Articles by: James Curcio

I see Carl Jung as an important beginning to a conversation on symbol, self and the psyche that is still desperately needed. So long as we misunderstand the psyche, we misunderstand one another, and as long as we do that, atrocity is inevitable.
Most people think about conquering problems. About overcoming them. But it is in recognition of loss and impermanence that growth can occur.
Reflections on 20 years of creative collaborations, artist shared spaces, and solitude.
Is there a point in talking about a counterculture anymore? What is a counterculture, anyway? In a world of disposable content, is a counterculture possible? Or does counterculture depend in fact on that very disposability, such as with graffiti culture?
What is "personal mythology"? Why is it -- or myth of any kind -- important? The answer is much closer at hand than you may think.
Along with being a vocation that is incredibly harsh the moment you get past the point where it is "cool" to say you're an artist, being an artist can actually be incredibly dangerous. But there is no danger that can or should put you off your goal.
Despite the exciting creative possibilities posed by new media, the danger presented by the presence of myth in modern media is paramount, and must be considered outside the mythic framework of industry, which reduces the material world to a matrix of profit and risk.
Myth is so entrenched in the nature of business that it is often overlooked within the advertising rhetoric of capitalism, even if the building of a mythology is the centerpiece of all effective branding.  Myth may be encoded in any medium, but its defining characteristic is its psychological function.
The actual lesson provided by hallucinogens seems relatively simple: let go. Hey look, the walls are bleeding. Let go. I'm fifty and my life is a wreck. Let go. That hawk headed God has giant tits and it's starting to unnerve me. Let go. If you hold on, it can become a demon, and if you let go, it becomes bliss. 
A modern myth is a living myth, it cannot help but borrow inspiration from historical sources -- the lives and thoughts, myths and images of those who have come before -- but it is transformed, re-forged we might say, in the heat of our personal experience, and may come out looking quite different from any of those original sources.

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