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ALTAR STATES: SPIRIT WORLDS AND TRANSFORMATIONAL EXPERIENCES ____________ A Project Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Social Science ____________ by © Peter Treagan 2019 Summer 2019 ALTAR STATES: SPIRIT WORLDS AND TRANSFORMATIONAL EXPERIENCES A Project by Peter Treagan Summer 2019 APPROVED BY THE INTERIM DEAN OF GRADUATE STUDIES: _________________________________ Sharon Barrios, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: _________________________________ _________________________________ Eugenie Rovai, Ph.D. Sarah Pike, Ph.D., Chair Graduate Coordinator _________________________________ Celeste Jones, Ph.D. _________________________________ Randy Larsen, Ph.D. PUBLICATION RIGHTS No portion of this project may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author. iii DEDICATION This work is dedicated to the future ancestors living in harmony with Nature. iv ACKNOWLEDGMENTS I am forever grateful for my committee and family; your endless patience and support made all of this possible. Many thanks to the Idea Fab Labs for providing 24- hour access to the facility, training with the high-tech tools, and the creative space for unexpected collaborations throughout the process. Thank you to the MFA Gallery and Museum of Anthropology at CSU Chico for the opportunity to exhibit my work to the public and making the vision a reality. Special thanks to the talented musicians who contributed original compositions to the Altar States soundscape: Chelu de la Isla, The Sámi Brothers, Flow State, GeOMetrae, Anahata Sacred Sound Current, Puka, and Shimshai & Susana. For the inspiration and encouragement to create and share this artwork, infinite thanks to Chances R Good, Makhno Mata, Alfredo Zagaceta, Juan Carlos Taminchi, Michael Divine, and Alex & Allyson Grey. Most of all, I give thanks to the everywhere Spirit for all of the experiences and growth on this journey. Thank you. v TABLE OF CONTENTS PAGE Publication Rights....................................................................................................... iii Dedication................................................................................................................... iv Acknowledgments....................................................................................................... v List of Figures............................................................................................................. viii Abstract....................................................................................................................... xii CHAPTER I. Introduction............................................................................................... 1 Background of the Project ............................................................ 2 Purpose and Scope of the Project.................................................. 8 Significance of the Project............................................................ 12 Limitations of the Project.............................................................. 14 II. Literature Review...................................................................................... 17 Preface........................................................................................... 17 Origins of Transformational Festivals .......................................... 17 Co-Creating Solutions................................................................... 20 Global Collapse............................................................................. 26 Paradigm Shift from the Default World to the New Earth ........... 30 Visionary Art and the New Earth.................................................. 33 Rainbow Prophecies and the New Earth....................................... 41 Intentions Behind Transformational Festivals.............................. 49 Growth Edges of Transformational Festivals ............................... 51 “Next-Level” of Transformational Festivals ................................ 53 Cultural Appropriation and Cross-Pollination.............................. 54 Role of Indigenous Worldviews in Transformational Festivals ... 66 III. Methodology............................................................................................. 73 IV. Summary, Conclusions, and Recommendations....................................... 76 Summary....................................................................................... 76 Conclusions................................................................................... 77 vi CHAPTER PAGE Recommendations......................................................................... 78 References ................................................................................................................... 80 Appendix: Voices of the Neo-Tribe: Perspectives of Participants at Transformational Festivals....................................................................... 86 Master’s Exhibition................................................................................................... 109 vii LIST OF FIGURES MASTER’S EXHIBITION VALENE L. SMITH MUSEUM OF ANTHROPOLOGY, CSU CHICO, CALIFORNIA SUMMER 2019 FIGURE PAGE 1. “Altar States, Light of Day: Detail 1,” paintings, illuminated sculpture, sculpture stands, Bird Eyes 3D printed sculpture series, vitrine and podium, ceramic 3D printed sculpture series, UV blacklights; 35’x22’x8’; Spring 2019........................................................................... 110 2. “Altar States, Light of Night: Detail 1,” paintings, illuminated sculpture, sculpture stands, Bird Eyes 3D printed sculpture series, vitrine and podium, ceramic 3D printed sculpture series, UV blacklights; 35’x22’x8’; Spring 2019........................................................................... 110 3. “Altar States, Light of Day: Detail 2,” paintings, illuminated sculpture, sculpture stands, Bird Eyes 3D printed sculpture series, vitrine and podium, ceramic 3D printed sculpture series, UV blacklights; 35’x22’x8’; Spring 2019........................................................................... 111 4. “Altar States, Light of Night: Detail 2,” paintings, illuminated sculpture, sculpture stands, Bird Eyes 3D printed sculpture series, vitrine and podium, ceramic 3D printed sculpture series, UV blacklights; 35’x22’x8’; Spring 2019........................................................................... 111 5. “Altar States, Light of Day (Detail, Ch’aska Punku Altar): Detail 1” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 112 6. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 1” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 112 viii FIGURE PAGE 7. “Altar States, Light of Day (Detail, Ch’aska Punku Altar): Detail 2” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 113 8. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 2” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 113 9. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 3” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 114 10. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 4” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 114 11. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 5” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 115 12. “Altar States, Light of Night (Detail, Ch’aska Punku Altar): Detail 6” CNC and laser-cut Baltic birch panels, CNC-cut Baltic birch Living Hinge, florescent pigment and epoxy resin, LED lights, ultrasonic sensors, selenite crystal; 35’x22’x8’; Spring 2019........................................................................... 115 13. “Altar States, Light of Day (Detail, Bird Eyes series): Detail 1” sculpture stands, Bird Eyes 3D printed sculpture series, stereoscopic 3D glasses, yarn; 35’x22’x8’; Spring 2019..........................................................................