PRO LOG A RIDDIM

without pip center¹ /
ever changing cyclic world /
Brunocentral²

gods hero's and men /
recycling through the ages /
ricorsi vico³

∞

eternal return /
the gods Nietzsche left us here /
beyond either or

∴

oak branching forces /
ideogramic method⁴ /
Fenollosa trees⁵

spatial symbolist /
weasel fight in a chamber /
before the war Yeats⁶

象形

H = -∑ p log p

Ezra made it new⁷ /
cantos brewing history /
juxtaposition

⊕

Joyce cracked the cypher /
hologramic comedy /
to make Einstein cry

word is not the thing /
no such noun only see verbs /
motion in the thingzskis

∄

...went in for structure /
geodesic dymaxy /
futurz Fullerene⁸

ρ = m/V

Boolean Logic /
and electrical switches /
bit twinned by Shannon⁹

turn on tune in drop /
Joyce in digital village /
Ez save McLuhan¹⁰

Orson at hawk's well¹¹ /
cinema collage life force /
fake filter buster

TTOTT in TWELVE (T n'T)

¹ "without a pip center": This is a reference to a concept by Buckminster Fuller, who used it to describe his approach to design and problem-solving. According to Fuller, a pip center represents a fixed point of reference or a central authority, and working without one allows for more flexible, adaptable, and decentralized solutions, more akin to nature's own designs.

² "Brunocentral": A reference to Giordano Bruno, an Italian philosopher, astronomer, mathematician, and occultist. Giordano Bruno: https://en.wikipedia.org/wiki/Giordano_Bruno

³ "ricorsi vico": A reference to Giambattista Vico, an Italian philosopher, rhetorician, historian, and jurist. Giambattista Vico: https://en.wikipedia.org/wiki/Giambattista_Vico

⁴ "ideogramic method": Ernest Fenollosa: https://en.wikipedia.org/wiki/Ernest_Fenollosa

⁶ "before the war Yeats": W. B. Yeats: https://en.wikipedia.org/wiki/W._B._Yeats

⁷ "Ezra made it new": Ezra Pound: https://en.wikipedia.org/wiki/Ezra_Pound

⁸ "Fullerene": Buckminster Fuller: https://en.wikipedia.org/wiki/Buckminsterfullerene

⁹ "bit twinned by Shannon": Claude Shannon: https://en.wikipedia.org/wiki/Claude_Shannon

¹⁰ "Ez save McLuhan": Marshall McLuhan: https://en.wikipedia.org/wiki/Marshall_McLuhan

¹¹ "Orson at hawk's well": Orson Welles: https://en.wikipedia.org/wiki/Orson_Welles

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. 

Giordano Bruno And The Hermetic Tradition - Francis A. Yates

Orientalism And Modernism - The Tale Of The Tribe

When I lived in New Orleans 2003-04 I was browsing a bookshop and stumbled upon the book "Orientalism and modernism" by Zhaoming Qian. The book travelled with me to New York, Chicago and back to the Bay Area and onto the UK, finally sitting on my shelf today, in Amsterdam. Everytime I go back to it I'm rewarded with enriched mental images. 

For any studying the tale of the tribe as outlined by Robert Anton Wilson, "Orientalism and Modernism" is my recommended introduction, getting at central themes such as being/non-being and contextualizing them in multicultural discourse orbiting poetry, the language of the tribe. 

This book, for me, reflects some of the reasons why Wilson included the relatively obscure scholar of far-eastern art and poetry: Ernest Fenollosa, in his dozen or so...historical modernist influencers (Bruno, Vico, Nietzsche, Yeats, Joyce, Pound, Korzybski, Fuller, Shannon, McLuhan, Welles)

I'd argue that some techniques employed by early Chinese poets predate the modernist tendencies and explorations of beingness, demonstrable/evidenced in the analysis of ellipsis, juxtaposition...plus symmetry with natural forms. Beautiful stuff. Toward a language of Daoism and quantum mechanics?       

 Good day.

--Steve Fly    

 

Author: Zhaoming Qian 

Subjects

Asian Studies, Literature and Literary Studies > Literary Criticism

Chinese culture held a well-known fascination for modernist poets like Ezra Pound and William Carlos Williams. What is less known but is made fully clear by Zhaoming Qian is the degree to which oriental culture made these poets the modernists they became. This ambitious and illuminating study shows that Orientalism, no less than French symbolism and Italian culture, is a constitutive element of Modernism.
Consulting rare and unpublished materials, Qian traces Pound’s and Williams’s remarkable dialogues with the great Chinese poets—Qu Yuan, Li Bo, Wang Wei, and Bo Juyi—between 1913 and 1923. His investigation reveals that these exchanges contributed more than topical and thematic ideas to the Americans’ work and suggests that their progressively modernist style is directly linked to a steadily growing contact and affinity for similar Chinese styles. He demonstrates, for example, how such influences as the ethics of pictorial representation, the style of ellipsis, allusion, and juxtaposition, and the Taoist/Zen–Buddhist notion of nonbeing/being made their way into Pound’s pre-Fenollosan Chinese adaptations, Cathay, Lustra, and the Early Cantos, as well as Williams’s Sour Grapes and Spring and All. Developing a new interpretation of important work by Pound and Williams, Orientalism and Modernism fills a significant gap in accounts of American Modernism, which can be seen here for the first time in its truly multicultural character.

Lockdown With The Tribe - 200 Video's On The Tale Of The Tribe (Youtube Playlist)

 What better time to touch-up on your TTOTT chops and follow the internetwork of principles, methods, ideas and artworks defined by Robert Anton Wilson as worthy study for surviving in the 21st century. 

I wish you all a safe and productive hibernation. Love, Steve Fly. 

https://www.youtube.com/playlist?list=PL7EA119478EE8715D

Buckminster Fuller - Critical Path

A critical text for anyone following the tale of the tribe. Read it.

Coincidance: A Head Test by Robert Anton Wilson.

This, for my money, is the most spectacular non-fiction work that Wilson ever penned, breathtakingly adventurous in both its content and its strikingly experimental form. Uncertain and demonstrably uncaring whether it’s a piece of literary criticism, metaphysical discussion or anthology of diverse esoteric writings, this remarkable compendium is best seen, in the spirit of its title, as a glorious accidental dance of meaning, modernism and mythology.  - Alan Moore, from his introduction to Coincidance – The Robert Anton Wilson Trust Authorized Hilaritas Press Edition

Ship to:

Simon Moon

Sell on Amazon

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.
https://www.wsws.org/en/articles/2016/02/03/zuko-f03.html

The New Science - Giambattista Vico

The Art Of Rhetoric

Giordano Bruno Books at Google Books.

Giordano Bruno: Philosopher Heretic Giordano Bruno and Renaissance Science: Broken Lives and Organizational Power Essays on Giordano Bruno

Orson Welles, Volume 3: One-Man Band’ by Simon Callow

‘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

re:publica 2015 - Cory Doctorow: The NSA are not the Stasi: Godwin for mass surveillance

Published on May 7, 2015

Find out more at: http://re-publica.de/session/nsa-are-...

It's tempting to compare NSA mass surveillance to the GDR's notorious Stasi, but the differences are more illuminating than the similarities.

Cory Doctorow
Electronic Frontier Foundation

Creative Commons Attribution-ShareAlike 3.0 Germany
(CC BY-SA 3.0 DE)

Plunder or preservation? How Asian art came to U.S.

'America's involvement with China goes back to the late 18th century, when Yankee ships began to trade fur pelts and wheat (and later opium) for tea, silks and dishware. As early as 1845-1847, Boston presented the "Great Chinese Museum."

Harvard University trained and underwrote many early explorers of China's cultural and archaeological heritage. The 19th century scholar Ernest Fenollosa traveled to the East, converted to Buddhism, oversaw the Oriental section at Boston's Museum of Fine Arts and wrote an essay on the Chinese written character which inspired Ezra Pound's translations.--http://hamptonroads.com/2015/03/plunder-or-preservation-how-asian-art-came-us

Bruce Sterling Closing Remarks at SXSW 2014

This drummer first met Bruce at the Presidio in San Francisco at the PLANETWORKERS Conference, 2000 A.D. On that occasion he freestyled a presentation which featured the recent breaking news of the fire at Los Alamos.

I find Bruce to be a top (2015) contender for communicating the tale of the tribe, the complexities of all-around-the-world humanity, the technological and the cognitive revolutionary potentials, the pitfalls. And lots of razor sharp wit, brave new insights and killa' satire. And that's not touching upon his worlds and worlds of fictional writings. Like Robert Anton Wilson, Bruce Sterling keep a healthy balance 'a new synthesis' between so called 'fiction' and 'non-fiction. Where the lower lights dance.

--Steve Fly (Agaric 23)

Bruce Sterling Closing Remarks (Full Session) | Interactive 2014 | SXSW

Mark Pesce takes up the tale of the tribe 2015

The Next Billion Seconds
What happens after we're all connected?--Mark Pesce

http://nextbillionseconds.com/



HYPEREDUCATION at Columbia College




Mark Pesce on "HYPERCIVILITY" at Civic Hall





2020 Foresight" at Future of Insurance 2015

Cosmic Trigger Replay: Maybe Logic Class. Sept 23 to Nov 23

Come join a crash course cosmic adventure through the lives and ideas of Robert Anton Wilson!

The Maybe Logic Academy is once again opening its invisible doors for an intensive 8 week RAW workshop, which leads directly into the premier of the highly anticipated stage adaptation of RAW’s Cosmic Trigger by Daisy Eris Campbell!

The workshop is divided into four 2 week sessions, presented by MLA Alumni: Steve Fly Agaric, Propaganda Anonymous, Toby Philpott aka Bogus, and Bobby Campbell.

Whether you are a new initiate to the Maybe Logic chaosmos, or a fully vested Ascended Master of all things maybe, there will be an abundance of RAW delight!

 The secret society reconvenes on September 23rd, come find the others here at: maybelogic.net

(Suggested donation €23, but pay what you will shall be the whole of the law)

 

For more info check out this smorgasbord of flying lasagna!

SECTION 1: RAW Artists Workshop

Presented by Steve Fly Agaric

A collaborative jimjam of like minded mutants and MLA critters creating new meps and mapaphors to help find the others just in time for space migration.
“The biosphere—Gaia—the DNA script—is more intelligent than all individuals. Gene-pools and species. It has survived everything thrown at it for nearly 4 billion years, and is getting smarter all the time.”--RAW, Prometheus Rising, pg.181.

WEEK ONE: RAW RENAISSANCE
Presentation: RAW & the tale of the tribe
Workshop: Language of poetry & eggshells
“The instrument that measures all other instruments—the human nervous system—has its own laws, and one of them involves always seeing the results one wants to see until and unless something really startles the brain enough to reframe its experiences.”--RAW, Dangerous Experiments, Cosmic Trigger III, pg134.

WEEK TWO: REPLAY
Presentation: RAW360.net
Workshop: No place place like dome

 

---

SECTION 2: Perilous Lessons from the Chapel of Ill-Repute Presented by Propaganda Anonymous

WEEK THREE: NEUROGEOGRAPHY OF CONSPIRACY THEORY

Workshop: RAW's 8 Elements of Conspiracy Theory

Presentation: Lots of Cussin and Discussin this presentation of Wilson's analysis

WEEK FOUR: A TRADITION OF EXPLANATION

Workshop: The Anthropological Approach to Conspiracy Theories

Presentation: More Discussions and Cussin about the 'Illuminati' Conspiracy Motif, plus more!

---

SECTION 3: The Latest Model
Presented by Toby Philpott aka Bogus

In which we examine the language we us to describe the world, and the models we develop to try to explain it, or at least find our way around.
WEEK FIVE:  THE MENU IS NOT THE MEAL
Presentation:  Language as a virus
Workshop: Using E-Prime for a week – an exercise to help us evaluate the words we use, and communicate more clearly
WEEK SIX: 8 DIMENSIONS OF MIND
Presentation:  Models of the Mind, with special reference to the 8 Circuit Model
Workshop: Discussion of the model, experiences with it, variations and alternatives – "all models need revision, when new information comes in."

---

SECTION 4: The Cosmic Giggle Factor
Presented by Bobby Campbell

Wherein we will endeavor to use the whimsical magic of art & technology to unleash the RAW power of change in ourselves and the world. PULL MY FINGER!

“The world is not only stranger than we imagine, it is stranger than we can imagine.”
– J. B. S. Haldane

WEEK SEVEN: COSMIC TRIGGER HAPPY
Presentation: The Great Magician
Workshop: Metaprograms & Sigils

WEEK EIGHT: THE FINAL SECRET OF THE ILLUMINATI
Presentation: Operation Mindfuck
Workshop: RAW Memetics

http://www.maybelogic.net/about-menu/faculty/upcoming/cosmic-trigger-re-play#


http://t4qs.fm/replay

Frances Yates and the Mnemonic Works of Giordano Bruno

Frances Yates and the Mnemonic Works of Giordano Bruno

After Warburg's death in October 1929 and the migration of the Institute to London in 1933, Brunian studies at the Warburg Institute took a very different direction thanks to the research of Frances Yates (1899-1981). While Warburg's interest in Bruno and image-based thinking brought his philosophy towards the present, Frances Yates' hypothesis of an Hermetic Bruno rooted his thought in a distant and partly mythical past at the antipodes of modern times. Nevertheless, while her Giordano Bruno and the Hermetic Tradition (1964) takes a different path from that traced by Warburg, her other Brunian study, The Art of Memory (1966), is perhaps her book closest to Warburg's preoccupations. Indeed the history of mnemonics practices, by means of which mythological figures lived from the Antiquity onwards as animated bearers of learning in the intimacy of the human brain, had everything to interest Warburg. In fact the Art of Memory was written in close consultation with Gertud Bing as confirmed by this excerpt from the preface: 

Now that the Memory Book is at last ended, the memory of the late Gertrud Bing seems more poignantly present than ever. In the early days, she read and discussed my drafts, watching constantly over my progress, or lack of progress, encouraging and discouraging by turns, ever stimulating with her intense interest and vigilant criticism. She felt that the problems of the mental image, of the activation of images, of the grasp of reality through images – problems ever present in the history of the Art of Memory – were close to those which preoccupied Aby Warburg, whom I only knew through her.

Frances Yates expounded the first results of her research on Bruno's art of memory in a seminar at the Warburg Institute in 1952. She showed her reconstruction of the wheel described in the De Umbris Idearum, Bruno’s first mnemonic work published in Paris in 1582. The two wheels illustrated below are part of the same work and serve as an introduction to using the larger wheel.

In the first fixed ring the practitioner will assign a mythological or heroic figure to each letter. Bruno provides some examples : A Lycaon; B Deucalion; C Apollo; D Argos ... (see De Umbris Idearum, pp. 107 ff). The letters of the second ring correspond to an action or a scene associated with each figure. The examples provided are: AA Lycaon at a banquet; BB Deucalion and pebbles; CC Apollo and Python; DD Argos and some cattle (ibid, p. 112). Thus rotating the first inner ring operates permutations between the figures and their action. Further permutation occurs when the third wheel is set in motion. It contains attributes or enseignes which can be easily passed from one figure to another. Bruno provides only four examples and leaves the rest to the imagination of his reader. These are : AAA, Lycaon at a banquet with a chain; BBB, Deucalion and pebbles with a headband; CCC, Apollo and Python with a baldric; DDD, Argos and some cattle with a hood. This way the systems makes it possible to create combinations of letters representing words, acronyms or syllables to be remembered by means of animated images mixing the attributes and accustomed actions of familiar mythological figures.

BAA: B Deucalion A at a banquet A with a chain
MAD: M Perseus A at a banquet D with a hood
CAD: C Apollo A at a banquet D with a hood
COD: C Apollo O and Proserpina D with a hood

To approach the larger wheel Bruno advises his reader that `...it is necessary to dilute the printed page into an immense space'. The last section of De Umbris idearum describes the content of  the larger wheel over 40 pages. It consists of five concentric rings divided into 150 rays each subdivided in 5 cells. On the outer rings are numbers, letters, the name of inventors followed by four more wheels of words corresponding to the categories of agent, action, enseignes, attributes (adstans) and circumstance.

Frances Yates reconstruction of Giordano Bruno memory wheel from `De Umbris Idearum' - Click the image to access full version (PDF 1.5 mb)

`How did the system work? By magic of course, by being based on the central power station of the … images of the stars, closer to reality than the images of things of the sublunar world, transmitter of the astral forces, the `shadows’ intermediary between the ideal world above the stars and the objects and events in the lower world.’ (The Art of Memory, p. 223)

This interpretation, based on a misplacing of the images of the planets, was first revised by Rita Sturlese in her critical edition of the De Umbris  of 1991 (pp. LXVIII ff.) and later by Francesco Torchia (‘La chiave delle ombre’, Intersezioni, 1, 1997, pp. 131-151).

Both scholars strip Bruno’s construction of its magical character. According to Sturlese the wheel is in fact an adult toy conceived to learn foreign words. Here each ray corresponds to a set of syllables combining one consonant with one vowel. Thus reconstructing a word with its phonetic constituents amounts to combining the various elements of each section. The addition of the images described in the last ring before the hub creates in the end a mnemonic background by means of which new words can be remembered. For instance to remember the word Numeratore you should pick the first syllable in the outer ring, NU, which corresponds to `Apis’; the second syllable in the second ring, ME: `in tapeta ’; the third syllable, RA, in the third ring: `deploratus’; the fourth syllable, TO, from the 4th ring: `compedes’; and finally RE in the 5th ring. This last ring  provides a background against which to set the image thus created:  `…mulier super hydram tres cervices e quarum singulis septem exiliunt capita habentem, vacuas antrorsum tendens manus’ (De Umbris, p. 151). 

READ MORE:

Ritual and Doctrine of the Illuminati

One day, i rekon somebody will put Illuminati history to verse using such great source material. What a wonderful project, Illuminati history in verse, keeping such fellows as Joyce, Pound, and Yeats in mind when contemplating the delivery. x fly

Ritual & Doctrine of the Illuminati

Monday, August 12th, 2013

Well, the cat’s out of the bag. Jeva Singh-Anand, Josef Wäges, and Illuminaten scholar Reinhard Markner have been collaborating on an English translation of the ritual work of the Illuminati. All the rituals will be featured, from the Novice degree all the way to lesser and greater mysteries, including Regent and Provincial directives, Epopt and Doceten degrees. Conservatively, I’d estimate that the total amount of pages will be over five-hundred at the very least. This amounts to the most significant English translation of primary material in over 200 years.

Joe Wages has been assiduously collecting all of the original writings of the Illuminati with a view toward just such an endeavour. His hard work, dedication, personal funds, and especially the translating talent and hard work of Jeva Singh-Anand have finally paid off. All of this, combined with the knowledge and expertise of Markner, is really something to behold. Hats off all around – great work guys!

Jeva Singh-Anand has posted on his site, a taste – Illuminatus major – of what to look forward to. Please read and link.

As far as the ritual itself, I’m not qualified to comment. I’m not a mason myself, so I can’t assess where or whence it came from. Joe Wages, however, has come to the conclusion that a lot of the ceremony derives from the Strict Observance rite, which Knigge had much knowledge and expertise.
The good thing about this material being published for the first time in English is the fact that all of us will have the originals to look at. We can then judge it on our own level of understanding of the masonic milieu and popular philosophy of the 18th century.
The conspiratorial aspects, I’ll interject, are plainly seen for those who look closely.

http://www.bavarian-illuminati.info/

Joyce, Bruno, Baudrillard and the coincidence of contraries.

MUSEYROOMS AND MOEBIUS EFFECTS: A RUIM OF HISTORY IN FINNEGANS WAKE

Andrew V. McFeaters

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

Finnegans Wake: what it's all about by Anthony Burgess

In Joyce annihilation becomes "abnihilisation"-the creation of new life ab nihilo, from the egg of nothing.--Anthony Burgess.
http://www.metaportal.com.br/jjoyce/burgess1.htm