John Updike famously said, “Nabokov writes prose the only way it should be written, that is, ecstatically.” It’s one of my favorite descriptions of Nabokov’s writing.
Today, I watched the video below. The creator of it, Jason Silva, uses the word ecstatic to describe how he wants to feel. Take two minutes out of your day to watch it:
[vimeo https://vimeo.com/29938326 w=600 h=400]
And then read this excellent interview with Jason Silva in The Atlantic:
I’ve heard you described in a lot of interesting ways, as a performance philosopher, an Idea DJ, or even as a shaman—What do those terms mean to you and is there anyone else out there that you see as performing a similar cultural role? Are there historical precedents for what you’re trying to do?
Silva: Definitely. I first heard this term “performance philosophy” on a website called Space Collective that was started by the Dutch filmmaker Rene Daalder as a way for humans to imagine what it might be like to eventually leave the Earth. I was reading an article about Timothy Leary that said that Timothy Leary and Buckminster Fuller used to refer to themselves as “performance philosophers,” and that really stuck with me.
When Timothy Leary was in prison he was visited by Marshall McLuhan, who told Leary “you can’t stay way out on the fringes if you want to compete in the marketplace of ideas—if your ideas are going to resonate, you need to refine your packaging.” And so they taught Leary to smile, and they taught him about charisma and aesthetic packaging, and ultimately Leary came to appreciate the power of media packaging for his work. According to the article, this is where Timothy Leary the performance philosopher was born, and when he came out of jail all of the sudden he was on all these talk shows, and he was waxing philosophical about virtual reality, and downloading our minds, and moving into cyberspace. All of these ideas became associated with this extremely charismatic guy who was considered equal parts rock star, poet and guru scientist—and that to me suggests the true power of media communications, because these guys were able to take these intergalactic sized ideas and spread them with the tools of media.
The problem, as I see it, is that a lot of these stunning philosophical ideas are diluted by their academic packaging; the academics don’t think so because this is their universe, they could care less about how these ideas get packaged because they’re so enmeshed in them. But the rest of us need another way in. We need to be told why these ideas matter, and one of the ways to do that is to present them with these media tools.
And these videos that you’re making now? How would you describe them?
Silva: I see them as souvenirs that I’m bringing back with me from the ecstatic state. Some people have criticized me for being overly expository, they see me as the equivalent of a voice-over narrator in a film who’s telling you what’s happening on a screen even though you can see it right in front of you. But it’s not enough to feel the experience; it needs to be narrated in real time. That method really works for me because narrating my experience creates a self-amplifying feedback loop whereby articulating experience allows me to feel it in a richer way, which in turn helps me articulate it in a richer way, and so on. That feedback loop helps you sort of author your way into your experience, like writing your name on a tree and saying “Jason was here.” It’s a way of saying “I experienced something and it matters,” a way of throwing an anchor into something that’s ephemeral and trying to hold it in stasis. That’s what we do with all of our art. A beautiful cathedral, a beautiful painting, a beautiful song—all of those are ecstatic visions held in stasis; in some sense the artist is saying “here is a glimpse I had of something ephemeral and fleeting and magical, and I’m doing my best to instantiate that into stone, into paint, into stasis.” And that’s what human beings have always done, we try to capture these experiences before they go dim, we try to make sure that what we glimpse doesn’t fade away before we get hungry or sleepy later.
Consider me an immediate fan.