"Our society offers places where you can let your feelings out. You may go to group therapy or to sensitivity training; and, no matter how silly or strange the feelings, they are received. There are also places where you can improve your will: the gym or spa to work out, willing yourself to lift that contraption another twenty times; or to an EST meeting to develop your self-control and willful determination. But where do you go to play with ideas? One of the great difficulties in our American life is that we don’t have places for entertaining ideas. And that is precisely what we’re supposed to do with an idea: entertain it. This means having respect for ideas themselves: letting them come and go without demanding too much from them at first, like their origins (who said that first), their popularity (what if everybody thought that), their logic (but that doesn’t fit with what you just said). Why can’t they be a little crazy? We admit our feelings are crazy. We all have crazy feelings that might want to do this or say that. But maybe our ideas have arms and legs too and are crazy and want to get out and meet other ideas, air themselves, spend time with each other in public. The ideas themselves, not the people in whom they occur. Just the ideas wanting to appear and be received, welcomed, entertained for a while.
What we usually do with an idea is put it into practice. Someone says: “oh, that’s a good idea!” and he means: “Oh boy, I can save four bucks this way!” Or “Smart. I can do something now that I couldn’t have done before because I had a bright idea. I can hang the strap like this instead of like that.” That’s what makes a “good idea” in our society. A good idea means useful, practical, immediately applicable. Isn’t it a shame that we can value ideas only when they have themselves in a harness. I think it breaks their spirit. We don’t let them run loose, to see where they might take us if we just fed them with a little attention and trusted their autonomy." --James Hillman, "Philosophical Intimations"
Therapeutics * Esoterics * Psychotronics * Conspirituality * Multimedia * Intelligence * MindBodySpirit Science Without Boundaries * Art Without Frames * Healing Without Walls * Integration Without Tears * Culture Without Borders Multidisciplinary Explorations, Social & Scientific Innovations, Now Paradigm Nonfiction, Spy-Fi & Digital Media Cutting Edge Science; Bleeding Edge Art; Global Architectronics; Worldview Warfare
NOW AGE PHYSICS * QUANTUM PHILOSOPHY * CONSCIOUS ACTIVISM * SOURCE MYSTICISM * SACRED GEOMETRY
Iona Miller is a nonfiction writer for the academic and popular press, clinical hypnotherapist (ACHE) and multimedia artist. Her work is an omni-sensory fusion of intelligence, science-art, new physics, symbolism, source mysticism, futuring, and emergent paradigm shift, creating a unique viewpoint. She is interested in extraordinary human potential and experience, and the EFFECTS or unexpected consequences of doctrines of religion, science, psychology, and the arts. Miller practiced as an innovative Clinical Hypnotherapist through the 1980s and 1990s. She now enjoys active retirement in the Rogue Valley in So. Oregon, USA. She serves on the Advisory Boards of Journal of Consciousness Exploration & Research, DNA Decipher Journal, and Scientific God Journal, as well as the Board of Directors of Medigrace, Inc. & Calm Birth; and a Miami-based Integral Medicine institute. She also works in Risk Management and Cyber Intelligence Security.
Iona Miller serves on the Advisory Boards of Journal of Consciousness Exploration & Research, DNA Decipher Journal, and Scientific God Journal, as well as the Board of Directors of Medigrace, Inc. & Calm Birth; a Miami-based Integral Medicine institute; and the Editorial Board of CRAFT (Community Resilience through Action for Future Transitions, Australia). She also works in Risk Management and Cyber Intelligence Security.
She has worked with the Science-Art Centre (Australia) since 2003, and the Editorial Board of CRAFT, AU (Community Resilience through Action for Future Transitions) from its inception. The Center for the Study of Digital Life (CSDL) was formed (2012) as a 'digital' RAND Corporation, to coordinate effects of East, West, and Digital spheres in the shifting global power base. She has shown her art work in individual and group shows in the following:
Miami, “Cyberotica”, Wynwood, Dec. 2003,
Electronica & Wall Art Commentary.
Phoenix, The Ice House, “Technoshamanism”, 2003.
So. Oregon, “Art As Meta-Syn,” Wisdom Center, Aug. 2006.
New York, “Digital Long Island,””Psychogenesis”, Nov. 2007.
One current project is correlation of brainwaves and Schumann Resonance. Another concerns invisible histories in the digital era. She is making poetic videos expressing the essential nature of the archetypes in cinema and filmmaking, Crossing disciplinary boundaries, Miller's documented work anticipated and pioneered the following trends, and more:
Holographic Concept of Reality, Bioholography, anticipating Holographic Paradigm
Biophotonics, anticipating Subtle Body Fields and Nonlocal Cellular Communications
Bioelectronics and Healing, anticipating Energy Medicine and Distance Healing
Deterministic Chaos Theory in Integrative Psychotherapy, anticipating Complexity Science
Sub-quantal Physics, Vacuum Potential and Structure of the Vacuum, anticipating Source Field fad
Pre-geometric Structure of Absolute Space, anticipating Zero Point, Sacred Geometry & Merkabah Mysticism fad
Nonlocal Mind Paradigm, anticipating Nonlocality and Entanglement in Psi Models
Quantum Cosmology, Systems Theory & Transdisciplinarity Knowledge & Modelling
Experiential Dreamwork, Personal Mythology, anticipating Shamanic Therapy fad
Geophysical Mind-Body Effects of Space Weather, Schumann Resonance, and Geomagnetics
Quantum Mind Metaphor, Coherence-Decoherence, Remote Viewing, & Distance Healing
Integrative Biophysics, Model of Magnetohydrodynamic Bioplasma & Micropulsations
Novel Applications of Mind-Matter Interface in Integrative, Depth, and Archetypal Psychologies
Novel Approaches to Conservation & Curation in Science, Art, and Culture, anticipating Curatorial Paradigm
Ms. Miller is published by Phanes Press, Destiny Books (Inner Traditions), Autonomedia, Nexus Magazine, Paranoia Magazine, Alchemy Journal, Green Egg, Bibliotheca Alexandrina, Jungian Analysis Journal (Moscow), ECODITION (Geneva), DNA Decipher Journal (DNADJ), Scientific God Journal (SGJ), Journal of Consciousness Exploration & Research (JCER), Journal of Nonlocality & Remote Mental Interactions (JNLRMI), Science-Art Research Centre Australia (SARCA), Dream Network, Chaosophy Journal, OAK-Publishing, PM&E, DNA Monthly, Antibothis, Pop Occulture, and more. Ms. Miller coordinates Media & Wellness in the Operations Division of The Osborne Group (TOG), a risk management organization. Over the last 10 years she also managed the ad hoc projects of Mankind Research Unlimited (MRU) alumni from 3 decades, in intelligence, digital life, new physics, paranormal, creativity, consciousness studies, DNA research, superlearning, DIY mind control, biophysics, other frontier science and blue sky experimentation. This work continues in a variety of forms and outlets.
Ms. Miller has taught numerous community education classes (RCC) on Jungian Studies, Biofeedback, Hypnotherapy and related topics. She also oversees numerous curatorial, archival and genealogical projects. She has served in a professional capacity at Southern Oregon Hypnotherapy, Asklepia Foundation, Institute for Applied Consciousness Science, the Wisdom Center, Science-Art, USA, and Life Energies Research Institute.
“Character forces me to encounter each event in my peculiar style. It forces me to differ. I walk through life oddly. No one else walks as I do, and this is my courage, my dignity, my integrity, my morality, and my ruin.” --James Hillman, The Force of Character
Art draws the viewer into its participatory space. Images and symbols are visible in the psychic aspect of symptoms and behavior. The reader can be involved in a self-disclosing collaborative process mapping the conceptual terrain, including our response to the spiritual uncertainties of our times. Our invisible ground is now simultaneous information that travels at the speed of light, centered everywhere and nowhere.
Innate Image Iona is a Symbolist, mythographer, and visionary, perhaps more pragmatic and less literal than most with similar interests. Her writing is informed by Jungian, Post-Jungian, Archetypal, Personality, and Transpersonal psychologies, as well as philosophy and meditation.
Jungian psychology strongly connects with the arts, culture and history of society, which also derive from the imagination. Writing is ordinary magic, natural magic. It can transport the reader to new territory, to 'foreign lands.'
"At the root of our compulsion to create art is the need to establish some calm point within life's turbulent flow." --Camille Paglia, "Sexual Personae" (Vintage).
Early knowledge of these processes shaped her relationship to the world. She is interested in creativity, experiential therapy, extraordinary human experiences, using interpretive and non-interpretive strategies. Many of today's trends in self-exploration came from the therapeutic communities of the 1960s and perennial wisdom traditions. She is also interested in effects at the global level, unintended consequences, rather than intentions.
Experiential therapies were developed and popularized in later decades, and now are mainstream, thanks to social media. This psychology without walls transcends the consulting room, explores the soul of the world -- the global agora. Itdeliberately connects with personal history, the arts, culture and history of society, which are also derived from the imagination.Its lessons can be applied by individuals to themselves, adding new depth to Self-help.
Her work is an omni-sensory fusion of depth psychology, personal mythology, meditation, dreamwork, science-art, frontier science, symbolism, philosophy, source mysticism, futuring, digital life, emergent healing, poetics, and paradigm shift. Her framework is semiotic (image-as-sign) and phenomenological (image-in-consciousness).
Panpsychism is the philosophical view that consciousness, mind or soul (psyche) is a universal and primordial feature of all things.Primordial consciousness gives rise to potentialities, patterns and cycles which are realized as instances -- conscious experience.
Mystics seek the Formless God or Inner Light. While the mystic seeks the frameless, non-conceptual, thoughtless experience of primordial awareness, the artist seeks every way to navigate mind, and explore its domains by reframing consciousness.
In some languages the verb for 'paint' and 'write' is the same word. Both hand gestures initiate a flow state: When hand and eye play, awareness of self and object fuse in a new entity on the paper or screen. The inner organizing “urge to pattern and wholeness” differs from willed planning and is free to embody in the product of the process.
Aesthetic Approach This "know thyself" approach is through novel means of presentation, conservation, and curation in a holistic, participative, contextual and relational way. Inclusion is a strategic move out of reductive frames of reference. “'Know thyself,' means also 'know thy peculiar images.'”
The intention is to promote directions of 'sensibility,' where each viewer can deploy their own narrative and approach to the material presented, blurring the logic of inside and outside, a tension between the universal and the particular, collective and individual.
She articulates the curatorial as critical thought that does not rush to embody itself, but instead raises questions that are to be unraveled over time. There are lots of great stories out there, but not always history. Things tend to look different from inside than outside. Self-realization is a solitary journey, described by Plotinus: "The way to truth was the journey of a lonely person to that which is eternally alone."
Her labyrinth of works is a free-floating conceptual framework. It is a spiritual, philosophical, and psychological practice. In therapy we work with particular models. But an artist or philosopher can work purely symbolically. The creative impulse is brought to fruition in the world. Such secret forms grow into our life's work and purpose. By communing deeply with the outside world we find the familiar in the unfamiliar.
Works with a trans- quality go beyond mundane time, space, logic and personal taste or aesthetic preference. They connect with our essential Being at the core, reflected in nature and art, piercing time to find eternity. Transcending content, they open a new dimension...an invisible initiatory dimension. From here the artist gives birth to the secret space of the image itself which comes alive by giving shape to that secret.
In Iona's work, there is an underlying thread of digging in deep, connectivity and personal spirituality, based on contact with the numinous. Novel, transpersonal, uncanny, and highly personal appearances create a specific quality of sacredness that grips the soul with particular states (awe, dread, stupor, wonder, healing, reverence, astonishment, etc.).
This contact is the essence of the guiding process -- an act of grace and profound symbolic experience. A certain brightness in the soul transcends our own personal suffering. When we rediscover it, it turns suffering into meaning.A temporary loss of personal identity is natural when consciousness expands into transpersonal Reality, into non-conceptual Mystery.
“The main interest of my work,” writes Jung, “is not concerned with the treatment of neurosis but rather with the approach to the numinous. But the fact is that the approach to the numinous is the real therapy and inasmuch as you attain to the numinous experiences, you are released from the curse of pathology." (vonFranz, Marie-Louise, Psychotherapy, Shambahla Publications, 1990, p.177.)
"Art as an anti-environment is an indispensable means of perception, for environments, as such, are imperceptible. Their power to impose their ground rules on our perceptual life is so complete that there is no scope for dialogue or interface. Hence the need for art or anti-environments." --McLuhan, (UB 20, pp.3-4)
“Non-objective art draws its contents essentially from “inside.” This “inside” cannot correspond to consciousness, since consciousness contains images of objects as they are generally seen, and whose appearance must therefore necessarily conform to general expectations…. Behind consciousness there lies not the absolute void but the unconscious psyche, which affects consciousness from behind and from inside, just as much as the outer world affects it from in front and from outside.” ~Carl Jung, CW 15, P. 206
Soul (anima) is an active intelligence that forms or plots our fates. Being-in-Anima (esse in anima) is to be ensouled. Soma Sophia, the Body of Wisdom is inherent dwelling within the body of Anima Mundi. Psyche is immersed in imagination, metaphor, poetry and myth, including scientific and spiritual technologies.
Fantasy deliteralizes the illusory concreteness of matter. Images and fantasy are the carriers of meaning. The language of alchemy provides archetypes for the world as it is phenomenologically constructed. Inspiration replenishes the world, the wasteland of the nigredo.
Aesthetic Arrest Clarity is artistic discovery of the universal. There is enchantment in the quality of wholeness. There is beauty in the rhythms of nature and our nature. Aesthetic response is an essential emotional aspect of alchemy that lends flow and harmony to the process of balance, rhythm and synthesis of immediate perception. That flow is lyrical, epic and dramatic. Aesthetic signification is one thing, but the deep emotional impact of aesthetic arrest -- being suspended for a thrilling radiant moment in the eternal -- stops us in our tracks in a moment of realization.
We dissolve in the mysterious ground of being, the sublime wellspring of creativity. The mind goes still as primal awareness expands into wholeness. Something without physical form shines forth from the hidden world in that very moment. These luminous experiences, true works of art, drive us onward in the Quest. We are struck with divine inspiration and the passion to see it through to completion. Sensuous cognition of beauty is a revelation, an astonishment.
Aesthetic arrest blows apart the illusory differences between the sacred and the profane. We are inspired in the A-ha moment, utterly dissolved in the momentary ego-death of its solutio that blows apart illusory nature. This aesthetic experience is an act of surrender that is an epiphany. It makes us gasp for air and sparks a cascade of pleasure. We are connected to beauty and wholeness. We know what it means to exist rooted in the mysterious creative ground of being.
Soul is made by narrating events in terms of myth, the metaphoric and symbolic dimensions of our experience. Poetics brings the archetypal into participation with the mundane by tending the currents of life. The alchemist in us is an imaginative variation of our mundane character through which some of us come to recognize our life story. Our enlivened art speaks to our depths. Alchemy is a direct way of knowing -- experience-based knowledge.
SARCA Medal for Creative Physics in Science-Art, 2015