Zappa Hour 8 – Art as Survival

Bob Dobbs and guests explore modern music and technology through the lens of Frank Zappa, with a focus on Marshall McLuhan’s essay “Art as Survival in the Electric Age”.

Bob Dobbs is a Zappa researcher and McLuhan scholar. He is joined by regular contributors Roxana Flores Larrainzar and Bert Hill.

Recorded December 12, 2015

00:00:00 – Intro

00:01:52 – Electronic Music & Science Fiction
“Forbidden Planet”, Bebe & Louis Barron and Zappa’s concept of “movies for your ears.”

00:13:27 – Zappa Mixed Genres
Frank Zappa mixed elements from high art electronic music with popular culture genres.

00:19:05 – McLuhan’s “Art as Survival in the Electric Age”
McLuhan suggests that media has a more profound impact on society than nuclear weapons.

00:28:01 – Art as Liaison Between Biology and Technology
A.T. Simeon’s “Man’s Presumptuous Brain”.

00:35:18 – Function of Art and Technology
Challenging the concept that art heals or provides therapy to societal stresses.

00:41:22 – McLuhan’s Vision of Artist and Media
McLuhan envisioned a programmer of global media diets.

00:45:47 – Literature vs Film
Film is an image-based, right-hemisphere medium in comparison to the verbally-oriented nature of literature.

00:47:36 – Japanese Monster Movies
The overemphasis on nuclear war in Japanese monster movies.

00:50:24 – McLuhan on Art, Technology, and Survival
McLuhan posits that nature ended when humans created environments that encircle the planet.

00:58:34 – Visual vs Acoustic Space
Contrast between visual and acoustic spaces.

01:05:02 – Harbingers of a new reality
How artists and thinkers like Zappa, McLuhan and James Joyce were precursors to a new understanding of time and causality.

01:15:01 – Speed, Preogress and Disaster
The illusion of technological progress and the apparent speeding up of life.

01:27:09 – McLuhan’s Acoustic Space
McLuhan noted that artists like Poe were ahead of scientists like Einstein in understanding these concepts.

01:39:46 – Mysteries of Castle Chambord
A castle in France, built during the Renaissance, its peculiar architecture, influenced by Leonardo da Vinci.

01:55:13 – Influence of Media and Fiction
How media serve as a form of programming and education.

02:05:15 – McLuhan’s “Art as Survival in the Electric Age”
The group returns to the essay that seems closely tied to the vortex concept.

02:12:45 – T.S. Eliot’s Auditory Imagination
The structure of the instantaneous acoustic environment.

02:19:06 – Popular Music vs Poetry
The participative nature of jazz and rock vs traditional poetry.

02:41:49 – Zappa and McLuhan
How both individuals created an acoustic performance environment.

02:47:44 – “Art as Survival in the Electric Age”
How tactile art can help navigate and survive within the Android Meme.

02:53:17 – McLuhan and Pop Culture
McLuhan immersed himself in pop culture while maintaining a scholarly disguise.

03:06:08 – McLuhan’s Later Career and Legacy
McLuhan’s career trajectory, from a scholar to a cultural commentator.

03:13:07 – McLuhan on Tactility
Tactility and its extension into technology.

03:24:25 – McLuhan on the “instant replay”
The instant replay as a way to understand experiences without living them.

03:34:02 – Experience versus Meaning
Instant replay allows one to derive meaning without direct experience.

03:46:01 – Pattern Recognition
How pattern recognition affects various aspects of life.

03:57:10 – Ray Wilson
Ray Wilson’s extensive musical knowledge and his place as a valued oral historian of New York’s culture.

04:05:17 – “Art as Survival in the Modern World”
The need for a ‘pattern grammar’ provided by thinkers like McLuhan to cope with the bizarre forms of the present age.

04:07:09 – The Concept of Rebirth
Being reborn in the context of culture, history, and personal identity.

04:16:51 – The Influence of Violence in Art
Krishnamurti on violence as part of the artistic process.

04:23:00 – Interplay of Commercialism and Art
Frank Sinatra and Elvis’s appearance together, suggesting that commercial interests can influence artistic choices.

04:38:47 – Shift in Creative Collaboration
Collaboration and the evolving role of the artist.

04:53:53 – The Modern Musical Landscape
Laptop orchestras and the transformation of the idea of musical instruments.

04:56:04 – Media and The Individual
Role of the individual as the content and the form of new media environments, with particular attention to the iPhone.

05:11:02 – Art, Biology and Technology
Art as a liaison between biology and technology, and the role of art in bridging gaps in human perception.

05:31:00 – The Richness of Zappa’s Music
Frank Zappa’s musical genius and improvisational skills.

05:43:25 – Evolving Music Tastes
Shifts in music appreciation, tactile sensations becoming more prevalent than auditory.

05:49:43 – Audience Commentary

Okay, Jerry. I’ll take a rest. Attention! Captain to crew, stand by to reverse polarity. Standard plus A security will be maintained upon landing. And until further notice, all hands will wear sidearms. That is all. Artificial gravity off. Grab off. Half flux wear sidearms. That is all. Artificial gravity off. Grab off. Half flux.

Half flux. Cut primary coils. Primary’s cut, sir. I’m better. All clear, sir. Look at the color of that sky. Yeah, but I’ll still take blue. Okay, so that is the landing of something in the movie Forbidden Planet from 1956. Now what was it about this that you wanted to talk about, Roxy?

What are the points you want to make? Are you there, Roxy? We can hear you. Roxy. Yes. Hello, Forest Link. Okay. We landed. You couldn’t hear me? Oh, I had to get some of my notes. I forgot in the kitchen.

Oh, okay. I had to get some of my notes. I forgot in the kitchen. All right, so this opening, you wanted to start the Zap Hour with this scene of them landing on the Forbidden Planet. And I guess what’s obvious to me is that this was one of the first uses

Of electronic music in science fiction. Well, Forbidden Planet was the first movie ever with all effects and all soundtrack made with electronic music by a couple, Babel, and Louis Barrett. Oh, the couple. Yeah. Yeah. Are they… Louis and Baby Baron, B-A-R-O-N. Baron, yeah. Right? Yeah.

Now, are they students of Stockhausen or Webern or somebody? Like, who does that European composer tradition of electronics enter into this? Yes, they were very serious composers, but this is the new phenomenon in the 20th century.

We are all exposed to both the high art and the low culture, and we cannot separate that anymore. how the activity we are going into, the erasure of the borders between art and science take place with the help of all these science fiction means and tropes that are educating us.

We cannot be on the separate. So Zappa is watching as a teenager, he’s watching these movies and watching and knowledgeable probably on the, who’s making the soundtracks for Hollywood, the composers coming out of a sophisticated high art background are making soundtracks for silly, cheap science fiction movies.

That has to, you were saying, influence Frank about how he wants to take his career. What is he going to do with his career? And later he’s always talking about making a soundtrack for movies. This movie for your ears. Yes, and in a way, it’s this idea of James Joyce,

I think he calls that the monomyth, that everything we’re doing, no matter how superficial or banal it seems, is part of this big odyssey of humanity. And everything is somehow an expression of this going back to our power, the big trouble travel where actually into without being aware of the…

Yeah, the journey to the moon. McLuhan has a picture of these witches on planet Earth watching TV at midnight. And it’s an image from an ad, in the book, Cultures or Business, 1970, and he says going to the moon was a new suburban activity. The new suburbs would be the moon,

I think is what he’s saying. And somehow the people of the night, the witches would be engaged in traveling to the moon via television. So it’s a mixed media image. Yes, and iON has been using also all this popular culture, science fiction and memes and tropes to illustrate

What they’re trying to communicate with us. They’re not using only the science and the high culture, but everything. Okay, so that was Louis and BB Baron doing the landing scene. I wanna play a piece they made, Love at the Swimming Hole.

I don’t know if that’s part of the movie soundtrack, but you sent it. Let’s give another example of their work. It’s another work they have, but for me, it was like love at the swimming hole is the vortex we were talking about last week. Right.

Now, you’re saying Love at the Swimming Hole is not part of the soundtrack of Forbidden Planet. It’s a separate work. Yes, but… Right? All right. Yes, for me, that work, it’s about the vortex. Okay. Let’s listen to it. It seems to be showing them in… I can’t stop it. Okay, there it stopped.

It’s showing a picture of them in their lab. Okay, so this is their own work. This is not used in the film soundtrack, but this is them as a serious composer, I guess,

I’m going to get ahead and get the bathroom. Okay, so that was Lewis and Bebe Barron, B-A-R-R-O-N, Love at the Swimming Hole. I’m assuming that was created in the 50s. And the comments, first person says, these are pioneers of electronic music. I love the early sound and music experiments with tapes.

Someone else says, I love this. Is any of this music available on CD? Then someone else says, Louis and Baby Baron are the godparents of electronic music as we know it now. This piece here, and they give a piece, is from the soundtrack to the classic 1956 science fiction film Forbidden Planet.

Then someone else says, this is incredible. Someone else says, look for bells of Atlantis on G. This has been recognized because all this music created the whole science fiction landscape that became a cliché, all these type of sounds that we then were used to associate with these cartoons and comics and films.

And so they say, look for Bells of Atlantis on YouTube and then someone else says incredible, so advanced for its time. I’m curious to hear other music of theirs separate from Britain Planet. So if this was presented at a concert in 1956, they would have been booed out, right?

Nobody would have thought this was pleasant. But now we’ve been mutated by so many landscapes of sound and tactile textures that this seems great to us now, you know, this 1950s, 60-year-old stuff. But it would not be popular in… How… Was Stockhausen popular?

Could he go into the Berlin Symphony and play this to an audience in 1960 and would they like it? What was the response? No, and that was one of the reasons Zappa said he didn’t became a serious composer because he was not boring enough. He wasn’t what? Boring? Boring enough or…

Right, it was too boring and it wasn’t worth beating your head over an audience that wasn’t going to respect it or be interested in it. I think with electronic music, there are many things going on and you don’t have a tonality or sometimes a rhythm. So people need these melodies and rhythm

To sort of catch their attention. Otherwise, it’s very hard for people to concentrate and really listen. That’s the thing that Pauline Oliveros always said, you have to go into quantum listening and listen what’s going on with the sounds and how the sounds are evolving. But yeah, people were not used to that.

It was completely new. And we can also see how, Yeah, people were not used to that. It was completely new. We can also see how it was also associated with this new fear of humanity, the hot fusion traumatized everybody. The hot fusion, the nuclear black thing. Yeah, yeah.

Traumatized people. The hot fusion, the nuclear black thing, created a terror in all humanity. And technology had been since then associated like with Frankenstein, horror, that it would somehow get out of our hands and we will not be able to

Control it or that technology will surpass us and will be better than us and will somehow enslave us. And that’s a constant… Which happened. Which did come true. It all came true. We are the people… Which did come true. It all came true. That’s a constant in popular culture and science fiction.

That’s when all these monsters, Frank Zappa love, start appearing. Yeah, it’s pretty interesting. His use of the monster as an image of symbolism for all kinds of environmental problems. It’s a very good icon to use, the King Kong monster. So let me read you what McLuhan said about electronic

Music or about what came after 19th century normal music, you know, music based on box scales, or whoever provided the scales that was normal. Here’s what McLuhan says. Yeah, the tonality, the tonal scale, tone scale, what was the phrase for?

Yeah, it’s a harmony with a central tone, like you have G or whatever. Here’s McLuhan writing, A tonality, so Aonality, not tonal, atonality in music represents the abandonment of the central key, that is, of a single perspective or organizing frame to which all elements of a composition are related.

So all elements of a composition are related to a central key, which is a central perspective or organizing frame. That is, tonality served as a figure to which to relate other figures in an abstract way. In the mosaic of acoustic space, however, each element creates its own space.

So if tonality is acoustic space, so they are relating as a figure to a central key, so there’s the visual center margin structure. That was the idea of Bach that the notes are like planets around the sun.

And there is this important, the tonic, the central key is like the sun and all the other notes have to revolve around the sun. That was his translation of the power of God into music. So we wanted to make this interface with that idea of the power. The Newtonian universe, the Newtonian universe.

But it says each element creates its own space. So each element, each note is a planet making its own space. But it must salute the central flag of the central key. Right? That’s what it… Yes. Everybody… They make each node make its own space. Everything evolving around that central key. That’s the idea.

All right. So then McLuhan says… So then McLuhan specifically parallels atonality to acoustic space. He says, quote, using atonality as an acoustic space wherever you are at the moment is the key you’re in. The tonal center is where you are and the governing consideration is the nature of and

Effect on the overall pattern. The governing consideration is the nature of and effect on the overall pattern. The governing consideration is the nature of and effect on the overall pattern. Such space, the atonality space, is not uniform but rather multidimensional dynamic of figure and ground. That’s where the issue is.

We’re in a new galaxy beyond the Gutenberg galaxy where everything is happening at the same time for no reason at all, like Sansato said. And we have… And making their own… And making their own spaces. And making… Everything is not… is in its own decentralized position.

And making their own space. So we’re witnessing tones or tactile textures making their own space in Louis and Baby Byron’s music, this electronic. We’re sort of discovering new landscapes that are created by machines. The machines are making sounds as they are used. New acoustic spaces.

And one of the ideas of the Italian futurists, they wanted to use this. Also Russians before the Italians, they were trying to make music with this machine sequences of noises as they were used or this type of very repetitive that also became a part of the mainstream music.

It also became a part of the mainstream music. We usually hear to four beat music and I suppose that’s an effect of this because before there was much more diversity and then music became also like a simplified, like a loop, with less complexity in the involvement of the music ideas.

It’s just like a melody, four beat, and three chords. And that’s what everybody likes. So at the time of, yeah, at the time of Baran doing this stuff, I assume in the 50s, R&B and rock is taking over, which

Is meeting a new need, a new sensory mix of tactility that the TV screen, the black and white TV screen is bringing in. So music is responding to a desire for deeper textures, rougher textures, and they found that in the blues antecedents, Maria Waters and John Lee Hooger people.

So the audience is responding to that, whereas the aesthetes are making electronic music, and they’re still like conceptualizing or coming up with theory. They’re still abstract and almost academic in what they’re doing. Like Frank’s gonna come along and mix what the Barons are doing with what John Lee Hooker’s doing.

He puts the, he mixes. He mixes it. He mixes it. There’s a big thing with Chapa, that he sees how music is evolving into this, what Adorno was criticizing, that it’s very stupid. It’s actually used for proletarians to get some relax. But Zappa didn’t see it that way.

Zappa, he didn’t see it that way. No, no. That’s how Zappa goes and takes all these memes from popular culture and tries to make more interesting music in all senses. Yeah, without the divisions that Adorno had. So I just want to check to see if Bert came in. I just unmuted.

Is that you, Bert? And anotheruted. Is that you, Bert? And another one. Is that you, Bert? I’ve opened two lines. No. No Bert. Let’s see. Bert? Bert? I mean, what time is it over there? It’s quarter to six, right? So he may be not up yet. Quarter to six in the morning.

Okay, so here I made a nice discovery this week in relation to what we’re doing here. Carolyn Gwer, who is the director of the National Institute of Health and Human Services, is a former health and human services officer. She’s a former health and human services officer.

She’s been in the health and human services department for a number of years. She’s been in the health and human services department for a number of years. She’s been in the health and human services department for a number of years.

She’s been in the health and human services department for a number of years. She’s been in the health and human services department for a number of years. She’s been in the health and human services department for a number of years. She’s been in the health and human services department for a number of years. She’s been in the morning. Okay, so here I made a nice discovery this week in relation to what we’re doing here.

Carolyn Guertin, in one of her articles online, quotes an article by McLuhan called Art as Survival in the Electric Age. And it’s based on a speech he gave at Columbia University to a group of undergraduate students on April 9th, 1973. Now, in light of all the things we’ve said,

We’ve done 60 hours of talking about Zappa so far, and at six oh hours, and we covered the vortex and the Poe and all that. Well, I read this essay, and I had not read it before, or don’t remember reading it. It’s an obscure essay that you can find

In the collection that his daughter put together called Understanding Me, subtitled Lectures and Interviews. So on page 206, it has this pretty amazing essay and this is going to, you’re gonna see it illustrating in his terms what we’re talking about. So I’d like to read this essay.

We’ll go back to playing other things and dealing with the freakout list. But this is a great summary of issues we’ve been trying to talk about, Roxy, as you’ll see. And it explains what the questions and the issues and the problems and solutions that Frank is wrestling with.

And McCool is right on the money here with the different things he brings in. So remembering, Carol, you brought up electronic music, you understand that you’re not telling a story. Tonality tells a story, a melody. That’s within a communication of matching. I’m gonna tell you something and you’re gonna be intrigued.

Your mind’s gonna understand what I’m talking about and you’re gonna get the effect I want on your mind. These guys, electronic guys are saying, we’re not telling a story anymore. We’re gonna create new spaces. Like Zap is saying, I wanna play it to find out what it sounds like.

He knows they can make, with this new technology, new kinds of acoustic landscapes. Zappa goes a little further than these technical stockhouse and derivative electronic composers by bringing in movies and other cultural phenomena to mix in with the pure sound. So Frank’s moving to synesthesia, whereas the Barons

Are just working with ear space and making new spaces from it, new landscapes. So McLuhan, knowing that, let’s see what he says. So he starts off, and what’s good about this, Roxy, is he’s talking about art as survival.

Frank Zappa is gonna offer modules of survival, And what’s good about this, Roxy, is he’s talking about art as survival. Frank Zappa is going to offer modules of survival, capsules of vitamins, nutrition. He’s always saying we are like a house. That’s a very crucial thing for humanity.

There is the hot fusion, the nuclear fear of being blasted. This become a real important survival. And I will also just wanted to add before we go on that in the forbidden planet, you never see the monster of that planet. The monster is only a sound.

When the monster is approaching, you only hear these weird sounds coming. Well, when I looked at it… I think it’s quite important. No, that’s pretty profound that they understand it’s an invisible environment. Two points.

First of all, McLuhan in the 50s is saying that television is far more dangerous to the human species than the nuclear bomb. So everybody is reacting to the figure of the bomb and paranoid and uptight about it. And Frank’s saying, no, no, man, you guys are talking about a puny thing.

It’s the television that’s going to wreck your world more than the bomb is. So that’s an interesting point to remind people of, that McLuhan is saying TV is more dangerous than the atomic bomb. Yes, actually he was saying the whole medias are the vortex that are… The real bomb.

More dangerous than the blasting of nuclear. He called it the information bomb and in the 60s he called the nuclear bomb, the atomic bomb, an information bomb. So it’s the information bomb as a multilevel meaning. And certainly Frank is wrestling with the information bomb because he says that his,

The mother’s invention in the 60s, he said that we’re like a household ammonia, ammonia, a household cleaner. You know, they were, and he said we’re not entertainment. He didn’t say we’re therapy, we’re a useful consumable that will do you well, much like iON says, the RNA drops are, you’re gonna need this stuff.

So Frank felt necessity is the mother of invention, right? They were there to provide a medical, he called himself Dr. Zircon all the time, a medical solution or input or effect that wasn’t just mere entertainment. So, okay, so that’s what McLuhan’s gonna talk about, art as survival. Frank thought that his stuff

Would enhance your chance to survive. So here’s what McLuhan says. He says, he begins, I propose to consider art as a liaison between biology and technology, among other things. And I’m going to venture to read a passage from the work of A.T. Simeon’s Man’s Presumptuous Brain.

That’s the name of the book, Man’s Presumptuous Brain. This work indicates a certain gap in our equipment for which perhaps the artist was intended to close. So the artist, Marshall’s going to define the gap that the artist closes up or makes more balanced.

So Dr. Simmons is a biologist and he says this, in man’s pre-human ancestors, the close and harmonious coordination of cortex and brain stem was a highly satisfactory means of assuring survival and evolutionary prosperity, as it still is in all wild living mammals. But when, about half a million years ago,

Man began very slowly to embark upon the road to cultural advance, an entirely new situation arose. The use of implements and the control of fire introduced artifacts of which the cortex could avail itself for the purposes of living. Remember, you’re saying the close and harmonious coordination of the cortex and brainstem.

But now, with the introduction of implements and the control of fire, these produced artifacts of which the cortex could avail itself for the purposes of fire, these produced artifacts of which the cortex could avail itself for the purposes of living. These artifacts had no relation, however, to the organization of the body,

And could therefore not be integrated into the functioning of the brainstem. So the cortex could avail itself of these artifacts, like controlling fire, but these artifacts had no relation whatever to the organization of the body, and controlling fire, but these artifacts had no relation whatever

To the organization of the body and could therefore not be integrated into the functioning of the brainstem. The brainstem’s great body regulating center, the diencephalon, continued to function just as if the artifacts were non-existent. But as the diencephalon is also the organ in which instincts are generated, the earliest

Humans found themselves faced with a very old problem and a new garb. Their instinctive behavior ceased to be appropriate in the new situations in which the vortex created by using artifacts. So the cortex is extending itself and creating new situations, but the instinctive behavior

Ceased to be appropriate. Just as in the pre-mammalian reptiles, the new environment in the trees rendered many ancient reflexes pointless, the new artificial environment which man began to build for himself at the dawn of culture made many of his animal reflexes useless.” So McLuhan quoted, or referred to A.T. Simeon’s book,

Man’s Presumptuous Brain quite a lot in the 70s. And of course nobody was paying attention and not looking into it, but for him it was a big support coming from biological categories of the issue that he thought the artist was dealing with. So the artist, the art is going to bridge

The cortex with the brainstem. Carol, do you know anything about the diencephalon? What does this mean to you? It’s just an area in the brain. I don’t know much about it. You could look it up and find its functions. But if it’s instinctual, it’s down near the brainstem,

And that’s sort of where total biology gets its references, where the body and instinct will always behave in a certain manner. Under stress, we go to our instincts. Okay, so and these instincts are gonna be inappropriate, and they’re gonna act on what they think of the problems are, and they don’t recognize

The new environments caused by the extensions of the problems are, and they don’t recognize the new environments caused by the extensions of the cortex, the artifacts. Does that make sense to you? From your total biology knowledge? Oh, I said you were talking. No, I’m just asking Carol.

Does that make, what we’re describing here, Carol, is that what total biology’s claiming? That our brain stem is not… Go back to the primitive. And it’s doing all kinds of stuff on your body that you don’t know, and you need to understand what it’s doing. Right, you don’t direct it intellectually.

Right, so the artifacts around us. Now this is where I would criticize the Total Biology, that they didn’t include the effects of the new media in their encyclopedic inventory of effects. But you just said yourself, the primitive instinctual is separate from the new environment and that’s what total biology is based on.

Well that’s what Simian says. Simian doesn’t say that art bridges that problem, that separation. So new media are new art forms that total biology doesn’t acknowledge. Correct. They’re still dealing with the A.T. Simeon’s presumptuous brain scenario. But that’s just a side thought. But watch how McLuhan comes up. It’s important because until now,

All systems were not complete, were not considering all aspects of the human bodies. That’s right, not until I end up. Yeah, and Joyce and McLuhan, she also knew that both art and technology are tools for survival because we need the technology. Are what for survival? Art and technology are what for survival?

What was the word? Tools. What? Food? Tools. For food. Tools. Tools. Oh, tools. Well, they actually don’t cause… They cause disruption. They don’t cause survival. They cause a threat to survival because the brainstem doesn’t understand what the new tools are for.

In a way, men think they’re inventing things to adapt better to the environment from fire and clothing and weapons to the newest technology, we always thought these expansions are helping us to survive, to adapt to the new conditions of environment. And art was the balance between, we needed this new perception

That the artists were presenting as they were seeing the new changes of the technologies, the things that were invisible for most. We needed this balance with art. So art and technology are, since there is no more mutation, we needed somehow to evolve into this altering.

The technology took over biological, replaced biological evolution and the body didn’t recognize the technological evolution that was happening around it. So we don’t want to use technology and art together at first. Later technologies, media, become art forms. So the environments themselves are the new therapies. But not at the beginning.

The artist is instinctive. He’s going through some kind of complex clairvoyance and coming up with novels and plays and scenarios, stages of apprehension presented in various art forms that are meeting the stresses of the community, you know, in the 1700s, 1800s, 1900s. They fail after World War II.

Once the atomic bomb comes in, the arts fail to bridge the gap between the brainstem and the new evolution of technology. So this is what McLuhan is proposing. This is the radical idea, practical use of art. Now, he doesn’t mean just any art.

You have to get into what McLuhan means by art to say when he’s talking about artists. Okay, so he quotes this guy, and it’s a good quote. He never read, and he would quote a little bit from Simeons, but I don’t think he ever quoted as much

As this lecture has, it’s a good chunk. Okay, so then McLuhan comments on Simeons. He says, this enormous gap between man’s natural equipment, the biology, and his technology has gotten bigger and bigger. Bigger gap. I suggest that the artist’s role is to fill that gap by retuning and modifying the perceptual

Apparatus that enables us to survive in a rapidly developing environment. Art provides the training and perception, the tuning or updating of senses during technological advance. Now here’s the point. McLuhan doesn’t mean, in 1973, when he’s saying this, he doesn’t mean what Zappa is doing, what Andy Warhol’s doing, what Stockhouse is doing,

What Broadway plays are doing, not even what Hollywood and Archie Bunker TV shows are doing. The media are art forms, but they’re not the solution. The artist takes the computer and programs a global media diet with what he called a global thermostat.

Now, that’s a huge operation, but McLuhan is saying, I’m he is the only artist, and he knows how to modulate the situation. And what people think is art is coming nowhere near it. Now, Frank wasn’t on that huge level.

But Frank is one step below that level, as shown in his play, Dio Fah. He knows how to orchestrate as a satellite conductor to show in his art the orchestration that’s required. And it’s already going on in Wall Street and in the intelligence agencies and the White

House, the word that makes the market. So many artists read McLuhan in the 60s, oh look, he’s celebrating us. And he was not celebrating irregular artists. They didn’t know what was going on. McLuhan wrote way back in 1960 that all… could not meet the new situation after World War II.

The surrealist, the dataist, the psychogeographic system. For example, in Japan, there was this phenomenon of the Godzilla monster. And the Japanese made a big exhibition about the whole Godzilla meme, and they really celebrate Godzilla as a big, serious form of art because after the blasting in Nagasaki,

They really saw that as an expression of deep, subliminal needs, they need to work out. Are you saying that this is what, when did the Japanese appreciate this? No, wait, are you talking about in the 50s when Hollywood put out King Kong,

The Japanese immediately said, oh that’s about us, that’s what happened in Hiroshima. Is that in the 50s or is this some bunch of art theorists in the 1970s saying that? When is this appreciation happening? No, I think there was a big exhibition, I think it was 2011.

And it was exhibiting all these movies, science fiction movies of the 50s. No, the Godzilla, specific Godzilla, because in order to survive- They were celebrating, like what, Roxy, let’s get it clear. Are they celebrating the director who made Godzilla movies? What a genius.

He was showing us 50 years ago what the Americans did to us. Is that what they’re celebrating? Like, what are they celebrating in their exhibition in 2011? Well, they’re celebrating the fact that they needed this form of expression, of art, to survive this trauma. Because… So the Japanese love the…

So, yeah, well, okay, so yeah, they actually weren’t made in Hollywood. These monster movies are made in Japan. So they’re celebrating the fact that the directors in the 50s in Japan came up with the right kind of movie to assuage the tensions and anger of the Japanese consumer, right?

It helped the Japanese understand what the Americans had done. Yes, it was a big therapy for the people like to… To see all these… The blessing of the moral… The blessing of the moral… And then the happy end is just going back

To normality. Right, you should see Carol miming with the monsters. When she thinks the monsters did them, she’s grabbing her throat and throwing her body around the room to mime the monster throwing the human chemical bodies in 1955. So you’re saying that… human chemical bodies in 1955. So you’re saying that…

It’s funny because Aion also said the Godzilla is coming. So he’s also making a reference to this big blasting of the environment with the… That’s right, the huge one, the big one, the EMP disaster.

Let me just see, is that you Bert? I just unm just see is that you Bert I just unmuted that you Bert yes okay very good are you coming early or is this when you regularly can take it this is early no no it’s an either-or Bert are you coming

Earlier than usual yes good thank, because I requested it. You blew your first question, Harvey. Bert. You’re a yes man, Bert. Cut out this yes man. It’s going to be a tough night. Yeah, okay, Bert. Do you listen a bit before you come on?

Have you been listening for the last hour or whatever? I listen for the first hour. Yes, I listen for the first hour. What time do you get up in the morning on your Saturday morning? You get up at 4 in the morning to hear us?

About 4, 30 or 5 o’clock. Today it was 5 o’clock. in the morning on your Saturday morning. What, you get up at 4 in the morning to hear us? About 4.30 or 5 o’clock. Today it was 5 o’clock. Right. So you get up. So you missed the music.

You missed the very beginning, but you hear me and Carol talking about Carol and Gwerton. Did you hear that part? No. I got up an hour ago. So I heard you right. You started with Roxanna. Okay, good. All right. So now you’re here and do you have any,

I’m reading this very good essay that sums up what we’ve done with Zappa really well and pushes it into what we find is important to Zappa. Is there anything you want to say about anything, get off your chest from last week or something before,

Right now or do you want to do it later? I’ll do it later. Okay so nothing urgent. I would like to say something before I forget. Because for example Derrida saw also the influence of all these horror monsters and science fiction. He said before there was like… You said Derrida’s?

I didn’t get who you said. Derrida. Derrida. Oh, Derrida. Derrida, I thought you’re gonna give him credit for some. What did he do? He saw this? He did a lot of essays about monsters in science fiction because he said it influenced the language. There was before the literary language and the science language.

And science fiction sort of fused both, in art, in politics, in economy. So with science fiction, there was a blending of both type of expressions that were trying to be separated with during the Gutenberg galaxy, the literary language and the science language. Right. Okay, again, tactile, like one.

Yeah, the way she expresses is very complex, but it’s just like a very easy way to say it. Well, it says, and now when did Derrida in your knowledge write these essays? In the 80s? He did several ones. So…

But did he do it in the 60s or 50s? How ahead of everybody was he? Was he doing it in the 60s or was he doing it in the 80s? How ahead of everybody was he? Was he doing the 60s or was he doing the 80s?

I’m not sure, but because he wrote in different books and essays about these topics of the monsters and then science fiction. Okay, so Derrida, James Joyce. It’s interesting that there is this fusing of art and science in the church. Right, so listen to this. Something happening everywhere.

So James Joyce said to the Evergreens, if he was gonna write today, if he was alive, he’d write science fiction. And he meant that Finnegans Wake was an obscure kind of science fiction, but nobody could see that.

But here’s this book called American Science Fiction and the Cold War, Literature and Film, edited by David Seed. David Seed is the guy who wrote a book on Thomas Pynchon and showed the influence of McLuhan on Thomas Pynchon.

So I find it interesting that David Seed, a McLuhanist, is now put a book out, American Science Fiction, and he’s got Derrida writing for it. Derrida is in it. So this McLuhanite, semi-McLuhanite, brings in Derrida for his collection called American

Science Fiction and the Cold War. McCluenite, semi-McCluenite, brings in Derrida for his collection called American Science Fiction in the Cold War. And it’s Derrida going on about this and that, what you’re talking about. And that’s back in, I guess, the 80s.

So now here’s the important thing is that McCluen was talking about science fiction in the 50s, probably ahead of everybody. And he was celebrating Wyndhamuers who wrote science fiction in nineteen twenty eight called the child a mask the first volume of three the human age trilogy

So um… you have to do with the joyce doing science fiction and nobody recognizing it uh… not that they made it easy to recognize but joyce said that he did not want to be seen as do actual time station because that was children’s literature back in the 20s and 30s.

He certainly wasn’t going to make him, he wasn’t going to go that Manipian and merge children’s literature, and that is a good point. You can do high and low culture, but do you dare do children’s literature? As well as abstract, but that’s what Gulliver’s Travel is.

And Alice in Wonderland, they’re Manipianian Satires and their children’s literature on the surface. So maybe Finney’s Wake could be children literature. I mean, kids would love to mouth the weird syllables in Finney’s Wake. So I might take back what I said. So let me carry on. I just want to say this.

It’s like both the right brain language and the brain language that literature and the science are trying to express. Well film is right hemisphere, it’s image. Film is image and it’s up against the verbal which is literature. Verbal versus pictorial, that’s a dialectic that McLuhan writes about in the

Gutenberg Galaxy book in 1962. But remember, television is beyond the verbal versus the pictorial. Television is tactile. Movies aren’t tactile. So it’s easy for the Japanese and for postmodernists to celebrate Japanese movies. And they’re saying, wow, this prepares us for Hiroshima. No.

The King Kong movies were warning people about television, not fucking nuclear war. And those Daredevils going on about nuclear war, and he misses it. More important is TV. So that’s what everybody said before Roxy. Right here in Exclusive, Bob criticizes the Japanese didn’t even know what the fucking monster was

Well, it’s a big metaphor of Yeah, they actually were the Android in this in the technology after Godzilla Blasted everything after Godzilla blasted everything. You know, there’s something I remember. Frank’s Apple was talking about monster movies, and it was a bit corny to most people in the late 60s, early 70s.

Then there was this Hollywood movie around 1970, 71, 72, and I don’t know if it was A Long Goodbye with Elliot Gould, but I’d like to see where it was. And they showed a bunch of, you know, college-age kids watching old movies and laughing and making a big deal out of it.

And I thought the director of that movie knew what Zappa was talking about, because he had this scene where people in L.A. knew, picked up on what Zappa was talking about, and were celebrating old monster movies. That was a scene in this film. So I’d like to find out where that was,

Because it seemed to be showing the subculture in LA influenced by Zappa and the Freaks, who were making a big deal out of the old monster movies. They were turning Japanese. You’re saying, Roxy, that Japanese already knew the importance of the metaphor. Japanese already knew the importance of the metaphor. Well,

It’s very interesting how they were blasted and then all these Godzilla films were made as a type of therapy. And the happy end was always returning to normality and then they became the most technological society and they were somehow

Experiencing before other cultures what it’s like to be in this new type of mega high tech environment. Yeah, they became the nuclear… They didn’t know they were going to become monsterized by the high tech world that they would adopt rapidly.

And so they rear-view mirrored it and thought it was nuclear war that was going to threaten them. They didn’t recognize television, which was the precursor the high-tech world that was coming to the Japanese. The Japanese didn’t know they were tactile. That was the real Godzilla was to come. Yes, the Bobzilla, Iundum.

And Iundum does brag every now and then as if it is a Godzilla operation. So that may be why we will be blasphemed later. So let me read what McLuhan says. I found this, you guys are going to, I think you’re going to find this essay really good,

Useful, and its subplot is, this is what Frank was responding to. So, art provides the training and perception, the tuning or updating of the senses during technological events. Then McLuhan says, this reminds me of another event, October 4th, 1957, the date of Sputnik, the date when a man-made environment went around the planet.

I think of technologies as extensions of man, of our bodies, of our faculties. I’m not sure what Sputnik is an extension of, but it may be an extension of the planet itself. Now here’s McLuhan, he it may be an extension of the planet itself.”

Now, here’s McLuhan, he’s talking to an audience, to a bunch of students, so he’s a bit more conciliatory where if he wrote this, he’d say that Sputnik is an extension of the planet. But here he’s going, I’m not sure what Sputnik is an extension of, but it might be an extension

Of the planet. He’s being cool with the students. You know, he’s being low definition. He’s not being hot and saying it is an extension. So just note how he says his main idea is differently to different situations as a performance artist. So it may be an extension of the planet itself.

In effect, however, by putting the planet inside a man-made environment, nature ended. Everything that was called nature in preceding centuries ended at that moment. No, I’m not. And instead, the planet became an art form. It’s right here, Carol. Where else is it going to go? When you bend forward, you end up spitting.

I’m not spitting, Bert, am I? You don’t hear no spitting. I don’t hear spit, but I’m… They don’t hear spit. …maybe a visual. Thank you for not supporting Carol. I know you live in fear of Carol and you would support her. Yes Bob, you’re… Will you forget about it? Your S’s and T’s.

Yeah, I don’t care. Who gives a fuck? Nobody’s listening. It doesn’t matter. We’re bleeding edge. It’s fucking and we’re a hole in the wall. No Bob, no. It’s the optics that matter. It’s all about the optics. Ear ticks, not optics. Ear ticks, not optics. To the ear winger.

I apologize to everybody who is irritated by my spitting. But I can usually tell. I have my own gauge of how bad it is. Everything that was called nature in preceding centuries ended on October 4th, 1957. And now talk about a Godzilla. That’s when they were making the Godzilla movies in 57.

And so it was wiping out everything. Okay, not just cities. And instead the planet became an art form, an ecologically programmable environment. Now this is right at the time they put Elvis in fucking military. They blasphemed Jerry Lee Lewis for marrying a 13 year old, which is normal in southern

Culture. He didn’t recognize that. He thought he was doing a good thing. I’m marrying her. Anyways, it just wiped out rock and roll in 57, 58 as the environment became programmable. Ecological dialogue began at that moment, and it’s continued to increase in volume and intensity.

I really think that that might give certain additional point to the title of today’s talk, quote, Art as Survival in the Electric Age, unquote. If Sputnik indeed transforms a planet into an art form, then we are living art, rather than nature from now on. We are living art, Carolyn.

Doesn’t mean that we’re living art, no. We are art. We are living art, Carolyn. Doesn’t mean that we’re living living art. No, we are art. We are artificial. We are different. We are synthetic. We are virtual. We are not natural chemical bodies anymore. And

Chemical body is just the effect of printing press on knowledge of what the bodies are. Because they had different ideas what the body was. So is art chip body, digital body? And chemical body. The whole range of what the anthropomorphic physical, what humans think they are is art now. Wow. It’s programmable.

And this is what the conspiracy theorists and some of the intelligence… And the tattooing and the piercing. That’s low culture expression of that, but that’s why everybody naturally wants to do it. They know their body is art form. And that’s 50 years after the fact.

It’s like we’ve moved into another level where the body is not art form anymore. I’m always going to go past McLuhan because we’re well past what McLuhan’s talking about, but people haven’t caught up with McLuhan, so we do McLuhan. But the body is not art anymore. It’s not

Even here. But 50 years ago it was still here and at best was a programmable art form. And that’s why drugs took over in recreation and in medicine, programming the chemical body. So he says we are living as art, but he says we are living art rather than nature from now on.

But instead of making the news or programming the press, we have to now remake the world and program the planet. And since Sputnik, we are located in the global theater in which there are no spectators but only actors.

Then he says, a little boy, now what’s good about this lecture is that it’s conversational. McLuhan’s a little informal because he’s just talking to students in the classroom. A little boy, when he took his first airplane ride, said, quote, daddy, when do we start to get smaller, unquote.

Then McLuhan says, I don’t know what his daddy said on that occasion, but I think he might have paused. It took me quite a while to puzzle that one out. You never see McLuhan saying, it took me quite a while to puzzle that one out. You never see McLuhan

Saying it took me quite a while to puzzle that one out in the middle of his essays or his public speaking. But he’s being more informal to the students here. He’s being a human being, right? It took me a little while. He never took him a while to puzzle that out. That’s

Bullshit. It took me quite a while to puzzle that one out. But I ran into a parachutist one day. Look at this. I ran into a parachutist one day, look at this, I ran into a parachutist one

Day and he told me that when you jump out of a plane you are very tiny and you grow bigger and bigger as you approach the earth. There is no figure ground relationship in visual space. The enclosed space of the airplane cabin is static, it’s visual. Visual space

Has very peculiar properties, one we take for granted even though they belong only to one sense, the visual sense. Visual space is continuous, properties, one we take for granted, even though they belong only to one sense, the visual sense. Visual space is continuous, connected, homogeneous, and static. That’s the cabin on the airplane.

All the other senses make spaces that are quite different, totally discontinuous, non-homogeneous, and dynamic, whether it’s a sense of touch, smell, hearing, kinesis, or any sense whatever. There are many spaces formed by our many senses. And all these spaces are totally lacking in the character of visual space,

Which is only continuous, homogeneous, and static. He doesn’t say only, he just says which is, continuous, homogeneous, and static. So the moment you jump out of the plane, you jump out of visual space into a live dynamic space in which you have a figure-ground relationship. In the static enclosed space of the cabin,

You have no figure-ground relationship whatever. Anybody, is everybody, are you still here Roxy you hear the tiny this doesn’t make any sense though it’s just it’s all relative you’re you’re big to yourself. He never kind to himself. Was he joking or something?

He always quoted this line. He’d just say, the kid was right or the kid understood when the kid said, when did we start to get smaller? All right? From his perspective on the ground. What’s great about this essay, this is the

Only place in the whole world where he explains what he’s talking about. He never explains the joke. Here he is. Now I don’t know if it makes any sense but there’s something different. When you jump out of the cabin, you’re no longer in this

Visual frame. You’re floating in space. There’s no up or down and you’re in relation to the ground. I don’t know. You begin to change how big you think you are.

You don’t. Well how about when the kid is looking at you. My hand in front of me will always be the same size no matter if I’m jumping out of a plane or not. When a kid is standing on the ground and watches a plane go up, the plane as it goes further away gets smaller. Yes. He’s talking about that. The kid thinks he’s going to get smaller. Right. Well McLuhan’s been doing a lousy job explaining it. It’s ridiculous. Okay, good.

Alright, sorry it didn’t work, Marshall, but good try. Okay, so then the next paragraph. When the ancient Greeks invented visual space by a very peculiar technology. Look at that, he goes, by a very peculiar technology. He never says peculiar technology. By a very peculiar technology called the phonetic alphabet.

They fissioned off the visual sense from the other senses, abstracted it from the other senses. And this is done because the phonetic alphabet is phonemic. You don’t know what phonemes are, Carolyn, and you don’t know what is going to be said next. Nobody does.

The only alphabet in the world that is phonemic, not morphemic, that is the bits of the phonetic alphabet have no meaning. They’re phonemes. Do phonemes have no meaning? I don’t know. You have to look at talk to a linguist. Phonetics, yeah. I don’t know if you look up phonemes.

There are some words like for example C in Spanish it’s a phoneme and it word. The letter C? No, there are some that are phoneme. A phoneme can be a word. Like C, S-I. S-I is yes. And you’re saying that’s phoneme because you go by the

Sound? No, that there are some phonemes that are like words that are composed by just one phoneme. Right, and they have meaning. C means yes, right? Yes. He’s saying that phonemes don’t have any meaning. Now, Macoon always puts… No. What? No, it’s another phoneme. No.

No. It has meaning though. He’s saying phonemes don’t have meaning. You just know that any specialist listening to anything McLuhan says from the specialist point of view says he’s talking nonsense. Phonemes do have meaning but who gives a fuck he’s trying to show something new that’s difficult

To describe so he has to use fallacies. He said to Woody Allen you think my whole fallacy is wrong. McLuhan is talking fallacies, but they make sense in relation to other things. So watch this. And this was done because the phonetic alphabet is phonemic.

It’s the only alphabet in the world that is phonemic, not morphemic. That is, the bits of the phonetic alphabet have no meaning. They’re phonemes. All other alphabets in the world have meanings. The letters have morphemic meanings. The technology of the phonetic alphabet had this amazing result of fissioning off the

Visual sense and giving us what is called rational space, Euclidean space, continuous connected space. This is also the satirical part. The rational space has no meaning. It’s based on letters that have no meaning. The symbols A, E, I, O, U, ABBA, CUDU, they don’t have

Anything in nature to relate to them. And it is useful to know this, says McLuhan, because today in the electric age the simultaneous character of information moving at the speed of light assails from all directions simultaneously as we hear from all directions at once. We

Do not see from all directions at once, but we hear from above, behind, sides, below, from all directions simultaneously. Now McLuhan in 1973 has been saying this for 20 years. He comes to his students 20 years

Later from 1953 and he starts saying the same shit he’s been saying 20 years. You talk about slack, this guy hadn’t thought a new thought in 20 years, but he did relate it to whatever was happening. Like Watergate. This is what we’re going to see. He says, acoustic space has a peculiar property.

It is a sphere without a center, or whose center is everywhere and whose margin is nowhere. This is the space of the vibes. You know, the phrase, the vibes, it was coming in the late 60s. This is the space of the vibes.

See, he’s relating it to what he said since 1953. He’s now relating it to what, a fad slang in the late 60s. This is the space of the vibes. See, he’s relating it to what he said since 1953. He’s now relating it to what a fad slang in the late 60s. This is

The space of electric man. This is the simultaneous space of electric technology. Now this space, needless to say, is scarcely compatible with the static, continuous, connected spaces of the visual civilized man of the past 2,500 years. Now, anyappa fan that’s listening, Kevin Currier asked me, Ben Watson got it

Wrong emphasizing Adorno. Bob, if you can present Zappa in a McLuhan context, you got better chance to get it right than Adorno, than using Adorno. So for those people who don’t know why I’m talking McLuhan, we’ve done 60 hours, it’s time to bring in a concise

McLuhan statement to show how this explains Frank. All right? So, just an aside to the audience, whoever’s listening to this. So, back to the essay, or the lecture. McLuhan says, In the early part of the electric age, Sam Butler… Now, there he is, being familiar. It’s Samuel Butler,

Who did the famous book, Nowhere Backwards, Err One. And so here’s Marshall talking about him as if he’s a buddy. Sam Butler, but he’s actually, you know, from the 19th century. Samuel Butler. In the early part of the Electric Age, Sam Butler, a biologist to whom we owe the aphorism, quote,

It is better to have loved and lost than never to have lost at all. Lost? Ha ha ha ha ha. You nearly got it. Spikey likes it. Carol heard it. Ha ha ha ha. Who’s there? What’d you say, Roxy? You like that? Who’s there? Who’s there? We don’t know what you’re saying.

Who’s there? Loser? Loser. Loser? Loser? Loser? Ha ha ha ha Loser. Hoser? What are you saying? Carol’s throwing up her head. She has no idea what the fuck you’re saying. Hoser. What is it you’re saying? Spell it. Loser. Roxy. Loser. To my ears it sounds like you’re going user. Your L comes across.

I’m not criticizing. Don’t take this personally, I’m just saying how you sound with your accent. So you’re saying L-O-S-E-R, loser, right Roxy? Yes. You can nail me when I’m among the Mexicans. You can all laugh at my English accent when

We get there, but apparently the English are the majority here. It is better to have love than loss than never to have loss at all. That’s great, eh? So Sam Butler said that,

But he also observed about which came first, the hen or the egg? He came up with the answer. Naturally, he says, a hen is only an egg’s way of making another egg. So the eggs come first. Did you know that, Rashi? They solved the chicken egg question. Sam Butler did.

This putting the effect, now this is what it is about, putting the effect before the cause is what we do typically and ordinarily in the electric time. So he’s saying Sam Butler’s 19th century, I assume it was in the 19th century, explanation

Of chicken age was totally resonant with the coming electric age where the effects precede the causes. Do you get that Roxy? Oh, did she get flipped out? Roxy? No. Okay. No, but the, no, the, the, the, the, the, the, the, the, the, the, the, the, the, the,

The, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the,

The, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, Oh, did she get flipped out? Roxy?

No. Okay. No, but the thing is… Are you… You already played some electronic music. Get you back in a good mood. There is no effect, no cause when everything is happening at the same time. There is no… Good point. No, that’s a later… That is what McLuhan is leading up to.

Because, you know, I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point.

I think that’s a good point. I think that’s a good point. I think that’s a good point. I think that’s a good point.. There is no… Good point. No, that’s a later… That is what McLuhan is leading up to. Because in Western Newtonian physics, it’s cause creates effect. That’s normal Western thinking.

So he has to alter that by saying effects precede causes. That’s phase two. But then phase three is everything causes everything and to be paranoid, who thinks, a paranoid thinks that everything’s connected, everything, is a way to be. And you have to be. So yes, you’re right, that’s the third phase.

Everything causes everything and there’s no. Be afraid, be very afraid. Be very afraid, yes. That’s one of the things in taking your power back, that you accept, it’s not like you thought before this had to happen and then this happens and then you get this.

But things can show up instantly and in other ways without you worrying even how to manifest something. Exactly. Here’s McCall preparing people for understanding iON. He’s getting you to use the idea that effects come before the causes. He’s going to develop it here.

What’s great about this talk is he fills out a lot of stuff, gives you examples. But it is preparing people to understand iON. This is how Zappa, McLuhan, Joyce, Finney-Swake are prefigures of iON doom, right? Nobody else is saying it.

Everything is happening at the same time for no reason at all. And then there’s the neutrino level it’s not happening at the same time it already happened so where are we if it already happened? It’s not even happening

Simultaneously at the same time it didn’t it didn’t happen basically. It already did. We showed up too late. Which is what Ken Kesey, in the Kool-Aid Acid Test, Ken Kesey and the pranksters would do acid. And they’d always get to this intense point on the acid LSD trip

Where they were getting to experience the present. And they never could get to it. They never could get to feeling they exactly were experiencing now, now. You know when Ayn goes, right now no no no right now no that’s not now they would

Get all that’s not on an LZ the the frequency is too loud so we need to speed up he’s saying all the time well when you let you relax and I when you realize you’re not gonna be be able to notice the present. You can’t try to do it.

You can’t take acid or speed and make you speed up your brain limitless so that you can actually catch up to the big now that’s happening. You won’t catch up to it. And probably because it already happened. No matter what, it already happened.

So when you relax and allow, then the simultaneous anomalies will start coming in on you. Because your brain is not trying to control it anymore. Or you’re thinking. How to experience anomalies? Read McLuhan. To change your brain thinking on this stuff. Or your mind thinking.

Or for example, that would be the explanation how Leonardo or Frank or you that are autodidactic. Yes, autodidactic, that’s right, self-taught. Yeah. Yes, it’s like… How we thought. Some of the biographers of Leonardo said it was amazing because he was the most intelligent he knew about everything

And it was as if he never learned all this it was like God given. So I suppose this is when you somehow get to this point of relaxing that somehow this you just download this new wing from right doing knowing versus knewing a Bert did you drop off are you there Bert

Okay so it looks like he did drop off so there it is that’s you Bert right you just came back in yes yes yeah okay Okay, so I had never heard anybody had solved the chicken and egg problem until I read McLuhan

And then Sam Butler said, the hen is only an egg’s way of making another egg. I mean, did you know? You hear people say all the time, well, it’s a chicken and egg and you can’t figure out which is which. And we’ve never heard there was a solution in the 19th century.

Now, that’s really good research, that McLuhan found a solution said by this author. But he’s also the guy who said that never to have lost it all is a tragedy. Okay, next paragraph. In 1844 at about the same time that Gould, the mathematician, not

Glenn Gould the pianist, Gould the mathematician. He invented in 1844, around then, step theory by separating the mathematical operations from mathematical quantities. So the same time as Gould did that, Edgar Allan Poe, the great innovator in the arts, and look at that, he’s calling Poe the great innovator,

Separated the poetic process from poetry. So just as this Gould guy separated mathematical operations from mathematical quantities, Poe separated the poetic process from poetry. This was his great breakthrough, says Macune, and it was of instant effect on the French symbolists, that’s Baudelaire and the Flaneurs, and the French poetic activity of the period.

Baudelaire translated Poe, or some of him, and took on this idea of simultaneity that if you want to write a poem you have to start with the effect and then look around for the causes. And this became the awareness of acoustic space in which the beginning and

The end are at the same time. Carol? Beginning and end are at the same time. Bert? Beginning Bert. Beginning and the end at the same time. INETs who are listening. And Zappa fans who are listening. Back engineering. How did you say that?

Reverse engineering. We had a new guy in the chat line, Marvin Gluck. I don’t know what that means, if that was his real name or whatever, but he quoted a lot of Zappa. He knew a lot about Zappa. I wonder if he’s still there.

What does he think of this? Is Marvin still here? Minimax says, Zappa is actively trying to colonize other art forms. Yes, that’s what the Egyptian artist does. He programs the whole planet. That means colonizing all art forms. We’ll have to go back and look at… Oh, Minimax announces the bad news.

Vortex Records in Toronto is closing, Carol. I used to go to Vortex Records. They used to have a show on CKLN, I’m pretty sure. Uh-oh. And Vortex is obsolete. Vortex Records is closing. They’ve been around, I don’t know, 30, 40 years. Sad news there, Minimax. Sad news there, Minimax. Minimax says,

The Simians book doesn’t seem to be in the Fisher Library. Now that’s pretty interesting, Minimax. That means the book we’re quoting, Eric kept it for his own use. He didn’t sell it to the, to the, or, another thing, Minimax, is Eric had a fire in his home you know fifteen twenty years ago

Probably lost some of the books so that might get burnt okay so back to uh… and you know why i’m i’m doing this to read a clue in there’s a big fiasco going on in the mcclough family that i’m part of right now right now i’m getting a I’m getting emails from them.

They want me to fucking respond. And Carol says, tell them you’re on the radio. I can’t even bother to tell them. I can’t respond. I’m working here. I’m playing. So here I am in the McLuhan family vortex, while promoting their father’s work. And that’s the way life is here.

I’m handling many, many operations here. Bob is the chicken’s way of getting another Carolyn. It’s better to have known Bob than not to have known Bob at all. It’s better to have known Bob and not understand one thing he said

Than to have not known Bob at all. It’s better to have lost Bob than still being his buddy. Because he’s just another way of getting another way of getting another way. And getting away with it. Getting away with all these ways. Okay, back to, this is tremendous

Stuff. If you, you know, the beginning and the end are at the same time. This is the kind of space and time in which we live now. Now, Ian is saying that’s the way we’ve always lived, but our cortex and its fucking products, its mother of inventions and necessity,

Fucked up our brains and the old brainstem would refuse to acknowledge anything, it just kept fucking arguing and fighting and beating people up. Meanwhile, the cortex is trying to create a mediacology and I said you got it all wrong mr. cortex

It’s not the way the cortex sees it remove that veil from yeah remove the cortex you’ll veil and but what’s great which prefigures iON is that the environment catches up to the ionic facts. Right? Bird? The Android Meme is simulating reality as it really is as seen by iON.

The electric environment, the digital environment, is taking and making the beginning and the end happen at the same time. What do you think of that, guys? Is that important? It’s like a speed up. It’s a speed up. It’s a speed up. But it’s an illusion with our senses in the Android Meme.

And that’s why iON is here to probably like speed us up, but also to be aware. Because a lot of folks in the Android Meme are not aware. You didn’t hear me explain to Karen how you don’t use a phrase for a speed up. Right, but we’ve got to make a distinction here.

This is what, no, you’ve got to say it better than that. We’re not speeding up anymore. For the chemical body, the chemical body’s gone, burnt. It got sped off. It’s not even on the track anymore, all right? It got ghettoized, put into a morgue.

And so it’s the Android Meme that used to speed up, but it’s not even speedy anymore. It’s neutrino. It’s already happened as far as the chemical body is concerned. Okay, so look. Everything already was happening somewhere, not in nature, not in the universe.

It was happening in our middle kingdoms of conscious, of humans, whatever humans were. And they can be any form. So something was experiencing everything all at once. Right? The something, which is our deepest self, the thing that can make, it can make these environments. But what’s interesting is that our stupid

Cortex, I assume, made these technologies, and these technologies are getting close to what is the fact for the unknown consciousness, the mystery being of humans. And post-human and non-human. See, so, iON says the chemical body will merge with the chip body. iON is always mixing up what technology has arrived to.

So when iON says there is no time and space, there is no time, he can be talking about the McLuhan world we’ve been living in, or he can be talking about some metaphysical reality of being that we actually experience at the deepest levels which makes us eternal.

You see, there’s two levels going on. Now McLuhan talked about in the medieval period they would write exegesis and explanations of the book of scripture, but with people like Francis Bacon they started to analyze this was the early phase of science, the book of nature.

So nature would be an artifact created by the cortex and so you got the book of nature and the book of scripture. iON comes forth to explain what the book of scripture says but mixes in what the new book of nature has arrived at, best expressed by McLuhan in Phoenix Wake,

This artificial simulation of the no time. So there’s two books happening here, the book of Revelation and the book of nature. And we’re listening to McLuhan to update the book of nature, saying that the word nature doesn’t apply to when life becomes a new nature a second nature where it’s just art.

Are you getting the distinction? What did you say Carol? Wow. Yeah is that neat? Are you guys getting this? When did you figure that out? Well it’s written up in my 1995 essay up there for Andy. The difference between first and second nature. But I haven’t had

Much opportunity to talk about the book of nature and the book of scripture. I mean I’ve been thinking about reading about it for 40 years but you know I have dumb people around me and they don’t evoke this stuff. This is why I like Carolyn Guertin. She’s invoking

Good stuff for me because she’s saying intelligent up to date stuff. That will get me going but Dr. Dean didn’t say nothing to me for 30 years because she wasn’t fucking helping. She should be the actually owner of destiny of being the Sistine Chapel breakthrough and all that you know.

But the uh, uh, it took Roxy to show up to fucking actually interview me one-on-one about these issues, right? So, you know, Roxy did a good, is good at, what? That’s the homework. What, Roxy? Yes, Roxy, she had been trained by the German professoriate over there

To at least begin to realize the implications. You were talking about the book of nature, I was thinking how the antiquity people thought God was talking. There were these books, the Revelation and the book of nature was the way somehow God was still communicating. For example, all the

Catastrophes in nature and for example some monsters appearing like people that looked like some type of animal or that had some deformation that was like a sign of God that there was something wrong, that there was some sin or something. Well let me just say this, hey let me respond to that.

McCloon points out and other people that in the medieval times, middle ages, the scholars saw everything as a symbol of God. All nature was a symbol. God was named in the book of Revelation in the Bible but the

Book of nature was one step removed it was the mirror the art of God. Is that what you mean Roxy? The book of nature is the art of God. For example in the in the Bible is also

This the flood and the epidemics and all these things that were God sent to express his anger with humans. Right. That’s where things were symbolic. Everything was based on a contract with God. Everything was based on a contract.

After the nuclear blasting and this new meme of that dictator that went to conquer the world that came from the next year before we should be able to play the uh… in the uh… monsters and uh… and the flood like that i would get we did something

So-called that uh… that there must be films what did we do how did it look at the end of the day that’s actually what happened thousand years ago do you know that because god did not communicate a dramatic ending in the year one thousand eighty two to every said

That as a people felt they did we did some wrong we were worthy of being smoked by god so they destroyed all the universities, they destroyed secular education. And they say that Bologna was the first university,

It’s about 1100 AD in Italy. But that’s what it really was, it was the only one left over. There were all kinds of universities in the medieval period. And they failed to bring forth the millennium. And then the Emery said, this is what will happen in 2000.

A lot of people are waiting for some cataclysmic thing to happen. And because nothing will happen, there will be a big backlash against science.

And they said it would go on for about five or six years, so it would be 2001 to 2006. And he said, he said, the Emory said that technology will continue to be rapidly, you know, tsunami-like fucking producing itself.

And people, after five or six years of saying, we’ve got to stop all this technology, they’ll realize they can’t do it. So that comes, so you look at the first term of George Bush Jr., anti-stem cell research, anti-science. That’s what the Evergreens predicted.

The anti-science image that the Bush administration had. Did you know that, Burt? Do you remember that? Yes. Yes, I do. That was the Christian Bible. Yeah, go ahead. What was that that stemmed the, you said 1001 AD, what was it that, can you say that again?

What was it that Evergreen told you that created this backlash? Well, people thought, you know, back then people could read a little bit, very little, and the ones that could read, they’re very superstitious like Roxy’s saying, they saw everything, God was punishing them or praising them based

On what they wrote or what they saw and how the village went and whether they got wiped out in the harvest. All this was God constantly communicating through nature. So everything was symbolic based on a contract with God. If we do this, He’ll do that for us.

That’s what is quite constant in all religions according to the Ebenezer. So when they saw this big number of thousands coming up, it’s a thousand years since Christ, this must be significant. God, it must be the second coming. They really

Had a big belief that something dramatic was going to happen. And nothing did happen in terms that they would recognize. Nothing happened. And they beat themselves up and they destroyed the universities because they said we got too distracted with secular knowledge and

Didn’t stay true to God knowledge and we must pay for it. So that’s what I’m saying. That’s what the Amarin said. That’s one of the things Shabbaa criticizes when he says they want you to stay dumb and that’s the story in the in the tree of life and the

Tree of knowledge that when I don’t eat the other another don’t eat the apple yeah they ate the apple and they wanted to know and then religion says that’s the best thing. The humanity wants to understand the glory and the power of

God but at the same time are afraid because this trying to be like God it’s also like sinful and for example the genetics and the nuclear and all these new technologies sort of got out of hand.

Yeah, we fucked up. Now here’s the thing is that many fundamentalist Christians or just Christians or mystics or whatever, they thought that you know since World War II humans were fucked and we were going to get beat up, have an armageddon, get blown up and we deserved

It. And we had not followed God’s way. Well, it became a major meme in general and so, Bert, you talk about speeding up. We, five years went through the trauma from 2000, 2005, 2006. We went through this backlash, represented Bush’s first term. Remember how they, you

Know, the popular image was Bush ignored climatology, ignored stem cell, ignored science. And he was riding on this mood that people, a lot of people have that Christian meme that we didn’t get our punishment or a just desert. So what did we do wrong? So they tried to have a backlash.

But by 2006, which is basically when Web 2.0 comes in, and then everything changed after two, it really changed things a lot with Web 2.0 and YouTube and social media, they call it. That was the explosion of technology past the culture war of the first four or five years.

So that was a pattern that the Everings predicted, and for me it came true. You could see the change. They did say within five or six years, the meme of stopping science will collapse because

People will be getting rapid new improvements of technology and will just fall for it and go for the new stuff and end up walking around staring at their iPhones now, right? That’s the breakthrough. Totally distracted, so they forgot about being punished by God in the year 2000. Ha ha ha ha.

So, the book of nature and the book of… Not now. No apocalypse, cancelled due to lack of public interest. Lack of interest. The book of nature and the book of scripture are two good terms from ancient scholarship Carol that we can play with occasionally. Okay so back to what was going on here.

Look at this. This is where McLuhan gets good. So, this became the awareness of acoustic space, in which the beginning and the end are at the same time. This is the kind of space and time in which we live now. Einstein was only catching up with Edgar Allan Poe.

Now dig that. Try to tell that to scientists that Edgar Allan Poe was way ahead of Einstein. But here’s McLuhan as the English prof. You know, he says, we’ve been wimping out for the last 50 years. We’ve let the scientist guys take over the Einstein’s. And we’ve got James Joyce.

We’ve got great guys who outdated Einstein. And I’m the only guy who realizes this McLuhan. So I’m going to go forth and lay out how this happened, beginning with Edgar Allan Poe.

Like he’s bringing the team of art and writing and the humanities back against science, right Carol? That’s a subplot here, within the division between art and science, which MacCormick didn’t agree with in general, but within that fact, within the literary culture, he was saying, well fuck that, Einstein was a doofus,

Compared to our guys. Einstein was only messing up with Edgar Allan Poe in the 20th century. The hour of slack. Yes, the hour of slack. Okay, Einstein invented space-time or relativity theory. That’s when he was catching up with Poe.

The poets and the artists are usually 50 years ahead of the physical scientists in devising models of perception. Now the engineer says, fuck your artists, they’re just a bunch of fags, a bunch of flanners wandering around looking at store windows

And trying to have long hair, whereas we actually invent shit. We make new machines, so fuck you. So the engineers hate the artists. There was a big divide in the university culture. Maybe you saw that, Bert. The engineers hated the actors and painters. Did you see that, Bert? No, no.

I was in jocks. Well, what were you doing? You should be playing football. You didn’t notice anything, did you, Bert? No. What do you mean you didn’t notice? You didn’t notice the fighting between the jocks in the panties yet you know that i got a lot of everyone

I got along with all of you talking about don’t bring in your personal experience of course i got a lot of everybody gets what you know we got a lot but didn’t you notice that other people were getting along are you too

Busy to your own doctors and just happy to have a like you was too busy my own narcissism. Yeah you have to admit that yeah yeah to be honest yeah you didn’t notice that other people were not getting along. Did you notice it Roxy you being in the humanist end of it you

Must have been spurned by the jocks and and your own sisters were athletes. Yeah. were athletes. I was remembering there is a song like it’s like a mold down I think by Zappa. I was distracted thinking about it. You were thinking of a song.

Well okay try to get back on. Do you recall in university that the engineers not liking the sociologists in the postmodern estates? Do you remember that? The sociologists not liking the postmodernists?

In university, in America, the engineer frat houses beat up the artist frat houses. The artists don’t have frat houses beat up the Artists frat houses the artists don’t have frat houses. They just I don’t know what they do. They just Didn’t know that magazine

It’s interesting. Yes, Bert. Do you know of this that you ever hear of this? No, I didn’t even go to university and I knew this the Carolyn did you I don’t think you even thought did you Carol? We were all in our own little world Bob, how would we know?

I guess I was the only one who knew what was going on because I wasn’t in my little world. I wasn’t at university I was observing the outlines of My job was to know what was going on

I was, my job was to know what was going on. No man, I used to listen to engineers, you know, criticize the artists all the time. They are students, they didn’t take each other seriously. You know, popular language is the jocks versus the nerds. But the nerds often were sort of scientific themselves.

So you got the jocks versus the nerds versus the engineers versus the the Patty Smith, Robert Mapplethorpe child sex hustlers. That’s what the artists were doing. They were fucking being hustlers, right? Using their charisma to seduce people. What are you talking about?

I know what I’m talking about. I took advantage of it myself. I exploited it. Sitting around in the Student Union Building. Yeah, observing the battles. Okay. I used to go over to the Student Union Building. It was right there where we lived on Seymour Street. Seymour Street. Seymour.

Well, I lived in an apartment on Seymour. And it was number 1400. Right when 14 was the number and the Lemurian consciousness from 72 to 77 Kelm the Cochrane quadrant the number is 14 and that’s when we lived at Seymour Street I saw a lot, I saw a lot more, Seymour

Okay, so the job of the artist is to devise means of perceiving that are relevant to the situation in which you exist. This is a gap between biology and technology, which Simeon’s pointed out is a kind of traumatic and dangerous gap indeed. Now here’s what’s incredible.

He then proceeds to read, he says, I’m going to read a short passage from Poe’s A Descent into the Maelstrom. Now we played this last week, right? He actually typed it up. And he says, where Poe illustrates his principle of survival at work in a situation of a sailor

Who got caught in the great Strom, S-T-R-O-M with an umlaut over O. Oh, by the way, Roxy, you spell Booteans, I don’t know how to put an umlaut when I’m typing. It’s Booteans, B-O-O-T-E-A-N-S, Booteans. From Booteans, B-O-O-T-E-S. That’s a constellation with seven stars, the Booteans.

One of the O’s has an umlaut over it. That’s how you spell Booteans, which you asked me the otheries. One of the O’s has an umlaut over it. That’s how you spell bootians, which you asked me the other day. Strom is German for like a current. Right, Strom. Caught in a great strom.

And he has descent into the maelstrom. And maelstrom in American wouldn’t have the umlaut, but this particular version has an umlaut over it. And he also has strom in italics, s-t-r-o-m with the umlaut. So he says, I’m going to

Read a short passage from Poe’s A Descent into the Maelstrom where he illustrates this principle of survival at work. Now this is what survival is. In a situation of a sailor

Who got caught in a great strom and began to study its action as a means to survive. Now I’m going to read it and read it fast. I don’t expect you to understand it. I don’t even totally understand it when I do it slowly. It’s hard to visualize, but it’s done in,

You know, 1830 language. So listen, I just think it’s neat to read what we heard, right? Yes. Or did we hear someone reciting it? Wait a minute, we did hear someone reciting it. What am I talking about? We did hear. It’s very beautiful. I’m looking at it. That’s what’s different.

I’m looking at it. I’m actually seeing what I heard. Well, Rarsi? It was good to read about not yet replayed with uh… open now reputed domain but yeah over del replaced what he predicted this is really this is part i think that we didn’t hear this is a statement that we didn’t hear

I don’t remember it okay here we go. He goes, It was not a new terror that thus affected me, but the dawn of a more exciting hope. I think I remember that word, hope. This hope arose partly from memory, and partly from present observation.

I call to mind the great variety of buoyant matter that strewed the coasts of Lofoten, having been absorbed and then thrown forth by the Moskostrom. By far the greater number of the articles were shattered in the most extraordinary way,

So chafed and roughened as to have the appearance of being stuck full of splinters. But then I distinctly recollected that there were some of them that were not disfigured at all. Now I could not account for this difference except by supposing that the roughened fragments

Were the only ones which had been completely absorbed, and that’s italicized, completely absorbed. I made also, dot dot dot, space left out, then he says, I made also three important observations. The first was that as a general rule, the larger the bodies were, the more rapid their descent.

The first was that as a general rule, the larger the bodies were, the more rapid their descent. The second rule, that between two masses of equal extent, the one spherical and the other of any other shape, the superiority in speed of descent was with the sphere.

The third rule, that between two masses of equal size, the one cylindrical and the other of any other shape, the cylinder was absorbed more slowly. There was one startling circumstance which went a great way in enforcing these observations

And rendering me anxious to turn them to account, and this was that. At every revolution we passed something like a barrel, or else the yard or the mast of a vessel. Whilst many of these things which had been on our level when I first opened my eyes upon the wonders of the whirlpool

Were now high up above us and seem to have moved but little from their original station. Now is he excited about the ones that are moving? Is that what the point is? Some are stuck and some are moving? Some of these barrels and objects? Right, so he wants to be one that’s moving

Because then it can bounce out. It’s moving out. Goes down and then pops out, right? Something like that. I don’t fully get what he’s describing. Then he says, I no longer hesitated what to do. I resolved to lash myself securely to the water cap

Upon which I now held to lash myself securely to the water cap upon which I now held, to cut it loose from the counter, and to throw myself with it into the water.” So he attached himself to one of these barrel things.

The result was precisely what I had hoped it might be, as it is myself who now tell you this tale. I did escape, and as you were already in possession of the mode in which escape was effected, and must therefore anticipate all that I have further to say

I will then bring my story quickly to conclusion. Anyways, I don’t understand any of it. I can’t visualize it. But, um, can you guys visualize it? Well, he is describing how he keeps cool. He watches the vortex to understand, to make this

Pattern recognition how it works and how to come out. No I get that but I can’t see what he’s seeing, I can’t image actually what he’s saying, what he’s talking about. I know what he gets from it, I know that something is returning

And he grabs the one that’s going to go down and pop out. But I don’t know what it means. One is cylindrical and the other is in any other shape and one was absorbed more slowly. I don’t know. Maybe he means absorbed. It went down into the tunnel vortex slower. It doesn’t matter.

It’s just wonderful that we were talking about this last week and I pick up this book the other day just decide to look at it just like you Roxy finding things relevant and there’s a fucking I looking at the description I mean I’ve never actually read the set in the

Maelstrom I don’t think I even fucking looked at it ever once I got the message though going into the detail. I have to make this digression here because I usually talk about things that that show up the week, like I suppose they

Sit there for some reason. And I was watching films about these monsters in the 50s in YouTube and they’re quite entertaining and funny. And there was like a suggestion from the Android Meme for me that showed a castle. And so I click on that. And it’s a castle in France in Lalois.

It’s called Charbonne. And I was very surprised to see because And I was very surprised to see because it’s like the weirdest art science non-fiction ever. The castle was built by the French king, Frank I. That’s during the Renaissance at the time of Henry VIII and Charles V in Spain, the emperor. Right.

Yeah. And they show up this amazing castle in the middle of nowhere and they’re talking about how this castle is a big anomaly, a big architectural nonsense. It’s very beautiful, but they don’t understand why it was made. And then they explain, at the time, the king had conquered Milan,

And he invited Leonardo da Vinci, who was the biggest tactile artist scientist ever and he brought Leonardo to France. And they think Leonardo was the architect of the castle because there are some elements that are only into Leonardo before. And the main thing is in the center of the,

The castle is built as a cross, and that’s another thing that Leonardo was working on, on this cross building and symmetry. And in the middle of the cross, there is a double revolution stair, looks like the ADN, you said? It’s two stairs that are forming a braid that go up.

So you’re going to the castle, the first thing you see is these stairs that invite you to ascend. And they didn’t understand why would the king build the castle in the middle of nowhere that costed 10 times what a cathedral will cost.

They brought the white stones from very, very far away and the perfect symmetry they analyzed this Cartesian architect analyzed is broken on one of the sides. You have the impression that everything is in perfect symmetry, but when they looked, and now they can do these 3D things into the building,

One of the parts in which the Royal Chambers were located is in birds, like if you see it in a mirror. And they say, why would they broke this perfect logical symmetry like that? Why would that be in birds?

Then another very modern thing is that the apartments of the castle, they’re all the same, as if there is for people that has no hierarchies among them. And that’s very noble at the time. And the boat, the king and Leonardo never saw the finished castle.

It was actually finished until the time of Le Roi Soleil, the Sun King but they continued to build it. Louis XIV, Louis XIV. You’re saying the Sun King is Louis XIV right? Louis XIV is the Sun King.

Yeah I want to add another point there you said ADN you meant DNA you go a DNA but you mean D And I heard this description what was the name of the video Can you get a video name of some more?

There are so many different. So but there is a very good documentary on active a RTE the French. Yeah, L’Orte. Yeah, it’s called Chambord. Yeah, it’s C-H-A-M-B-O-R-D, C-H-A-M-B-O-R-D, Castle Chambord.

You look that up, there’s a lot on wiki, but the interesting thing is Roxy is saying she’s looking at Japanese monster movies and then she sees this castle, which unfolds an incredible scenario. We’re hearing, we’re hearing about this. Because some of

The main decorations in the castle are crowns, the flower of leaves, it’s also the blue lotus, crown, the flower of leaves, that is also the blue lotus, and the eight, that is the eternal, and the salamander that was the symbol of the king. But I am saying… Yeah, the number eight, eight. Eight.

And I just listened to that I am saying the salamander was like a symbol of eternal regeneration because it can, if it loses its tail, it can regenerate. And the symbol of the king in many of the representations, all the representations of the salamanders are different.

He also- So Roxy, I mean, they said Roxy, Roxy, just so people find it hard to understand you. Roxy, in this castle, Bert, is the flower on the bottle of the RNA drops. Just to get to a point here. This is what she sees. Wait, wait, okay, I’m going to go to that.

Okay. Because the salamander was a symbol of the king. It somehow was related to the Godzilla thing because it’s like a sort of reptile. So for some reason it was like in relationship to that. But when I start to see the video, there is a painting of the king.

And behind the king, there is this tapestry. And I recognize in the motif of the fabric, there is like a cartoon of the king with this crown that I see in the bottle of RNA drops. And I was like, what the fuck is that in there? Like, I cannot believe it.

She’s genuinely shocked. She’s going through the paper, she’s shocked by what she sees. The king and Leonardo knew about Bob and iON. What is this? I was like, I cannot believe this. They put it, they put it in there. I saw.

She’s like, I cannot, you have to realize, she’s going, she’s going, I can’t believe this. Like, she’s walked, walked through another obscure art history. She’s trying to relax from Iundum and all the pressures of looking at Iundum stuff by watching Japanese movies and it leads her right back to Bob

Again. She can’t avoid it. It just takes her right back into the tunnel, sucks her right back in and she’s looking at the cover of the R&A Drops bottle. What do you think of that Bert? That’s pretty incredible. And she is, she’s fighting it.

She’s like, I can’t believe it. What the fuck’s going on? I’ve seen that painting many times because I went to French school and you study the 16th century and you see that painting of the king and it’s like, of course I never saw the fabric behind and I was like I’ve seen

That painting a lot of times and now I and all the things they were saying that are like they don’t understand why some of the F are inverted and they suppose… The letter F as in Frank? Yeah, they have a… Because you know the letter F stands for

Labyrinth. The letter S as in Sam stands for the labyrinth, but the letter F just stands for King Frank, right? King Francis? Well, we suppose that. Yeah, it’s upside down. And they say it was made, inverted, so that God will see it from above and he will see,

Oh, what a nice, yes, but of course not. I suppose that’s marking for portals and parallel world. Right, because when you go through a portal, you go upside down. Now Bert, the next thing she’s going to tell you, I’m directing this, is in the center of the castle.

You’re not going to believe what’s in the center of the castle. Describe that. Well, at the center of the castle is the stairs that represent the vortex, because for Leonardo, the vortex was the principle of life. And he wanted to build somehow the vortex into a building. And it’s like a swastika or,

Like a swastika or… Yes, like a cross that is going to be turned around. Spun. In the ground. When I was seeing that, it’s like, if you have heard Ayaan, it’s like you can understand and make sense of all these things

That for many people is absurd, because, for example and there’s a lot of decorations that nobody can see yeah they do this why would they hide these complex patterns but in the

Middle of the building is the DNA spiral as a stairway, stepped. You get that? Everything is like going up, ascending, like your eyes are directed up with all these decorations on top of the building.

And around the castle there is woods that are the size size of Paris and it’s a big natural forest, park. It belongs now to the French Republic but it’s like they were asking why would they build this thing that was never really used?

The king was only nine times there, and most of the important kings went to visit for one or two nights, like Charles V. And everybody was like, yeah, they said it was the most amazing human creation ever.

This place was built in the wilderness of a forest with nothing around it and was built for hundreds of years, you know, took a long time. Leonardo and them didn’t even, the king didn’t see the ending.

So the king would only stay there once a year for two or three days. And he only stayed there a total of nine times. And yet it kept being built. What’s going on? My theory is, and I think Roxy might have thought this too, they went there, they went to other worlds,

And it seemed like only for days, but they went off and were hanging out for a couple of years in other worlds and came back. And because they were using it as a launch platform, they didn’t have to stay there very long because they got the vacation in other worlds.

You know what I mean? Yes. Damn. And it has all this medical reverse mirror stuff hidden away in nooks and crannies. And so the team of the boardortex that we just were talking about. And it’s like I had to sit after the Vortex so I could sort of get it.

What did you say? It’s amazing because it’s like… After what? Yeah, like… We were talking about the vortex two weeks ago. Are you saying because we talked about LaRouche and the vortex two weeks ago, you then could see and understand this castle?

Yes, it’s totally Ionic and I was like, Leonardo knew about more ions. I was just like, this is the most amazing science fiction. It has our bottle. This is the most amazing science fiction. So you know Bert, you’ve got, Michelangelo is mentored by Leonardo.

So Leonardo told Michelangelo put Carol in the Sistine Chapel, that’s coming. Then he says, but we’ll put the other stuff in the castle. So like the castle is an extension of the Sistine Chapel vision. Because there’s a lot hidden in the Sistine Chapel and then there’s a lot

Hidden in the castle. So Leonardo was involved with both. And that was his last project. I think he allowed himself to transition. Yeah, he either faked his death, he may not have died. But see here’s the thing, where does he die, Burke? He dies in the arms of King Frank.

King Francis, King Frank. And so that’s the way they covered it up. Fucking Leonardo said, hey Frankie, I’m leaving. I’m not hanging around here, I’ve done it. Well I got to announce that you’re dead. Okay, well let’s say you died in my arms. You know, the one insider guy is King Francis,

He can carry the story. He can be the, he died in my arms. I know he died, I saw him die, you know what I mean? That’s the cover up, the two con men. In his main paintings, he only took three paintings to France, the Mona Lisa, the Santa

Anna and the Saint John. And the Saint John… So that’s how the Louvre got Mona Lisa, that’s how they got it, because Leonardo took it to King Francis. Yeah. That’s interesting. And in several of his paintings, somebody is pointing up, like Leonardo knew about the ascension and he was telling us,

But they could not really tell us. They were just putting these things everywhere so that we remember. And it’s amazing. right everywhere that we remember and uh… intimating the uh… i wish i was doing all these about the science fiction and it for me to take because the word is movie

The word is saying to my son the size of the yet about the not about the and i’m not about that which movie i don’t know if the way i am dot Which movie? Irondom is the weird movie. We are the weird, oh yeah, we are.

This, Zappa said this movie for your ears, so what do we, this year, this movie, Irondom, is for your co-anesthesia and your synesthesia, holopathically re-documented through the neutrino buck buck. That’s what the movie is, right? That’s how we promote it. Because all these things make perfect sense. And then you have… Yeah, Roxy’s…

Right, Bert, she’s reading all these critics and historians. The white stone is a limestone that is built by… Oh yeah, yeah, the other thing, Bert, did you get that? They brought stone from thousands of miles away, this particular white stone, which had a lot of magnesium in

It, they brought that to build their stuff. For a fucking hunting cottage. This is a hunting cottage. He’s making a place to go hunting at. That’s a cover story. Why would he bring these stones? They had to bring 220 tons of that stone 220 220 No, yes, yes, 220,000.

220, yeah, we got that. But the… They had to cut it by hand, these blocks, put it in a wagon, to a ship, and then it would go to a port,, and they would put it again in a wagon and bring it to this very isolated place in the woods to build.

And it was the largest construction ever in the middle of nowhere. Like everybody’s like, what is that? They wanted to make sure nobody saw what they were doing they were hiding they weren’t even hiding in plain sight, they knew that wouldn’t work they build it for us, like we have the woods

Yeah we ought to buy it carol we ought to, some of them say this is mine, look it’s got my shit in it, you guys stole it from OHAB, OBAB, this is OBAB’s property. Open Elm, OBAB. For me what’s like amazing confirmation that okay I’m not crazy because sometimes it’s

Like this is too much. Yeah you don’t know. So Bird, so Roxy at the end of 2015 had her big epiphany, it’s all true what I am saying because of what happened at this castle. She says that’s it,

That clinches it, I’m in. Now the other thing is that she’s reading the scholars on it, the historians, and they’re all totally mystified and puzzled by this phenomenon, this castle. And there’s Roxy experiencing an epiphany of, I know why this happened. The only person in the world up to this point.

I mean, a retrospective scholarship looking into it, it all made sense to Roxy, it doesn’t make any sense to anybody else. And Leonardo did the codex design as well. Yes. Yes. Yes, I think actually nobody can really say it was Leonardo, but of course it was Leonardo. We have to ask Gaian.

Nobody could do that all the people that they have a it’s not a precise historical record that leonardo this you know because all the great nation of the newton the capital of all the plant it appeared because i suppose there are a lot of secret secret went to another world

Yes and i want to find out it was from another world Yeah From another world, maybe he was not even born here. He was from another world He came over did his thing took his plans and took him back to where he came from

Yes, we have to ask I own about all this Yeah, I think it was a great gift that I’m planning to talk about the science fiction and stuff like that. And they just showed it to me.

Did you say you shouldn’t? What did you say? It’s a great gift is what you’re saying, for you. It’s a great gift from them to us. Like, we talk about the vortex and somehow the logic of how things are appearing. So guess what happened to me last night?

We have little, are they called newts, Carol? What are they called here? Geckos. Oh, geckos. So we got these little lizards running around all over the place. And every now and then one gets in here and I was told that if

You stop them if you touch them their tail will disconnect it’s a defensive move they just if you’re holding its tail it will just disconnect the tail and take off it saves itself by being able to detach its tail for the first time that had me last night. There was a little

Gecko last night running around over there and I put my I had my piece of paper to sort of squash it and I put down the paper but my hand got on it and I touched him and then I was looking at the thing still running and a little tail stuck

There. So I saw I caused him to split and so it split. I had the experience in this period of the salamander story that Rossi is telling. It’s the timing. I finally get to experience what they do that to regenerate whole… Yes. Arms and legs and whatever. Yeah.

Yeah, we’ll just go and chop someone’s leg off. If this little reptile can, we can too. Yeah, when you’re playing, you know, boxing and that, somebody will be so strong they’ll knock the guy’s head off

And then the guy just grows his head back, you know, boxing and that, somebody will be so strong they’ll knock the guy’s head off and then the guy just grow his head back, you know, no problem. And of course, you will see this in special effects movies in Hollywood,

In the entertainment industry, so the mind sees this for decades before it actually can happen. You know, we see this kind of phenomenon in different kinds of movies. It’s acted out to the brain through the endorhine before it happens in the chemical body. It melts the old assumptions that freeze

The brain from allowing it to happen. You’ve got to have heavy programming. So that’s where there’s a deep level of programming going on with the media, like the whole UFO movies. That’s preparing people. But of course, it’s not preparing them for iON. iON’s a different kind of UFO.

But there are these images that people, Hollywood is a classroom, wittingly or unwittingly, training people’s perceptions. That’s why you can’t knock dumb culture or low culture. There may be other reasons why it’s happening. I mean, I don’t get a big charge out of special effects anymore.

It’s just sort of boring and they’ve done a lot. But they keep expanding it. They keep improving it, making fantastic special effects stuff in TV and movies. That is the end remain educating itself and us, right, with the virtual shape shifting. Yes, I also found a very interesting web page.

It’s called trop Wikipedia of all these archetypes, memes and cliches from TV and movies and they are now expanding into video games and other types of media. All these things like the aliens are our saviors. That there is no more Messiah so we need the aliens to save us. Everything is toxic now.

We need the… Now what did you say the title was? Are you saying TROPE? T-R-O-P-E-S. TROPE TV. Are you saying TROPE? T-R-O-P-E-S. Yeah, that’s in there. Yeah, TROPE. That’s another word. TROPE TV. TV..org. Are you saying trope? T-R-O-P-E-S. Yeah, that’s in there. Trope? That’s another word. TropeTV.org.

It’s quite interesting because it’s all about… Food Org? What is Food Org? How do you spell Food Org? O-R-G. I say dot or whatever. What do you say in German? Brut? Dot O-R-G. Oh, dot. dot or whatever. What did you say? dot o r g Oh, dot! dot o r g

I said it wrong. You’re saying trope tv is one word. trope tv dot org Yeah. It’s very interesting. And you see all the archetypes. The archetypes names of popular culture. Right. And you can just get lost into that. It’s real fun. And to see… Right. Now back to this.

So you’re watching a Japanese… The documentary in the Japanese movies and it’s installation in the museum celebrating that culture. And then that makes you find the castle. Now I haven’t seen the movie, the documentary on the castle. It’s in French but I’m gonna watch it anyways because of the

Visuals. What they’re saying Bert, what matters? French, German, English. They don’t know what they’re talking about so you don’t have to know the soundtrack but you get to see the visuals of the architecture and the designs and they have things mirrored and backwards so it’s probably pretty interesting

Documentary so I’m looking forward to looking at that. So it’s probably pretty interesting documentary. So I’m looking forward to looking at that. So we can all enjoy that. Yes, so let’s go back to the McLuhan essay, OK? That is a big thing that happened. I mean, for Roxy, it’s a pretty big confirmation

Of information beneficence. She just dropped in her lap the whole story. You knew that you knew the king. The reality goes beyond the most weird science fiction ever. Because this story is like from the fall to this point.

Like we discovered the castle. I don’t know which way you’re saying that are you saying that that story that experience with that castle? And that documentary is weirder than anything that ever happened or are you saying that I am? anything

I am is weirder. Yeah is weirder than anything. That’s right, and I am everything that I see nothing yet. Oh and anything that’s right and I keep saying that you ain’t seen nothing yet. And then all these things showing up like this is for me it’s like it’s like

It’s like a movie but it’s for real. That’s right I&M is a real movie and like I feel like harry potter all the time and um… and in the uh… yeah it’s the is i insist on you see that yet now the other thing is uh… when michelangelo did the famous david sculpture

He went to a quarry i guess near rome there’s a special quarry and um… other guys attempted carpet a dav David didn’t work and they threw the block of stone back into the quarry. I wonder if this white stone came from that quarry.

I don’t know if it was a special stone that Michelangelo used. Anyway, that’s just a side thought because we have this whole explanation from Ayan about the process of making David, michelangelo went through it was a special block because nobody else could do it and actually you know that what interest doing that

When you think that we could do it you mean nobody could break it nobody could go sculpted well that would you know where they were three at the end i think to scope that thing and they left it for some reason. There were a couple of guys who tried David.

A couple of guys tried to do David and they didn’t do it and then Michael Angelo did it. Yeah but also Leonardo wanted to do it and then Michael Angelo went to do it. But it’s interesting that also Leonardo… What i don’t know that what you say what did

You get a clean air did what you know not the one that that block of stone to he wanted to work on that but at the end michelangelo got it but it’s a pretty good or further for further king of france which it what you’re talking about

No that was before the king of france yet of which are you talking about no that was before the king of france yeah you’re talking about david michelangelo did david and you’re saying leonardo wanted to do it yes before leonardo lived in florence before he went to milan before he went to

To rome and then to milan again and then to france he was in florence and he also wanted that same block. But at the end, Michelangelo got it, so. Right, okay. All right, so I read the, that’s a great story, we’ll come back to that. So I finished reading The Vortex,

The maelstrom by da Vinci. Maybe that’s what the timing of this. You know, we’re doing the Vortex, the Maelstrom by da Vinci. Maybe that’s what the timing of this. You know, we’re doing the Vortex, we’re talking about Poe, Roxy found the recordings last week, we heard them.

And then I pick up this essay that I’ve never, and I’ve read most essays. It’s very rare for me to find an essay I haven’t read. This one I didn’t read before. And it’s the perfect time to read it because it’s describing the vortex the maelstrom so

But there’s a lot of other great stuff in here So it says so he reads the maelstrom and then he says the point being He survived by pattern recognition now remember McLuhan considers the third Copernican revolution Is the time of pattern recognition?

Versus the second Copernican revolution which is the time of Kant K&T and the first Copernican Revolution, which is the time of Kant, K-A-N-T, and the first Copernican Revolution was Copernicus himself. So there’s three Copernican Revolutions, and the third one is the one of pattern recognition, which comes in with the vortices.

So he goes, the point being, the Poe sailor survived by pattern recognition. He perceived the action of the strom, that there were certain objects which recurred and survived. He attaches himself to the recurring objects and survives. This is a parable of the artist’s role in descending into the dangerous waters.

And the Strom of which Poe spoke in 1850 was nothing compared to the Stroms in which we are involved at the present moment.” So, McLuhan being an alarmist here, Don Fields says, well, he’s a bit of an alarmist here, you know, saying we’re in a bad situation.

But we’ll let McLoone be a panic McLoone here. So he’s saying we’re in a whole bunch of bad stroms right now. Paul hit upon the key to the electric age. You know, this is survival in the electric age. Programming from effects in order to anticipate causes.

So effects come before causes, but you turn that into a science where you see what causes are coming. The effects come before causes in all situations. The ground comes before the figure in all situations. So that when any new innovation occurs, so that when any new innovation occurs, people

Are always able to say, quote, the time is ripe, unquote. Meaning the ground and the effects have come long before the causes. You know, people say, yeah, the time was ripe for that. Ripe, R-I-P-E. They’re expressing in slang terms, or you know, popular numb wisdom, the doctrine, the effects come before

The causes. That the ground happens before the figure. The effects are the medium. They’re the ground, the hidden ground. So then he says, a recent article in the July 1972 issue of Scientific American on the bicycle pointed out that the bicycle in many respects had paved the way for the motor car literally

Because the bicycle made smooth roads necessary for the pneumatic. It made smooth roads for the bikes and then they were ready smooth roads for the pneumatic car. So because the bike made smooth roads later necessary for the pneumatic car. So because the bike made smooth roads

Later necessary for the pneumatic car. This is equally true with telephone or with radio or television. The effects come first. And the fact that the effects coming first indicates that the study of environmental action or the action of the storm must begin with the

Effects rather than with a theoretic pursuit of causes. It’s like Mayan says, do not get your mind involved with theories and speculation about what the causes are. The effects have already happened. You’ve got to notice the effects. The effects are percepts and the causes tend to be concepts.

It’s interesting, you know, people explain this and that, and they use words to explain it, and they think that the actual hardware is being explained explained but actually you’re just making up concepts about the hardware. You get that Bert? The causes tend to be just concepts whereas some

Engineers say no the causes are the actual apparatus, the actual formulas, the actual substances you weld together but those are all concepts because you use words to describe them. So the description of what you’re doing is always, maybe, not very close to the actual mystery

Landscape of what actually caused it to happen. And the mystery landscape is on the level of percepts. So then he says, apropos the structure of the instantaneous or the acoustic environment in which we live electrically, I’m going to read a short passage from Mr. Elliott on the auditory imagination.

It is a passage which occurs in his book, Use of Poetry and the Use of Criticism. So this is a quotation Marshall for 30 years would quote. He never said where it was from, the use of poetry and the use of criticism. I mean, I eventually found out,

But here it is in 73, it’s neat about this talk, he’s telling the students a little more details about his tricks and helping the students find them. So they can go look it up in the book called Use of Poetry and the Use of Criticism. So the quote is, T.S. Eliot says,

What I call the auditory imagination is the feeling for syllable and rhythm, penetrating far below the conscious levels of thought and feeling, invrating far below the conscious levels of thought and feeling, invigorating every word, seeking to the most primitive and forgotten, returning to the

Origin and bringing something back, seeking the beginning and the end. It works through meanings certainly, or not without meanings in the ordinary sense, and fuses the old and obliterated and the trite, the current and the new and surprising, the most ancient and

The most civilized mentality. That’s what it fuses. He has several pairs here. The old and the obliterated and detrite, the current and the new and surprising. So there’s three words and I don’t know which is the pair. The last one is obvious. The most ancient and the most civilized mentality.

Replaying the trite, the current, and the new, and the surprising. So it fuses the old and obliterated, and the trite, the current, and the new and surprising.

So I guess basically, it’s the old and obliterated on one side, and then the trite, the current, the new, and the surprising are on the other side. Or the most ancient and the most civilized mentality so that’s the quote now McLuhan said in a letter to Playboy in 1970

That the auditory imagination written up by Elliot in the thirties or so or maybe even the twenties was now ordinary awareness in nineteen seventies what was not ordinary awareness was fitting his wake so he’d moved from auditory imagination to tactile imagination. He didn’t say it, but that’s my projection.

McLuhan was trying to explain the tactile imagination as shown in fitting his wake. And it had not arrived at the consciousness of the public yet in 1970, but you could say by now fitting his wake is a lot easier for people to get in these terms of tactility.

And Frank is a lot easier to get. So then he says after that quote, one of the peculiarities of the electric age is that we live simultaneously in all the cultures of the past. All of the past is here and all of the future is here. Pretty ionic there, right?

Anything that could happen, possibly happen in the future is already here. Now how could that be here? Well, television is an anti-gravity device. You’re floating all over the place. You’re bigger than angels. They can only be in one place at a time. They

Can be anywhere they want, but they’re only there when they’re there. But with television, live interactive media, you’re everywhere at once, more than the angels can be. So McLuhan is trying to show how fantastic it all is by making statements, all the past is here and all the future is here.

Take your average 20 year old college student, they’re not gonna believe the future is here. They’re not gonna believe that. They’re gonna say, McLuhan’s a nut, the future’s not here. But we know from iON the future is here in many deeper ways than the McLuhan means. Look at this, look at this castle.

Place from the future back in the past. Probably King Frank kept saying, Lenny, Lenny, the future is already here. That’s why we’re going to put this fucking RNA drop in there. We already know what it is. Lenny goes, you amaze me Frankie. How do you know this stuff Frankie?

Oh well, it comes with the family. We’ve been portaling for centuries. We go back to the Freemasons in Egypt. We used to guard the Solomon’s Temple, me and my ancestors. Lenny just knew, you know, Lenny, Lenny Vinci from Brooklyn. Lenny Da Vinci.

He added a da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da,

Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da,

Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da da da da da da da da da da da da da da da da

Da da da da da da da da da da da da da da da da da da da da da da da da da da da da

Da da da da da da da da da da da da da da da da da da da da da da da da da da da da

Da da da da da da da da da da da da da da da da da da da da da da da da da da da da You ever heard of that one? The three statements? I came, I saw, I conquered. Well, Vichy, duh. Maybe it’s Vichy, duh.

What’s your last name? Hey, Leonard, what’s your last name? Vichy, duh. As if you don’t know who I am. Anyways, King Frankie, he knew. Okay, the future is here. Although the past is here and all the future is here.

You know, for the amount of information that’s in the media, how much of information do you require to say it’s all here? You know what I mean? Back in the 50s with the cornucopia of television, they thought, gee, this is information overload.

I’m seeing everything, you know? The mind can decide that it’s all here at very early stages. Like a 10 year old today, when they’re 20, they’ll finally, everything they imagined was coming in the future, suddenly it will come and they would say, I never thought I’d see that. That definitely is the future.

Every generation has that experience where, holy shit, it’s all here already, you know? They’re gonna get to that point where they experience the information overload, epiphany. So he says, McLuhan says, all of the past is here and all of the future’s here. This is a peculiarity of the instantaneous, the vibes.

He’s never said the vibes like that before. This is a peculiarity of the vibes, the acoustic resonance, the acoustic interface, which has become the very pattern of our lives. This is a kind of audile tactile interface which engenders its own patterns of perception.

And it’s one that early on, Yates drew to our attention. Now he’s going to give another quote he used to quote a lot from Yates. Back in 1900 or earlier, he spoke of the emotion of multitude in a short passage. The emotion of multitude I think we can quite

To, the emotion of multitude I think we can discover quite easily is engendered very much by acoustic resonance and interval, not by connection. Yeats says quote, sorry another long quote from Yeats. I have been thinking a good deal about plays lately,

And I have been wondering why I dislike the clear and logical construction which seems necessary for one to succeed on the modern stage. It came into my head the other day that this construction, which all the world has learned from France, has everything of high literature except the emotional multitude.

So he is going to criticize the French play. The Greek drama has got the emotional multitude from its chorus, which called up famous sorrows, even all the gods and all heroes, to witness, as it were, some well-ordered fable, some action separated, but for this, from all but itself. Don’t know what that means.

Some action separated, but for this, from all but itself. But that’s Yeats’s kind of complexity. The French play delights in the well-ordered fable, but by leaving out the chorus it has created an art where poetry and imagination, always the children of far-off multitudinous

Things, must of necessity grow less important than the mere will. So the will takes over in the French play. This is why I said to myself, French dramatic poetry is so often rhetorical. For what is rhetoric but the will trying to do the work of the imagination?

The Shakespearean drama gets the emotional multitude out of the subplot, which copies the main plot, much as a shadow upon the wall copies one’s body in the firelight. We think of King Lear less as the history of one man in his sorrows than as the history

Of a whole evil time. King Lear’s shadow is in Gloucester who also has ungrateful children and the mind goes on imagining other shadows, shadow beyond shadow, says Yeats, till it has pictured the whole world. In Hamlet one hardly notices, so subtly is the web woven, that the murder

Of Hamlet’s father and the sorrow of Hamlet are shadowed in the lies of Fortinbras and Ophelia and Laertes, whose fathers too have been killed. It is so in all the plays, or in all but all. And very commonly the subplot

Is the main plot working itself out in more ordinary men and women, and so doubly calling up before us the image of multitude.” So this whole emotion of multitude that Yeats is talking about, McLuhan says, the sense of universal, so now McLuhan’s talking, the sense of universality, which is what he meant,

What Yeats meant by the emotion of multitude, the sense of total involvement in images is one of the features of the electric time and one of the features of art in the electric age. Baudelaire drew our attention to a very profound aspect of art and communication

In his phrase to the reader of his book of poetry, Les Fleurs du Mal. And the phrase was, Hypocrite lecteur, mon semblable, mon frere. So hypocrite, hypocritical reader, my simulation, my similar, my brother. Hypocrite lecteur, mon sembulation, my similar, my brother. Hypocrite lecturer, mon semblable, mon frere.

You know how I would say, I resemble that remark. It’s right there, mon semblable, mon frere. The reader puts on the mask of the poem, and the author, the poet, puts on the mask of the reader. It’s a reciprocal activity of putting on and putting off

In sequence and in simultaneity. This put on is part of the creation of this sense of order and of multitude and of universality. And this is one of the aspects of art. The updating of this mask of reader and of poet by interplay, tactility, between them, the updating of this

Mask of reader and of poet by interplay between them is the interplay of figure and ground, which is one of the needs of people in rapidly changing times. So you need to understand the interplay of figure and ground to survive today. In Four Quartets, T.S. Eliot mentions the words, quote, slip,

Slide, perish, decay, the next line, decay with imprecision, will not stay in place. So this is from the Burt Norton part of Four Quartets. Slip, slide, perish, decay. Decay with imprecision will not stay in place. Decay with… So you slip, slide, perish, decay.

But if you decay with imprecision, it will not stay in place. Then in McLuhan says, Elliot has something quite special to say about this mask of language, this mask of putting on the reader. In an essay in which he mentions Mark Twain, in a passage from a volume of his called

To Criticize the Critic, Eliot says, quote, so another quote, It is possible, on the other hand, that the influence of Mark Twain, I guess that Mark Twain was not seen as a serious writer, he just wrote children’s books or books for boys or whatever it was a it’s

Controversial for essay for Elliot way back in the before World War II to make a big deal out of Mark Elliot and Mark Twain. It is possible on the other hand says Elliot that the influence of Mark Twain may prove to have been

Considerable if so it is for this reason that Twain at least in Huckleberry Finn reveals themselves to be one of those writers of whom there are not a great many in any literature who have discovered a new way of writing valid not only for themselves but for others.

I should place Twain in this respect even with Dryden and Swift as one of those rare writers who have brought their language up to date and in so doing, quote, purified the dialect of the tribe, unquote. In this respect, I should put him above Hawthorne.

Yet the Salem of Hawthorne remains a town with a particular tradition, which could not be anywhere but where it is. Whereas the Mississippi of Mark Twain is not only the river known to those who voyage on it or live beside it, but the universal river of human life,

More universal indeed than the Congo of Joseph Conrad. That’s the book Heart of Darkness. For Twain’s readers anywhere, the Mississippi is the river. There is in Twain, I think, a great unconscious depth which gives the Huckleberry Finn this symbolic value. A symbolism all the more powerful for being

Uncalculated and unconscious. So it’s like Twain made the river everybody’s river. For Twain’s readers anywhere, the Mississippi is the river. So that’s the end of the Eliot quote. Then McCluhan says, now this updating of language is really an updating of sensibility

Of awareness of perception. And this is something which is the role of the artist to perform. Now here we get some good stuff. Updating is partly undertaken by popular forms like jazz and rock. And it’s curious that jazz and rock, like much other poetry of our time, depends upon an oral tradition.

And it is curious that jazz and rock, like much other poetry of our time, depend upon an oral tradition of speech. Just as the Irish oral tradition has given us a great deal of contemporary poetry, of 20th century poetry,

So the only place in the world in which jazz and rock originate is the deep south. And in the deep south they have an oral tradition which makes song and dance possible. But that’s figure. The hidden ground of this activity of popular music is the sound of the technology of the city. The

Function of music is to translate the sounds of the environment through language to humanize the technology of the metropolis by translating those sounds in all their raucous disorder, translating them through the rhythms of a great language. I suggest that this is true of any music in any part of the world, but

It happens in our century to be peculiarly jazz and rock forms which are really a basic type of poetry, updating to all traditions the sensibilities of modern man. See, that brings in Zappa, right? Updating the metropolis, the discarnate magnetic city, through the rhythms of Doo-Wop, R&B, and Varese, Stockhausen.

So, here’s McLuhan talking about high culture, Eliot, Yeats, Joyce, and now he’s going into jazz and rock, which was pretty controversial back then in the 60s, right, in the academic world. Then he says, it does seem paradoxical that the most advanced technology should require

A somewhat archaic language. He’s talking about the jazz and rock forms or the oral tradition or whatever is ancient in old music. So it does seem paradoxical that the most advanced technology, so he’s talking about the tetrad retrieving, the most advanced technology should require a somewhat archaic language.

But the language of industrialized areas has lost its aural quality, that’s extreme visual and kinetic space, the industrialized areas, that has lost its aural quality and aural rhythms and seems to be incapable of translating the new sounds of technology or humanizing the new sounds through that language.

I suggest this is a way of looking at or noticing the forms of popular art which have to be participative and have to be related to the new technology. Otherwise they would have no public whatever. Response of the young to jazz and rock is no greater than response of the great poets

And painters of our time. The jazz and rock forms are abstract in the sense that they have pulled out the visual connections and the melodic forms. Syncopation in the early phases of jazz simply meant pulling out the visual connections, pulling out the continuity. And in Picasso or any other abstract artist,

The technique is simply to pull out the visual connections. That’s what abstract means. Abstractus, A-B-S-T-R-A-C-T-U-S, it’s italicized. It means the pulling out. You pull out something. What you pull out in abstract art and in jazz and in symbolism is the connection.

Then he says, Edgar Allan Poe invented not only the symbolist poem by working from the effects before the causes, he also invented the detective story. And the detective story is written by pulling out the connection. The quote, missing link unquote. Now he said that’s why everybody was fascinated with Darwin’s creation,

Or Darwin’s evolution, because it had the missing link in it. Already invented by Poe, who lived at the same time, just before, and the same time as Darwin, the young Darwin. The missing link, and I’m still trying to find out who invented the phrase,

The missing link has prompted more participation in scientific endeavor than all the links that were ever made. So you get that? All of science is obsessed with the missing link. It’s like the detective story. It involves you more deeply. So he’s saying the missing link involves you.

It arouses curiosity more than any possible connection could do. Connections don’t arouse curiosity. It arouses curiosity more than any possible connection could do. Butions don’t arouse curiosity. It arouses curiosity more than any possible connection could do. But the strange fact about the missing link

Or about a discontinuity is that the audience leaps to fill it in. And this is true in jazz and so on. So it’s like a pun. We all, when you start doing jazz and rock, you leap, you jump, you want to start dancing. Let’s see if everybody’s still here I better check. Yes.

The missing link is actually the link between you and you. Yeah, that’s right. What was it? The distance between you and you. Isn’t that what iON says? The distance between you and you, right? The missing link. The gap is where the action is.

I like to think of the middle kingdom as the gap, as opposed to the outer and the inner kingdoms. Anyways, he says, but the strange fact about the missing link or about a discontinuity is that the audience leaps to fill it in. And this is true in jazz and so on.

But at any rate, he goes, but at any rate, I think it’s fair to say that jazz and rock have turned English into a world language because you cannot sing jazz or rock in any other language but English.

And so the Danes and the Russians and the Chinese and Japanese have all learned English in order to sing jazz and rock. That is, literally, they do sing it in English whether they know English or not. There’s a strange reason which would take too long to explain

Why English alone of all the languages of the world can cope with the musical problem of our time. There’s a technical reason, a rather complicated one, that is complicated to explain. Now what the answer is, when people would ask, why is English, you know, sung, used in rock?

And he’d say, because it’s in feet. It’s measured in feet, which is the grammatical term for measuring, counting off iambic pentameter. So he actually tells you in other lectures, he’ll say it’s measured in feet. He’ll occasionally say that. But for some reason he’s not saying it here.

He’s saying the other stuff about jazz and rock, but he’s not saying about the feet. And he’s actually saying, oh, it’s too complicated. Take years to explain. But he used to explain it by one sentence. What’s the answer? I used to see him ask people in the seminars.

He’d go, why is rock only in English? And they’d go, I don’t know. And he’d go, feet. He’d just say one word. He’d go, feet. And they would look at him and say, feet? And if they knew linguists, they’d go, oh, iambic pentameter.

That’s how you measure poetry, feet. And then they’d get it and laugh. It was kind of a joke. But here he’s saying the joke would take a long time to explain. Yes. It’s subtle. Manipian here. He’s a manipian. Now next paragraph.

When Eliot says, when T.S. Eliot says that he puts Mark Twain equal or even with Dryden and Swift, he indicates that Dryden and Swift had updated the English language in the 1700s by getting rid of rhetoric and getting rid of ornament and using a bare colloquial statement.

He became the dialecticians to go over from the rhetoricians and grammarians, so in trivium terms, and so it became bare equitone prose. It lost its Shakespearean, multi-leveled, punning baroqueness. So they got rid of rhetoric and ornament and just made a bare colloquial statement.

And he says, now this was against the new ground of the Newtonian physics. So Newton’s visual space made language become simple. The figure of the English language had to get a new

Pattern against the hidden ground of the new Newtonian physics. And Mark Twain figure of the English language had to get a new pattern against the hidden ground of the new Newtonian physics. And Mark Twain is updating the English language in

The Electric Age. So what Dryden and Swift did, they smoothed out language. You could say made it plain and bare. But Mark Twain is at the frontier of the Electric Age, so

He’s going to retrieve the resonance of rhetoric and ornament. So the figure of the electric age, so he’s going to retrieve the resonance of rhetoric and ornament. So the figure of the English language had to get a new pattern against the hidden ground of the new Newtonian physics.

And Mark Twain is updating the English language in the electric age by providing a slangy, twangy dialect that relates to oral traditions and brings us back into acoustic space. The electric man lives in acoustic space and has to be related artistically to acoustic space.

I’m not saying this is an ideal. I’m not saying this should be. He’s saying it’s going to happen inevitably. I’m not saying this is an ideal. I’m simply saying this is actually where it’s at and what is happening. Those are in quotes. And that this is the way artists meet the challenge.

They pull out their connections. They involve their public totally in images that are often revolting and irrational and so on. But this technique is to update sensibilities. Think of electronic music, pulling out the melody connections. But this technique is to update sensibilities. Violence is a form of a den bequest,

And the updating is often in the form of artistic violence. Any art movement or discovery that has any real core in it enrages people. Think of the surrealist that that is, the guy who did Ouboua, forget his name. You can see that we’re moving very rapidly to placidity and tranquility in the

Arts because they become very monotonously one thing or another. So he’s saying the arts are becoming boring because art has moved to a new ground. And the time is now ripe for a completely new breakthrough in the arts. And that was Zappa in music. So any art movement or discovery that has

Any real core in it enrages people. Zappa enraged people so much they fucking banned him from the radio. You can see that we’re moving very rapidly to placidity and tranquility in the arts because they become very monotonously one thing or another.

And the time is now ripe for a completely new breakthrough in the arts. I’m not going to take a guess at what it’s going to be, he says, but I think it would be worth having, since you know, so he’s saying this breakthrough would be worth having,

Since you know that the time is ripe. You know there’s going to be a breakthrough. There’s going to be a complete change in image in the arts very soon, as there is in technology. Now, I’m not sure. Many things happen in the 70s, 80s, 90s in art.

Many things that shocked the art world. But the real art was in the media development and the unfolding of the Android Meme. So, I wouldn’t… the big shock is the arts failed to be prophetic. They became dull. And now they just go to

Art schools and look for the latest graduate student and give them a million bucks. That’s what the art world’s come to. Have you, do you see what I’m saying, Roxy? Oh, she tried. Did she get dropped off? I just clicked on one. Is that you, Roxy?

Are you back? Oh, let’s see if we got an email. Maybe she got knocked off. No, no e-mails. So let’s see, what else here? Bob, that’s what you just described about the art student.

That sounds like it relates to something you and Carolyn discussed two weeks ago about the art world becoming more like a tribe that they’re trying to protect or trying to uphold. The old elitism. The old specialties. Yeah, that’s right. They’ve been doing that for 30 years.

And McLuhan writes about it in the book, Laws of Media, that the art world got taken over by cliques and secret societies and secret groups and insider groups. And Warhol wanted to be part of that. That’s why he started his factory. He said, I was

A big deal with advertising, but I wanted to be part of the elite in the art world. So he created his own scene and eventually became part of the elite. But then he said, Carroll read his biography, he was always rejected, he still was considered an upstart. So, where’s Roxy?

Did you mute yourself? Where are you? Computer break? Let’s see if she posted anything. Well, while we’re waiting, let’s see what people have been saying. So, Leon was punning on co-Anesthetic, then Minimax’s Vortex Records is closing, then Page White, he goes on about, um, Oliveros, what’s her name? Pauline Oliveros.

Pauline Oliveros was making that kind of sound back in the early 60s. Well, a little bit, but she was not doing rock. She was not integrating and making movies. She stayed stuck in the ear world. Now she’s a meditator. Um, what can I say? Well, we’ll say it, but then,

So then, Bye Bye Butterfly, 1965 by Pauline Oliveros, and it gives the link to go see Bye Bye Butterfly. Well, Zappa incorporated her ideas as a subset. Don’t get stuck on Pauline. She ended up just being a Buddhist. Mini Max, Zappa is actively trying to colonize other art forms.

Like the satellite conductor, like the secret council 10, like the latest environment, subsumes, absorbs all previous environments, so Z Zap is miming the Android Meme then Leon says Godzilla a key Godzilla Akira project a co atomic boom don’t know what he’s trying to say there mini max respond on the show now

Many nights demanding me to respond but that’s probably an hour or two ago. Minimax to the McLuhan fiasco. Oh he wants me to tell him about the McLuhan fiasco. Rob says Bob makes everything fun by metamorphosis of words into being. You

Agree with that right Bert? Yes. It’s just fun. I make everything fun by metamorphosis of words into being. Robert says Godzilla responds to the megahertz MHZ. Is that megahertz? Godzilla responds to the megahertz frequency. He responds to the megahertz frequency. Mozilla told in the news from various sources. Aquaman

Was the early Japanese Bandai Rangers. Don’t know if I said that right. Then he says opposites of the equator go down different directions down the drain. Yes, different side of the equator, go down the drain differently. That’d be going down the vortex. Alyssa says, yes,

Ha ha ha, the art world just gives the MFA a million bucks. Oh, she’s responding to something I just said. Yeah, very good. Yeah, the art world just gives the master of fine arts a million bucks. She goes, so true. Then Alyssa says, good point.

The real art was the Android Meme, and the art world failed to be prophetic. I’d like to consider the ways the art world did reveal the Android Meme, although unknowingly.” Well, that was done by Finnegan’s Wake, Alyssa. And Don Fields’ books are pretty good at showing the better artists and how

They mimed the Android Meme, but mainly it’s Finnegans Wake and Zappa. Remember, Zappa has his characters being robots in the late 60s. Now Robert Anton Wilson’s The Illuminatus Trilogy is pretty good because in the end you find out, at least that’s what I found out, the narrator is

A virtual robot or something. The narrator of The Illuminatus Trilogy is a machine. Really? Yeah, that’s why it made the chart. Alissa says, what are, were you reading? Yes, this is Marsha McLuhan. She came in later, yes. So this is in the book, Understanding Me, which is a

Collection of lectures and interviews with McLuhan put together by his daughter. And one of them is this lecture he gave in 1973 at Columbia to undergraduate students called Art as Survival in the Electric Age on April 9th, 1973. That’s what we’re reading. Right up your alley, Alyssa.

And then she says, can’t talk now, but so wish I could. Next week we’ll be listening. All right, well, she can’t talk right now, but we’ve got to get back on to Savva. So we’ve got to find, um, Roxy.

So I think I will, uh, call her to see if there’s some other screw-up. Yeah, no, I’m here, I’m here. What, you’ve been here the whole fucking time? Yeah, we hear you. You’ve been here the whole time? No I had to go to the toilet and I… But I didn’t want to interrupt.

You didn’t want us to hear the toilet sounds is what you mean, right? That would be so sad. Well, I mean, it’s a nice sound. It’s like experimental composition. Yeah, it’s like a hula cane, the dripping drops of Hugh LeCain. Oh, that’s right. So we played Hugh LeCain tonight. It’s another vortex.

Another vortex, right. No, we played Hugh LeCain. Gail Young, Reiner Reissestein’s partner, wife, wrote a book on Hewlett-Kaine years ago. It came out in 1989, The Canadian Contribution to the Electronic World. And Lorne has been calling in here, not lately. He’s the young art student complaining about the art world in Los Angeles.

I remember him calling in a few months ago, pretty regular. But I think he wanted to talk to Ian, so maybe he’s not coming in if Ian’s not here. But I was going to say something about Gail a few minutes ago, but I couldn’t connect it, but you just brought it in.

What is he? Gail, Hula King, Gail, electronic music, and somehow that rubs up against us. The big picture of Zappa sitting in the toilet is a thing. That’s the vortex. Sitting on the vortex. Good point. That’s the thing. Surviving. Yeah, he survived. Good point. He’s sitting on the vortex.

And that was an accident. A promoter, I think down in Dallas or someplace, barged in on him while he was in the bathroom, while staying at the promoter’s house, and took the picture of him. Rudely, just took the picture of him and put it up as a poster.

How would you like that, Bert? I mean, I don’t know if Zappa, I’ve never heard of him suing or… Maybe Zappa, I mean, Zappa had this image, and that was the only thing he was famous for, was for these scandalous images.

And nobody recognized what an amazing environment he was, that they had this image that was the only the only thing it was famous for was for the scandalous images and nobody recognized what an amazing environment he was as a musician, as a creator they just noticed the porn but

It’s just like they banned Ulysses, the greatest book of its day and of the twentieth century say they banned it for the uh… disgusting physical descriptions in it. Yes, this is a tactile art that is helping us survive the Android Meme. What did you say, did you say vibe?

No, the tactile art that help us survive the Android Meme. Tactile. Yeah, tactile art, good point. Tactility as an art helps you understand and bypass the Android Meme. So, and that’s the interplay of co-anesthesia and synesthesia. So I’ve been reading about the violence of the arts.

You heard all that, that was good stuff, eh? I’ve actually never heard, what he’s saying here is a bit different than what he usually said. He’s saying more to the students. And that’s actually what would happen. If you were a student of his, you’d get a lot more one-on-one time with him.

And he’d fill in a lot of things. But when he went public and wrote a book, it would be a Manipian attack on the public. Because he said, I regard myself as the enemy of society. That’s what he said. So he was being violent.

So he predicts, which we know in the end is I and them, there’s going to be a complete change in image in the arts very soon as there is in technology. So there’s going to be complete change in upcoming technologies there for effect. Because you said that in this novel,

The Illuminati android makes up at the end the robot or something like that? You mean Robert Anton Wilson’s novel, the Illuminati’s trilogy? Yeah. Yeah, I was remembering in the Forbidden Planet, the robot that welcomes humans arriving to the Forbidden Planet, the robot that welcomes humans arriving to the Forbidden

Planet with the acoustic monster, it’s a robot called Robbie the Robot. Right, Robbie the Robot. Bobby again, that’s right. Now here’s the point, you know, Kevin Currier wanted Ben Watson to be updated. Ben Watson was too British, too European to understand the subtleties of the American

Ground to get really what Zappa was doing. And therefore shouldn’t have relied on Adorno. Now we know that Adorno criticized the industries, the music pop culture thing and got lost in his bookish culture. But what I’m reading here, and we’re going to read about the instant

Replay, about jazz and rock, about art upsetting. You can teach that in high school, and then you would understand why Zappa and the great arts are not popular. You know, it’s spelled out simply for people to get. It’s not with postmodern jargon language. Do you know what

I mean? I mean, he’s saying very valuable stuff, but it’s simple. It’s not with post-modern jargon language. Do you know what I mean? Yeah. I mean, he’s saying very valuable stuff, but it’s simple. It’s not hard to get. It’s not jargon. And he’s explaining something that’s hard to perceive at first.

But I admire his simplicity compared to the Derrida’s and the obfuscators of bullshit, you know.

They’re seeing the same thing as McLuhan almost, but they have to obfuscate it because they have to become mysterious to have their gigs on the lecture circuit. was active in what McLuhan’s explaining. If you look at Zappa’s, his music or even his interviews, he was always on point of illustrating that. Just,

He was artistic. I mean, he had a gleam in his eye. I got to watch some of the videos this week and the gleam in his eye, he was always alert.

Laughing. He knew what he was doing. He was laughing and he knew he was being satirical and knewing that people would dig it 20 years later, you know, or 100 years later. It’s the same gleam in my eye. You’ve noticed that in any meme. I got the fucking gleam. Of course.

More than the gleam. What’s interesting, I’ve looked at a couple of Carolyn’s TV summits, she’s videotaped in a summit, and you see her talking and it’s not as aggressive, but there’s a slight little gleam in Carolyn’s eye as she’s talking, as she knows the person is getting blown away by what she’s saying.

You ever notice that in Carolyn? Yes. And also her hand, she uses her hands also when she talks as well, which illustrates it. Well how does she use her hands? Oh you mean, is it gleaming? Part of the gleam is when she’s using her hands when she illustrates some of her points.

Oh that’s interesting, non-visual gleam. Let me see, where’s Carolyn? I think she’s watching TV. Hey, Carolyn, Bert’s describing the gleam in Zappa’s eye when he’s seen in interviews, and then I said I had a gleam, and then I said that you have less obvious gleam, that it’s a smirk you see,

But then Bert says you see your gleam in your hands, the way you use your hands. Hear that Bert? Hear it go woo? Yeah. Oh, you see it? Yeah, I don’t know if I’ve seen that. I don’t know what a gleam would look like in the hand.

So you’re saying there’s a bit of a satirical use of her hands? No it’s just the point I mean she’s gleaming anyway but when she uses her hands you can see the point that she’s when she’s talking her hands are sort of like exclamation

Points of what she’s illustrating. Ah okay yeah I was watching Lance Strait do a video. This head guy in the Media Ecology Association world. And he’s out of Fordham University. He was a guest lecturer at some university. And his hand gestures were completely off.

Like they were punching the air at the same time. Like his out of sync-ness, his lack of Bob knowledge made his gesturing bad. I was just looking at that yesterday. But yeah, Carolyn’s pretty good at gesturing. So here’s the interesting point. What’s the difference between Zappa and McLuhan?

So Zappa is an artist, a technician. He’s not a teacher, an academic. McLuhan is seen as an academic and a teacher and commenting on the scene. And so you think Zappa’s out there making entertainment and Minnipin’s out there and McLuhan’s commenting on it. But people didn’t realize that McLuhan was in the same

Entertaining musical world doing acoustic performances and turning his academic life into an art form. You know, you don’t understand McLuhan if you think he’s a professor just commenting on things. This is what Walter Bower used to say to me. He said, Bob, I was in the middle of it all.

McLuhan was just on the sidelines commenting. He wasn’t in the middle of it, the drama. I said, no fucking way. You were an extension of the drama McLuhan was creating. McLuhan influenced a lot of levels. And Walter was reacting inside the drama that McLuhan

Created. He got fooled by the book part of McLuhan. McLuhan was always going around to corporations consulting, inventing things, very active, not just writing books. You know what I mean? Doing many things, much like Frank. That’s the thing with the scholars.

The scholars at the beginning were just commenting on the margins of the manuscripts. But some were so good that their comments became better known than the actual words they were commenting. Yeah. So it’s the ground of the ground, the ground becoming the figure.

And McLuhan was this type of scholar commenting on everything, but he was actually the figure. He was not ground. He was… But he wasn’t a scholar. The medium. He did his, listen to this, he did his scholarship in the 30s at Cambridge. And he wrote his PhD, which is a great scholarly pattern.

Two thousand years of the interplay of rhetoric, grammar, and dialectic in the trivium. That’s his scholarship. Everything after that is him looking around in pop culture, in academic, in science, to support what he said in his thesis. And that’s why you read Ted Karpenter who says, Marshall didn’t invent anything.

He just stole from everybody. Now that’s a crude way of saying that Marshall would see what Ashley Montague would say, what this guy would say, what that guy would say, and he’d say, okay, I’ll line up all these ten guys. They’re all being affected by the radio environment.

You know, Pound, Elliott, and Joyce, and Lewis are miming the effect of the radio environment. You know, Pound, Elliott, and Joyce, and Lewis are miming the effect of the radio environment. That’s more significant than anything they did, than they made. So, um, what was my point there?

Um, he didn’t, and he would fit it back into what he had known when he did his thesis. He’d fit it back into what he called the ancient quarrel between the dialecticians on one side and the grammarian slash rhetoricians

On the other side. Eric repeats it in his new book on the history of Minicapian satire. It’s the same battle. And McLuhan repeated that in formula and that gave him time to comment on what was going on. Like a McCarthyism or an Elvis. He writes about Elvis very early in the 50s.

He was always hanging out like a teenager, consuming the new movies, the new pop culture forms and having fun while hiding under this scholarship image. And he was, he appeared to be a scholar, ongoing, doing ongoing research because what

He was expert in, people didn’t know about. They didn’t know what his thesis was an expert on. Pretty obscure stuff. And so, what was the next sentence? So he would appear to, oh yeah, he would say, I’m sick of being famous and having to go around and lecture all over the world.

I’d like to get back to my 19th century studies. That’s what he used to say. Please, give me a break so I can go back and read old books and old obsolete technology and do some scholarship.

And Don Thiel said that it actually got pretty hectic for McLuhan and McLuhan got in a bit of trouble. His later books were a bit thin on the scholarship level because he didn’t have time to do scholarship. He tried to retrieve it with his book from cliched archetype.

But Thiel in his negative moments said McLuhan never got back to the scholarship that he really wanted to do. But I don’t really agree with that. McLuhan was a quadraphenic. He loved being out there in the mix, getting on the Today TV show and disturbing the masses with what he had to say.

Wouldn’t it be the new scholarship he was doing anyway, Bob? Because most of the people he was commenting on were scholars, but he was really adapting to the electronic environment, so his part of his scholarship. No, it’s not a literate scholarship. It was oral performance. He would quickly

Speak on what was happening. As soon as streaking happened. Do you remember streaking? Where people run across a formal place without any clothes on. Do you remember that? 1974? Streaking. Okay, guys would run across the stage on Ed Sullivan or something with

No clothes on and then they’d get caught at the other end and arrested. But McLuhan immediately had a comment on streaking and this didn’t require any scholarship, it just required his patent recognition. He said the streakers are an important phenomenon. They are telling

Us this, and this is what the streaker, he would then say the following, the streaker is telling us that we’re getting up, that we’re getting all dressed up, but we got nowhere to go. So McLuhan saw it as a satire on elite New York society, going to operas, going to balls,

Going to Metropolitan Museum with big galas, getting dressed up and going nowhere and having nowhere to go because you were everywhere electrically so the streaker was making fun of that by taking off his clothes and and rushing through as if they were going somewhere it was a satire

That’s why you are a nifoc in your videos like naked in front of the computer you are nifoc in your video, like naked in front of the computer. Your video, naked in front of the computer. Oh yeah, yeah, with my shirt on, yes, that’s right. I’m a streaker, good point.

I’m a polite streaker, I don’t show my bottom, I just show my chest and my naked upper part. Yes, that’s right, very good point yeah I am apparently Burt people won’t take you seriously if you get interviewed and you don’t have a

Shirt on we’re already there as I am says we’re already there.’s the first syllable no the Adam I’m sorry the Adam Adam in paradise yes we’re back in paradise yes we’ve retrieved paradise and then we were harassed Adam in paradise right

Keep up with all our bodies so we’re not too relaxed so I has to come come forth and tell us to relax and allow. You’re all Adams, you’re all perfect, you got there, but you’re running around as if you didn’t get there. So

So this is what he did Bert, like the first time I saw him, no he did a TV special on CBC about 1961, 60-61 and he’s commenting on the latest fads, like the Lolita novel. What was it, Vladimir Nabokov did Lolita?

And he makes it into what, Teenagers, and they do a little, they get these actors, young people to act out this play. So, and then in 1962, when the twist happens, 1961, he goes on TV to get interviewed to comment on the twist. Now this doesn’t require any fucking scholarship.

It requires coming up with neat aphorisms to explain it. So the interviewer says, well, what do you make of this chubby checker and this twist fad? And he said, well, it’s a piece of cake. People were trying to express this vortex also, they felt. That’s my theory. It’s too noisy.

Put that in, and your pod is noisy. OK, sorry, Roxy, what did you say? The, what was that last sentence? The twist was the result, an scolia, people commenting on the vortex. They’re all teaching. Did you say escolia? Are you making a Latin word for escolia? Yeah, the escolia is the,

That the root of school from scholarship, from scholar. So that’s scolia, yeah, and it means leisure. Scholarship, Bert, means leisure, comes from a word that means leisure. The aristocrats had leisure so they could afford to read. Yeah. School means school. It comes from the word scalia, which means leisure.

Or that’s what McLuhan said. Probably find out it doesn’t fucking mean it, but we liked it. We liked the idea that school was a leisure time. We like to treat that child.

Yeah, we like your fallacy. We like his fallacy. We don’t like your fallacy. Your fallacy’s fucked. the idea that school was a luxury time for the rich to crash. We like your fallacy, we like his fallacy, we don’t like your fallacy, your fallacy is fucked, we like his fallacy.

That’s what happens when you’re in the Android Meme, everybody’s a fallacy. It’s just which fallacy you prefer. That article on Donald Trump by Matt Taibai is funny and I saw someone talking about it, they said when they asked

Them what do you think of the military so he said well I’ve seen all the shows he translates everything through TV he just considers consuming TV answers all the questions I don’t know if I said that properly but it was something observed

They asked him a technical question he said, I’ve seen all the TV shows. And anyways, I watch all the shows. That’s how he knows. That’s right. That’s how he knows about foreign policy. He watches the Sunday morning meet the press type of stuff. He just watches TV. He gets the cartoon iconic battle.

Bullshit. Okay, back to this. So you get Burt. cartoon iconic battle bullshit okay back to this but so you get burke McLuhan ninety fifty-eight commenting on the strip on the trip that he’s commenting on the beetle and then he’s commenting on uh… the hippies and lcd comments on pop culture

From that point on but one of the students said after nineteen fifty McLuhan didn’t seem to be interested in literary endeavors or reviews or anything. He was commenting on the present, on the ongoing now. The trend had a recognition.

As I was researching this thing about science fiction, most philosophers of the 20th century had to go to popular culture and science fiction because that’s the the thing that is reflecting the times the society Yes, and the many aspects of it is the real scolia is all this popular culture

They commented. That’s right. What’s going on? So the cool call the classroom without wallslune called it a classroom without walls, Roxy. He called it the classroom without walls. Classroom. Yes, for a long time, all these things were not considered real art forms, but… They were considered nonsense. Very good science fiction novels.

Yes, cyberpunk, all these type of… Well, that’s later. But the best science fiction was written by Lewis and Joyce when nobody knew it was science fiction. You know, William Gibbs and these guys, Robert Anton Wilson, Luminatus Trilogy, they’re just redoing Phineas Wake and Lewis. That’s what Don Thiel said. Even Pynchon.

Now, they add new rhythms. They have the genius of their rhythm of the period of the writing. They give you something to read. You can read 800 pages of, you know, Gravity’s Rainbow. It’s a pretty fun read. But as for learning and insight and pattern recognition, you’ve got to go to McLuhan.

Like, look what I’m going to read you about the instant replay. Nobody’s talking about the instant replay. And he there, back in the late 60s, starts talking about the huge significance of the instant replay. And we’re going to hear that.

Look at what he commented on. that this low culture is going to be actually that altering of the 20th century. And they were already commenting on that and making satire about all these memes and archetypes and… Yeah, like, look at Elvis Presley, you know, before he was sanitized.

The guy was outrageous. They had to ban, they had to show, televise him from the, you know, before he was sanitized. The guy was outrageous. They had to ban, they had to show, televise him from the waist up. They couldn’t show his legs wiggling.

When these guys came out, they were as radical as anybody had ever been in any of the creative arts. Right? So Rock’s role in 55, 56 was an outburst of the beginning of the global theater, the post-art world, no more who cared about painting, sculpting, blah, blah, blah. And these were kids.

These kids upset everybody. You should hear Sinatra. I have to read you what Frank Sinatra says. Do I have that book? Just a second. Let’s see. Let what Frank Sinatra says. Do I have that book? Just a second. Let’s see. Let’s see. Sinatra, right here. In 1957.

Okay, you know, you’ve had a couple years of Elvis and Little Richard, John, and Jerry Lee Lewis. This great book called Rock in America. And it’s rock in America. It’s R-O-C-K apostrophe N. So it’s like rock and roll, but it’s rock in America.

A Social and Cultural History by a close friend of Arthur Kroker, Dina Weinstein and her husband did Data Trash with Kroker, the great update of Marx’s manifesto, the theory of the virtual class. Well, on the first page, in 1957, here’s what Frank Sinatra said,

Rock and roll is the most brutal, ugly, degenerate, vicious form of expression that has been my displeasure to hear. Hear that? that has been my displeasure to hear. Hear that? Now you know what that is? That’s the fucking mafia talking, the guys that ran the record industry talking.

Because there’s a book called Hitman, it came out about 1990. Read that book, it’s all about the mafia, the dirty part of the record industry. And Franklin referred to it, he says, the guys who made the records, managed the records, managed the industry back in the 50s are still here in the 80s.

They’re still doing it. They just changed the names and changed the companies and that, but here is Frank Sinatra, who was maybe considered brutal, ugly, degenerate 10 years before when he had the Bobby Sox’s painting in front of him,

You know, when he did his singer thing. The kids were really shocking to the parents, the way they reacted to Frank Sinatra. But the world has changed radically with television and the beginning of the computer world. So he says rock and roll is the most brutal, ugly, degenerate, vicious form of expression.

It has been my displeasure to hear. This guy’s sensibilities are totally disrupted, right? Yes. And he’s proud to say that. And then he ends up, you know, 20 years later, singing with David Bowie and sort of everybody else. He was mutated, but he didn’t know it.

He was going to be mutated and gradually his own daughter, Nancy Sinatra, would be doing rock. So then the other quote is on page, what, 27? Let’s see. There’s another one here. 27. Another one here. Twenty-seven. It says, as the big bands were marginalized during World War II, singers became a major

Focus of popular music. Frank Sinatra, for example, had originally been just an unidentified member of Tommy Dorsey’s orchestra, merely the singer. He became a big star before the war ended because the bands went out of business during the war for all kinds of interesting technical reasons.

And so they had started relying on, the radio stations had started relying on vocalists. So that opened up for somebody like Frank Sinatra, who was just a boring singer for a big band.

But then the bands dropped off during the war. Sinatra became a big star before the war ended, a very big star. His screaming female fans caught the attention of the mainstream media, which reinforced his celebrity. At the start of 1945, a Reader’s Digest writer described his fans’ behavior.

Quote, a few of them slump into their seats, either fainting or convincing themselves that they are doing so. Some of them rush down the aisle to get as close as possible to the hero.” End of quote. Then it says, vocal groups like the Andrews Sisters, the Mills Brothers, and the Ink Spots

All gained popularity because of the making of the records around shellac wasn’t available during the war years. In other technical reasons, there was a battle between ASCAP and BMI and strikes and the musicians weren’t getting paid when they played on the radio or they demanded to be played

On the radio more so that they could get paid. So all these complications that radio did to the music industry of the 20s and 30s. So another quote by Sinatra is page 83. Oh yeah, so during the payola scandal which was another scam because payola was not against the law

You don’t hear that part did you know that payola was not against the law no i don’t know what payola is what is payola what is payola? people people bribing dj’s to play radio station people to play their music on the radio? It’s called payola, okay

He didn’t know he didn’t even know about it, okay, it says So look at this in 1958 Sinatra said that rock and roll was quote the martial music of every sideburn delinquent on the face of the earth. Every sideburned delinquent. That was his new phrase, juvenile delinquent.

So he’s saying rock was the marshal music, you know, the military music of every sideburned delinquent on the face of the earth. Man, he was in one hell of a debtor crisis. He wasn’t cool towards this. So, you know, the art world was made

Obsolete by these kids who were taking over the empty radio medium because TV was taken over so radio was like floundering so they said, oh, let’s sell records to the kids. So they altered consciousness. And then McCloughan in 1964, he’s sell records to the kids. So they altered consciousness.

And then McLuhan in 1964, he gets to comment on that pattern. He says, the amazing thing today is you’ve got teenagers. No, he says, you’ve got children affecting global consciousness. You know, Einstein, he was the last adult to affect global consciousness, Einstein. Newton did it a couple of years before that and Einstein

And the scientists have been struggling ever since Macoon said that science turned into science fiction and Hollywood stuff just like espionage CIA KGB stuff was obsolete so it became the daily fare the content of spy TV shows

Because it was obsolete okay so it became the daily fare, the content of spy TV shows because it was obsolete. Okay, so it’s, so people who heard the later McLuhan in the 60s and 70s thought he was just a gadfly making up unscholarly statements, wacky generalizations, and they didn’t know

That he had been a scholar and had done incredible work, you know, 30 years before. But people were confused. There was a later McLuhan who didn’t seem to be a scholar and had done incredible work, you know, 30 years before. But people were confused.

There was a later McLuhan who didn’t seem to be a scholar and then there was the early McLuhan and some of the Yale professors that Don Thiel was taught by, Clint Brooks and Wimsatt, they knew McLuhan’s scholarship. They had access to the PhD.

And then they found it odd that McLuhan dropped the scholarship and went into pop culture. So McLuhan mixed everybody, mixed them and matched them and molded them, just like Zappa. He had the hardest time going into symphony orchestras to get them to play

His music because they said, look at this fucking rock jerk. You know, we don’t play for a rock guy. So he and McLuhan were both tough in going into enemy territory from either side. I mean the rockers detected something wrong with this Zappa guy. He’s not one of us. He doesn’t smoke

Dope. He doesn’t hang out with us. And he writes music and he conducts people. Man, who is this guy? So the Rolling Stone magazine, you know, banned him. This guy’s not cool.

So he was an outsider in both worlds, which is what you have to be when you’re a modern artist, a modern scientist, a modern pattern shit disturber. It’s the same for you. So Roxy, it is 8.34, so you have another hour and a half till 10, your time? Yay. Okay, good.

So we can get some other stuff done. But I’m almost finished this essay. Don’t you see that this talk is a pretty good wrapping up of the themes that we’ve been trying to get to? Or have been doing? Yes. You get it? Yes. Beautiful and perfect. Very good, yeah, because to those people

Don’t understand what McLuhan’s got to do with Zappa, we’re illustrating it with this essay. So… Well, it’s like, we’re actually using this obscure composer to explain the tactile co-meaning, and he was a tactile artist, and we are using that to illustrate the aspects of… What tactilely?

Yeah. McLuhan just telling us, just showing us to illustrate the aspects of tactility. McLuhan is telling us, showing us how one looks at the tactility and then the extension of tactility in the technology. So he says, so he says there’s going to be a complete change

And he’s, when he says, I’m not going to take a guess at what is going to be this change breakthrough in the arts but I think it would be worth having, it’d be worth having this breakthrough since you know that the time is right. You know that the time is right.

You know there’s going to be a breakthrough. There’s going to be a complete change in image in the arts very soon, as there is in technology. He was talking about himself. He was saying, I will be appreciated at what I’m doing here. I am the breakthrough in art.

My art criticism is way better than anything that they’re offering in the art schools. He’s really, he’s always talking about himself. Because he knew he’d be coming, he was an environment. And of course, Ayaan does the same thing. Okay, so then he says, we live in the age of the internet.

I also think it, let me just interrupt. Yeah, sorry, I don’t mind you interrupting. Now that we’re post-literate and we have access to all these unlimited archives to the big data, it’s like we all have to become like Leonardo, like you, like Zappa, autodidact.

And how do you digest all this information you are getting? What do you do with all this without getting lost in it, without getting sick, without being disturbed by these new frequencies, these new speed. So you have to kill to be cool and have fun. Right, so McLuhan is teaching you survive

By developing your ability to recognize patterns so that you remain autonomous. You don’t get stuck in those things. And also- You can enjoy them, participate, but you have your mind is still there. What? Not to be serious about anything, like they’re all McLuhan, Papa Joyce, you are all…

And iON. Here’s iON presenting the surviving information with absurd humor. iON’s amazing presenting all these pop culture and… Yes, inventory of everything. I mentioned that with a lot of humor. It’s like you have to keep this cool with this attire, with fun. It’s like trying to have a… But it required work.

It’s like front of a… But it required work. …completing a bunch of these covers. …coping up with all these horror thoughts. It required an effort. Look, everybody who takes a drop starts or lifts an eye and starts going into exile, silence and cunning. You know, Joyce’s motto.

They start getting bugged by their parents, their mothers, their daughters, their family, their social life. They go into exile, silence and cunning for a while to retune their sensibilities as however they interpret iON and then what the drops do to them.

So it requires a retreat for a while to get your, to figure out what’s going on and we provide the best information on how to figure it out. And Zappa became, he went through Exile, Silence and Cunning. McLuhan did. They all did.

Maybe it doesn’t take as long now. But that’s important about this. It’s not just, you don’t just start having fun. You actually gotta, the stuff you don’t like to learn and you don’t like to read, you don’t like to think about, that’s what you gotta learn to have fun with.

Yes. Yes, because we’re in the middle of a threat. That is a good point, Bob. That is a great point. Yes. There are worse cases of diarrhea where everything is toxic. So… Right. …keep laughing. This is just a sub-concern.

Well, you know, Gurdjieff said you have a chief feature in your personality which you’re not aware of and you’ve got to become aware of what your chief feature, your chief bias, or your chief strength and chief weaknesses. And once you become aware of that, hopefully you’re coming

Out the other side with a sense of humor. You didn’t go all the way if you don’t come out with a sense of humor. You didn’t get there. You actually thought you stopped and arrived at some point streaking, streaking through pattern recognition and then you got to realize you didn’t get anywhere.

You already arrived or you didn’t get there or there was nowhere to go. But that requires a lot of cleaning out of assumptions and mental voicings inside you that you are half aware of. So we we have the Evergreens on it, we have

Frank talking to the Evergreens, so that’s a shocker for 99% of the Zappa people might listen to this. Bob claims he’s talking to Frank. Well we actually are fucking talking to Frank and if you listen to it it’s pretty fucking good.

I’d like to hear you come up with a similar situation so we even we even have Frank right here so that’s a shocker we did not build the castle for you the king never used it and they had to keep building it they were going nowhere fast they said we’re

Never going to use this fucking thing but you got to to keep building it. They were going nowhere as fast. They said, we’re never going to use this fucking thing, but you got to fucking keep building it. You got to finish it. Matter of fact, you know, they didn’t, they did

Live to see it. Hey, they did live to see it. They went to parallel worlds and they came back every now and they didn’t use it. They’re still there. Yes, because that’s another thing that they kept the whole woods around the castle, the whole nature and the water. They kept it nicely.

They kept it inside a big wall, like just if everything is ready so Bob can move in. So you’re saying there’s a wall, you can’t walk on the property, you got to go through a gate or something? Well, around the castle all the woods, it’s like a park.

It’s one of the biggest forests in Europe that is still a forest, a big area of forest. And it was kept like that by the king. He built a big wall around the woods. It’s the size of Paris, the whole area around this castle.

So that’s the thing that everybody says what for what for what for that’s right what for yes so they built a wall around the forest and inside the forest was the castle wow yes it’s all there you can go visit. What part of France is it?

It’s La Loire. It’s sort of central, central north. But it’s very easy if you Google Chambord, C-H-A-R-T-O, you’re going to find it. And so I sent all the links. Oh, it’s Shamboard. It’s C-H-A-M-B-O-R-D, isn’t it? Yeah. What did I say? It’s C… I don’t know what you said. Is this what it is?

C-H-A-M-B-O-R-D, Shamboard. That’s what it is, right? Yeah. I don’t know what you said. Is this what it is? C-H-A-M-B-O-R-D, Chambord. That’s what it is, right? Yes. Okay. Yes. I sent all the links to Ed, so I suppose he will put it on IMF. Yes. Now, did you post it on DOOPS? No.

You can post it on dupes? No. Okay, I want to make an announcement about dupes. I went through Barts’ 73 four or five minute clips of iON and music, and I posted my notes to every one of them. Did you know that, Burke? Go on to Barts Mashups, that thread.

It’s incredible what I did. You got notes. I tell you what basic topics are in each four, five, three, six minute thing and the timing when high points, key points are set. It’s a great inventory. Oh, wow. That’s great. Wow.

And then Bert, yeah, and then Bart took all the recordings as many as he could and stripped off the music so you just hear iON in the audio. So we can, I’ll probably play some tonight so you hear it clearly, it’s not drowned out by the music.

So we’ve done a great revolution over at Bart’s Mashups. And you Zappa fans, when you become a member of Doops you’ll be able to take part in this, it’s good stuff. Or I’ll play it during this show, this part. So okay, back to the Shamboard. Do tourists go there now?

What happens there now, Roxy? In Shamboard? Yeah. Well, it’s a monument of the whole humanity, this Genn UNESCO monument. And it’s now property of the French Republic. And it’s one of the biggest forests in Europe that is still a forest. You’re not answering my question. Can one visit it as a tourist?

Yes, yes. Okay, that’s easy. You can go see it, no problem, 24-7 or, you know, every day it’s available. Yes, there is a webpage with the whole information. Okay. So I wonder how long it’s been a tourist thing, since World War II, since the 60s, you know.

How long, do you know how long it’s been public property? Yes, I suppose after the Second World War because I mean to maintain this type of property is so expensive and like aristocracy has no means anymore to do that. So I suppose it was bought by the French Republic and they keep it.

So who owned it? Was it the royalty, the King Frank’s descendants owned it? Yes, for a long time it was empty and then they gave it to the German royal. But then during the 19th century it was empty again until Victor Hugo said they had to save it. Victor Hugo, yeah. Yeah. Okay.

It’s a great thing to know about. Okay, so let’s go on to the next part, the final part of his talk. Now, this is important. He says, we live in the age of the instant replay. And this is one of the most remarkable developments

Of any age, since it enables us to have the meaning without the experience. You don’t have to watch the game. You can have the meaning of the game minus the experience. The ordinary condition of man is to have the experience without the meaning. Most people have experience and don’t know what it means.

The ordinary condition of man is to have the experience without the meaning. This is universal. The replay is a technique. The instant replay is a technique. Not of cognition, but of recognition or recognition. It has changed the nature of sport from top to bottom.

Just a minute, how come I don’t get these blocked? I’ve got things open here. Could you just speak for a minute, Bert, to which one you are? Yes, hear me loud. Okay, that’s you. And now, okay, then you speak, Roxy.

Yes, what do you think about this whole thing, Leonardo knowing about I and above? Isn’t that amazing? Right, okay, I’ve got it. I’ve got the other’s block now. Okay, good. All right, so the instant replay is a technique not of cognition but recognition or recognition.

It has changed the nature of sport from top to bottom. It is a form of emotion regulated in tranquility. Now he’s actually quoting something later, emotion recollected in tranquility. So I don’t know if they misprinted. He says it is a form of emotion recollected in tranquility but they got regulated.

That’s an odd meaning. It could be satirical. It is a form of emotion regulated or recollected in tranquility. It reminds what if Mrs. Patrick Campbell’s observations, I don’t know who that is, about the bliss of the marriage bed

After the hurly-burly of the shea long. Get. About the bliss of the marriage bed after the hurly-burly of the shaylong. Get that? The bliss of the marriage bed after the hurly-burly of the shaylong. So, during courtship or being single, there’s a lot of stress, something on the chair.

Then when you finally get married, you’re more anchored. Do you guys know about that quote? Which book? Someone called Mrs. Patrick Campbell. I think that sounds like a character in a novel. So let’s look that up. Maybe that comes up real easy. Mrs. Patrick Campbell.

Isn’t it amazing how we can just look anything up? You have to remember that. Yes. This thing was so slow before this. You have to go to the library the next day. If you even remembered, if he even remembered. I don’t know what’s going on here.

I type something, I press the thing, and it goes somewhere else. I think I clicked it and erased it when I clicked it. Sorry, it’s taking a long time here.

I have to be very gentle and not rapidly click on it. Mrs. Patrick Campbell, 1865 to 1940, born Beatrice Stella Tanner and known informally as Mrs. Pat, was an English stage actress. Her first husband died in the Boer War in 1900.

Fourteen years later, she became the second wife of George Carm Wallace West, a writer and soldier previously married to Jenny Jerome, the mother of Sir Winston Churchill. Oh, okay, so she’s mingling with the British aristocrats. Notwithstanding her second marriage, she continued to use the stage name Mrs. Patrick Campbell

Rather than her new name. So she did all this theater and in 1914 she played Eliza Doolittle in the original West End production of Pygmalion which George Bernard Shaw had expressly written for her. So she was a famous actress. So she said, marriage is bliss.

Bliss, the bliss of the marriage bed after the hurly-burly of the shaylong. And then he says, McClude says, emotion recollected in tranquility was Wordsworth’s definition of poetry. But does Hine talk about lucid collectivity? Recollected lucidity. Collective lucidity? No, recollected lucidity. Oh, recollected lucidity. That’s close to this. Emotion recollected intranquillity.

And you’re saying recollected lucidity, right? Yeah. Same thing. Emotion recollected in tranquility was Wordsworth’s definition of poetry. The replay, the answer to replay is precisely that. The replay, of course, is transforming the football game. The play, the football play now has had to be opened up so that people can participate in

The process and the technique of the play. Ask any football player and he will tell you that they have to play a totally different game before the cameras than they would ordinary play. It has to be opened up so that the process of participation and the actual technique

Of the play can be part of the play. So he means that they have to let people see the instant replay. They got to make time for people to see the instant replay so they can see the process of the action.

He says, it reminds me a bit of the story about the referee who’s moving the ball along 15 yards for a penalty. And one of the players said, you stink. And so the referee moved the ball another 15 yards and turned

To the player and said, how do I smell from here and McLuhan says that’s the instant replay so the player says you stink he’s pissed off that he got a penalty he complains so the guy finds him for complaining and he moves the ball another 15 yards.

And then he says, how do I smell from here? Well, the guy wasn’t going to say he stunk, right? He smelled great. The replay is, there’s no smell. And he means there’s no smell. And he means there’s no smell. Can’t smell that far away. So you have any meaning without the experience.

The meaning is based on that if he says you stink again, it’ll get fine again. So an instant replay can be generalized to any form of communication that replays what the person experienced. At electric speed, you have pattern recognition. And this, incidentally, has implications for many, many things, including education and Watergate.

There he is, Bert. Watergate’s just happening. You see Watergate. There he is, Bert. Watergate’s just happening. You see, Watergate, it really didn’t start till the summer of 73 when it was televised, the hearings. And this is in April before the televising. Are you there, Bert? I don’t hear Bert.

Maybe he went to drink something. Yeah. He dropped out. Did I – did you get knocked out, Bert? No, I was here the whole time. I must have got muted somehow. Go, go. Make a long sound. Oh. go go make it a lot of uh… or

Yet so i i i i had actually i thought it opened up the wrong one you know what i was checking the ten-minute ago and i don’t know if i got that you have me to what you need to know you’re opening it in you want to say dot that

Did you get it the world of of of their uh… what Did you say that… Tell them to smell from there. What? How do I smell from here, Bruce? Smells good. So, McLuhan said the emotion was… the instant replay was emotion, recollected and tranquility. It’s after the experience, after the drama.

You’re just looking at the… you find out, well, this is what happened, this is the meaning. The concept is a removal from the experience. The experience is percept, you’re involved in it, you’re perceiving it. Then when you know what it

If it came to an end, then you have a concept of what it meant. So you have the meaning and you don’t have to keep experiencing it to have the meaning but with the instant replay you’re seeing things you haven’t experienced and

You’re getting the meaning of them without having the experience Wow, that’s weird you’re getting I wonder who meaning No, it’d be nice to just like to experience like when he first discovered that who was around when he said that and would like

To just to write picture their reaction when he just said that like what in the world, but that’s really that’s really interesting That we could see that now

But that had that has that’s an un everybody say that is a unrecognized effect that i never noticed until you brought that up to me that that’s but that’s nobody knows that that’s right that’s why he says he said other places it was the biggest metaphysical revolution in human cognition, the instant replay.

I mean, other minds who come in, what do you mean? I’m having the experience, they muddle it all up and say, no, no, you’re having the experience while watching it, you know, you’ve seen the replay. But I’m sure he’s adding something to it. I don’t know myself. I think McCool’s nuts.

But I think it’s for you guys to puzzle these things out. Why should I bother? I’m transcended. I don’t engage the mind. But again, I’m telling you stuff that you didn’t know about. That’s what’s valuable here. I’m telling you things.

And what he’s saying, it’s worth thinking about. That’s what’s valuable here. I’m telling you things and what he’s saying, it’s worth thinking about. Is it actually? What do you think? Let’s check. It’s, for example, amazing when you’re talking about something and you do the hyperlinking and read things and quote these

And find these other texts and this other video. And it’s a new type of replay that cannot be done if you write a book. It has to be maybe because we have asked you all this. You have to have a book out.

It has to get attention. It has to sell enough so that you get interviewed. And then in that five minute interview, you get a chance to say your patterns. Screw that. Just get on the radio and do it. I don’t have to make it. I did have to make it on iON.

Nobody listens to iON. It didn’t happen. Yes, and the way you’re communicating, you make this scholar comments on the whole history of humankind with your chart and to comment it is like you have to be in this new type of medium, like you have access to all these different type of things.

And I was wondering, it’s funny how we are making like this virtual reality that it might be even more intense as the real physical body experience. Yeah. With all the effects and all the visuals and all the sounds. It’s like you’re going to another type of hologram

That is even more intense because there is not this separation of one sense dominating the other. It’s all going to be synthetic. So if I see an instant replay, I don’t necessarily know. I just came in the room. They’re doing a replay. I don’t know how it’s going to unfold.

So it’s a new experience. I’m watching it. But usually you know why the replay is happening, what the result is of what you’re watching. You usually want to just see the replay to see what you missed, you wanna see the process. So it’s different from watching something,

Very subtle difference from watching something unfold. You’re in the middle of it. You’re not in the middle of it. You’re in the middle of it. It’s interesting that up until now when we transitioned, we got to see the replay of the whole thing we call life. Right.

That’s the point of living, to have this recording and then replay it at the end. But the way that we don’t transition. I didn’t get what you’re saying. I’ll add this, is that what’s interesting, you see a replay of your life.

Are you going to see all the video you made, all the other media you’re on besides your boring life of going to work or something? What about all the media translations of yourself? Especially if you’re Elvis Presley, does he sit around?

Does his seeing all his life flash before his eye go on for like three days? I don’t know, we have to ask Dion how was the replay. But that was the, yeah, people are leaving to make a record thing and then see the whole replay

At the end, so what’s the point of that? Right, so that’s what I got from your idea, so that was good. But what were you saying? You were asking what would happen? I didn’t get your main point about the dying. We see a replay of your life, now what are you saying?

Yeah, that’s up until now that was the thing. Then now we’re staying here and there is no more. We actually get the replay of life By watching videotape of yourself before you die. That’s your point That’s right. I’m asking you. You don’t need to die. You create the hologram

Tell us. Yes, I did create this whole fucking000, 5,000 years has been Bob’s replay. You know, I’ve never made self-inspiring attractions. Maybe we’re going into the type of things that we’re going to be able to access our recording, our soul recordings, and make a synocrisy re-recording. Of Frank? I don’t know. Of something.

There’s one point I am made of starting your life and looking all the way back. Looking back. Yes. Always operate as if it’s your last moment before you make a decision.

Yes. always operate as if it’s your last moment before you make a decision. Look at it from not what it will lead to, but what it would be part of in retrospect. You know, people say, I’ll do this and that will lead to that, something in the future.

You say, no, no, put yourself at the end of the line, then fit the valuation in of something particular. Yes, the client will say here, Bob is in your inbox, play, look at Bob. Bob is in your inbox, yeah, that’s good. But that’s interesting. People never heard their voices.

People never heard their voices, never saw themselves until recently. So they’re seeing a replay of their lives as much as they want to. That’s the death state. But the soul does the recording, the soul provides that. So the idea that when you die you see

A replay of your life, no. When you die, the soul might let you see that, if you’re interested, but you best carry on and go to the guff and not be concerned about your replay, because that’s the soul’s business and that’s got nothing to do with you. So you don’t see a replay

Of your life when you die. That means every near-death experience is a fucking lie, Bert. They’ve all been using that archetype. Well, I’m a light flash before I be… Well, how could it be? That’s the soul. I don’t know, maybe it does do that, but

I have brought in some points that might question. We have to re-ask that over again. We have to start over again on that point. Do you see a replay of your life? He does say you judge your life. If you don’t judge your life while you’re alive, you eventually

Judge your life when you’re floating around waiting to go to the gulf. And you can’t get to the gulf unless you’ve judged yourself. You’ve done whatever that judge you’ve done. And for example, if we stay here eternally, what happens to the recording, to the thing we call the soul?

What happens to the recording? They’ve sent many… Yeah, to the thing we call the soul. What happens to the recording? They’ve said many… Yeah, to the many souls. Are they going to be erased? You mean once you’ve died? No, we’re not dying anymore, so…

Right. Oh, the soul is not going to do anything. No, Ina said the soul becomes an unused tape recorder. It doesn’t do anything because you’re manifesting and realizing everything. So the soul goes out of work like the angel. Yes, because on the one side was this recording of your unmanifested creations,

And on the other side, all the things you have done. Right. Were those two different recordings, or both? No, only the undone parts. Are you still there, Bert? I think something blipped out. Did you go Bert? No, I’m here. Okay. The things that goes to the guff are the things you didn’t do.

I don’t know if they record what you didn’t do, but they have a record of what you didn’t do, and that goes to the guff, and the new beings use that to mix up their next life. They appropriate what you contribute. What

You didn’t do gets dubbed into the goth to be done by someone else. Right Bert? I got that right? Yes, that’s it. That’s it. I had also said that there’s a clip in one, I remember

Talk, ask them about the soul. Because there’s one point that they said that the soul will, you need to learn how to disengage the soul as a God. Yeah, yeah, you don’t want to be, you’re not manifesting anything. You’re acting on every creation, so there’s nothing for the soul to remember, to collect.

Yes. to collect. Yes. So I used to say that people who live puny small lives and nothing gets manifested or created, they’re great contributors to the guff. They’re loved in the guff. Because the more they don’t do things, the more you get the opportunity to do it.

You as a new being coming to the world. You get to do what they didn’t do. So can you imagine being in the guff and most people are doing everything that they want to do

And there’s now no archives recorded? There wouldn’t be anything to do in the gulf. You wouldn’t have any material to work with for your new life. Well, that’s a whole new stream of questions there. Yep. All right, so anyways, at electric speed, you have pattern recognition.

And this, incidentally, has implications for many, many things, including education and Watergate or politics. See, he sticks in the latest event, Watergate. The replay reveals meanings. You know the Watergate thing is a world of meanings minus experience. So we know the Watergate thing is a world of meanings minus experience because we just

See it all in replay. We all had the meaning without the experience. Another feature of this same pattern appears in the plight of the motor car at the present time. The motor car has long been the North Americans

Primary mode of privacy. North Americans are the only people in the world, and this is shared by Canadians, he says, who go outside to be alone and inside to be with people.

All the rest of the world goes outside to be with people and inside to be alone. And this is a strange story too. It draws attention to the circumstances that the most profound things in life are subliminal and

Unobserved. Europeans don’t know that they go out to be with people and inside to be alone. They take it for granted. And we take the reverse for granted. Frank Lloyd Wright was the first architect to recognize this strange American pattern. This strange American pattern. And to put the bricks in the living room,

And the living room on the patio. I don’t know if you know Frank Lloyd Wright’s architecture. But he put the bricks in the living room, you know the outside part of the house, and the living room on the patio. At the present time, the American car has a character unlike

That of any other car. It’s built for privacy. He doesn’t say it here, but he says American cars are tinted. You know how you can’t see into cars? It’s for privacy. And he said they don’t do that in Europe. They don’t have the tinted windows. I don’t know if they do or not.

I didn’t notice that when I was there last September. I wasn’t looking, but I guess I should have. But I was too busy running around in galleries and things to notice what was happening in the traffic.

But and so the American car is built for privacy and for going out and for going out in to be alone. Whereas the European car is by contrast like a corset, something very close to the body. It is not intended as something in which you enjoy privacy.

And so the motor car is in a strange plight today, the television age. Here’s the hidden updating factor. The TV brings the outside inside where people are. It’s flipping the whole American way of life and taking the inside outside. Watergate. That takes the backroom boys, takes them out as showbiz,

And puts the outside world Vietnam in the sitting room. Do that again. Watergate takes the backroom boys out as showbiz and puts the outside world Vietnam in the sitting room. Now this has great revolutionary effects on politics. People will not tolerate violence in their homes. They will not have had, they

Will not have had bad news on TV anymore. They have had to change the newscasting, cool it, and all the hot stuff is left for the newspapers, which is outside, not tolerable inside the home. That’s where you go at home, that’s where you go to be

Friendly and nice and chummy. So dig that. New York Times had to became a scandal rag. Like the Washington Post, they started Watergate. But TV has had to cool it. Now everybody thinks that’s censorship. No, Americans will not tolerate bad news

In their TV. The Americans don’t want it. The public does not want disrupting artistic news, you know, ugly news, news that disrupts, disturbs. So it’s a different way of looking at why there’s nothing quote serious on the news, on TV. You get that, Bert? All your buddies were complaining that white men

Suppressed the fucking news and wouldn’t tell anybody. It’s not that, it’s the fact that the TV’s in the living room and people don’t want the outside world in their living room because they go home to be social. And they don’t want the lonely outside world invading

Their social space. Try to tell that to Huey Newton or Ralph, what’s his name, Al Sharpton or Jesse Jackson. Whenever I brought up any McLuhan things to my fellow black caucus members, they thought I was fucking nuts. They had no meaning.

Tariq was one of those guys. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City.

I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City.

I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City.

I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City.

I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New York City. I’m going to be in New he never thought he’d ever get out of New York City.

But to have himself in fucking paradise, he walked around for a few days in a state of numbness, he was with his daughter, and with me he, what happened, we ate something at the restaurant and he immediately got an allergy and had to go to the washroom, I think he went and vomited.

He was going through a lot of emotions because all had to go to the washroom and he went and vomited he was going through a lot of emotions because all of a sudden he was with bob and he likes me he likes carol he respects us and uh… it’s like it was

Over his head he couldn’t take it he apologized at the end he said sorry i wasn’t very good company i just couldn’t get over the fact that i was with you oh get over the fact that I was with you. Oh. Wow. Did that make you sad? Make you sad?

A moan of sadness and sympathy, Roxy? No, it’s like a like a moving that huge. Yeah, it’s moving. No, it’s like Ray, he has a hard life, man. He can hardly get any work anywhere, he starves all the time and manages to get different jobs so he has no fucking money.

I imagine his daughter who’s got a job, maybe had the money and paid for it. But he talked about, last time I talked to him on the phone about four years ago, hadn’t seen him since 2007 or so, but we talked on the phone a few years ago and he was talking

About, yeah, I’ve got to come out there. I knew he’d never come out, there’s no fucking way Ray, just you know, he’s a bait, I didn’t even know he’d live long, you know, he’s gonna die, starve to death, and because it’s a different New York, you

Know, it’s a post-9-1-1 nurse, tough there, and so all of a sudden he’s here. And he really was. So what we did, we went to a restaurant at five at night. We got there first people there. There was no one there. So it was a big hotel restaurant.

So he put the video camera up beside the table. So he has the only recorded document of Bob and Carolyn eating and hammering it up at the table. He’s got the only possible record that was ever done that yet out to be worth a billion yeah they want to bobby carter eat

And uh… so so after a while the uh… the waitress came over said you you can’t you can have the city in front it blocking the the alleyways the movement right? They have to walk by to their tables. But there was no one there. So Ray said, no, no, we’ll move it before

The crowds start coming. We’ll take it down. But he actually got footage of us being domestic or whatever you call it, hanging out at a restaurant. And, you know, Eben and Legend, those guys, they get to be at the restaurant with me in last year in LA,

But no one has a fucking videotape of this. This is the kind of stuff people long for. They want to see Bob when he’s private. They want to see what he’s doing with no one’s looking, right? So Ray got this recording. I don’t know what he’s going to do with it, but…

And of course, I started hamming it up, it’s probably funny what I did. I started yelling at Ray, or not yelling, or he’s doing something. But he barely made it through the dinner. He had to go to the bathroom twice. Wow. So, we just listened to him.

That’s the most cheap of the vortex. Yeah, yeah, right We basically heard a bit about his life. He didn’t have time to learn anything Oh, here’s what happened He knew he wanted the RNA drops So Carol actually took some leftover stuff and made a sample bottle of what we had

He actually got an RNA drops bottle for free. And so we gave it to him. So he couldn’t wait. And then the other day he called me and says, man, his drops is great. He got it. He took it. He’s got no money to buy it. But he got

Some and he was having a great effect from it. And he said, I’m going to get some money and I’m going to fucking by another bottle the city pledged suspect this is it bob one minute a note of the richest guys in the world

Many failure with the homeless that it is about it so quite like i’m so quite like it right social life you know the the old obsolete crisis that the dumb third christ the guy who unfortunately did hang out with people and suffered accordingly we know that uh… well now can you say that

I was thinking about the uh… there was this uh… with the hot fusion there was the monsters archetype appearing and then also the megalomaniac bob conquering not only planet Earth, but the whole multidimensional parallel world. And… What do you mean? Are you talking about Begelmaniac?

You mean like a Doctor No character in James Bond? What is the Doctor Colossus? It’s a recurring on the top of them writing for the family and and it’s funny that he usually wait wait wait wait okay i don’t get what you’re saying you think that they showed the monster theme

And then you think that himself was a megalomaniac no no that they’re the second one there appearing in the landscape of popular culture there was also this megalomaniac that is going to conquer planet Earth. Oh yeah, you mean like the Dr. No and James Bond?

You’re talking about James Bond films, the Dr. No’s, the guy who’s got some new technology and he’s going to wipe everybody out. That’s what you mean, right? Yeah, because it’s something you mentioned several times, how the Android name and the media, the popular culture somehow, in versus Bob projected.

Oh, they’re always mirroring me. That’s right. They’re making me look bad. That’s right. They make Walter with an asth-minded that actually was pretty accurate but anyways Walter on the fringe with his basket case and they make him look exactly like me oh yeah you’re right they’re always misinterpreting what I’m doing yes

There you are being Christlike and I don’t see anybody at all slack praising Bob for hosting Ray Wilson yeah we’re going to know you know remember Ray Wilson the Wilson family was in the Zappa book the night before remember we were reading from the

Characters was mr. Wilson in the Christmas celebration. Then Ray shows up. So while we were there, here’s what we did. I encouraged him to get a job, to go, like he had another 12 hours on the island,

Like he’d, what was it, Sunday night, they’d be flying out Monday afternoon. So I said, look, tomorrow morning, go to the hotel here, find out job applications. Because he, you know, just, he realized, holy shit, this is where I want to spend the rest of my life, man.

I don’t want to spend anywhere else. I got to fucking move here. And so I told him to, you know, look into it. I don’t think he did, but he’ll probably call me up one of these days, Bob, would you go down to the hotel and get me an application form?

I’ll probably have to fucking do it. But he was blown away, he said he couldn’t believe the smell of the air when he first landed, you know the pure air, it just blew him away. After being in New York all these years

The pure air was shocking to him. The flowers, the landscape, the water, he’d been transported to heaven. And he, what was it, he, I’d say a couple of things. Like remember I told you when he first called me, we talked about 30 seconds,

And whatever I said he goes, Bob you’re blowing my mind already we hadn’t talked in four years so but he’s a really nice person you know really good honest guy and he’s got got this whole amazing musical knowledge that goes way back as he lived it and so he’s always say oh

You know what would he say, like you know, Joe Perry of the Five Satins or the Flamingos, he was in, he was, he’s passed by the street today, I was talking to Joe Flamingo, Joe Simon would be 89 years old of the Flamingos

In 1955, you know what I mean? He’d seen all these guys around New York City. He has stories about these folks and they all know Ray. So he’s a walking archive of New York oral culture. Cocktail, rock, oral. So he recommended, look,

Let’s just play. I played it last time, but look, I think this is an incredible song. I played it last time, but during the tour. But look, I think this is an incredible song. He called up when he got back home, he said, Bob, I got a good song for you.

Play the Golden Tones doing Ocean of Tears. Now, Roxy told me this week that she loved this R&B I was playing, she had never heard it before. She goes, that stuff that goes, wee-oo, wee-oo. So, we had to play a wee-oo. Du-wop. Are you still there? What the fuck, she’s not talking.

Where are you? Okay, so you fell off. So, now you’re back? Yeah, I was working the make. Yeah, I dropped out. Okay, so were you laughing when I was saying we you, we you, when you were trying to do the R&B? I only shared before this. ♪ Holy Jesus ♪ Yes, yes.

The platters. There’s so much more. Yeah, it’s such a great song, and as I was listening to it I was thinking, Ray is a unique guy. He’s a subgenius. He’s had an economically hard life, but he’s always worked in the most interesting situations.

Like he worked for many years for Gary Null, and that’s a real vortex of activity in New York City, and he witnessed all of that. He was the janitor for Gary.

But there’s not many blacks in New York City who get the R&A drops. he witnessed all that he was the janitor for gary but um… there’s not many blacks in new york city who get the rd drops

You know i mean he got his life you know i’m to the drop he’s really good shape he’s good-looking he’s got everything going for physically and now we get the drops i mean this guy is blessed yes he is

Yes he is. Yes, he is. That’s cool that you actually recognized the change after he took the drops and he called you. Yeah, yeah, he noticed it and he’s healthy enough. He took advantage of, hang out with Gary Noll, he had no money, so he lives very frugally

And healthily, like you live off some really good concoction he made out of herbs or something. He drank that for three days because he had no money. But he would live healthily, so he’s in really good shape.

So what were you saying, Roxy? You said something else? As I was listening to the song, somehow I was thinking how some of the titles of McLuhan make us think of some science fiction movie titles, like The Mechanical Bride and The Gutenberg Galaxy. He’s also retrieving this type of science fiction language

For his books. And I was also thinking how you, in a way, have all these, embodied all these archetypes like the crazy scientist, the megalomaniac, trying to conquer all dimensions, and the captain of the ship explaining to the tribe the situation, all these different. Right. Yeah. Yeah. The prettiest wake up here. Popular.

Humphrey Chisholm’s earworm. The music here, like you are, you had all these unmanifested creations and you are replaying them and I was thinking how, what Jung was trying to explain as the… Collective unconscious? Collective unconscious. And that’s, he was trying to explain why all these archetypes come back again and again

And again in all humanity and he said there is this collective unconscious and that’s how we retrieve these archetypes but I was thinking it’s more like yeah it’s just the replaying of these unmanifested creations that come back and then we replay them

And that’s how they appear again and again, like what Nietzsche called those. That’s a good idea. What he calls recurring archetypes is unrealized manifestations. That’s pretty good. Yes, because I don’t say if there is not conscious or unconscious. Right, there isn’t any, that’s right. Now, Alissa says, she says,

Okay, thanks for the book, R-E-C-S. I don’t know what that means. Book references. Oh, okay, I told her where the book was, right. Then she says, art as survival, ha ha ha. Then she says, one, well, it says, comedian slash scientist slash jock slash artist.

Capital letters, comedian, scientist, jock, artist capital letters comedian scientist jock artist is that describing uh… me? Is that me? That’s what you told me last week What’d she tell you? No you’ll see it, you’ll read it, the next line she… I shared that on Jenny’s show on Wednesday

Okay so you’re reading these notes? Yeah, I can see it. Yes. You’re looking at it. Okay, so she says, oh, I see. She says, thanks for sharing that on Jenny’s show, Bert. The only way to be surviving as an artist today is to be beyond as an artist. Or beyond the artist.

Is to be beyond as artists, is to be beyond as artists, or beyond the artist, is to be beyond as artists. Have to lean quadrophenically through the leading edge. No, she’s got lean. Have to lean, L-E-A-N, quadrophrenically. What is it, quadrophrenia? You’ve got to spell that with P-H-R-E.

Maybe you know that, but you didn’t spell it right. Quadrophrenia, like schizophrenia. Not phenically, phrenically. I have to lean quadrophrenically through the leading edge to help balance the vortex. Excited to hear more Roxy and Bert and Bob. Now, what did you say about computer sciences? I don’t get that from what you said.

What did you say? Well, on June the 1st. There was one segment where they were talking about contrasts and I just related to that you told me this last week and it really fit that you need to be a comedian,

An artist, a scientist and a jock in order to deal with the activities. Everybody, there has to be a Renaissance person. You’re already being exposed to so much, and most people hide or don’t know what to say, have no comment, but they’re constantly being aware of new information coming at them

Through different media all the time, and they don’t know how to put in their framework to make fun with it, to make patterns that you can play with. And McLuhan and Zappin, our people here, they give basic pattern grammar that gives your mind a formula to absorb the strangeness that comes.

And McLuhan predicted that. He said, we’re going to see more and more bizarre forms. He said that in 1967. And that’s the main experience of everybody. I suppose someday, just like we talk about the Renaissance, they’re going to talk about the rebop times.

Did you say re-bop? Did you say re-bop? Yes, because… naître means to be born in French so the renaissance is to be reborn Right The re-bop is also the word reborn So we are like re-bop The re-bob era.

Do you remember me saying, Bert’s probably heard me say this a few times, the end of May 2008, we’re on our way to moving to Maui, we drop into LA and I visit James Curtis, James Martinez and Galena. Galena was a friend of Walter. So we get together to celebrate Boward

Who had died six months before. And in the backyard, we’re there for five hours while James channeled Walter to me and Galena. So that was interesting. Then we’re driving home, James is driving me home and we’re on the LA highways, and all of a sudden James,

Every now and then Walter would come through and he’d go, Walter just said that in a hundred years they’re going to be talking about you and making paintings and movies about you. That’s what he said. This is a year before I even showed up and James

Just said it. I mean, I don’t know if James is jealous of us now or has a problem with

Us but he didn’t have a problem then, he didn’t mind saying that and I don’t know if James is jealous of us now or has a problem with us, but he didn’t have a problem then. He didn’t mind saying that. And I don’t even know if he knew what he was saying.

He just said it. And I turned to him. I was in the passenger seat. I said, what, Waller just say that? He goes, yep. And then I just thought about it. So you’re repeating Waller Boward. Oh, hi. Oh oh hi, Roxy. I’m looking at a word. But yes, well, they have to, they

Will be, because if we do, as iON says, if half of what we say is going to happen comes true, that will be too much for you. It’s just half of what we’re saying. So, Alyssa says, does the violence… What?

What’s unique is that all of it is in archives, so they’ll have access to it. Everybody will live it. This is for the first time. With our stuff, they’ll have the experience and the meaning. I bet you I’ll make sure of that. Won’t just be puny into replay

Where you have the meaning of the experience. You’re gonna have to have the experience. I was remembering in the castle, the eight, many of the eight that represent eternity are made with cords, like they making a knot. And I think it’s like putting together all these loose chords and we’re sort of tying,

Again, all these ideas, all these patterns, all this information to return to the eternity. I don’t know why this thing, I’m just like seeing this type of the eight created by the courts and in a way it’s like the ADN, is that? No, DNA.

The thing in Spanish, in Spanish we say the, yeah. You say DNA. You say it differently in Spanish? You say ADN? Yes, we have different syntax, yeah. Ah, interesting. DNA. Yes. Yeah, so you get that verb. The braiding of the of the the whole chromosomes yeah

Chromosome 14 type of making these eight with the courts is the braiding of the chromosomes right like a big metal what is DNA and this is The stairwell in the middle of the building. Yes, the stairs. But… They show that in the documentary. We’ll see it in the documentary.

We’ll see the stairwell, the spiraling stairwell in the center of the courtyard. Yes, and the funny thing is I think until the beginning of January you can see this documentary in in art in the French channel per internet yeah they they have it

Open just like for two weeks or something like that and it’s amazing it’s right now that you can see it so I don’t have it open all that’s… Oh, they don’t have it open all year long. Are you saying they don’t have it open all year long? No, there are many other documentaries,

But now they’re showing that too. No, okay. And… Are we talking about when you could visit that building as a tourist all year long, right? Yes, you can visit that, but in the French TV, they’re showing now, I think for two weeks you can

Access their archives and they have a documentary called the King… Oh you can go into the Castle’s archives. You can go into the Castle’s archives. No it’s a TV channel, a French TV channel called Arte. So what… They have other commentary showing for two weeks you can access, call the king, the architect

And the castle. It’s in French but you just watch it and you see the stairs and you see the plan. It’s made like across all this. Well, what Web site? How do I go there right now? How do I go there right now? Yeah. What is it? What’s the URL? ARTE.

That’s all? ARTE? Yeah, that’s a French channel. ARTE? Yeah, that’s a French channel. Art in English. Art, art, art. Yeah, OK. Well, Wikipedia. I’ll go to the Wikipedia. Then go down to the bottom. Franco-German TV. Yes. So art website.

Art radio. So, art website, art radio, free live service for parts of the art. If you are in the channel, Google or search for Shambo and I suppose you are going to see that documentary showing up. Right. It says, welcome. We’ve set your default language to English. Oh, cool.

Maybe they even have a version in English. Wow. So then, so Paul takes it to the search library. So what do I put in? Shamboard Castle? Or put the name of the documentary, the king, the architect and the castle. Right. And castle. The bastard wouldn’t type. What’s wrong uh… they won’t register

Well they’re trying to get loading maybe still loading hasn’t got to the complete download yet uh… neopolitan style weddings neopolitan style well it’s past okay uh… is pat i have a good uh… it’s passed. Okay. It’s passed? I have it. It says… Oh, it’s… Well, I have a…

I was looking for the program, but then I got something that says, in French, Da Vinci en la Loire. Yeah, maybe that’s it, Da Vinci en la Loire. Well, for some reason it won’t let me type anything. It says it’s loading. Search in the library. It won’t register. It won’t… Nothing goes in.

Well, maybe you can… No letters go up when you type. But you have the link. It’s there. You’ll find it. Okay. There’s also something You’ll find it. Okay. There’s also something on YouTube as well, Roxana. Is that correct? Yeah. Yeah. Okay.

There are many documentaries about that place because it’s like this type of UNESCO monument, patrimony of All Humanity. Okay, so I’ll type a little. It’s just not typing. One letter went in. So, Alyssa says, so what did we finish? So you were describing, what were you just describing?

The courts, the courts and the decorations, how we are putting together all these ideas that were loose and tighten, make all these connections again to regain the eternity. Right. Now we already have the eternity. We just have to not regain it, just notice that we are eternal. Notice it, apply

It. Well, maybe that’s regaining. Does the violence of the arts refer to Krishna Murthy and Dave Werster question about violence in Ojai? Yes, in 66 Dave Werster says, are you asking us to experience violence? I’m 20 miles from Ojai right now. Back forward, back with Zappa, forward with Zappa, back forward with Zappa.

So the violence of the arts. So no, I don’t think the artists, yes, mundane artists would, avant-garde artists are presenting stuff that they think is disturbing and they want to disturb you. But that’s done conceptually. The real art, the real serious art, disturbs people in ways that the artist didn’t anticipate.

I don’t think Stravinsky knew that they would riot at the Rite of the Spring or whatever it was in 1913. He didn’t tell you how people riot. Yes, so for example, the impressionist or the expressionist German, they were just painting

In a way that was shocking for the society at their time. For us it’s very beautiful and quite figurative, but at the time it was really shocking. Okay, so if the artist, the artist has to know what is upsetting. So yes, the artist is asking you to experience violence,

To experience what would appear violent, but I don’t think the artist can do it just to bug you. They have to generally reflect the present dynamics that are going on due to the new technological effects. They have to unwittingly do it.

Like James Joyce said that he hated doing Finney’s Wake. He couldn’t stop it and he got really worried about it and he would go to mediums to see how he was doing. He couldn’t stop doing the Wake but he had to do it that way and he didn’t know really why

He was doing it. So, or whatever reason he came up with he wasn’t happy with. So I don’t think you can be a phony and say, okay, this is what will bug people. That’s too contrived. I think Mozart, that is effectively surprising, it happens by accident.

So with Picasso, okay, this will really screw him up. When he did cubism, okay, we’ll just sort of make this odd and see what happens. But he is out of the vessel. For example, Matron explains cubism also as all happening at the same time and not having

One point of view, but many points of view at the same time. It’s called multi-locational.ational, called multi-locational. So it’s also an effect of what is coming. And maybe he, even Picasso will not understand what he was doing, but he was already showing it. He was feeling it, his ideas,

His instincts made him do it that way. He did not know what it would do to people. Even though McLuhan says the artist is trying to get an effect, so they want to get some effect, it’s a tough question how much the artist knows.

Bob, what you said about Joyce, could that possibly have been the non-physical pushing through and he just didn’t understand it? So he went to the medium to see if he’s okay and he just kept continuing, but it was just the non-physical pushing through him? Possibly?

Yes, because even iON said they were telling him, like they were telling John the Revelator and they were telling Joyce and Nostradamus and Bob when they were doing the chart on Yes, but I don’t know how it was for you, you are not aware of what you are doing but

You have to impose No, no, when I was doing the chart, I thought it was really good. I thought, oh, now I’m really getting it organized. This is perfect. You know, I thought it was really well done that I… Okay, this is how you organize it. Look, I mean this, I mean that.

It’s all in the chart. I thought it was a beautiful creation. Like Zappa says, he doesn’t know why all the songs aren’t a hit. He says, every song I make I think is great. So I thought it was good. But the response to it, you know, I never would have anticipated.

I thought I was helping people understand it. I just caused more fucking confusion. Incredible confusion. I was trying to put it in order. All the factors that I was thinking about and I thought I did a pretty good job. And here we are, you know, 20 years later, 20th anniversary,

With hundreds of hours explaining it and nobody really getting much out of it or not many people know about it. And then Ian says it’s in the Bible. So I thought I was doing it, but I had no idea. I had no idea what it meant.

I thought it was great in my terms, but it meant a lot more, which I did not know about. So I’m unconscious of the meanings of it. I had the experience without the meaning. It was not an instant replay, even though I say this is the instant replay of the Ed Roy Beam.

Yes, but maybe all this great art is a moment of recollected lucidity where you connect to the knowing and you just sort of flow with that and relax and allow it. Yeah, you get it right. And I think Ian said that all creativity comes from non-physical

Because it’s all unmanifested creations that have to be made and they’re all in the fallen state because the Ascended Person doesn’t require any of these creations. Doesn’t need a chart. Doesn’t need anything. So all iON is coming from… Yeah, go ahead. No, iON said that the angel helped you with your chart.

I don’t remember where it was, but I remember hearing that. No, no, we know that. Yeah, that’s a good one. Hey, listen, it’s coming up. You only got 12 minutes left, right, Roxy? Yes. Okay, so we’ve got to finish the article here. Let’s see.

Then Melissa says, Frank Sinatra had Elvis on his show and they sang together, one out, one in. But what year was that done? And why is that later? Why didn’t Frank, why is Frank saying it’s ugly? You know, what the hell is Frank referring to?

And then he has Elvis on the show, so good question. Okay, so we’re talking about- It’s all about the commercial success of Elvis. It was good for business. Right, so he’s saying, McCool says people will not tolerate violence in their homes. They will not have had bad news on TV anymore.

They’ve had to change the newscasting, cool it, and all the hot stuff is left for the newspapers, which is outside, not tolerable inside the home. That’s where you go to be friendly and nice and chummy. So the motor car is being phased out of our lives, not by gasoline shortages,

But by a complete revolution in our spatial consciousness, which is from television. You can tell General Motors or Ford this someday. They don’t know this, and they’re not likely to be able to understand it anyway. But I mean, without real training

In the arts, these people will not survive. This is literally true. Big business cannot survive today without a very highly developed sense of the arts. They’re the warning signs.

All the warning signs of the new ground are present in the arts long before the hardware boys ever feel them. And so the arts are for survival purposes and for navigation purposes and as such are indispensable even at the most homely and

Humble levels. So that came true. Chrysler and everybody all fucking collapsed and they had to fucking go on welfare. Right? Remember that? When the car companies collapsed ten years ago or something? He told them. They weren’t reading their Finney’s Wake. They weren’t listening to me. They had no fucking clue.

And he says, they don’t know this and they’re not likely to be able to understand it. Anyway, he says. So then, he says, this particular structure of the North American man, who goes outside to be alone and inside to be with people has naturally affected all our literature.

You will find that this is the key to American literature, whether it’s Walt Whitman or Hawthorne or Thoreau. Unlike the European who introduces you to his characters indoors, the North American characters met outdoors as an extrovert, a man of the open spaces. He may be a gumshoe, which means a detective.

He may be a gumshoe or he may be a cowboy, but he’s certainly not a man of the salon. Another peculiar feature of our time is the dropout. The dropout is a person who’s trying to get in touch by breaking a bind or a hang-up.

The problem is related again to the acoustic world of electric institutions. At electric speeds, the old organization chart doesn’t hold up very well. The educational organization chart doesn’t hold up very well. The educational curriculum chart doesn’t hold up very well. The boundaries between subjects and teachers and students

Don’t hold up very well at the speed of light. So the dropout is a person who is attempting to get in touch by introducing a new interval between himself and some bind. The drop in, on the other hand, is the consultant who is not in quite the same bind.

The drop in, on the other hand, is the consultant who is not in quite the same bind. The drop-in on the other hand is the consultant who is not in quite the same bind. But the wheel and the axle may be useful here as an image of the play that is necessary

Between figure and ground in order to be in business or to be in any kind of viable situation. Between the wheel and the axle there must be a slight interval. It is called play.

You remember an episode that occurred in the newspapers a few months ago in which some people volunteered to introduce themselves anonymously into mental institutions. So they agreed to book themselves in, only to discover that nobody could tell they were

Sane. None of the operators of the mental homes, what’s he called in mental students, but yes, none of the operators of the homes could tell who the sane people were once these people got here. But there was one group of people who had no doubts, and they were the madmen.

The mad people pointed at the intruders and said, they’re playing. Now a madman never plays. He’s a very serious character, very specialized, very logical. He’s granted his very narrow assumptions, and he’s absolutely logical. But this lack of play may be the

Difference between madness and consciousness or… But this lack of play may be the difference between madness and consciousness or sanity. These mad people spotted the sane intruders instantly and said, quote, they’re playing. It’s a put on. Isn’t that amazing? The insane people caught the fake people. They knew they were putting it on.

And it says, remember Hamlet, who by way of trying to find out who his friends were, said, quote, I’m going to put on an antic disposition. I’m going to pretend I’m mad. This was a ploy used by Pirandello in Henry IV,

In which the emperor puts on the role of madness in order to ascertain the credibility of his courtiers. Nobody, by the way, can be insincere in the presence of a madman. This apparently is a physical and psychological fact, that in the presence of mad people, everybody fesses up in some way or other.

I was thinking, that’s why everybody fucking admits everything with iON. iON is basically a mad consciousness, an insanity, and nobody can be phony so everybody tells the truth. In private or even on the show. You get that guys? You still there? Yes. Yes. Me. Where’s Bert? Is he still there? Let’s see.

You were blocked again Bert. You’re back? I’m back. Okay, so, did you get that? Nobody can be insincere around iON. Because iON for all intents and purposes is a madman, a mad consciousness. That’s pretty cool, eh? Did you see how someone predicts Aion? Aion, he’s a goody.

And that was the thing that impressed me the most when they told me to report to Bob, is they were showing me very intimate things about the people I would look at. And I said, I don’t want to know, but it’s like, if they show me, they see through you,

They know everything. So like, they see through you, they know everything. So like they know your agenda, they know what your motives and there is no point in trying to be smart or whatever, you know, they know. Right, now that’s an interesting point.

Like he’s saying you can’t be insincere in the presence of a madman. But actually I’m taking a different view uh… you know people can’t be insincere in front of Ayan because they find out what Ayan knows but what i’m just saying if you look at Ayan as a madman

Another reason why you can’t be uh… uh… insincere is um… you can’t you you start confessing when you’re with a madman okay and the point here is just to to get your power back there is no other agenda besides

That right and I just realized a lot of people always say geez I just told you all about myself I know nothing about you I’m a fucking madman everybody confesses what I started talking to me they tell me everything I’m mad I have

Proof now that I’m mad yes and as we, you can ask iON and know whatever you want to know. Yes, I can check up with iON. That’s right, I check up every one of you guys to find out what’s really happening.

Okay, so then he says, the role of the artist in play needs no stress. The artist is a person who tends to use all his faculty simultaneously and is always at leisure when working hard. The artist is never more at leisure than when

He is facing a very tough problem. The use of all the faculty simultaneously creates pleasure. Children always seem to be playing because all of their faculties are simultaneously engaged. They don’t have a goal. They do tend to play roles very easily. They don’t have

A goal. They do tend to play roles very easily. They don’t have a goal, they do tend to play roles very easily. One of the peculiarities of innovation is the unexpected retrieval of ancient forms. The electric age, this resonant acoustic time, retrieves above all the occult. The occult

Is by definition the form that is congenial to acoustic man. And he, the acoustic man, therefore appears to be superstitious. I think it was Levi Strauss who, in discussing the savage in his book called The Savage Mime, says that the savage regards everything as being related to everything, which is a formula

For paranoia. The paranoiac is a person who suspects that everything is connected with everything. And this is a very good definition of acoustic man because acoustically, in terms of the vibes, everything does relate to everything. So the Android Meme, the electric age retrieved the occult but the Android Meme

Retrieved iON. Which is, you know, the Android Meme is more than the occult, more information, way more multi-dimensional. But it retrieved something even further back, more ancient. Something our grandchildren knew. Our grandchildren knew. What direction are we going? OK, here’s the last paragraph. With three minutes left.

One of the functions of the artist that is understood in recent decades is that it is, above all, to prevent us from becoming adjusted to our environments. One of the functions of the artist that is understood in recent decades is that it is, above all, to prevent us from

Becoming adjusted to our environment. There’s always a danger of becoming a robot, of becoming well-adjusted or conditioned like a man paddling a canoe. A man paddling a canoe may seem very symmetrical and very harmonious in relation to the elements. He is, in fact, a servo-mechanism.

You know, people go out in nature to be spontaneous, and they act like robots in the tools they get them to nature, like a canoe. The better adjusted he is to that paddle, the better adjusted he is to that paddle, the better adjusted he is to that paddle,

The more a servo mechanism he is. That doesn’t mean that he isn’t fun. That doesn’t mean that it isn’t fun. The danger, however, of becoming a servo mechanism of our own environment by adjustment is headed off by the artist who creates violent new images to dislocate our sensibilities.

The job of the artist is dislocation of sensibility to prevent us from becoming adjusted to total environments and to becoming servant and robots of these environments. That may sound paradoxical. The phrase is from Rambo, quote in French, un de reglement de tous les sens, un de reglement de tous les sens,

Like upsetting all the senses. Then he says, the job of the artist is to upset all the senses, and that’s to provide new vision and new powers of adjusting to it and relating to new situations. There’s a perfect ending of iON and Zappa. The job of iON is to upset all the senses,

And that’s to provide new vision and new powers of adjusting to and relating to new situations or frequencies. There you go. adjusting to and relating to new situations or frequencies. Yes, and Zappa is commenting about the cosmic debris, the mutants, the zombies, the monsters, the robots, all this. All of it.

Yeah. I suppose he was aware of what he was doing, because he was having this discourse very in appearance, very simple, very funny, whatever, and behind that he had this amazing music as a soundtrack of the movie he was making. Right, that’s right. And remember he wanted to become a TV show.

And people who put up Glenn Gould versus Zappa, Gould had a TV show I guess in the seventies. Well Frank was trying to get a TV show after he broke up the mothers in nineteen seventy. He was trying to get on tv and he lays out

A program he almost pulled off with daniel shore the famous journalist who got banned by media uh… he negotiated with dan shore to be on the show and he was going to what they were going to do was to do maybe like a, listen to this, they were going to do a

Date line or guy did Dateline, um, every, be on every, every night, and they would make up skits and respond to the news. And, uh, he was actually… In a way, as a, as a tactile artist, he was making us aware that everything is a reality

Show. Everything is, is going to become media content. And, and you are, you’re on, you’re, it’s like the show, the show must go on, you are part of the show, of the big concert. He says in Burt Weaney’s Sandwich on the album, you hear him say to the German audience in October 68,

Everybody in this room is wearing a uniform. Now McLuhan would have refined that. A uniform is what industrial people wore. Electric people wore costumes. He would say young people liked the cop on the motorcycle. That’s a cop with a costume. But the bureaucratic cop sitting there with his little… Listen, listen. You

Want to hear this? It’s a clean thought. The bureaucratic cop is standing there with a little notepad, you know, putting tickets on people. The kids don’t like the bureaucratic cop is standing there with a little notepad, you know, putting tickets on people. The kids don’t like the bureaucratic cop. He’s in the uniform.

They like the cop that’s in the costume, the motorcycle. So what were you saying? Is that they are not identities but roles. That’s why he put up the a, in a carnival. Right. And you know how all things, media communicate. Well the popular sensibility of that,

Since media are clothing, you wear these environments. So what happened? By the 70s, people started having their T-shirts communicate messages. That was a subliminal popular reaction to realizing all objects communicate. Have messages, have services. And McLuhan was translating this with his slogans and he was very criticized because of that

Because many thought, the intellectuals thought, oh he’s too simple. But he was actually being too smart, like putting a whole university He was having perfect pitch. And if you have perfect pitch, you would… The message, I mean, explain that.

Gerd Stern, when he read Don Thiel’s book about McLuhan as a poet, he says, I never thought of McLuhan as a poet. Now Gerd Stern’s a poet, thought of himself as a poet. He never

Thought McLuhan was a poet. But McLuhanertzner is a poet, thought of himself as a poet. He never thought McLuhan was a poet. But McLuhan was the greatest poet of the last 50 years because he did it conversationally,

He did it in a casual way that people talk, he didn’t try to make fancy sonnets or fancy complex poems or abstract poems. Because language was fading out, he turned casual talk into an art form. Plus everything else he did. So he made the most advanced poetry around and none of the poetry,

The official poetry world knows that. Yes, and this is how most relevant poetry. Or what is an artist, that the tactile artist in these new environments that they’re both showing us. Good point. A tactile artist knows that speech is tactile, not oral.

He did speech in a tactile way waiting for the audience’s response. It was in dialogue, and he wrote books with another person, didn’t do a solo thing. Norman Mailer was a solo guy who was always arguing with McLuhan. Well, for Clint, I have to be transmitted into another frequency.

I have to be with myself. Okay, so what, I would like to do, I would like to do the freak out things we can’t do without you. Are we going to stop the Zappa thing?

Do you want to hear what we don’t do, Roxy, or do you want to be part of everything that we do so you can have your input? Well, I would like to be part of it, but maybe you can do also something else. I don’t know. As you like. And you would…

I probably won’t. But we did something. We didn’t do a lot of what we… I want to review the MRS in a bigger level. So we’ll do it next week. Yes. Okay. I think we should also explore all these lists with more audio examples, because it’s really amazing.

Like the Canadian composer you played also, that’s a man who’s a really sub-influencer. And for example, I never heard about him. Yeah, it’s new. It’s very interesting to explore all these. So I got all the clips you sent this week, you know, space and the playing with computers,

And you know, the laptop orchestras. We’ll play all that next week. All right. All right. Well, thanks a lot, Roxy. That’s another… Yes, we can talk about Japan technology and all his developments. But everybody should go to the castle. Go see the footage on the castle. Yes, I sent the links to Ed,

So I suppose he’s going to put them on… All right, you’ll put it up. Yeah. On the dips later. All right, good. Okay, for the… Yes, see you later, boss. Have fun. Take care. We’ll clean up the mess that you left. We’ll clean up all the scraps of your big dinner.

Yeah, it was nice meeting the Rockefellers. We met the Rockefellers tonight. They came in to dine with Roxy. They’re all in the Istanbul Castle. Yes, yeah. Okay, talk to you later. All right, so Bert, I think you’ll… he can’t leave. You want to hear some music?

Give me before you go. Look other people dropped off. Oh that’s you. Somebody just dropped off but it seemed like more than one. Are you still there Bert? Yes I’m here. Okay so what, is there a Zappa song I could play? What could I play? It’s the… Isn’t that McLuhan article awesome?

It was a good time to stop and bring in McLuhan’s unique perception to show how it relates to Zappa. That worked. It was a good time to bring in a McLuhan thing in the middle of the Zappa thing. So where is my list here? Here is Zappa, why vote?

So this is some kind of documentary, 27 minutes, and I just glanced at at it but apparently Zappa ends up talking about voting so let’s play this. I think it’s made by someone else with a collage of other things so this might be a good thing to listen to for a while.

Okay so we got everything ready. So you’ll be around for, you’re here for another few hours, right Bert? Yes. Okay. All participants are now muted. Put up the sound. Now.

Congressman helps lead nearly 600 people on a march to highlight their demands to register and vote. Okay, I’ve got to move back to the beginning. It’s already well into it, so here we go. Hopefully it will start here. police use fire hoses and hopefully we’ll start here okay Bert, did you hear that?

Did you hear that Bert? yes, explains a lot I heard an interview last week by Frank and Gail Zappa. What was I going to say? What that, that was about us, the Black Caucus, how we got the vote. Yeah. Me, my history.

Let me just, okay, so is there anything you want to talk about lingering from other issues that you want to get into? Any questions or statements from over the last couple of weeks? Yeah, I have a question.

Something you said earlier that I saw a link to what you just discussed with Roxanna on It’s In My Chart, the latest video. Earlier, when Carolyn was on, you were talking about you had an interesting pattern with the book of nature and the book of scriptures.

And how that intermesh. Would that be like the ground of the figure of the Five Bodied interplay that you referenced in the video? No, no. I don’t know what I, I updated it, but you know, the book of scripture is the Bible.

So that was in manuscript form for, you know, 1500 years or more. And nobody read it except for monks. Right? more and nobody read it except for monks right so nobody knew about the Bible and manuscript level I don’t know the the peasants they attended the rituals of

The church who knows how many were involved I don’t know how many were forced but that was the book of scripture the book of nature comes in at some point when people start taking philosophy and applying it to the constituents of matter, the constituents of the environment they were living in.

So basically the book of nature is about science and the book of scripture is about revelation.

So those are the two books. So then when the printing press came in, those two types of manuscripts were sort of, first of all the Bible was printed and became the biggest best seller, but the book of nature got changed to what was called natural philosophy. That’s Bacon and maybe even Newton wrote in both natural philosophy and then that becomes

Eventually chemistry, physics and sciences. So I’m taking that old trope, that old division in the book of nature, in the book of Revelation there isn’t any of that around today other than in museums and I’m saying iON teaches, explains the book of Revelation

But is very interested in talking about the book of nature or science or new science or the angel chart that would be book of nature so I’m just taking classifications from a thousand years ago and applying it to Iondom.

That’s all. There’s not something to get all worried about or worked up in trying to figure out. So the five bodies would be a combination of the Book of Nature and the Book of Scripture because Ayadh-Man makes them, makes nature intimately involved with spiritual

Non-physical matters. So the two books will be reunited under Ayadham. The two meanings of the books. So that I’m presenting in my diagram the chart of nature and the chart of scripture. I didn’t know the scripture part. That’s what the angels put in there and that’s what I will find in there.

So I thought I was describing the book of nature, or updating the role of the book of nature once you get into the Android Meme. Or how the book of nature would be described. Okay. So, it’s not that important.

Though, Carol, when she heard me talk about it, she never heard that distinction between the book of nature and the book of nature. Now you would have seen that in Gutenberg Galaxy you read that book say again I didn’t hear you blipped out when you

You would have seen the two terms book of nature and book of scripture in the Gutenberg Galaxy which you read yes do you remember it being there? I remember the book of nature I don’t remember the book of scripture. Yeah. I remember the book of nature.

Yeah, it’s around the time of Francis Bacon does a new updating of it. And he lives in the time of shakespeare so let’s go on another topic is that much uh… to say about that get up to get out of cannot talk about george duke or we don’t wait for roxanna all yet

Let me uh… bring up that that was very interesting uh… i know i had another statement uh… about the Black Caucus. I was, well, let me get to it and read your statement. Parts of it can be made public. Right? Yes. Okay, here it on. Just getting it.

You say, Bob, here are some topics that have crossed my mind this week concerning Frank Zappa and music. I get the impression while listening to Zappa’s music that he crammed a lot of notes, chords into each of his compositions. Is this the case? Would be a great question for Roxanna.

Yeah, we’ve gotta get her to talk about that. Frank was a master tactician. Was there a particular strategy in creating his song titles like Occam’s Razor, Imaginary Diseases? Yeah, I think he meant something. While surfing YouTube, I just noticed the connection that George Duke played with Frank.

Frank had a tremendous impact on George Duke. George said that Frank pushed him to do things outside of what he wanted to do. George Duke was one of my favorites to listen to in college in the late 70s, early 80s. So yes, many of us in the black caucus

Uh… thought a lot of george duke and had no clue he was working with that italian frank zappa we did not know that right i had no idea i mean i i remember earlier when you were talking about it you know you here

A reference to george dukein but I never did the connection until it was because of uh Ed posted on his site about it go ahead yeah about what finished George no Ed posted on his site, um, that the Sundance Film Festival is going to have a documentary of Eat That Question

And I just clicked on it and that’s when I saw that George Duke is in this movie with Frank and then I did some more, you know, YouTube research and just found out a lot more of the connection between… That’s how you find out the

Connection? That’s how you made the connection? Well, Duke was in the band from 1970 till about 74 and then he went into jazz. He left Frank so if you went to college in late 70s that was post Frank Zappa, George Duke. He wouldn’t know about the Zappa part.

But he learned a lot from Frank. He learned to play triplets. He was shocked that he had to play this simple R&B stuff. He couldn’t believe it. He said he couldn’t believe it. He said he couldn’t like it. Yeah. What tickled me is the first thing he asked about him,

And he said Frank sat him down and told him he was too stiff. Right. And that just… Right. And how he opened him up. He taught him how to sing. That’s why I had an effect because he had some, a lot of his albums later,

He sang, had a lot more humor in his music and he attributed that to Frank, that he, you know, his humor, he got exclusively from Frank Zappa. Yeah, yeah. Yeah, like Duke took that question, does humor belong in music, and it changed him, considering that, or working with Frank, resolving that question.

Then you say, you played a cut during the first hour of the show last week where a guy talked about turning his iPhone into an instrument. I want to ask Roxanne some questions on the subject of the change in instruments in the new environment. Well, I’ve got some clips. I could play one.

They’re pretty interesting. They’re taking computers and conducting them. Let’s see. Roxanna mentioned that two weeks ago or last week about laptop orchestras and I found that interesting. I never got a chance to ask her about it, but that’s interesting. Yeah, she sent some links, so we got here Prince…

Well, we’ll just play this one. And it’s the Princeton Laptop Orchestra, and it’s called PLO, P-L-O. I guess it stands for Princeton Laptop Orchestra, and it’s called PLO, P-L-O, I guess it stands for Princeton Laptop Orchestra, R-K. I’d have to look up what small letters R-K stands for.

So this guy is conducting people sit in front of their computers. So you can look that up, Princeton Laptop Orchestra, PLORC, and watch what they do as they play their Apple Macbooks or something that looks like that. Let’s see. Yeah, there’s a Stanford Laptop Orchestra.

We’ve got a few of those, but I would wait until Roxy was here for her to comment on them. Okay. Yeah. I have a question from last week, something you said to me, that there’s no longer any individual media. Can you enlarge on that? Well, what’s an iPhone?

Is an iPhone a telephone as we used to experience telephones? No, I see. Because it has all the other connections. And you can walk around with it. The phone was stuck to the wall. So the older people have this image of the telephone as something stuck to the wall that

They had to go to to speak and use. That is not an image that people have with their new communication media. So the telephone doesn’t even apply. The imagery doesn’t exist anymore. So when you read McLuhan’s Understanding Media, and he has a whole chapter on telephone, you

Have to look it up if you’re younger, what it looked like and what it did. So that’s a separate medium. On the iPhone, you’ve got newspapers, movies, video. You get all the different media that are categorized separately in understanding media. There’s no such non-seamless web anymore. So what is the medium?

What is the figure of the iPhone? What is this content? What’s it made up of? I mean, what do you begin to describe where it is? How far wide, ranging it is? Yeah, it’s pretty, it’s a, okay, I see.

So does that, what you mean, sometimes you say that the user is the content. So then it’s become, is that an example of someone using the iPhone? No. No, no, the user has always been the content. The user is the response of an individual and their temperament and their makeup

And their conditioning and whatever else they bring to their being, they project that into the content. The content becomes meaningful in relation to how they interpret the usefulness or not, or aptness or appropriateness of the content. So, the iPhone is not limited to just the content.

The iPhone is an environment that stretches over the whole planet in a seamless web, the mesh, a shroud. And people project their individual meanings into the content they see. But that’s not useful. That’s not a major issue when you’re trying to understand the form of the iPhone structure.

So we’re just so the digital landscape let me let me at this point remember what you’re going to say you got it point to remember what you’re gonna say you know what you’re saying uh… McLuhan wrote the medium is the message and played down individual

Involvement with the media he stumbled mass crowd archetypes and uh… what was happening when the satellite came in and the computer he said and take today well i talked about about the medium as a massage for the last 15, 20 years, and I didn’t discuss the user.

Well, we can talk about the user now, and the phrase, the slogan for that is, the user is the content. So he admitted that he purposely suppressed information about the user, how to look at it, because he wanted people to understand the formal dynamics of media at that time. That was more important.

Like he said, the contents of a book aren’t as important as the fact of what the book did as an environment. That’s way more important than the content of any particular book. significant in the content of any particular book. So then would the digital landscape be a an extreme effect

On all the mediums because it’s so open? All the older mediums which aren’t there. I mean what is the iPhone? It’s a sequence of algorithms or code that refers to potential transmissions and reception. Remember, people have to sit down and watch TV.

They don’t have to sit down and watch TV. They don’t have to sit down. This whole static existence with media environments, even though you traveled by the discounted effect of radio and TV, you still have seen and perceived yourself in a visual space, visual frame. It’s not the case.

If you want to know what is going on right now in the iPhone, look at a page of Phineas Wake you know there’s hundreds of languages being communicated hundreds of media aspects and it’s a big jumble and that’s the page of Phineas Wake

I mean that’s a painting of what we’re made up of yes we’re made up of? Yes. Rami, do you have something to say to iPhone? No, I was thinking three weeks ago, I got a thought about something we discussed about

The, you said, always talked about the shrinking of all the landscapes and we are in the chip body. landscapes and we have her in the chip body is i got an uh… s m s uh… uh… is the message from my phone carrier

Offering a program where i could have watched television on my iphone and that was like you can’t you can’t do that yet i thought you could i guess you want you to use that’s ok you can’t you can’t you can’t you can’t you can’t you can’t you can’t you can’t

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You can’t you can’t you can’t you can’t you can’t you can’t you can’t you can’t you can’t He had never been in a situation where you’re constantly getting email that’s imitating some institution. And it’s not the institution, they’re scammers. They’re trying to get your credit card.

You know, you have to be able to sort through this devious emails. That’s a pretty weird experience to have, walking around, you know, it’s like walking down the street and every second person whispering something to you, you know, something threatening. And you don’t know whether they’re joking or not.

Some of them are joking, some aren’t. I mean, look at that. You’ve got this judgment you’ve got to make on all this information coming to you. Yeah. You see, all the old categories of communication don’t apply anymore, none of them. Anything I’m receiving, millions of other people are receiving.

There are things I’m receiving that nobody’s receiving, so I’ve got that part. Then there’s surveillance of what I’m receiving. Then there’s different kinds of expressions, different environments to go into. What is solid in that situation? Even in the description of that experience. McLuhan was talking about the instant replay.

What about the instant pre-play? A lot of people are, you know, yeah go ahead. No, you go ahead. Go ahead. Well people have to spend a lot of time organizing their schedule.

They have to know what they’re doing over the next stretch of time, constantly changing, updating it. It’s a whole different environment now with the digital landscape. I mean I noticed that just in the work environment.

It’s totally different, but it’s funny to see some of the older bureaucratic-minded folks folks in a new organization now in electronic that they still try to apply the old, the old paradigms that they used as far as control. They have no, really don’t have a, it made

Me think, sorry, it made me think of McLuhan when the executive is drop out. I see that more so now than I did before after just reading and browsing through that book, because there are some folks within the organization I work for, they’re still in the mindset

Of the old bureaucratic, whereas we had that email, electronic, digital process that everyone has to adapt to. So it’s not like you come in, you sit, and you do your A to Z processes. But in between that, you still have to deal with the digital aspect

Or the email and the continuous communication by email and telephone. So that’s a… Yeah. It’s like multitasking is actually a way of life now in the new work environment because of this. So everyone is being changed.

A lot of them don’t recognize it, but it’s fun for me to recognize it and to search through it. But it’s really different. It’s really different. Just if someone right now would compare whatever type of work they’re in, what they’re doing

Now compared to what they were doing like me even like 10 years ago, it’s totally different. We’re being mutated in a way. I mean… So the media environment seems… To the degree you’re your media, you’re being mutated, but not completely your media. You know, I’m still in 90s.

I don’t have any of this digital life. And this has been going on for 10 or more years, right? This thing. I don’t walk around with anything, so I’m not looking and communicating. When I come home, I look at my computer, and that shows me emails and maybe occasional phone message.

And that’s all I got. So I don’t have any of the skills that people have in scanning, clicking, whatever they do with their fingers on the screen that they touch, the little iPhone screen. So I’m quite out of date with those sensibilities or those pressures that you’re describing everybody has at work.

I got no experience in that. So on my chip body level, I’m quite out of date in experience. I concentrate on having the meaning without the experience. I’m always making up patterns about what’s going on. It’s based on nothing.

It’s not based on experience. I’m the first in the internet. I’m the first instant replay philosopher. I never thought of this before. I’m describing many experiences, many meetings that I’ve had no experience in relation to. Really? I make up.

Now that could kind of, since I was doing that all these decades and kind of predicted iON, I count on iON keeping me ahead of everybody, or whatever level I have to be eye on is my ground, my blanket, security blanket. You know, it’s, I can always, yeah,

I’m always knowing things that people don’t know about. So what is that? That is, that could be chemical body information. I’ve retrieved my chemical body and even incorporates a bit of the astral body too. So chemical and astral body, that’s what I’m keeping ahead of. I’m not up on my TV.

Lately, last few years, I’m up on TV because I watch a lot of TV shows, even though it’s kind of irritating. But I’ve got many hours and I like to look at something passively without having to make an effort. You know what I mean? So pass some time that way.

And so I’m pretty, I’m probably quite informed in the TV body consumption, not on the Oprah Winfrey talk shows, but on particular TV shows. And my chip body is very retarded. Like I don’t even have a digital phone here. I’m using some kind of mobile LAN fucking thing.

I don’t even know what it is. It doesn’t have much on it. It has nothing on it. No neon lights. But I keep ahead. Okay, so what I’m advanced in is the mystery body. Yes. And chemical body information, since I don’t

Talk about Henry VIII, Leonardo and all these people, I can find out a bit of their chemical body history and maybe a bit of their mystery body history. That’s the information. But that is not, it doesn’t influence my being, that kind of information. Though I know about the three Gs in that.

Unless it expands my mind, that loosens up ideas so that the mind can’t be trapped and that helps my mystery body experience. So yeah, I may be behind the chip body but I’m ahead on the mystery body. If there isn’t a head. Or I’m not, I’m still exercising myself,

I’m still growing, I’m not just retarding and falling back and leaving the chip body experience. And then I’m hoping, well soon, when people can start talking. That’s gonna be hilarious. When people have speech recognition. Like when’s that coming in? Yeah. In some parts it is.

I mean they have the Siri on the iPhone where you can talk and say email someone or something. So it’s sort of there already, but it’ll probably become more interactive. Yeah. There’s something I wanted to do.

This is sort of on the subject, but I wanted to talk to you about this about two weeks ago. I think it was Jenny, she played the—or you played it on what youth? The four levels of Bob’s Ecology.

And right at the end there was one section and it blew my mind and I couldn’t hear the rest of it. Because there was something you were describing on the fourth level that we would become fractals. But then you mentioned that we would become like atomic beings.

And I was like, holy shit, shit that’s iON talking to Bob. Two years ago when I heard the, you know, what are your bodies made of and iON laid out this whole thing about cells. So they came through already used, I mean it’s almost like you were, you’re ahead of

Yourself because that’s in Bob’s methodology. Wait a minute. Yeah. Let me say this, Bert. McLuhan said in 1955, we are a super civilized subatomic people. Super civilized, that would be advanced literate kinetic technologies that come out of the literate technocratic world and sub atomic that’s the discarnate disembodied electronic dispersal of your chemical

Body so I’m pretty sure when I said super civilized subatomic I didn’t want to say all the words so I just went atomic. Pretty sure that’s what I was meaning. You know what I mean? I wasn’t imaging what iON said. But again, McLuhan, he’s the only guy saying I’m

Super civilized subatomic. That’s high tech first world overlaid with electronic telegraphic effects. So, just those words, I could come up with avant-garde or prophetic statements using McLuhan. That’s why reading McLuhan tonight, we should recognize, man, there’s a guy saying ionic things, but not referring, unless he means it metaphorically,

But he can point to a whole technical environment that has those characteristics. That’s how I got ready for iON, because I was talking McLuhan and ad-libbing or improvising, mutating, sub-deening the McLuhan knowledge, and that sounds like iON a profit, you know?

And it was, but we have to recognize how much it was just me playing with McLuhan. Did I hear earlier, because I made scribbles from notes when I was just listening, you were quoting McLuhan and said, McLuhan said art is the liaison between biology and technology. Did he say that?

Yeah, that’s the opening paragraph. Yeah, you were on there when I started reading that, didn’t you? Or maybe not. I came in later. A little later. You want me to read you the opening paragraph? That’s what it was. Yeah. Yeah, let me just… No, it’s important.

But see, reading this essay the other night, I said, wow, this has got so many neat, just casually verbally stated ionic positions, or what sounds like iON, or I says what McLuhan’s

Saying but with a different meaning, a reference to the mystery body, to our deeper being. But the words are the same between McLuhan and iON. And you know, nobody was talking casually like this at the time as a super educated professor, you know what I

Mean? Nobody was saying these kind of things, This contains all the past and all the future. Nobody would even believe that. They wouldn’t say it. They wouldn’t believe it. But he knew something. He was partly right. So, McLuhan begins the lecture. I propose to consider art as a liaison

Between biology and technology, among other things. So he was talking about the artifacts were invented by the cortex of the brain, but the brainstem was more ancient than was the instinctual life. And the brainstem, particularly the diencephalon, could not see, did not react to the artifacts,

Like the control of fire, early tools, but these things were affecting the cortex. So there was a split in the human being between his instinctual responses and what the cortex was creating. And art was the mediator between the brainstem’s instinctual center, body regulating center, and the cortex. Okay? That simple. Yes. Very.

Go ahead. Yeah, no, go ahead. No, I took a note. A second note was ARD is going to bridge the cortex with the brain stem. Did I hear that correctly? Yes, the instincts don’t recognize second nature which is technological evolution. It is biology, it’s reacting like an animal.

It’s the Darwinian nature or whatever you want to call it. Now this may not be true at all when iON comes in. You know what I mean? This is McLuhan’s pattern, you know, 40 years ago. And he said the role of art is to be a protecting buffer

Between the conflict between the new second nature evolution of technology and the instinctive biological evolution in the brain stem. There’s a gap. Humans are reacting to new environments without knowing what they’re reacting to. They can’t see it. Artifacts were invisible to the brainstem.

And so then he quotes A.T. Simeon’s Man’s Presumptuous Brain, and who goes into the details of this. Of course, that person doesn’t say art is the interface between the two. That’s McLuhan’s genius innovation there. So McLuhan didn’t think that serious art was a frivolity or a decoration.

It had a perceptual role to translate the new back to the past, compromise. Yeah, because when I heard that stimulated… Yes. No, okay, go on. It stimulated… Stimulated a memory because I remember asking iON about the corpus callosum.

And I asked them if it was enlarged, and they didn’t respond to it, and I asked, was it stimulated? And they said, do, yes. So the ions are… Do you want me to… Go ahead. Ions are what? Ions are what?

Ions are… interacting with ions, like what you say, just to throw words at them, is actually an effect on our corpus callosum, our whole perception of our interaction with them. You’re saying that the iON is affecting the brain? Yeah, of course. Yes. The corpus callosum. Might be affecting parts of your form

That you don’t know about, like the etheric form. Yes, yes. So, Bert, you walk to work, drive to work, or bike to work? I take a bus, and then I take a little tram or trolley. Right, so you mingle with people. Yes. Now, every day, you go into the mass,

And then you deal with people at work. Now, what am I gonna say? What’s my next sentence? Am I noticing anything? Do I going to say? What’s my next sentence? Am I noticing anything? Do I interact with them? No. And how many people live like me? I walk to the beach every day.

Nobody to say hi to. Nobody interacts with other than walking by tourists on the walkway on the beach who are looking at their iPhones or spanking their kids or trying to get me to fuck them or something you know.

Very little interaction. Yeah. I like to marvel at the way I live. I know my beautiful home and I walk beautiful landscape hardly anybody around might have to dodge a golfer or two, then walk down the walkway and walk anonymously through to the beach, swim, and then come back. That is my environment.

I don’t get on a bus, I don’t get on a subway, I don’t get in a car, I hardly talk to anybody, maybe say hi to the woman at the canteen. Now think of that. What’s it like to live like that? With no cell phone. I’m walking around like a fucking

Homeless caveman, you know, in relation to most people. Yeah. Yeah, I’ve got this most avant-garde situation. And you know, walking with no clothes on, and not many clothes, getting nice sun exposure. Got maybe some suntan lotion here and there, but walking in beautiful weather.

Now, that’s all I know, Bert, in my daily experience. So, am I missing out on something? What am I missing out on? What am I enhancing? What am I retrieving? What am I obsolescing? You can’t hear me? Yeah, I can hear you. Yes, can you hear me?

No, I’m trying to reflect on that and… I don’t think you’re missing anything, but you’re engaging yourself, your environment. Right. That’s my chemical body. Now I do spend considerable time reading emails and responding to statements. So I do have an active chip body. But people like to measure themselves

In their chemical body life. They have a lot of industrial interactions they’ve got that they’re used to, not a problem. But I just marvel on the limited level of my chemical body experience. It may not be limited, I may be flipping back and forth different worlds and all kinds of stuff

That I would tell me I’m doing, but what, I don’t have to show up to anybody. I don’t have any obligations to anybody. Money flowing freely and easily to me constantly. It’s actually, you know, pretty, if I’m walking around like that, with my awareness, my knowledge, I must be leading consciousness.

I must be doing something. I can see where I’m a king walking around, you know? Living in a very privileged, secure, hampered environment. I don’t have to cook anything. All I have to do is just notice what Carol’s eating, notice what she doesn’t eat, grab that, grab the leftovers.

And then I have her to interact with. So the only person I’m working with is this beautiful person who’s doing incredible things all over the place on her computer. That’s who I get to interact with. It’s pretty much Adam and Eve. Really is an Adam and Eve situation with these accoutrements from,

If New York City was part of Babylon you know we hear that we learn that New York City has been around for thousands of years then the external the fact I’ve got 20th century gadgets 21st century things here is not minor but doesn’t matter what is in the outer kingdom.

It is this lack of interaction with other beings, with interruptions. You know what I mean? And just with this other person. Yes. I think it’s the… What? No, it is, if you would, if you really look at it from how you just described it, it’s the perfect scenario. Yeah.

For someone to live and then to feel creative. I mean, because you are ahead of a lot of us because of what you’ve done and it’s manifested now. So now you’re setting on top of the world. Yeah. Standing on top of the world.

And I am on the side of the tallest mountain in the world. I’m on the side of it. That’s right, yeah. Remember that. So it’s not, it’s a real, literally you are on top of the world.

Yeah. Yeah, I could go up and hang over at the top of the world, but I go down the side a bit,

Go on, only a little up towards the top of the world. But I’m on the world, but I go down the side a bit and go only a little up towards the top of the world. But upon the structure, the environment that is one of the highest mountains in the planet,

That’s 500 feet or something higher than Mount Everest. And I don’t have to put up with that. What? They count that because part of it’s still in the ocean, but they still count the height of it. Is that correct? That’s how they… Yeah. It’s one big mountain.

It comes up from the bottom of the sea. It’s 20,000 underwater and 10,000 above water. Wow. It’s a perfect environment for beaming out ionic energies. Like there may be us interacting with iON all these years, so continuously. Who knows what has happened to me and Carolyn, you know, interacting with non-physicists

Like that in a pretty free-flowing situation. We’re not having a session and sending in a hundred bucks. You know what I mean? There’s no bureaucratic money involvement so constantly talking to a Harry Potter situation where you know God’s sitting there we’re like God we

Have God in the Garden of Eden with us God spoke to Adam we got God speaking to us or something that’s pretty close to what that could be. And what is, what is, we may have our being, which could include etheric forms, chakri forms, physical forms, chromosome, all the part that makes up

My being, which would include parts I don’t know. It may be so massaged by iON, iON has said that I’ve taken RNA drops for so long that my body is not like any other human beings. I got a mutated body.

So we got that, and that can be, hearing that could get me ready for the idea that we have become huge, incredible forces on the planet. And that’s why things gather around, like Roxy. We could say it’s her own power, or give her that. But let’s say the fact she’s interacting with us

And doing projects with us, like these videotapes, that that means the emanation coming off of us is affecting her reality. And that’s why she’s getting all the synchronicity all the time. Like the gaffersity all the time. Like the catfish? Yeah. And she’s just following her own instinct. Okay, Zapata talks about monsters.

Let’s look up these Japanese monster movies, blah, blah, and then she ends up understanding Leonardo da Vinci. Now, Ayan says that Sue Bone, Sky G guy Sue, controlled the fate of Air Canada. Sheila controlled the fate of this airplane strike back in April 2010. Sasha controlled Canada somehow.

And maybe you control Europe or something. Rubbing up against Ian has added something to your being on the social level that you don’t know about. But we, so when I say, you know, Bob, you’re the most powerful person on the planet, I

Can actually entertain that thought as a reality only because I’m rubbing up against iON. And I wouldn’t know how it manifests in particular, but why worry about it? It’s being done. And living in this test tube, perfect Adam and Eve environment, at least I like it, it’s perfect for me.

Other people might say, no, I like driving my car, I wanna go speeding down the highway. So okay, they do that. And that’s part of the joy, they wouldn’t understand the limited experiences I’m having. But it could be that I’m walking around like a hollow ghost

And I’ve got all these other levels going on so that that’s why I have to keep it simple. Simple interaction in the Garden of Eden level. But I am interacting with the data on the internet, the chip body, like anybody else.

You all look at the Judge Report or look at this and that. People send me articles, look at YouTubes. One thing about preparing the music is really rekindled my awareness of music, my knowledge of music. I really learned a lot the last three years doing that.

Really liked that, discovered a lot of neat music. So I can go over there, it’s like Kim, she just grabs a show, random show, clicks on the first hour and enjoys the music. That’s what I do. There’s so much really great music. Yes.

It seems, I remember iON, there’s so much that they’ve outlined since they came back in 2014. But I remember them saying something about music and they’re always interesting. But it seemed to me that my whole, when I listen to music, it’s different now. Because I don’t know, I just, I don’t recollect.

I mean, before I used to be partial to certain types of music. Yes, maybe that’s what it is. It’s like wow I Mean I appreciate all kinds of music Yes Actually your last week your whole track last week. I saved I’m gonna go back and listen to that last week

It was special for some reason. I don’t know What you know it know, it was just, it was just so invigorating and so many moods in it that I actually saved it and want to go back, let me listen to it because it was just, I’m

Like, man, what is this with music? Because it’s all types of music now that I can listen to. I mean, what you play is mainly what you play. It does something. It’s and I remember when one of the interactions that there’s something about iON being behind the

Music or something. I don’t know what it is, but it’s just there’s my ears are better. Maybe maybe my whole. Well, I am enjoying all kinds of music. I enjoy any kind of music.

Doesn’t matter what it’s almost like. And like you’re in a sort of a loving, accepting mood where you, in the gig, you enjoy anything that’s expressed to you, no matter what it is. And then the fact it’s musical makes it even more fun, because music is generally often pretty pleasurable. Yeah.

And that’s why I asked about that question and want to discuss with Roxanna because when I listen to Zappa’s music, it seems that he really puts a lot more, I mean I don’t know what, I’m very ignorant what I’m saying about notes and chords because I don’t know the difference.

I mean I, you know, music intimidated me, but anyway, it just seems that there’s a lot more sound in his music than normal. Way richer. Way, like you say, many more notes, many more sound bites crammed in there. Yeah, yeah, and that goes back to like what I heard. And it’s good

No, it’s just because it’s something that George Duke said he said that you know He said Frank put so much into I mean he could take because he made the same description that you you’ve said before He takes on what blue George Duke’s mind is that Frank could take?

What blew George Duke’s mind is that Frank could take You know so many different types of sounds that you wouldn’t think that would come together And he could put them together and somehow would come out And sound beautiful, and they said that’s always blew his mind

How he could write that and then and then? That struck me because there’s really a richness in his sound That that’s why I wanted to ask Roxanne is that What does he don’t I mean he really mixes a lot more into it

I don’t know what it is, but maybe she can from her musical background Explain that to me. It’s really curious. It’s his multi. It’s his multi-track studio He’s got the state-of-the-art studio, and he can layer things in there to the extreme. But I like this statement. We played it last week.

Let’s see, where is it? Steve Vai is talking about Frank. And where is it? Still looking, just a second. Still looking. There it is. Listen to Steve Vai. I like this opening scene. I think the definition of a genius is a person that’s able to call into play this inspiration

Very simply and organically at any time they want. And I’ve seen Frank do this constantly. But then again, there’s times where even, you know, you’re at your best. And at this particular event, which was Soundcheck, Zoo to Lures, Halloween, New York City Palladium,

Frank just played the guitar like I’ve never seen anybody in my life. Okay, that’s a pretty good statement. You know, a genius is a guy who can, or a woman who can call on their abilities instantly and maybe get inspired or have a pattern.

But I’ve seen Zappa be like a UFO in concert, like this unbelievable environment of music and sound. So I can imagine what Steve Eyewitness at a sound check is almost like Zappa was possessed. And the rest, I’m just going to

Play like 20 seconds. Listen to this. This is a footage of him playing. It’s not the recording of that sound check, but look at what’s crammed in there, even though the YouTube’s not perfect. It’s slightly cacophonous. You know what I mean?

I don’t even know how many instruments are playing there, but he’s in the middle of it roaring along And if you don’t mind that kind of sound it’s the richest deepest thickest ecstatic expression going

Was that a you could to clip because that’s what I heard last week, and I wanted to ask you what yeah I played that last nation Yeah, you want to you which clip that is. Yes. I think it’s called Steve Vai on Zappa. And it has a head shot of himself.

And then there’s many minutes of him talking. And then he gets to that part. And then they show Frank playing. And it’s a different angle looking up at Frank. And he’s just wailing, you know, it’s like Frank was expressing the wide open effect of iron

Doom or iron spaces that was coming and no musical rules applied. He just was possessed And I tell you, when you see that live in the eighth row, it’s fucking unbelievable. It’s not even music, I don’t know what it is. It’s an intensity, it’s actually communicating non-physical tones.

The sound is only approximating what he’s talking about, what he’s trying to communicate. And he’s got really good other musicians in there, keeping up with him as much as possible. But I can imagine, every now and then, he just goes way beyond human level, and that’s what Steve Ey I witnessed one day

So I’ve never seen anybody play. I don’t know what you probably say. I don’t know what Frank was doing It was probably multiple Frank’s playing multiple guys playing right there beside each other That’s a you could say that because when when I heard that

Because you know, I love the guitar trying to play the guitar and heard a lot of leads, but then listening to Frank, it’s almost like, you know, normally you hear lead guitar, it’s like, accidentates what the band is playing, but in that clip there, he was leading the rest of the band,

They were following him. Yeah, yeah. They were following him in that lead. But that goes, it sparks a memory of what I remember hearing George Duke and it just blew my mind, is that first thing George said that Frank was very underrated, they underrated Frank as a guitar player.

And he said he was so amazed how Frank could improvise that he asked him how did he do it? And Frank told him he sees shapes. When he’s improvising, he sees shapes coming together, squares, triangles, rectangles coming together. And he sees that, and he just plays based on what he sees,

Based on that. That’s, I was like, wow. Yeah, and that’s what I wanted to talk about. Hey, you know what that is?

If you imagine tactility as the organ that’s organizing the sensory data, it’s all the sensory data that’s what I want to talk about. You know what that is? If you imagine tactility as the organ that’s organizing the sensory data, it’s all the sensory data that’s coming into the central organizer, central scrutinizer.

Who knows what it would look like to that organ, but it would look like shapes, different patterns. And that reminds me another thing. This idea that the holeopathic is both the co-anesthetic and the synesthetic, that popular image of the fractal where a pattern happens and then it disperses

Into a bunch of other Baroque spirals, then it comes back to the pattern. Then it disperses. The disperses would be the synesthetic and the coming back would be the co-anesthetic, the reintegration, but the very popular fractal image, and it’s not the fractal that Ian talks about

In the angel diagram, that’s a whole different thing, but the fractal imagery that’s popularized is a good visualization of the tactile underplay of co-anesthesia and synesthesia, of unity and diversity. So I wanted to say that hours ago, but back to this thing, so seeing shapes is like what tactility would do.

To me, it would be shapes of frequencies of sound and touch and movement and vision would be flowing in and something’s got to organize it. Or maybe nothing that organizes it. It’s already organized. I don’t know. No, that sparked something because when you…

The first time that you and Roxanna talked, the week, a weekend of discussing Zappa, Roxanna did some descriptions of about a certain state of mind that a musician gets in to improvisation. And when I heard that, I thought about that and I wanted to ask her some questions if she could repeat that.

Because that’s amazing to think. Because each one of his, I mean, didn’t you say a week ago or so that he never planned his lead? Like what he did there, what you just played, he didn’t practice that, that just came out. No, right, he does not rehearse.

And you know, this amazing guitar experience, Steve, I was talking about, happened during a sound check that come in the afternoon, check the instrument, that was very particular, and they start playing, and then all of a sudden he gets possessed, and he just goes wailing, or whatever he did.

It was not planned, I don’t know who he’s playing with, or what the context was, but Frank does not rehearse. I mean, that’s pretty amazing. Yes. The band has to rehearse every day you know five or six days a week or something you know for

Weeks and months before the tour and they have different guys lead the rehearsal. People have been there for the band longer. Then Frank will come in later in the day, halfway through the day, and then start giving new ideas, laying out, there’s always, every day was new things,

And they have to change what they rehearsed all the night before, they had to change and do it differently the next night. Yeah, it’s… So you think of Frank walking around, what? No, it’s a musical genius. It’s a musical genius. Right. Now he’s walking around thinking music all the time.

And thinking whatever else goes into it. And he’s radiating this power byproduct of it. That to me is imitating me walking around with the Ionic effect, sending out a new song. Yeah. Now, Kyle posted something, let’s see, say, and this is in the InQuick, he says,

He says, if a young Elvis walked out on stage today, you would see an artist. The reason there are no artists is because there’s no Elvis or Michael Jackson on earth right now. That’s a ridiculous statement. Just a bunch of average talent being, just a bunch of average talent being,

Talent being trying to be artists. Bullshit. So kind. There’s more artists than there ever were. Bullshit. So kind. There’s more artists than there ever were. There’s so much innovation. I mean, I find songs every week. There’s not a mono culture back then. I’m reading the history of rock and roll.

It was a tiny little world. So if someone had some talent like Albus, they could dominate easily. So yeah, he was an artist of his time, but he would not be relevant to today. The artist of today is me. I’m the artist of today. Warhol would get other people

To make his art for him. Well, I’ve created a fucking thing that creates whole worlds world for my art. And I include Carol in that. So music is not that important to the younger people. They’re in tactile interplay. Some of them might find music interesting, but in general, they’ve been tactileized.

They’re not in the ear anymore. So Kyle’s terms are silly michael jackson that guy was a whack job or nothing i mean couple i don’t even does not any of his music that i would listen to albacete listen to a little bit

But uh… and one show here’s is all kinds of great songs that i heard today that i’d played for the first time that i will go back and listen to i’m a not going to go back and listen to Elvis, I’m going to listen to these different

Guys that I played that I never heard of before. There’s so much incredible creativity that they’re not changing the world like Elvis did because that world, that’s been changed

And dumped. People don’t need to change the world. What world, where is the world, that’s been changed and dumped. People don’t need to change the world. What world, where is the world? Where are the boundaries of the world? Everybody, once they get their iPhone, is equally powerful in shaping whatever’s happening

On their YouTube, Facebook, social media contraption. We’re living in a world of the most glorified interpersonal ESP that no civilization has ever had. Maybe we’re not ascended, so maybe when the ascended continent had some pretty different kind of experiences, but for little man, this is the little man supernova.

Little man’s doing pretty damn good of entertaining itself. And there’s no dominant figures. There’s no dominant figures. There’s too many people contributing. Look, if we go, listen to the beginnings of what we did today. Just the variety. Let’s see Start up this guy’s pretty good. I don’t even know bitter busk Oh

Funky little motor-race And the television man is crazy Frank’s solos are both the melody, in brackets the story, and the atonal, the space. He’s improving and therefore jazzing. Maybe she means he’s improvising. He’s improving, therefore jazzing. Then she says Frank is both showing up and leaving through improv. Dropping in, dropping out.

And I just just I’ve been I just wanted to check in case she was pressed for time. Okay, back to you, Sarah. Well, that’s about it. I just really wanted to, if anything, just reiterate that I have a lot of faith in you, Bert. I really do think that you understand

It, maybe even from struggling to grasp it in your childhood. I think you have a better understanding than most people. Sometimes it’s hard to show that if it’s an innate understanding. You don’t need to understand. You don’t need to understand.

Well, but I keep hearing Bert say that he wishes he could or that he wants to and I feel like honestly, Bert, I feel like you do. I just think it needs shown in a pattern that you already understand that you didn’t realize was musical. That’s all. Okay. So look at the variety.

I was just running through Bert. And I’ll keep an eye. Alyssa is trying to call in. I don’t know why she has to make an effort Maybe it’s where she is from but listen to the next song. This is the variety here so I

Think Bert part of the effects of the Ernie drops is being slightly stoned. You know when you’re stoned you like anything Pretty well, I think that’s what’s happening to me. I like anything It reasonable. I don’t’s what’s happening to me. I like anything. It’s reasonable.

I don’t even know. It’s not even that. These songs may be boring to everybody or stupid or something. I play a little more rockabilly than usual, but, or jump music they called it, but everything is fucking good. Now, this is just a preamble. Next week, people, a new Bob.

A new Bob next week. Get ready for it. If all goes well, it’ll happen. What would be the date? December 19th. Bob is number 19, so very appropriate. December 19th. Get ready for a new Bob, a new expression of Dobstown.

Never been seen before. Get ready. Be excited. All week long. a new expression of dot everything before every excited all week long chatted up on the news i can’t wait to get sleep new bob the showing up at the rebound new bob it’ll make albert michael jackson look like fucking bikers

You know it may be that you hear more, I mean, there’s more sound that you hear. I mean, because I hear all the instruments. Or I can focus, sometimes I can go in and hear like maybe the drummer, but then you

Also hear the whole, it’s just a different, different listening now for me. Yeah, and I’m not trying to understand anything. It’s just all pleasurable. Maybe that’s what it is. What’s there to understand here? I don’t understand this good feeling I’m having. I like Nathaniel Rateliff, or whatever his name is.