a carefully curated treasure trove
of miscellaneous conscious
evolutionary utopian artworks,
auditory & visual,
curated by Neonn Felicity
The following is a randomized highlight reel of the most prodigiously felicitous pieces of my information diet, the media that I believe every conscious person ought to digest and share. This site will be a constant work-in-progress, as I continue in my quest to discover and curate the most enlightening art and literature I can find in cyberspace.
So really, thanks for being here! Cosmic Evolution appreciates your intentional attention! And it is my sincerest hope that you benefit from these exceptional philosophical artistic geniuses and their various epic masterpieces as much as I have. I owe the depth and breadth of my own consciousness to the profound truth and goodness in their vision, and to their powerful ability to express it so beautifully.
♥ Enjoy & Evolve ♥
🠗 🧙🏽♂️ randomized 🧙🏽♂️ 🠗
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HBO
Boardwalk Empire
Epic 1920s Gangster Drama Series [2010-2014]
Absolutely brilliant show! It’s like The Wire but for alcohol Prohibition ^^ starring Steve Buscemi
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Welcome comrades, to our maiden voyage into the tumultuous waters of civilizational prognostication! 🔮 ^^ It’s easy to be overwhelmed by the constant barrage of bad news. It’s easy to think humanity is hopeless. This is our first exploration into the possibility that everything can be different. We don’t have to delude ourselves with fantasies about why the future will be good. There are real reasons to be hopeful about where this planet is headed. 🦋 Utopian Cartography is a new podcast to explore those reasons, hosted by Neonn Felicity.
Scott Mills is a Transhumanist Activist & Social Scientist, a Geo-Political & Technological Analyst, a Non-Monogamy Communication and Life Coach, a Cryptocurrency Expert, & an all-around Progressive Futurist think tank. We met at Luminosity Gathering in Canada in 2017. We were both giving talks in the Metaphysics & Art space, and I was very impressed by his energy & his ability to apply profound insights from neuroscience & psychology to reinvent human social relations to embody a philosophy of radical love & radical openness. In the conversation you are about to hear, we discuss the path thru civilizational despair to becoming a utopian optimist, & how the only rational response to a world in crisis is to spread love & wisdom, as far & wide as possible. We are on the verge of human liberation, so get excited & enjoy the ride.
Scott Mills ▲ Facebook
UtopianCartography.com is an archive of evolutionary media, full of talks & music & books & movies (etc.), to shed light on the profound shift we’re living through on this planet, and how we can best respond.
Follow Utopian Cartography on YouTube, Facebook, Soundcloud, & Twitter
Categories: Interviews, Podcasts, Symposia, Utopian Cartography Podcast w/ Neonn Felicity
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Greg Harrison
Groove
Authentic Renegade Rave Dramedy Film [2000]
The following is a long-form movie review by Neonn Felicity. Usually my words are in this font/color & quoted official descriptions are in lavender, but I wrote 1300 words about this amazing film & wasn’t sure where to post them, & it would take up too much space to put them all here in that format. So here they are, at least for now! 😛
Vudu ($3) ~ Amazon Prime ($3) ~ YouTube ($4)
If you would like to see an authentic portrait of the rave experience, including the dialectic between the event producers and the rave police, watch a movie called Groove. Somehow, writer-director Greg Harrison was able to capture extremely nuanced aspects of the whole thing that every raver has witnessed and felt and laughed at again and again over the course of going to underground raves. It was by far the most accurate depiction of the way people act on ecstasy at raves that I have ever seen in my life. It shows the way people converse in the midst of the party in profoundly honest and healing ways that deepen and accelerate the development of relationships between siblings, long-time friends, lovers new and old, and people who only just met for a brief but important moment.
The characters all felt eerily familiar to me, as if I had met them in real life at real raves, to such an extent that I feel like they must be somewhat universal archetypes across time and space. Groove was produced a decade before I started raving, but so much of it reminded me of those early days when I first fell in love with this culture and converted to the neopagan rave religion and adopted the name Neonn.
They depict brilliantly the phenomenon of “renegade” raves in abandoned warehouses whose locations remain undisclosed until the night of the party, when there is a phone number that reveals an address to a “map point” on the outgoing voicemail message, and there is somebody at the map point giving directions to the party to ravers for $2. That’s the price.
Later on, the main dude who threw the party is asked, “Why do you do this to yourself? Don’t even get paid, risk getting arrested, for what?” And he says, “You don’t know?” “No.” “The nod.” “The nod?” “Yeah. It happens to me at least once every party. Somebody comes up to me, says, ‘Thank you for making this happen; I needed this; this really meant something to me,’ and then they nod. And I nod back.” “That’s it?” “That’s it.”
Groove depicts the DJs, the drug dealers, the tech people, the decor people, the event promoters and organizers, and the individual ravers in participatory attendance all as creating this immensely valuable ecstatic container purely for the love of it. They are putting on these wonderful epic parties because they actually love it so deeply that they are willing to do it not only for almost no pay, but at a material cost of the risk of fines, asset seizures, and jail.
This labor of profound love refutes the obsolete speculation about human nature that asserts that culture needs a monetary incentive to be produced, cultivated, maintained, and innovated on. Authentic rave culture does not operate primarily by the profit motive, and yet it is Evolving more rapidly than the consumer culture which is primarily motivated by profit.
If you need proof, just look at the memetic recycling going on in the endless remakes and spin-offs and derivative knock-offs Hollywood is constantly producing, and the nauseatingly vapid consumeristic bling bling pop music playing on repeat on every radio station across the country, most of which are owned by a few gigantic oligopolistic corporations who bought them all up after Bill Clinton signed the Telecommunications Act of 1996 deregulating—among other things—the cap on how many terrestrial radio stations a single corporate entity could own. Our anarchic neopagan culture is more emotionally and humanistically sophisticated, more imaginatively creative, and more genuinely innovative and future-oriented than that which money can possibly ever hope to incentivize. This film depicts that quite well.
I think that’s why Roger Ebert hated it so much. I haven’t read much of his work, but I know he was one of the most famous cinematic tastemakers in the country who got his start at the Chicago Sun Times in 1967, when the Establishment—the Leviathan—was in full-blown panic mode about the rise of the psychedelic counterculture, so I assume he made a name for himself hippie-punching all the way back at the beginning of his career. In that respect, I shouldn’t have been surprised at how offended he was by the portrayal of people having positive life-affirming experiences on drugs at a rave. That’s part of what was so special about that film!
Usually the writers and the studios are coerced by the ratings agencies and their corporate shareholders into never ever portraying “drug use without negative consequences” (except alcohol, because that’s, uh, different because, uh, it’s legal). There’s a lot of fascist propaganda machinery working behind the scenes to ensure that just about any time anybody does an illegal drug in a movie or on TV, something terrible happens to them. That’s incredibly dishonest, and it creates an extremely distorted and inaccurate public perception of what illegal drugs—in general and specific ones in particular—and people who do them responsibly and recreationally are actually like in real life, and what the actual risk-to-reward ratio is in doing them.
On the one hand, it undermines the credibility of people who sincerely care about preventing people from naïvely harming themselves in pursuit of a high, because by insisting that all depictions of drug use in the mainstream media be exaggerated scare stories where the moral of the story is basically, “Just say ‘no’ to drugs, kids,” nobody who ever does an illegal drug will ever listen to another word they say about the issue.
On the other hand, such systematically distorted depictions of drug use in our culture does infantilize the public about it such that most people are utterly trapped in a false understanding of—not to mention an impoverished appreciation for—the realms of conscious experience accessible to human beings given our extraordinary brains and our historical legacy of using them to invent shamanic mysticism and biochemistry and neuropsychopharmacology.
Groove showed me that psychedelic drug use—and all the quirky behavior it instigates in ravers, before, during, and after the party, from every different perspective within the intimate temporary ecstatic community—can in fact be depicted honestly, accurately, and authentically in film. It can be done. I always knew most of those other movies about psychedelics in general or raving in particular were slanderous, but Groove made me appreciate just how slanderous they were. Roger Ebert only got tricked into thinking this film was an inaccurate portrait of psychedelic culture because all he had was legitimately inaccurate portraits of it to compare it to. He drank the prohibitionist Kool-Aide, so apparently, he couldn’t recognize the truth in the art when he saw it.
In all the hundreds of raves I’ve been to, spanning over a decade now, with hundreds or thousands or tens of thousands of people at each event, I’ve shared dancefloor space with cumulatively millions of people at this point. Of all those millions of people I’ve raved with, I’ve only ever heard of somebody dying at an event I was at twice. In both instances, it was Prohibition that killed them. One died from an overdose of an obscure research chemical that was sold to her under the pretense that it was LSD. That would not happen if these drugs were available from legitimate sources and thereby properly accurately labelled.
The other died from a lack of proper drug safety education; she overheated on the dancefloor on MDMA after dancing for ten hours straight without taking a break to hydrate and cool off for a minute. If her high school curriculum had taught her to remember to take breaks from dancing and to drink lots of water if she is going to be taking ecstasy, she would be alive right now. It was not the drug that killed her; it was the misguided paternalistic impulse that decided it was better to keep her ignorant of proper safety precautions.
The cynic in me wants to say that prohibitionists keep those teenagers ignorant and those drugs unlabeled and unregulated on purpose so that some ravers will accidentally hurt or kill themselves at a rave, because it helps to validate their hysterical slanderous anti-drug propaganda when there is in fact a real horror story anecdote they can point to and exploit the public’s bias toward anecdotes over statistics, the vast majority of which say that on the whole, drugs are actually good! Most illegal drug use—especially of psychedelics—is perfectly appropriate and healthy, and provides people with intellectual curiosity, emotional catharsis, bodily pleasure, or even mystical transcendence. It’s good to finally see a movie that portrays that underrepresented aspect of my spiritual community. Fuck Roger Ebert.
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Peter Joseph
When Normality Becomes Distortion:
Reflections on a World Gone MadTZM Lecture [2013]
“This program will consider the quality of our beliefs, actions and intents within the overarching context of what supports good public health, prosperity and sustainability and what does not. The subjects of Politics, Economics and Religious Philosophy will be broadly considered, with one basic question asked: Are the dominant views of reality today and the values that arise from them sustainable for the species’ survival?”
“Peter Joseph is the creator of the world famous, award winning Zeitgeist Film Series and founder of the controversial Zeitgeist Movement which seeks to shift our social system into a more sustainable paradigm, Peter continues to focus on media related expressions, including music composition, performance & film production, each with the focus on affecting society for the better. He has also lectured around the world on the topics of social sustainably and has been featured in the New York Times, Russia Today, TedX and many other outlets.”
Categories: Lectures, Symposia, Talks, The Zeitgeist Movement
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🎵
PLANTRAE
Cinematic Downtempo Bass Producer
“☾ music for the middle of the night ☾
Booking: james@warpathgroup.com ~ Contact: plantrae@gmail.com
Seaweed Sect – @futurearchiverecordings“
Categories: Bass, Cinematic, Downtempo, EDM, Music, Psychedelic Bass
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Neonn Felicity Curations
💡 Philosophy 💡
YouTube Playlist
1/36
Capitalism & Slavery: The Truth They Don’t Teach You | David McNally & Clara MatteiWhy Smart People Abandon Social Life – Schopenhauer’s Harsh TruthThis video will only find you when you most need it.Myth, Tolkien, and Why You'll Never Look at Zelda the Same Way AgainAlligator Alcatraz and the Rise of the Secret Police: What YOU Can Do About ItThe A.I. Doomsday Theories That Will End The WorldGeo-Strategy#2: Christian Zionism and the Middle East ConflictChatGPT Is Becoming A ReligionNazis Never Left — They Just Rebranded. Here’s How They Took Over Mainstream Politics1/36Categories: Symposia
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Peter Christ
Has the War on Drugs Failed?
“Hell Yeah!”Philippe Matthews Interview [2015]
“Peter Christ retired as a police captain after a 20-year career enforcing drug laws. From the beginning, Peter believed “the drug war can never be won and it is doing more harm than good.” After retiring in 1989, Peter began speaking out publicly against that War. In 1993, he became one of the first members of “ReconsiDer”, one of the original forums on drug policy, involving speakers from many diverse backgrounds. Peter quickly developed into the group’s leading spokesperson, appearing at hundreds of venues. Peter then originated the idea of creating LEAP (Law Enforcement Against Prohibition – http://www.leap.cc/), a drug policy reform group of current and former members of law enforcement modeled on “Vietnam Veterans Against the War”. In 2002, after four years of Peter’s preparation, LEAP finally emerged as a viable international nonprofit educational organization. Christ is one of the most experienced of the LEAP speakers, having performed before hundreds of civic, professional, educational, and religious organizations, plus conducting television and radio interviews in dozens of markets. Peter speaks of the Drug War’s impact on: police/community relations; the safety of law enforcement officers and suspects; police corruption and misconduct; and the financial and human costs associated with current drug policies. These issues include the effect of drug prohibition on the judiciary, sentencing issues, prison populations and minority communities, as well as the usefulness of drug education programs in reducing drug abuse.”
Categories: Interviews, Podcasts, Symposia
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shlohmo
Experimental Ambient Downtempo Bass Producer
“Heaven Inc.” 🕷OUT NOW🕷 fofmusic.lnk.to/HeavenIncEP
contact – yasmin@lostmostel.com
booking – ehancock@paradigmagency.com“Categories: Ambient, Bass, Boom Bap, Cinematic, Downtempo, EDM, Electronica, Experimental Bass, Glitch, IDM, Left-Field, Lo-Fi, Music, Trip-Hop
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MC Jumanji
American Grime Emcee & DJ
“American grime artist in Miami, FL dedicated to bringing grime to the USA.”
www.mcjumanji.com – www.americangrime.com – www.mixcloud.com/americangrime – FacebookCategories: Bass, Dubstep, EDM, Grime, Music, Vocal, World Beat
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Peter Janssen
The Reality of Truth
Plant Medicine Documentary [2017]
“This highly provocative documentary explores the relationship between spirituality, religion, and plant medicine. Featuring top thought leaders including Deepak Chopra, Ram Dass, Marianne Williamson, Sri Sri Ravi Shankar, and hosted by Mike “Zappy” Zapolin, the film explores how to access the true reality through plant medicine, Ayahuasca and meditation. It includes first of its kind interviews with top spiritual gurus, celebrities, and people of all faiths, about this intriguing connection and their personal experiences with spirituality and transcendence.
Throughout history human beings have searched for gateways to spirituality that have included meditation, prayer and plant medicine. The Judeo Christian religions, Vedic traditions, and Shamanistic rituals all incorporate techniques focused on transcending the physical reality. These ancient techniques have been uncovered and are now available to society, enabling our ability to tap into our true reality and awakening.
Interviews with leading scientists validate the merging of spirituality and science. The worldwide awareness of the film is meant to break through the “illusion of reality,” and allow viewers to move forward toward a more meaningful and peaceful future. The filmmakers are conducting interviews with today’s thought leaders from around the globe, while capturing the culture and energy of some of the most spiritual places on earth, including Peru, Rome, Maui, Costa Rica and the Maharishi University of Management in Fairfield, Iowa. ~ https://therealityoftruth.com ~ http://www.PortalToAscension.org
Categories: Cinema, Documentaries, Interviews, Symposia
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Of The Trees
Psychedelic Bass Producer
“Booking: sahil@madison-house.com
Management: Jade Gaines & Jay Rogovin
jade@meraki-mgmt.com, jay@meraki-mgmt.com“Categories: Bass, Downtempo, Dubstep, EDM, Music, Psychedelic Bass
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Swordplay
King George
Melodic Existential Indie Pop Album [2019]
“Swordplay: “Dear George, this is the first album I have made for you, written in your name. Initially, I planned to call it Mythology, after a comment Rick made just before your funeral. That is, these ceremonies we hold to celebrate the lives of those we’ve lost, they are the first opportunities we have at building the mythology of our loved ones. That idea resonated with me then, as it still does, because death is transformative in ways that are unknown and defy biographical story-telling. We know you will always be more than the awards on your resume, or a mere recitation of the facts. Perhaps you are the clouds passing over Moscow as France takes Croatia in the 2018 World Cup on the day you left us. Or maybe you are the entire sky now. Through music and prose, I believe, all is possible. Even resurrection.
2018 was a nasty year for many of us. When Ceschi asked me if I could do an album for Freecember, I thought of all the collective loss built up in our shared community, and how enmeshed we are in our grief. As I write this, with the end of the holiday season almost in sight, I imagine I am not alone in my loneliness. Although this is your album, I wanted to make it for all of us. All of us who, like Ram Dass said, are just walking each other home. I think you would want it that way.
For the King, the Wizard, and the G, George Griffin Ramsey, May 16, 1988 — July 15, 2018”Categories: Acoustic Emo, Indie Pop, Music, Pop, Punk, Vocal
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“This is the FULL MOVIE! – The Internet’s Own Boy depicts the life of American computer programmer, writer, political organizer and Internet activist Aaron Swartz. It features interviews with his family and friends as well as the internet luminaries who worked with him. The film tells his story up to his eventual suicide after a legal battle, and explores the questions of access to information and civil liberties that drove his work.”
Categories: Cinema, Documentaries
