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In Their Right Minds
In 1976, Julian Jaynes proposed that the language of poetry and prophecy originated in the right, "god-side" of the brain. Current neuroscientific evidence confirms the role of the right hemisphere in poetry, a sensed presence, and paranormal claims as well as in mental imbalance. Left-hemispheric dominance for language is the norm. An atypically enhanced right hemisphere, whether attained through genetic predisposition, left-hemispheric damage, epilepsy, childhood or later traumas, can create hypersensitivities along with special skills. Dissociative "Others" may arise unbidden or be coaxed out through occult practices. Based on nearly twenty years of scientific and literary research, this book enters the atypical minds of poetic geniuses - Blake, Keats, Hugo, Rilke, Yeats, Merrill, Plath and Hughes - by way of the visible signs in their lives, beliefs, and shared practices.
In Their Right Minds
In 1976, Julian Jaynes proposed that the language of poetry and prophecy originated in the right, "god-side" of the brain. Current neuroscientific evidence confirms the role of the right hemisphere in poetry, a sensed presence, and paranormal claims as well as in mental imbalance. Left-hemispheric dominance for language is the norm. An atypically enhanced right hemisphere, whether attained through genetic predisposition, left-hemispheric damage, epilepsy, childhood or later traumas, can create hypersensitivities along with special skills. Dissociative "Others" may arise unbidden or be coaxed out through occult practices. Based on nearly twenty years of scientific and literary research, this book enters the atypical minds of poetic geniuses - Blake, Keats, Hugo, Rilke, Yeats, Merrill, Plath and Hughes - by way of the visible signs in their lives, beliefs, and shared practices.
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Playing by Ear and the Tip of the Tongue
In our everyday life we are flooded by a pandemonium of information which consciousness organizes into more easily manageable phonetic and semantic categories. In poetry reading, however, the total effect of a poem is not only obtained by some of these categories but also by precategorial information, for which there is a growing body of empirical evidence of its psychological reality. In the Tip of the Tongue phenomenon, a great amount of diffuse precategorial information is present but fails to grow together into a compact word, generating a feeling of some dense, undifferentiated mass. Poetic language typically exploits such precategorial information for its effects. By way of theoret...
Messages in a Bottle: Communications to My Future Self
WHAT IF YOU KNEW THAT AFTER DEATH YOU WOULD LIVE AGAIN... What messages would you send to yourself ? This is a book of poetry for people who believe that there is more to life than meets the eye; that wonder lives around every corner, and that the human spirit contains far more resiliency than it’s ever been given credit for. "Messages in a Bottle: Communications to My Future Self," is a gripping, life-changing collection of messages from acclaimed poet, Michael Graves. It spans the gamut of love, death, politics, social upheaval, art, hope, humor, brass-tacks metaphysics and more. There is power in these words, and there are valuable lessons in this book. “Brilliantly life-affirming! I...
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The "Other" Psychology of Julian Jaynes
In his provocative but critically acclaimed theory about the origin of introspectable mentality, Julian Jaynes argued that until the late second millennium people possessed a different psychology: a "two-chambered" (bicameral) neurocultural arrangement in which a commanding "god" guided, admonished, and ordered about a listening "mortal" via voices, visions, and visitations. Out of the cauldron of civilizational collapse and chaos, an adaptive self-reflexive consciousness emerged better suited to the pressures of larger, more complex sociopolitical systems. Though often described as boldly iconoclastic and far ahead of it time, Jaynes's thinking actually resonates with a "second" or "other" ...
Art and Adaptability
Art and Adaptability argues for a co-evolution of theory of mind and material/art culture. The book covers relevant areas from great ape intelligence, hominin evolution, Stone Age tools, Paleolithic culture and art forms, to neurobiology. We use material and art objects, whether painting or sculpture, to modify our own and other people’s thoughts so as to affect behavior. We don’t just make judgments about mental states; we create objects about which we make judgments in which mental states are inherent. Moreover, we make judgments about these objects to facilitate how we explore the minds and feelings of others. The argument is that it’s not so much art because of theory of mind but art as theory of mind.
