Rhetorical Frames of Extreme Seeing

How do we understand the frames of seeing as they are experienced? If we are limited, altered, given boundaries and metaphors by our language and culture that dictate what we see and how we see it, how would we know? Seeing around frames is a bit troublesome: they are frames, screens, rose colored glasses that we cannot remove without removing all other frames of reference. Considering these questions I am attempting to explore a region that is on the edge of our frames, and sometimes transcends various frames of reference (leaving the authors of the experience in a very difficult space of reporting); namely, the hallucination. My reasoning is that, if we examine those ways of seeing that are unsanctioned, odd, questionable, or unreal, we will be revealing some of the frames of reference that limit or control our vision. Beyond simply revealing various metaphors that control our vision (we are already aware of the frames that I will be exploring) I would like to explore why, what needs to be controlled, in regards to the vision or hallucination? In what ways do the various frames or approaches to understanding hallucination invite, reject, or ignore the experience of the author? What implications does this have on wider ways of seeing?  For example, through the fifties and sixties there coexisted a variety of competing frames in regards to the drug induced hallucination. The psychoanalysis frame, delving into the subconscious and what makes a medicalized crazy person, was gaining significant momentum. The scientific frame was attempting to explore the various chemical and brain properties, trying to understand how chemicals interact with the body. The government frame was focused on the control or loss of control of the population. Various academics were beginning to explore and reframe in terms of a “new” spirituality or mental r/evolution. The concept that the human animal was evolving mentally was a dominant thought frame from the 30’s to the 70’s. This evolution could be trigger through meditation, various eastern religions and spiritual gurus, and that this process could be hastened through the use of hallucinogens. In the Christian frame the drug induced experience was a false religious experience, in other religions drug induced visions are a common and highly valued process. As drugs moved into mass culture a complex merging of frames often occurred in order to explain, describe, and use a state that is often considered "outside of language."  I have attached my current working bibliography. This currently contains the major texts outside of our course reading that I will be using. Cheers!

Submitted by Morgan R. on Wed, 2007-03-07 09:56.

David Blakesley's picture
Submitted by David Blakesley on Mon, 2007-03-19 14:48.

One thing your introductory narrative makes clear is that what a hallucination is, is in the eye of the beholder! Makes sense, I guess, eh? Eye-wink

It's interesting to consider how the terminology of the "bad trip" (or good trip) actually filters the experiences (and descriptions). You ask a great question (re. Lee, the "Social History" book):

"These responses drive me to wonder about how we frame previously unknown or unframable “visions”? What does it mean to be crazy, and how do visions play a role in what is insanity, or something that comes from god, or simply an altered state?"

How does one describe the unknown? In terms of the familiar (even if its only an abstract or speculative familiar).

And then, from the Sagan book:

"When people’s report their drug experiences in terms of their cultural metaphors, it implies that these metaphors are deeply imbedded in their ways of knowing and ways of seeing."

This echoes the earlier theme, too. You might even be able to generalize here, in that the visual, as a primary experience, invites metaphoric description with cultural or terminological roots (it recalls also the "It was just like I was in a movie! phenomenon, which suggests that much of our "primary" experience is symbolic in nature--not grounded necessarily in experience of the material). Hmmm. Very interesting possibilities.

I have just one suggestion for another source or two: it would be useful to know precisely what the chemical effects are on the physiology of seeing. If colors are enhanced or their are tracers, what's causing that? Is it in the brain or the eye? (Or something happening in the transition from the one to the other?)

Can't wait to see where you go next!

Dave