Journal of Holistic Psychology
Biographical Articles
Volume II
Dedication and Foreword (Dedicated to Dr. Eugene Taylor)
"As a prominent voice in making the case for a growth-oriented dimension to personality, Eugene wrote passionately on James’s philosophy of radical empiricism, the phenomenology of consciousness, the mind-brain relationship, spiritual growth and transformation, and the history and philosophy of existential-humanistic and transpersonal psychology. He helped to preserve the experiential orientation and redefine the purview of Western psychology from its 19-th Century definition of the physical sciences based on Newtonian, Kantian, and Aristotelian models of science that have prevailed for the past one-hundred years, to an experiential, existential-phenomenological, psychodynamic, person-centered science. Eugene’s message to psychology regarding the science of consciousness, psychology as epistemology, the phenomenology of the science-making process, and the humanistic implications of the neuroscience revolution continue to guide my work. Science needs grounding in self-reflection, contemplation, and an embodied approach to experience that is unrestricted to the study of behavior and a phenomenologically-oriented psychology that is foundational to the sciences."
Volume I
"I feel a very deep spiritual and musical connection with Nick, the closeness of which rivals many close relationships I have in my life. As a fellow musician, I have found great joy and satisfaction not only listening to his music, but also spending many careful hours transcribing and learning to play his complex and technically demanding songs. When I first learned of him and his work, it was like stumbling on a long lost catalog of songs that someone had written specifically about my soul. Through his music, I feel a strong kinship with Nick's spirit, despite the chronological and geographical distances that separate us temporally."
David Lynch: Eagle Scout, Missoula, Montana
"The relationship between lightness and darkness (conceptually), light and dark (physically, as in paintings and films), shadow and light (psychologically and spiritually), is prevalent in every conceivable area of Lynch’s life. When interviewer Rodley asked him why or how it is that he has always been “comfortable” with the darker side of his psyche, Lynch responded, “I have no idea. I’ve always been that way. I’ve always liked both sides and believe that in order to appreciate one you have to know the other—the more darkness you can gather up, the more light you can see, too,” (p. 23). But is he talking about psyche or art? As with his films, one can only guess—perhaps both."