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Integrating ayahuasca into western healthcare: an interview with Milan Scheidegger

Milan Scheidegger is one of the most interesting young researchers in psychedelics, because he integrates several different perspectives. He’s a clinical psychiatrist at the University of Zurich, who’s spent a decade studying the effect of psychedelics on subjects in a laboratory, and on a meditation retreat. He’s also done field-work on the use of psychedelics in indigenous rituals, and is preparing the first study of the effects of ayahuasca in Switzerland. He’s written a philosophy masters on deep ecology. And he’s a musician, who’s worked with the Sound Trance Institute on using music to induce trance states. He brings all these perspectives together: music, nature, psychedelics and healing, in the Re-Connect Foundation, which he hopes will be a leading Western psychedelic therapy clinic. In the first part of our interview, we compared western psychedelic lab research to American indigenous use of psychedelics.  Here is part 2, in which we discuss translating specific aspects of indigenous psychedelic ritual into the context of western healthcare. 

How did you get into researching altered states of consciousness?

I have long had an interest in understanding the nature of the human mind and altered states of consciousness. My first altered state I experienced through music – ecstatic improvisation on the piano – as if a resonance field emerges between the musicians and the instruments. It’s also an experience of going beyond the self – creating a field, losing yourself in the field, and you don’t know if you play the instrument or the instrument plays you. It’s an ecstatic state of self-transcendence.

After that, in scientific research, my vision was to understand the mind from the molecule up to the psyche and all the levels of integration, from physics to molecular biology to anatomy and physiology up to psychology and philosophy. My interest in understanding the architecture of the human mind was particularly inspired by psychedelic states of consciousness. For my PhD I researched the antidepressant effect of ketamine in depressed patients, and the role of ketamine-induced experiences to facilitate therapeutic transformation. As a pilot test subject in my own neuro-imaging study in 2009, I had a self-experience with ketamine – and for the first time, I was immersed in an out-of-body experience, and discovered an entirely new perspective of how informative it can be to examine altered states of consciousness from the inside. For a deeper understanding of consciousness it is important to integrate this first-person phenomenal experience with the third-person accounts from neuroscience.

Tell me about the ketamine experience and its therapeutic potential.

Ketamine was promoted in the last fifteen years as a rapid-acting anti-depressant. Studies show that a considerably high proportion of patients with treatment-resistant depression responded to ketamine after only a single administration. But the antidepressant effects are not really long-lasting and return to baseline within 1-3 weeks. There’s a lot of research going on about how to prolong the effects.

And it provokes transcendent experiences?

Compared to classical psychedelics, ketamine is less likely to induce a profound psychospiritual experience. It’s more like an out-of-body experience, but it has a somehow detached and nihilistic quality to it. Ketamine is more likely to deconstruct reality.

So not so much sense of sacredness or connection to the divine?

It is more related to what Buddhist meditators call “emptiness practice”. You have to let go of all meaning and all concepts, and this can be very liberating. When the ego has to just let go of everything, this transition into the void can sometimes be experienced as disconnection, aloneness, fear, and lack of meaning. After this experience of ego-disintegration you start to re-identify with yourself as a person, and with the world, which can provide novel insights into the fabric of reality. In contrast, with psychedelics like psilocybin or ayahuasca, the sense of truth and meaning is generally over-emphasized – you can find yourself in a place of hyper-meaning and deep insightfulness.

In Christian mystical terms, you could say ketamine is apophatic – it’s a state of unknowing – while other psychedelics are more kataphatic – full of meaning and presence.

Yes, I hadn’t come across that distinction, but it resonates with my clinical observations.

Does ketamine therapy also work through a dissolution of the ego’s normal patterns, creating the ability to let go of ingrained ego-beliefs?

Yes, ketamine therapy can relieve human suffering which, in the Buddhist notion, originates from too much attachment to ego-centric drives and cravings. When the ego is dissolved during the altered state of consciousness, this ego-centered suffering goes away. What I teach my patients on ketamine is exactly this process of letting go, not identifying with narrow self-limiting beliefs, emotions, and thought constructs. When patients learn to relax their everyday consciousness in a similar way, they suffer less from anxiety, depression and addictive cravings. A lot of clinicians administer ketamine just as a biomedical drug: Mostly it is injected in a sterile hospital setting, there is not much talk about the experience, and no integration afterwards. But I believe that there is more than just a pharmacological effect, I see a great potential to use ketamine as a psychotherapeutic tool. That is why I want to work out therapeutic protocols for the clinical use of psychedelic substances.

Is ketamine very responsive to set and setting?

I’d say it’s less sensitive than other psychedelics because – due to its numbing effect – patients disengage more from the setting.

You started working with psilocybin at Franz Vollenweider’s laboratory in Zurich. When was that?

Three years ago. I started working on ketamine in 2009, then moved to psilocybin research, and right now, I’m about to start a research project on ayahuasca and DMT at the University of Zurich. Inspired from my ethnobotanical expeditions to South America – Mexico, Brazil, and Colombia, where I studied the indigenous use of psychedelic medicines, it is my goal now to further explore their therapeutic potential. However, it remains a great challenge to translate the traditional use of these indigenous medicines into the western medical model.

What kind of rituals have you taken part in?

My first encounter with psychedelic medicines was in the Wirikuta desert in the north of Mexico, where the Huichol cultures use peyote, a mescaline-containing cactus, in their ceremonies. My experience with peyote was deeply revealing of why the Huicholes call Wirikuta the ‘womb of mother earth’. I found myself in an insanely-vast desert plane with just hills on either side, with just the sky above. It’s pure stillness full of wonder and awe. During that night I really felt like becoming part of the universe, or the universe became part of me. I could experience myself as a cosmic fractal transcending time and space. But what does it really mean to be a tiny little fractal of this cosmic dance?

I had other expeditions to Colombia and Brazil, where I have participated in many ayahuasca ceremonies with different indigenous tribes. That was really far out of the comfort zone. Indigenous people usually live in poor conditions, with comparably low hygienic standards and only basic food. I remember the first night we arrived, it was a broken house, we hung our hammocks outside, it was raining. We had our first ayahuasca ceremony in a space that looked more like a garage than a ceremony hall – with petrol canisters and broken motorcycles. There was no trace of any Western neo-shamanic romanticism that often comes with a new age type of spiritual ambience, but just the brutal reality of being exposed to the archaic forces of simple life in poverty and wilderness. It was more of an exorcism ritual, where the shaman tried to clear us from bad spirits, really believing that the bad spirits are there and need to be expelled. That was quite intimidating!

The indigenous setting works more on the dualistic spectrum – an archaic fight between evil forces and the shaman, who has special powers to protect and to heal you. It has nothing to do with mysticism, it clearly belongs to the realm of magic. Magic is very much directed towards action – ‘I need to do something to get rid of an unpleasant state’ – while mysticism is not at all directed to action, because the subject of action is completely dissolved in the mystical state. There is no polarity, no fight, no tendency to act in any way, no need to protect yourself from anything. In the dualist shamanic world-view, there is struggle and fight that can be only brought under human control through magic. It was interesting to experience how ayahuasca works in different contexts.

I felt the same. I was really surprised by the gap between the western idea of ayahuasca as a benevolent life-coach goddess who heals you through self-acceptance and forgiveness, and the indigenous sorcery model of illness as described by anthropologists like Stephan Beyer, where ayahuasca helps you discover who spiritually attacked you and then get maybe revenge on them.  Anyway, speaking personally, one of the things I found helpful about ayahuasca was it got me out of my head – out of my obsessive rational analysing – and into my heart.

Yes. I’m also a very intellectual person, and after taking ayahuasca, my immediate realization was ‘why did I spend the last ten years reading so many philosophical books, while through ayahuasca you get so intimately close to the mystery of life, which I could never reach through intellectual enquiry?’ Drinking ayahuasca is like searching for the Philosopher’s Stone. But that might be dangerous, if you fall into the illusory trap of ‘oh wow, now I’ve understood everything’. Then you are probably just kept in another illusion!

What’s your experience on ayahuasca? Do you get a sense of being guided by something? Do you have encounters? Do you have a sense of being taught?

With ayahuasca, I had this experience of facing another presence or intelligence. It’s as if you’re entering a dark temple hall, and you can’t see anything, but you feel there is somebody present. There is a feeling of otherness, as if another intelligence intentionally takes control over your conscious space, which can be overpowering sometimes, even evoking a feeling of spiritual devotion. Because ayahuasca and its active ingredient DMT are likely to induce spiritual experiences, they are also used as religious sacraments in some Brazilian churches. Compared with other psychedelic molecules, the epistemological sense of “truth” might be specifically altered by DMT – everything that you experience seems unquestionably true. Actually that is the essence of non-dualism – when the subject and object of perception become one, there is logically no possibility for doubt anymore. But that’s maybe also the source of the DMT illusion – by hijacking your epistemological capabilities, any critical distance towards truth is suspended for a while. So the epistemological question remains – is DMT just another way of brainwashing, or is it revealing real truths?

That’s exactly what I’m asking myself. In the West there is this idea that psychedelics take us beyond culture to ‘the core mystical experience’, to some ultimate reality. And yet that idea is itself culture-bound, it grew up in the US, through Aldous Huxley, Timothy Leary and Rick Doblin, and that idea has its own cultural agenda tied to it. I grew up in that culture, so guess what kind of psychedelic experience I have?

I notice that I have these deep experiences through psychedelics or other forms of ecstatic practice, where I arrive at a truth, but usually it’s a truth I already believed, I just feel deeply confirmed in it. So on ayahuasca I got a sense of cosmic hope, that the people I know who are suffering will ultimately be OK, that we’ll all be OK through multiple births and a steady journey upwards. But I believed that before – it gave me the powerful sense that my pre-existing beliefs were true. Aztecs take psychedelics and meet the Aztec gods, Shipibo Indians meet the various spirits of Shipibo culture, westerners meet a benevolent life-coach, and so on.

I was reading a lot about ayahuasca before my first-hand experience in the Amazon. And I was wondering why so many people have visions of snakes under the influence of ayahuasca. As a critical scientist, I swore to myself that ‘I will never fall into this hipster trap of hallucinating snakes’. Although I set this clear intention, the first animal that appeared during my ayahuasca journey of course was a snake. And then even worse things happened: I myself started changing into a snake. I reflected on this phenomenon from a neurobiological perspective: why do so many people see snakes? I believe it’s not just that we have these previous expectations about snakes – if we look into the phenomenology of elementary hallucinations, ayahuasca often evokes geometrical patterns with a diamond shape. And if you look how people move under the effects of ayahuasca, there is this sinuous movement. If you combine these two hallucinatory elements, sinuous movements with diamond shapes, what’s the next semantically meaningful object category you arrive at the level of complex hallucinations? Perhaps that is why the brain has a natural tendency to hallucinate snakes under the effects of ayahuasca.

An ayahuasca-inspired painting by Peruvian shaman-artist Pablo Amaringo

You have experience both of western psychedelic labs and indigenous psychedelic rituals. As you know, psychedelic scientists might talk about ‘mystical experiences’ or ‘Mind-at-Large’ but never talk about negative spirits. They don’t consider it part of their job to protect people from bad spiritus, but of course, with shamans that’s one of their prime responsibilities. What do you think?

In our studies with psilocybin and ketamine, we had very few instances of participants encountering entities or bad spirits. States of anxiety due to intimidating hallucinations are quite rare in our studies. Maybe it has to do with the setting – the subjects are medically screened and follow a strictly supervised study protocol including questionnaires and brain scanning. It’s not the ideal setting for having a psychospiritual experience – we observed a much higher percentage of mystical-type experiences in our study of experienced meditators taking psilocybin in a meditation retreat setting.

Probably also the mindset makes a difference – we don’t live in a world where we believe in these entities and have to protect ourselves from them. In the shamanic paradigm, if you lose your ego-boundaries, everything can spill over from the spirit world, so you need some kind of protection. In the Amazon, indigenous people don’t talk much about their ayahuasca experiences – after a ceremony, they just go home. It’s not common to have an integration circle and share experiences among participants. I don’t know whether entity encounters are more common in indigenous populations. Usually, mostly shamans talk about spirits, because talking about them has an important function – shamans want to emphasize their power and influence and solidify their social role in the tribe. I assume that there is a lot of powerful rhetoric in their way of talking, which builds social hierarchy and control. That’s how I believe the whole shamanic traditions evolved, it’s comparable to the churches in the West. If you want to become a shaman you have to train with a shaman for 20 years, and take on board their belief system. Do they all really experience what they are talking about? I’m not sure if every priest really has experienced everything that he is preaching. Maybe I’m too skeptical and disrespectful, but I question the contents of the shamanic discourse for this reason, because it may be biased by the strong social function behind it. What’s your perspective?

When I first read about shamanic understandings of ayahuasca, I found it funny how different it was to western understandings of it – that indigenous people had a sorcery model of illness and health,  where if you’re unwell it’s often because someone has secretly cursed you, and you can use ayahuasca to identify the ‘magic dart’, remove it, and maybe send it back to the person who cursed you. My second reaction was judgmental – I thought this sounds an unhealthy way of understanding illness. I read Stephan Beyer’s book, Singing to the Plants, and he talked about the culture of envidia in small Amazon communities – suspicion, paranoia, who wishes me ill. That model of illness and healing can lead to cycles of retribution killing – I think you secretly attacked me, so I attack you. I don’t want to go back to the evil eye model of sickness and illness, I think that’s an unhealthy model.

But a third perspective on it was put to me by Joe Tafur. He said, yes there is a dark side to shamanic culture. But at least they admit that, compared to western New Age psychedelics, or psychedelic research, or western psychiatry for that matter, where the dark side exists but is often not admitted. I have to say, I have a lot of respect for indigenous medicine rituals – the recognition of the power of music, art, performance, group work. And their sense of psychedelics as a connection to nature, as a means to botanical knowledge.

What’s tricky is that I don’t know the nature of the spirit world. When I did ayahuasca, I had a sense of being in a universe filled with entities and intelligences. I don’t know if there are bad entities we need protection from. We don’t know. Westerners are quite new to psychedelics. Back in the Middle Ages, there definitely was this sense that there are good or bad spirits, so you need to practice the discernment of spirits. I don’t know what conclusions our culture will come to on that matter.

That’s where deep ecology comes into play. According to deep ecology, we can always draw artificial lines and distinctions, but in the end – from the perspective of universal metabolism – it doesn’t matter so much if something significant occurs inside or outside the body. When we get rid of artificial boundaries and just acknowledge the basic ecological forces in the universe, then  the human mind appears just as one tiny little fractal in the cosmic interplay of these powerful archaic forces. The main argument from deep ecology is to understand the relationships and the functional role and meaning they have, instead of being narrowly focused solely on the materialistic understanding of solid things.

There’s still the sense of how one should relate to what one meets. You spoke of meeting a separate intelligence which wants reverence and devotion. In the intensity of a psychedelic experience it matters how one relates. One can relate in many different ways – one can surrender, one can engage erotically, one can reject it, one can try to dominate it. These different attitudes might have different consequences.

That relates to a very interesting deep ecological question: what is the evolutionary role or meaning behind the fact that when humans ingest a psychedelic plant that tickles certain brain receptors they have experiential access to profoundly meaningful altered states of consciousness? What is the evolutionary information-theoretical role of a plant molecule that interacts with specific brain receptors to give rise to a collective belief system? Naturalistically speaking, it’s mind-blowing. How do we explain this?

The point you’re making is the plant is ingested and it grows into a culture. It’s not just an individual experience, it’s a culture. You could think of a culture as like a moss or a forest. So what do you think can be brought from indigenous psychedelic healing into western psychedelic healing?

It’s a challenging question because bringing ayahuasca into a western scientific context evokes a lot of resistance among traditionalists who argue that this will never work, as long as we don’t adopt the indigenous belief systems or at least have a shaman guiding the process, ayahuasca alone will have absolutely no or even undesired effects. I have a different and more pragmatic opinion on this, because as a physician I have a clear ethical mission to reduce human suffering, and I believe that ayahuasca has some therapeutic potential to reduce human suffering. The West probably has to invent its own ayahuasca context – we can’t just transplant the whole shamanic belief system from the Amazon into western societies. We have to find a new way how to make sense of ayahuasca in our culture, for our minds, and with our belief systems. To that, we should stay pragmatic and not dogmatic. Probably ayahuasca will work completely differently in the West compared to the traditional use in the Amazon. That’s the idea behind evolution: To take something out of its original context, and put it in an entirely different context with totally different results. I have huge respect for indigenous cultures because they went through a long process of evolutionary adaptation – they experimented with ayahuasca for hundreds of years and found meaningful ways to work with that medicine. Although this body of knowledge and experience is impressive, it might not be the only meaningful way of working with ayahuasca.

So the main thing one can take is the substance rather than the culture? 

There may be ritual elements which may be universal – if a brain enters a trance state it may make sense to play some rhythmic music, or provide some sort of container or safe setting for the loss of control. These are the elements we need to adapt. I have no definite solution for this, I’m still collecting ideas at an initial brain-storming stage.

Have you started experimenting yet?

We’re preparing a standardised botanical extract as an analogue to ayahuasca for our studies in Zurich. We’re also preparing a psychotherapeutic framework in which ayahuasca could be used. From what I have experienced on my ethnobotanical expeditions to South America, I believe that ayahuasca has the potential to become a valuable psychotherapeutic tool. Several patients that I’m treating within the standard biomedical paradigm could benefit from an experimental psychotherapy session with ayahuasca.

Check out part 2 of our interview here, where we discuss how to translate things like the shaman, the group, the music and the natural setting of indigenous rituals into the context of western psychedelic clinics.  

The Shining: Kubrick’s unheimliche manoeuvre

How do you…fill your days?’
My editor was looking at me with a hint of concern, in a cafe on Portland Street. She was worried I was losing my edge. It had been almost a year since my first book had come out, and still I hadn’t started working on another. Well, I thought to myself. Kubrick didn’t rush his projects. 12 years between his penultimate and final movie. Besides, how could I explain to her or anyone that I’d spent the last four days somewhere else entirely, perhaps in another dimension, also known as the Overlook Hotel.

But I’m getting ahead of myself. It all started on Tuesday.

On Tuesday evening, I watched a film called Room 237. It introduces us to some of the online obsessives who, in the last few years, have put forward complex and often very sophisticated readings of Kubrick’s horror-masterpiece of 1980, The Shining. We hear from six critics, each putting forward a different master-theory of the film: that it’s about the Indian genocide, or the Jewish holocaust, or the faking of the moon landing. Some of the theories are more credible than others, but the film certainly convinces you that Kubrick is playing some strange semantic games.

There’s the question, for example, of whether the ghosts in the hotel are real or just a reflection of Jack’s inner demons. He only ever sees the ghosts when there are mirrors around. Who is the management of the hotel, the higher powers driving him to kill his wife and child? There’s also the weird ending, with the photo of Jack from a party at the hotel in 1921. He is told that he’s ‘always’ been the caretaker. Has he been reincarnated? And who in damnation is that guy in the bear suit?

Then there are the little details that have driven online theorists crazy with speculation. The film is full of continuity errors – furniture appearing then disappearing, photos on the wall changing arrangements. The first scene in the hotel takes place in a room which appears to have an impossible window (see the map below) – as if the hotel’s architecture doesn’t make sense, like a building in a dream. These hints of hidden meanings and codes have driven people to construct theories bringing together every single detail in the film, from typos on the pages Jack writes (‘all work and no play makes Jack a dull boy’) to the cartoon figures on Danny’s bedroom door. Everything becomes soaked with hidden significance.

Re-activating Animism

One way to understand the film is as an exploration of how we have an emotional need to find hidden meanings, as Sigmund Freud discussed in his essay, Das Unheimliche, or The Uncanny. Kubrick and his co-writer Diane Johnson repeatedly read and discussed this essay while writing the script for The Shining.

In his essay, Freud begins by exploring the etymology of the German word unheimliche, the opposite of heimliche which means ‘homely’ or ‘familiar’. He suggests that the uncanny is the fear we feel when the homely is made strange and frightening to us. Freud then explores some of the plot-devices with which Gothic writers produce this feeling in us  – ghosts, dopplegangers, telepathy, curses, apparitions in mirrors, inanimate objects coming to life, events from the past repeated, numbers repeated, symbols and patterns repeated, all of which produce the over-riding sense of “something fateful and unescapable”. Freud suggests that these Gothic plot-devices work on us emotionally because they reconnect us to our pre-modern animist beliefs. The uncanny, he writes, connects us to

the old animistic conception of the universe, which was characterized by the idea that the world was peopled by the spirits of human beings, and by the narcissistic over-estimation of subjective mental processes (such as the belief in the omnipotence of thoughts…the carefully proportioned distribution of magical powers)…It would seem as though each one of us has been through a phase of individual development corresponding to that animistic stage of primitive man, that none of us has traversed it without preserving certain traces which can be re-activated.

Romantic literature attempted to keep alive this old animist paradigm within the scientific-industrial age, and succeeded for a while, but gradually such beliefs came to seem more and more childish to us, and were pushed to the margins of our culture, into nursery rhymes and fairy tales, and then into the ‘low art’ of fantasy, horror, science fiction and comic book culture. Modern men and women duck into the low dives of ‘trash culture’ to re-activate their primitive belief in the spirit-world.

Kubrick recognised this cultural-religious function in sci-fi (he explored animist-religious ideas in 2001: Space Odyssey) and in horror-fantasy. He rang up Stephen King at 7am one morning, in their first conversation, and launched in with ‘I think stories of the supernatural are always optimistic, don’t you?’ King, perplexed, asked ‘why do you think that?’ ‘Because supernatural stories all posit the basic suggestion that we survive death.’ They appeal, he later said, to our ‘longing for immortality’. They also posit the suggestion that there is some higher pattern, some secret dimension, to our banal material existence, which is also perhaps an optimistic idea, even if the secret dimension turns out to be Evil.

Engineering the Uncanny

What Kubrick does in The Shining, and what David Lynch does in his works, is masterfully re-activate these animistic traces and engineer a sense of the uncanny. (Kubrick made the crew watch Lynch’s Eraserhead before making The Shining to give a sense of the mood he wanted to evoke, while Lynch’s Twin Peaks is clearly influenced in turn by The Shining). Take Kubrick’s repetition of certain numbers. Freud noted:

we of course attach no importance to the event when we give up a coat and get a cloakroom ticket with the number, say, 62; or when we find that our cabin on board ship is numbered 62. But the impression is altered…if we come across the number 62 several times in a single day, or if we begin to notice that everything which has a number – addresses, hotel-rooms, compartments in railway-trains – always has the same one, or one which at least contains the same figures. We do feel this to be ‘uncanny’, and unless a man is utterly hardened and proof against the lure of superstition he will be tempted to ascribe a secret meaning to this obstinate recurrence of a number…

Kubrick seized on this idea for The Shining. The cover of his edition of Stephen King’s novel is covered with scrawls of him trying to work out ways to use the number 217, which in King’s novel is the hotel-room where Danny and Jack see a witch (it’s changed to the number 237 in the film).

Kubrick’s copy of Stephen King’s The Shining

Kubrick repeats the number 42 throughout the film – on Danny’s shirt, on the number-plate of Hallorann’s car. When Danny and his mum are watching TV, it’s showing a film called The Summer of 42. The numbers 2, 3 and 7 when multiplied together make 42. The stools in the bar where Jack meets the ghostly barman are arranged in a group of four and a group of two. And so on.

Kubrick also plays with mirrors, twins, dopplegangers and doubling to suggest hidden connections between figures – Danny is connected by telepathy to Hallorann, Jack is haunted by the ghost of the previous caretaker Grady, or maybe he is the previous caretaker. David Lynch did the same sort of thing in Twin Peaks – Laura is doubled with her evil doppleganger from the Red Room, and also with her cousin Maddy. Her father Leland is also Bob, who appears when he looks in mirrors. In the Red Room, the giant is doubled with the dwarf, who speaks in reverse in a sort of mirror-language, just as Danny does when he chants Red Rum. Both Kubrick and Lynch also use garish carpet patterns to suggest hidden patterns in reality (they should have opened a store together: Uncanny Carpets).






The Uncertainty of the Uncanny

At the heart of the uncanny is a confusion of the self and its boundaries. The philosopher Charles Taylor suggests that in the modern secular age we all have ‘buffered selves’ that are walled off from nature and from each other. In the animistic age, we had ‘porous selves’, selves without firm boundaries, invisibly connected to each other by thoughts, energies, elective affinities, and also connected to the spirit-world, capable of being invaded by  benevolent or malevolent spirits. In the modern world, we are autonomous agents trying to figure out what to do in an indifferent universe. In the animist world, we are the creatures of the Fates, threads in some cosmic pattern of Good and Evil.

The uncanny is a particularly modern emotion, however, because it rests on an ambiguity and uncertainty about whether there is a natural or a supernatural explanation for the eeriness of the atmosphere. The Bible is not an uncanny work because it is very clear that all the supernatural events are the work of God or the Devil. There is no ambiguity. The Shining is an uncanny work because there is this uncertainty. This is what initially drew Kubrick to King’s novel. The ghosts appear at the corner of our eye, at the margins of our modern rational consciousness.  The events in the Overlook Hotel could be explained in secular Freudian terms as fantasies emanating from the hidden violence in the Torrance family – Jack’s murderous anger and Danny’s Oedipal rage. The Shining could simply be a story of male domestic violence against women and children. Likewise, Twin Peaks could simply be a drama about an incestuous family.

Kubrick complicates matters further by introducing a political level of significance. The violence in the film could also point to the historical violence of white Americans against Indians (the hotel is on an Indian burial-ground and there are Indian symbols around the hotel) or African slaves, or the Nazis against the Jews (42 was the year Hitler began the Genocide). Or the film could simply be a story of how the political elite (the hotel management and its powerful guests) use stooges like Jack for their state-sponsored mass murders – look, in the final photo, how Jack’s hand seems to be held up by the rich people around him. He is their  puppet, their errand-boy.

Can we escape the past?

Is The Shining really an optimistic film, as Kubrick suggested all horror stories are? On one reading, the film could suggest humans are trapped in cycles of violence, frozen in sin like Jack at the end of the film,  doomed to repeat our crimes over and over. On the other hand, Danny and his mother escape the Overlook Hotel. Danny is not lost in the maze – he retraces his steps and gets out. Perhaps we too can escape history.

Perhaps the film suggests that we’re at risk when we overlook things, when we forget the crimes of the past – like Dilbert Grady apparently forgetting that he killed his wife and children. Art holds a mirror up and show us our dark side, reminding us to take care, showing us a way out of the maze like Ariadne’s thread or Perseus’ mirror-shield.  Kubrick said: “There’s something inherently wrong with the human personality. There’s an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious: we can see the dark side without having to confront it directly.”

Or perhaps that is too neat and utilitarian an explanation of art’s power, and art is in fact more dangerous than that. The uncanny, after all, is a dangerous emotion. Once activated, how can we be sure it will stay within the bounds of art and not spill out into reality? How can we be sure we will not ourselves be possessed by the old belief-system and find ourselves back in the demon-haunted world we thought we had left behind?

Kubrick wrote: “Freud said that the uncanny is the only feeling which is more powerfully experienced in art than in life. If [horror] required any justification, I should think this alone would serve as its credentials.”  For better or for worse, we crave the uncanny. We have a deep emotional need for patterns of meaning and intimations of immortality. Freud would say that was the vestige of our primitive self, Jung would say it was our true self seeking its Maker.

Either way, modern life does not that satisfy this emotional need for the uncanny, so we turn to art, and to The Shining. We try to decipher Kubrick’s intentions as if he was God, and every detail of His creation is a clue to His meaning. Like lost souls, the acolytes haunt the Kubrick archives at the University of Arts London, which I imagine as a vast warehouse containing an almost infinite number of crates. And in one of those crates, perhaps, lies the key.


In other news:

John Gray is our next guest at the London Philosophy Club, on April 9. You can sign up here.

How useful would randomised controlled trials be in public policy, in areas like education for example? The debate rages on the internet, as Michael Gove dismisses ‘bad academics’ for blocking evidence-based policies, while some academics suggesting there are risks to thinking everything can be quickly solved by an RCT. Rebekah Higgit summaries the debate and provides lots of useful links here, while Evgeny Morozov warns of the risk of ‘solutionism’ in public policy, in his new book reviewed here.

Teenagers used to define themselves by whether they liked Blur or Oasis. Now they define themselves by whether they own Mac or Samsung, argues this piece. And, to prove how chic geekdom has become, Owen Wilson and Vince Vaughn’s new film sees them become hapless interns at Google. Sounds…pretty dire!

I’m working on an article looking at five years of Improved Access for Psychological Therapies (IAPT), the British government’s flagship mental health policy which has brought CBT to the masses. Here is a good blog by a therapist looking at the data coming out of IAPT. And here’s a good new article in Philosophy, Psychiatry and Psychology looking at the limits of evidence-based medicine in psychiatry (behind a pay wall alas).

A philosopher and psychologist debated whether psychology was a science or an art on Radio 3’s Nightwaves this week. The debate then rumbled on for days on Twitter…for all I know it’s still going. The discussion is 34 minutes in here.

Some new books. My friend Tom Chatfield from the School of Life has a new book out called Netymology, a dictionary for tech language. Another friend, Tom Butler-Bowden, has a new book out called 50 Philosophy Classics – I’ll publish an interview with him soon. I’m still reading David Esterly’s book about wood-carving and philosophy  – it’s really brilliant. I admire David a great deal.

Finally, here’s a Tumblr that made me laugh a lot this week – a collection of lousy book covers from the world of fantasy fiction. Enjoy, and see you next week.