Einstein's equations. Nuclear energy. The revelation of DNA code as literally a code to be deciphered. Neurological imprinting. Anti-matter. Mankind clings to the old myths, avoiding the new truths.
It happened before.
Towards the end of the sixteenth century, Giordano Bruno aroused the groggy world, asking it to fling its mind far beyond the planets. He speculated that the cosmos extended to infinity.
This in itself was not so shocking; but Bruno went considerably further—he postulated a multiplicity of world: suns and planets with life, unseen companions for the race of man. He toyed with man's conception of himself; for this, and for magical claims and political entanglements, he was burned in 1600." The Discovery of Our Galaxy,Charles Whitney.
Shortly before Bruno's death, in 1600, Tycho Brahe made the first announcement of a 'new' star in the sky. A few years later he observed a comet, and proved that it moved among the planets; thus he shattered the crystalline spheres which had been supposed to carry the planets and stars about the heavens.
You're probably best known as "Dr. John Lilly, the dolphin man." What is the aim of your current dolphin research?
At Marine World, we're working with computers to develop a human/dolphin code, analogous to the Morse code used in telegraphy. The project is called JANUS -- for Joint Analog Numerical Understanding System. Like the Roman god Janus, it has two "faces" -- a dolphin side and a human side.
A human/dolphin language must contend with the fact that dolphins communicate at frequencies ten times above the human range. While our speech falls between three hundred and three thousand hertz, or cycles per second. dolphins talk to one another underwater at frequencies from three thousand to thirty thousand hertz. If you go into a pool with a dolphin and he starts whistling, you'll hear what sounds like very high-pitched squeaks. So the problem is to bring their frequency down into our sound window and ours up into theirs.
We're using a computer system to transmit sounds underwater to the dolphins. A computer is electrical energy oscillating at particular frequencies, which can vary. and we use a transducer to convert the electrical waveforms into acoustical energy. You could translate the waveforms into any kind of sound you like: human speech, dolphin-like clicks, whatever.
Read the whole interview here:
Fuck the censors.
One of Comstock's first actions was to obtain the passage of a strong federal indecency law--which was then used to pursue authors and publishers of novels including works by Balzac and Tolstoy. This law today is largely dead on the books though never repealed, as a result of many leading free speech cases. Senator James Exon of Nebraska, in proposing the Communications Decency Act in 1995, reinvigorated the Comstock law in two ways. His vague Internet indecency language echoed part of the wording of the original Comstock law. Even more outrageously, the CDA extended portions of the Comstock law to information transmitted over the Internet. As a result, some long-disused language banning the distribution of abortion information became federal law again--until the Justice Department stood up in federal court in Brooklyn and announced that the government would not attempt to enforce this provision of the CDA.
The CDA restored to federal law a crime involving the distribution of "indecent" material even though it had literary or artistic value-- and allowed a jury to make the decision based on "contemporary community standards." Effectively, a law of the type under which "Nausicaa" was deemed too dirty to distribute was back on the books for the first time in many decades. Could an online version of Joyce be censored again?--http://www.spectacle.org/398/gertie.html
We can escape history and break out of the infinite series of repeated folly by understanding freedom of speech to mean protecting the next James Joyce-- in print, on the Web, or in a medium undreamed of yet.--http://www.spectacle.org/398/gertie.html
probably one of the best descriptions
of Hologrammic Prose i have read
in yonks. Quoted from the Guardian Newspaper
by Alison Flood. Noyse wairk.
of Hologrammic Prose i have read
in yonks. Quoted from the Guardian Newspaper
by Alison Flood. Noyse wairk.
“The absolute record in terms of multifractality turned out to be Finnegans Wake by James Joyce. The results of our analysis of this text are virtually indistinguishable from ideal, purely mathematical multifractals,” said Professor Stanisław Drożdż, another author of the paper, which has just been published in the computer science journal Information Sciences.http://www.theguardian.com/books/2016/jan/27/scientists-reveal-multifractal-structure-of-finnegans-wake-james-joyce
Joyce himself, reported to have said he wrote Finnegans Wake “to keep the critics busy for 300 years”, might have predicted this. In a letter about the novel, Work in Progess as he then knew it, he told Harriet Weaver: “I am really one of the greatest engineers, if not the greatest, in the world besides being a musicmaker, philosophist and heaps of other things. All the engines I know are wrong. Simplicity. I am making an engine with only one wheel. No spokes of course. The wheel is a perfect square. You see what I’m driving at, don’t you? I am awfully solemn about it, mind you, so you must not think it is a silly story about the mouse and the grapes. No, it’s a wheel, I tell the world. And it’s all square.”
The academics write in their paper that: “Studying characteristics of the sentence-length variability in a large corpus of world famous literary texts shows that an appealing and aesthetic optimum … involves self-similar, cascade-like alternations of various lengths of sentences.”
“An overwhelming majority of the studied texts simply obey such fractal attributes but especially spectacular in this respect are hypertext-like, ‘stream-of-consciousness’ novels. In addition, they appear to develop structures characteristic of irreducibly interwoven sets of fractals called multifractals.”
The Pound Question: “Light lights in air”: Value, price, profit and Louis Zukofsky’s poetry By Andras Gyorgy
On the Pound question,
Quoted from the article “Light lights in air”: Value, price,
profit and Louis Zukofsky’s
poetry by Andras Gyorgy:
(wiki links edited by steve fly)
The “Pound Question” is a complex one. At this stage we may conclude at the very least that his well-known fascist sympathy in the war and broadcasts on behalf of Mussolini need be set against his enthusiastic support of Zukofsky’s circle, mostly Jewish and avowedly Marxist.
British painter and writer Wyndham Lewis, with whom Pound worked on the Vorticist magazine Blast in 1913-14, offered some insight into the American poet’s personality. Lewis called Pound, “A bombastic galleon, palpably bound to, or from, the Spanish Main. Going on board, I discovered beneath its skull and cross-bones, intertwined with fleurs de lys and spattered with preposterous starspangled oddities, a heart of gold.”
Pound had discovered the power of “movements” which consisted of little more than a manifesto, a special issue of a journal and an anthology. At his most enthusiastic, he would be praising and advising Zukofsky almost daily, sometimes more often, in letters, introducing his discovery to editors, giving him the benefit of his time, his wondrous editing, academic sponsorship. When his friend James Joyce was down on his luck, Pound sent him a pair of old shoes. According to Ernest Hemingway (in A Moveable Feast), Pound was “so kind to people that I always thought of him as a sort of saint.”
The touching relationship between Zukofsky and Pound, which did not cease in warmth and respect to the end of their days, is an aspect of the passing on of the modernist tradition to another generation of Zukofsky’s Objectivist circle, and then again through Robert Creeley and his generation, or “company” as he called it.
Zukofsky fought for years to have “A” 1-12 (1959, 1967) in print. The poetic sequence Anew (1943), also the name of the collection of shorter poems that New Directions is bringing back, was the last volume that a publisher brought out for a very long time. A testament to Zukofsky’s mood during the long period of his neglect is the title of the sequence “Barely and Widely” (1962), which refers to Louis’ complaining to his soul mate Celia, as he often did, about how “barely” he was known and how “widely” neglected. This was true at least until many of the poets represented in Donald Allen’s very influential anthology, The New American Poetry (1959), discovered and championed him in their war against “academic” poets and the Eliot-inspired “New Criticism”, which ruled English departments after the Second World War.
Hilaritas Press grew out of a desire to keep the books of Robert Anton Wilson in print and to fulfill Bob’s wish to provide for his children, something that during his life was difficult when authors typically receive less than ten percent of the money generated by their work. Bob’s daughter Christina and his friend Rasa, directing enterprises of the Robert Anton Wilson Trust, created Hilaritas Press as a way to fulfill Bob’s wishes and insure that his legacy remains robust. We’ve enlisted the aid of a small group of Bob’s treasured friends and others who are advising and helping out the Trust on RAW related matters. Bob would have loved that. Throughout his life he generously gave thanks and returned support for the many people who were touched by his heart, humor and wisdom.
Bob said that he first got the word hilaritas from Ezra Pound’s Cantos which was quoting the Byzantine philosopher Gemistus Pletho who said “you can recognize gods even in their human form by their outstanding hilaritas.” Bob notes that in Pletho’s time, hilaritas meant “cheerfulness, good humor we would say, but not in the sense of always joking.” For many years Bob would often sign his letters, and then emails with “amor et hilaritas”, or simply “hilaritas”.
After editing, reformatting and publishing Bob’s books in eBook and Print editions, a huge task that will take us a while, Hilaritas Press will invite other adventurous authors to become members of the Hilaritas Press family. Stay tuned to this internet channel for more details!
‘Orson Welles, Volume 3: One-Man Band’, by Simon Callow
Review by Christopher Silvester
One-Man Band shares its title with that of an unfinished Welles documentary film, a series of comic segments about life in Britain filmed between 1968 and 1971, and aptly evokes his career-long battle for freedom from studio control. This battle brought chaos, but a chaos that for his biographer “was often invigorating, life-affirming, liberating — even necessary”. Welles is best understood, Callow argues, not as a frustrated director who worked in that role far too infrequently but as a Romantic artist, “a force of nature, ablaze with energy”, unceasingly experimental, “always trying to storm the citadel of creativity” http://www.ft.com/cms/s/0/ee00d138-990e-11e5-9228-87e603d47bdc.html
Concept: Television news is a new mythic formWATCH THE VIDEO HERE.
[Wolfe]I think a hundred years from now historians, that’s assuming that the Chinese will have any interest our character or history, won’t look at the 1960s in the case of, say, the United States as the era of the war in Vietnam, of the moon shot or anything of that sort. I think it will be looked at in terms of what you refer to as the ground has changed, the way people have changed the their ways of living.
[McLuhan]We used to concentrate on figures and now the ground itself has become figure. The area of attention has shifted from the older characters to the ground. Now that includes audience. The audience has now become actor. Don’t you think this is a tendency as a result of developments in our time?
[Wolfe]Well, certainly Woodstock was a perfect example of it. Woodstock is probably the great, typical event of our times because …
[Wolfe]It was set up. From the very beginning there was going to be a movie made of Woodstock. As it started out every one of us were paying our eighteen dollars for the weekend. Gradually, so many people came, they just abandoned that and let them all come in. But actually they should have paid them all eighteen dollars asthey came in because they became the show.
[McLuhan]Consider in that regard what we call coverage. Coverage now is no longer just on a single individual but on a whole complex action. In turn, don’t you think that in both Vietnam and in the North of Ireland that the audience wants to get into the action, that the coverage encourages the audience to get into the action? I have been told by reporters from the North of Ireland that when the news is not on, and the cameras are ready to go, the public is all out in the streets ready to go into action as soon as the cameras are.
[Wolfe]Yes, that’s marvelous.
[McLuhan]They all retire inside to watch the news, and then come outside to participate in covering the news and in acting it out themselves. Now I think the difference between hired actors and the public itself is tending to merge. This kind of unexpected flip happened in the Eichmann trial. The coverage pushes up the figure dramatically into heroic dimensions but at the same time involves the audience so completely in the process of his action that it begins to feel far more guilty than he did. He appears merely as a person carrying out orders - the orders of the community. He was a welladjusted, nice guy who was doing what had to be done, according to the audience command, the audience being so involved in this process that it now begins to feel like a villain. Therefore, they want to cut that show right out of their lives.
[Wolfe]Do you think this explains the really strange fascination that Arthur Bremer had with Sirhan Sirhan? Bremer obviously looked at Sirhan as some kind of heroic figure. He wasn’t this poor, helpless, useless human being who had done this desperate thing, certainly not in Arthur Bremer’s eyes.
[McLuhan]No, and again, he had made the news. Sirhan had made the news. Now this you can take in every sense of the word as having gotten into the news, having been created into a vast figure by the news. “Making the news” is a very strange phrase, but the media themselves can now create events that are so much bigger than people, so much bigger than the audience, that it really is a new mythic form.
[Wolfe]I would really like to run down a checklist of all the predictions you made six years ago that people thought were absolutely crazy that have come true.
[McLuhan]I’ve always been very careful never to predict anything that had not already happened. The future is not what it used to be.