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Thesis by Rachel Pinti

Attempting to Communicate the Ineffable: An Autoethnographic Approach to Mysticism

Abstract

     Psychologist William James, a pioneering figure in the modern discourse on mysticism, examined individual religious experiences by conducting empirical research through a transpersonal psychological lens. His book, The Varieties of Religious Experience, documents this work by including numerous accounts of many different persons’ spiritual encounters. In my autoethnographic project, I draw primarily on James’ work as I explore deepening understandings of two of my own mystical experiences—both of which had all the qualities consistent with what James outlines for mystical experiences: “ineffability,” “noetic quality,” “transiency,” and “passivity.” Using autoethnographic methodologies, I interpret my mystical experiences in ways that go beyond text-based analysis and empirical logic, and work to communicate them through sculptural art, image projection, and sound production. Ultimately, I situate my personal account within James’ literature, finding that while the mystical state is impossible to capture with absolute accuracy, the effort to communicate the experience is worthwhile as we understand and reimagine the ways altered states of ecstasy offer sites of healing for ourselves and, ultimately, our cultures.

Senior Seminar Exhibition - Audio by Rachel Pinti

Introduction

     My first mystical experience occurred in childhood, although at the time I did not yet have the tools to categorize and understand the experience for what it was. It was a moment of profound revelation that, even in my still-developing mind, was able to wash over me and hold me in a way that was both foreign and familiar to me. I will relate this first mystical experience but know that my feelings then fall in step with “the trance-like states of insight … which all religious mystics report,” and there exists a poverty of language where syntax falls short of capturing my state of being in that moment.

 

     I am lying in my childhood bedroom on Ferndale Road, the bedroom with the red carpeting. I am having trouble falling asleep. I imagine a farm with vast plains, rolling hills, and wind that blows through the grass. On this farm sits a red barn with double doors and white trim. In a repetitive pattern that resembles the exercise of “counting sheep,” I begin to take note of all things on this farm until I am relaxed enough to sink to a state of soft slumber. “A pig with a big round belly that is soft-pink in color,” “a wooden fence that traces the farm’s perimeter,” “a farmer in a straw hat, denim overalls, and a plaid flannel … there is a piece of hay hanging out the side of his mouth …”

     Suddenly, I am overwhelmed with an unsettling sense of fragility. I am all-too aware that there is me. There is only me. There is only one of me, a single Rachel Pinti on this earth with this body and this mind. How frightening to think that there is no “do over” for my very existence on this planet.

     Then, just as suddenly, I am immersed in a state of absolute comfort, as if I were embraced by something warm, something dear, something like home. In that moment, that frightening sense of dark isolation met the beaming light of knowledge that there is me. There is only one of me, a single Rachel Pinti on this earth with this body and this mind. I am Rachel. Oh, how God must love me, that He made His one and only Rachel.

     Now, all things are One.

 

     I cannot remember the events immediately following this experience, although I assume I slept soundly that night. Very clearly, I remember my experience on that night was ineffable, one that I could not begin to describe to any listening ear. I kept that night a secret for myself only to try and recreate the circumstances of this experience as I aged, like some sort of science experiment I could repeat for patterned results. I envisioned the farm and other similar settings on several nights. I tried to focus myself, to concentrate during my family’s long drives to visit our extended family in Ohio. I thought of other animals—perhaps a mighty tiger would conjure the same feeling that the big-bellied pig did. But, alas, never in my life have I achieved the sensation that that particular mystical experience brought me. Virginia Woolf writes about a similar moment in her childhood, a recognition of “self,” and the lasting impression it leaves: “I am hardly aware of myself, but only of the sensation. I am only the container of the feeling of ecstasy, of the feeling of rapture. Perhaps this is characteristic of all childhood memories; perhaps it accounts for their strength.” Indeed—it sustains itself a powerful memory to me.

     My second mystical experience happened on March 1, 2022, on the move-in date for my new apartment in the city of Buffalo. During this time, I was dealing with a number of stressors that went beyond my life as a worker and as a college student. My mother had just been diagnosed with ovarian cancer, had just lost her job, and her sister, my aunt, was about to lose a long battle to cancer herself. My roommate—my longest friend from elementary school whom I will refer to as “Anne” for this paper—and I were unable to renew our previous lease due to property damage caused by Anne’s pet, a rescue dog with severe separation anxiety. At the time, Anne had a boyfriend who seemed to intimidate and sexually target me and my then-girlfriend, whom I will call “Jane” in this paper. Jane had just experienced a tragedy of her own. I will relate the night of this second mystical experience, one that occurred during a time of intense anxiety and despair. Around 11 p.m., after moving in and hauling furniture to the new home, Anne and Jane offered me edible cannabis. I consumed about ½ of the gummy. As with my first experience, no words accurately capture what transpired.

     I am in my brand-new apartment. It has cavernous 12-foot ceilings and dark woodwork. I am sitting on the couch beside Jane, my girlfriend. Anne, my best friend and roommate, is sitting before us on the matching ottoman. Jane and Anne are clearly stoned. They move lethargically and look on with heavy-lidded eyes. At first, the effects of this edible are bringing me to some unique state of humor. My thoughts are alert and quick, like I am bringing hilarious insight to the mundane occurrences of life. I am pleased to know that Jane and Anne find me so funny right now.

     In this moment, I am becoming increasingly aware that my thoughts are moving faster than my mouth can spit out jokes. I envision a scene from The Incredibles (2004) where the character Dash, gifted with the superpower of speed, is running through a jungle and away from the bad guys. He is coming up on a large body of water. He recognizes it is vast, open, something that will sink him, yet he cannot stop running. I am amused with myself, amused that I am imagining this scene from an animated movie made for children. I try explaining to Anne that my inability to keep up with my own thoughts reminds me of this scene she ought to remember.

     I start to speak and realize I cannot string together a coherent sentence. I am so overcome with the embarrassment of my own physical ineptitude that suddenly I am overcome with sadness. I am distressed. Unlike Dash who finds he is moving so fast that he can run on the water, I am sinking into it.

     Then, my thoughts reverse. I remember that I am high and that was a silly thought.

     Then, my thoughts reverse. I remember that I cannot keep up with myself. I think, “Have I ever been able to keep up with myself? All this thinking I do, all this talking I do, and I cannot say with certainty that I am a girl.”

     I remember that I am high and I think that was a silly thought.

     Then, again, I remember that I cannot keep up with myself. I start to attack or antagonize my own self in that moment. I think that I am something pathetic, something unable to perform. I am reminded of all the times I could not perform, of the times I fell short as a partner, a lover, a friend, a sister, a daughter.

     A daughter. I’m crying.

     While I cannot speak sensibly, these thoughts are so intense and so powerful that my facial expressions are changing at a rapid-fire pace that Anne would later describe to me as “cartoonish.” Smile. Frown. Laugh. Cry. Weep. Deep and breathless weeping.

     I cover my teary face with my palms, desperately grasping for the sentence, the signal, something that might tell my two loved ones there that I need help. I rip my hands from my face and feverishly look back-and-forth between Anne and Jane.

     Anne. My longest friend, Anne. In this moment, she looks intensely beautiful. Her concerned gaze is so penetrating that it illuminates the state of emergency I am in. She rests a hand on my arm.

     Jane. My lover, Jane. I do not like looking at her right now. Her stoned face and heavy eyes make her look apathetic. Jesus, does she not get it? Why doesn’t she get it? She is not coming close to meeting me where I am and … oh … I don’t think she will. I find her frightening. Her face doesn’t look like hers anymore. Jane is now a stranger to me, one with a demonic expression that seems to be the antithesis of Anne’s rescuing and angelic look.

     Something reaches inside me and takes hold of my heart with a white-knuckle grip. There are flames in my chest cavity. I am in so much physical pain that I am now writhing on the couch. It feels like there is something within me so large that my body cannot contain it and, God, if it were not for this skin and these bones, I could just be free.

     It is as if God and the Devil are at war within me. Good versus Evil, and I am powerlessly standing inside myself as a bystander to these titans.

     I look to Anne in desperation. Certain words uncontrollably fall from my lips. I recite them to her in a way that feels more like they originated from reflex than from thought, a way of speaking in tongue: “Anne, I love you. I love you. I love you. I love you. I love you. I would do anything for you, you know that? I love you. I love you so much. You’re my best friend in this whole world. Do you think I’ll make it? Am I going to make it? Tell me I can get through this, please. Please. Please.” She assures me I will see this through.

     My back arches and I yell out with great force. With all my weight on my feet and my head, I look out the window and into the apartment building next to mine. I have an upside-down view of the window next store, the one with the light on. I hope my neighbor sees me. I hope she comes over to rescue me.

     My chest is so tight and the pain so excruciating that I think I need to be taken to the hospital. I’m afraid I might die. This war in me is so much bigger than I can handle, and all I can do is watch from within.

     Then, suddenly, I have an outer body experience. This is the climax of it all. I am standing over my body. I see myself lying on the couch between Anne and Jane.

     I see light shine from my eyes and my mouth in ray-like beams.

     I sit up. The terrifying thought weighs on me that I witnessed a war between God and the Devil, and God lost. Goodness lost. Light was expelled from my own body. It came out of me. I think that if I made it this far, and God lost, I do not want what is next.

     My mom will know what to do.

     I call my mom around 1 a.m. I tell her about the gummy, about Anne and Jane, and that I need her help. She is a nurse and suggests I eat something to expedite the digestion of the drug. She’s right. I need this to pass.

     Anne brings me a bagel with peanut butter. My first bite and the bagel hardly seems edible. I chew it over and over but cannot seem to make it the consistency soft enough for me to swallow. I spit it out onto myself, in a way that Anne would later share “reminded her of an infant.” I take another bite hoping this try is successful.

     “Oh … that’s right … goodness left me. There is only evil left,” I think. I am overwhelmed imagining that within me there is an evil invader. My mind foreshadows a reality where I swallow the bagel and choke on it, the works of the invader to kill my own self. I spit out the bagel again and tell my mother I cannot eat it. I need her to come to me.

     Mom assures me that she is on her way. Seeing the time tick by on the phone call helps anchor me to reality. I know we live 30 minutes apart. The work of Evil in me makes me think that I am hallucinating this phone call. I worry mom will never come. I ask her repeatedly: “Where are you? What road are you on?”

     Finally, when I thought this whole time that my mind and my body were at odds, that I was unable to keep up, I can hear my mom’s footsteps outside the door at the same time I am hearing them on my phone.

     This call was real. Thank God, this call was real.

     In beautiful unison, I hear my mom open the door, the sound echoes through my phone, and thank God I can see her face. I can see her. She is here.

     “Jane, Anne, you see her, right? She is real?”

     “Yes, Rachel, your mom is here,” they say.

     When my mom arrives, Jane and Anne go to the bedrooms to sleep. I ask my mom to stay there with me, to hold me, until this wears off.

     For days after, I was empty and in some severe depressive state. I could no longer listen to music, nor sit with the lights on. While I understood I was coming down from an intense high, I took seriously the deep-rooted fear that that would be my mindset from thereon out. I really believed that Good lost to Evil that night, and it felt as if goodness was no longer a part of me.

     I discussed these feelings with my father and with one of my professors in the Religious Studies Department at Niagara University. Each in their own way helped me to process the mystical experience. I took away the following:

  1. In that battle, Goodness did not lose to Evil. Light was not expelled from my body leaving only darkness behind; rather, light erupted through me in a state of climactic ecstasy. Pure relief came over me, and the knowledge that I needed more help. It brought with it the good sense to call on my mother.

  2. While the second mystical experience was more intense and more bodily than the first, I ought to keep in mind the revelation of my first experience. This happened to me. There is only one of me, a single Rachel Pinti on this earth with this body and this mind. No one there understood that night. No sentence, no signal, nothing could capture my encounter with something beyond us, something cosmic, something divine.

     As I worked to understand these experiences further, I conducted autoethnographic research intended to explore beyond the boundaries of empirical logic, setting my work in dialogue with the writings of psychologist William James, a pioneering figure in the modern discourse on mysticism. James writes of the compelling nature of those “feelings of reality … [which] are as convincing to those who have them as any direct sensible experiences can be, and … much more convincing than results established by mere logic ever are … [if you] have them at all strongly, the probability is that you cannot help regarding them as genuine perceptions of truth.” Through sculpture, music, writing, and arts-based data analysis of autoethnography, I examined the phenomenon of losing control and total self-surrender to a higher, spiritual power. My work explored communicating spirituality through art. Where words failed to capture my religious encounter, I hoped to create an experiential mixed-media presentation that helped bridge such a communication gap.

Literature Review

     While critics might argue that being high on drugs altered my perception of the event from earlier this year, my research approach and analysis reject the impulse toward medical materialism by drawing on psychologist William James’ investigation of the varieties of religious experience. In his book, James critically examines these impulses towards medical materialism, finding that scientific rationality reduces the power of mystical events. He writes that “medical materialism then thinks that the spiritual authority of all such personages is successfully undermined.” For James, rationality is “just one mental state in a much wider spectrum of consciousness” and, conversely, moments of ecstasy are “moments when the ordinary ego dissolves and the larger subliminal mind comes into consciousness.”

     Keeping these impulses towards scientific explanations at bay, William James transcribes interviews with mystical persons and notes four consistencies among all their reports. First, there is the quality of ineffability, on which James writes that “the subject of it immediately says that it defies expression, that no adequate report of its contents can be given in words. It follows from this that its quality must be directly experienced, it cannot be imparted or transferred to others.” Second, there is the noetic quality of a mystical experience. James writes, “They are states of insight into depths of truth unplumbed by the discursive intellect. They are illuminations, revelations, full of significance and importance, all inarticulate though they remain, and as a rule they carry with them a curious sense of authority for after-time.” Third, mystical experiences have a transient sense of time to them. Fourth, those who experience these states are often passive. He adds, “Although the oncoming of mystical states may be facilitated by preliminary voluntary operations, as by fixing the attention, or going through certain bodily performances, or in other ways which manuals of mysticism prescribe … The mystic feels as if his own will were in abeyance …” Thus, the four characteristics of mystical experiences are made clear: their ineffability, their noetic quality, their transience, and their passivity.

     While many of these experiences share these four characteristics, these states also bring a transformative quality for those who experience them. Mystical states cannot be accurately captured with words, but some memory of their content remains, as well as a profound sense of their importance. James writes, “As a matter of psychological fact, mystical states of a well-pronounced and emphatic sort are usually authoritative over those who have them.” I position my story with this notion of mystical transformation, that these experiences inspired artistic creation and academic investigation so that I might better understand the experiences themselves, and what place these ecstatic experiences have in the world.

Autoethnographic Methods:
Narrative and Arts-based Analyses

     With a desire to deepen my understanding of my two mystical experiences, I settled on autoethnographic research. Autoethnography stems from the field of anthropology, and it “shares the storytelling feature with other genres of self-narrative but transcends mere narration of self to engage in cultural analysis and interpretations.” Within autoethnography, there is the method of “narrative analysis” which is conducted by way of interviews, journaling, and memory recollection to decipher surrounding events, thematic ideas, and emotions. There is another autoethnographic methodology I draw on in my research: arts-based data analysis. In her scholarly article, “I’m Interested in Autoethnography, but How Do I Do it,” Dr. Robin Cooper explores the value of arts-based data analysis. She recognizes that a challenge for autoethnographic researchers is being so close to the data and, consequently, an arts medium can help distance the researcher. This distance prompts reframed analysis, memory recall, and refined meaning-making of the events at hand. I synthesized these approaches to deepen my understanding of the events, to situate my story within James’ work, and to find what broader cultural value mystical experiences might offer.

Interview with My Mother, Maria Pinti – June 5, 2022

     Me: “What can you recall from the night of, or from the events after, me taking the edible with [Anne] and [Jane] on March 1, 2022?”

     Mom: “It was clear you were high. I remember you called and said [Anne] gave you a weed gummy. You were in distress when you called and said you felt under a lot of pressure with the apartment, with school, with work.”

     Me: “Did anything strike you about my physical or mental state?”

     Mom: “Yes. You said you thought ‘something was going to happen to you’ and that you might need to go to the hospital. You needed me to come down right away and wouldn’t let me off the phone. I had to repeatedly assure you that I was still coming. I got there around 2 a.m. I think, and you were wondering if the people in the apartment next door could see you. You were so worried that [the high] would not wear off. I remember you spoke about God that night, but it didn’t make any sense to me.”

     Me: “What do you remember about [Anne] and [Jane]?”

     Mom: “I remember you seemed to make snide comments to [Jane], and you said that the things [Anne] was telling you were helpful. The two of them seemed sober to me. When they went to bed, I hugged you and you didn’t want me to let you go, so you fell asleep on top of me on the couch. Dad also called when I got there, and he stayed on the phone while you slept. I left later around 6 a.m.”

Interview with My Father, Daniel Pinti – June 5, 2022

     Me: “What can you recall from the night of, or from the events after, me taking the edible with [Anne] and [Jane] on March 1, 2022?”

     Dad: “Of course, mostly what I remember is being worried. I remember seeing you the next day on campus, and you seemed drained, fragile, and definitely like you had gotten passed whatever you went through but still trying to hold it together.”

     Me: “Did anything strike you about my physical or mental state?”

     Dad: “I remember you talking about it in detail in my office for the first time, and you sharing your sense that there was something ‘supernatural’ going on in it. You gave voice to some rather dark or frightening visions. The part of the conversation I remember most clearly—apart from you getting very emotional about it—was the fear that what if, in the experience, something ‘bad’ might have entered into you. I remember suggesting that it sounded more like the fear or the emotional pain of it all was from letting you go of something ‘bad,’ and that perhaps this was opening you up to something.”

 

     My parents were worried about me then, but through these interviews, I was able to corroborate our stories and draw the following conclusion: the “battle inside” that I felt on the night of March 1, 2022 was palpable and long-lasting for my psyche. Good and Evil were the fundamental components to that experience, and I wondered if art might help me communicate the juxtaposition between them.

     To tell a story, words are added onto each other and linear sentences are formed (i.e. “this happened,” “then this,” etc.). Where James said that, for mystical experiences, “no adequate report of its contents can be given in words,” I wondered if I could communicate it through art. In one space, I could have the story of my first experience and the story of my second. I could stimulate the senses in ways that went beyond text, like how my body was under the influence of a drug. I decided to create, and I kept a journal of this artistic process. The first page shows a sketch of what I envisioned for the communicating of my mystical experiences. I elaborate on the three presentation elements: “The Lamp,” “The High,” and “The Projection” (Figure 1).​

Figure 1
  1. The Lamp – symbolizes my first mystical experience. I write, “The lamp is the First, the Light, and the component through which the second pedestal is to be interpreted.”

  2. The High – symbolizes my second mystical experience. I write, “Good/Evil; God/Devil; two unlike things exist on the same plane—a dark contorted sculpture and a streamlined incense burner—yet the smoke ultimately rises above it all (Good wins).”

  3. The Projection – symbolizes the ineffability of mystical experiences. I write, “The wall shows only shadowy projections of the [art] and not the [art] itself.”

     Keeping in pace with the transformative quality offered by mystical experiences, where a “profound sense of their importance remains,” I knew I wanted a medium that would be long-lasting. I decided to create these sculptures with ceramic clay, a medium that is inherently more permanent than a drawing, a painting, and many other kinds of visual art. While at first a ceramic piece might be seen as fragile, it is noteworthy that ceramic art is an ancient practice that utilizes a natural medium for the purposes of creating a lasting and functional piece. When softened, clay requires the artist to really dig in, to be hands on, to work it out, and to let a form take shape. For me, ceramic art was a medium that pushed me out of my creative comfort zone and forced me to lose control, to surrender to the forms the earth wanted to take, so that I might create vessels that last for centuries.

     In a way, the process of creating each form reflected the mystical experience that each form symbolized. The lamp, for example, which represents my childhood mystical experience, was spun on the potter’s wheel (Figure 2). It was a more mesmerizing technique than that of the slab work I did for the incense burner (Figure 3). “Slab work” is a technique that involves molding a piece of clay into shape. Since the incense burner represents one side of my “inner battle” from the night of March 1, 2022—Goodness—I find it no coincidence that it was a form I had to laboriously roll, flatten, cut, mold, and carve. Moreover, I felt I physically battled with the other piece, “The Abstract,” which represents the evil side from that night (Figure 4). Of all three pieces, The Abstract is the only one made from polymer clay instead of ceramic clay. While this was originally a structural choice because polymer clay is more light-weight and hardens at lower temperatures, the polymer clay, coupled with the shape of the sculpture, was something I quite literally wrestled with to make its contorted and mangled appearance. When adding color to the two ceramic pieces, I could dip and pour glaze over the forms with ease. When adding color to the polymer clay piece, I was forced to view the structure from every angle by picking it up, turning it over, and was sure to cover each and every crevasse with paint color. Ultimately, The Abstract is separate from the other two sculptures for its strikingly different appearance. The Abstract does not have the more streamlined look of the other two pieces, nor is it functional in nature. The functional ceramic pieces, the lamp and the incense burner, are cohesive in color and material, and represent the better parts of my mystical experiences.   

     At first, the process was long and difficult. I was over-committed to design elements that I could imagine and draw on paper in 2-D form, only to find them difficult to translate onto a 3-D surface. I was so frustrated by the process that my mentor, ceramicist Jessie Len Weiss (they/he), had to remind me that ceramics is not the art medium to control. It does not offer the precision of a pencil, and with the pressure of thousands of degrees of heat, anything could crack, warp, or explode on a whim. I took this advice and ran with it, ultimately deciding to make designs that came to me in that moment and that were not pre-planned. I carved nonsensical lines into the clay and freely poured glaze onto the vessels. It was an artistic process that more closely resembled the mysticism itself: an experience that didn’t go as planned, one that I wasn’t searching for.

     This unplanned approach is something I kept in mind when creating the music. I added to the piece as I went and created a musical narrative about ten minutes long that, over time, began to resemble different moments of the night from, and from the events following, my mystical experience on March 1, 2022. I made this music on GarageBand by looping together tracks that were ambient in sound, imprecise and more organic. For example, vibraphone cords at the beginning wash into the following bass sounds, and it is hard to keep track of exactly where sounds start and where sounds end. Around two minutes in, the vibraphone loops come in and fall out between bars of higher glockenspiel-like sounds that crescendo and decrescendo. This back and forth between the musical themes becomes shorter and shorter, until each theme only gets one bar to speak. The first three minutes resemble the initial reversing of my mindset while high: “Then, my thoughts reverse. I remember that I am high and that was a silly thought.”

     When creating this musical narrative, I decided to include a section that resembled the words “uncontrollably [falling] from my lips” to my friend, Anne. Consequently, around three minutes in, a quick-paced vibraphone voice comes in. Later, heavy and foreboding piano chords play, which are cut by high-pitched and dissonant piano chords around four minutes through. Since these chords are dissonant, the music might not agree with a listening ear. It is a moment of musical tension and stress in the piece. This stress is relieved halfway through the piece, where all looping cuts out, and the listener hears only the meditative sounds of binaural beats. When the beat comes back in, the piece takes on a more positive, propelling, and forward momentum to the end.

     Art and music were ways of “unselfing” or, as Jules Evans describes in The Art of Losing Control, the moment “our consciousness expands beyond its usual self-obsessed anxiousness into a more peaceful, absorbed, transcendent state of mind.” He writes, “All of us need to find ways to unself … The self we construct is an exhausting place to be stuck all the time.” Communicating my experiences through ceramic art and with music reminded me to surrender to whatever the form ought to be, whatever color was to come out, however the music came together, and to understand that the process of creating is itself a unique way of meeting a more peaceful, absorbed, and transcendent state of mind.

Results

     Art was a worthwhile form of communication for me, and it was a process that reminded me of the value of losing control, of opening myself up enough to be taken somewhere. It helped me to reimagine these mystical states in ways that I could grasp again, ways that did not drive me mad in search of “just the right words.” I believe that art helped me to communicate my experiences in a new way, but not in a way that captures the sensations of the experiences themselves. Ultimately, I situate my personal account within James’ literature, finding that the mystical state is impossible to capture with absolute accuracy. However, the effort to communicate the experience is worthwhile as we understand and reimagine the ways altered states of ecstasy offer sites of healing for ourselves and, ultimately, our cultures as we all search for ways to “unself,” and to go beyond the ego. Dr. Joseph Little describes a similar feeling regarding the communication of his own mystical experience. In his book, Letters from the Other Side of Silence, he writes, “I know I need to reach for language to come to some crust of understanding of what happened …”

Discussion

     The stories of two of my own mystical experiences resemble the accounts shared in James’ book, The Varieties of Religious Experience. My experiences were ineffable, had noetic qualities, were transient in time, and I was passive in their occurrences. My analyses of these events are also consistent with James’ psychological approaches: I reject the impulse towards medical materialism and I recognize the transformative quality of the experiences. This transformation manifested itself in artistic creation and academic research that helped deepen my understanding of the experiences. Through narrative and arts-based analyses, my autoethnographic research allowed me to compare memories of the events, and to reexamine and recommunicate the events through new ways of creative expression. While I situate my personal account within James’ literature, I find the effort to communicate the experience worthwhile and yet another representation in the world of ecstatic states. The transformation my mystical experience brought me revealed the power of the human mind to transcend states of rationality, and the power of surrendering to something bigger than myself, something bigger than “the personal.”

References

*Please note that the original footnote citations were not supported on a website format.*

Joseph Little, Letters from the Other Side of Silence. (Homebody Publications,      2017).

Jules Evans, The Art of Losing Control. (Edinburgh: Canongate Books, 2017).

Rachel Pinti, “Senior Seminar Exhibition – Audio,” YouTube. 2022.

     https://www.youtube.com/watch?v=6LBZmP-jnUY.

Robin Cooper & Bruce V. Lilyea, “I’m Interested in Autoethnography, but How         Do I Do It?”

The Qualitative Report, 27, no. 1 (2022). https://doi.org/10.46743/2160-                     3715/2022.5288.

Virginia Woolf, Moments of Being, “A Sketch of the Past.” (Harvest Books,               1972).

William James, The Varieties of Religious Experience. (New York City: Penguin         Group, 1985).

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