"Although Imagism isolates objects through the use of what Ezra Pound called "luminous details", Pound's Ideogrammic Method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image.--http://en.wikipedia.org/wiki/Imagism


GLOBALLOSA AND IDEOGRAM (WEEK 3)


The "nat language" of Finnegans Wake, in fact, can best be described
as hologrammic prose. --Robert Anton Wilson, Coincidance.


"The pictographic and ideographic nature of Chinese characters conduces to thinking in images, which, in turn, renders Chinese thinking, among other things,
1. analogical 2. nonlinear 3. concrete 4. holistic 5. intuitive 6. in harmony with nature.--http://projects.chass.utoronto.ca/mcluhan-studies/v1_iss3/1_3art7.htm

"To Pound, the ideogram represents the one form of written language that has been used to build society, but which is also based directly upon natural forces. Ideograms thus have a kind of double-focus, pointing to both the world of human activity and to the unchanging patterns of energy and fruition. Because Pound was convinced that signs granted by nature itself and infinitely richer than any conventionalized notation "and from nature the sign" (CII:730)--Michael Bernstein, the tale of the tribe.








POUND AND IDEOGRAM


It seems impossible to disentangle Joyce’s Epiphany from Ez’s Ideogram. Which seems more appropriate for a modern epic?--RAW

I was recently fortunate to retrieve an article by Hwa Yol Jung called "Ernest Fenollosa's Etymosinology in the Age of Global Communication" that seemed to me as I was reading it, to have 'the tale of the tribe' current running through it like an oil spill., not only because it features Fenollosa, McLuhan, Pound, Vico, and mentions Nietzsche and Joyce, but it has the main emphasis on 'Etymosinology', which strikes to the heart of the marrow here, helping us taste how some of the TTOTT characters contributed to our hyper-connected future present (Mark Pesce's term), and find themselves in resonance with the new digital age.

Korzybski, Bucky Fuller, Shannon, Wiener and Orson Welles are all suspiciously absent from Jung's article. In my translation, however I shall boldy suggest further connections into the tribal matrix.

I chose to use Jung's work here to help illustrate this weeks class (week 3) due to the synchronicity of the name 'Jung' with C. G Jung (the co-creator with Wolfgang Pauli of the term synchronicity, or meaningful coincidance) and to the fact that he was born in Korea, together these two facts fit with my objective of providing a globalist approach to presenting new information.

Jung studied in America, and around the world, I know very little about him, which I also like, I adore what he has written and I feel he adds an important bridge to understanding a good half of the tale of the tribe, or at least defining some of the questions and principles at play.

----Steve Fly.

"On the second page of the wake, Joyce is making a mosaic, an Achilles shield, as it were, of all the themes and modes of human speech and communication.--McLuhan, The Guttenburg Galaxy, 75.





QUOTATIONS (RAW Recorsi)


"In the present context, Korzybski's mathematized language structures,
like the Fenollosa/Pound emphasis on Chinese ideogram
Helps us perceive/conceive Internet in alternative ways,
Not possible for those restricted to Indo-European semantic structures. --RAW, recorsi.

"Ez, McLuhan and associates reprinted Fenollosa's
"The Chinese Written Character as a Medium for Poetry "
As part of their Square Dollar Series. It Anticipates some
Formulations of General Semantics and NLP --RAW, Recorsi

"Fenollosa [1853-1908], wrote an essay on "The Chinese Written
Character as a Medium for Poetry"* which vastly influenced
Ezra Pound and, through Pound, modern poetry generally;
said essay also anticipates some formulations of General Semantics
and NeuroLinguistic Programming [NLP], and foreshadows
modern critiques of "linear" and "alphabetical" thinking. --RAW, Recorsi

"Both Joyce and Pound felt that the traditional narrative form of epic was obsolete
and replaced it with what Joyce called Epiphany and what Pound called Ideogram.
To Joyce, an epiphany meant any event however seeming trivial
which revealed something "grave and constant" in human affairs.
To Pound, an ideogram meant an event which illuminated things far
beyond what it referred to. - RAW, Recorsi





Renaissance revolution (76 quotes)


"But as the cyclic moves within the "Great Bulk", huge mass, thesaurus" of history and draws its materials into its own "triangualr spaces," are it and its materials of the same substance or different? The Renaissance Platonist Giordano Bruno, burned as a heretic, thought "di diversa natura."
Bruno's natural philosophy joins that of Neo=Platonists of V and of "serious characters" like Aristotle against transcendental "belly-aches" of Plotinus and St. John of the Cross. The vision "falls white" upon the senses as in Calvacanti's love canzone (XXXVI) but may be unseen because dark may obscure the gods wherever the mind may be. Nevertheless "triangular spaces" have been made into "Gems sunned as mirrors, alternate" - into cantos laid in tiers, alternately on base and on apex - to build a singular triangular Mount.
Pound has made old history and old revolution new by taking over Odysseus's narration and by replacing Odysseus's Providence, Circe, with his own."--Forest Read, History and 76, Pg. 27.

"Four is the form at once of what is added to, of what is added, and of the result (cf. "and the whole creation concerned with FOUR," Rock-Drill 91).--Forrest Read, The revolutionary calenda, pg. 44.

"One can imagine the first Canto establishing a preliminary Golden Section form with achetypal discovery and colonization and then adding the fourfold revolt of the dead, each phase of which is also a whole projecting the whole canto. The same form occurs when XXX Cantos is expanded draft by draft in four drafts to the first phase (LXXI Cantos) and thence phase by phsase in four phases to the whole poem.--Forest Read, The revolutionary calendar, pg. 44

"The decad was related to the monad, the dyad, the triad, and the tetrad by the tetraktys, numerologically the sum of the first integers (1+2+3+4) and geometrically a four-tiered triangle:--Forest Read, The revolutionary calendar, 45

"The Calendar and its mathematics are not ends in The Cantos, but means. They are referred to indirectly in the text, they appear in many visual arcana, and they organize the text into its proportions and sequences. But as Pound was wont to insist, "The what is so much more important than how." He meant that all arcana refer to the forms of '76 according to which he is trying to conduct a 'revolt of intelligence,' to evolve a revolutionary 'nuova persona' and to 'think out a sane state," all by "thinking in Poetry." The documents of '76 have mathematical aspects and the Seal is a mathematical form."--Forest Read, The revolutionary calendar, pg. 48.


ON CANTO I ( 76 quotes)


"The Epitome I-as-ONE.

To begin, four old voices (Odysseus, Elpenor, Tiresias, and Divus) under an old providence (Circe) will become four renewed voices (Odysseus, Elpenor, Tiresias, and Pound) under a new Providence (Aphrodite). The transformation will be brought about by ten narrated events in the fourfold form ONE.

The canto will be constituted of seventy-one lines of narration extended by invocation to seventy-six lines. Odysseus will speak for tradition in lines 1-53 (congress 1-53). For personae, Elpenor addressing Odysseus "but thou, O King" (54) and Tiresias naming him "Odysseus" (65) will frame Elpenor's request for burial and Tiresias's challenge and command, lines 54-65 (presidency 54-65). For justice Tiresias's prophecy, Pound's acknowledgement of Divus, and Pound's completing of the narration by sending Odysseus back to Circe's (lines (66-71) will complete judgements and destines (judiciary) 66-71)--Forest Read, The revolutionary calendar, pg. 48.

"Hostory, nature, cosmic order (the source of justice), and the gods presiding over human arts square with the four themes of all Pound's arcana, both in The Cantos and out. The four belts moving around the Room of the months, analogous to the Seal symbols and voices articulated by the concurrent documents, in effect build the four-fiered frescoes and thence, figuratively, the new building. The 'something similar' Pound had done is the Calendar derived from the tiered Seal.

Finally, Yeats mentioned 'the mathematical structure" and speculated that "when taken up into imagination" (which Pound's poem works toward) it might appear "more than mathematical, that seemingly irrelevant details" might "fit together in a single theme." They never did. But while Yeats's descriptions cannot be put together themselves, the Seal/Calendar form clarifies each one and their relations like a circle emerging from tangents, or like "the rose in the steel dust," or like '76 informing The Cantos.--Forest Read, Early prose and the "Personae" Volumes, pg. 73.