Montage: flashing back and forth from self to group; not simply self-absorption broken up and scrambled by participation in the group or with one or two members of it, but also through such flashing back and forth from self to group and group to self a sort of playground or testing-ground is set up for comparing hallucinations with the social field from which they spring. Hence the very grounds of representation itself are raked over.


Montage: the 'interior" scenes of dots and dashes of color and of phantasms, coming and going, death scenes, above all fragments of things - shiny blades of grass quivering under the rain, a tiny feathered segment of intricate pattern (the edge of a bird's wing, perhaps?), the quavering of yagé songs butting into the river's rush - all metamorphosing into memory images as the past gains force in its rush into the present "now-time" of the Jetztzeiten where time stands still as an image in which past and future converge explosively.

Montage: oscillating in and out off oneself; feeling sensations so intensely that you become the stuff sensed. But then you are standing outside the experience and coldly analyzing it as Bertolt Brecht so wanted from his "alienation effects" in his epic theater. Only here, in the theater of yagé nights in the Putumayo foothills, the A-effect, standing outside of one's own defamiliarized experience and analyzing that experience, is inconstant and constantly so, flickering, alternating with absorption in the events and their magic. Perhaps that is the formula for the profoundest possible A-effect, standing within and standing without in quick oscillation."

Michael Taussig - Shamanism, Colonialis…