Hello viewers…

This particular posting is rather long, and as it’s also somewhat involved, I’ve split it up into sections using these things – ◊◊◊◊

Anyway, here the first bit.

I would, first of all, like to tell you something about Josh Hennessey’s site, which is located here

This site will – it is hoped – eventually contain transcripts of all of Eugene Halliday’s talks, and also all of his written material, in the form of freely downloadable digital files.

However, the most important feature of this site for me is its on-line ‘Search’ facility, which will now make it possible to locate any particular word or phrase used by Eugene Halliday, in any of the files of his talks or writings that are presently housed on this site…

[For instance, placing the word ‘Lucifer’ in the ‘Search’ box will – at the present time – give you no less than 17 separate locations where Eugene Halliday makes use of it. A further example – the word ‘sentient’ is presently to be found in 68 locations].

So then, there will be, hopefully in the not too distant future, a way for those who are serious about studying Eugene Halliday’s ideas, to cross-reference his use of any particular word or phrase over the whole range of his talks and essays. A facility that will, I believe, considerably reduce the problems that might arise from the acceptance of a too simple; or one-sided; or ‘conveniently’ selective; or aphoristic ‘cherry-picking’, approach, to these ideas.

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When you’re interested – God’s interested

                                                                                         Eugene Halliday

 

I also feel that it is now time for me to write something about the events that took place round about the time – in 2004 – that I began my attempt to provide ‘one and all’ with a ‘Eugene Halliday Archive’… I believe this account is of interest here because – some 20 or so years after Eugene Halliday’s death (which was when I first began this project) – it was by no means clear, at least to me, whether or not some sort of selection process had been put in place (by person or persons unknown) that was determining just who should, and who should not, have access to this material. This situation was (and should still be) I maintain, a cause for genuine concern, at least until all this material is unequivocally available to all, without any restrictions whatsoever.

Broadly speaking, this situation centered around various attempts by a number of people to act, in some way or other, as ‘gatekeepers’ here. The major problem I had with this was that I could not actually get to the bottom of just how it had come about that the people – who were now claiming to be in charge here – had actually pulled this off. And frankly, at the time, what I did discover about all this seemed, to me, to be more than just a bit shady …

Before I start though, I will admit that – from what I’ve written immediately below at least – it’s fairly obvious that in the beginning, I hadn’t really thought this thing through…. And I’ll just repeat here – once again – that you are, of course, completely free to supply your own interpretations to my account here … But, on the bright side – and if nothing else – this account of mine might tell you something about ‘human nature’… even if it’s only about mine….

This section of the post then, is an attempt by me to relate: why I did it; what at the time I was sure the outcome of my doing so would be; and finally, what it was that actually happened … instead.

So, if there’s anyone out there – nine years on – who might still be wondering, “But what was in this for him?” … Here, once and for all, is the answer to that question, ‘straight from the horse’s mouth’.

I’ll begin by mentioning that, when I first began this project in 2004, Eugene Halliday had already been dead for almost twenty years… So I hope, dear reader, it is blindingly obvious to you that it was not as if I had ‘made my move here, before the corpse was even cold’ … as it were.

Some eight years or so previously (during the mid-1990’s – and particularly after the death of David Mahlowe) I could find next to nothing that led me to believe that Eugene Halliday was, in the near future, going to be anything other than a fading memory in the minds of a group of people who were in the main, more or less, ‘half-way through the last lap on their journey through life’ …(if I can put it that way)… And I would add here, that I can see nothing that has been put in place since, by those concerned, that addresses this problem.

Numbers here then, were dwindling  … (and still are) … and at an increasing rate…

Those that I did come across (between the late 1990’s up until the early 2000’s) and who were claiming in some way or other to be promoting, or basing their own efforts on, Eugene Halliday’s ideas, did not appear to be doing so at all, in my opinion ….

I was – beginning at around that time – concerned (and indeed I still am) that the opportunity to present Eugene Halliday’s ideas in an ‘unadulterated form’ to the public-at-large, while these ideas were still of some contemporary relevance, would simply be missed. … Either because of an innate desire to control access to this material by a gang of self-appointed ‘worthies’ (who appeared to me not have the faintest idea as to what it was that this material represented); or out of a self-centered desire to gain some sort of social standing by re-presenting various de-contextualized fragments of Eugene Halliday’s work, in order to legitimize some hybrid form of European-ized ‘oriental exotica’; or to shore-up the shallow sentimentality – in one form or other – of trendy, fashionable, New Ageism….

To put this ‘in a nutshell’ (!) …. If I could preserve Eugene Halliday’s material in it’s unadulterated form in some sort of archive – one that was freely available to all – then I believed that it wouldn’t really matter what the loonies out there got up to after that …

Crucial to my approach here, was that I believed Eugene Halliday’s ideas would either ‘grab’ the individual enquirer, or they would not… And thus, anyone’s initial response to this material then – as I saw it – was constituted along the lines of a simple ‘Yes’ or ‘No’…

I had figured out long ago that the appropriation of the Work of people such as Eugene Halliday (for just about any purpose whatsoever) was, to all intents and purposes, unavoidable…. Material like this will always attract more than its fair share of  ‘Seekers after Arcane Wisdom’ – for good, or for bad…. And so I took the unilateral decision to ‘go it alone’ here, and start something myself. Focusing on the idea, that even if it helped only half-a-dozen or so people, then perhaps this was simply a consequence of the nature of things  …

I should also add that, in my particular case (and I really have no clear idea why), there was one significant aspect to this response of mine – which came about as a result of being exposed to Eugene Halliday’s ideas – that was of direct relevance to this whole ‘Archive’ project. And this was that I was conscious of a definite and pressing obligation to make some sort of concerted effort here and ‘pass on’ to others the opportunity to both hear, and read about, these ideas.

…. But how to go about this? … … Clearly, I needed a plan…

The wealth of original source material that I had at my disposal – in the form of so many of Eugene Halliday’s recorded talks and essays – seemed to make the solution to this problem relatively simple. Particularly as I believed no requirement would be required on my part (or on anyone else’s for that matter) to provide additional elaborate ‘interpretations’ of this material; or even for me to claim that I necessarily understood this material in the way that Eugene Halliday intended  …

I believed that all I was required to to do here was to simply make this material available via the Internet, and that it would then, as a direct consequence,  just ‘speak for itself’ …

This outcome appealed to me very strongly … and it still does … And to put this another way – it is like the experience of ‘rhythm’ to me – you either ‘get it’ or ‘you don’t’ ….(you can of course deliberately ‘fake it’ – particularly if the people that you chose to mix with ‘aint got it’ either… and as long as you always take care to avoid the company of those that do ‘have it’, as much as you possibly can)….

All rather obvious really… Or so I thought at the time…

In doing all this, I believed that I would then have discharged any obligation that I felt I was under here. And further, that my project was (I believed then) so self-evidently simple in its actual execution, that my motives here could not possibly be mistaken for anything other than they actually, and obviously, were.

I would make my archive as ‘severely functional’ as I could – basing the design of my site on Eugene Halliday’s ‘sheet of white paper’ (an idea that he used over and over again in his many talks, but that no one has actually picked up on – at least as far as the layout of my site was concerned).

There was also to be a complete absence of any claims by either myself, or anyone else, to be an authority here… And I would still maintain that – at the time – you would really have had to be an imbecile if you believed otherwise… Particularly as this archive site contained – at least for the first eight years of its existence (that is, up until 21012) – nothing else except the above said files of Eugene Halliday’s material, together with a contact email address for site visitors who might be experiencing problems with any downloading…

Anyway, after I had created this archive site, my fond hope was that I would then simply sit back, and wait for the deluge of interest (which I was sure it was going to create) to simply wash over me…. There would then begin a wonderfully fruitful period of my life, in which I would engage in a veritable cornucopia of productive discourses with those numerous kindred spirits – that I was so sure must be ‘out there’ … somewhere…

My thinking here was also, in part at least, based on the fact that – considering the subject matter of much of Eugene Halliday’s work – surely the only people who would bother to get in touch with me here were (at least initially) those who had spent the 20 or so years since the man’s death pondering over his ideas…

And I further imagined – that as a consequence of this said pondering – these people would have many interesting things to convey to me, regarding their personal life-experiences… Life-experiences involving any number of the subjects that Eugene Halliday had both spoken, and written about … Including, for example: ‘Love (defined as ‘Working for the potential of all being’); ‘Reflexive Self-Consciousness’; ‘Tacit Conspiracies’; ‘Truth’; ‘Sentient Power’; ‘etc. etc. etc. … … How it was that these ideas had ‘played out’ in their own lives then … as it were…

That’s what I expected, anyway….

Because surely, this was what the essence of Eugene Halliday’s Work was about … Wasn’t it? …

And I thought all this was really obvious….

But many of those who did contact me ‘way back then’ clearly thought otherwise, and that I must instead, somehow be ‘up to something’… A reaction which, at the time, told me a great deal more about these people than they perhaps realized …either at that time, or indeed since…

So, sadly, I must now go on to tell you that a significant percentage of the initial email responses that I did in fact receive (some nine or so years ago) caught me completely off-guard…. As the focus of attention here was not – as I imagined it would be – on Eugene Halliday’s ideas, but rather on just who should have access to this material, and who should not.

Among the more bizarre communications demanding that I ‘cease and desist’ here, was a letter that – it was claimed – had been ‘channeled’ from the (dead) Eugene himself (it was even ‘signed’ by him!!)… And, my particular favorite – a warning that unbridled access to recordings by Eugene Halliday could be dangerous for the uninitiated listener, as ‘His Master’s Voice’ (apparently) contained ‘dangerous vibrations’ … There was also one particularly slimy ‘appeal to reason’ – an appeal that almost, but not quite, masked the writers own personal ambitions here ….  I ‘kid you not’ folks! …

Others here were overwhelmingly hostile… The most virulent being those containing commands to ‘take this material off the internet immediately, because it didn’t belong to me’… Which I will freely admit is very obviously true…. But that’s not the point here though … Is it? … What is far more pertinent to statements over ‘ownership’ here, is that those issuing these commands appeared to believe that, somehow, this material had come to belong to them! …

I have to say that I found (and still do) the notion that anyone could somehow claim to ‘own’ the ideas of Eugene Halliday ridiculous: or the idea that some self-appointed guardian, or group of people, had decided that these ideas needed to be, somehow, ‘safe-guarded’ …. …. In case of what exactly? … In case it fell into the hands of a covert group of neo-Nazi’s from Wythenshawe – who then used it to seize control of a chapter of the Women’s Institute in South Cheshire?  … Or something like that?…

The next group of negative emails were from a number of people who claimed (and indeed, some who still do) – and who had also somehow managed to convince as many hapless others as they could – that they were empowered by some sort of ‘process’ (be this process quasi-legal; or via some supernatural agency; or by having been a ‘friend’ of the ‘master’ and ‘sat at his feet’) to now be responsible for – what shall I call it – the exclusive dissemination of Eugene Halliday’s various creative outputs. …

The remainder of these emails – and there were (thankfully) a considerable number of these – were, by and large, positive in their (unsolicited) opinion of my efforts here – which was very encouraging. …So ‘Many Thanks’ to these people …

But not one email that I received at that time concerned itself with what it was that Eugene Halliday’s material was actually ‘about’…. And, aside from the fact that I appeared to had got my prediction as to the reaction to my efforts from a grateful public, by and large, completely wrong  – I began to find this state of affairs to be intensely interesting..,.

What on earth was going on here? …

You will now (hopefully) at least begin to appreciate why, at the time, I found all this to be acutely disappointing … even mildly depressing…

I had somehow (because I hadn’t really thought about it too deeply at all) convinced myself that those who were claiming to have embraced the basic ideas of Eugene Halliday would, at this late date, now be moving forward by actively engaging in – what I perceived as – his major ‘themes’. These would certainly include then: the breaking down their own inertic patterns of behavior, and ideas; or the repeated attempt to dis-affirm their own self-wills, and rather instead, the striving to always ‘affirm the good’…

And further, that by relating accounts of their various efforts here to each other, they would have created a genuine (non-hierarchical) sense of community. And even if these accounts consisted – in the main – of an admittance that none of those involved here were getting quite as far, quite as quickly, as was first imagined, and that none of this was quite as easy (or as ‘simple’) as it might at first have seemed it was going to be… None-the-less, all this could, at the very least, be a very good method for keeping the level of hubris, that is always flying about in these circumstances, under some sort of control; and also serve to mediate, what was clearly an innate compulsion on the part of many here to ‘be in charge of things’….

To provide a ‘mutual support system’ then … ….

I imagined that something like this would have been going on …somewhere …..

But alas! What I seemed to have landed myself in the middle of instead, was a bunch of ‘experts’’ who were all – on the contrary – simply intent on  ‘enjoying life’; or – more alarmingly, as far as I was concerned – appeared to perceive no real dichotomy between: the ideas of Eugene Halliday; those of some German guy in a white suit, who had recently moved to Canada, and was doing very well from his book and DVD sales; or the practice of some fashionable variety of ‘calming exercise’ – which was usually relabeled, and subsequently presented by one self-appointed ‘teacher’ or other, as ‘really being’ some form of an ‘ancient mystical (usually) Indian practice – A bizarre, hybrid ‘half rice-half chips’ version as it were, that they went on to peddle to an unsuspecting public as ‘the genuine article’…    …

And so then, as far as these ‘followers of Mr Halliday’ were concerned  ….It seemed to me that, instead of having problems attempting to understand – via a serious study of his creative output – just what all this ‘might be about’, and then involving this newly acquired understanding in various forms of praxis …  ‘Au contraire’ … it was all just … very … … peachy.

Which left me ‘right outside of the loop’ here. Because, from what it was that I understood Eugene Halliday to be advising me to do here in order to move forward, I was finding, practically, to be – at the very least – extremely difficult and demanding … and in some areas of my life, downright impossible.

But, as I say, the negative response to both the Archive, together with my subsequent experiences with others here, soon began to fascinate me… and I started to be intensely interested in the whole performance that was taking place here ‘right before my very eyes’ …

Because it very quickly dawned on me that this sort of behavior – that is, the attempt to control the dissemination of someone else’s ideas (particularly if these ideas were of a ‘spiritual’ nature) by some self-appointed group or other; or to de-contextualize this material and so ‘water it down’, such that it could now be marketed as a desirable and pleasant experience, was typical of man’s cultural experience(s) concerning (what others are pleased to call) ‘The Major Religions’ (and probably the overwhelming number of ‘Minor Religions’ too)… [That said, there are obviously other ‘cultural experiences’ here that are not nearly as ‘pleasant’ – but these, I would maintain, are still merely ‘the other side of the coin’]…

Monitoring all this then, provided me with all sorts of insights into what it was that might really have happened to the teachings of those others who had also ‘fought the Good Fight’ during our remoter (and recent) historical past…  At least in principle.

But on the positive side here, a close friend of mine pointed out to me that when I began in 2004 – perhaps for the very first time in recorded history – it was now possible for interested parties, without the mediation of any ‘self-appointed authority’, to conduct their own researches here. And to also be able to discuss their subsequent conclusions freely with whomever they chose… Thus developing their own personal approaches to the concepts of people such as Eugene Halliday, in complete freedom….

Interested parties could then decide for themselves whether or not those who claimed to be Working with Eugene Halliday’s ideas were actually doing so, in their opinion – by ‘simply’ checking any claims that were being made here with the actual source material  ….

And I have to say that I found this particular perspective on all this very appealing. Because I saw that it had the immediate advantage of providing me with a method of quickly ‘checking out’ whether or not any person that I was engaging with ‘in the moment’ here, had actually done any Work. Or had simply been attracted to these ideas for one nefarious reason or another; and that their enthusiasm was probably just some vacuous reaction of theirs at the time, and nothing – or very little – more ….

But could this new way of proceeding really be any better, or any worse, than what had been in place here for the past couple of thousand years?

Well, as I see it, even if it were the case that many here would still ultimately ‘mess it all up’ for themselves – a conclusion to all this that, I believe, is inevitable for all of us [And, “Yes!” That would also include Eugene Halliday] …All of these attempts to ‘go forward’ I believe – in the end – boil down to understanding, as well as you are able, the degree to which you have indeed ‘messed up’. Together with the belief – the strength of which comes about as a direct consequence of this very striving – that you might actually be forgiven for doing so… (I see that I might just have turned into ‘Baffling Bob’ again here, and gone all mysterious on you  … Sorry)  …

Many do live in hope… And perhaps – during the present aeon – the Zeitgeist is in the process of changing so rapidly, that man’s present traditional ‘hallowed institutions’ might, indeed, now be ‘on the way out’ … And that ‘something else’ might be coming in to take its place …. (I know … I just went mysterious on you there again for a moment)…

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My involvement with Eugene Halliday’s ideas has always stemmed from a belief that there was a decidedly practical slant to them…. And I always banked heavily on a conviction that I would surely … eventually … become so inspired by these ideas of his, that they might even succeed in getting me to off the couch, and into doing something positive…..

With regard to any advice from others about Working with Eugene Halliday’s material, there is only one requirement that I believe is essential here, and that is: this advice must have been embodied by those giving it.

And my own advice to you here? (!) … Do not be concerned about putting questions – to those who are attempting to pass on Eugene Halliday’s ideas to you – about their own particular, personal, experience(s), re the nature of those attempts by them to embody these ideas that they now claim to ‘understand’ and seem to want to ‘pass on’ to you: And do press them to tell you about just how it was that they went about this… And also to describe in some detail what it was exactly that happened to them subsequently as a consequence…..

Don’t be deflected either, by any sugary, sickly, conspiratorial ‘sagely pieces of advice’ trotted out by some self-styled ‘guru’ or other, to the effect that you should not, “Be afraid to gain your own insights here,” or something like that… Because you surely already know this, if you bother to think about it… It’s just obvious isn’t it? … Just keep insisting, “Yes, I know that! But what is it exactly that you actually did here yourself; what was the actual process that you engaged in yourself, in order to gain any insights here that you now claim to have?”

You can easily tell if these people are talking from fragments of Eugene Halliday’s Work that they’ve attempted to commit to memory – because they will usually dry up very quickly; or they will attempt to bring a fragment of an idea from another area – such as ‘Indian metaphysics’, or mention the odd philosopher (usually Plato) – but only ever in passing… And your lasting impression will be that whole thing never managed to ‘go anywhere’ ….

You are, in fact, listening here to – what Eugene Halliday refers to as – ‘con-fusion’ (The ideas being presented to you have been melted together – in the heat of that desire to impress you, on the part of the person speaking here) … Their intention here is to convince you (and tragically, often themselves) that they actually ‘know something about all this’… But the end result here is always the same… Everyone present ends up with a faint, polite smile on their faces … And a few hours afterwards (or earlier, more often) almost everything they heard here has faded from memory…

On the other hand, if the person giving the talk has embodied these ideas, on being asked your question here they will almost immediately – and confidently – attempt to reply… And you will normally now be aware of an almost unbridled enthusiasm – as they relay those very real, and crucially important, events from their life to you … And you will remember this.

Can you understand that they are not talking from memory here, but are talking instead ‘from themselves’. (I appreciate that this might be ‘difficult to get’ if you don’t – in some way – already know what I mean)… And so they will usually  be able to waffle on here for some reasonable time… There will be a little confusion perhaps – but this will be clearly experienced by you as a result of their enthusiasm’  … and you will have a definite sense that you have just been told something ‘real’ … Or – as Eugene Halliday would have it – you will have a definite sense that you have just been told something that made a difference to them

And you don’t need to develop that much sensitivity to feel this… But beware, because you might – if the talker has had a bit of practice here – be put into a passive state, just because you are being so superbly entertained…

Others here will have no scruples whatsoever about appropriating someone else’s experiences, and then relaying on to you these (pseudo) accounts as their own … They can even come to believe (tragically) that these events have actually happened to them (Weird huh?), like a certain kind of actor, who comes to wear their stage personae in their everyday daily life as well as during their performances on the stage ….

All of which isn’t really much use to you if you’ve gone along to hear something that you have been told will ‘move you forward’ here.. (Although you could always treat your attendance at one of these meetings as an exercise for ‘being here now’).

Listening to those who are relaying ideas purely from memory  – or that are ‘coming just from the head’ if you prefer – is not going to help you. Indeed those who make a practice of this are probably instead, attempting to draw you in into their ‘sphere of influence’ by making use of one form or other of ‘The Tacit Conspiracy’… or, to put it that more dramatically, ‘psychic vampirism’ … And when you’ve been sucked dry, they will simply move on to someone else.

Most of the time though, this sort of behavior is reasonably easy to spot with a bit of practice – because, if you’re paying attention (by watching your own reactions to all this here ‘in the now’ – like your supposed to) there will be too many instances of ‘the dots not quite joining up’ (because the person doing the talking has forgotten ‘this bit’ or ‘that bit’)  …

So, do be careful … This is a difficult game you want to play… Always be on the alert for danger signals… Such as a faint whiff of sulphur …

If some of this last bit sounds polemical  – ‘a bit over the top’ as it were – you might like to bear in mind that I have lived for the past five years or so, in Portland, Oregon, which is the New Age capital of the world … And I am, literally, surrounded by an army of yoga teachers; martial arts instructors; hypnotherapists; Buddhist monks; tarot card readers; acupuncturists; astrologers; regression therapists; wellness centers; zumba sessions; practitioners of Wicca, druidism, rosicrucianism; gnosticism etc. etc.; tatoo and piercing parlors; ‘medical marihuana’ dispensaries; Lesbian choirs; nude bicycle riding festivals; etc. et al,.. (to say nothing of the normal American ‘store-front’ churches; gang activity; and drive-by shootings; etc. etc)…..

And almost everyone I have met who is ‘doing this stuff’ here, shares one characteristic in common. Which is that they are all busy attempting to pedal information that they have clearly memorized from someone, or somewhere, else…

I do have to say though that I love it … And if I were asked to provide my own brief,  post-card description of Portland, it would be along the lines of, “Portland is  a ‘Spiritual Disneyland’ where people come to live in order to practice a variety of post-modern, ‘hyper-religious activities'” … … Perfect then for that ultimate ‘Celestial Pick-n-Mix’ … and to watch people ’embracing the truth in all religions’ as it happens …

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How I manage to pull it off.

The one, sure-fire way of Working with ‘Eugene Halliday’s ideas is to posit yourself as an object, and then generate intense interest in yourself as an ‘object of study’ – until you become the most interesting object in the universe ….

But you must – while doing this – strive as much as you are able to always be ruthlessly honest with yourself, and with what it is that you discover about yourself here …

And – if you are even going to hope to begin to do any Work that is – having discovered just how far below your own very exacting standards you are, you must, in truth, then attempt the very difficult task of actually loving yourself. …

This is why (if you don’t want to find yourself in the position of wasting masses of valuable time) it is of premier importance to always ask those you meet along the way, and that you suspect might actually be really serious about doing some Work, about themselves – as soon as you can …

Luckily for me, I have only ever come across a few people who appeared to me to actually be doing any Work, as I see it anyway…  [Perhaps I should change my deodorant?]…

Eugene Halliday in his talks and essays provides, at the very least, many practical ideas about how one should go about this Working … But this does not minimize the fact – in any way – that it is you, and you ‘alone’ (good word that), who has to actually do every single bit of this Work…

So that then, if I do claim to understand any part of all this, this simply means that I have attempted to involve that particular aspect of Working into some form of praxis – and can now speak of it out of my experience… Which is not the same thing at all as me talking about it, simply because I have come to present myself to others as someone who ‘knows what Eugene Halliday’s ideas mean’ …

From ‘NOCTURNAL EMISSIONS’
‘Random Dribbling from the Twilight World of the Undead’
by Bob Hardy
(A series of fragments from Bob Hardy’s notebooks – from the late-1970’s to date)

Here’s a couple of much better ways of putting this last bit:

To create as some painters might, with a palette of concepts instead of colors, systems of internal consistency, logical expressiveness, or even architectonic beauty, is not the office of philosophy, though such activities might prove to be a valuable exercise in preparing oneself for that function; which is to examine into and discover the rationale and reason d’etre of this world, of this scheme, in which our histories and indeed we ourselves as well as our philosophies all occur. The bona fide aim of philosophy to discover the world in which we live, think, feel, sense, dream, and philosophize, has been too often neglected in attempts to justify the intellectual stencil which some system or school wished to place triumphantly over the world, at the expense of omitting a whole host of fundamental experiences and testimony ….

From ‘Illumination on Jacob Boehme in the Work of Dionysius Andreas Freher‘ by Charles A Muses (New York. 1951)

It is through direct experience that we come to know ourselves. It is through full engagement in life that all our senses, feelings, and thoughts come into play. Doing is knowing – what we do we come to know, and what we come to know is stored in our brains as our baseline of learning. We can talk about swimming, read books on the subject and learn strokes on dry land – but until we get into the water, we have no direct experience of swimming. So it is with life: until we do, we do not know.

From ‘The Drama Within: Psychodrama and Experiential Therapy’ by Tian Dayton. (Florida 1994).

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And now … on to those ‘Emotions’…

NOTE: A crucially important component of Eugene Halliday’s material was, I believe, his various ideas on the ‘Four-Part Man’. But it is blatantly obvious … surely … that simply ‘understanding’ the couple of thousand words that he actually wrote on this subject does not constitute an end in itself …  So if it is the case that you’re simply inclined to say that you ‘know’ about Halliday’s ‘Four-part man’ because you’ve just read the text, then I would be inclined to believe that you have no real idea about what it is that he was on about here.

I believe that the ultimate purpose of Eugene Halliday essay here, was to get the reader to attempt to experience, in the now, these ‘four parts’ for themselves. And that, like everything else that Eugene Halliday produced for others, this ‘idea’ constitutes on aspect of his material that assists in the task of Working on ones-self….

If you agree with me here, it should be simple for you then to view my ideas below concerning ‘The emotions’, as being connected with the ideas contained in Eugene Halliday’s ideas on the ‘Feeling body’, at least…

To begin this part ‘proper’ then ….

… So …. Here I am, attempting to systematize various ideas that center around ‘The Emotions’ in order to assist me to – as it where – ‘find out just who I am’…. And I would say that some ability at least, to  – as Eugene Halliday’s puts it – ‘Be here in the ‘now’, will prove to be more than useful here; as also will be a reasonable grasp of the of his ideas that are contained in the essays, ‘Five Things To Do’ and ‘ Four-Part Man’.

This exploration of mine involved a fairly rigorous exploration of what it was that ‘emotions’ might be, and was split into two major areas. The first of these was concerned with descriptions of emotional states. And this exploration I found to be, in principle at least, relatively easy to make headway with. As (in my little world anyway) any creative text whatsoever (any painting; music; writing; etc) is constitutive of these descriptions… In other words, that is what they ‘really are’ to me….

 The second area, involved various explanations as to what it is that emotions ‘are’, was however, far more trickier for me.

 [NOTE: That ‘first major area’ of mine (involving the descriptive aspect of ‘emotions’) I would prefer to leave to you (at least for the time being), and instead I’ll go straight into a little more detail here about the ‘explanatory’ aspect of this system of mine].

 … In doing research into any particular subject, I’m inclined to make lists (due, in major part I believe, to my particular psychology). I then delve into a particular ‘item’ on my list until I believe I have ‘gotten what I wanted’ from it…. I then ‘move on’ to another item on my list… And I will repeat this process until I come to believe that I eventually have what it is I need in order to move on…

 Sometimes though, I might just get fed up with the whole thing, and simply ditch it… Sulk for a bit … And then try something else.

 My approach re ‘explanations’ here is centered – in the main – around the material produced at the three major symposiums on ‘Feelings and Emotions’ that have taken place in the West since 1928 – beginning with The Wittenberg Symposium (Clark University 1928); followed by the Mooseheart Symposium (Illinois 1948); and finally the Amsterdam Symposium (Amsterdam 2001). To this material I would add ideas from the field of Analytical Psychology, including (obviously) the ‘Collected Works of Carl Gustav Jung’  … (I do make use of a lot more material actually – but these examples are typical.. And so they  should give you a good idea of what it is that I do here).

By the way, I do not Work with the material that I introduce into this system of mine with a view to becoming an ‘expert’, or a ‘teacher’, in this particular field (in this instance, that would be the field of ‘feelings or emotions); rather, I use this material to provide me with as rich a perspective on this subject as I am able to grasp… So the matter of my agreement or disagreement here with my ‘research’ material is not of primary importance to me…. It’s a bit like studying for that first degree – you read what your tutor gives you to read and then turn out a paper to show that you understand them …

It is far more the case with me that I simply need ‘a place to stand on’ in order to ‘look around’ – before eventually (hopefully) ‘moving forward’ …

I’ll now ‘cut to the chase’ then, and provide you with this list of mine.

Clearly some of the topics here contradict each other, but that’s OK, because – as I say – I try to work within as wide a field of the subject-material that I’m looking into, as I am able.

I now select the particular topic(s) on my list that I ‘fancy’ the most – as these will usually be the ones that I can assimilate the easiest – and I then try to move on ‘up my list’ to the ones that I don’t really fancy at all … Until I either exhaust all the topics on my list or – more usually – give up, at some point along the way.

I have elaborated on two of the items in my list below (numbers 1 and 6) as I feel that these can best serve here to demonstrate – in part at least – the actual inter-action by me with material contained in the Eugene Halliday Archive… (At least where it concerns my ‘thinking about it’). And also, perhaps, how it is that I might personally develop these major areas of mine…

 1.    ‘Emotions’ don’t exist.

This position might seem to be in conflict with the project here – but actually it doesn’t.

The bad news here is that you need to read ‘The Concept of Mind’ by the British philosopher, Gilbert Ryle (it’s a bit like reading Wittgenstein, only the jokes are better) – particularly where it concerns Ryle’s very own concept of the ‘Category Mistake’.

The part of this concept in Ryle’s book to ponder on (or at least the part that I pondered on) is the example he gives of some ‘foreigner’ or other (like an American, say) watching a cricket match, and who doesn’t really have a clue as to what it is that’s going on here.

The batsmen, bowlers, and fielders are all pointed out to our visitor, and their various functions are explained satisfactorily, such that our visitor now understands them.

 But our visitor then says something to the effect that, “Well gee! I can see the batsman, the bowlers, and the fielders – and I understand all that – but where’s this ‘team-spirit’ that you Limeys keep going on about?”

There are a number of ways of thinking about this… The way I proceed here is to imagine that our visitor simply removes (in his, or her, mind) everything that has been explained to them that is not this ‘team spirit’… And, at some point, I imagine that our visitor will eventually be left with nothing to imagine. At which time they will exclaim something to the effect that, “There’s no team spirit here than I can see!” … or something like that.

However – because we Limeys do maintain that there is such a thing as ‘team spirit’ – this result must somehow be incorrect. And it is this error that constitutes, for Ryle, the above-mentioned ‘Category Mistake’. (Batsmen; bowlers; fielders; umpires, etc. then, do not belong in the same ‘category’ as ‘team spirit’ for him).

[NOTE: A version of this reductive approach is, I maintain, also used by the philosopher Daniel Dennett in his book ‘Consciousness Explained’ – where I believe it would go under the fancy academic label of ‘Eliminative Materialism’…].

By discussing ‘emotions’ in certain ways, it is possible – because the person speaking had made a ‘category mistake’ then – to maintain that there is no such thing as ‘the emotions’. …

By the way …In my view, this way of looking at emotion demonstrates – yet again – the crucial need to develop ones own active language. ‘

2.  Emotions are distinct things – in and of themselves

3.  You only experience emotions when you’re thinking or doing something physical.

4.  Your body changes continually, and so your emotion change continually.

5.  Emotions emanate from the unconscious, and are only ‘experienced’ when they ‘break through’ into consciousness.

6.    Emotions are ‘energy’.

This view of the emotions would be very much in line with, what I would claim, is one of Eugene Halliday’s central concepts – which is that ‘All that there is, is Sentient Power’.

The dynamic aspect of energy – a dynamic created by a ‘difference in potential’, such that this energy can subsequently ‘flow between’ these differences – can thus be held in order to ‘explain’ conscious affect – and thus to explain the emotions.

‘Energetic tension’ in this case then, is more properly viewed as a ‘metaphysical’ idea, and not as a ‘scientific’ one.

Paul Bousfield, in his book ‘Pleasure and Pain’ (London, 1926), puts forward this idea by suggesting that pain (which is – broadly speaking – constitutive of Eugene Halliday’s, “No!”) is the conscious affect that accompanies this tension; and that pleasure (Eugene Halliday’s “Yes!”) is the result of its neutralization.

The beginnings of this homeostatic view of the human beings is (you might like to know) pre-Socratic … Anaxagorus maintaining that sensation depended upon irritation by opposites – which amounts to the same sort of thing.

So, if man is conceived of by Eugene Halliday as ‘Sentient Power’ (but as ‘circumscribed’ – and thus cut off from the ‘whole’ field of Sentient Power by this act of circumscription) then it now becomes reasonable, on this view, to say that any dynamic changes inside this circumscribed area that are produced, either internally (by thinking say) or from sensations that emanate from without, we will subsequently experience as ‘emotions’.

‘Science’ will evaluate this energy from without (by observing a being’s various ‘activities’ and then evaluating them) while the being itself will – by experiencing this ’energy flow’ from within, and by the development in itself of an aesthetic appreciation – reveal the ‘nature’ of this energy, by producing various ‘texts’ (philosophies; poetry; music; art; discourse; etc.).

Just how this ‘energy’ produces all this ‘internal stuff’ though, is the big question. But it would obviously require some form of collation between what is meant by ‘energy’ and ‘consciousness’, at least. …And unfortunately this also still leaves us with the problem of explaining how consciousness (as energy) behaves in ways that energy, in other forms (mechanical or electrical, for example) doesn’t.

However, if we view energy, in some way, as an immaterial abstract (which is how French natural philosophers of the time viewed Newton’s ideas of ‘energy’, ‘force’, and  ‘action at a distance’ – even going so far as to accuse him of introducing ‘supernatural’ ideas here), then it becomes a metaphysical hypothesis…. Which – you might like to know – A.N, Whitehead also put forward, in his lecture ‘Nature Alive’,

“The key notion from which such a construction should start is that the energetic activity considered in physics is the emotional intensity entertained in life.” (‘Modes of Thought’ (Lecture 8) – Cambridge.

Here’s a transcript of the whole lecture, if you want to read it – Whitehead 1938 -Nature Alive (Blog) )

Sentient Power’s ability to experience itself (in the case of ‘sentient beings’, this would be ‘emotionally’) I would argue, is the cornerstone of Eugene Halliday’s monistic ontology. For him, emotions are here, a subjective experience of the flow (or as he puts it, ‘vibrations’) of this universal ‘energy’, and which he refers to as ‘Sentient Power’.

‘Emotions’ then, could – on this account at least –  be said to occur as a result of some sort of ‘discharge’.

But we have not really removed a central problem to this viewpoint. Because, if we are maintaining that this ‘energy’ can be mechanical; chemical; neural; and even psychical, in nature, then we must account for its transformation (or ‘conversion’ might be more in keeping here) from one state to the other. Because we are, in affect, asserting here that – at a certain level, emotions becomes affects, and this greater degree of ‘energy’ will resonate with the ‘thinking’ body to produce mental affects (thoughts and ideas etc.); and also perhaps with the ‘conative’ body to produce physical affects (sexual arousal etc.).

So the problem here now becomes …”How exactly is it that the carrot I’ve just eaten changes into the  ‘emotional state’ I’m now experiencing whist watching this old Elvis Presley movie?” …Or, in another example … “How is my ‘mental activity’ (energy behaving as thoughts about various nasty things, say) ‘converted’ into the ‘emotion of  fear’?” …

And so on…..

7.  Emotions are actually what we are, and the thinking we engage in and the things we do with our physical bodies only arise as a result of this experiencing of these ‘emotions’.

8.  Emotions are ‘located in the brain’.

9.  Emotions are a consequence of ‘blood chemistry’.

10.  Emotions are the consequence of a stimulus and are thus ‘situation dependent’.

11.  Emotions are subject-object dependent. Emotions then are a consequence of the world as objectively posited by you, and so they aren’t ‘really there’.

12.  Emotions are a consequence of an earlier evolutionary auto-response, such as flight-fight etc.

13.  Emotions are those experiences that we can represent in language – less language then, means fewer emotions.

14. Emotions are the means by which the organism produces conflict within itself, in order to produce a course of action which resolves that conflict.

15.  Emotion is a disorder, a pressure from within that produces agitation and irresolution

16. Emotion is the force behind the creative act – the work of art having, at its root, a desire to resolve a pair of opposites, by synthesizing them and ultimately transcending them in the ‘work of art’ produced as a direct consequence.

POSTSCRIPT: Hopefully the material I’ve presented in the section immediately above has given you a better idea of how I might work with Eugene Halliday’s material; and how I might then subsequently attempt to incorporate the results, either into my own material, or into the material of others… I should stress here by the way, that I am not suggesting this method should be used by others….  Whatever ‘Works’ for you, is the rule here.

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Here are some notes of mine from one of my various notebooks that will, hopefully, set up the next section of this post.

If, from out of our own free will, we come to confer existence on some agency – that is, on some person, or some thing, or some body of ideas – such that we have now endowed that agency with a sustained potency. Then, even though we might subsequently like to believe that we can exercise power over it; sadly, it will more often be the case that it will exercise power over us

Beings will almost invariably reveal their true selves, when they have come to possess the real object(s) of their will – although I would now better refer to these as, ‘The object(s) of their desire’….

 At this point though, if you have developed the necessary ability through Working, it is now possible to see these beings as they really are – in and of themselves. Without the need for formulating any judgments; or of any ‘considering’, or ‘deciding’ on your part… You just ‘look’ and you can ‘see’…

 Unfortunately, I have found that this does not necessarily make it any easier to socially interact with these beings; or to formulate what it is that you see. Any more than your ‘seeing’ here makes the decision on your part as to your subsequent way of proceeding any easier….

But – ‘just seeing things the way that they are’ can help to strengthen your resolve to continue with your attempts to move forward … Should you decide that this is what you will to do.

From ‘NOCTURNAL EMISSIONS’
‘Random Dribbling from the Twilight World of the Undead’
by Bob Hardy
(A series of fragments from Bob Hardy’s notebooks – from the late-1970’s to date)

 

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(Scene: Lights fade up to reveal a theatrical ‘black box’ on the back wall of which is a sign that reads  ‘University Theater Club’ …

There are a few large black boxes dotted around the stage area on which are placed a number of coffee mugs; ‘working-on’ scripts and pens; and an assortment of sweaters and personal belongings; etc.

The impression to be created here is that of a bounded ‘working space’. The lighting can be random – except for those lights directed to the front of mid-stage and that serve to illuminate both him and the high stool on which he is perched.

 He is dressed casually (although perhaps a little too neatly) in an all-black outfit, which includes a turtle-neck fitted sweater. He has silver-grey hair, which is combed back and caught in a band at the back of his head in the form of a pony-tail. This pony-tail covers to some extent his bald spot, which we can just get to see from time. He has a darker, thin mustache, on his top lip, and also sports a small goatee beard.

He is holding a script on which we can just make out the title – ‘Romeo and Juliette’ by William Shakespeare.

 The impression he gives is that of being a (slightly hammy) director – in that his movements and manner are somewhat over-theatrical, and also vaguely androgynous.

He is in the process of addressing – what we cannot see, but we take to be – are  a number of his theater students. He begins to speak).

 We will begin by examining the role of the main characters here – that of the young lovers, ‘Romeo and Juliet’ – in an effort to appreciate a little more of how it is that this process of ‘performance’ plays out down here…. (He leafs through his script – as if examining it) … Because – as I’m sure those of you who have been posted here would agree – ‘All the world is.. most definitely .. a stage’ (He looks up and beams) As ‘the man himself’ so famously wrote. (He smiles, somewhat condescendingly, before continuing) ..

So let us now go on to examine what we maintain, are some of those ‘expected outcomes’ here… That is, at least as far as our average, reasonably informed theatergoer is concerned.

First of all, I would say that we could be fairly sure that those attending a performance of this play as members of the audience would be certain that our two major characters are both very young, and also very much in love with one another… And that they are also very eager to consummate their relationship…a.s.a.p! (He smiles with a faint leer) …. And that without our audience believing … or, at the very least, during the course of our performance – coming to believe that this is the case … (He looks up and smiles before exclaiming) … Then this play just wouldn’t work at all (He puts down his script and looks out earnestly)…. Would it?

That is to say …You can put this work by Shakespeare into any setting you that like …. Be that setting traditional…. contemporary … avant-guard ….. But if Romeo isn’t desperate to ‘have’ Juliet … And if she isn’t just as desperate to ‘let him’ (He pauses for effect) ‘have her’ … Then it just won’t ‘get off the ground’!

 Remember…. What we are attempting to understand here is what bearing this experience of being actors, and of being members of an audience – the one they refer to here collectively as ‘Theater’ – has on things down here … And on what they are pleased to call, their ‘real lives’….(He looks up, pauses, and grins broadly) Whatever it is that they imagine they are!

But, “Which is which?”… “Which is ‘theater’; and which is ‘real? you might – at some point in your observations of their behavior –  find yourself asking …(He pauses and sounds slightly conspiratorial)

And I feel it is a good time here to take the opportunity, and remind you that this is the reason why – while we’re all down here at least – we must wear our make-up  (He raises his voice suddenly and exclaims) at all times!… (He pauses over-dramatically and smiles, before continuing).

But our major advantage here is that – for the overwhelming majority of them down here at least – there seems to be an almost pathological inability to attend… to anything … To actually…  listen. …To focus … on what is going on….(He pauses)

But ‘attend’ to what?… ‘Listen’ to whom?” … you might ask (He looks ‘past’ his students and directly out into the audience ‘proper’, smiling broadly) ….

Why obviously … To themselves, of course! (He lowers his head somewhat again, before continuing)

Capture their attention, and they will … almost invariably … go into a passive state of one form or another… And… incredibly … many will still actually believe…  that they are, instead, ‘actively involved’ …That they are not ‘asleep’ at all… But are… on the contrary … ‘wide awake’! (He half rises off his stool and looks out at his audience in mock disbelief… as if asking a question).

(He sits down once again and picks up his script). Anyway… let’s try to use the characters in this play here… and attempt to throw some light on all this. (He continues to speak while examining his notes… He looks up quickly and says, rather sharply) … And No! … Sometimes I don’t know why we bother with all this either! (He begins to speak earnestly as if he has now begun ‘lecturing proper’)…Your assignment for this section of the module will be to write a short dissertation of about eight thousand words or so… But don’t worry … I’ll provide you with the outline of what it is that I want from you at the end of this unit.

Let’s get on now and examine the two actors playing these two roles…. And let’s call these actors Rolf and June for convenience (He puts his script notes down and looks up intently) And let’s say something about their private lives… (He pauses) I’m going to give you a list of scenarios … and take you through them all briefly to give you the general idea…(He picks up his script and begins)

Here’s the list then (He pauses, looking up from his script and gazing into the distance as if concentrating, before beginning to speak dramatically).

Scenario one: Rolf and June used to be married … to each other… But now they hate the sight of each other. They have just gone through an extremely nasty divorce…. They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario two: One of these two – Rolf and June – is madly in love with the other but no matter what they do, they cannot seem get the object of their affections to ‘notice them’  …. They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario three: One of these two – Rolf and June – is madly in love with the other but is married to someone else and has a young child, and is desperate to keep this state of affairs hidden in the hope that it will ‘blow over’ …. They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario four: One of these two – Rolf and June – is madly in love with the other but no matter what they do, they cannot get the object of their affections to ‘notice them’. However, the object of their affection does know, but is not interested …. They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario five: One of these two – Rolf and June – is madly in love with the other but no matter what they do, they cannot get the object of their affections to ‘notice them’. However, the object of their affection does know but is not interested ….Because they are gay but haven’t yet ‘come out’ – because they are in denial …. They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario six: Rolf and June are a ‘couple’… They have been seeing each other for some time now, but both suspect that the other is cheating on them – with their best friend… And so they engage in continual innuendo… They are both superb, dedicated actors (He pauses dramatically before continuing).

Scenario seven: Rolf has always been gay, and June has always been a lesbian – neither of them has every engaged in – or has ever had any desire to engage in – straight sex. … They are both superb actors (Once again he pauses dramatically before continuing) ….

Scenario eight: Rolf and June are crazy about each other, so much so that they just can’t leave each other alone…. (He pauses dramatically before exclaiming dramatically) They are both lousy actors. (He pauses once again, and puts his script down before continuing)

 OK! That should give you the general idea here …. Here are the questions… What would you mean here if you were to say to someone, something to the effect that, “I’ve just seen Shakespeare’s ‘Romeo and Juliet’… It was a really good/bad performance”?.. Or what do you mean if you go on to say something like, “Of course they didn’t really mean it – because they were only acting after all.”…. Which of the above scenarios do you think would ‘work; or do you think all of them would ‘work’? … Do you think any of them wouldn’t work? … Why? … What would you say ‘acting’ consists in? …. Describe someone you know who you would say definitely never ‘acts’ – and why it is that you believe this to be the case; or, why you believe that everyone is always acting .. or why you think that everyone always – at some time – acts …

( As he begins asking the above questions, the lights and sound start to fade slowly, until we cannot hear or see anything)

From ‘Field-notes for Armageddon’ by Bob Hardy

POSTSCRIPT: The piece above is still in the form of a rough draft, and is one that I put together in an attempt to explore the dynamics between: the emotions that are actively and objectively produced by role-playing, but within some form of scenario – this would be our actor here giving his ‘seminar’ on actors and acting; the consequential production of deliberate – and, if you think about it – fairly predictable emotional states in the (unseen) students that we assume are attending this seminar, and who believe that they will go on to produce their ‘interpretations’ about what is going on from their own – as it were – largely ‘uninfluenced’ positions ; in the ‘theater audience proper’; and finally in ‘you’, the reader of this piece…

It helps me to examine the interplay of emotional states, and to perceive them as more complex (which they are always becoming – because they are always as complex as you are capable of dealing with) if I view the various components here as being ‘fugue-like’. In this particular case for example, the emotional state produced by the major character could be viewed as the ‘exposition’; the students who – because they are deliberately positioned by me as being ‘passive’ here – provide a virtual ‘development’ (‘in absentia’ as it were) – by virtue of the fact that they are required to supply a dissertation that would effectively serve that purpose; and finally, a theater audience (or you the reader) who would each supply their own private ‘recapitulation’, in the form of their (and your) own privileged understanding here – based on the viewing, or reading, of this piece …. And then of course … there’s me – the writer…

However, I will admit, that perhaps I haven’t yet exactly made that point clear here… But I am Working on it.

The initial idea seemed reasonably simple for me to put in place. But the consequences that I keep coming up with created severe problems for me in the subsequent writing of it… Because the piece kept collapsing into one conclusion or other that I was either not happy with at all, or was so unprepared for that I couldn’t come to grips with; or that kept opening up, in me, into the propagation of a multitude of  ‘alternative endings’…

[Shakespeare does a superb version of this (in a different way of course) in ‘Hamlet’ .. Particularly with his ‘poison in the ear’ bit … But I’m guessing that you already knew that…  Didn’t you]..

One positive outcome for me here, however – and the most productive aspect of it for me up to now – was that as consequence of my conscious self-reflection of the process here ‘in toto’, I came to be aware of a great deal of  ‘meaning’ that centered around the two words ‘authentic’ and ‘genuine’ …. But once again ….. I’m afraid you’ll either get that; or you won’t…

Like I say, I’m still working on this (!)

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Finally, here’s another chance for anyone out there who is interested in working with Eugene Halliday’s ideas, to join in on the blog forum here.

… One of the initial problems faced by anyone attempting to understand the writings of someone like Eugene Halliday is that – in many cases at least – these writings presuppose each other. That is to say, they exist in a web of ‘referential inter-textuality’. Which means that, as a consequence, you have to be familiar with all the major ideas that are contained in each of his essays, before you can really understand any one of these essays in any depth.

This, I believe, is why many I have spoken with about Eugene Halliday prefer listening to the ideas contained in his talks, rather than engaging with those contained in his writings… But I have to say that I don’t think this really works most of the time – because when I question these people about what it is that they have gleaned from one of these talks, the overwhelming majority of them appear – to me at least – to have simply only ‘sort of’ dimly remembered one or two, by and large, disjointed fragments.

What I think is going on here, is that these people just find the talks more ‘enjoyable’ (more ‘entertaining’) than the writings, because they are not as dense, or nearly as demanding … Which is fine as far as it goes I suppose, but it doesn’t really seem to get them very far.

On the other hand, I would say that the harder you engage with Eugene Halliday’s writings, the more meaning you will get back from them. But I appreciate that these written presentations of his ideas can be very dense, and that they contain very few wasted works.

A further complication here is that I believe Eugene Halliday did not write a ‘magnum opus’; but that he only ever wrote essays and articles. However these do – in my opinion – all ‘link-up’ to individually comprise the chapters of one large book… Although I would also maintain that it is a book he never ‘finished’ [but as I don’t believe that ‘finishing it’ was ever his purpose here anyway, this is not of any relevance really].

Luckily though, there is an enormous volume of Eugene Halliday’s written work that was published in the parish magazine of St Michael and All Angels, and many of these do not require (that much) previous familiarity with his major ideas. They are all reasonably short…. And I’ve picked one here that I would like to start a thread on the forum about. It is – I would claim – somewhat extraordinary!  The title of it is ‘The Idea of Sin’ … and it first saw the light of day in February of 1969.

In my view, this short essay is extremely thought-provoking (to say the least), and in fact I would even go so far as to say that it isn’t ‘peachy’ at all … [And indeed, I experience a great deal of Eugene’s writings in this way – but have met very few others who agree with me].

So I’m interested in what anyone out there might have to say about this short piece. It’s not on Josh’s archive yet –  but I have produced a ‘working-on’ scanned copy of it as a pdf here if you are interested in joining in … or even if you’d just like to read it.

I would be really interested in any comments you would like to post on the forum here regarding this piece…

So I will be started a Forum thread in the very near future for this very purpose …And I would also like to tell you that as well as being available for ‘Sinning’, I will also be discussing one or two other taboo topics there, in the near future…

So if you’re interested…do take a peek now and then … if you can make the time …

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I should also tell you that I might not be posting for the next couple of months  – as I will, instead, be bumming around Europe… But then again. I might!… … So …

‘À tout’ … … Then!

Bob Hardy

30th July, 2013

  One Response to “15. Emotions (Part 2) – “What – on earth – d’you think you’re playing at?”…”

  1. The observations you have made on how Eugene’s ‘work’ was treated, and the reactions and attitudes you referred to are very interesting to say the least. From a management perspective of the ‘work’ that was done by Eugene and the way that ‘work’ was subsequently treated does in itself give valuable insight into improving the methods. It is like a natural biological process in a body surrounding and protecting something that has grown. This reverential (holy grail) behaviour (which seems to be consistent and subconscious since people were able to write), is a bit odd, and not something I quite understand.
    But then we all have our ‘roles’ to play in the theatre of life, even if the script needs a lot of work 🙂

    It’s not something you would expect to get say in a large company or modern business, but is something you would see in a primary school sandpit. But then that may say a lot in itself.

    This approach of stepping back and looking at a bigger picture and the process that is going in this context is probably unique to date. Especially with a 20 year gap, and more modern concepts and tools you can apply a ‘hang on a minute’ objective perspective on this ‘happening’. So in that respect he is still continuing to ‘work’ through your efforts.

    Scenarios 1-8 describe verbatim the story of my early love life (well apart from the gay bit) – more of a tragedy really (should have added attending Lesbian choirs and nude bicycle riding festivals to Scenario 7, would get a bigger audience). The question should be which scenario would you pay to go and see ? which would you enjoy seeing ? and which would you feel you had to give reverence to and protect ? It is after all ‘Shakespeare’ therefore sacred, and yet may be interpreted in many different ways and meanings (even ones that may not have been there in the first place), thus he continues to ‘work’.

   
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