TagBill Whitcomb

The Book of Good Practices Now in Print

The Book of Good Practices

The Book of Good Practices by Bill Whitcomb and Taylor Ellwood is now available in print. Here’s a bit from the interview with Bill and Taylor that Chris Dancy and I did for Mindful Cyborgs last year:

KF: I kind of see this book as a users’ guide to the human brain. The brain, the missing manual; that sort of thing. What is the book, in your own words? Maybe we’ll start with Taylor then Bill can chime in.

TE: First of all, I want to acknowledge that Bill is kind of the originator of the book. He had already been working on it for a while and I want to give a little history here, just because I think it speaks to what the book’s about. He came to me about four or five years ago and said, “I’m working on this book. I’m kind of hitting a place where I’m feeling really blocked. Would you be willing to help me co-write it because you’ve done some similar stuff with some of your other writing?” I thought it over and I said, “Yeah, sure.”

It’s been a long road to get this book put together. I mean, it’s turned into three e-books and a workbook which speaks to it. So what do we see it as? I think I see it as a catalog of certainly stuff related to the brain but really behaviors and actions that can come out of being more aware of the brain and how it programs a lot of our behavior. That’s my take on it. Bill, what would you say to that?

BW: Well, I think we’ve tried to produce a taxonomy, a way of categorizing behavioral practices, things that can be described in purely behavioral terms; that actually have a measurable neurological effect on people, physiological effect on people. Things that you can learn to do that could be said to truly impact your skills as far as fundamental human activities; things like concentration, memory, metabolism; things that impact pretty much anything you would want to do in your life.

We’ve tried to abstract that as much as possible from any specific tradition because in many ways, the traditions these things come out of have a tendency to separate out people as much as they bring them in. Someone will say, “Well, psychology is too cold or inhuman for me” or “I don’t do Eastern mysticism” or “That’s too fuzzy and spiritual”, any reason to not try the thing themselves, whereas in behavioral terms, these are things that you can learn to do that will change your level of skill as a human being.

Mindful Cyborgs: Bill Whitcomb and Taylor Ellwood Talk About Their User’s Guide to the Human Brain

In this episode Chris Dancy and talk with authors Bill Whitcomb and Taylor Ellwood about their new book The Book of Good Practices:

KF: I kind of see this book as a users’ guide to the human brain. The brain, the missing manual; that sort of thing. What is the book, in your own words? Maybe we’ll start with Taylor then Bill can chime in.

TE: First of all, I want to acknowledge that Bill is kind of the originator of the book. He had already been working on it for a while and I want to give a little history here, just because I think it speaks to what the book’s about. He came to me about four or five years ago and said, “I’m working on this book. I’m kind of hitting a place where I’m feeling really blocked. Would you be willing to help me co-write it because you’ve done some similar stuff with some of your other writing?” I thought it over and I said, “Yeah, sure.”

It’s been a long road to get this book put together. I mean, it’s turned into three e-books and a workbook which speaks to it. So what do we see it as? I think I see it as a catalog of certainly stuff related to the brain but really behaviors and actions that can come out of being more aware of the brain and how it programs a lot of our behavior. That’s my take on it. Bill, what would you say to that?

BW: Well, I think we’ve tried to produce a taxonomy, a way of categorizing behavioral practices, things that can be described in purely behavioral terms; that actually have a measurable neurological effect on people, physiological effect on people. Things that you can learn to do that could be said to truly impact your skills as far as fundamental human activities; things like concentration, memory, metabolism; things that impact pretty much anything you would want to do in your life.

We’ve tried to abstract that as much as possible from any specific tradition because in many ways, the traditions these things come out of have a tendency to separate out people as much as they bring them in. Someone will say, “Well, psychology is too cold or inhuman for me” or “I don’t do Eastern mysticism” or “That’s too fuzzy and spiritual”, any reason to not try the thing themselves, whereas in behavioral terms, these are things that you can learn to do that will change your level of skill as a human being.

Download and Full Transcript: Mindful Cyborgs: Episode 21 – Orienting Pop Culture Magic: Mindfulness GPS and the Maps of Indeterminate Destiny

Selections from The Dream Manual Artist Michael Skrtic – Technoccult Interview (Part 2)

Dream Manual Now tell me what I am here for

Selections from the Dream Manual is an “aesthetic grimoire.” On one level, it’s a collection of cut-up texts by Bill Whitcomb (occasional Technoccult guest blogger and frequent commenter) accompanied by collage paintings by Michael Skrtic for each line of text. On another level, it is a collection of excerpts from the employee handbook of the Ministry of Dreams. On both levels, it’s a remarkable and engaging work. As Antero Alli writes in his foreward, “Look at them as meditation portals to the cinematic dreamscapes of the Other Side, or if you prefer psychological terms, the Unconscious (and naturally “other” to the conscious Ego). Or, if you side with the Australian aborigines, the Dreamtime.”

You can learn more about it, and preview it, here. You can buy it from the publisher here or from Amazon.com.

Part one of this interview can be found here.

I found it interesting that everything right down to the typeface in the book is meaningful. Can you talk a bit about that?

Yeah. It’s all about packing. Density is what it is. It’s symbol density. How much can you pack into each page, each image, and each combination? If you start with the text, you got some very plain, random text that Bill assembled Burroughsian-style. He was assembling lots of text ala Burroughs and Gysin. He made these little stanzas that were just starkly beautiful, but were rather plain in and of themselves…they’re just sort of…pronouncements, but if you start with those and you start stacking images, so that the words couple with the images. Some years after the original dream manual was created Bill created the magical alphabet called the Alphabet of Dreams for another purpose. And as I was painting these things, the first paintings, I thought “Well, hmm, the Alphabet of Dreams.” I needed a textual element. Originally, I was thinking about sort of lettering the text comic book style on the paintings and then thought “Wait a minute, if I grab the Alphabet of Dreams which has these runic…each letter has an association.” In typical Bill-manner, each letter has two or three pages of associations, colors, days of the week, and astrological signs. So I thought that if I just transliterated Bill’s original text into the Alphabet of Dreams, I could use that as a pictorial element. It stacked another layer of symbolism on top of just the images coupled to the text. As we built this thing, we just kept packing and packing to point where, as you say, even the fonts Pentagramm and Pentagraf are based on a five-point star. The idea is that all this should act on you in a beneath-the-consciousness sort of way. Indeed, everyone we’ve been able to get to look at it, to play with it, to really read and experience it, has been totally blown away. Most recently, my neighbor who doesn’t read much – he works with the Forestry Committee in Sweden – his family are farmers. He has absolutely no interest in any odd occult stuff, but he read it from front to back and has been asking questions. He thinks this is completely fascinating, so even unlikely people seem to open it and get immediately lost in all the layers of symbols and meaning in it. You’ve got the text layered on there, and there’s that lovely little bit of foreword matter, and some of those strange line drawings that are placed about, and then the final end-piece. I think that’s one of the most interesting parts of the book – that last piece where we listed the image sources. All of these things came from airline magazine, or French fashion magazines while I was travelling through France or postcards from Tokyo. That just ties it to the rest of the world. Finally, as we were assembling the book, Bill wrote these really lovely descriptions of each of the paintings. Not just a dry description, but sort of a poetic description that provides you another route through it. In a way, I think Bill and I were both heavily inspired by the Dictionary of the Khazars. The Dictionary of the Khazars is really a sort of hypertext novel.

That was mentioned in the introduction. When was that published?

You know, it would have to be the early 80’s. I could actually check if you want, but it’s upstairs.

I can look it up online.

I’m sure there’s even a hypertext version these days – a true hypertext version.

Dream Manual I Could Use Your Help

As Antero Alli points out in the foreword, you and Bill avoid the question of what dreams are and what they mean. Do you have an opinion on that?

At different points in my life, I’ve had different answers with different degrees of certainty. I don’t know what dreams are. I’ve had prophetic dreams. I’ve had dreams that seemed just totally weird. As I was learning to speak Swedish fifteen years ago, I used to dream about John Wayne talking to me about Swedish. It’s a combination of prophecy, and processing daily actions, and you mind spinning loose and just relaxing and fantasizing, like watching TV, I think. No. I have no definitive answer about what dreams are.

Since you’ve just finished this seven year project, what are you going to do now or what are you going to do next?

There are two projects I’m working on right now that are totally unrelated or maybe they are, in an odd sort of way. I’m working on a children’s book called “When Gaia Dreams the World.” I’m doing the text and images for that, but that’s sort of in outline stage at the moment. At the same time, I’m working with Bill Whitcomb on the “The Hard-Boiled Tarot.” It’s a Tarot deck which uses modern popular culture genres like Weird Science, True Romance and Thrilling Detective Stories as suits. Like Selections from The Dream Manual, both of these projects deal with the dreams and stories we tell ourselves about the world around us.

Back to part one…

Selections from The Dream Manual Artist Michael Skrtic – Technoccult Interview (Part 1)

Selections from the Dream Manual Try This Experiment

Selections from the Dream Manual is an “aesthetic grimoire.” On one level, it’s a collection of cut-up texts by Bill Whitcomb (occasional Technoccult guest blogger and frequent commenter) accompanied by collage paintings by Michael Skrtic for each line of text. On another level, it is a collection of excerpts from the employee handbook of the Ministry of Dreams. On both levels, it’s a remarkable and engaging work. As Antero Alli writes in his foreward, “Look at them as meditation portals to the cinematic dreamscapes of the Other Side, or if you prefer psychological terms, the Unconscious (and naturally “other” to the conscious Ego). Or, if you side with the Australian aborigines, the Dreamtime.”

You can learn more about it, and preview it, here. You can buy it from the publisher here or from Amazon.com.

Part two of this interview can be found here.

Michael currently lives in Sweden, but is a true citizen of the world. I caught up with him by telephone to talk about the Dream Manual, his relationship with Bill and what he’s working on now. Tune in next week for part 2 of this interview.

Klint Finley: What possessed you to undertake this process of creating a collage painting for every line of Bill’s original Dream Manual?

Michael Skrtic: The Dream Manual appeared first in 1984 or 1985 in a magazine called The Negentropy Express, which was an APA (an amateur press association) by the Society for Creative Thought. I was one of the founding members of the Society for Creative Thought and I was immediately taken with Bill’s original text and the original short little collage things that he did to accompany the text. It sort of followed me around since then. In the early 90s, I had just moved to Stockholm and I was looking for a project. I thought, ah, I know what I’ll do, I’ll colorize Bill’s original collages, so I blew them up and I colorized a couple of pages, and then I got involved with something else. Fast forward to 2003. I had a new studio and I’d just finished painting strange diagrams on the floor to get the mojo right, so I started thinking about the Dream Manual as a possible thing to do. I started looking at it and realized that I actually could – that’s basically it.

I started thinking about all the places I’ve been, collecting collage material. I’ve been collecting collage material for many, many years. Each of the Dream Manual images has touchstones to everywhere I’ve been and all the other images I’ve gathered, so I started putting them together to see where I’d end up. That’s how it started. It took seven years of work from the second time I started. I started painting and spent about six years painting and another year with Megalithica Press getting the book ready for publication. That’s the physical story of the Dream Manual.

Selections from the Dream Manual cover

What states of altered consciousness did you employ while creating the collages and paintings?

None. [laughs] I was drawing on a rich reserve of that. But, painting is an altered state of consciousness. I have a very active style of painting, so I’m standing up and I’m sorting through hundreds and hundreds of images just stacked up in front of me. I’m going through these processes of, in a way, accreting the paintings. I’d step into my studio – which is a magical workspace – and start sorting pictures and to see how they would go with different paintings. Often, I was working on three, or four, or five paintings at once. It’s definitely an altered state of consciousness. It’s a magical state of consciousness. It’s sort of like meditation in motion – I guess that’s how I’d classify it.

Did you have any interesting dreams while creating this work? That you can tell us about?

You know, that’s a hard question because I have really interesting dreams all the time, but nothing really stood out. After I was done, there have been a couple of occasions where I felt, as we were creating the book, we were sort of opening a doorway to the Ministry of Dreams. The Minister of Dreams as a character and the Ministry of Dreams as an imaginary place became quite real during the period we worked on these things. Bill and I would talk three to five times a week during the time when we were working on the Dream Manual project. He’s on the West Coast, as you are, so I would get up at five o’clock in the morning and I’d go paint for an hour and then I’d call Bill and we’d talk for half an hour. I’d have morning coffee with Bill after I’d done my painting and he’d have his tea in the evening with me. Sort of a Nokia moment.

So you were in contact with him every day while you were working on this.

Basically. Four or five times a week. A lot. We’ve actually spent more time over the telephone than we have face to face over the time we known we’ve known each other. We’ve lived together a couple of times in Florida and in Texas, but most of the time we’ve spent with each other has been incorporeal.

Dream Manual Realized

Did you meet through the Society for Creative Thought?

That’s kind of funny. We’d heard about each other for two or three years before we actually met. I was living in Tallahassee, Florida. It was the beginning of the 80s and I had started a group on campus called the Pagan/Occult Discussion Group. We we’re trying stuff out. We were a bunch of people who had read a lot and were experimenting. It started as a discussion group, but that lasted about two meetings, until we said, hey let’s try some stuff. Bill was living in Thomasville, Georgia, about an hour north of Tallahassee, and a lot of the people in the Pagan/Occult discussion group knew Bill. So, for about two or three years, we had been hearing about each other. We finally met at a very strange party and both of us had the same reaction, namely “Wow, I’m supposed to meet this guy?” We were mutually unimpressed with each other.

Shortly thereafter we met again, and this time hit it off. He used to climb through the windows at night on weekends. That was
his favorite mode of entry to the house. He’d get done with work in Georgia and would drive down to Tallahassee and, usually on Friday night about one or two morning, I’d find Bill climbing through my window.

Onward to part two…

New book from Bill Whitcomb and Michael Skrtic: Selections from the Dream Manual

Selections from the Dream Manual

Bill Whitcomb and Michael Skrtic’s new book, Selections from the Dream Manual, with an introduction by Antero Alli, is available for pre-order from Immanion Press.

Immanion Press: Selections from the Dream Manual

You can preview more of the artwork here.

esoZone: sorcery panel excerpt

Streaming video hosted by Altertube, shot by Vincent of C-Pan.

Moderator: Trevor Blake. Panelists: Nick Pell, Lupa, Bill Whitcomb, and Wes Unruh.

Download 8 MB clip in Quicktime format from C-Pan.

Occulterati comes ?AS IS?, WITHOUT WARRANTY OF ANY KIND

Ep14 - Noche

EPISODE 14 :: “Cutupteralti”

Bill Whitcomb and Edward Fenris get their ideas cut to pieces, glued back together. [Appendix]

Duration :: 00:27:53
Download :: MP3 (31.916MB)
Hosts :: Brenden Simpson, Wu

Out of place artifacts

In response to the 10 most puzzling ancient artifacts post, Bill Whitcomb says:

OOPARTS (out of place artifacts) happens to be one of my favorite areas of pointless speculation. Some of them, like the Greek calculator and the stone sphere are what they seem to be. That is, the Antikythera device was the product of someone brilliant, but was totally within the abilities of period craftsmen, providing someone could design it.

Others, such as the Dropa stones are more cryptic.

The problem with many of these reports, such as various things found in coal, is that they were found in the 19th century and were not documented in any verifiable way. Someone CLAIMS they saw the thing fall out of a lump of coal and, often as not, the artifact itself has been misplaced.

There’s tons of this stuff in the book, Forbidden Archeology:

http://www.mcremo.com/

Here are also a few related OOPART sites:

http://s8int.com/

http://www.earth-house.com/Green_Homes/Mystery_Travel/Ooparts/ooparts.html

http://www.dragonrest.net/fortfiles/oops.html

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