A speculation on the making of a modern myth

Decades before our era of fake news and the bots who disseminate it, I once half-jokingly pitched a book idea to an old English teacher and friend. I imagined writing a tell-all exposé by a creative writer who had been drafted on graduation into a secret government project whose purpose was to produce cultural materials, novels, television and movie scripts, and so forth, with the intent of tweaking and guiding the culture at large. The UFO mythology, of course, played a central role. But recently having had the opportunity to view Corbell’s Bob Lazar:  Area 51 & Flying Saucers, it strikes me I may well have been beaten to the punch.

Corbell’s documentary omits some very telling details of Lazar’s story, but includes one I hadn’t known, that early in his tenure at Area 51, Lazar was shown a number of briefing documents concerning UFOs and their extraterrestrial pilots. To the cognoscenti, Lazar’s experience is not unique:  Bill Cooper and Bob Dean both tell similar stories of being given materials that deal with crashed saucers, recovered and back-engineered technology, and captured and autopsied ETs. What Lazar, Cooper, and Dean claim to have read seems pulled from the same filing cabinet as the MJ-12 documents. If we refuse to take these at face value, then we need to imagine their possible significance and purpose.

There are a number of potential uses. One not too out-of-this-world is as a kind of test. Given that since the postwar advent of the phenomenon roughly half the general population believes that “flying saucers are real”, it follows roughly half of military personnel will hold similar beliefs. Imagine a junior intelligence officer is up for promotion. You present them with materials like those shown to Lazar and ask them to prepare a brief for a superior. A candidate whose critical faculties fail to filter such material as highly questionable if not outright disinformation is surely unreliable. The all-too-credulous might even be tempted to leak the world-shattering information they’ve been shown, and, when they are, understandably, demoted or dismissed, they can point to their discharge as proof of their claims and start a new career as a ufological whistleblower….

An important inspiration for my unwritten novel was the speculations of William Burroughs’ lifelong experiments on how to destabilize and destroy the reigning control system of image and association. Since, I’ve read Frances Stonor Saunders on how during the Cold War the CIA sought to weaponize the arts and learned about the related, farther-reaching Operation Mockingbird. Robbie Graham has explored ways the cinematic presentation of flying saucers and ETs was possibly spun in similar ways. Given the persistence of reports of the kinds of documents Lazar claims to have read, it’s not out of the realm of possibility that some version of the stable of writers I imagined actually exists.

This Gnostic-paranoid speculation concerning the manipulation if not outright fabrication of our collective imaginarium also brings to mind Jacques Vallée’s proposal that the UFO phenomenon itself might operate as a kind of control system, inspiring and guiding belief. If we combine these ideas, a compelling if somewhat giddy vision suggests itself,  that collective consciousness is a battlefield fought over by human and nonhuman players. In this context, the thought, whether Elon Musk’s or Nik Bostrom’s, that we might be living in a computer simulation appears a cheap rip off of The Matrix.

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“…the Aliens gave us modern technology…”–a note to The Promethean Lure

Despite my critique of a certain tendency in Jacques Vallée’s thinking about the place of the UFO phenomenon in human history, I do find his work consistently compelling and an endless source of inspiration, if only for my more creative work, on Orthoteny.

Synchronicity has recently tossed my way a tidbit relevant to my all-too-brief reflection on the Promethean aspect of the Extraterrestrial. Reading the latest installment of his Forbidden Science:  Volume Four:  Journals 1990-1999, The Spring Hill Chronicles, I found a pertinent entry, from Sunday 6 April 1997:

The point that irks me most in the ufology dogma is the absurd idea that the Aliens gave us modern technology:  the often-heard notion that the transistor derived from Roswell is met with ridicule in Silicon Valley. Not only did the work of Bell Labs begin well before July 1947, but German inventor Oskar Heil had demonstrated a field-effect transistor on a lab bench in Germany in the early thirties. Heil is listed as owner of British patent 439-457, filed in 1934…. As early as June 1904 a device called the “Telemobiloskop” had been demonstrated.

It would, however, be an error to let the facts obscure the truth. The “UFO dogmatist” might reply that Heil was in communication with extraterrestrials through the Vril Society, or that the Telemobiloskop, too, was a crumb thrown us by the inventors of the Phantom Airships of 1896/7. More seriously, though, is the rich suggestiveness of the Promethean ET that runs throughout “the ufology dogma”, spontaneously generating a mythological image for the complex notion that German philosopher Martin Heidegger termed “the essence of technology” and that plays an important role in the religious reception of the UFO as D. W. Pasulka has tried to show in her American Cosmic:  UFOs, Religion, and Technology.

 

The Promethean Lure

As Kevin Randle and others have remarked, recent U.S. Navy pilots’ encounters with UFOs are nothing we haven’t seen before. Since the Second World War, air force pilots have observed, pursued, and even fired on what appear to be aeroforms capable of instantaneously accelerating to hypersonic speeds, making impossible forty-five degree angle turns, and stopping, all performance features that outstrip the aircraft of the day. And then just as now it was speculated whether or not these aeroforms were domestic or foreign (not necessarily extraterrestrial) experimental aircraft. But beneath these analogues, a deeper pattern is discernible.

It’s an old chestnut of the Ancient Astronaut / Alien line of thinking that the culture heroes of world mythology, those deities that gifted humankind with fire (Prometheus) or writing (Thoth) for example, were in truth extraterrestrials leading homo sapiens down the path of technological development. A not unrelated story concerns the back-engineering of extraterrestrial technology recovered either from crashed saucers or intact ones secured through agreements with their pilots’ civilizations. On our own or under the guidance of ET advisors, the study of ET-tech has given us the transistor and fibre-optics (as Philip J. Corso contends in his 1998 book The Day After Roswell) and promises free-energy technology, and, with it, the advanced aeroform of the flying saucer, which, some believe, the American military or some break-away civilization has already developed.

A more circumspect version of such reflections was recently expressed by Dr Garry Nolan, who, thinking out loud, imagines the possibility that metamaterials left as physical traces of UFO sightings may be a gift, a kind of clue, so that their unusual characteristics might prompt us not only to develop ways to reproduce them but to imagine uses for them. The 2018 film UFO presents a similar scenario, where the mathematics needed to understand the ETs’ communications becomes increasingly complex, leading researchers along a line of mathematical and physical speculation toward the understanding of nature that enabled the ETs to overcome precisely the same threats to the survival of civilization we now face. In the same way such metamaterials function as hints to lines of inquiry, the aerial antics of the UFO become (in the words of Tyler Rogoway) a kind of “Holy Grail of aerospace engineering.”

Extraterrestrial technology becomes, then, either retro- or prospectively, a projection of next generation human technology. On the one (sociopolitical) hand, this projection is an expression of the ideology of the so-called advanced societies:  one haphazard inflection of human civilization imagines itself to be in line with a pattern of technological development characteristic of intelligent life universally, the kind of thinking that underwrites Maitreya Raël’s claim that his extraterrestrial teachers, the Elohim, are “25,000 years ahead” of us. On the other (more mythological) hand, the extraterrestrial symbolizes the alpha and omega, the arche and telos, of technological humanity: ET either gifts us technology or teaches us by means of teasing puzzles; more radically, in other speculations, ET interbreeds with us or biotechnologically “makes us in His own image” to raise us to its own level.

The Extra-Terrestrial, then, can be understood as an eminently mythological figure, “mythological” in the sense of making universal and necessary an historical contingency (reifying this moment of technological civilization) and, in a more compelling sense, an emblem of that reification, an idol embodying “the essence of technology”, simultaneously a transformation of the Promethean culture hero and a radical revision that remakes the mythic past in the image of now or what we thereby imagine tomorrow to be.

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Synchronicitious Confirmation

If the UFO is a mandala (as Jung proposed) then by synchronicity (again) I’ve come full circle.

Though I’d been fascinated by the ufological as a boy, that interest faded sometime before high school. It wasn’t until the early 1990s that, like Saul on the road to Damascus, I was struck by my own private revelation of the phenomenon’s meaningfulness. At the time, alien abductions were in the air, or at least on the airwaves. Many if not most of the abductees were women, and their stories were retrieved for the most part by means of hypnotic regression. By that time, I’d read enough Freud to guess that what these women recalled was as much a kind of manifest dream material as memory, and, as a dream, their stories must be expressions of certain desires or fears. This insight dovetailed into other matters being mulled by the zeitgeist at the time, the Human Genome Project, cloning, and developments in reproductive technology, such as In Vitro Fertilization. It seemed clear at that moment that alien abductee narratives were surreal expressions whose latent content was the understandable concern women might suffer whose bodies were the subject of such probing investigations and manipulations. What struck me in a flash with this understanding was how the infinite stories about UFOs and their ET pilots were a kind of collective dream expressing the anxieties and aspirations of technological civilization in general, an idea I articulated a few years later just before one of the last End Times dates, the turn of the Millennium, in the following way:

The present stands within the horizon of the death of God, understood as the domination of the assumption of the immanence of the world and the consequent disappearance of the meta-physical, the super-natural, and the supersensuous (at least overtly) or their fall into the merely paranormal. The paranormal or paraphysical is that realm of nature yet to be understood (and so ultimately controlled) by science. This assumption that science will continue along the path of discovery, knowledge, and power naturalizes or reifies science and technology. When our science and technology poison the biosphere, split the atom to release potentially species-suicidal energies and manipulate the genetic code of living organisms, humanity has taken upon itself powers and potentialities hitherto exclusively the domain of superhuman deities. That science and technology, whose worldview determines how things are, brings us to an unprecedented impasse demands they must in some way be transcended (i.e., survived). The flying saucer appears within this horizon as a symbol of just such transcendence, promising that precisely the causes of our quandary will be our means of salvation.

By chance, meaningful or otherwise, following up on the reading around conspiracy theories I did for my conversation with M. J. Banias and the post clarifying and expanding on its ideas, I came to the following passage in Peter Knight’s Conspiracy Culture: from Kennedy to the X-Files (2000) uncannily setting forth those same ideas that had caught me up in that blinding vision of what the UFO mythology illuminates:

…the prevalence of alien abduction stories which feature invasive gynecological procedures speaks to concerns about rapidly changing reproductive technologies, in a decade whose political terrain has been scarred by battles over abortion, and fertility treatments such as surrogacy and cloning….alien abduction narratives in the 1990s express fears about medical science’s invasion of the body as the source of danger. It comes as little surprise, moreover, that the most frequent visitor, the so-called small gray alien, is typically represented in both personal accounts and Hollywood film as a creature with a disproportionately large head, huge enigmatic eyes, a tiny body and delicate hands. It forms an icon which recalls pictures of fetuses in the womb, a striking and uncanny image of the “alien within” that has only become available through new imaging technology in the last quarter century. The conspiracy-inflected dramas of alien experimentation thus say less about the particular makeup of the individuals telling the stories than they do about a society in which people’s (and especially women’s) relationships to their own body is so often mediated through technical expertise, be it medical, judicial, or ethical. (171-2)

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Skunkworks: First Orbit

Skunkworks has been at it a year now.

The initial impulse behind this blog was to keep me honest. I’ve been at work  (mainly on various drawing boards) on a long poem, whose working title is Orthoteny, that aspires to do for the UFO mythology what Ovid’s Metamorphoses did for classical mythology. And though I’ve test-flown various prototypes—poems such as “Flying Saucers”, “Will o’ the Wisp”, “Q’ Reveals the Real Secret Space Program”, and “Magonian Latitudes” and the sequence On the Phantom Air Ship Mystery—the work on Orthoteny had stalled, and when UFO Conjectures publicized my chapbook on the Phantom Airship Mystery, I imagined that developing the work in public would be a way of holding myself accountable.

One way of getting toward the poem is to imagine the countless stories around the UFO as constituting a “modern myth of things seen in the sky” and to read it as such. Many of the posts at Skunkworks have been just that, interpretations of various aspects of the myth as it has been developed since 1947. Complementing this hermeneutic labour has been reading classics of the canon to grasp their respective contributions to the myth and the poetic resonances within and between them.

But flying a parallel path to my poetic endeavors has been a cultural critical approach to the phenomenon. Already in 2000 with my collaborator Susan Palmer I published a study of the Raelian Movement International “Presumed Immanent” that argued that the UFO mythology was intimately bound up with and revelatory of the technoscientific spirit of modernity; that, like a collective dream, it expressed the anxieties and aspirations of the “advanced” societies and, at the same time, provided leverage for an ideological critique of that spirit; that, the UFO, like a funhouse mirror, reflected the truth of modernity back to it, but in a distorted form. Many of the posts here this past year have explored this thesis from various angles and in greater detail.

And despite being avowedly concerned exclusively with the meaning rather than the being, nature or truth of the phenomenon, with what I have called “the UFO Effect”, as any assiduous student of deconstruction will know, such distinctions, by their very separating two fields, unify as much as divide. For this reason, I have, at times, touched on matters more properly ufological, despite always attempting to steer back into the phenomenological lane.

On the immediate horizon is an omnibus review of three books that seek to bring ufology into the Twenty-first century, reviews of two books by religious studies scholars that touch on two different aspects of the phenomenon (one of which is D.W. Pasulka’s American Cosmic), and further entries in the series “Jung’s Ufological Bookshelf”. On the drawing board are more than a dozen other posts-in-the-working on the weaponization of the myth, various aspects of its sociopolitical implications, as well as some others on the peculiar logic of ufology. I hope too to address some English-language poetry about UFOs as a way of mapping what in fact has been accomplished in this direction. And of course given the nature of the phenomenon and the mill of rumour and speculation it drives I’ll be always on the lookout for synchronicitious inspirations for developments unimagined by my present philosophy to address.

To this first year’s readers: thank you for your interest and your occasional interventions. And special gratitude is extended on this occasion to Rich Reynolds for outing my ufological predilections a year ago.

Back to the Skunkworks!

 

Revelation in Reverse, or Myth, Synchronicity, and the Collective Unconscious

Two meaningful coincidences dovetail together to prompt the following thoughts.

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First, in a post at Mysterious Universe, Micah Hanks speculates that unidentified delta wing aircraft, such as those witnessed by two Air Force colonels 24 July 1952 and perhaps those seen by Kenneth Arnold 24 June 1947, might have been early prototypes of what was to become aircraft like Northrop Grumman’s B-2 Spirit Stealth Bomber. Hanks bases his inference on the description of the UFOs seen in 1952—”three bright silver, delta wing craft with no tails and no pilot’s canopies. The only thing that broke the sharply defined, clean upper surface of the triangular wing was a definite ridge that ran from the nose to the tail”—which, he notes, bears a remarkable similarity to various stealth aircraft today, a flying wing aeroform originally that of the German Horton IX Go 229 that made its first powered flight in February 1945, prototypes of which were captured by American forces at the end of the World War II.

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Prima facie, Hanks’ conjecture appears persuasive, given the shared features of the Horton, the UFOs witnessed, and variations on the Stealth design. However, one need answer several objections to make the case more compelling, the most serious of which was raised in the earliest days of the phenomenon:  if the UFOs were experimental aircraft, then why were they seen indiscriminately over land and sea globally, threatening both civilian populations in the event of a crash or capture by foreign powers? By 1952, for example, the American Air Force had already experimented with several flying wing designs, some of which had crashed during test flights, and had secured proving grounds since the earliest days of rocket research where experimental aircraft could be tested both securely in and in secrecy.

Regardless of how this or other objections might be answered in more sophisticated versions of Hanks’ argument (and there are more sophisticated versions), in the context of his post, the 1952 sighting appears explainable “in hindsight“, and it’s two features of this inference that caught my attention:  on the one hand, a later event (in this case, an aeronautical development) is said to reveal the hitherto veiled truth of an earlier one (the 1952 sighting) “in hindsight”, and, on the other, this revelation is based on a visual (or morphological) similarity that prompts the comparison of the two events.

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Anyone familiar with the discourse around Ancient Astronauts or Aliens will likely recognize this way of thinking. Ancient Alien enthusiasts pick out a helicopter among the hieroglyphs reproduced above: a modern aeronautical development reveals the truth of an ancient artifact because of how the two resemble each other. The same eye would likely see two classic, oval UFOs in the upper half of this post’s featured image, a piece of rock art from Australia. In both cases, now is projected onto then because of a perceived resemblance.

One is likely more persuaded by Hanks than the Ancient Alien theorist. The Horton flying wing, the description of what was witnessed in 1952, and the variations on the Stealth Bomber are all modern, regardless of their relative places on the historical timeline, and the aeroform in question is unequivocally real and functional, whereas, in the case of the ancient Egyptian “helicopter” and the modern-day one, or the Outback UFOs and UFO photos since the 1940s, we are dealing with historically distant artifacts and, more importantly, different conventions of representation (as I have explained before) that render the comparison questionable in the first place.

But these visual coincidences share something in an uncanny way with the second synchronicity that prompts this post. Anthropologist Christopher F. Roth in his chapter in E.T. Cultures:  Anthropology in Outerspaces (ed. Battaglia) “Ufology as Anthropology:  Races, Extraterrestrials, and the Occult” remarks the hypnotically-recovered testimony of two abductees. “Joe” tells John Mack that the alien-human hybridization program of which he is a part is “necessary” to preserve the human “race and their seed and their knowledge,” because “human beings are in trouble” due to an impending “electromagnetic” catastrophe caused by the “negative” technology humankind has developed. Concerns about electromagnetic pollution have been around for decades, but have ramped up considerably with the impending introduction of 5G technologies and their perceived and imagined threats. In a similar vein, Roth relates, famous abductee Betty Andreasson tells Raymond Fowler that the hybridization program is needed because of “escalating infertility,” a striking statement in view of recent declining sperm counts in the developed world and the even more recently discovered effects of global warming on insect fertility. Reading the words of “Joe” and Betty Andreasson, the UFO believer is likely to nod and believe their testimony possesses prophetic import. It seems to me, however, that these “prophecies” become so only “in hindsight.” Again, present circumstances are projected, in this case, onto words uttered decades ago, words whose generality is skewed and focussed to make them harmonize with contemporary developments.

But my purpose here is not to debunk a kind of fallacious reasoning at work among the ufophilic or ufomaniacal. If, as Jung words it, the practically countless stories about UFOs and their pilots constitute a “modern myth of things seen in the skies”, then the logic I sketch at work here is more interestingly understood as mythological rather than merely fallacious. One could turn to Claude Lévi-Strauss, who, in his monumental four-volume Mythologies, sets out to demonstrate that the logic underwriting myth is as rigorous and functionally valuable as modern-day science; whether stone or steel, an axe is an axe. Jung, too, posits a ground for the kind of connections made by Hanks, the Ancient Astronaut/Alien enthusiast, or the devotee of revelations of Experiencers, namely that source of dreams, visions, and myth, the Collective Unconscious. Jung’s Collective Unconscious is “exalted above all temporal change”, i.e., in it, everything happens at once; it is eternal (timeless). Correspondences between its elements therefore cannot be causal (since cause and effect are temporally related) but synchronicitious, meaningfully coincident, just like the correspondences remarked above. Because these synchronicities are essentially atemporal, revelation can operate in reverse, with the present illuminating hitherto occulted truths in the recent or distant past.

At this point, however, I am taking up Jung’s ideas not as explanations for that modern myth but as elements of it themselves. For that modern myth is not so modern, rising as it must from the Collective Unconscious (present in its own way in the radically different thinking of Lévi-Strauss), meaningfully coincident as it is with Alchemy (as Jung shows at great lengths) but also with archetypal symbols from philosophy and poetry, as well. As James Olney writes in his chapter “The Esoteric Flower:  Yeats and Jung” (in Yeats and the Occult, ed. George Mills Harper, MacMillan, 1975)

There is one symbol…or a unified complex of symbols figured in a variety of related images, which tantalizes and frustrates (and has done for twenty-five centuries) more than any other, yielding many meanings to the seeker yet seeming at the same time to withhold at least as many meanings as it give up. That image or symbol—and it occurs as the central symbol as all esoteric studies from Pythagoras, Heraclitus, Parmenides, Empedocles, and Plato down to W. B. Yeats and C. J. Jung—is the gyre, the cycle, the circle, the sphere. There are hundreds of ways it can appear (a winding staircase, a snake eating its own tail, a round tower, a cycle of history, the philosopher’s stone of the alchemists, the flight of a falcon, an Unidentified Flying Object…

What’s at work here is not faulty logic but the mythopoetic imagination, whether Jung’s Collective Unconscious; Lévi-Strauss’ myth, not spoken by human beings but speaking them; or the Magical Universe (MU) of William Burroughs’ own Mythology for the Space Age wherein, like in the Hermeticist’s Universe, everything is related to everything else, like in the vision of the ‘Pataphysician for whom the universal solvent, a version of the Philosopher’s Stone, that dissolves all things in their infinite relatedness is language.

And I see by way of a further “meaningful coincidence” that while I worked on this post UFO Conjectures posted thoughts on UFOs (and “alien encounters”) in the Qur’an!

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Science Fiction, Folklore, Myth, the UFO, and Ufology: a note

Commenting on my review of Gerald Heard’s The Riddle of the Saucers: Is Another World Watching? (1950), part of an on-going series “Jung’s Ufological Bookshelf”, Martin S. Kottmeyer generously provides extensive cultural context to Heard’s speculation that the flying saucers were piloted by super bees from Mars. Kottmeyer concludes:  “Heard may seem prescient, but he was part of a tradition of science and science fiction speculations that was quite orthodox within the genre he was part of” (my emphasis). This sentence is curious:  what genre does Heard’s book belong to?

The beginnings of a rigorous answer would evoke genre theory and reception theory; a prima facie materialist answer would trace the way Heard’s book was marketed and  how librarians catalogued it over the nearly seven decades since it was published.

Kottmeyer seems to group Heard’s book, one of the first on flying saucers, with a  “tradition of science and science fiction speculations,” which seems paradoxical. Science writing, even when it is popular or speculative, makes a claim to being true, while science fiction, as a kind of fiction, does not (or, more accurately, it makes a claim to an artistic truth…). However much A Brief History of Time and The Time Machine might have the same word in their titles and be science writing and science fiction, respectively, they surely belong to two different genres.

Today, and surely for some decades before, ufology is a liminal, paradoxical genre. On the one hand, it makes claims to being true, but in a way that is difficult to pin down. Some ufological volumes, e.g. Jacques Vallée’s Anatomy of a Phenomenon (1965) would make a claim to being true, in a provisional sense, in the same way any other sufficiently speculative science book might. Others, such as Desmond Leslie’s Flying Saucers Have Landed (1953) stake a different truth claim, one more akin to that of a religious work.

However much the truth claim of that paraliterature ufology is oscillates between the natural and spiritual, it can’t quite claim to belong to the same genre as, e.g., Carlo Rovelli’s Reality is Not What It Seems:  The Journey to Quantum Gravity (2017) regardless of how speculative the later chapters of Rovelli’s book might be. As many have pointed out, ufology is a pseudoscience (perhaps a genre all its own), though, as Vallée has cogently remarked, no problem is scientific in itself, only the approach to the problem can be properly called scientific.

For these reasons, perhaps, the literature about the UFO that is not explicitly fictional has been read as a kind of folklore in the making or mythology, not that either term in its  generality gets us much further. But this middle way has the advantage that it can make its truth claim and bracket it, too. However much folk wisdom might possess a merely heuristic truth, that truth is still practical and uncannily modern:  however much depression might be ultimately a result of brain chemistry, the folk psychology that underwrites meditative practice prescribes an effective therapy, and stories of faeries are as age old as they are contemporary (just ask highway builders in Iceland). A mythology, likewise, following Levi-Strauss, can claim an effective truth, just of a different kind than that of the natural sciences:  regardless of whether an axe is made of stone or steel, it’s still an axe. Myth, like folklore, in the case of the ufological literature, is possessed of a weird reality, as daemonic as those entities and situations it deals with.

For these reasons, I tend to take the pseudoscientific ufological paraliterature as belonging to a genre neither scientific nor science fictional, as its truth is neither one that is subject to experiment nor calculation nor one that invites us to only imagine the world as other than it is or was. Its truth, like the flying saucer, hovers between the two; like the UFO, it is both/neither material and/nor immaterial; nevertheless, like its namesake, it leaves traces, in the culture and its imaginary.

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