UFO: A Living Myth of Transformation
Each month, we explore a theme through weekly MythBlasts, curated works, quotations, etc. This month's theme is Metamorphosis.
If we ever wanted to find a contemporary exemplar of living myth par excellence, we would need to look no further than the UFO phenomenon—especially with the recent video leaks and subsequent Pentagon disclosures on “Unidentified Aerial Phenomena” (UAPs). These phenomenal sightings share in the paradoxical nature of mythology proper: they are both real and unreal, immanent (to the universe) and transcendent of this earth; they are here and not-here, manifestly self-evident and suddenly disappeared. In this sense, they are a perfect embodiment of the peculiar ontological status of mythic beings as such, their spectral “otherworldly” plane of reality. In its very elusive aspect, UFOs represent the alternating logic of being and nothingness which structures the process of becoming, the processes of change and metamorphosis. As a modern symbol of transcendence, UFOs stand for the process of total transformation and self-creation in the noumenality of space-time.
Unfortunately, the UFO topic has received little attention from contemporary mythologists and historians, respectable academics who would rather operate at a wide girth from such “mass delusions.” Even a maverick like Joseph Campbell, by no means impeded by academic dogmas of respectability, also showed little interest in the topic. When Campbell explores contemporary examples of living myth as he does in Creative Mythology, the fourth volume of the monumental series the Masks of God, the UFO phenomenon finds no place either. Indeed, in the context of Dante, the Bhagavad-Gita, James Joyce, Immanuel Kant and the like, a discussion of UFOs would be grossly out of place.
Continue Reading the Mythblast
Nevertheless, influenced as he was by Carl Jung, Campbell probably read and took for granted his monograph on UFOs, Flying Saucers: a Modern Myth of Things Seen in the Skies, which is included in the 10th volume of Jung’s Collected Works entitled Civilization in Transition. In the “Preface to the First English Edition” Jung reflects back on the whole “moral of this story” with the realization that “news affirming the existence of Ufos is welcome, but that scepticism seems to be undesirable,”* which is to say that the belief in UFOs “suits the general opinion, whereas disbelief is to be discouraged.” (CW10 page 309) In other words, it is hard to avoid the conclusion that the UFO myth stands in the place of an ideological fantasy used to maintain status-quo thinking and feeling.
Whether they are here or not here, the myth certainly can be used—and has been used—as a tool of state propaganda designed to distract our attention from actual technological developments and experimentation by our secret military. This is perhaps the greatest “revelation” of the recently released four-part docuseries UFO (2021) on Showtime, produced by J.J. Abrams: much of what is mistaken for an Alien presence is indeed our own tech! The fear of stepping into the shadow of our military industrial complex is a big reason we discourage critical thinking on this topic. And we are more than happy to deflect any meaningful criticism into the kennel of a “rationalistic” prejudice.
But anyone who would suggest that we live in a much too “rationalistic age”—in the midst of “alternative facts,” “fake news,” viral lies, and campaigns of disinformation— must be distinctly out of touch with our social reality. Swimming in a sea of conspiracy theories and revisionist histories, by no stretch of the imagination can we say our age suffers from a burdensome excess of reason. Quite the contrary, the sorry state of the world every day tells us that we suffer from an egregious lack of it.
Nevertheless, I think Campbell would have followed Jung’s approach in reading the UFO phenomenon, both real and unreal, as a symptom of a deeper emotional tension in the collective psyche. From a Jungian perspective, UFOs stand for a certain archetypal content that finds no expression within our accepted frameworks of explanation and worldview. It is indeed a projection of a mythic reality that bears an unborn truth within. The shattering power of this truth is what threatens to “invade” our familiar fields of ideology and mythic fantasy, threatens to “abduct” our rootedness in the collective dream of our social hypnosis.
As Jung elaborates further, the need to believe in UFOs, quite apart from the question of their objective presence, indicates a certain degree of collective psychic suffering. It is the “heavenly sign” of a “psychic dissociation” which points to the general “split between the conscious attitude and the unconscious contents opposed to it.” (CW10: ¶591) Campbell himself called this psychic split a mythic dissociation, as we read with emphasis in Creative Mythology:
The Christian is taught that divinity is transcendent: not within himself and his world, but “out there.” I call this mythic dissociation. (528) […] Hence, there has now spread throughout the Christian world a desolating sense not only of no divinity within (mythic dissociation), but also of no participation in divinity without (social identification dissolved): and that, in short, is the mythological base of the Waste Land of the modern soul, or, as it is being called these days, our “alienation.” (529)
The UFO phenomenon, both real and unreal, remains an excellent symbol of our own self-alienation, not only at the individual level but at the global level of the collective. Our sense of “divinity” cannot be divorced from a sense of justice and responsibility not only for ourselves individually but for the whole planet—including the entire universe.
* Spelling and stylization are preserved from Jung’s original text.
Norland Tellez, PhD
Norland Tellez is an artist and teacher with over 20 years of experience in the animation industry. He graduated from CalArts in 1999 and went on to work as a 2D animation artist for Walt Disney Feature Animation as well as Warner Brothers. He also completed a Masters and Doctorate degrees in the study of mythology at Pacifica Graduate Institute with a dissertation on the Popol-Vuh, a classic of Mayan mythology. He was the recipient of the Joseph Campbell Research Grant in 2006.
As a writer and director, Norland has helped to produce award-winning educational properties, most notably the Once Upon a Sign mini-series for DawnSignPress and SignWorldTV, which features deaf actors using American Sign Language with voice-over acting.
As a teacher of Life Drawing and other animation-related fields, Norland has taught at CalArts and Santa Monica Academy of Entertainment and Technology, as well as the Art Institute of California Los Angeles.
Find out more at NorlandTellez.com
In one of those cock-eyed theaters that are in New York, on 42nd and Broadway, I saw advertised Fire Women from Outer Space. That was a mythological idea.
In Tibetan Buddhism these are called docheles—fire women from outer space! And in their spiritual powers they can excite you a little bit. And so I thought, Well, we’re getting back to the old days in a very funny way.
Whenever the human imagination gets going, it has to work in the fields that myths have already covered. And it renders them in new ways, that’s all.
The Masks of God 4: Creative Mythology
Creative Mythology is the fourth and final volume of Joseph Campbell’s major work of comparative mythology, The Masks of God. In this installment, the pre-eminent mythologist looks at the European mythology of individualism as it took flower in medieval Europe and spread, through the Renaissance, to influence modernist thought, art, and literature.
“The ancient Greeks called the art of reworking established myths ‘mythopoesis.’ Telling an old story in a new voice and from a fresh perspective makes room for new questions and reveals new meanings. It’s an essential form of myth-making. In Ariadne, Jennifer Saint reimagines the classic Greek story of Theseus and the Minotaur from the perspective of Ariadne and her sister, Phaedra. These two women tell a compelling story about monsters, heroes, and the mysterious god Dionysus, and the role they played in this famous story. Ariadne is a wonderful poesis of Greek mythology and a meditation on sisterhood, heroism, fate, and free will today.”
Catherine Svehla, PhD
Editorial Advisory Group
Joseph Campbell Foundation
Creative Mythology (Audio: Lecture II.2.5)
Our gift to you this month is audio lecture. Access this download for free until the end of the month.
Joseph Campbell was often asked how a new mythology was going to develop. His answer was that it would have to come from poets, artists, and filmmakers. In this talk, Campbell explores what he called creative mythology — the way in which artists can and do give a sense of the transcendent in a universe apparently empty of meaning.
This lecture was recorded at Beloit College in Beloit, Wisconsin in 1969.
News & Updates
The eleventh month of the Bahá’í year begins this week, September 26.
Shmini Atzeret on September 28 concludes Sukkoth for Jews and marks the beginning of winter in the Holy Land. The next day, Simhat Torah (Rejoicing in the Law), the great reading cycle of Hebrew scripture begins anew.
I.2.2.8 - Instinct in the Animal World(audio clip source)
Myth, Magic, and Metaphor : A Journey Into the Heart of Creativity(learn more)