of WWI (read Field Note "The Waste Land of World War I"). Jung's bird's eye view of the "hues" of life on earth would find scientific expression many years later in Carl Sagan's, "Pale Blue Dot". Switzerland in 1944 found itself in the eye of the European political "perfect storm" of the military conflict of World War II and the Nazi driven Holocaust. The death toll and body count in the European military theatre, millions. For more understanding of the Nazi's perfect storm, read the Field Note "Inside the Third Reich of Dreams".

Jung's 1944 dream provides the mind's eye with a Chagall like archetypal multi-sensory light portrait of the literary, artistic, and scientific foundation of the narcissistic (8) narrative motifs of dream vision. "Field Notes of a Dream Researcher" re-works concepts found in such research fields  as the "medical humanities", "sociology", "ethnomethodology", "structural anthropology", "structural linguistics" and the "Toronto School of Communication", to create a inter-personal communication (9) mosaic and portrait of the anthropological "field of vision" of our planet. 

Having seen Chagall's windows in Jerusalem and his windows at the "Fraumünster" in Zürich (especially the panel of Moses receiving the Torah), his work has always been an artistic "abstract" and concrete dream vision source of inspiration in the portrait studio of my thoughts, feelings and dreams (10). "Field Notes" field of vision goes beyond the Cartesian and Newtonian "Flatland" (read "Field Note") "box" concepts of consciousness, and provides visible access to the dreaming mind's 4-D visual space-time "Earth science" landscape (11). Upon completion, "Field Notes" will embody the philosophy of history in form of a virtual museum of dream vision. 

Translated into literary and psychophysical terms, "Field Notes" makes visible a person's dramatic dream vision life time experiences and maturational path as a whole from life to death. The psychiatrist Eugène Minkowski called this dramatic tapestry, the lived experience of space and time. Read Field Note "Jungian Psychodrama". Wolfgang Pauli's (12) natural philosophy (read Field Note, "The Dreams of Wolfgang Pauli") provides an ecological, and an ontological foundation for "Field Notes of a Dream Researcher". Field Notes uses an ecological 4-D (space-time) literary and artistic observational portrait perspective, of nature's visual light and darkness found in dream vision. The "natural history" and artistic idea of such a dream vision access to space-time will be explored in a future "Field Note" which interprets Wolfgang Pauli's dream of the "World Clock". Read Field Note "Meditation and the Star Maker's Universe". 

Using all the literary tools of philosophical criticism "Field Notes" goes beyond the medical humanities endoscopic tool boxes used by the Hippocratic philosopher physicians Jung, Freud, Adler and all those others using depth psychological ideas which help to explain the literary symbolic language, nature and encyclopedic meaning (13) of the tapestry of dream vision. Read "Field Note", "Freud, Jung and Adler -or- A Dangerous Method". Jung himself understood that the language of dream vision was spoken in a variety of "dialects" including Freudian, Jungian and Adlerian. "Field Notes" are critical of all "true believer" ideologies, advocating instead for the democratization of the collective unconscious. Read Field Note "The Psychodynamic Problem of Democracy". 

"Field Notes" provides you the reader with a unified critical theory of dream vision, an anthropological (14) literary "living newspaper" of the "Alltagsgeschichte" (story of everyday life) of life and death on the planet. Said differently, "Field Notes" provides an art historical and depth psychological (15) "visual field" (16, 17,18) panorama of the sociological varieties of global visual culture, thinking, experience, arts, and memory for all those living on the planet. Read Field Note "Poetics of Women's Autobiography".

 "Field Notes" allows you the reader to enter the collective evolutionary labyrinthine mosaic of the "memory palace" (19) of the "small world" (20) found in the "world literature" of dream vision. Using Ernst Bloch's "The Principle of Hope" we can discover an encyclopedic folkloric visual cultural light motif index of the "world literature" of dream vision. In the global "metatheatre" of the Earth, the "frame story" process of life and death, of utopian and dystopian history of dreams and nightmares on the planet unfolds as we speak. "Field Notes" features the global dramaturgical "theatre of everyday life", the storehouse of dramatis personae and behavioural scripts found in Western and Eastern dream visions. Read Field Note "Menu for Dream Vision". 

In this literary sense, we can locate, envision and remember the utopian light and the dystopian darkness in the global anthropological communication theatre, helping us with our "Ways of Seeing" (21) the "phantasmagoria" of the metatheatrical history of dream vision (22) and the human condition on the planet. Much like Jung describes his ontological journey of life in "Memories, Dreams and Reflections", "Field Notes of a Dream Researcher" describes and remembers some of my early years, my student years, my professional clinical work, my "Art of Memory", my Joycean and Kafkaesque like artistic experiences, my travels and the circumspect literary tapestry of the philosophy of mind (23) of my own dream vision life.

More importantly, "Field Notes" memorializes and envisions collective involuntary autobiographical memory and the language of the dreaming brain (24), or what Marcel Proust called "Remembrance of Things Past(25). The reconstructive remembrance (26) of cultural life on earth, seen through the philosophical optics of dream vision reveals an ongoing psychodynamic conflict between light and darkness, creativity and destructiveness, peace and war, creating an archetypal agonistic "no man's land" mythology between Frazer's "The Golden Bough" and Eliot's "The Waste Land". In part, "Field Notes" presents a portrait of the cultural ecological history of involuntary memory and dream vision from the perspective of the "Angelus Novus" (Angel of History) in search of Frye's "Green Worldenchanted forest. Said differently, "Field Notes" makes the "phantasmagoria" of the paleontological mythological forces driving the dream visions of Western and Eastern civilizations visible.

In Jung's dream vision, he speaks of seeing places, "as if", (27) on a (thematic) "map". This amounts to what we today call "cultural mapping" of the cultural landscapes of Eastern and Western human geography of people and places (28). This anthropological "territory-map" provides ecological access to the representational sense of place we call the "Earth". This depth-psychological "virtual globe" map features the high and low visibility (29) of the agonistic body political and geo-political forces of human geography created by "The Territorial Imperative" (30). In turn, this cultural cognitive map of the territorial imperative makes transparent "War and Peace in the Global Village" (read "Field Note"). The sociological mapping of the behavioural economic ecology of dream vision, plays an important structural linguistic role in the literary, artistic and scientific "geovisual" mosaic of "Field Notes of a Dream Researcher". 

"Researching the Sociology of Dreams" (read "Field Note") provides a literary sociological gate, a cognitive door of perception, a "Johari (hyper) window", to consciously see and profile, the light and darkness of all the visual cultures and generations of the earth (read the "Field Note", "The Johari Window of the Family"). If Goethe saw poems as painted window pains, then "Field Notes" provides a dramatic teichoscopic view, an in-depth mapping and portrait of all those living on the planet. Such "Field Notes" as; "The Living City", "Lost in Ireland", "The Closet Girl in Rome" and "French Kissing in China" illustrate and profile the everyday interpersonal communication problems and postmodern "reflexive sociological" conflicts that exist for people living on the planet. Read Field Note "Jung's Theory of Personality -or- Pauli's Johari Window". 

Jung's aerial bird's eye view perspective seen on a global dramaturgical "small world" scale, provides a sociological theatre space, making of the global anthropological tapestry of East and West and its agonistic conflicts visible (31). "Field Notes" illuminates what Mary Wollstonecraft in "A Vindication of the Rights of Men" called the "...the idle tapestry that decorated a gothic pile...." Using the Hollywood dream factory tools of film noir, "Field Notes" makes this "gothic tapestry" (32) of the global anthropological "phobic" space of hate, war, crime, prejudice, horror and terror transparent (33). Read Field Note "Anatomy of Prejudice". 

The International Institute for Dream Research (IIDR) has investigated this "gothic tapestry" of the recurrent dark fantasy motifs found breeding and circulating in the "collective dream bed" of those living on the planet as we speak. Read for example the "Field Note", "The Gothic Flame of Passion". Is the world literature of dream vision beyond ontological repair, are we doomed to a gothic Freudian repetition compulsion? Does Norman Brown's body mysticism found in "Life Against Death: The Psychoanalytic Meaning of History" provide a sign of hope? Does dream vision allow us to work through these gothic psychodynamic conflicts, thereby providing an exit from the "Groundhog Day" (read, Field Note "Recurring Dreams") nightmare of the ontological history of military, civil, religious and "culture wars"? 

Much like in Dante's dream vision travels found in the divine black comedy of "Inferno", and with the philosophical wisdom of collective literary dream patterns as my muse and guide, "Field Notes" cognitively maps and forensically profiles the everyday "phantasmogoria" of the gothic tapestry (34) of "The Waste Land", of the "collective archetypal shadow" (35) of the "terrible mother and father", of the "death drive", of  "dark romanticism" (36), of "Romantic Agony" (Mario Praz), of "The Anatomy of Melancholia", of "The Anatomy of Destructiveness" (Erich Fromm), and the "hate crimes" on the planet (37).

"Field Notes" makes transparent humanities choreographed dream vision portrait of the "danse macabre" (38) found in such work as Julia Kristeva's "Powers of Horror" and "Black Sun", all of which finds expression in our collective gothic ontological dreamscape. The Field Note "Killers of the Dream" profiles parts of the global gothic tapestry as does "Civilization and its Discontents" and the "Boulevard of Broken Dreams" playing in the anthropological global metatheatre of dream vision (39). "Field Notes" makes the postmodern gothic tapestry of the ongoing "War of Dreams" well described by Angela Carter "The Infernal Desire Machines of Doctor Hoffman" visible and audible.

Jung in his reverie clearly feels like a Kafkaesque bird in a gilded "iron cage", faced with a Zimbardo like "prisoner dilemma", he appears to desire what Mario Jacoby calls the "Longing for Paradise", a place where he can escape, and is free of political conflict, strife and the "Weltschmerz" boxes people on earth live in. Are our collective dream vision patterns doomed to gothic "schizotypal" repetition compulsion of the political "world view" antagonisms of oppression and revolt, of light and darkness, war and peace, love and hate, dystopian and utopian dialectical visual thinking? Can we begin to think outside the box? Or, has the fate of the earth already been sealed by the dream visions of the Apocalypse

Is the global gothic panorama of the naked city a permanent architectural poetic "Human, All too HumanEarth landscape fixture of our collective dream visions? Can the investigation and basic research of dream vision research provide philosopher physicians with an international vehicle for humanities creative evolution, salvation, transcendence and healing? "Field Notes" investigates these historical ontological and ecological questions. The Field Notes "The Ecology of Dreams", "Wild Thing", and "Field Work in the Enchanted Forest" illustrates these ecological ideas. 

From an philosophy of literary history perspective, "Field Notes" in search of ecological salvation, scientifically illuminates "The Great Chain of Being" in terms of the prosopographic portraits found in the historical fragments of dream vision. If Job 28:12 asks "But where shall wisdom be found?", then my literary "wisdomresponse is, "in the language of our dreams". In his essay "The Task of the Translator" Walter Benjamin believed that there was a "central kinship of languages", translation became "the great motif of integrating many tongues into one true language", that is at work. This original language is "recognizable as fragments of a greater language, just as fragments are part of a vessel." The fragments of that greater one true language are found in dream vision, read Field Notes "The Forgotten Language of Dream Vision" and "International Mother Language Day". 

Using Northrop Frye's idyllic "Anatomy of Criticism" we can begin to see the "golden chain" of the "total dream" of world literature. Read Field Note "Enter the Gutenberg Galaxy". In this philosophical sense, I ask again; "Are the structural linguistic representations of the world literature of dream vision beyond repair?" "Is there no hermeneutic exit out of the warped scopophobic ecological space and ontological dream vision psychopathology of the human condition?" Was Freud's philosopher physician's critical "case study" portrait in "Analysis Terminable and Interminable" correct? Are we doomed as a species? Is there no hope? As Melville's Ishmael asks; "Are the green fields gone?" 

On the opening page of Chapter VI "Confrontation with the Unconscious" Jung tells his readers; "I thought, ‘Now you posses a key to mythology and are free to unlock all the gates of the unconscious psyche.' But then something whispered within me, ‘Why open all gates?'" "Field Notes" searches for a Socratic philosophical answer using all the ecological mythological keys to unlock the archetypal gates of the historical novel of dream vision. Northrop Frye in "The Educated Imagination" sees in "Finnegan's Wake" the "Keys to Dreamland". Frye tells the reader that Finnegan's Wake is; "probably to greatest single effort of the literary imagination in the twentieth century. In this book a man goes to sleep and falls, not into the Freudian separate or private unconscious, but into the deeper dream of man that creates and destroys his societies." Field Notes is making visible this total historical dream vision of the planet that creates and destroys civilizations and societies. 

"Field Notes", heeds the call to open the Homeric literary "gates of the dream" (and the "doors of perception") providing access to the art of seeing the "Past" and the quantum potential of the possible dramatic future of the Homeric "Land of Dreams". "Field Notes" incorporates the gates of the historical novel of dream vision, of the dead poets society (Read, Field Note "Dead Poets Society"), of the Bible (New and Old), of the ancient Greeks and Romans, the medieval Christians, the Byzantine's, the Persians, the Renaissance, the "Romantics", "The School of Athens", the Russians, the Chinese, the Indians, among a theatrical cast of thousands who have played an oneiric historical role in humanities anthropological metatheatre of dream vision. By opening the gates of the dream to consciousness, "Field Notes" discloses the universal paleontological communication code of dream vision found in medicine, literature, art, poetry, music, theatre, philosophy, politics, religion, science, economics, mythology, the whole phantasmagoria of earthly existence. 

Jung's "Memories, Dreams and Reflections" and his dream vision (reported above) can be read using the literary archetypal theory of Northrop Frye and the "total dream" of world literature. Jung tells his readers about of Goethe's "great dream of ‘mundus archetypus'", and that he (Jung) felt haunted by the same dream. Jung quotes Goethe's words; "Now let me dare to open the gate Past which men's steps have never flinching trod." If Goethe had coined the modern idea of world literature, then for Jung, the literary work of Goethe was not a literary exercise alone, it was a historical link of wise men who represent the "Aurea Catena that existed from the beginnings of philosophical alchemy and Gnosticism (and passes through Goethe's Faust-italics own) down to Nietzsche's Zarathustra."  This Homeric chain of oneiric communication (40, 41,42) of wise men represents a philosophical enterprise that we call "The Great Conversation". "Field Notes" allows the reader to be privy to this historical frame story dialogue, providing a philosophical, literary and artist portrait of those who wear the golden laurel wreaths (both men and women) of the archetypal history of the world literature of dream vision. Read Field Note "Remembering Walter Benjamin". 

It is clearly no coincidence that Jung's dream vision happens at the same time that his esoteric "Psychology and Alchemy" which analyses many of the dreams of Wolfgang Pauli was published (1944). Read Field Note "Psychology and Alchemy -or- Return to Wolfgang Pauli's Dreams". Jung and Pauli were deeply driven by the observational idea of nature's "unus mundus" (unity of the cosmos) created by the anthropic "fine tuned" universe, an idea they would pursue together in "The Interpretation of Nature and the Psyche" (43). "Field Notes" re-works the world literature of dream vision and presents these literary ecological trains of thought in search of wholeness (44). "Field Notes" unifies the Jewish (45), the Christian, the Islamic, and pagan mystical tradition in terms of the archetypal "dreaming universe", read the Field Note "The Transpersonal Unconscious". Ultimately, "Field Notes" creates a Chagall like artistic mosaic unity of the dream visions of the Earth, in all its' symbolic vicissitudes of light and darkness.  

From an ancient Greek mythological perspective the "Great Mother" is "Gaia" who personified the earth. In modern ecological theory James Lovelock proposed the "Gaia Principle" of self-regulating life on earth. In depth psychological contrast and in conjunction with Freud, Jung and Adler, "Field Notes" re-works the artistic ideas of "eroticism" and "romanticism", with the purpose of updating from a dream vision perspective what Novalis called for in his "Notes for a Romantic Encyclopedia". Read Field Note "Dream of the Blue Flower". "Field Notes" explores  the whole erotic domain and range of sacred and profane experiences, sexual personae, the on-going battle of the sexes, sexology, and the cultural forces driving gender identity found in dream vision (46, 47, 48, 49, 50). 

Jung's turns his attention and "gaze" to the East (51). In his "turn East" (52) Jung desires to enter the rock temple in search of answers to existential questions he asks himself about his life in the dream vision. However, Jung's attention then turns towards Europe and an image rising up from there. Richard Broxton Onians, "The Origins of European Thought: About the Body, the Mind, the Soul, the World, Time and Fate" asks "How do Homeric notions of the main processes of  consciousness differ from our own?". Freud originally thought there was no substantial difference, in that he saw in the theatre of dreams of modern man the Sophoclean tragedy of "Oedipus Rex" unfolding. Jung is evidently also firmly dramatically rooted in ancient Greek consciousness, in that he is called back by an avatar of the "basileus of Kos"; 

"The doctor had been delegated by the Earth to deliver a message to me, to tell me that there was a protest against my going away. I had no right to leave the Earth and must return." 

Jung's heeds the archetypal Asklepian call (53). As a Hippocratic philosopher physician, Jung returns to earth, his work evidently not complete (54). The metatheatre of the medical humanities of the planet in its current status is certainly in need of Asklepian pharmacopoeia, and healing dreams. "Field Notes" from a literary, artistic, scientific and medical humanities perspective bridges East and West. "Field Notes" embraces the Asklepian healing temple and healing dreams (read Field Notes, "Asklepius, the God of Medicine" and "The Rod of Asklepius") of the philosopher physician, doing so from a more eclectic medical humanities perspective. (55, 56, 57) 

Jung like Freud was a modern medical mental health pioneer and practitioner, his vision of the transcendental collective archetypal unconscious and the individuation process was more optimistic than Freud's. In my own experience, after a series of dreams in 1986 during my psychodynamic psychotherapy training, I saw my own medical humanities philosopher physician's role as more "intellectually" diverse, as sociologically, anthropologically and pedagogically unifying. The "main business" of "Field Notes", is the "integrated" presentation of a unified theory of interpersonal "mass communication", and a call for a revolution in dreaming, via the medical philosophical business of restoring the wholeness of humanities dream vision. 

"Field Notes" illuminates nature's (58) evolutionary artistic dream vision tapestry, the "gesamtkunstwerk" (total work of art) of the total dream of the cultural "phantasmagoria" of light and darkness circulating in the dreams of those living on the planet. Seen in this light, the medical humanities using the philosopher physician's tools of depth psychological insight and psychodynamic psychotherapy, can begin to heal the everyday dream vision conflicts and psychological wounds that drive us apart, creating the collective psychopathological shadow of "gothic nightmares" (59) and "The Waste Land". These archetypal gothic nightmares are historically driven by all dream vision forms of hate, deception and concealment

On a final few notes, "Field Notes" illuminates and makes transparent what Kenneth Burke has called the dramatic "Attitudes of History". In this developmental symbolic "intellectual history" context, "Field Notes" makes the dramatic tapestry of the historical "Künstlerroman" of dream visions both East and West accessible. Dream vision can be seen philosophically serving as an evolutionary "interpersonal" artistic salvation and symbolic bridging device of cultural history and the human condition. Read Field Note "The School of Athens". 

"Gravity", the dramatic film so much like Jung's own "Nietzschean" (60) dream vision dilemma, provides a 3-D "Earth" bird's eye view of our planet. Yet, it is the film "2001: A Space Odyssey"  that we need to now turn the artistic light of our attention and pan to, the film features a similar monolithic structure found in Jung's dream vision, an architectural structure Jung clearly desires to enter to find answers. Called back to Earth, he is deprived of "illumination" and understanding of the "world riddle" and the "meaning" of "what is life?" Jung conveys his feelings of disappointment to the reader; " I was profoundly disappointed, for now all seemed to have been for nothing. The painful process of defoliation had been in vain, and I was not allowed to enter the temple, to join the people in whose company I belonged." 

Jung summing up his own life story, tells his readers; "My life as I lived it had often seemed to me like a story that has no beginning and end." In this never ending poetic "uroboric" Möbius film strip sense (61), we began this "Field Note" (62) with a quote from Nietzsche's "Thus Spoke Zarathustra" (63), now we can end this "Field Note" on 2001's theme song by the same name. Jung's dream vision seen from an observer's above the earth mandala perspective, finds archetypal poetic and artistic expression in Richard Strauss's tribal musical Earth drum of "Also Sprach Zarathustra" (watch video). (64,65,66

Footnotes:       137: Atom and Archetype -or- Stairway to Heaven in 66 Steps 

  1. C.A. Meier (ed), "Atom and Archetype: The Pauli/Jung Letters".
  2. In "Laws of Form" by G. Spencer-Brown attempts to bridge ideas of mathematics and philosophy.
  3. Victor White, "God and the Unconscious", with foreword by C.G. Jung.
  4. C.G. Jung, "Memories, Dreams and Reflections", paperback edition, fourteenth printing, 1980.
  5. Robert Charles Zaehner, "Mysticism, sacred and profane".
  6. C.G. Jung, "Four Archetypes: Mother/Rebirth/Spirit/Trickster" p13, paperback edition, third printing 1973.
  7. Erich Neumann, "Ursprunsgeschichte des Bewusstseins" (The Origins and History of Consciousness).
  8. Louise Vinge, "The Narcissism Theme in Western Literature".
  9. Hugh Dalziel Duncan, "Communication and Social Order".
  10. Erich Neumann, "Art and the Creative Unconscious".
  11. Fred Allan Wolf, "The Dreaming Universe".
  12. Arthur I. Miller, "137: Jung, Pauli and the Pursuit of a Scientific Obsession".
  13. Hans Ulrich Reck, "Traum Encyclopaedie" (Encyclopedia of Dreaming).
  14. Michael L. Greenwald (et al), "The Longman Anthology of Drama and Theatre: A Global Perspective".
  15. Burkhard Meyer-Sickendiek, "Die Tiefe: Ueber die Faszination des Gruebelns" ("The Depths: About the Fascination of Rumination").
  16. Susan Buck-Morss, "The Dialectics of Seeing: Walter Benjamin and the Arcades Project"
  17. Jonathan Crary, "Techniques of the Observer".
  18. Edmund Burke Feldman, "Varieties of Visual Experience".
  19. Frances Yates, "Art of Memory". 
  20. David Lodge, "Small World: An Academic Romance".
  21. John Berger, "Ways of Seeing".
  22. Elisabeth Lenk, "Die Unbewusste Gesellschaft: Ueber die mimetische Grundstruktur in der Literatur und im Traum" (The Unconscious Society: On the Mimetic Structure of Literature and Dreams".
  23. Susanne Langer, "Philosophy in a New Key".
  24. Karl Pribram, "Languages of the Brain".
  25. Maurice Halbwuchs, "On Collective Memory"
  26. Frederic Bartlett, "Remembering"
  27. Hans Vaihinger, "Philosophy of As If".
  28. Lewis Holloway & Phil Hubbard, "People and Places; the extraordinary geographies of everyday life".
  29. Richard L. Welsh, Bruce B. Blasch, "Foundations of Orientation and Mobility".
  30. Robert Ardry, "The Territorial Imperative".
  31. Marshall McLuhan (with Wilfred Watson), "From Cliché and Archetype".
  32. Fred Botting, "Gothic".
  33. Lawrence Phillips, "London Gothic: Place, Space and the Gothic Imagination".  
  34. Sarah Burns "Painting the Dark Side".
  35. Connie Zweig and Jeremiah Abrams (eds), "Meeting the Shadow: The Hidden Power of the Dark Side of Nature".
  36. Gary Richard Thompson, "The Gothic Imagination: essays in dark romanticism".
  37. John P. Conger, "Jung and Reich: The Body as Shadow".
  38. Steven King, "The Danse Macabre".
  39. Eugenia C. DeLamotte, "Perils of the Night".
  40. Jacob Burckhardt, "The Greeks and Greek Civilization".
  41. Erich Auerbach, "Mimesis: The Representation of Reality in Western Literature".
  42. Bruce Meyer, "The Golden Thread: A Reader's Journey Through the Great Books".
  43. Carl Jung and Wolfgang Pauli, "The Interpretation of Nature and the Psyche"
  44. David Bohm, "Wholeness and the Implicate Order". 
  45. David Bakan, "Sigmund Freud and the Jewish Mystical Tradition".
  46. Erich Neumann, "The Great Mother".
  47. Sylvia Brinton Perera, "Descent into the Goddess".
  48. Marion Woodman, "The Ravaged Bridegroom".
  49. Nandor Fodor, "The Search for the Beloved".
  50. Johann Jacob Bachofen, "Myth, Religion and Mother Right".
  51. C.G. Jung, "Psychology and the East".
  52. Harvey Cox, "Turning East".
  53. C. A. Meier, "Healing Dream and Ritual".
  54. C.G. Jung, "Answer to Job". 
  55. Thomas Shalvey, "Claude Levi Strauss: Social Psychotherapy & the Collective Unconscious".
  56. Verena Kast, "Träume: Die geheimnisvolle Sprache des Unbewussten" (The Mysterious Language of the Unconscious").
  57. Mario Jacoby, "Individuation and Narcissism".
  58. Paul Davis, "Quantum Aspects of Life".
  59. Martin Myrone (et al.), "Gothic Nightmares: Fuseli, Blake and the Romantic Imagination".
  60. Friedrich Nietzsche, "The Birth of Tragedy".
  61. Mircea Eliade, The Myth of the Eternal Return: Cosmos and History.
  62. Douglas Hofstadter, "Gödel, Escher and Bach: An Eternal Golden Braid".
  63. C.G. Jung, "Nietzsche's Zarathustra".
  64. Paul Bishop, "The Dionysian Self: C.G. Jung's Reception of Friedrich Nietzsche".
  65. Jacob Golomb (et al.), "Nietzsche and Depth Psychology". 
  66. The Jung of his early days (about thirty years prior to having the dream vision above) when he was still distancing himself from Freud, he also contrasts himself with and criticizes Nietzsche ("Memories, Dreams and Reflections", p214); "Nietzsche had lost the ground under his feet because he possessed nothing more than the inner world of his thoughts--which incidentally possessed him more than he it. He was uprooted and hovered above the earth, and therefore he succumbed to exaggeration and irreality. For me, such irreality was the quintessence of horror, for I aimed, after all, at this world and this life." Ironically, at the moment of what he perceives to be the end of his life, Jung has clearly fully embraced Nietzsche's ancient Greek philosophical and dramatic vision of the Earth.


All material Copyright 2006 International Institute for Dream Research. All rights reserved.