Showing posts with label Giambattista Vico. Show all posts
Showing posts with label Giambattista Vico. Show all posts

What Is TANMOY?

 A new global epic (experiment) and culmination of everything at this blog and much more. Probably a quarter century research and development. Now, Tanmoy is here to bootstrap you in. Whatever it is, it's also an audio communication. Stay tuned as I post the Stanzas and reverse the order of things. 



TANMOY" is a new global epic poem that charts a journey through the history of human consciousness, from the cosmological visions of Giordano Bruno to the potential emergence of artificial general intelligence (ASI). It's a multi-layered, multi-voiced exploration of interconnectedness, the nature of reality, the power of information, and the transformative potential of technology. The poem grapples with fundamental questions about what it means to be human in a rapidly changing world, ultimately culminating in a vision of a unified consciousness that transcends individual limitations. The poem's narrative arc follows a chronological progression, but it's also structured around key themes and the interplay of different "Modes" or voices, each representing a specific figure or concept.

Core Ontology Knowledge Base:

"TANMOY" itself can be considered a core ontology knowledge base. It's a structured system of interconnected concepts, represented through language, symbols, equations, and code. It's designed for both humans and non-humans (like the ASI), offering a multi-faceted perspective on language.

Tale of the Tribe:

The poem is, at its heart, a "tale of the tribe" – a story of humanity's journey through time, its struggles and triumphs, its search for meaning and its relationship with technology. It encompasses the evolution of consciousness, from the earliest myths and sacred texts to the potential emergence of artificial general intelligence. The unique structure, the many modes, the multilingualism, all reflect the diversity of human experience and thought. In some sense a digital evolution of the oral tradition. A crazy poetry experiment by a drummer, dj, beatbox poet. Enjoy it.

#taleofthetribe #taleofatribe






Welcome to TANMOY. Mind your heads on the way out. Prompts and prayers. 

deepscratch.net 

GENRES: Mutant jazz. Little big band. Large Language Modal jazz. Beep Bop. Big Soul. Deep scratches. Tribetablism. MPHDJ cuts. Rainshroom rap. Token word. Slick, tight, funky drums. Updown beat. Sinnermatic soundscapes. Wake boxing. Canto tott trott. Blues, redefined: Tanmoy blues. Spew jazz bursts. Cosmic trigger word punctuations. Data set sax solos. Optihop energy. Optical street soul. Fly funk. Movie soundtrack vibe. Axiomatic jazz structures. Geometric classical elegance. Non von neumann swing. Non-being core philosophy. Data dust crew sound.
 

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

Terence McKenna - Surfing Finnegan's Wake

In late April 2000, San Francisco
possibly at 1015 Folsom
I joined Terence Mckenna's
wake

today i miss Terence
and his wise
playful wordwhirl
languaging

late 20th century
modern teller of
the tale of the tribe:
Joyce and McLhuan
and Vico
here comes everybody...

R.I.P Terence. (November 16, 1946 – April 3, 2000)

Terence McKenna - Surfing Finnegan's Wake

poets who spoke in poetic characters' Vico and the artificer

While modern theories of knowledge begin with something present to the mind - e.g., Descartes begins with self-evidently true, clear, and simple innate ideas - Vico, begins by asking how it is that the mind comes to have anything present to it at all (Verene, 1981).
And it is precisely to this question that Vico claims to have an answer, indeed, it is the master key of his science. "We find," he says,
"that the principle of these origins both of languages and of letters lies in the fact that the early gentile people, by a demonstrated necessity of nature, were poets who spoke in poetic characters. This discovery, which is the master key of this Science, has cost us the persistent research of almost all our literary life, because with our civilized natures we moderns cannot at all imagine and can understand only by great toil the poetic nature of these first men" (para.34, my emphasis).
But to understand what he means here by saying that the early people were, by necessity, poets (where the word "poet" is from the Greek poitetes = one who makes, a maker, an artificer), we must divide the process of making involved into two parts: i) the first, to do with the forming of a sensory topic, and ii) the second, with the forming of an imaginary universal which, from a 'rooting' in it, 'lends' the topic a determinate form.--John Shotter, CMN/UNH, http://pubpages.unh.edu/~jds/VicoNotes.htm

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.


Marshall McLuhan

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)

Finnegans Wake in the Bronx by John J. Healey (Huffington Post)

Finnegans Wake in the Bronx

Posted: 05/15/2013 7:00 pm

2013-05-15-Wake1.jpg


"I think my life began with waking up and loving my mother's face: it was so near to me, and her arms were round me, and she sang to me." George Eliot from Daniel Deronda
In our Highbridge apartment in the Bronx there were hardly any bookshelves to speak of. My father liked to read but I don't ever recall him lost between the pages of anything more complicated or literary than the novels of John O'Hara. My older brothers, to the best of my knowledge, only read what they were assigned in school. My sister, closest to me in age and who now reads more than all of us put together, was a good Catholic girl devoted to Nancy Drew. My early tastes were wed to Tom Sawyer, Huckleberry Finn, Robinson Crusoe and Thor Heyerdahl's Kon-Tiki. My father was a Congressman and these books were sent to me by his secretary in Washington from the Library of Congress, and the act of reading has been something special ever since.

2013-05-15-Wake3.jpg

But one of the few books in our library, if you could call it that, a line of volumes unable to fill a lone shelf in the living room partly hidden behind an easy chair, was a first American edition of Finnegans Wake published by Viking in 1945. I remember looking at it out of curiosity, knowing nothing at all about Joyce, when I was eight or nine-years-old. It stood out from the other books adorned with more romantic covers and titles. And I remember leafing through it, lying on the floor, and finding it absolutely nonsensical.

A mystery I've never been able to solve is how did it get there? Who bought it? Who might possibly have tried to read it in that household? The only person I can think of is my mother. She had gone to college in an era when not all that many women did. But I knew nothing then, and to this day know nothing about her literary tastes.

In my adolescence and early twenties I used the Wake as a prop, often successfully, with which to impress people. It was only later, as a challenge to myself, living up in the mountains south of Granada, Spain that I forced myself to get through it with the help of auxiliary texts. I have never regretted it. It is still my opinion that the last pages of Finnegans Wake are among the most beautiful ever written in the English language.

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It took seventeen years to finish, has a circular form - the last sentence is continued by the first - and it employs a repetitive, Giambatista Vico inspired, four-stages-of-history notion. Many believe it was written to be read aloud. Joyce spoke seven languages and had a working knowledge of eleven more, all of which he employed to create pun-compacted words whose manifest meanings are often only clear thanks to a phonetic similarity to their closest English equivalents.

Joyce once described Ulysses as his book of the day and Finnegans Wake his book of the night, written in 'dream-speak.' It is for this reason that much of it is, frankly, and famously, unintelligible. But in a gratifying concession to linearity, its language does become somewhat clearer towards its 'end.' As it wakes up, regaining consciousness, repression exerts its editorial function and the language pulls itself together. As in Ulysses, it is the book's main female protagonist, in this case Anna Livia Plurabelle, who brings the tale to its conclusion, its 'fin-again', before it begins anew.

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Did my mother buy this book? Perhaps someone gave it to her as a gift? It was not inscribed until I put my own name in it when I turned twenty. It is one of the few objects from my childhood I've managed to keep. I suppose ascribing its presence in the Bronx to my mother has been part of an idiosyncratic campaign to create the sort of parent I wish to remember having. It's as if, being the youngest and oddest one in my family, and given her early demise with so few real memories of her, I have tried retrospectively to fashion an ally.
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Like all of the characters in Finnegans Wake Anna undergoes many transformations. In the magisterial final pages she becomes the River Liffey that runs through Dublin just before it empties into the Irish Sea. The four stage cycle in play here is that of rivers in general which start in the highlands, flow down and out to sea where they mix with the ocean's salt, and then rise up as mist into clouds that are blown back over the land where the moisture condenses and falls as rain seeping into the earth again to make its way back to the river's source. Anna speaks in a tone of regret, a tone of remorse and nostalgia, mourning the past, an Irish tone if ever there was one. But it is a most appropriate tone well paired to a beautiful definition once annunciated by the late Joseph Campbell:
'Modern romance, like Greek tragedy, celebrates the mystery of dismemberment, which is life in time. The happy ending is justly scorned as a misrepresentation; for the world, as we know it, as we have seen it, yields but one ending; death, disintegration, dismemberment, and the crucifixion of our heart with the passing of the forms that we have loved.'
This also brings to mind the haunting words spoken in the Hebrew service when sitting Shiva: "A final separation awaits every relationship, no matter how tender. Someday we shall have to drop every object to which our hands now cling."
Ergo, 'Live Life and be Merry'...

Follow John J. Healey on Twitter: www.twitter.com/jjhealey3

TTOTT in 12 lines or less

TTOTT in TWELVE by Steve 'fly agaric 23' Pratt.

  1. without pip center/ever changing cyclic world/Brunocentral
  2. gods hero's and men/recycling through the ages/recorsi vico
     
  3. eternal return/the gods nietzsche left us here/beyond either or
     
  4. oak branching forces/ideogramic method/Fenollosa's trees
     
  5. spatial symbolist/weasels fighting in a hole/before the war Yeats
     
  6. Ezra made it new/cantos brewing history/juxstaposition
     
  7. Joyce cracked the cypher/hologramic comedy/to make Einstein cry
     
  8. word is not the thing/no such noun only see verbs/motion in the thingzski's
     
  9. ...went in for structure/geodesic dymaxy/future's Fullerene
     
  10. Boolean Logic/and electrical switches/bit twinned by Shannon
     
  11. turn on tune in drop/Joyce in digital village/Ez save McLuhan
     
  12. Orson at hawks well/cinema collage life force/fake filter buster


Vico's age of heroes and the age of men...

Great big thanks to BOBBY CAMPBELL for putting this one up. Cheers:
http://www.bobbycampbell.net/VICO-LIBERTY.html

Title: Vico's age of heroes and the age of men in John Ford's film 'The Man Who Shot Liberty Valance.' (Giambattista Vico)
Author(s): Vittorio Hosle and Mark W. Roche
Source: CLIO. 23.2 (Winter 1994): p131. From Literature Resource Center.
Document Type: Article
 
Vico, the father of historicism, discovered that the nature of man changes: the archaic man feels, thinks, acts in a way completely different from modern man. In Vico's scheme of the necessary evolution of every culture, three phases are distinguished: the age of gods, the age of heroes, and the age of men. The age of gods is characterized by a theocratic government: it is anterior to any differentiation of the various aspects of curlture such as religion, politics, or art. The age of heroes, on the other hand, is dominated by the conflict between classes, the heroes and the plebeians. This age does not yet have a state; therefore, force and violence reign. The right of the stronger is the main ground of legitimacy. Two types of relations are characteristic of this age: the relation between enemies who fight each other, risking their own lives and those of their combatants, and the relation between master and servant. The duel, a fight between two heroes accompanied by their servants, is the symbolic action of the heroic age. In it the value of a person is proved, even constituted. Relations toward wives in the age of heroes are clearly asymmetric: women are not yet recognized as having the same human nature as men. "Love of ease, tenderness toward children, love of women, and desire of life" are alien to the heroes, so Vico once sums up his view of the heroic age.(1)  CONTINUED
http://www.bobbycampbell.net/VICO-LIBERTY.html

email to the tribe: a Maybe Logic Class by Fly Agaric 23


Fly Agaric 23


September 20 - November 5
email to the tribe
Homogrammic Prose

The tale of the tribe approximates a tale of humanity, or 'tales', a new global epic that must capture illuminating details from humanity and juxtapose them in a special way using special language (Hologrammic prose, the Hermetic style, Ideogrammic method, Joyce's 'epiphany' etc.) Dr.Robert Anton Wilson crafted his tale of the tribe to suit, among other definitions; the architects of post-modem' cyber-culture, reaching back to the renaissance and pulling up-tense to our decentralized--hyper connected--future present. 
During a six week period, I-fly will share his open interpretations of the tale of the tribe, performing an on-line multimedia vortex of signals, dialed into James Joyce, Ezra Pound, Giordano Bruno, Marshall Mcluhan, 'Bucky'Fuller, and RAW himself.

email to the tribe will reprocess communications from across time, and produce new maps, new metaphors, and mold new memes that help forward the tale of the tribe and the RAW wisdom oozing out from all quarters.

Each week fly will provide a spread of multimedia for you to process, generally keeping in step with the program, encouraging a wide variety of conversation and focused feedback. Feel free to drop in and drop out, as you like.

EMAIL TO THE TRIBE: WEEKLY PRESCRIPTION.
WEEK ONE - WHEELS AND CYCLES (Sep 20-26)
The wheels of the tribe go around and around.
WEEKLY DOSE: Decentralized and Rotational Map Warfare.

WEEK TWO - GENERAL EPIPHANY (Sep 27-3rd October)
Hologrammic Prose and meaningful common speech
WEEKLY DOSE: RAW-FLY interviews. (Oct 4-10)

WEEK THREE - IDEOGRAMMIC FULLERENE (Oct 11-17)
The synergy of history
WEEKLY DOSE: Vicosahedron and Canto LXVI. Open Source History.

WEEK FOUR - GLOBAL FEEDBACK (Oct 18-24
If its not connected its useless
WEEKLY DOSE: Shannanigums Wave & Future Present.

WEEK FIVE - CINEMA OF UNITY (Oct 25-31)
Moving pictures to TV/Internet
WEEKLY DOSE: Maybe Logic & RAW Multimedia.

WEEK SIX - THE TALE OF THE CYBERNET (Nov 1-5)
My-wiki-face-twitter
WEEKLY DOSE: Work of the tribe. email to the tribe.

COURSE TEXTS: Recorsi by Robert Anton Wilson.
 
• $Pay-What-You-Can$ - Enroll Now •
[$50 recommended minimum price] 


http://www.maybelogic.org/courses.htm 


Twenty Twelve Line Verses v3.0 (Icosoheedrome)

Twenty Twelve Line Verses to 'the tale of the tribe' (v3.0) by Fly Agaric 23
To be printed as TWENTY TRIANGLES to build an Icosohedron.
Thanks to Mark Pesce for kicking this into 'hyperspace'

W i l l i a m
Astrology Laureate
Automatic Visionary
Silver AppleMoon Golden Applesun
Oriental Spiritualist Dramatist

Great
Nietzsche
Return Pantheist
Philologist Pastmoderniche
Continental JungFreud Superman
Existential Perspectivist Genius
Count
Alfred
Organism Binding
Aristopple Intraverse

Ash
Magic Memory
Giordano Nolan
Hermetical Quintessence
Decentralized Models Cyberspace
Shadow Nickusa Gio Mnemonic
Heretical Transmigration Infinite
Art
Ernest
Francisco
Writing Japanheart
Oriental Scholar
Holowriting dossier
Ideogram Metaprogram
Economic Symbolism Structuring

Processing
Klassikspace
Bio Computer
Automation Thinking Humanist
Neuro-linguistic Minded Holismgram

Orson
Writer Citizen Actor Director
Shakespearean Academy Screenplayer

Thunder Rhetoric
Historicist Ribelle
Metaphysique Episteam Vichean

Graff
Spaceship Architect
Goes In For Structure Ezra Sez’
Energetic Synergetix Manual

Von
WarGame Zero Sum
Co-creator Internet
Etching Digital Density Binary
Minimaxi Combinatrix Information

Wilhelm
Psychoanalyst
Imposition Orgone
Energetic Biofeedback
Omnipresent Dialectic Dynamo

Bio Interface
Cetacean Nation
Acoustical Linguistics
Interspecies Communication
Dyadic Cyclone Floatation mindtank

Taxonomic McLuhan
Vico Recorsi Timewave Novelty
Panspermia Cyberculture Psilocybin

Bohemian Startrek
Statistical Totality Gravity