Friday, November 22, 2024

Artists Residency with the Monica Sjöö Curatorial Collective


I’m doing an artist residency with the Monica Sjöö Curatorial Collective in February 2025. The purpose of the residency is to explore themes that feminist Swedish artist Monica Sjöö was interested in, such as women, goddesses, sacred landscape, and peace, and to promote Sjöö's work and legacy to a wider audience. I don’t know exactly what I’m going to do for the residency, probably some sort of weaving, but I have not decided on the topic yet.

The above image is Monica Sjöö’s painting “Cosmos Within Her Womb” (1971).

 

Thursday, November 21, 2024

Against Nature: Tree-Shaking Action in Minoan Glyptic Art as Agonistic Behaviour

 


I’m very pleased that my chapter, “Against Nature: Tree-Shaking Action in Minoan Glyptic Art as Agonistic Behaviour” has been published in the conference proceedings of the Aegean Gestures conference. Gesture, Stance, and Movement: Communicating Bodies in the Aegean Bronze Age. Acts of the International Conference at the University of Heidelberg, 11–13 November 2021, edited by Ute Günkel-Maschek, Céline Murphy, Fritz Blakolmer, and Diamantis Panagiotopoulos.

Description

Gestures, posture and facial expressions are central to conveying meaning through action and physical communication. In works of art, they represent active or communicative aspects of the figures and relate them to one another in coherent narratives. This is particularly important for understanding ancient contexts of meaning, especially in the study of societies with a limited corpus of deciphered texts, such as those of the Aegean from the Neolithic to the Late Bronze Age. The volume, which emerged from a conference in Heidelberg in 2021, deals in 29 contributions with old hypotheses and new approaches to interpreting 'body language' in Minoan Crete and Mycenaean Greece.

The whole book is open access. See the complete Table of Contents and download the book for free from Propylaeum Ebooks

 

 


Three new chapters

 



I am very pleased to have three chapters in this new book:

5. What is the Relationship Between Ancient and Contemporary Paganism?

16. Can a Pagan Follow More Than One Path or Tradition?

43. Is There A Difference Between Magic and Magick?

See the full Table of Contents and buy the book here at Equinox Publishing.

Description

Pagan Religions in Five Minutes provides an accessible set of essays on questions relating to Pagan identities and practices, both historically and in contemporary societies as well as informative essays on different Pagan groups, such as Druidry, Wicca, Heathenry and others. The book includes answers to a range of questions such as: How many Pagans are there? What do Pagans believe? Is Paganism a real religion or is it just made-up? Is Satanism a type of Paganism? Do all Pagans celebrate the solstices? Why is it written “Pagan” and other times “pagan”? Do they have sacred texts? Is Druidry the indigenous religion of Europe? What does the pentagram symbol mean? Can anyone be a witch? Are Pagans anti-Christian? The book also covers issues with terminology, including the labelling of ancient, non-Western and indigenous groups as ‘pagan’, common assumptions and misconceptions about Pagans, and more.

Each essay is by a leading scholar in the field, offering clear and concise answers along with suggestions for further reading. The book is ideal for both the curious and as an entry book for classroom use and studying Paganism.

Because each chapter can be read in about five minutes, the books offer ideal supplementary resources in classrooms or an engaging read for those curious about the world around them.


Another New Book - Plague in Antiquity



This volume came about based on the recognition that the rise and spread of Covid-19 has led contemporary scholarship to consider the possibility that there will be an increasing acceleration of new and highly transmissible plagues, viruses and other diseases linked to the mass travel and trade that characterizes hyper-globalisation. As historians and archaeologists studying the civilisations of the most distant past, we felt that we had something to contribute to this conversation through providing a historical perspective, with the twin goals of relieving the social anxiety caused by pandemics and taking advantage of our present experiences to see how we might view our own research in a fresh, new light. Archaeologists and scholars of ancient history know that epidemic plagues and other environmental catastrophes are nothing new: disease and illness are clearly represented in the archaeological and historical record. The chapters in this volume focus on plague in antiquity, centred primarily on the ancient Near East. Chronologically, they span the Bronze Age to Late Antiquity, and regionally they cover Mesopotamia, Egypt, the Levant, Cyprus, Anatolia and the Indus valley. The contributors discuss a range of topics related to plague—its causes and transmission, environmental factors, responses and treatments, disruptions and social effects—drawing on ancient texts, modern sociology, archaeological evidence and cultural material remains. The variety of contributions demonstrates that rather than being anomalous, various forms of illness were normal, recurring and prevalent within the ancient world. The authors refer to the current Covid-19 pandemic, which was also inspiration in producing this work. This volume contributes to the contextualisation of plague, pestilence, disease and disability within wider and deeper human history. See the Table of Contents and buy the book here at Peeters Publishers






 

Wednesday, August 21, 2024

New book! A Century of James Frazer’s The Golden Bough



I’m really excited that A Century of James Frazer’s The Golden Bough: Shaking the Tree, Breaking the Bough, edited by Stephanie Lynn Budin and Caroline J. Tully is now available forpre-order. This is the book that was produced from the online conference “Shaking the Tree, Breaking the Bough: Frazer’s Golden Bough at 100”.

This multidisciplinary volume examines the ongoing effects of James G. Frazer’s The Golden Bough in modern Humanities and its wide-ranging influence across studies of ancient religions, literature, historiography and reception studies.

It begins by exploring the life and times of Frazer himself and the writing of The Golden Bough in its cultural milieu. The volume then goes on to cover a wide range of topics, including: ancient Near Eastern religion and culture; Minoan religion and in particular the origins of notions of Minoan matriarchy; Frazer’s influence on the study of Graeco-Roman religion and magic; Frazer’s influence on modern Pagan religions; and the effects of Frazer’s works in modern culture and scholarship generally. Chapters examine how modern academia – and beyond – continues to be influenced by the otherwise discredited theories in The Golden Bough, ideas such as Sacred Marriage and the incessant Fertility of Everything. The book demonstrates how scholarship within the Humanities as well as practitioners of alternative religions and the common public remain under the thrall of Frazer over one hundred years since the publication of the abridged edition of The Golden Bough, and what we must do to shake off that influence.

A Century of James Frazer’s The Golden Bough is of interest to scholars and students from a wide range of disciplines, including Ancient History, History of Religion, Comparative Religion, Classical Studies, Archaeology, Historiography, Anthropology, Folklore, and Reception Studies.


Table of Contents

Preliminaries

1. The Golden Bough: setting the scene – Tim Parkin

2. Sir James Frazer and The Golden Bough – Ronald Hutton

3. “Off With His Head!”: Wilhelm Mannhardt’s Wald- und Feldkulte at the Roots of The Golden Bough - Frederico Delgado Rosa

4. The Golden Bough and the Press – Julia Phillips

5. Hypothesis as Theory: The Golden Bough and the Obstinate Nostrums in Religious Studies and the Humanities – Ryan C. Chester

Ancient Near East

6. Ištar’s Sexual Agency in Akkadian Love Literature – Martti Nissinen

7. Dying and Rising Gods in Ancient Mesopotamian Religion and the Frazerian Paradigm of Fertility Religion – JoAnn Scurlock

8. The Fads that Drive Us: From Frazer, Freud, and Foucault to Butler and Connell – Stephanie Lynn Budin

9. The Hebrew Bible Scapegoat: Complicating a Frazerian Typology – Caroline Ward-Smith

Aegean and Classical

10. Embracing the Goddess: Evans and the Minoan feminine divine – Christine Morris

11. Guess Who’s Back, Back Again? Graeber and Wengrow’s Resurrection of Minoan Matriarchy in ‘The Dawn of Everything’ – Stephen O’Brien

12. Same same, but different: Frazer’s Sympathetic Law of Similarity and the study of Greco-Roman defixiones – Saskia Moorrees

13. Reading about Nymphs and Roman Soldiers with and without Frazer – Isabel Köster

Pagan Studies

14. Surviving Frazerisms: twenty-first century Witchcraft and the eternal return – Helen Cornish

15. Moon and Huntress: Frazer’s Arician Diana in Italian-American Witchcraft – Caroline J. Tully

16. Lilith from Demoness to Mother Goddess: a Frazerian legacy in French Luciferian Wicca? – Vanessa Toupin-Lavallée

17. Contemporary Tree Lore and the Ancient Worship of Trees: The Contributions of James Frazer in the Contemporary Study of Religion and Ecology – Ive Brissman

The Modern World

18. Derivative and Associative Popular Frazerism: A Cultural Complex at Work in Late Modern Europe – Alessandro Testa

19. Frazer and the Magical Oath – Fritz Lampe

Coda

20. Diana’s Mirror: The Reflective Surface of Frazer’s The Golden Bough – Robert Fraser 



Sunday, July 28, 2024

Back to Italy for an Artist Residency



I've recently returned from Italy where I was attending a conference on shamanism and exploring the archaeological site of the sanctuary of the Roman goddess Diana, as well as looking at all the archaeological and historical museums in Rome. And I'm going back again in October! I'm super excited that I have been selected to participate in the artist residency at DOMUS in the town of Galatina, southern Italy. My artistic project is titled “The Theatre of Spirits: Trance Performances and Séance Phenomena in the Australian Spiritualist Movement, 1870 – 1950.” I will also be researching folkloric and environmental aspects of the Salento region such as the Tarantism phenomenon in which (mainly) women were allegedly bitten by the tarantula and became possessed; and the ecological problem of the death of olive trees affected by rapid desiccation, CoDiRo, due to the proliferation of the Xylella Fastidiosa bacterium which started to afflict the trees in 2013. THis is going to be great!

 

Sunday, July 14, 2024

Aqua Profonda: Water and the Tarot of the Drowning World


This is the text of a presentation I did on Kahn and Selesnick's Tarot of the Drowning World, which was hosted by Morbid Anatomy on the 10 September 2023. For the complete PowerPoint with all images, see my academia page.

I’m very excited to be able to talk about the Tarot of the Drowning World. Of all the tarot decks on the market today that I am aware of, it is only the Tarot of the Drowning World and the Carnival at the End of the World tarot decks that I feel motivated to make the effort to learn, and this is because of (along with the excellent artwork) their contemporary relevance. These two decks are, let’s say, “up to date” with what is happening in the – or on the – world today.

While I appreciate many other decks, based on their theory or their art or both: (1) I simply don’t have time to master them all and; (2) the Kahn, Selesnick, and Falkner tarot decks are directly relevant to the environment – which should be a topic of major concern and interest to all humans and certainly is to me.

Today I want to focus on the presence and associations of Water in the Tarot of the Drowning World.



While thinking of a title for this presentation I remembered the term “Aqua Profonda”. This is a rather famous term in inner city Melbourne, Australia, where I live as it refers to a sign painted on a wall at the Fitzroy Pool, which is located just up the road, here, from me. The pool opened in 1908, but the sign was painted around 1953 or 54 at the initiative of the pool manager, James Murphy, because he found that he kept having to rescue Italian migrant children from the deep end of the pool. He asked an Italian friend what the words for “deep water” were in Italian and had them painted at the deep end of the pool.



“Aqua” here is actually misspelled; in Italian it has a “c” in it – as it is here, it’s the Latin. That reminds me of the Italian Acqua Alta, which in Latin is “deep water”, but in Italian is “high water”, evoking the Acqua Alta high water in Venice. Acqua Alta the name for the high tides that flood part of Venice (and some other places around the northern Adriatic) between autumn and spring, caused by a combination of the moon’s pull on the water and two winds, the sirocco and the bora, also Venice is sinking, very slowly, but I digress.

The Aqua Profonda sign is a big deal in Melbourne and it even has heritage listing so it can’t be destroyed. In addition to its association with the post-war migration program; it appeared in the 1982 film Monkey Grip – which is based on a 1977 novel by Australian writer Helen Garner, about living in share housing and experimental approaches to relationships in Fitzroy, which back then was considered a slum, although now it is extremely desirable and expensive. In the film Aqua Profonda serves as a metaphor for the tempestuous relationship of the main protagonists; and lastly, Aqua Profonda was the slogan of the Save Our Pool campaign in the mid 1990s when the council was considering closing the pool.

So, Aqua Profonda means Deep Water, but to me it also evokes, Profound Water – which seems pertinent to the Tarot of the Drowning World deck, because isn’t that what we want to access – or to be – as diviners? Profound!

Synonyms for “profound” include words like deep, thoughtful, reflective, philosophical, weighty and insightful. The dictionary definition includes: very great or intense; penetrating or entering deeply into subjects of thought or knowledge; and having deep insight or understanding. This is what the visual aspect of the Tarot of the Drowning World – with its water – evokes for me: this inundation, this potentially deep water, on top of which float human figures, objects, animals, plants, and all sorts of flotsam. Maybe they are arising from, or are buoyed up by, this Aqua Profonda. Maybe this Aqua Profonda is our deep dark subconscious mind from which float up images and insights…

Aiming for or claiming profundity can seem hubristic – but it’s surely no bolder than claiming the power or skill of divination itself.   

While I am very enthusiastic about the Tarot of the Drowning World, I have not yet mastered it to a sufficient degree to use in a professional setting. My tarot deck of choice since 1984 has been the Aleister Crowley and Lady Frieda Harris-designed Thoth deck – and I didn’t use that in a professional capacity until about 10 years after originally learning it.



As a Thelemite with a background in western ceremonial magick the theory behind this deck makes sense to me and I find the images very informative. This is the deck I use in both my personal and my professional tarot reading. I have many other tarot decks and a couple of oracle decks, but I always use the Thoth deck for professional reading and any serious reading I do for myself. I just find it the clearest and most informative deck to use. So, I’d have to have a good reason to consider making the effort to learn, and form a relationship with, another deck.

I have had two stints as a professional tarot reader; once for a period of time in the early 1990s at a shop called Mythical Moon and more recently since 2019 at a shop called Muses of Mystery, both located in Melbourne. It wasn’t until this second time around working as a tarot reader that I noticed that the cards of the Thoth deck did not cover some of the types of concerns relevant to humans today. Two obvious examples of this lack of contemporary coverage are that it is very gender binary and it does not address or incorporate the environmental crisis. While sure, you can make it cover those topics – you can extend certain cards’ meanings to include those issues – but it doesn’t really. It wasn’t designed that way.

Of course the Thoth deck was designed in the early 20th century, and is based on what I’ll generalise as the “Western Mystery Tradition”, incorporating Egyptian, Greek and Roman mythology, the Qabalistic tree of life, alchemy, astrology, and the Empedoclean Four Elements – which I love, of course!



Seeing as this presentation focuses on Water in the Tarot of the Drowning World, let’s first look at how the Thoth deck conceptualises Water, and then I’ll look at how the Tarot of the Drowning World conceives of Water, in my opinion.

The Thoth tarot deck classifies Water as one of the Four Elements or the Classical Elements, a model proposed in the mid-fifth century BCE by the Pre-Socratic philosopher, Empedocles of Akragas in Sicily. Empedocles conceived the basis of existence as consisting of, or deriving from, four roots: Fire, Water, Air and Earth, moved by two opposing forces, Love and Strife. The model of the Four Elements was transmitted through the centuries, and found its way into the proto-tarot back when it was a game in 16th century Florence.[1]

In the late nineteenth century the Four Elements system was an important component in the theory informing the magical rituals of the Hermetic Order of the Golden Dawn, the magical society Crowley was initiated into and which paved the way for the popularity of occultism today. The Four Elements consequently feature in Crowley’s Thoth (and many other subsequent) tarot decks. What is important to note in regard to this is that in the Thoth tarot the Four Elements are symbolic.  

As Crowley explains “One must constantly remember that the terms used by ancient and medieval philosophers do not mean at all what they mean nowadays. ‘Water’ does not mean to them the chemical compound H2O; it is an intensely abstract idea, and exists everywhere...The word ‘element’ does not mean a chemical element; it means a set of ideas; it summarises certain qualities or properties.”

In popular occultism water is characterised as passive, feminine, and emotional. In the Thoth deck “water” represents aspects of water such as (and I quote Crowly here) the “swift passionate attack of rain and springs… water’s power of solution…brilliance… its power of reception and reflection… purity and beauty… dreaminess, illusion and tranquility… transmission, refraction, distortion…elasticity, volatility, hydrostatic equilibrium… the catalytic faculty and the energy of steam… transmutation, stagnancy and putrefaction… and crystallisation.” Water is attributed to the Zodiac signs Cancer, Scorpio and Pisces, the suit of Cups, to the Queens in the Court Cards, and also to one of the Major Arcana, the Hanged Man, through the attribution to it of the Hebrew letter Mem, which means water. Crowley explains that “It would perhaps be better to say that it [in this card] represents the spiritual function of Water in the economy of initiation; it is a baptism which is also a death.” Again, here despites its many forms, Water is symbolic.


The Thoth tarot deck derives from the ceremonial magic classification system, devised back when we thought we humans could impose order on the visible and invisible worlds… before things started going out of control.

So how is the Tarot of the Drowning World different? What does it mean when the whole deck is “attributed” to water?


The Tarot of the Drowning World goes beyond the orderly control imposed on nature by the model of the Four Elements. It has r
e-tooled the tarot to meet up with the on-going transformations of our world and is based in physical reality. While the images may evoke the deep well of the unconscious, of profound water, profound wisdom, they also suggest a natural disaster. Almost all the trumps call to mind Millais’ drowned Ophelia – and is that us? Insane, suicidal? Or drowned in a tsunami, with our homes flooded by the sea because the ice caps are melting? Yes, according to Sarah Faulkner’s explanation of the deck. Water in the Tarot of the Drowning World seeps, wells up, or rushes in, overwhelming the world; apocalyptic water destroys, and washes away, not in a fiery Aeon of Horus, but drowning us, approaching inexorably while we had our backs tuned.



This is a tarot of the overwhelming of the psyche, of submersion in emotion and sensation, but it is in this devastating realisation of drowning that the mercurial spark ignites and urges us not to give in and sink, but to swim to the surface. We’re not dead yet. Grab onto something and kick your legs until you reach an island, or shore. The Tarot of the Drowning World points to a real, physical, climate emergency – one which we are in – but it says “don’t give up.” What is washed away makes room for regeneration.

Sarah asks, “Is the Drowned World a new world being born, arising out of a dark abyss or cosmic ocean? Yes…. Submerged and Resurgent.” Panic and victimhood turn into ingenuity and determination. Use an apocalypse to receive apokálypsis (or revelation). Stare into the cards and allow it to arise. Create the future.

So, like the Thoth and all good tarot decks, the Tarot of the Drowning World is more than just a divinatory system. It is a story, a world, a lesson, a source of knowledge, and of solutions. It is both literal and symbolic, both a vision of impending death and destruction, and of creation and regeneration. Most importantly, it situates humans within the world, on a horizontal plane in relationship with literal water – with rising seas, inundation of islands, flooding, sinking, drowning, tears, fluids, lakes, rivers, rain, puddles, and drinks – and encourages us to see renewal within devastation and to actively envision the future.

 

 



[1] Minchiate