From left to right, Jack Sarfatti, Saul Paul Sirag, Nick Herbert, and Fred Alan Wolf lower right in 1974

From the Wikipedia entry on the Esalen Institute:

Esalen Institute is a center in Big Sur, California, in the United States, for humanistic alternative education and a nonprofit organization devoted to multidisciplinary studies ordinarily neglected or unfavoured by traditional academia. Esalen offers more than 500 public workshops a year in addition to invitational conferences, residential work-study programs, research initiatives, and internships. Part think-tank for the emerging world culture, part college and lab for transformative practices, and part restorative retreat, Esalen is dedicated to exploring work in the humanities and sciences that furthers the full realization of what Aldous Huxley called the “human potential”.

Esalen Institute was founded by Michael Murphy and Dick Price in 1962, and soon became known for its blend of East/West philosophies, experiential/didactic workshops, and a steady influx of philosophers, psychologists, artists, and religious thinkers.

One of the various projects of the Esalen Institute was the Physics Consciousness Research Group, founded to study time travel, ESP, consciousness after death, and other fringe subjects. Various people have made the claim that Physics Consciousness Research Group was the inspiration for the movie Ghostbusters. Jack Sarfatti, one of the founders of the Physics Consciousness Research Group, is a physicist and archetypal “mad scientist” – in fact, he claims to be the inspiration for both from Back to the Future and Egon Spangler from Ghostbusters.

MP3 Interview with Sarfatti on the R.U. Sirius Show.

Something of a memoir by Sarfatti that covers Physics Consciousness Research Group and its influence on Hollywood.

Update: How could I have forgotten Alex Burns’s classic article on Sarfatti?

From Wikipedia’s entry on the Findhorn Foundation:

The Findhorn Foundation is a Scottish charitable trust registered in 1972, formed by the spiritual community at the Findhorn Ecovillage, one of the largest of the communes in Britain, has been home to thousands of residents from more than 40 countries. The Foundation runs various educational programmes for the Findhorn community; it also houses about 40 community businesses like the Findhorn Press, and an alternative medicine centre.

But it’s a bit weirder than that:

The Findhorn garden grew from a rich compost and it is apt that Findhorn spirituality should also sprout from its own steamy mix, a fecund blend of positive thinking, psychism, esotericism, and — less often acknowledged — evangelical Christianity. The twentieth century may have given us the term “personal transformation,” but the same purpose was an item on the agenda for nineteenth-century Christians. Among them was John George Govan.

Read all about it at Kheper.net

(Thanks to Trevor Blake for the heads up on this one!)

Above: Casimer effect illustration from Wikipedia.

Physicist and time-travel guru Michio Kaku told Popular Mechanics last year that some scientists believe time travel through holes in space and time, known as wormholes, might be possible, but there are problems that need to be conquered. First, there’s the matter of energy—massive amounts would be needed to create a black hole, which could function as a portal to another point in space and time. But it would be a one-way trip; black holes aren’t stable enough to stay open on their own. Creating a wormhole, a stable portal through space and time that would allow return trips, would require inconceivable amounts of energy—inconceivable, that is, unless you’re on an island that can make paraplegics walk, harbors a monster of smoke and can disappear off the face of the Earth. Physicists have created tiny amounts of energy in the laboratory using the Casimir Effect—quantum fluctuations that can create energy in a vacuum—but what has been generated in the lab isn’t enough to keep a wormhole open, Kaku says. (We first learned about the Casimir Effect in the Orchid Station orientation video in Season Four’s “No Place Like Home.”)Chang warns a Dharma worker who is drilling into the earth in an attempt to access a buried wheel (the same wheel that Ben uses to move the island some 30-odd years later) that under no circumstances should workers building the Orchid Station set off charges near the pocket of exotic matter during the construction process. When asked what would happen, Chang says only, “God help us all.”

Exotic matter is hypothetical, and physicists such as Kaku know “almost nothing” about what its properties could be. Such matter would have “formed when the Earth was young, and then floated into outer space,” Kaku says, “and therefore there’s none left on Earth.” However, it may have been possible for a pocket of the matter to become accidentally trapped underground. Physicists theorize that exotic matter could have antigravitational properties (so it would fall up) or it would have negative energy (absorbing energy around it, possibly making it implosive). And if it were to have antigravitational properties, it wouldn’t want to stay on Earth either; instead, it would rocket into space—violently. “It would be quite dangerous to people who encounter it,” says Kaku.

Full Story: Popular Mechanics

See also: Popular Mechanics on the science of LOST

What sort of “exotic material” would it take to punch through our reality into the television universe?

This is the first of a series of posts examining the a number of potential real life influences on the conception of the Dharma Initiative.

SRI International (previously known as Stanford Research Institute) is the clearest influence on the DHARMA Initiative (though DARPA is closer in name. Incidentally, SRI has been known to work for DARPA). SRI is a non-profit research institute working in a broad range of fields including, according to Wikipedia: “communications and networks, computing, economic development and science and technology policy, education, energy and the environment, engineering systems, pharmaceuticals and health sciences, homeland security and national defense, materials and structures, and robotics.”

Things got weird for SRI during the 60s and 70s, when it was engaged in parapsychology and LSD research. They hired L. Ron Hubbard, tested Uri Geller’s claims, and experimented with remote viewing.

They also compiled a report called The Changing Images of Man, contracted and funded by The Charles F. Kettering Foundation (the real life equivalent of Alvar Hanso?). The states purpose of Changing Images of Man:

First, we attempted to identify and assess the plausibility of a truly vast number of future possibilities for society. We next followed a method of analysis that determined which sequences of possible futures (that is, which “alternate future histories”) appeared to be the most plausible in light of human history and to most usefully serve the needs of policy research and development. Lastly, we derived a variety of policy implications, some of which dealt with how best to continue this type of inquiry.

The document allegedly comes to some creepy, fascist conclusions (I’ve not read it), and has been fodder for conspiracy theorists for years.

More info:

SRI International on Wikipedia

Changing Images of Man PDF

Scientists on Acid: The Story Behind “Changing Images of Man”

Get Familiar with Willis Harman.

The thing that stuck out from last night’s episode for me was the opening sequence: it reminds me of the time machine project from the Invisibles. For the unfamiliar: in the Invisibles, there was an occult corporate conspiracy (headed up by an Asian scientist, natch) building a time machine with, IIRC, help from information being received from the future.

I’ve mentioned the consciousness time travel bit from The Invisibles before

To be honest, I never quite figured out the narrative of the Invisibles there at the end, but I get the impression it’s supposed to be a game of some sort. Ben and Widmore are apparently playing some sort of game. Hmm.

Tonight’s the big night! In advance of tonight’s debut I thought I’d do a brief outline of what I’m thinking:

It’s every story in one

I first noticed this when trying to explain the appeal of the show. LOST is not just a survival drama – it’s also a medical drama, a crime show, a cop show, a sitcom, a sci-fi series, a Korean gangster series, and so much more. It just keeps growing in scope as to what genres it includes.

But it doesn’t stop at including all genres. Take a look through Lostpedia for a few theories about LOST being based on other stories or myths: The Tempest, Lost Continent (Atlantis, etc.), The Wizard of Oz, Gates of Hades, etc. Other possibilities include Shambhala.

Numerous literary works are referenced and many of them seem to have parallels with the series.

Then there are pop cultural sources such as Watchmen, The Stand, and, my favorite, The Prisoner.

So my theory is that LOST is an attempt to integrate as many stories as possible into one.

Time travel

I suspect time travel is responsible for most of the paranormal/supernatural phenomena that have occurred – Alpert’s apparent non-aging, the whispers, Walt appearing in places he shouldn’t be, appearances by the dead, moving the Island, etc. The “synchronicities” that occur regularly could be explained by time travels deliberately manipulating certain events.

Some things aren’t quite explained by this though – how can the whole island be physically moved while usually time travel is consciousness only? How does Walt do the bird killing thing? What the hell are numbers? How does the island heal the sick? Time travel might not be the grand unifying theory, but I’m guessing it will explain a lot.

Plenty of unanswered questions remain. Can’t wait for the debut!

This was a brief, badly written, post I made at Lost Theories dot com some time back. The site seems to be defunct now, so I’m posting this here:

The Prisoner was a British TV series that aired in 1967. It took place in a mysterious location called “The Village.” The location of the Village was never pinned down conclusively, it seems to have either been somewhere in the Atlantic Ocean, or perhaps in England – a single gas tank’s drive from London.

The Village is apparently destroyed in the last episode. During this destruction, the Rover(s) – strange egg shaped robots that act as guards of the Village – are seen melting into smoke. Is this the Smoke Monster?

The Village was administered by a group of strange, paranoid individuals doing some sort of research – usually assumed to be espionage related, but the last episode casts doubt on this. It seems they may be more interested in psychological or sociological research than espionage. They do a lot of work with brainwashing and mind control. Could this be the Dharma Initiative?

The Village administered by someone called “Number 2.” Every episode has a new Number 2. The nature and identity of “Number 1″ is never made clear. Could Ben be the current Number 2, with Hanso (or someone else) being Number 1?

Since I wrote this, it’s become clear that Jacob is Number 1, and John Locke is the new Number 2.

Also: “In the ABC TV series, a group of survivors is trapped on a mysterious island. In the second season, they open a hatch that leads to a large bunker. A cache of food inside is labelled in an identical Albertus font to that used in The Prisoner.” Source: The Prisoner references in popular culture entry on Wikipedia

More Info

Watch every episode of the Prisoner online for free (US only?)

The Prisoner Wikipedia entry

Transrealism (science fiction) is a literary mode that mixes the techniques of incorporating fantastic elements used in science fiction with the techniques of describing immediate perceptions from naturalistic realism. While combining the strengths of the two approaches, it is largely a reaction to their perceived weaknesses. Transrealism addresses the escapism and disconnect with reality of science fiction by providing for superior characterization through autobiographical features and simulation of the author’s acquaintances. It addresses the tiredness and boundaries of realism by using fantastic elements to create new metaphors for psychological change and to incorporate the author’s perception of a higher reality in which life is embedded. One possible source for this higher reality is the increasingly strange models of the universe put forward in theoretical astrophysics.

Transrealism has its historic antecedents in cyberpunk and Philip K. Dick, who can be considered a proto-transrealist author. Its main proponent and prominent figure is science fiction author Rudy Rucker. Rucker coined the term “transrealism” after seeing Dick’s A Scanner Darkly described as “transcendental autobiography,” and expounded the principles of transrealism in a short essay titled “A Transrealist Manifesto” in 1983. Rucker applied many of these principles in his short stories and novels, notably White Light and Saucer Wisdom. Damien Broderick has identified some other authors that have at some time utilized transrealist tropes to include Martin Amis, Margaret Atwood, Iain Banks, John Barth, J.G. Ballard, John Calvin Batchelor, Jonathon Carroll, Karen Joy Fowler, Lisa Goldstein, James Morrow, Thomas Pynchon, Joanna Russ and James Tiptree Jr.

Wikipedia: Transrealism

Rudy Rucker’s Transrealism Manifesto (PDF)

More background reading, an article I wrote for Alterati last year:

“The battle for the mind of North America will be fought in the video arena: the Videodrome. The television screen is the retina of the mind’s eye. Therefore, the television screen is part of the physical structure of the brain. Therefore, whatever appears on the television screen emerges as raw experience for those who watch it. Therefore, television is reality, and reality is less than television.” -Brian O’blivion, Videodrome.

Full Story: Alterati

This is an old article I wrote for the now defunct Key 23/Key 64 web site. It’s old piece of writing that I don’t stand by any more, but it does provide some background for the concepts I’ll be exploring here. The archive.org version contains the original comments, which are also worth reading.

From hypersigils to hyperstition or even Michael Moore’s claim that we’re living in fictitious times, the life as fiction meme seems stronger than ever.

Grant Morrison often talks about hypersigils, which to him seem to represent one of the highest workings of magic. In his “Pop Magic!” chapter of the Disinfo Book of Lies, he writes “The hypersigil can take the form of a poem, a story, a dance or any other extended artistic activity you wish to try.” His own famous hypersigil, the Invisibles, came in the form of a comic book serialized over six years. He’s been inconsistent about the intent and the effects of this hypersigil, but I think he sums it up when he says it “enveloped me in a shiny, global sci-fi lifestyle I was really only dreaming of when I started writing the book in 1994” (CBR interview).

In other words, it made his life more exciting. For Morrison this is one of the most important aspects of magic (though he also says “… if you’re going to be a magician at all it’s not about wanting to be scary and wearing a robe or something, what you have to do is you have to do things for people” [Disinfo interview]).

R.U. Sirius describes a rather easier method of achieving a “narrative lifestyle”:

In terms of social engineering, I think that, you know, you think of yourself as being in a story, and life will start to have the kind of dynamics that you would have if you were in a story, rather than if you were part of some dire laborious mechanism, you know… ( Better Propaganda interview)

And, actually, Morrison sort of backs this up:

I’d say to myself or whoever I was with, ‘It’ll look good in the biography.’ and then I’d go ahead and do whatever daft thing it was – like taking acid on the sacred mesa or doing the bungee-jump, getting the haircut, dancing with the stranger, talking to the crowd – whatever I was ’scared’ of mostly, or fancied doing, or never dared before, I’d try it on the basis that it would make for a more interesting read one day. (Pop Image interview)

At the other extreme, hyperstition, a confusing theory getting a thorough discussion on the Hyperstition blog, is more work than hypersigilization. Although loosely defined as “fictions that make themselves real” hyperstitions have more complex characteristics than hypersigils. Anna Greenspan elucidates this in several posts on the blog, but a good starting point is here.

As a completely lazy writer, I’ve had more luck with R.U.’s method. There was a thread on Barbelith a while back asking if your life was written and drawn by comics creators, who would do it? I determined that my life was currently being written and drawn by Peter Bagge, but that I’d like it to be written by Grant Morrison, drawn by Philip Bond, and have a soundtrack by Gold Chains. But I never did any ritual to invoke a creative change in my life. But I did eventually write a statement of intent on my blog, and it seems to have worked. Since then my life’s been a bit more exciting. Among other things I’ve traveled across Europe, taken up rock climbing, and joined this elite band of occulture thinkers.

I’m curious to hear personal experiences of hypersigilization, hyperstition creation, and fiction as life, as well as ideas for furthering the process.