When Synchronicity Fails

In a recent podcast, Diane W. Pasulka and host Ezra Klein discuss UFOs in the context of both Pasulka’s book American Cosmic:  UFOs, Religion, Technology (2019) and recent developments, mainly the U.S. Navy videos made (more) famous by To The Stars Academy and the History series Unidentified:  Inside America’s UFO Investigation.

Among the many topics they explore are “book events” and the UFO and technology-as-religion. A book event is a synchronicitious discovery of a book that uncannily answers a need or question of the reader; said need can be answered, too, by other artifacts, as well, and even, imaginably, by a person:  one thinks of the proverb, “When the pupil is ready, the teacher appears.”

Around the 1:17 mark, Pasulka begins to expound on how technology might be thought of in religious terms. Her words leave me with the impression that in the research for her book a “book event” that failed to materialize was one that might have presented her with any number of versions of the paper on the Raelian Movement International my collaborator Susan Palmer and I presented at the Society for the Scientific Study of Religion conference in Montreal in 1999, published in the journal Nova Religio the following year, then reprinted in the religious studies textbook edited by Diana Tumminia Alien Worlds (2007), and, finally, included in an updated version in Hammer’s and Rothstein’s The Cambridge Companion to New Religious Movements (2012).

Our paper concludes:

…the advent of the Scientific and Industrial Revolutions ushers in today’s dominant discourse and practices within which religions orthodox and otherwise must define themselves. 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, bring 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.

Readers of the posts here at Skunkworks will recognize the nascent themes explored in that early paper cultured at this site from the start.

We find it gratifying our insights are making their way into the wider world, by whatever mysterious, obscure channels.

On the Unreal Reality and Real Unreality of the UFO: redux, or “What we’ve got here is a failure to communicate…”

There has been lately, understandably, some miscomprehension about what I’m up to here at Skunkworks or what I’m on about in my comments at other ufological blogs (mainly UFO Conjectures). The Anomalist (31 July 2019) takes my critique of the view that for some ufophiles fragments of UFOs function like sacred relics of old as turning the question of recent claims made by To The Stars Academy that it has acquired unidentifiable metamaterials “into a philosophical disquisition”, while Rich Reynolds insists on believing I’m trying to “use the ‘techniques’ of philosophical thought to get at the UFO problem” (which for him is only the question of the reality and nature of UFOs).

One of the earliest posts here was titled “Concerning the Unreal Reality and Real Unreality of the UFO”. There I distinguished Scientific Ufology (concerned with the reality, truth, and nature of the UFO) from what I called “Phenomenological” Ufology (that brackets the question of UFO Reality to focus on the UFO Effect, the varied and various ways the UFO is meaningful in culture). The discerning reader will grasp that the latter includes a study of the former, i.e., Scientific Ufology, as an activity carried out by human beings, is one aspect of the UFO Effect, but, more compellingly that the attempt to grasp the reality of the UFO comes up empty-handed, while holding the question of UFO Reality in abeyance is rewarded with a plethora of concrete phenomena for investigation.

It was of course Carl Jung whose own justly-famous thoughts on flying saucers as A Modern Myth of Things Seen in the Skies operated under just this distinction. Since, the UFO-as-cultural-effect has been the subject of study from a wide range of disciplines, from what today is most readily recognizable as Cultural Studies (including anthropology and sociology) in works such as M. J. Banias’ The UFO People, Bridget Brown’s They Know Us Better Than We Know Ourselves:  The History and Politics of Alien Abduction, Jodi Dean’s Aliens in America, Brenda Denzler’s The Lure of the Edge, and the scholars collected in Deborah Battaglia’s ET Culture, to Folklore (e.g., Thomas Bullard’s The Myth and Mystery of the UFOs and David Clarke’s How UFOs Conquered the World:  The History of a Modern Myth), Religious Studies (e.g., the scholars represented in James R. Lewis’ The Gods Have Landed:  New Religions from Other Worlds, Christopher Partridge’s UFO Religions, or Diana G. Tumminia’s Alien Worlds:  Social and Religious Dimensions of Extraterrestrial Contact, the dual-authored The Supernatural:  Why the Unexplained is Real by Whitley Strieber and Jeffrey J. Kripal, or the single-authored volumes Aliens Adored:  Raël’s UFO Religion by Susan Palmer or American Cosmic:  UFOs, Religion, Technology by Diane W Pasulka), Art History (e.g., In Advance of the Landing:  Folk Concepts of Outer Space by Douglas Curran and Picturing Extraterrestrials:  Alien Images in Modern Mass Culture by John F. Moffitt), and even Philosophy (e.g., Evolutionary Metaphors:  UFOs, New Existentialism and the Future Paradigm by David J, Moore). Many other approaches and examples are possible.

One might term such studies, variously, “Meta-ufology”, “cultural ufology”, or even “philosophical ufology” if it extends, in the manner of the philosophy of science, to the assumptions and implications in the self-understanding and methodology of Scientific Ufology in particular, and the concepts underwriting or implied by the UFO Effect, in general. Surely, those concerned especially or exclusively with the question of UFO Reality-as-such, as well as the majority of ufophiles or ufomaniacs, will be unmoved and uninterested by the bookshelf I haphazardly list above, but this judgement is hardly any evaluation of the worth of the work. Ironically, not only is Scientific Ufology an object for (let’s call it) Cultural Ufology, i.e., it is subsumed by it, but the cultural ufologist is closer in spirit to the believer, witness or experiencer, as for none of them is the reality of the UFO ever at stake(!).

But most importantly for myself, as any persistent reader of Skunkworks will grasp, it is precisely the teasing and evasive significance of the UFO no less alluring and ungraspable than the thing itself (whatever in fact that may turn out to be) that’s at issue here. Skunkworks is a workshop labouring to design a working version of The Modern Myth of Things Seen in the Sky (or what the German Romantics called for as “a New Mythology”, or William Burroughs as “a mythology for the Space Age”). As a poet, I look to Ovid’s Metamorphoses, for example, for inspiration, which did for classical mythology what might be accomplished for this one. In the meantime, one can only brainstorm, take notes, draw up blueprints and build working models in the hope that one day to get something off the ground.

You can read a copy of one of the prototypes for this project here, and hear it being performed by the author, here. Others I’ve posted here are readable under the “poems” tag.