There is a problem with much of the paranormal in that we rely too much on classic interpretations. This is not to say that these interpretations may not be true, but that understanding can better be achieved by a radical overhaul of terms.
The poltergeist is a perfect example. We have a clear idea of what a poltergeist is. But could phenomena be more open to rational understanding by offering new concepts and names? Let’s consider the possibility.
WHAT A POLTERGEIST ISN’T
A poltergeist is classically understood as an infestation of a spirit throwing this and that about the place, causing a general paranormal nuisance of itself. Yet if we break down the phenomena in the poltergeist, we can see distinct and separate elements.
The two central elements are a level of communal consciousness that perceives paranormal activity in a specific location, such as mind/matter interaction and ‘spirit’ sightings; and the ‘possession’ of a person, or focus.
For this essay I want to reclassify the poltergeist as a concept I would call ‘psychodrama.’ This can best be understood as the coming together of mind with other minds, an environment, and culture.
WHAT YOU SEE IS WHAT YOU GET
We can see such a concept as the occurrence of an ‘altered state’ contrary to what we consider to be normal reality. However, can such a thing as ‘normal reality’ exist? The philosopher, Kant, argued yes, it can, but it is above human experience, for we view the world through specific ‘mind filters’, which place our prejudices upon reality.
This argument is valid when we consider we input a mass of data, through the senses, of the ‘outside’ world, but the vast majority of this sense experience in not intuited by our conscious mind. Rather, we have ‘selective awareness’ of the world we inhabit, only perceiving what we consider important.
This is consistent with an argument in particle physics. Stated simply, a reality can only be said to exist if there is a consciousness capable of observing it. Hence, any reality must include the observer – the person – as a fundamental element of that reality.
PROBABILITY AND EXPERIENCE
Particle physics also holds that the state of the universe is probabilistic until such time as consciousness places a definite reality upon it. From this, we can argue that the state of that consciousness is also relevant to what is seen. Hence, a changing consciousness, as in an altered state, could justifiably change the nature of the world being observed.
This can be accommodated in our understanding of hallucination. For instance, a hallucination can be of the entire sense experience, involving hearing, smell and touch, as well as sight.
Bearing this in mind, it is valid to say that, if all the ‘equipment’ we have to sense the world can be subdued to an inner hallucination based on that world, then the world itself has seemed to change due to the consciousness of the observer. In other words, an ‘altered reality’ can be valid in intellect and personal experience.
HYSTERICALLY SPEAKING
This relates directly to a poltergeist as ‘psychodrama’ – on the personal level, at least. But a poltergeist can be a ‘communal’ experience, shared by all. Are there ‘mechanisms’ that can spread, say, a personal altered state to others?
Mass hysteria suggests this is possible. There are dozens of cases on record where a group of people has spontaneously collapsed, exhibiting identical symptoms. On a more mundane level, ‘communal’ laughing following a comedian’s joke is a form of mass hysteria.
What seems to happen in such incidences is that a ‘focal point’ has occurred, suppressing individuality among a group, and transferring personal action to a collective. In a real sense, individuality has transferred to the group.
IT’S A CULTURE THING
Psychoanalysis has an answer to this communal ability in concepts similar to transference. Here, a person’s beliefs, etc, can transfer to another, causing sympathetic action.
At the root of the phenomenon is suggestibility. A person, or a group, can be placed in such a situation that ideas or courses of action become more likely if prompted by a person or event, which acts as a ‘trigger.’
Culture can play an important part in this suggestibility. Culture is, at heart, a process whereby stories or ideas infiltrate a society’s psyche, thus suggesting how a person will think or act. Indeed, by this interpretation, culture can itself be seen as a process towards creating altered states.
HOW A POLTERGEIST WORKS
A poltergeist is, itself, a ‘cultural’ phenomenon. Through repetition of the story, we all have an inner understanding of how a poltergeist affects us and progresses. Hence, if a ‘focal point’ arises, culture has already imprinted itself on a group’s mind, suggesting that the cultural ‘story’ will automatically play out.
The ‘focal point’ is invariably a pubescent child, full of angst, maybe recently experiencing trauma. This child will go on to approach a form of insanity, playing the cultural game and becoming a ‘focus’ around whom phenomena will manifest. As the phenomena increases, we can see the displaying of classic mediumistic talents.
With the ‘director’ in place, the culture of the household will begin to be affected, and in no time at all, the ‘culture’ is producing group phenomena, bringing the environment into the production, and an altered reality is existent. A form of mass hysteria is now controlling a communal expression of the hallucination.
CAN WE PLACE LIMITS?
If such a culturally controlled mechanism can be seen to be behind the poltergeist, the obvious question is: can there be a limit to the minds infected by the production? Further, could we, as a society, have been part of various cultural ‘stories’ throughout history?
Various forms of phenomena have seemed to go in stages throughout history. From ancient gods riding is sky chariots, through Medieval demons, to Gothic vampires, spiritualism, and on to the UFO, culture and phenomena has seemed to go hand in hand. Indeed, the birth of many a religion can equally be seen as the onward march of cultural ‘stories’ affecting people and reality in a phenomenal way.
The concept of ‘psychodrama’ can arguably be seen at the centre of this process, defining the nature of phenomena, and often defining the process of history itself. Maybe it is a subject that has been ignored for too long.
© Anthony North, May 2007
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