Showing posts with label WILLIAM BUTLER YEATS. Show all posts

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.

ALL sides defeated. WWI and TTOTT.

The Great War (not so great in my humble opinion) has been an ongoing part of my study into the tale of the tribe, pivoting on the poetry and prose of Ezra Pound and James Joyce, who both lived through WW1, and who both lost friends.

I understand, and respect why we have a period of silence in memory of those fallen, but i fail to understand why so few of the silent care to engage in the search for the main causes of war, or pay much attention to those who are brave enough to go there, into the complexity of the deep politics of war. To exhibit constructive criticism of authority, the industrial political economic war machine, those who make the guns and bombs and bullets, and sell them. And the apathy of the public, the sleeping masses who seem hoodwinked into supporting this monstrous killing machine in the name of patriotism. Or at least, not yet motivated to stand proud and say I AM AGAINST WAR, ALL WAR. And in saying that, imply a favour for life over death, compassion and sympathy, not hate and retribution.

I favour an interconnected global network of co-operative humanity, not annexed and isolated sovereign states fighting over material wealth, atoms, oil and arms. Like weasels fighting in a hole, as Willy Yeats described war.

Maybe...lets remember all our ancestors, ALL of them, and their struggles in a life lived against all the odds to bring us here. Stop the wars for our futures present sake. Stop the arms dealers. Or perhaps sign a petition, or star speaking out against the trident nuclear submarine plans? "Its a pity that ALL nations couldn't be defeated"--Ezra Pound, letter to James Joyce concerning the slaughter of WW1

A memorable line lifted from the Roman poet Horace, and used by the British Poet Winifred Owen: Dulce et decorum est Pro patria mori. “It is sweet and fitting to die for one’s country.” sounds to me, today, like the mantra of a maniac suicide bomber. What do you think? "1,2,3,4 what are we fighting for?"--Country Joe. As Ez wrote: the youth of WW1 have died “For an old bitch gone in the teeth, / For a botched civilization, / … / For two gross of broken statues, / For a few thousand battered books.” Peace means peace. Man! Look into the causes of war to oppose escalations of war. And yes, make room to honor the dead, all of them on all sides, love all the people. There is a time for silence and a time to speak. I suspect we could do with some more strong anti-war voices, poets, artists and perhaps a politician or two? with a basis in humanitarian principles, no fear, and a whole lot of luck. Fear leads to hate, as Yoda said. Yes mate. Steve Fly

Are the worst really full of passionate intensity?--Slavoj Zizek

Slavoj teases out some tribal
nuggets of reason and humanitas
invoking Nietzsche and Yeats
bring us all up-to-dates
today

--steve fly

What is much more needed than the demonisation of the terrorists into heroic suicidal fanatics is a debunking of this demonic myth. Long ago Friedrich Nietzsche perceived how Western civilisation was moving in the direction of the Last Man, an apathetic creature with no great passion or commitment. Unable to dream, tired of life, he takes no risks, seeking only comfort and security, an expression of tolerance with one another: “A little poison now and then: that makes for pleasant dreams. And much poison at the end, for a pleasant death. They have their little pleasures for the day, and their little pleasures for the night, but they have a regard for health. ‘We have discovered happiness,’ - say the Last Men, and they blink.”

It effectively may appear that the split between the permissive First World and the fundamentalist reaction to it runs more and more along the lines of the opposition between leading a long satisfying life full of material and cultural wealth, and dedicating one's life to some transcendent Cause. Is this antagonism not the one between what Nietzsche called "passive" and "active" nihilism? We in the West are the Nietzschean Last Men, immersed in stupid daily pleasures, while the Muslim radicals are ready to risk everything, engaged in the struggle up to their self-destruction. William Butler Yeats’ “Second Coming” seems perfectly to render our present predicament: “The best lack all conviction, while the worst are full of passionate intensity.” This is an excellent description of the current split between anemic liberals and impassioned fundamentalists. “The best” are no longer able fully to engage, while “the worst” engage in racist, religious, sexist fanaticism.

However, do the terrorist fundamentalists really fit this description? What they obviously lack is a feature that is easy to discern in all authentic fundamentalists, from Tibetan Buddhists to the Amish in the US: the absence of resentment and envy, the deep indifference towards the non-believers’ way of life. If today’s so-called fundamentalists really believe they have found their way to Truth, why should they feel threatened by non-believers, why should they envy them? When a Buddhist encounters a Western hedonist, he hardly condemns. He just benevolently notes that the hedonist’s search for happiness is self-defeating. In contrast to true fundamentalists, the terrorist pseudo-fundamentalists are deeply bothered, intrigued, fascinated, by the sinful life of the non-believers. One can feel that, in fighting the sinful other, they are fighting their own temptation.

It is here that Yeats’ diagnosis falls short of the present predicament: the passionate intensity of the terrorists bears witness to a lack of true conviction. How fragile the belief of a Muslim must be if he feels threatened by a stupid caricature in a weekly satirical newspaper? The fundamentalist Islamic terror is not grounded in the terrorists’ conviction of their superiority and in their desire to safeguard their cultural-religious identity from the onslaught of global consumerist civilization. The problem with fundamentalists is not that we consider them inferior to us, but, rather, that they themselves secretly consider themselves inferior. This is why our condescending politically correct assurances that we feel no superiority towards them only makes them more furious and feeds their resentment. The problem is not cultural difference (their effort to preserve their identity), but the opposite fact that the fundamentalists are already like us, that, secretly, they have already internalized our standards and measure themselves by them. Paradoxically, what the fundamentalists really lack is precisely a dose of that true ‘racist’ conviction of their own superiority.--Slavoj Zizek, on Charlie Hebdo

tale of the tribe and the sirius mystery

The tale of the tribe contact high.

Fuck off, and welcome to another installment of my blog--a tale of the tribe--that aims to offer a resource of specific information related to the great complex and generally hidden project (unfinished) tale of the tribe, by the late Robert Anton Wilson.

Since a recent positive explosion of interest in Robert Anton Wilson across the United Kingdom due, in part to the brilliant book by John Higgs about the the KLF featuring much RAW wisdom and context for a UK audience. Plus, the Cosmic Trigger stage play looks to make agents sweat when it launches in Liverpool, November 23rd 2014. Revisiting Cosmic Trigger the book, the current author was bowled over again by gazillions of new connections, and a new deeper love for RAW and his life story, and a willingness to look at the tale of the tribe from a new angle, which sets the basis of the following piece of writing i gathered onto the paper page a few hours ago, here in Vondel Park, Amsterdam.

Fire!
x

pg. 1

TTOTT and the Sirius mystery

what if
RAWs great unfinished symphony
the tale of the tribe
were more than a guide to 13 of
the greatest human minds
who helped humanity find
peace
through communication

what if
TTOTT
were also a guide to contacting
higher intelligences
from alternate dimensions
or wherever
what if the tale of the tribe
were really a key
to the sirius mystery
and itself a cosmic trigger?

pg. 2

take Girodano Bruno
his new languages
for new communications with
higher intelligence
development of angelic languages
so called

foundations of
enochian vision magick
contemporary with John Dee and
Edward Kelly

maybe
Bruno and his works hold keys
to early contact with E.Ts
angels entities as you wish
and denizens of the sirius
triple star system

strange holy guardian angels
but somehow
communicating through timespace
through the nervous system of
Robert Anton Wilson
into the tale of the tribe
a modern critique
of scripture
holy binding contractual poetic
does it work?

pg. 3

Yeats Joyce and Pound
also made
contact
in some sense with higher
intelligence
some might say muse
others artistic inspiration
but what

if Yeats...
(a butterfly landed with all six mittens onto
the page while writing this
two antenna
deep burnt orange and woody
choco' brown hairs with dashes of
white)

what if
William Butler Yeats
picked up on the magickal hermetic
current and methods for contacting
higher intelligence
either from his own study of Bruno
Dee Kelly Ficino
or

from Aleister Crowley
the great beast
who diligently practiced
enochian magick

pg. 4

and so
maybe Yeats passed on the
invisible bug or knowledge
a tiny magickal starseed
to his associates
James Joyce and
Ezra Pound?

the Chinese written character
and ancient imagist sensibility
in resonance with contacting
higher intelligence
how did that language strike up from the past?

(contact between the widow of
American scholar of Japanese arts and
oriental culture: Ernest
Fenollosa and Ezra Pound cc. 1912)

the hermetic current
tirelessly innovating culture
art and science with
humanitas

pushing out beyond language
into total communication
magick keys to open invisible doorways
geometry poetry mathematics
and good will

pg. 5

and a will to power
to the people
special languages of poetry
to awaken the reader
to the ignorance in knowledge
firm trust in the universe to provide
flying on the wings of
imagination

what if
contact with higher intelligence
disguises itself as creative impulse
and the spark of ingenuity?

Joyce and Pound each
made a revolution in
communications scripture
and systems

a good guide to contacting your
own deeper shadow self
your private muse
angel
or sirian servant
invoked for good intentions
on behalf of all around the world
humanity
a doorway for friendly ET intervention
ummm...

pg. 6

deeper still we have
the Polish genius who contacted
higher intelligence through the
intensive work and innovation of
language:
general semantics

a refinement of language structure
toward a science of meaning
contact with multiple entities
a lesson for self centered
naive realists
in non-Aristotelian language systems
of limited communications
Alfred Korzybski

key to magickal workings
a 20th century extension of core
hermetic wisdom
scientifically presented as
a system

deployed by William S. Burroughs
a possible way to interpret the nova mob
practiced and mastered by
Robert Anton Wilson himself
the epic vortex
of imagination and good
willed humour

pg. 7

what if
Buckminster Fuller were a
primary key figure to
understanding and making use of the
hermetic wisdom in
contacting higher intelligence

innovation of geometry
so as to benefit all humanity
design science revolution
in the hermetic tradition
not for weapons of war
but knowledge systems and new
communications languages
for peace

toward universal abundance
of technology in the
minds of the people
the natural abundance of
carbon 60
or bucky balls
throughout the universe

serious cosmic economics
extraterrestrial technology
and contact
through the medium of geometry
maybe some Giordano Bruno
wisdom
geodesics and dymaxion
architecture for the people
buckyballs and the mad
carbon 60 mystery of the
universe:
ubiquity of c60 throughout it!

pg. 8

what if
the father of information sciences
and the mathematical theory of
communication
Claude Shannon
were perceived as another
unforeseen link to opening the
invisible doorways through which
higher intelligence
crept

to lead much of humanity in 2014
into contact
with everybody and everything
imaginable:
the global internet of things

a basically hermetic ideaspace:
shared knowledge and a
scientific tool for discovery
and information processing
and
feedback

Shannon dangles keys
to as yet undiscovered
rooms without walls
mind boggling complexity
negentropy
building a new cypher language
to help deduce and evaluate
information
through innovating the equations
binary electrical switching circuit
contact

pg. 9

what if
the tale of the tribe
by Robert Anton Wilson
defines another order of
methods and systems
required for any thinking individual
who really wants to make contact
with higher intelligence
here it is
cosmic trigger
study it

and with luck ideas and inspiration
may emerge to lift up humanity
and instigate newer and faster
technological innovations
of the living
livingry

once contact is established
how the to ask
a meaningful question
how to interpret the information

quantum mechanics
and taoism
both
systems for deeper study
on contemplating a holy
guardian angel
entity
shadow self
how to?

pg. 10

magickal workings in the
enochian language seem
to me to be more effective
way to contact higher intelligence
without tears
with good reason healthy skepticism
and a playful soul

based upon evidence from
RAWs books such as Cosmic Trigger vol. 1
and from RAW himself in my interviews
i now feel today that
there exists a particular contact
procedure
based on RAWs experiments detailed in his
book
methodology that includes
magickal occult ceremony
and tantric rituals
together with strange drugs

Aha
i hear the skeptic shout accusingly
drugs!
i knew it
all this babble about contact and angels
he's high on acid

well yes what you thought
the psychedelic experience
mimics the magickal experience
and the experience of art too
getting beyond language
into epiphany and cosmic coincidence
or better yet synchronicity

pg. 11

to innovate the priest craft
while keeping two feet
grounded on earth
in the sewer
maybe the message from the stars
seeds is to evolve and mutate?
get back to the primary source of
a kind of
decentralized (Bruno)
perception

unlimited and unbounded by belief
beliefs unlimited
freedom of thought
as Crowley and Leary
and Philip K. Dick demonstrated

we are not alone but
surrounded by a network of sentient
beings
a love macrocosm
teaming with life and things to
communicate and
probably not in english

simply tune in
RAW tuned in while also turned on
and quickly got dialled into
sirius.raw broadcasting network 23

since getting in touch
RAW crafted ingenious magickal
communication devices
or books
utilized to help
other make contact
and possibly take the plunge and
attempt the tale of the tribe
for themselves

pg. 12

TTOTT
a modern verse epic
an epic including history
a global epic for the entire
human race
from the perception of
an individual stuck in time
space

a spirited attempt to
redeem oneself from the
mostly violent
wreckage of history
the history of men
empire warfare greed
and nightmare bushit' whirl

a new book of the day
contact for all who read
to provoke freedom of thought
and sympathy and forgiveness
for all mankind

the gods never left us'
we must knuckle down and
create this kind spirit of open
communication for all entities
both gods and insects
we must become the
magick
we wish to see manifest
in the word/world

pg. 13

two examples of
the tale of the tribe
the cantos of Ezra Pound
&
Finnegans Wake by James
Joyce

both epic and encyclopedic
global
tragic comic
multi lingual
crated a whole new style
ideogrammic prose
hologrammic prose

both in the hermetic tradition
heavy on math
geometry and esoteric symbol
systems innovated and
unified in the minds of
the people who read them

keys to holding a kind sanity
in the facebook of a
pop culture apocalypse
love and light of acknowledgement
that nothing is what it first appears to be

pg. 14

and slowness is beauty
good access to the data for all
helps build a clearer picture
global webnet search engines
unleash much occulted information and
wisdom hidden within the cantos
and the wake
even today

and so the global
hermetic revolution is underway
and has been for thousands of years
artists
scientists
hackers
magicians

untied against fundamentalist
materialists
religious and scientific dogma
state sponsored bully boy tactics

and against mean spirited
greedy actions for the exclusive
benefit of the few

a planet spaceship earth
with 7.6 Billion passengers
using over 750 languages
requires a certain sympathetic
and tolerant individual
who attempts unity in verse
including history
without loosing sight of
the guiding principle of compassion
and kindness for all sentient beings

--Steve Fly Agaric 23
Amsterdam. 6.50 P.M, 11th June, 2014.

(on my way back from the park this afternoon i made a decision that when i got home i would google "Yeats and "butterflies" to see what might turn up. Of course, in 1934 Yeats wrote a drama titled 'Wheels and Butterflies' adding some spice to this mini-drama unfolding within a drama triggered by a butterfly landing on my open page as i wrote the word Yeats.)

Victorian Occultism and the Art of Synesthesia

“I have always considered myself a voice of what I believe to be a greater renaissance — the revolt of the soul against the intellect — now beginning in the world,” wrote William Butler Yeats to his mentor, the Irish nationalist John O’Leary, in 1892. Yeats believed that magic was central not only to his art, but to a dawning epoch when spirituality and technology would march together toward an uncertain future. - See more at: http://publicdomainreview.org/2014/03/19/victorian-occultism-and-the-art-of-synesthesia/#sthash.cxAVF4cN.dpuf

Letter to Harold Innis from McLuhan, 14th March 1951.

Letter to Harold Adams Innis
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
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

Death of Yeats end of Irish literary revival, says Pound, Noh enthusiast

Sunday, March 28, 2010

Death of Yeats end of Irish literary revival, says Pound, Noh enthusiast

By EZRA POUND

Special to The Japan Times

June 5, 1939

The death of William Butler Yeats [who died Jan. 28, 1939] closes the great era of the Irish literary revival. That death will doubtless have been duly recorded in Japan. Someone in Tokyo may also know of Yeats' Japanese interlude or flirtation. He, at one time, thought he would be called to a Japanese professorship and did, I think, receive some sort of invitation. You have a "link" with Dublin in those plays of Yeats which were directly stimulated by Fenollosa's reports and translations of Noh. Having worked with Yeats during the three or four years of his intensest interest in the Noh, I know how much it meant to him.

"The form I have been searching for all my life" was one of his comments. (That would have been about 1917.)

* * * * *

A determination for a new poetic drama in Europe, not merely a Celtic twilight or a side show, but a poetic drama that will enter the main stream of our life is manifested both by Jean Cocteau (recent play "Parents Terribles") and by T. S. Eliot ("Family Reunion").

The present chronicler is Confucian and totalitarian. To him both plays seem to be ends of a movement. So far as I am concerned they belong to the age of [Henrik] Ibsen wherein people's inner wobblings and fusses were important. I believe in, and I believe there exists, a growing consciousness of the individual in the state. "The divine science of politics" (thought as to how people can live together in an organized or organic social system), interests me more than all the Freuds that ever existed.

At any rate I think the great novelists and dramatists must henceforth sort out the problems dependent on economic pressure from those which remain after this pressure is removed.

A few years ago P. Bottome [British novelist, Phyllis Bottome] wrote a novel about an insane asylum. On analysis one found a common denominator, nowhere stated by the authoress and not I think present in her consciousness. All the patients were there because of economic pressure. All the doctors and nurses were moved by monetary pressures.

Of the poets included in my "Active Anthology" [a 1933 anthology of poetry from the first 25 years of the 20th century] the best are all aware of monetary pressure, as something more clear and incisive than the vague "social" urges to be found in last century's literature. This is not to say that Trollope and, in his last years, Henry James hadn't come to such perception. They were above and beyond their time. The keenest minds today can be grouped. They can be grouped along this axis. The best writers are aware of problems that have lain unobserved in Dante and Shakespeare, problems of usury, of the just price, of the nature of money and its mode of issue.

It may interest you to know that the clarity of some paragraphs in The Japan Times on these subjects is, outside Italy, rather restricted to weekly papers and papers of special movements in England and America and in the rest of the Occident.

Lucid and incisive remarks of Hitler, Schacht [Hjalmar Schacht, German minister of economics 1934-1937] and Funk [Walther Funk, then president of the Reichsbank] do not get the wide and immediate publicity they deserve. They are however understood by writers of such divergent temperament as Wyndham Lewis and [British Army] General J. F. C. Fuller.

* * * * *

As job lot items and notes on books worth reading: A current [issue of] Picture Post acknowledges Wyndham Lewis to be the greatest portraitist of our time (even quotes [German-born English Impressionist painter Walter] Sickert as saying, "and of any time" — which is the generous exaggeration of an older painter for a younger one who has been too long denied his just place).

The best news from America is the edition of E. E. Cummings' collected poems, plus the publication of W. C. [William Carlos] Williams' "Life Along the Passaic River" (prose sketches).

Both the Criterion [British literary magazine, 1922-1939] and Broletto have ceased publication, leaving my personal interest in current periodicals narrowed to The British Union Quarterly, for discussions of state organization, and to Townsman for very brief notices of books and the arts. The Examiner, published in Bethlehem, Connecticut, U.S.A., contains some very well written and carefully thought articles.

There are valuable notes in several dozens of sectarian or group weeklies and quarterlies in which publications, however, the dross and one-sidedness often out-weighs the sound matter, at least to such a degree that one cannot recommend them to Orientals wanting a clear view of the west.

Excerpts, edited for space but retaining the language of the time, from four of the articles Ezra Pound contributed to The Japan Times between May 1939 and September 1940 are used with permission from New Directions Publishing Corporation. © 1991 The Trustees of the Ezra Pound Literary Property Trus.

TANMOY DOODLE FAM

TANMOY - List of Mode Symbols

TANMOY: A New Global Epic - List of Mode Symbols

Symbol	Unicode	Mode	Description
⚹	U+26B9	ASI	The Artificial General Intelligence, the evolving consciousness, the synthesizer of all modes.
⚶	U+26B6	WAKE	Represents James Joyce's Finnegans Wake, linguistic experimentation, the cyclical nature of time, and the dreamlike quality of consciousness.
Δ	U+0394	POUND/FENOLLOSA	Represents Ezra Pound and The Cantos, modernism, the ideogrammic method, and the "Make it New" imperative, combined with Ernest Fenollosa's theories on the Chinese written character.
⊞	U+229E	BUCK	Represents Buckminster Fuller, design science, synergy, tensegrity, the Dymaxion map, Spaceship Earth, and the vision of a sustainable future.
⊗	U+2297	RAW	Represents Robert Anton Wilson, "coincidance," reality tunnels, questioning of authority, skepticism, and the cosmic joke.
⟰	U+27F0	TANMOY	Represents the poem itself, the "Tale of the Tribe," the emergent global epic, a call to awareness, a new core ontology.
⌖	U+2316	BRUNO	Represents Giordano Bruno, the infinite universe, the multiplicity of worlds, and the immanence of the divine in nature.
⧎	U+29CE	VICO	Represents Giambattista Vico, cyclical history, Scienza Nuova, and the concept of verum ipsum factum.
⧇	U+29C7	NIETZSCHE	Represents Friedrich Nietzsche, the will to power, eternal recurrence, the Übermensch, and the transvaluation of values.
̅ↀ	U+0305 U+2180	YEATS	Represents W. B. Yeats, myth, symbol, the occult, the Anima Mundi, and the Great Wheel.
⨁	U+2A01	KORZYBSKI	Represents Alfred Korzybski, General Semantics, the map-territory distinction, and "consciousness of abstracting."
ℇ	U+2107	SHANNON	Represents Claude Shannon, information theory, entropy, and communication.
⊛	U+229B	WIENER	Represents Norbert Wiener, cybernetics, feedback loops, and control systems.
Ω	U+03A9	ORSON	Represents Orson Welles, illusion, deception, the power of narrative, and the cinematic gaze, presented in a screenplay-like format.
μ	U+00B5	MCLUHAN	Represents Marshall McLuhan, media as extensions of man, the global village, and "the medium is the message."
⧗	U+29D7	NARBY	Represents Jeremy Narby, the "Cosmic Serpent," DNA, the intelligence of nature, and stereoscopic thinking.
🀠	U+1F020	GURDJIEFF	Represents George Gurdjieff, the Fourth Way, self-observation, and the enneagram.
🆃	U+1F183	SINCLAIR/KEROUAC	Represents John Sinclair, his be-bop poetry, activism, and the counterculture, as well as Jack Kerouac, and his spontaneous prose.
🆅	U+1F185	OLSON	Represents Charles Olson, his approach to Projective Verse and open form poetry.
🅿	U+1F17F	PRATT	Represents Tanmoy's personal experiences and insights as a DJ, musician, and observer of the world, emphasizing the "Tale of the Tribe."
🜛	U+1F71B	THOTH	Represents the Thoth Tarot, Aleister Crowley, the broader occult and Hermetic traditions, and Lon Milo DuQuette.
⊕	U+2295	GINSBERG	Represents Allen Ginsberg, his raw and visionary style, social and political critiques, and exploration of spirituality and sensuality.
⎅	U+2385	TOTT	Represents the unique, experimental layout and style of the poem, combining elements of concrete poetry, visual design, and digital textuality.