Freud said dreams were the "royal road" to the unconscious, and then along came a superhighway: psychedelics. Personally, we can access the psychedelic experience, but Frank Ogden shepherded over a thousand people's experiences. What is presented is the howling unconscious released from the normal chemical constraints that restrict it. Written in the simple, but vivid style Frank popularized in his bestselling, The Last Book You'll Ever Read, Shamanic Graffiti presents an alternative history of the brain and it's functions: shamanism. Giving real world examples, the book finishes-up by exploring the theories of two pre-eminent psychedelic theoreticians, Dr. Timothy Leary and Dr. Stan Grof and looks at the future of psychedelic drugs.
Before he was one of the most well-known yoga teachers in North America and an international hip hop artist, MC YOGI was a juvenile delinquent who was kicked out of three schools, sent to live at a group home for at-risk youth, arrested for vandalism, and caught up in a world of drugs, chaos and carelessness. At eighteen, fate brought him to his first yoga class. After discovering yoga, MC YOGI devoted himself to the practice. From traveling to India to study with gurus to living and learning with many American yoga masters, MC YOGI soaked in the knowledge that would revolutionize his entire life and put him on the path to healing, wholeness, and peace. Through technicolor stories of graffiti and guns, mystics and musicians, love, loss, and finding his soul’s purpose, MC YOGI’s journey is saturated in spiritual wisdom, illuminating the potential for transformation within us all.
This monograph is devoted to small forms of engraving on stone. It summarises the archaeological material obtained during the course of excavations at the Rauchuvagytgyn I site in northern Cukotka (dated to 2500 years ago). The book analyses the content and semantics of the pictorial resources and ethnic identification is made.
Is it fine art, social commentary, or simply vandalism? This highly illustrated book probes the issues surrounding the proliferation of graffiti in American cities. 108 photos, 48 in color.
This is the third in the five-yearly series of surveys of what is happening in rock art studies around the world. As always, the texts reflect something of the great differences in approach and emphasis that exist in different regions. The volume presents examples from Europe, Asia, Africa, and the New World. During the period in question, 1999 to 2004, there have been few major events, although in the field of Pleistocene art many new discoveries have been made, and a new country added to the select list of those with Ice Age cave art. Some regions such as North Africa and the former USSR have seen a tremendous amount of activity, focusing not only on recording but also on chronology, and the conservation of sites. With the global increase of tourism, the management of rock art sites that are accessible to the public is a theme of ever-growing importance.
As a “wild,” drumming thunder shaman, a warrior mounted on her spirit horse, Francisca Kolipi’s spirit traveled to other historical times and places, gaining the power and knowledge to conduct spiritual warfare against her community’s enemies, including forestry companies and settlers. As a “civilized” shaman, Francisca narrated the Mapuche people’s attachment to their local sacred landscapes, which are themselves imbued with shamanic power, and constructed nonlinear histories of intra- and interethnic relations that created a moral order in which Mapuche become history’s spiritual victors. Thunder Shaman represents an extraordinary collaboration between Francisca Kolipi and anthropologist Ana Mariella Bacigalupo, who became Kolipi’s “granddaughter,” trusted helper, and agent in a mission of historical (re)construction and myth-making. The book describes Francisca’s life, death, and expected rebirth, and shows how she remade history through multitemporal dreams, visions, and spirit possession, drawing on ancestral beings and forest spirits as historical agents to obliterate state ideologies and the colonialist usurpation of indigenous lands. Both an academic text and a powerful ritual object intended to be an agent in shamanic history, Thunder Shaman functions simultaneously as a shamanic “bible,” embodying Francisca’s power, will, and spirit long after her death in 1996, and an insightful study of shamanic historical consciousness, in which biography, spirituality, politics, ecology, and the past, present, and future are inextricably linked. It demonstrates how shamans are constituted by historical-political and ecological events, while they also actively create history itself through shamanic imaginaries and narrative forms.
Whitley, one of the world's leading experts on cave paintings, rewrites the understanding of shamanism and its connection with artistic creativity, myth, and religion by interweaving archaeological evidence with the latest findings of cutting-edge neuroscience.
Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.
