Pound & Joyce supplement each other
like Jefferson & Adams
each created a NEW non-aristotelian
language
for the tale of the tribe–Robert Anton Wilson,
tale of the tribe, 2005. (Maybe Logic Academy Class)
Category: James Joyce
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Nunn ArisTTOTTelian
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Finnegans Wake as "the "headless One" "The One with no Beginning"?
Just musing, and came across the bornless rite and went straight to the wake as…the ONE with no beginning?
x
steve flyIn its original form this ritual is very old. Many of the “barbaric names” used in it are from the Ancient Egyptians. Others are to be found among the Greek Gnostics. Most of the more identifiable ones are from Merkabah Qabalah. In the original form, “The Bornless One” is called the “headless One” — meaning “The One with no Beginning”. The original form of this ritual was used for exorcism, but this and other later forms have been used to attain the Knowledge and Conversation of the Holy Guardian Angel.
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tale of the tribe and the sirius mystery
The tale of the tribe contact high.
Fuck off, and welcome to another installment of my blog–a tale of the tribe–that aims to offer a resource of specific information related to the great complex and generally hidden project (unfinished) tale of the tribe, by the late Robert Anton Wilson.
Since a recent positive explosion of interest in Robert Anton Wilson across the United Kingdom due, in part to the brilliant book by John Higgs about the the KLF featuring much RAW wisdom and context for a UK audience. Plus, the Cosmic Trigger stage play looks to make agents sweat when it launches in Liverpool, November 23rd 2014. Revisiting Cosmic Trigger the book, the current author was bowled over again by gazillions of new connections, and a new deeper love for RAW and his life story, and a willingness to look at the tale of the tribe from a new angle, which sets the basis of the following piece of writing i gathered onto the paper page a few hours ago, here in Vondel Park, Amsterdam.
Fire!
xpg. 1
TTOTT and the Sirius mystery
what if
RAWs great unfinished symphony
the tale of the tribe
were more than a guide to 13 of
the greatest human minds
who helped humanity find
peace
through communicationwhat if
TTOTT
were also a guide to contacting
higher intelligences
from alternate dimensions
or wherever
what if the tale of the tribe
were really a key
to the sirius mystery
and itself a cosmic trigger?pg. 2
take Girodano Bruno
his new languages
for new communications with
higher intelligence
development of angelic languages
so calledfoundations of
enochian vision magick
contemporary with John Dee and
Edward Kellymaybe
Bruno and his works hold keys
to early contact with E.Ts
angels entities as you wish
and denizens of the sirius
triple star systemstrange holy guardian angels
but somehow
communicating through timespace
through the nervous system of
Robert Anton Wilson
into the tale of the tribe
a modern critique
of scripture
holy binding contractual poetic
does it work?pg. 3
Yeats Joyce and Pound
also made
contact
in some sense with higher
intelligence
some might say muse
others artistic inspiration
but whatif Yeats…
(a butterfly landed with all six mittens onto
the page while writing this
two antenna
deep burnt orange and woody
choco’ brown hairs with dashes of
white)what if
William Butler Yeats
picked up on the magickal hermetic
current and methods for contacting
higher intelligence
either from his own study of Bruno
Dee Kelly Ficino
orfrom Aleister Crowley
the great beast
who diligently practiced
enochian magickpg. 4
and so
maybe Yeats passed on the
invisible bug or knowledge
a tiny magickal starseed
to his associates
James Joyce and
Ezra Pound?the Chinese written character
and ancient imagist sensibility
in resonance with contacting
higher intelligence
how did that language strike up from the past?(contact between the widow of
American scholar of Japanese arts and
oriental culture: Ernest
Fenollosa and Ezra Pound cc. 1912)the hermetic current
tirelessly innovating culture
art and science with
humanitaspushing out beyond language
into total communication
magick keys to open invisible doorways
geometry poetry mathematics
and good willpg. 5
and a will to power
to the people
special languages of poetry
to awaken the reader
to the ignorance in knowledge
firm trust in the universe to provide
flying on the wings of
imaginationwhat if
contact with higher intelligence
disguises itself as creative impulse
and the spark of ingenuity?Joyce and Pound each
made a revolution in
communications scripture
and systemsa good guide to contacting your
own deeper shadow self
your private muse
angel
or sirian servant
invoked for good intentions
on behalf of all around the world
humanity
a doorway for friendly ET intervention
ummm…pg. 6
deeper still we have
the Polish genius who contacted
higher intelligence through the
intensive work and innovation of
language:
general semanticsa refinement of language structure
toward a science of meaning
contact with multiple entities
a lesson for self centered
naive realists
in non-Aristotelian language systems
of limited communications
Alfred Korzybskikey to magickal workings
a 20th century extension of core
hermetic wisdom
scientifically presented as
a systemdeployed by William S. Burroughs
a possible way to interpret the nova mob
practiced and mastered by
Robert Anton Wilson himself
the epic vortex
of imagination and good
willed humourpg. 7
what if
Buckminster Fuller were a
primary key figure to
understanding and making use of the
hermetic wisdom in
contacting higher intelligenceinnovation of geometry
so as to benefit all humanity
design science revolution
in the hermetic tradition
not for weapons of war
but knowledge systems and new
communications languages
for peacetoward universal abundance
of technology in the
minds of the people
the natural abundance of
carbon 60
or bucky balls
throughout the universeserious cosmic economics
extraterrestrial technology
and contact
through the medium of geometry
maybe some Giordano Bruno
wisdom
geodesics and dymaxion
architecture for the people
buckyballs and the mad
carbon 60 mystery of the
universe:
ubiquity of c60 throughout it!pg. 8
what if
the father of information sciences
and the mathematical theory of
communication
Claude Shannon
were perceived as another
unforeseen link to opening the
invisible doorways through which
higher intelligence
creptto lead much of humanity in 2014
into contact
with everybody and everything
imaginable:
the global internet of thingsa basically hermetic ideaspace:
shared knowledge and a
scientific tool for discovery
and information processing
and
feedbackShannon dangles keys
to as yet undiscovered
rooms without walls
mind boggling complexity
negentropy
building a new cypher language
to help deduce and evaluate
information
through innovating the equations
binary electrical switching circuit
contactpg. 9
what if
the tale of the tribe
by Robert Anton Wilson
defines another order of
methods and systems
required for any thinking individual
who really wants to make contact
with higher intelligence
here it is
cosmic trigger
study itand with luck ideas and inspiration
may emerge to lift up humanity
and instigate newer and faster
technological innovations
of the living
livingryonce contact is established
how the to ask
a meaningful question
how to interpret the informationquantum mechanics
and taoism
both
systems for deeper study
on contemplating a holy
guardian angel
entity
shadow self
how to?pg. 10
magickal workings in the
enochian language seem
to me to be more effective
way to contact higher intelligence
without tears
with good reason healthy skepticism
and a playful soulbased upon evidence from
RAWs books such as Cosmic Trigger vol. 1
and from RAW himself in my interviews
i now feel today that
there exists a particular contact
procedure
based on RAWs experiments detailed in his
book
methodology that includes
magickal occult ceremony
and tantric rituals
together with strange drugsAha
i hear the skeptic shout accusingly
drugs!
i knew it
all this babble about contact and angels
he’s high on acidwell yes what you thought
the psychedelic experience
mimics the magickal experience
and the experience of art too
getting beyond language
into epiphany and cosmic coincidence
or better yet synchronicitypg. 11
to innovate the priest craft
while keeping two feet
grounded on earth
in the sewer
maybe the message from the stars
seeds is to evolve and mutate?
get back to the primary source of
a kind of
decentralized (Bruno)
perceptionunlimited and unbounded by belief
beliefs unlimited
freedom of thought
as Crowley and Leary
and Philip K. Dick demonstratedwe are not alone but
surrounded by a network of sentient
beings
a love macrocosm
teaming with life and things to
communicate and
probably not in englishsimply tune in
RAW tuned in while also turned on
and quickly got dialled into
sirius.raw broadcasting network 23since getting in touch
RAW crafted ingenious magickal
communication devices
or books
utilized to help
other make contact
and possibly take the plunge and
attempt the tale of the tribe
for themselvespg. 12
TTOTT
a modern verse epic
an epic including history
a global epic for the entire
human race
from the perception of
an individual stuck in time
spacea spirited attempt to
redeem oneself from the
mostly violent
wreckage of history
the history of men
empire warfare greed
and nightmare bushit’ whirla new book of the day
contact for all who read
to provoke freedom of thought
and sympathy and forgiveness
for all mankindthe gods never left us’
we must knuckle down and
create this kind spirit of open
communication for all entities
both gods and insects
we must become the
magick
we wish to see manifest
in the word/worldpg. 13
two examples of
the tale of the tribe
the cantos of Ezra Pound
&
Finnegans Wake by James
Joyceboth epic and encyclopedic
global
tragic comic
multi lingual
crated a whole new style
ideogrammic prose
hologrammic proseboth in the hermetic tradition
heavy on math
geometry and esoteric symbol
systems innovated and
unified in the minds of
the people who read themkeys to holding a kind sanity
in the facebook of a
pop culture apocalypse
love and light of acknowledgement
that nothing is what it first appears to bepg. 14
and slowness is beauty
good access to the data for all
helps build a clearer picture
global webnet search engines
unleash much occulted information and
wisdom hidden within the cantos
and the wake
even todayand so the global
hermetic revolution is underway
and has been for thousands of years
artists
scientists
hackers
magiciansuntied against fundamentalist
materialists
religious and scientific dogma
state sponsored bully boy tacticsand against mean spirited
greedy actions for the exclusive
benefit of the fewa planet spaceship earth
with 7.6 Billion passengers
using over 750 languages
requires a certain sympathetic
and tolerant individual
who attempts unity in verse
including history
without loosing sight of
the guiding principle of compassion
and kindness for all sentient beings–Steve Fly Agaric 23
Amsterdam. 6.50 P.M, 11th June, 2014.
(on my way back from the park this afternoon i made a decision that when i got home i would google “Yeats and “butterflies” to see what might turn up. Of course, in 1934 Yeats wrote a drama titled ‘Wheels and Butterflies’ adding some spice to this mini-drama unfolding within a drama triggered by a butterfly landing on my open page as i wrote the word Yeats.) -

The Dam conspiracy conspiracy conspiracy
The Dam conspiracy conspiracy conspiracy
“what the thinker thinks, the prover proves”—recurring theme in the book Prometheus Rising, by Robert Anton Wilson.
Everything seems connected. Some things seem more interconnected than others. Networks connect. New information travels fast. Novelty powers the meme-space race. Reality, from the whole tribes perspective, maybe only what trends on twitter when the question is asked. Its as if relativity is getting more relative, to paraphrase a saying, while the exponential information explosion ripples ever outward, or inward, pulsing, simultaneously. Pull and push.
Dam Conspiracy everywhere! but which ones are worth the time and effort pursuing, if any? And to what end? Do you really hope to piece it all together, create the one singular, most probable scenario universe to one particular space-time event? Or is this an exorcise in information warfare, defense in the art of ratting out the fake and untruths from the real and true. Good luck with that. Perhaps simply thinking in probabilities takes us much closer to the truth?
In my estimation, the whole purpose of The Illuinatus Trilogy, and the collected works of RAW are to force one to think, to decide for yourself what is real, what is put on, what is mostly put on and a little bit real, and/or mostly real with a little bit of put on. Reality is both what YOU make it, but also how those around you perceive it in the ideaspaces we share. This is not to deny that things happen as we perceive them, that would be falling into solipsism, that I aim to avoid like the void.
“whatever you say it is, it isn’t”—Alfred Korzybski
The conspiracy, in one sense, is that our brains, and our hearts and senses all seem to push toward making meaning and truth, and beauty for that matter, out of the signals we receive. What these signals are, how they came to be what they are, and why we put them into patterns and recognizable forms, symbol systems, pictures, song, remains as much a mystery as proposing what is outside the limits of the inflating universe.
My purpose for writing this is not to put down conspiracy research, or theories, or individuals who propose them, but simply to try and reinforce what RAW says so much better than anybody else I have known, read or heard tales about:“According to Alfred Korzybski, any “idea” or mental state is a brain circuit which the brain itself can contemplate, thereby having an idea about the idea, or a mental state about the mental state, etc. There is no theoretical or real limit to the higher ordering process; it is the “infinity within” of which mystics speak.—Dr Robert Anton Wilson, the metaprogramming circuit, Prometheus Rising, pg. 195.
Alfred Korzybski, should be at the very top of any serious conspiracy researchers list of founding individuals who developed principles and methodology for doing good honest research. At the least this may lead to a kind of probabilistic reasoning, or a system of communicating based upon a wide array o f data.
RAW for instance, crafted complete books of non-fiction abiding by the pretty strict rules of English Prime (E-Prime), or English language with the remove of beingness, or the beingness of isness. A major cause for confusion in Aristotelian either/or reality tunnels: see politics, religion and the music press. I advise any conspiracy researcher worth their weight in paperclips, to delve into E-Prime, for the sake of sanity. Familiarize yourself with disinformation and the ego tripping wizards of what is, often accompanied by the ongoing lyric of ‘I’. The mix of fact and metaphor. The mix of ‘isness’ with ‘I’ ness…running wild into the cage of certainty.“to is, or not to is, maybe NOT a question worth thinking about too long”—Steve fly
Don’t get me wrong, ‘I’ would call myself a conspiracy researcher due to having read most of RAWs output, and I have built my own scheme of things, based on what I have read and heard, seen and intuited in my own life. RAW would probably list Alfred Korzybski, Ezra Pound, Karl Popper, Carl Oglesby, Noam Chomsky and Paul Krassner as some of his top conspiracy theory quality critters. Read them. Search each one at DuckDuckGo.com, or another search engine and see for yourself why these individuals and their ideas are important for us all now, and how they distinguish themselves from the popular sensationalist ‘pop conspiracy boom’ co-opted by the global entertainment market, and questionably extended the reach of the gov-corp disinformation ops themselves. I once met Richard Metzger who started up Disinformation.com, and who was a good friend of RAW, the use of the word disinformation by no means refers to him or the website by that name, Metzger flipped in back in the face of the gov-corp disinfo IMHO.
Let RAW clarify for us, once again:
“Every secret police organization is engaged in both the collection of information and the production of misinformation euphemistically called “disinformation.” That is, you score points in the secret police game both by hoarding signals (information units)—hiding facts from competitors—and by foisting false signals (fake information units) on the other players. This creates the situation I call Optimum SNAFU, in which every player has rational (not neurotic) reasons for suspecting that each and all may be trying to deceive him. As Henry Kissinger is alleged to have said, anybody in Washington who isn’t paranoid must be crazy. Maybe the UFOs really exist objectively—or maybe the whole UFO phenomena is a cover for a secret police disinformation ploy. Maybe there are Black Holes where space and time implode—or maybe Black Holes were invented to befuddle Russian scientists and send them into “the little man who wasn’t there” semantic spookery. Maybe Jimmy Carter really exists—or maybe he is, as National Lampoon once claimed, an actor named Sidney Goldfarb trained to project an attractive down-home “image”. Perhaps only three alpha males at the top of the security pyramid really know the answers to these questions—or perhaps these three are being deceived by certain subordinates, as Lyndon Johnson was deceived about Vietnam by the C.I.A.—Robert Anton Wilson, The SNAFU principle, Prometheus Rising. Pg. 226.
To continue, I suspect one good measure of a characters contribution to humanity could be based on how much, and in what way, they share signals. With particular focus on factual, useful, scientific tools that help benefit all humanity, simplifying the equation, creating a new synthesis, balanced, fair, funny and obviously to the benefit of all. Like a good contract.
I am leading to a critique of the new whistle blower phenomena, and the way in which the information is communicated. When filtered through some of the most balanced sources that I personally like and can get along with, like boingboing.net, the Guardian, The Huffington Post, io9, dangerous minds, etc; still lack the attention to the whole human organism that a character like Amiri Baraka and Alan Moore exhibit. I mean in the special cohesion found in great works of art, often more detailed and obscure, the sense of time when reading a novel vs. a typical blog entry or news item. The urge to fill in the missing information often pulls us toward massive generalizations about our senses, processes sensed and how everything fits together, self, the individual in history, and our moving experience of wakefulness, now.
Each to their own, and give thanks to the wondrous diversity of forms we can get our information, in the age of global Internet. However, I feel a good question concerns the difference between scripture and regular writing? How do we create special writing and communication that celebrate the human traits of humanity, the triumph of the individual over the state, over ideology and the deceptions of perceptions. How to break free from alphabetical chains, categorical cages and get beyond language?
RAW might point us to James Joyce, Marshall Mcluhan, Ernest Fenollosa and Ezra Pound in this respect. All whom dipped a toe to five into the future and dared to propose, and to perform by example a whole new style, a new synthesis, an innovation and condensation of past knowledge and psychological craftsmanship into never before seen language. Language art, the art and crafts of poetry, and the antidote to the infinite conspiracy conspiracy conspiracy regress, IMHO.
James Joyce might be my favorite conspiracy author,the master of connectivity in language. I think that Joyce and Pound, Yeats, and Burroughs stole back the fire from the big bad thief, they stole back the arts of disinformation, the double cross, Orwellian double-speak, and created quintuple agents with missions way beyond anything any Harvard spy professor or Oxford/Cambridge cocka could compete with. Not a chance. And the great Irish poets and writers–to call up a nationality and apply a stereotypical and misleading title for them–stand atop the world in the field of capturing the tragic/comic truth of life, whole. Or, truths in the plural. True enough I like to think. A strong maybe, probably true, like the second law of thermodynamics.
If you choose to follow any of this advice about reading RAW and checking out some of his in depth works concerning the characters I mention above, or not, please go ahead and have some fun with it, write your story, your own conspiracy, pull it apart and build it up again. Do it again. Critique your own strongest arguments. Eventually you may be able to meditate upon such activity before engaging, and save a lot of time and effort which cd. be applied elsewhere, perhaps working toward gaining some agency, or agency on behalf of your local community with which to at the least install protections, possibly some semantic standards with which to weed out disinformation at the root?
In light of the principle that blinkered and limited perception shrinks and limits the universe, we could say that the common jewel of the conspiracy theorists tackle-box–the all powerful, all controlling super Illuminati–makes the biggest fool out of those who shout the loudest. That is, unless the shouting turns to singing, dancing, storytelling, jokes and some good old fun such as RAW and Robert Shea demonstrate in Illuminatus Trilogy! And RAW demonstrates throughout his entire life’s work as a writer, teacher, playwright, scientfic philosopher, and genuinely really nice guy. Read him! Compare this with the monotonous paranoid ravings of those who proclaim to have discovered some universal truth about a highly complex historical event, no jokes, no alternative models, just an advertisement to sell books or other schwag.
“It is what it is”—James Brown
“Nothing is”—Sun Ra
–Steve fly
Amsterdam, 26/3/14 -
Pilot Plan for Concrete Poetry (1958)
Pilot Plan for Concrete Poetry (1958)
Augusto de Campos, Decio Pignatari, Haroldo de Campos: BrazilFrom Concrete Poetry: A World View, 1968, ed Mary Ellen Solt
RELATED RESOURCES:
Haroldo de Campos in UbuWeb Historical
Augusto de Campos in UbuWeb Historical
Decio Pignatari in UbuWeb Historical
“Concrete Poetry: A World View : Brazil” in UbuWeb Papers
“The Imperative of Invention…” Charles A. Perrone
“Interview with Augusto de Campos” Roland Greene
“The Concrete Historical” Roland Greene
Sérgio Bessa “Architecture Versus Sound in Concrete Poetry”
“Speaking About Genre: the Case of Concrete Poetry” Victoria Pineda
“From (Command) Line to (Iconic) Constellation”, Kenneth Goldsmith
Concrete Poetry: product of a critical evolution of forms. Assuming that the historical cycle of verse (as formal-rhythmical unit) is closed, concrete poetry begins by being aware of graphic space as structural agent. Qualified space: space-time structure instead of mere linear-temporistical development. Hence the importance of ideogram concept, either in its general sense of spatial or visual syntax, or in its special sense (Fenollosa/ Pound) of method of composition based on direct-analogical, not logical-discursive juxtaposition of elements. “ll faut que notre intelligence s’habitue à comprendre synthético-idéographiquement au lieu de analytico -discursivement” (Apollinaire). Elsenstein: ideogram and montage.Forerunners: Mallarmé (Un coup de dés, 1897): the first qualitative jump: “subdivisions prismatiques de l’idée”; space (“blancs”) and typographical devices as substantive elements of composition. Pound (The Cantos); ideogramic method.
Joyce (Ulysses and Finnegans Wake): word-ideogram; organic interpenetration of time and space. Cummings: atomization of words, physiognomical typography; expressionistic emphasis on space. Apollinaire (Calligrammes): the vision, rather than the praxis. Futurism, Dadaism: contributions to the life of the problem. In Brazil: Oswald de Andrade (1890-1954): “in pills, minutes of poetry. João Cabral de Melo Neto (born 1920—The Engineer and The Psychology of Composition plus Anti-Ode): direct speech, economy and functional architecture of verse.
Concrete Poetry: tension of things-words in space-time. Dynamic structure: multiplicity of concomitant movements. So in music-by, definition, a time art-space intervenes (Webern and his followers: Boulez and Stockhausen; concrete and electronic music); in visual arts-spatial, by definition-time intervenes (Mondrian and his Boogie-Woogie series; Max Bill; Albers and perceptive ambivalence; concrete art in general).
Ideogram: appeal to nonverbal communication. Concrete poem communicates its own structure: structure-content. Concrete poem is an object in and by itself, not an interpreter of exterior objects and/ or more or less subjective feelings. Its material word (sound, visual form, semantical charge). Its problem: a problem of functions-relations of this material.Factors of proximity and similitude, gestalt psychology. Rhythm: relational force. Concrete poem, by using the phonetical system (digits) and analogical syntax, creates a specific linguistical area-“verbivocovisual” -which shares the advantages of nonverbal communication, without giving up word’s virtualities. With the concrete poem occurs the phenomenon of metacommunication: coincidence and simultaneity of verbal and nonverbal communication; only-it must be noted-it deals with a communication of forms, of a structure-content, not with the usual message communication.
Concrete Poetry aims at the least common multiple of language. Hence its tendency to nounising and verbification. “The concrete wherewithal of speech” (Sapir). Hence its affinities with the so-called isolating languages (Chinese): “The less outward grammar the Chinese language possesses, the more inner grammar inherent in it” (Humboldt via Cassirer). Chinese offers an example of pure relational syntax, based exclusively on word order (see Fenollosa, Sapir and Cassirer).
The conflict form-subject looking for identification, we call isomorphism. Parallel to form-subject isomorphism, there is a space-time isomorphisin, which creates movement. In a first moment of concrete poetry pragmatics, isomorphism tends to physiognomy, that is a movement imitating natural appearance (motion); organic form and phenomenology of composition prevail. In a more advanced stage, isomorphism tends to resolve itself into pure structural movement (movement properly said); at this phase, geometric form and mathematics of composition (sensible rationalism) prevail.
Renouncing the struggle for “absolute,” Concrete Poetry remains in the magnetic field of perennial relativeness. Chronomicro-metering of hazard. Control. Cybernetics. The poem as a mechanism regulating itself: feed-back. Faster communication (problems of functionality and structure implied) endows the poem with a positive value and guides its own making.
Concrete Poetry: total responsibility before language. Thorough realism. Against a poetry of expression, subjective and hedonistic. To create precise problems and to solve them in terms of sensible language. A general art of the word. The poem-product: useful object.
Note: Original printed without capitals. The “Pilot Plan for Concrete Poetry” presents a synthesis of the theoretical writings of the Noigandres group from 1950-58. The critical writings and manifestos of Augusto de Campos, Décio Pignatari and Haroldo de Campos have been collected in a volume: Teoria da Poesia Concreta, Textos Críticos e Manifestos 1950-1960, Sao Paulo, Ediçãoes Invenção, 1965.
Translated by the authors.
1958
(From Noigandres 4) -

Letter to Harold Innis from McLuhan, 14th March 1951.
Within the small and obscure field of those who follow the tale of the tribe, as defined by Robert Anton Wilson will probably already be familiar with this letter by Marshall McLuhan, to Harold Innis. In the letter McLuhan more or less drafts the trajectory RAW expands upon, with the addition of Giordano Bruno, Alfred Korzybski, Nietzsche, Claude Shannon and Orson Welles, RAW weaves a landscape of, dare i say, cybernetic post modernism?
Internet…probably the greatest catalyst, tool, for the evolution of language and human-language interfacing. And so, 12/13 historical characters are selected by RAW to approximate the innovations that took place to bring us here, and the human biographical tales crisscrossing with the design science revolutions and new styles. RAWs tale of the tribe.
Here is that letter that helped start it all, in some sense.
–steve fly
Letter to Harold Adams Innis Toronto, 14th March 1951 Dear Innis,
Thanks for the lecture re-print. This makes an opportunity for me to mention my interest in the work you are doing in communication study in general. I think there are lines appearing in Empire and Communications, for example, which suggest the possibility of organizing an entire school of studies. Many of the ancient language theories of the Logos type which you cite for their bearings on government and society have recurred and amalgamated themselves today under the auspices of anthropology and social psychology. Working concepts of “collective consciousness” in advertising agencies have in turn given salience and practical effectiveness to these “magical” notions of language.
But it was most of all the esthetic discoveries of the symbolists since Rimbaud and Mallarmé (developed in English by Joyce, Eliot, Pound, Lewis and Yeats) which have served to recreate in contemporary consciousness an awareness of the potencies of language such as the Western world has not experienced in 1800 years..Mallarmé saw the modern press as a magical institution born of technology. The discontinuous juxtaposition of unrelated items made necessary by the influx of news stories from every quarter of the world, created, he saw, a symbolic landscape of great power and importance. (He used the word “symbol” in the strict Greek sense sym-ballein, to pitch together, physically and musically). He saw at once that the modern press was not a rational form but a magical one so far as communication was concerned. Its very technological form was bound to be efficacious far beyond any informative purpose. Politics were becoming musical, jazzy, magical.
The same symbolist perception applied to cinema showed that the montage of images was basically a return via technology to age-old picture language. S. Eisenstein’s Film Forum and Film Technique explore the relations between modern developments in the arts and Chinese ideogram, pointing to the common basis of ideogram in modern art, science and technology.
One major discovery of the symbolists which had the greatest importance for subsequent investigation was their notion of the learning process as a labyrinth of the senses and faculties whose retracing provided the key to all arts and sciences (basis of myth of Daedalus, basic for the dreams and schemes of Francis Bacon, and, when transferred by Vico to philology and history of culture, it also forms the basis of modern historiography, archaeology, psychology and artistic procedures alike.)
Retracing becomes in modern historical scholarship the technique of reconstruction. The technique which Edgar Poe first put to work in his detective stories. In the arts this discovery has had all those astonishing results which have seemed to separate the ordinary public from what it regards as esoteric magic. From the point of view of the artist however the business of art is no longer the communication of thoughts or feelings which are to be conceptually ordered, but a direct participation in an experience. The whole tendency of modern communication whether in the press, in advertizing, or in the high arts is toward participation in a process, rather than apprehension of concepts. And this major revolution, intimately linked to technology, is one whose consequences have not begun to be studied although they have begun to be felt.
One immediate consequence, it seems to me, has been the decline of literature. The hyper-trophy of letter-press, at once the cause and effect of universal literacy, has produced a spectacular decline of attention to the printed or written word. As you have shown in Empire and Communications, ages of literature have been few and brief in human history. The present literary epoch has been of exceptional duration — 400 years. There are many symptoms that it is at an end. The comic book for example has been seen as a degenerate literary form instead of as a nascent pictorial and dramatic form which has sprung from the new stress on visual-auditory communication in the magazines, the radio and television. The young today cannot follow narrative but they are alert to drama. They cannot bear description but they love landscape and action.
If literature is to survive as a scholastic discipline except for a very few people, it must be by a transfer of its techniques of perception and judgement to these new media. The new media, which are already much more constitutive educationally than those of the class-room, must be inspected and discussed in the class-room if the class-room is to continue at all except as a place of detention. As a teacher of literature it has long seemed to me that the functions of literature cannot be maintained in present circumstances without radical alteration of the procedures of teaching. Failure in this respect relegated Latin and Greek to the specialist; and English literature has already become a category rather than an interest in school and college.
As mechanical media have popularized and enforced the presence of the arts on all people it becomes more and more necessary to make studies of the function and effect of communication on society. Present ideas of such effects are almost entirely in terms of mounting or sagging sales curves resulting from special campaigns of commercial education. Neither the agencies nor the consumers know anything about the social or cutural effects of this education.
Deutsch’s interesting pamphlet on communication is thoroughly divorced from any sense of the social functions performed by communication. He is typical of a school likewise in his failure to study the matter in the particular. He is the technician interested in power but uncritical and unconcerned with social effect. The diagnosis of his type is best found, so far as I know, in Wyndham Lewis’s The Art of Being Ruled. That pamphlet is probably the most radical political document since Machiavelli’s Prince. But whereas Machiavelli was concerned with the use of society as raw material for the arts of power, Lewis reverses the perspective and tries to discern the human shape once more in a vast technological landscape which has been ordered on Machiavellian lines.
The fallacy in the Deutsch-Wiener approach is its failure to understand the techniques and functions of the traditional arts as the essential type of all human communication. It is instead a dialectical approach born of technology and quite unable of itself to see beyond or around technology. The Medieval schoolmen ultimately ended up on the same dialectical reef.
As Easterbrook may have told you I have been considering an experiment in communication which is to follow the lines of this letter in suggesting means of linking a variety of specialized fields by what may be called a method of esthetic analysis of their common features. This method has been used by my friend Siegfried Giedion in Space, Time and Architecture and in Mechanization Takes Command. What I have been considering is a single mimeographed sheet to be sent out weekly or fortnightly to a few dozen people in different fields, at first illustrating the underlying unities of form which exist where diversity is all that meets the eye. Then it is hoped there will be a feedback of related perception from various readers which will establish a continuous flow.
It seems obvious to me that Bloor St. is the one point in this University where one might establish a focus of the arts and sciences. And the organizing concept would naturally be “Communication Theory and practice.” A simultaneous focus of current and historic forms. Relevance to be given to selection of areas of study by dominant artistic and scientific modes of the particular period. Arts here used as providing criteria, techniques of observation, and bodies of recorded, achieved, experience. Points of departure but also return.
For example the actual techniques of common study today seem to me to be of genuine relevance to anybody who wishes to grasp the best in current poetry and music. And vice versa. There is a real, living unity in our time, as in any other, but it lies submerged under a superficial hubbub of sensation. Using Frequency Modulation techniques one can slice accurately through such interference, whereas Amplitude Modulation leaves you bouncing on all the currents.
from Marshall McLuhan — Complete Correspondence,
edited by Matie Molinaro & Corinne McLuhan -
The New Science of Psychedelics by David Jay Brown.
The New Science of Psychedelics by David Jay Brown.
Review by Steve ‘fly agaric 23’ Pratt.“Cosmic Trigger is where I first encountered controversial psychologist Timothy Leary’s eight-circuit model of the brain and psychiatric researcher John Lilly’s radical ideas about programming the brain as though it were a computer. These models became two of the primary maps that I have used to navigate my psychedelic experiences, and Leary introduced me to many other important ideas, which we’ll be discussing in more detail later in the book. What’s most amazing for me is that later in my life, years after I read Wilson and Leary’s work, I was fortunate enough to become good friends with these two incredible gentlemen, and they both played an integral role in my work.–David Jay Brown.
In his latest book, David Jay Brown ignites the neural synapses and builds a web of psychedelic intel. Leaking some of the most scrumptous mind spray and zesty juices from the psychedelic ‘happy’ mutants, the book oozes with goo and liquids beyond description. I found buckets of crystallized optimism concerning the future of psychedelic research and shared livingry. DJB on the cuts and on beat. To paraphrase Bob. Hurray for the optimists!
Brown presents the reader slices from an array psychedelic scientist/gangsters/mavericks, who stick up the reader with surprise noises, snatching them hostage with strangely delicious ideas, tying them up with super-guts and silly-string while demanding their ransom be paid in full, the price of your mindscrape. A cooler-roaster of a ride, the greatest hits of Psychedelic Science future bound. An refreshingly honest series of life adventures, way out there and back here with the sentences to make his experience true enough.
I would like to simply reproduce a small section of the book, and let Brown entice you: “In the book I quote from my interviews with luminaries such as Terence McKenna, Robert Anton Wilson, Timothy Leary, John Lilly, Allen Ginsberg, Jerry Garcia, Ram Dass, Noam Chomsky, George Carlin, Deepak Chopra, Ray Kurzweil, Andrew Weil, Jack Kevorkian, Edgar Mitchell, Albert Hofmann, Stanislav Grof, Joan Halifax, Alex, Grey, H. R. Giger, Simon Posford, and Rupert Sheldrake. Some of the varied topics explored in the book include the interface between science and spirituality, lucid dreaming, time travel, morphic field theory, alternative science, optimal health, what happens to consciousness after death, encounters with nonhuman beings, the future evolution of our species, and how psychedelics affect creativity.”
A delight to read for anyone who follows Dr Robert Anton Wilson and Timothy Leary, Brown performs by example his reiteration of the founding principles of psychedelic science and consciousness studies, roughly ‘Think for yourself, and question everything, especially authority”.
Here are gathered great magicians of consciousness metaphor and living language, an embodiment of the scholarly compassionate ones IMHO, contextualized by somebody who knew them and their works well, and can hump the torch of a new synthesis in 2013. Cheers David.
The New Science of Psychedelics and Giambattista Vico.
‘The human mind is naturally inclined by the senses to see itself externally in the body, and only with great difficulty does it come to understand itself by means of reflection. This axiom gives us the universal principle of etymology in all languages: words are carried over from bodies and from the properties of bodies to signify the institutions of the mind and spirit.—Giambattista Vico, Science Nuova, The Elements.
David Jay Brown, produced a kind of ‘tale of the tribe’ in blending his own experiences with insights gained from those great thinkers around him, and placing them in recent historical context with a particular focus on the psychedelic sciences. David J. Brown, I am very pleased to tell you, seems a happy mutant of the Robert Anton Wilson tribe, and pays particular homage to RAW who permeates the entire text IMHO. So, I dedicate this review to some expanded RAW tentacles.
The Italian Hermetic philosopher Giambattista Vico, outlined a New Science for the changing landscape of humanity, thought, history and language taking place in Europe during the Renaissance. I get the impression that Brown is rubbing up on Vico by using the term ‘New Science’ in his book ‘The New Science of Psychedelics’ and indeed, the sudden explosion of psychedelics and the decentralized philosophy of ‘Psychedelic Science’ across the planet, heralds the possibility of a new beginning (bigending?) which brings and slings many challenges and hurdles and roundabouts, to leap over and swing with, together, with the promise of a cohesive tolerant and pluralistic humanity (tribe) utilizing the planets pharmacopeia for fun and for profit.Why not?While reading the book, I started trying to reduce some of the recurring themes into general terms and simplified ideas, as stoners often do…searching for short slogans that encapsulate what I view as the most important messages.Take for example, the subheading of the book: At the NEXUS of Culture, Consciousness and Spirituality. This NEXUS: Origin: 1655–65; (Latin nexus, a binding, joining, fastening, equivalent to nect ( ere ) to bind, fasten…) yes, precisely.
This vortex of connectivity and links reflect my own study of a particular NEXUS of culture, consciousness and spirituality, as defined by Dr Robert Anton Wilson: The Tale of The Tribe. Interestingly to me, RAW and his ideas permeate this book in almost every paragraph, to my RAW biased perceptions but of course, Brown and RAW were good friends for over 17 years and fellow researchers in the field so in some sense this book ‘TNSOP’ tells us much about the tribe (all around the world humanity), and includes wisdom from Dr Timothy Leary and Allen Ginsburg, both of whom were specifically familiar with the tricky concept as it pertains to Ezra Pound, Marshall McLuhan, James Joyce: a modern verse epic including history and more. Plus, Brown met and studied the works of Buckminster Fuller closely, who is another node within RAWs wheel of historical hermetically charged genii.
Joyce is widely noted as being the most famous interpreter of Vico, and for me RAW is in direct line after Joyce as expanding some of Vico’s ideas into formulations and sentences that cut right into the 20/21st century, and, in this instance, illustrate how ahead of his time Vico and The New Science were in their formulations, not forgetting how liberty, humanity, tolerance and equality tend to ooze out, helping us to solve many problems today.
“What Vico is here drawing attention to is the sheer unhistorical character of many accouts of the past. They are lacking what Sir Isaiah Berlin has called ‘historical perspective’, i.e. any recognition that at different times in the past men’s mental and intellectual abilities have varied widely and that the sorts of knowledge that could be formulated and used I one age could not be formulated and used in another.” Leon Pompa, Vico: A study of the new science.
Vico is just one character among a dozen that RAW pinpoints as a major node in his Tale of the tribe Nexus. I hope that the psychedelic science researchers and those engaged in the new emergent approaches to the big questions will reconsider RAW and ‘The Tale of The Tribe’ for guidance and some rare hermetically charged historical perspective, lovingly balanced and deployed like a gang of sexy loving Ninjas.
One example of TTOTT condensed wisdom is taken from Allen Ginsberg and also quoted in a recent review of Davis Jay Brown’s book. This quote presents insight into the decentralized philosophy of Giordano Bruno (and Vico), with overtones of Nietzsche, Joyce, Pound and McLuhan, with whom which Robert Anton Wilson also liked to equate global decentralized internet, by bend and swerve of TTOTT. We may also reconsider the lofty aims of Bruno and Vico in unifying and making peace between religions, OMG, by way of better communication and translation of ideas and with balanced humanitarian value systems.
“No, no, no, absolutely not. None of that bullshit! No Gaia hypothesis. No theism need sneak in here. No monotheistic hallucinations needed in this. Not another fascist central authority . . . You’ve got this one big thing. Who says it’s got to be one? Why does everything have to be one? I think there’s no such thing as one—only many eyes looking out in all directions. The center is everywhere, not in any one spot. Does it have to be one organism, in the sense of one brain, or one consciousness? The tendency is to sentimentalize this idea into another godhead and to reinaugurate the whole Judeo-Christian-Islamic mind trap.–Allen Ginsburg, in conversation with David Jay Brown.
The decentralized philosophy that runs, with an emerald hue through the current of ‘Hermetic philosophy’ from Ficino to Bruno and Vico (maybe the last great Hermetic Philosopher) up to the present cypher-punks incarnations, seem to me, to have related principles in physics, cosmology, psychology and social philosophy. Sure. And, I might add that i think that the psychedelic sciences which may include, neuro-physics, psycho-pharmacology, botany, Anthropology, linguistics, magick, painting, MUSIC…which are also in resonance with the Hermetic principles make sense, cohere with a snuggy fit, when viewed with a decentralized pluralistic set of models, flushing the centrist reductionist atomic singular conclusion, or the empirical tyrannical certainty of authority, down the tube. What is the relationship between the individual and the state?
“The decisive sort of proof in our science is therefore this: that, once these institutions have been established by divine providence, the course of the institutions of the nations had to be, must now be, and will have to be, such as our Science demonstrates, even if infinite worlds were born from time to time through eternity, which is certainly not the case.
Our science therefore comes to demonstrate at the time an ideal eternal history traversed in time by the history of every nation in its rise, development, maturity, decline and fall. Indeed we make bold to affirm that he who meditates this Science makes it for himself by that proof it had, has and will have to be. For the first indubitable principle posited above is that this world of nations has certainly been made by man and its guise must therefore be found within the modifications of our own human mind.”—Giambattista Vico, Scienza Nuova. P 344.James Joyce dazzles with his customized ‘Hermetic principles’ at work in his great work of cypher-punk science fiction: Finnegans Wake, and it is here. with some help from Dr Wilson that we can see the holographic principle emerging as a connecting principle between Hermetically inclined innovators, and I would add psychedelic scientists of the 21st century. Nurosiphpuqz. Mutants, the others.
Today, with the advanced state of alchemical tools both organic and software based, anything and everything our psychedelic forefathers and mothers imagined is at our fingertips, at least temporarily, in alternate virtual spaces. However, the goal of preserving the biosphere and providing all humans with an equal footing in life seems in dire need of help, and some new ideas and new directions and maps. Maybe The New Science of Psychedelics, as a broader movement can ignite the sort of brave imagination required to build our psychedelic peace-planet, here, right Facebooking now. I hold out the same species of hope with regards to the ideas and works of Robert Anton Wilson, and specifically his ‘the tale of the tribe’, and by osmosis of David Jay Brown, who reconnected some of these ideas into a new 2013 Nexus. Nice one.
Words simply cannot describe what a thrilling experience this was for me! In 1989, I moved to Los Angeles, where Bob and his wife, Arlen, were living at the time, and I became good friends with them. I dedicated my book Virus: The Alien Strain to Arlen. I began going to regular weekly gatherings at Bob and Arlen’s home, where a small group would read and discuss mind-expanding ideas. We read virtually everything that James Joyce had written, Ezra Pound’s The Cantos, each other’s writings, and Bob’s books. We watched Orson Welles’ films and talked about quantum physics and primate politics.–David Jay Brown.
Steven ‘fly agaric 23’ Pratt.
Amsterdam.
http://ettt.wikispaces.com/ (My ‘tale of the tribe’ wikispace) -

SEMIOTIC MACHINES: by Louis Armand (Joyce, McLuhan, Shannon, Weiner, Von Neumann)
SEMIOTIC MACHINES: by Louis Armand, presents a number of passages that see James Joyce, McLuhan, Shannon, Weiner, Von Neumann, criss-crossing and pollinating the tale of the tribe with a Joycean, atomic, digital glossing. Also invoking Orson Welles through the reference to expanded cinema of Gene Yougblood, this essay exhibits the highest standards of critical writing on Joyce IMHO, and in the kind of prose i would like to see utilized to help explicate the questions of the tale of the tribe as defined by Robert Anton Wilson, Ezra Pound, Buckminster Fuller, and Joyce.–Steve fly
Above all, the importance of Joyce for McLuhan resides in the decisive role of Finnegans Wake in re-defining the late stages of print culture and the advent of digiculture (the so-called “postmodern moment”). In this sense, Joyce’s text assumes a pre-eminent status among the agents and historians of late modernity—among them John von Neumann, Norbert Wiener, Claude Shannon, Lewis Mumford and Siegfried Giedion—and, along with the Mallarméan critique of the book and Marcel Duchamp’s satirisation of mechanical rationalism, the Wake becomes something of a benchmark in the early discourse of cyberspace.
Joyce’s technique of “verbivocovisual presentement”(5)—reprising the symbolist preoccupation with effects of synaesthesia—bears directly upon the conceptualisation of virtual reality and emersive signifying environments. Gene Youngblood’s Expanded Cinema (1970?), which proposes the integration of computing technology and other forms of telecommunications for the synaesthetic and syncretistic expansion of film, is heavily indebted to McLuhan’s reading of Finnegans Wake in Understanding Media (1964) and The Gutenberg Galaxy (1962). “The stripping of the senses and the interruption of their interplay in tactile synaesthesia,” McLuhan writes, “may well have been one of the effects of the Gutenberg technology”—of which Finnegans Wake is considered a kind of apotheosis.(6)
http://hjs.ff.cuni.cz/archives/v8/main/essays.php?essay=armand
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Joyce, Bruno, Baudrillard and the coincidence of contraries.
MUSEYROOMS AND MOEBIUS EFFECTS: A RUIM OF HISTORY IN FINNEGANS WAKE
Interestingly, Baudrillard’s collapse of poles operates on dynamics similar to those expressed in Giordano Bruno’s Cause, Principle and Unity, whose coincidence of contraries extends binary values, like macro and micro, to such an extreme that they become equal, like two antithetical objects travelling in opposite directions on a single line that becomes a circle (8). As is well known, Bruno’s theory of the coincidence of contraries plays a substantial role throughout Finnegans Wake. Besides the fact that his name is often referenced and that merging binary values are frequently represented through Shem and Shaun, Issy and her mirror image, between father and sons, and mother and daughter–in all manner of conflicts familial or epic–the paradoxical function of Bruno’s theory surfaces in numerous aesthetic and epistemological issues in Finnegans Wake. The Museyroom, overture and prelude to all that follows, plays a pivotal role in complicating a system of differentials like past/present, factual/fictive, and inside/outside, thus exposing historiography and archive practices to the labyrinthine effects of paradox and inversion. — http://hjs.ff.cuni.cz/main/essays.php?essay=mcfeaters
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HCE and Jarl van Hoother on the Piss with the Porter.
While looking for a virtual textual gift for a friend of mine, who really loves Shakespeare, i came across this illuminating and superb essay:HCE and Jarl van Hoother on the Piss with the Porter. If you have the stamina and the time, and read a little of James Joyce’s book ‘Finnegans Wake’ i suspect you may find this essay a little pleasant.–steve fly
http://hjs.ff.cuni.cz/archives/v1/framed/roughley.htmlHCE and Jarl van Hoother on the Piss with the Porter.
(Quote)…In Macbeth the porter who responds to the knocking on the gate structures the speech he makes while responding to the knocking by counting the knocks. His counting punctuates his speech and divides it into five sections: an initial response to the knocking in which the porter imagines himself as the “porter of hell-gate,” and four questions on the identity of the person, or persons, knocking. More importantly, the porter’s counting of knocks establishes a pattern of four groups divided into three, two, three, and two: “Knock, knock, knock . . . Knock, knock . . . Knock, knock, knock . . . Knock, knock.”[9] The prankquean episode stages a precise repetition of this pattern, but, in a deconstructive dislodging, overturns the signifiers that function within its parameters. The prankquean responds to Jarl’s refusal of her advances by kidnapping the “jiminy Tristopher” (21.21) and returning to “Woeman’s Land” (22.8) where she sustains the power of her desire, both sexual and political, by “raining” (22.18) and ‘reigning’ on the land. The signifiers of her desire are grouped in precisely the same mathematical configuration as the porter’s knocks. The prankquean first “rain, rain, rain,” (21.22), or ‘ran’ from the castle; then she starts “to rain and to rain” (21.31); next, she “rain, rain, rain” (22.9); and, finally, she starts “raining, raining” (22.18) once more. Both the porter’s “knock” and the prankquean’s “rain” are signifiers of desire. In Macbeth, the knock signify the desire to Lennox and Macduff to attend to the king’s needs and serve him as loyal subjects; in the Wake, the prankquean’s rains signify her desire to be served by Jarl. When Jarl fails to answer the prankquean’s riddle, she expresses her power by kidnapping and running (“raining”) back to the land where she sustains her ‘reign’ until Jarl meets her demands.
The prankquean episode is structured on a tripartite pattern that reflects the “three- times-is-a-charm” motif that “runs like a musical theme — with variations throughout the book.” This three-part structure is “associated with the structural system of cycles” that provide an important foundation for the Wake‘s narrative organization:
the Viconian rhythm of three ages and ricorso, the units of three tones and an interval, three attacks and a pause, three surges and a change, and the fairytale pattern of three tries and a magic ‘opening.’[10]
In restaging this three-part pattern, the prankquean episode repeats another pattern that operates in the drunken porter scene. This first part of the second act’s third scene divides the revelation of the king’s death to Macduff into three sections: the porter’s speech and his opening of the gate, Macduff’s request for the king; and the peripeteian moment of Macduff’s three-fold cry, “O horror! horror! horror!”. This first part of the scene also stages three entrances that punctuate the action prior to Macduff’s realization of the king’s death: the entrances of the porter, Macduff and Lennox, and Macbeth. Macduff’s conversation with the porter, moreover, consists of three questions: an inquiry into why the porter sleeps so late; the request for information on the effects of drinking; and the questions “Is thy master stirring?” The porter’s narrative sustains the three-part pattern as it names the “three things” of which drink “is a great provoker”: “nose painting, sleep, and urine.”[11]
