Big historians are attempting to construct a general holistic narrative of human origins enabling an approach to studying the emergence of complexity, the relation between evolutionary processes, and the modern context of human experience and actions. In this paper I attempt to explore the past and future of cosmic evolution within a big historical foundation characterized by physical, biological, and cultural eras of change. From this analysis I offer a model of the human future that includes an addition and/or reinterpretation (...) of technological singularity theory with a new theory of biocultural evolution focused on the potential birth of technological life: the theory of atechnogenesis. Furthermore, I explore the potential deep futures of technological life and extrapolate towards two hypothetical versions of an ‘Omega Civilization’: expansion and compression. (shrink)

Christian theology still condemns the sin of pride, yet many modern political movements stake their claims in terms of pride (Black Pride, Gay Pride, Deaf Pride, etc.). In the age of identity politics, it would seem pride may help to overcome self-loathing and to transform society. To see the appropriate personal and political place of pride, one must properly understand the differing roles of responsibility and value in the constitution of pride. A distinction between self-respect and self-esteem also helps clarify (...) the issues. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

This essay is divided into two parts, deeply intermingled. Part I examines not only the origin of conscious experience but also how it is possible to ask of our own consciousness how it came to be. Part II examines the origin of experience itself, which soon reveals itself as the ontological question of Being. The chief premise of Part I is that symbolic communion and the categorizations of language have enabled human organisms to distinguish between themselves as actually existing entities (...) and their own immediate experience of themselves and their world. This enables them to reflect upon abstract concepts, including “self,” “experience,” and “world.” Symbolic communication and conceptualization grow out of identification, the act of first observing conscious experiencing and intimating what it is like, mimesis, a gestural protolanguage learned through imitation, and reflection, seeing oneself through the eyes of others. The step into actual intentional speech is made through self-assertion, narrative, and intersubjectivity. These three become the spiral of human cultural development that includes not only the adaptive satisfaction of our biological needs, but also the creativity of thought. With the mental-conceptual separation of subject and object – of self and world – the human ability to witness the universe (and each other) is the ground of our genuinely human quality. Consciousness gives human life its distinctively human reality. It is, therefore, one and the same ability that enables us to shape planet Earth by means of conceptual representations (rather than by means of our hands alone) while also awakening us to the significance of being. -/- Looking beyond human self-consciousness to investigate the origin and nature of awareness itself in Part 2, reductive objective materialism is found to be of little use. Direct experience also falls short in that, in order to be transformed into objective knowledge about itself, it must always be interpreted through and limited by the symbolic contexts of culture and the idiosyncratic conceptualizations of the individual. Awareness-in-itself must thus be considered ultimately unexplainable, but this may more indicate its inexpressible transcendence of all symbolic qualifiers than its nonexistence. It is suggested that awareness is not “self-aware” (as in deity) but is instead unknowing yet identical with the only true universal: the impetus of creative unfolding. Our human knowledge, as an expression of this unfolding, is seen to emerge from our conscious experiencing and, in turn, to have the power – and enormous responsibility – of directing that experience. Our underlying symbolic worldviews are found to be autopoietic: They limit or open our conscious experience, which, in turn, confirms those worldview expectations. As we explore a future of unforeseeable technological breakthroughs on an ailing planet who patiently copes with our “success,” truly vital decisions about the nature, meaning, extent, and future of conscious experience will have to be made. (shrink)

A general definition of consciousness that accommodates most views (Vimal, 2010b) is: “ ‘consciousness is a mental aspect of a system or a process, which is a conscious experience, a conscious function, or both depending on the context and particular bias (e.g. metaphysical assumptions)’, where experiences can be conscious experiences and/or non-conscious experiences and functions can be conscious functions and/or non-conscious functions that include qualities of objects. These are a posteriori definitions because they are based on observations and the categorization.” (...) Non-conscious experiences are equivalent to relevant proto-experiences and nonconscious functions are equivalent to related proto-functions at various levels as these terms are precursors of respective conscious subjective experiences and conscious functions aspect of consciousness. The non-conscious experiences and non-conscious functions may be considered as a part of the definition of mind and/or awareness. (shrink)

This is a 2020 revision of my 1988 dissertation "The Choreography of the Soul" with a new Foreword, a new Conclusion, a substantially revised Preface and Introduction, and many improvements to the body of the work. However, the thesis remains the same. A theory of consciousness and trance states--including psychedelic experience--is developed. Consciousness can be analyzed into two distinct but generally interrelated systems, which I call System X and System Y. System X is the emotional-visceral-kinaesthetic body. System X is a (...) harmonic system of "endokinetic" (internal bodily) and "ectokinetic" (emotionally expressive) movement. System Y is a "teleokinetic" (goal directed) system that includes language, cognition, perception, voluntary motor control, manipulation of the environment, etc. Contrary to theories of consciousness prevalent in the Western philosophical traditions that begin with Plato, I argue that System Y is secondary to and dependent upon System X, not the reverse. In building my thesis I draw upon the work of Friedrich Nietzsche, psychoanalysis, Jungian depth psychology, political anthropology, modern neuroscience, Pythagorean music theory, and the mathematical theory of harmonic systems. (shrink)

The literature in education is conspicuously lacking in any meaningful or sustained discussion of the body's role in education. This thesis suggests that body and mind do not mutually exclude one another but rather, they are the two aspects that, together, form the whole person. Paradox is a key concept here because it offers a vision of reality that brings together "apparent opposites" into a tensed relationship thereby creating a framework that allows for the integration of body and mind into (...) a cohesive whole. This thesis argues that myth is an expression of humankind's paradoxical nature, and that the hero myth, in particular, points to a path that leads to the embodiment of paradox, and thus to wholeness. This, however, requires a journey into the depths of the body in order to get in touch with the body and the entire range of its feelings. It is further argued that this process reconnects us to our body. To embody paradox, therefore, signifies the integration of body and mind into a unified whole. (shrink)