Above is an illustration of the Moebius strip as it given to the 3 + 1-dimensional human observer. It appears to us as a finite object in visual space, i.e., space that mediates light. But in its native 2 + 1-dimensional milieu, the Moebius structure would be experienced very differently. Here—as the lower-dimensional, sonorous counterpart of the luminous Klein bottle—it would constitute a sub-objective body of sound constellating the “elemental auditory powers” of the archetypal animal sphere. So the Moebius strip familiar to us as a finite object in our world of light can in fact be said to be a “shadow” of the anima cast from a world of sound.

In the previous chapter, I described a neo-shamanic self-signification exercise in which drumming and chanting of the “I” served to mirror human identity and to invite the appearance of the “alter-I,” the animal other. The presence of the anima might be further encouraged by modifying the exercise so as to create a Moebial body of sound.

The structure of the Moebius is related to that of the Necker cube: both are bodies of paradox that enact a coincidentia oppositorum, a union of opposing elements. Just as we were able to stereoscopically integrate opposing perspectives of the Necker cube, we can now attempt to create opposing auditory perspectives with a stereophonic rendition of the drumming practice. In listening to the drumbeat, the neo-shaman can move his head rhythmically from side to side, so that left and right ears alternate in receiving primary exposure to sound. In effect, this establishes mirror opposed auditory standpoints, creating the impression of listening stereophonically to the sound that is produced. If the player were to beat the drum faster and faster, synchronously chanting the “I” and moving his head accordingly, then opposing auditory aspects should eventually converge and interpenetrate to form a Moebial body of sound that would be “ecstatic,” since the echoing standpoints would be both distinct from one another and merged (i.e., they would be outside and inside of each other). And the neo-shamanic practitioner—caught up in the sonorous transpermeation of “I” as object and “I” as subject—would herself become ecstatic, beside herself, both out of her body and within. In this way, the spirit of the anima would be invoked and the neo-shaman transported to the realm of “elemental auditory powers.”

(back to chapter 6)