12/22/2016

Fake News & Made Up Truth

Fake News & Made Up Truth by Steve Fly “Keep it unreal”—Mr. Scruff. 
“Literature is news that stays news.”—Ez. The question "is it real" and "is it true" reverberates throughout the global village, sounding all the more desperate and panicked to me, as we all grapple with our place in the village, our individual identity and cultural identity, race, and hyperconnected cultural backlash. The black mirror of 2016.    I see fundamentalist materialism leading some once open-minded people down a concrete path to absolutism, and the dissolving of any critical method of analysis left. Some literally can't see the forrest for the trees. I feel that without some understanding of how our sensory nervous system operates, how humans tend to colour and edit perceptions, for the most part unconsciously, we will continue on a trajectory of global disinformation, lies, untruth and paranoia. Unless you take daily precautions and develop a sense for critical thinking, suspend your judgement, at least temporarily, the global village will have a tendency to seem full of fakes, snakes and events that do not fit your cagey convictions.   We all produce a kind of fake news to ourselves and to others. But stay with me here, we decide to narrow down the infinite flux of being, the infinite possibilities, to a particular point/opinion. A story, a single event, a particular such and such. Which is fine, unless the language you are using implies that your story is the only story, the true story, the singular almighty perception of the all seeing "I". And it seems to me that alphabet cultures have a tendency to lead to such a confusing of levels of abstraction. Alphabet cultures are ripe for fake news and made up truth, hell a good lawyer can prove anything these days, and a good old crafty orator can capture the hearts minds, and gullibility, of a nation of voters.    "Nothing is true, everything is permitted"--Hassan I Sabbah.

https://steemit.com/fake/@stevefly/fake-news-and-made-up-truth

10/06/2016

McLuhan and Holeopathic Quadrophrenia | The Mouse-That-Roared Syndrome by Bob Dobbs

McLuhan and Holeopathic Quadrophrenia | The Mouse-That-Roared Syndrome


ListenBob Dobbs at “Legacy of McLuhan Symposium,” Lincoln Center, Manhattan, sponsored by Fordham University, 28 March 1998
by Bob Dobbs
(published in The Legacy of McLuhan)

Phase 1
"…much of III.3 (Book Three, Chapter Three-ed.) is telephone conversation… As III.3 opens with a person named Yawn and III.4 displays the ingress of daylight upon the night of Finnegans Wake, the note on VI.B.5.29 is interesting:
'Yawn telegraph telephone Dawn wireless thought transference.' "
Roland McHugh,The Sigla of Finnegans Wake, p.19, 1976

"…Orion of the Orgiasts, Meereschal MacMuhun, the Ipse dadden, product of the extremes giving quotidients to our means, as might occur to anyone, your brutest layaman with the princest champion in our archdeaconry, or so yclept from Clio's clippings, which the chroncher of chivalries is sulpicious save he scan, for ancients link with presents as the human chain extends,…"
James Joyce, Finnegans Wake, p.254, 1939

(In McLuhan's private library in one of his copies of Finnegans Wake he has pencilled in the words "me" and "moon child" next to Joyce's "Meereschal MacMuhun".)
"The ordinary desire of everybody to have everybody else think alike with himself has some explosive implications today."
(the first sentence in the first article McLuhan wrote for Explorations-ed.)
H. M. McLuhan, Culture without Literacy,Explorations Magazine, Volume1, p.117, December, 1953


"Entertainment in the future may have quite different patterns and functions. You'll become a yogi, you'll do your self-entertainment in yoga style."
Marshall McLuhan,Like Yoga, Not Like the Movies,Forbes Magazine, p.40, March 15, 1967


"T. S. Eliot's famous account of 'the auditory imagination' has become an ordinary form of awareness; but Finnegans Wake, as a comprehensive study of the psychic and social dynamics of all media, remains to be brought into the waking life of our world."
Marshall McLuhan,Letter to Playboy Magazine, p.18, March, 1970

"At electric speeds the hieroglyphs of the page of Nature become readily intelligible and the Book of the World becomes a kind of Orphic hymn of revelation."
Marshall McLuhan, Libraries: Past, Present, Future(address at Geneseo, New York-ed.), p.1, July 3, 1970

"The future of government lies in the area of psychic ecology and can no longer be considered on a merely national or international basis."
Marshall McLuhan and Barrington Nevitt,Take Today: The Executive as Dropout, p.227, 1972

"And do you know," he (Eric McLuhan-ed.) enthuses, "there are actually (four-ed.) laws governing media communications? At last we can prove to people that we aren't just theorists. This is a real science.... We know there is one more law," says Eric. "And we'll find it. Sooner or later."
Olivia Ward,Now! Son of Guru!,Toronto Star, p.D1, March 30, 1980

Marshall McLuhan made two decisions in 1937: one was the spiritual strategy of becoming a Roman Catholic, and the other was the secular strategy, after intensive study at Cambridge, of translating James Joyce's Work-in-Progress (later given the title of Finnegans Wake in 1939) into an aesthetic anti-environment useful for countering and probing the cultural assumptions of a practicing Catholic.
For the next twenty years he refined his understanding of, first, the Thomist concept of analogical proportionality as the expression of the tactile interval, and second, its usefulness in perceiving the cultural effects of the new electric technologies, through an ongoing dialogue, analysis, and sensory meditation on the nature of metaphor and consciousness (including extrasensory perception) as an artifact. Since McLuhan defined "metaphor"(1) as the act of looking at one situation through another, each situation constitutive of figure-ground interplay (a concept borrowed from Gestalt psychology), then a metaphor was an instance of mixed media, or two figure-grounds. And so was consciousness - because of its essential subjective experience as doubleness, which is doubled again as the objective effect of its autonomous interplay with other consciousnesses. Metaphor, for McLuhan, was hylomorphic(2). In retrospect, the equation McLuhan was playing with could be flattened out as:

metaphor=mixed media=doubleness =consciousness=tactile interplay=the Christian Holy Cross=figure/ground=analogical mirror=iconic fact= cliché/archetype=resonant field= hendiadys=menippean irony,

each and all (except for "metaphor") squared. However, after he made personal contact with Wyndham Lewis in 1943, their dialogue enhanced his appreciation of adopting Wyndham Lewis' social probing style as a political anti-environment to McLuhan's own commitment to the poetry of T. S. Eliot, Ezra Pound, W. B. Yeats, and James Joyce. Hence, his own studies simulated the doubleness he was observing technically. For the rest of his career McLuhan juggled the artistic approaches of these five artists in miming the tactile qualities of the analogical drama of proper proportions - the drama of being and perception. For him, language was the drama of cognition and recognition, or consciousness.

"The measure of our (Catholics-ed.) unawareness and irrelevance can be taken from the fact that no Thomist has so far seen fit to expound St. Thomas's theory of communication by way of providing modern insight into our problems."
H. M. McLuhan,The Heart of Darkness(unpublished review of Melville's Quarrel with God by Lawrence Thompson, 1952-ed.), p.8, 1952

"The analogical relation between exterior posture and gesture and the interior movements and dispositions of the mind is the irreducible basis of drama. In the Wake this appears everywhere. So that any attempt to reduce its action, at any point, to terms of univocal statement results in radical distortion.(p.33)... It needs to be understood that only short discontinuous shots of such a work as Joyce's are possible. Linear or continuous perspectives of analogical structures are only the result of radical distortion, and the craving for 'simple explanations' is the yearning for univocity."(p.36-7)
Marshall McLuhan,James Joyce: Trivial and Quadrivial (1953) in The Interior Landscape, pp.33 and 36-7, 1969

9/19/2016

On McLuhan's Mental Mosaic - Hologrammic Prose

"But McLuhan created a more fundamental means to a more organic understanding in the very aphoristic style in which he chose to convey his ideas one consciously embodying the concept that the medium is the message. Its means is not to follow a continuous, linear, and unbroken line of thought, but to create a tessellated pattern of ideas, with each of the tiles in the mental mosaic a particular facet of the overall pattern. Like fractals, an analogue that has gained currency only since McLuhan's last work, the grand, overall pattern is contained in miniature in each of the parts. He also took as models for this style writers in the symbolist and modernist movements, particularly Mallarme, Eliot, Pound, and Joyce."
http://ejournals.library.vanderbilt.edu/ojs/index.php/ameriquests/article/viewFile/83/90

Fenollosa - Pound - Yeats: (Certain Noble Plays of Japan)

From The Manuscripts Of Ernest Fenollosa,

Chosen And Finished

By Ezra Pound


With An Introduction By William Butler Yeats


Fenollosa, Pound and Yeats are all members of Robert Anton Wilsons 'all star cast' for The Tale Of The Tribe.

Here we have one document which features 1/4 of the stars. Well worth the read i presume. In particular for anyone interested in Theatre.

Keep on truckin'

--Steve Fly

CERTAIN NOBLE PLAYS OF JAPAN:

http://www.gutenberg.org/files/8094/8094-h/8094-h.htm 





Introduction by William Butler Yeats, April, 1916.

In the series of books I edit for my sister I confine myself to those that have I believe some special value to Ireland, now or in the future. I have asked Mr. Pound for these beautiful plays because I think they will help me to explain a certain possibility of the Irish dramatic movement.

3/22/2016

Giordano Bruno, Timothy Leary And The Starseed Transmissions


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.
http://www.lycaeum.org/books/books/starseed/starseed.shtml

3/04/2016

Dr John C. Lilly on human/dolphin communications.

OMNI
You're probably best known as "Dr. John Lilly, the dolphin man." What is the aim of your current dolphin research? 

Lilly
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:
https://www.erowid.org/culture/characters/lilly_john/lilly_john_interview1.shtml 

Douglas Rushkoff Rocks The Google Bus

Douglas Rushkoff Rocks The Google Bus


Douglas Rushkoff is one of those rare writers and friends. He can ask big gnarly questions, and then before you know it, present a buffet of solutions that leave you with a ravenous appetite to dig into the future.

In Program or Be Programmed, Rushkoff made the compelling case for the need for all of us to be programmers. Choose to program and “you gain access to the control panel of civilization. Choose the latter, and it could be the last real choice you get to make.” Yikes, I read that and immediately went to use my limited HTML skills on my nascent website.

Despite my admiration for his past work, I approach his new book with some trepidation. I guess I thought Rushkoff was going to be the one throwing rocks. Nope. I should have known better. Rushkoff is always more complicated than that. 

In Throwing Rocks At The Google Bus, Rushkoff begins with some powerful truth telling. 

The digital economy is breaking things. The media can’t seem to survive digitization. Drivers are losing to Uber. Airbnb is turning neighbors apartments into rentable dorm rooms, and as he lays out the current state of play – event tech visionaries find the demands of the startup economy closing their vision.

But Rushkoff isn’t claiming Google GOOGL -1.03% is at fault. He says: “there is something troubling about the way Google is impacting the world, but neither it’s buses nor the people in them are the core problem; they’re just and easy target. He says we’ve brought a set of industrial age. “We are running a 21st-century digital economy on a 13th Century printing-press era operating system,” writes Rushkoff. 

Now it’s not all bad. “On the bright side, millionaires and billionaires are being minted, maybe not enough to compensate for the millions of people being displaced, from their jobs, but they are inspiring just the same.”
Looking for an example, Rushkoff settles on Uber, and he takes on the company with relish. “By calling itself a platform rather than a taxi dispatcher, Uber has been able to work in a regulatory gray area that slashes overhead while inflating revenue. This is how Uber can be valued at over $18 billion dollars while many of its drivers make below minimum wage after expenses.”

The crux of the argument that Rushkoff makes is that the digital economy is a house of cards built on fictional growth metrics that drive companies to raise money, undercut human workers, sell on the public markets and then – almost inevitably – collapse under the weight of public market demands. And he’s not alone in his concern. Quoting Union Square Ventures founder Fred Wilson, the book shares Wilson’s blog post. In it Wilson “worries aloud that digital entrepreneurs are more focused the increasing monopolies and entreating value than they are on realizing the internet potential to promote value creation by many players.”

Growth, it turns out, may be an illusion. “If infinite growth is no longer a possibility or even desirable, then you must shift your sights away from the big “win” in the form of an IPO, acquisition or growth target” writes Rushkoff. “Think of it less like a war, where total victory is the only option, and a bit more like peace, water eat objective is to find a way to keep it going.”

The core message of the book is that the current state of play in funding, driving, and exiting digital companies is unsustainable. And to bring that point home, Rushkoff shares his stories of  Ventureless Capital: the Patience of the Crowds. His example is a good one – his friend, and mine, Scott Heiferman. Heiferman founded Meetup after selling his first startup at the hight of the dot-com boom. Meetup aims to be a civic platform rather than a platform monopoly. “We’re not trying to vertically/horizontally integrate or get into news busses or invent self-driving space elevators. We know what business e want to be in, it’s a big opportunity and we don’t see ourselves and empire-building imperialists.” Meetup aims to be Meetup, and to grow that business – a perfect Rushkoff example.

In Throwing Rocks at the Google Bus, Rushkoff calls on business to:
  • Accept that era of extractive growth is over. 
  • Reject platform monopolies like Uber in favor of distributed, worker-owned co-ops, orchestrated through collective authentication systems like bitcoin and blockchains.
  • Resist the short-term, growth-addicted mindset of publicly traded markets.
  • Recognize contributions of land and labor as important as capital, and develop business ecosystems that invest in the local economies on which they ultimately depend.

“None of us can wave a magic wand and transform the economy from an extractive endgame into a prosperous commons,” writes Rushkoff in his conclusion. “However, I do believe we can reposting our careers and our businesses to become less a part of the problem than participants in the solution. There’s a lot of hope here.”


Steven Rosenbaum is serial entrepreneur, author, and filmmaker. His latest book, Curate This! is in print and ebook on Amazon.com. He is the CEO of Waywire.com (enterprise.waywire.com)

2/21/2016

James Joyce and the Comstockery of internet.

Fuck the censors.

--Steve Fly


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 

Pound to Joyce: ‘Wall, Mr Joice, I recon you’re a damn fine writer, that’s what I recon’


ON THIS DAY…19 DECEMBER

December 19, 2013

ON 19 DECEMBER 1917 POUND WROTE TO JOYCE PRAISING ‘TELEMACHUS.’

Pound, who had already been responsible for getting A Portrait of the Artist as a Young Man into print, was impressed by the first episode of Joyce’s new novel, Ulysses. For the next three years, Pound was editor, critic, and even censor of Ulysses.
Shortly after A Portrait of the Artist as a Young Man started to appear in serial form in the Egoist in February 1914, Joyce started work on Ulysses, a novel he may well have been thinking about since his time in Rome in 1906-7. However, he put off work on Ulysses in favour of his play Exiles, and it was not until June 1915 that the first episode of Ulysses was written.
However, even in April 1917 Joyce still maintained that the only part of it that might be ready for publication was the ‘Hamlet’ chapter, and he was reluctant to see that cut to fit the space available in the Egoistmagazine. He told Pound in June that he had finished the ‘Hades’ episode and was working on ‘Aeolus,’ and by August he was telling Margaret Anderson that he hoped to send some of Ulysses to Pound for the Little Review.
A severe attack of lumbago and glaucoma meant that Joyce had to undergo an eye operation at the end of August, and in mid-October he moved to Locarno to recuperate. The first three episodes of Ulysses were finished there, and sent to Claud Sykes in Zurich for typing. The first episode was then sent on to Pound who hoped to publish it in the Little Review and the Egoist.
In his letter of 19 December 1917, Pound declares that the opening chapter is ‘echt Joice’ and though there was a passage on the third page that made him question it for a moment, he reread it, and could find nothing wrong. There were some words that he wondered about, for instance ‘merry’ in the phrase ‘merrying over the sea,’ but again these were not a matter for concern.
The one thing that seemed to occur prophetically to Pound was that the novel was sure to be suppressed but, he declared, ‘it is damn wellworth it.’ Unwittingly, Pound had a dig at Anthony Comstock, the founder of the New York Society for the Suppression of Vice, and promoter of a bill that made it illegal to deliver obscene, lewd or lascivious material. It was Comstock’s law and his Society for the Suppression of Vice that got Ulysses suppressed in 1920.
Pound concluded his letter in a voice imitative of an American drawl: ‘Wall, Mr Joice, I recon you’re a damn fine writer, that’s what I recon’… You can take it from me, an’ I’m a jedge.’

Sources & Further Reading:
Joyce, James: Letters of James Joyce, vol. II edited by Richard Ellmann, London: Faber & Faber, 1966.
Pound, Ezra: Pound/Joyce – The Letters of Ezra Pound to James Joyce with Pound’s Essays on Joyce, edited and with Commentary by Forrest Reid, London: Faber & Faber, 1968.