Synchronicity Explained: Carl Jung

Little substantive progress can be made in apprehending (let alone comprehending) SynchroMysticism, or in advancing as a SynchroMystic, without grappling seriously with the work of the noted, 19th-20th-century Swiss analytic psychiatrist, Carl Gustav Jung. With the possible exception of Sigmund Freud (and if one leaves aside somewhat proto-scientific thinkers, like David Hume and John Locke), there is arguably no bigger name in the history of psychology.

Jung pioneered numerous, somewhat abstruse (if not vexed) concepts that have now become common currency in the English language. Entities and phenomena – or alleged entities and phenomena – such as “archetypes,” the “collective unconscious,” “extraversion” and “introversion,” nervous “complexes,” and, most notably from our standpoint, synchronicity.

In this seminal intellect’s lexicon, “synchronicity” marks out a sort of “acausal connecting principle.” What in the world does that mean?

Well, for some principle, P, to be a causal connecting principle would mean for P to explain how two things (say A and B) are related in terms of cause and effect. For instance, A might cause B; B might cause A; C might cause both A and B; C might cause A while D causes B; and so on.

In contemporary jargon, the word “cause” typically designates what Aristotle referred to as an “efficient cause.” He distinguished several other sorts of “cause” or, perhaps more accurately, of explanation.

Consider Mount Rushmore. To Aristotle, some object has first of all a “material cause.” In the case of Mount Rushmore, the material cause is, presumably, granite. Next, the object has a “formal cause.” This is roughly to say that the object has some pattern that it embodies or exhibits. Mount Rushmore is modeled upon the past, real-life visages of Thomas Jefferson, Abraham Lincoln, Theodore Roosevelt, and George Washington.

But an object also has some “efficient cause.” The quick and dirty way of getting a fix on this sort of cause is to think of the agent who applied the form to the matter. In the present case, the straightforward efficient cause of Mount Rushmore was the 19th-20th-century American sculptor Gutzon Borglum. Lastly, to Aristotle, an object also has a “final cause.” As a first pass, we can understand this as the purpose or reason for which the efficient cause acted. Let’s suppose that Borglum carved the faces of the four, previous-named presidents into the granite in order to honor the famous statesmen and increase the tourism business in South Dakota. These considerations, then, would count as final causes.

In any case, twenty-first-century scientific inquiry has little use for the notions of “formal” and “final” causation. Matter, on the other hand, is the work-a-day scientist’s bread and butter. However, referring to matter as a “cause” may have fallen a bit out of favor. That leaves only efficient causation.

Be that as it may, any of the four “causes” can be conceived as “connecting principles.” It’s easy – indeed even trivial – to do so. For example, we can say that “Mount Rushmore” and “granite” are connected in virtue of the fact that the former is “made out of” the latter. Or again, we can say that “Mount Rushmore” and “Jefferson, Lincoln, Roosevelt, and Washington” are connected in virtue of the fact that the former “resembles” the latter. Etc.

What Carl Jung wants to say, then, is that there are additional, “connecting principles” that have nothing to do with causation. Perhaps they have very little even to do with any kind of explanation.

Causation is often taken to be explanatory. If I break out in small, itchy blisters and it turns out that I have chickenpox, then we could say both that my blisters were caused by the chickenpox (varicella) virus and that the chickenpox explains my having broken out in said blisters.

Suppose, however, that John has newly arrived in a large city. He calls a phone number for some random job lead that he has been given only to discover that the person sitting next to him on the bus is the one who answers the call. That “John called X” and that “John was next to X on the bus” are, on the face of it, related neither in terms of causation nor explanation. It seems obvious that John calling X did not cause X to be next to him on the bus. Equally, though, John and X being near each other on the bus does not explain John calling X on the phone (or vice versa).

The two events – John’s call and John and X being in close proximity on the bus at exactly the same time as the phone call – were related in time merely by happenstance. It was a “coincidence.” Or so it would seem.

The two events are connected. If nothing else, they happened simultaneously. Importantly, the sort of connection in view is not causal. It is acausal. Hence, we have what Jung called an “acausal connecting principle.”

When this sort of connection occurs in a noteworthy context or seems to be imbued with some sort of significance, it is termed a synchronicity.

When a person is conscious of, revels in or studies, these sorts of synchronicities, that person could be termed a “SynchroMystic” and be said to have an interest in “SynchroMysticism.”

SynchroMysticism and Esotericism: Jay Dyer

One of the most common questions people have after encountering SynchroMysticism is: What is all this?

There are really two approaches to drafting a sort of first-pass answer.

Number one, a person could try to get a grip on the notion from a conceptual or theoretical standpoint. This is certainly commendable and possibly fruitful. Many of the posts in this series will be attempts to do just this – to “come to terms” with SynchroMysticism (in the sense propounded Mortimer J. Adler and Charles Van Doren). However, for many people, there is a far more accessible, practical, and (frankly) engaging avenue.

To put it plainly, number two, a person could just interact with various “Synchs” (as the meaningful coincidences are called) and learn by doing, as it were. In this vein, we will shortly be looking at various examples of SynchroMysticism. Or, at least, I will direct interested readers toward places where such examples may be found, mined, and reflected upon.

One rich resource, in this regard, is the film industry.  It is needful, though, to prime oneself, since what is envisioned is (emphatically) not merely grabbing a box of popcorn and “vegging out” in front of a television or theatre screen. Mindless pastimes have been starkly painted as soul-sucking activities that may literally lead us to amuse ourselves to death, to steal a phrase from the late, 20th-21st-century American author Neil Postman.

On the contrary, what is in view is a critical inspection of select Silver-Screen offerings. To obtain the requisite preparation for this interpretive task, it is highly recommended that neophytes look over the shoulders of those individuals who have as close to a proven track record as it is feasible to get in these matters.

There are several individuals who verge on expertise and whose output is worthy of careful study. (Again, we refer guests to Loren Coleman.) For the purposes of being introduced to the art and science of movie hermeneutics, Jay Dyer ranks surely high on the list of authorities who ought be consulted.

Dyer’s 2016 book, Esoteric Hollywood: Sex, Cults and Symbols in Film (Waterville, OR: Trine Day), is one of the staple texts for any SynchroMysticism 101 course.

Before proceeding, it is worth pondering the word “esoteric” for a moment.

“Esoteric” stands in contrast to “exoteric.” Both words derive from Greco-Roman vocabulary. Specifically, exōterikós marks out something that is “external” or directed “outwardly.” (The word “extrovert” uses the prefix “ex-” similarly.) The idea, here, is that an exoteric doctrine is one that is submitted for mass consumption; it’s promulgated to be believed (and perhaps understand) by the general public.

On the other hand, esōterikós had to do with something that is “internal” or “inwardly” oriented.* Hence, an esoteric principle or teaching is one that is reserved for a much smaller, and possibly private or restricted, group. The subgroup could be initiates into some mystery school or secret society, for instance. In any case, esotericism is the probing into such arcane and perhaps “classified” information.

Mr. Dyer acclimates readers to these matters in a way that is both captivating and enlightening.

In the course of his book, he exposes novices to a way of processing cinema on a deeper level than many will have taken notice of before. Veterans will have much with which to contend as well.

Dyer gives these motion pictures their own, dedicated chapters.

Careful reading of Dyer’s evaluations, in conjunction with a person’s own viewing of the movies in question, constitutes good SynchroMystical training. And most of this is embedded within a very absorbing and lively presentation.

To be sure, Dyer also touches upon theory. For example, he writes:

Synchronicity is real, and the inner worlds are connected to the outer worlds, but in my estimation all this needs to be purged of the gnostic notions of external reality being an “illusion.”

We will delve more into the above notions in future posts. For now, happy watching.

* Commonly used words beginning with “eso-” are in somewhat short supply. Interestingly, the Greek phageîn meant “to eat.” Our anatomical word “esophagus” could be – obscurely – thought of as an “internal thing” associated with eating. For more etymological musings, see The Etymologicon.

As a postscript, it is worth noting that there are numerous other films that deserve careful viewing from the budding or practiced SynchroMystic.  Some of them are linked to, below.

SynchroMysticism Defined: Jake Kotze

SynchroMystic guru Loren Coleman credited author and filmmaker Jake Kotze with having coined the term “synchromysticism.” Coleman wrote:

The word “synchromysticism” was first coined by Jake Kotze in August 2006, on his website-at-the-time, Brave New World Order.* Kotze defined the concept as: “The art of realizing meaningful coincidence in the seemingly mundane with mystical or esoteric significance.” (Source.)

Let us mine some of the depths in this quotation.

One thing to notice is that the qualifier “meaningful” appears to do quite a bit of work. After all, on one definition of the word, “coincidence” merely marks out temporal correspondence.

Many of these correspondences are indeed mundane (both in the sense of being commonplace or worldly, and in the sense of being run-of-the-mill or, in a word, dull). For instance, as I type this, there is a song playing in the background, the air conditioner just kicked on, two Mourning doves are walking around outside, and so on.

Presumably, however, no one is tempted by the notion that there is any remarkable (i.e., meaningful) relationship between any of the scattered goings on that I just listed. For, at any given time, innumerable events are occurring simultaneously. The vast majority of these events with be nothing to write home about – whether individually or considered together.

What the synchromystic looks for, then, is not merely events that are temporally related, but events that are temporally associated in particular, “meaningful” ways.

Candidate events may have uninspired, “exoteric” (or outward and easily comprehended) meanings on the surface. But the synchromystic is the person who may notice esoteric significance lying under the uninteresting appearances.  (Or, at least, this is one way that person sympathetic to the project may understand it. Less sympathetic individuals may be tempted to the opinion that the synchromystic is “reading-into” events or engaging in wishful thinking or self-delusion.)

Kotze was a contributor to The Sync Book, published in 2011. He seems to take a monistic view of reality. On this sort of perspective, which appears (among other places) in some streams of Hinduism, all things are, ultimately “one.” Sameness is the fundamental property of existence, while difference is explained as illusion (maya).

Within this broad framework, synchronicity (that is, significant coincidence or simultaneity of “connected” events) is taken to be to a psychological phenomenon in which the percipient catches a glimpse of the “true,” undifferentiated nature of things.

Kotze’s view, while interesting, is far from the only view. In other posts, we will explore the views of other, influential thinkers from the famed Swiss psychoanalyst Carl Gustav Jung and Hungarian-British journalist Arthur Koestler, to lesser-known figures like the oraculist James Shelby Downard, and on to more contemporary commentators including the aforementioned cryptozoologist, Loren Coleman.

Stay tuned.

* Kotze’s weblog title is a composite of two phrases. Firstly, it is a reference to the so-called “New World Order.” Arguably, this phrase has at least two different interpretations. For more on the imperialistic interpretation, see books by Noam Chomsky and Henry Kissinger. For those with more conspiratorial turns of mind, see the “illuminist” interpretation propounded by persons like Mark Dice and A. Ralph Epperson. Secondly, Kotze’s phrase hearkens back to Aldous Huxley’s classic, 1932 novel, Brave New World. Huxley’s book, along with George Orwell’s dystopian nightmare, 1984, are practically required reading.

SynchroMysticism

Is there an esoteric undercurrent to contemporary life? In the 21st century, the mundane monopolizes our attention. It is an understandable reaction. Banalities brutalize our senses, and the ordinary appears to tower over us like an unimaginative skyscraper in Anyplace, U.S.A. But appearances, as they say, can be deceiving.

Succinctly put, synchromysticism is postulation that below the surface of the commonplace appearance of modernity (or beneath the freakish artificiality of post-modernity), exists a vibrant network of hidden – dare we say “occult” – associations. Unremarkable interstices are punctuated at intervals by dynamic nexuses, identified – to those with eyes to see – by signs and words.

Synchromysticism can be approached as practice or theory or both. As an activity, it consists in the “reading” of culture (for example, its art, history, and socio-political goings on) to draw out latent connections – as one might scour an optical illusion looking for the picture within the picture. It’s not always clear whether we search for the big picture, as it were, or the little one. Theoretically, it might be held that the most significant aspects of the world are mise en abîme, “relegated to an abyss.” Whether this is by agency and contrivance, chance, or necessity is an open question.

~ Abramelin (7/29/2017)

In this project, which we term Synchromystique (or “Analytic SynchroMysticism”), we explore such people and topics as: alternative epistemology (e.g., in William James), archetypal analysis (per Carl Jung), Arthur Koestler, Carole Cusack, conspiracy culture, cultural semiotics, esoteric interpretations, esoteric worldviews, Forteana (named after Charles Fort, and expanded by James Shelby Downard, Jim Brandon, and others), hermeneutics (in the sense of Hans Georg Gadamer), hidden patterns, interpretive frameworks, Jason Horsley, meaningful coincidences, metaphysical inquiry, modern mythologies, myth and meaning, mythopoetic thinking, occult symbolism, pattern recognition, reading culture, Steven Sutcliffe, symbolic analysis, symbolic thinking, synchronicity (again, Carl-Jung-style), SynchroMysticism (as coined by Jake Kotze), Twilight Language (à la Michael A. Hoffman II, and as picked up by Loren Coleman),