Audio Files and Videos
To listen to these selected WMA audio files, click on the links (i.e.,
"click here"). Do the same for the videos.
MY NEWEST RECORDED INTERVIEW:
Recently, filmmaker Ashley Young conducted an over-two-hour
videotaped interview with me at my home. It has been divided into 14 consecutive
8-11-minute segments and includes a selection of my artwork prefacing most of
the segments. I haven't yet figured out how to make the hyperlink work here so
that you can simply click on the website to get to the interviews
you can copy the website, leave my website, and paste the address in to get to
the site. Or you can Google "Some Day Fire Productions". My
interview, in 14 parts, is the fourth set of interviews of different people
listed under Ashley's production catalog.
Talks and Interviews
In Fall 2008, I appeared on Alex Tsakiris' program "Skeptiko:
Science at the Tipping Point" (I also recommend his OpenSourceScience.net). To
listen to the 46 minute WMA recording of my interview with Alex, please click on
or go to:
Channeling & Extraterrestrials
The following interview
was informally taped with me (in a hotel room) by Thomas Tulien in 1993 following
Tulien having heard me give a presentation at the Third International UFO
Congress on the topic of channeling extraterrestrials. I had worked with Bob
Brown, Congress Director, to develop a whole day of the Congress devoted to
various channels known to be vehicles for communication from different
extraterrestrial sources and I led off the day with a keynote address on the
topic (video/DVD and/or audiotapes of all past 16 UFO Congress
presenters, including a second presentation I gave at the Congress just a few
years ago, are available from Bob & Nicole Brown, 6160 Firestone Blvd., Suite
#140-373, Firestone, CO 80504; (303) 651-7136;
Six years after this interview, Tulien started the Sign Oral History Project, an
archival repository of recordings of leading researchers and experiencers of the
UFO/Extraterrestrial phenomenon. This interview with me was originally
videotaped and I eventually may include the full videotaped version on this
website, but for now this is using only the audio portion. The first part, Part
I, is the sound portion from the first videotape (approx. 57 minutes) and the
second portion, Part II, is from the second tape (approx. 19 minutes).
Unfortunately, when I recently (Feb. 2008) listened to this material for the
first time since 1993, I realized that a considerable amount of material from
that interview is not represented here, since it does not happen to be on either
of the two videotapes I audio recorded from, because when the second tape (Part
II) picks up, it is clear quite a bit had been said but is missing here.
I've chosen this interview material with Tulien because it is a good example of my
tendency/ability to be able to become very smooth, rapid, and fluent (sort of
"superconducting"), which, depending upon one's point of view, reflects either
simply an ability to be able to compose and talk very rapidly, or may be a form of
"open channeling" as I define it in my book on channeling (i.e.,
allowing more of "Mind-at-Large" to come through the "reducing valve" of me into
and through my own local mind as its contents and my ability to bespeak them).
Part I begins with me offering some personal information about myself and then
moves on to talking largely about the channeling process as it relates to my own
experience and process and that of those purportedly channeling
Part I: to listen to
this WMA audio file (approx, 57 min.), click here.
Part II: to listen to this
WMA audio file (approx 19 min.), click here.
My "Lyrical Essays" or "Prose Poems":
Since around 1975, among my other kinds of writing I have
done, both published and not yet published, I have written approximately 50 of
what I call "lyrical essays" or "prose poems". I distinguish these from what I
call my "traditional" poems, the latter being published between
1965-1975 in small press limited-edition book form and in dozens of literary
magazines (including The Massachusetts Review, where a poem of mine won the
"Jennie Tane" award for best poem published in the Review that year, 1966, I
think). They tended to have been written in what is called "free verse" form
using relatively short stanzas and lines running from two or three to nine
words per line, with each poem ranging from eight or 10 lines to 150
lines. I stopped submitting my poetry for publication in the early 70s and have written few such "traditional" poems since (although when I do go back to this
kind of writing on occasion, I seem to be writing better in that mode than ever
before). But around the time I stopped writing traditional poems, I began,
though less often, to write these lyrical essays or prose poems. I plan to write
at more length and publish my thinking about this genre soon, but for now
here are just a few words in the way of introduction to the two sets of
selections from this writing that I read with musical background (below).
While a student at Brown University in 1971-72, I served as
editor of the Brown Literary Board, which was responsible for all student
designed, edited, and authored publications at the University each year. One of
the 1972 publications for which I was responsible was "Prose Poems", an
anthology of solicited, previously unpublished pieces, including a few of my
Depending upon one's perspective, a lyrical essay or prose poem is either a
kind of poetry that has no structure to it in the sense of poetry's expected
shortened line lengths, often obvious rhythmic meter and end-rhyming of lines,
and use of phrases and syntactic fragments, rather than complete prose-type
sentences; it appears to look like standard prose, running from margin to margin
in paragraph form. Or it could be seen as a kind of prose that strikes one as being very
poetic, with considerably more lyrical, rhythmic, imagistic, affect-rich,
metaphoric properties than would be expected in traditional expository,
transactive prose, which emphasizes content over form.
Over the decades, I've
kept my eye out for published literature that fits this description of
being a lyrical essay or prose poem. Clearly, much of the world's great
traditional religio-spiritual literature is of this genre. Quite a few 20th
and now 21st century novelists and essayists and other nonfiction writers write
their prose in this more carried away, inspired, lyrical, poetic manner. One of
my favorite examples of this genre is 17th century British 'metaphysical' poet
John Donne's "Devotions Upon Emergent Occasions", often referred to simply as
"Devotions" (Oxford University Press, Anthony Raspa, editor, Oxford University
Press, 1987), addressed to God during a life-threatening illness in 1623
and not intended by Donne to be publishable poetry in the manner of the poetry
he was known for in his lifetime. They're more like very personal prayers and beseechings, more akin to the Bible's Old Testament Psalms. If you are familiar
with Donne's Devotions, you may sense a similarity between them and certain
aspects of my own lyrical essays, below. It is my intention to eventually
publish these lyrical essays as a book, which would also include a CD of me
reading some of them.
20-25 years ago I took six of these pieces and read them onto a cassette tape recorder while l I had music playing
in the background coming from another nearby tape recorder (hardly a
professional recording studio situation). Part I, below, is the contents of Side
A of the 90-minute audio cassette tape, and Part II is the contents of Side B.
One other observation for now about
these lyrical essays: Every time I felt moved/inspired to sit down
to write one of these (these recorded selections range between 1978 and
the mid-80s), I felt like I was moving into a mildly altered state of
consciousness where there was no sense of effort or even of trying to think
about let alone compose the language involved. I never went back and changed a
word of anything; it simply just flowed to, or through, me as finished,
living, whole cloth. In this sense, these lyrical essays of mine may satisfy my
definition of "open channeling" as I have described it in my book on channeling.
Finally, if you have read any of my selected traditional-type essays, articles, and
papers on this website under "Publications," you will notice that some of the
same philosophical, metaphysical, and multidisciplinary concepts and themes are
in these earlier lyrical essays as are in the later papers.
1. "Faced With the Furniture of This Room..."
2. "Heart of Me, Where Are Your Hands...?"
3. "Substances that Words Cannot Attach to...."
4. "How am I my Creator....?"
listen to this WMA audio file (approx, 35-40 min.), click here.
5. "Central Being, Bear with the Complexity...."
6. "I am Ashamed of What I have Done...."
listen to this WMA audio file (approx, 35-40 min.), click here.
On his Newworldview website, Paul M. Helfrich has placed a recent
set of four video files that you can click on in order and view and hear
the presentation I gave at the most recent Colorado Seth Conference. You will find the set of four files under
"'Reality Creation and
Quantum Idealism' by Jon Klimo, Ph.D. (from the Colorado Seth Conference-- Sept.
15, 2007)." The 79-minute presentation is divided into four files (17:56, 22:01,
20:53, and 18:17) and can be viewed and heard via either Windows Video
(broadband) or Real Video (56K).
Most of you probably know that "Seth" was the
"entity" channeled by Jane Roberts and published in almost two-dozen books
starting in the 1970s. I often refer to Seth as my favorite channeled entity.
Seth was especially well-known for his recurrent topic, that we create our own
reality. Seth, through Roberts, very articulately elaborated and revisited this
theme starting in 1971, years before it was repeated and popularized by numerous
other channeled sources and just plain old incarnate fellow human spirits.
In my video presentation (below) I draw from Seth's/Roberts'
words and show the relation between that material and my own earlier writings
and presentations related to such reality creation that are part of my two
inter-related theoretical orientations developed over the past 25 years:
"Cosmological Dissociation" and "Idealism", and what I call "Quantum Idealism"
in particular, and how the quest (both religiospiritually and scientifically) to
overcoming our cosmological dissociation can now be reframed as a process of
overcoming our quantum decohorence. Most of my papers on this website address
these foci within a framework that all that exists is a
single quantum coherent universal consciousness field (an idealist viewpoint)
within which we physically embodied human beings with our respective seemingly
separate consciousnesses can be seen to be what I call relatively cosmologically
dissociated systems (like sub-personalities) of the one Universal Being.
the process of overcoming our respective kinds and degrees of this dissociation
will allow us to evolve ever closer to eventual identity or unity condition with
that Being, which is our source, creator, sustainer, and ground, both in its
Creator and Creation aspects. In the past ten
years, I have reconceptualized this view in terms of us humans being relatively
quantum decoherent systems operating within what is underlyingly one quantum
coherent all-containing universal consciousness field and that the closer we
individually come to a state of quantum coherence (like a "Bose-Einstein
Condensate") within our universal counterpart and parental ground, the more that
a condition of being in quantum coherent resonance will allow us to partake
of the potentiality of our subsuming creator and sustainer. Again, much of
my writing on this website (planned to be soon published in book form) goes into
much more detail on this.
So, here is the website through which you can view and hear my
Seth conference presentation:
Video Most Recently Added (6/13/08):
A couple of years ago, Mel Van Dusen interviewed me for his local
San Francisco Bay area television program. Please click on the following website
address to see and hear this 29-minute interview in its entirety:
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