WELLES+MCLUHAN+UNDERSTANDING+FAKE+MEDIA+6

**Cinema of Unity** (week 5)
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 * "The dramatic turning point in F for Fake occurs when EL Mir reflects that it is no crime to piant in another man's style; the crime only begins whe the other man's signiture is added "I never did the signitures myself," he says blandly. Should we trust this convicted felon?" --RAW, Ishtar Rising, 1989 introduction, pg. XXI**

Orson Welles, somewhat like McLuhan provides the 'whole picture' (the hermetic hologram?) in the sense of combining various great influences from innovators and providing a relative balance of the general human condition, hero's and villains, the ambiguity of consciousness, the wisdom of juxtaposition, and the wonder of great story telling, rolled together as his unique 'kafkaesque' film noir sensibility.

Orson displayed knowledge of the human condition and the general heart, and he gathered the required skills and confidence to translate 'tales' into moving picture 'tales', together with soundtrack, lighting, editing, and other additional 'media sensations'; tricks of the full theater production compressed into his Cinematic orchestrations.


 * "Like Brecht and Joyce, Welles was always a non-Aristotelian artist, a post-Einsteinian."--RAW, Ishtar Rising. Pg. XXI**

Q. What movies do you perceive to have a non-Aristotelian and post-Einsteinian qualities?

**"In McLuhan's terms, the fifth circuit is "non-linear" and "global." That is, it is not limited by the one-thing-at-a-time sequences of the semantic circuit; it thinks in Gestalts. This is why it is so often connected with "intuition," which is a way of thinking between and around data-points on the perceptual screen—sensing what total field the points must be part of. --Robert Anton wilson, Prometheus Rising, Page 183**.

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"With an impetuous abandon that his contemporaries found reckless and even dangerous, Bruno proceeded to rethink man's relationship to the universe, to himself, and to God by the unimaginable light of countless stars. His conclusions were simply unbelievable for a late medieval mind:

> //infinite other worlds, inhabited like our own, spread throughout space; a structure to the universe of suns and clusters of suns circling in grand orbits, but no "center" except in the ground beneath two human feet; the presence of God not atop an empyrean throne past the threshold of the farthest stars, but inhabiting every atom of matter; an eternal span to matter, which can change its form but never be exhausted in any proportion; and finally a logic infinity demanded of him an innate union of all contraries, by which evil and good, history and the future, localized humanity and an infinite universe inform and express one another. // > --[]

Claude Shannon, Norbert Weiner, and other cybernetic engineers helped to develop tools for communicating a 'Cinema of Unity' explicitly, in my terminology and synthesis, in the sense that 'bits' are unified by a field, a cybernetic field, (or a super holographic 3D light projector) that can be 'tuned in/out' by the unique apparatus known to us as the 'human mind-body-brain interacting process' you could say the Theater of the mind envisioned by W.B Yeats.

I also detect the attention to detail and multiple layers of meaning that James Joyce employed into Ulysses, a literary 'cinematic' like unity or [|onomatopoeia.]

Q. What artists do you feel reflect the 'hermetic/hologrammic' principle, give some examples.

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QUOTES
//In McLuhan's terms, the fifth circuit is "non-linear" and// //"global." That is, it is not limited by the one-thing-at-a-time// //sequences of the semantic circuit; it thinks in Gestalts. This is// //why it is so often connected with "intuition," which is a way of// //thinking between and around data-points on the perceptual// //screen—sensing what total field the points must be part of. --Robert Anton wilson, Prometheus Rising, Page 183.//

//"Given that Media Ecology owes so much to McLuhan, it is inevitable that anyone doing McLuhan’s work would become part of Media Ecology. And so, as the new millennium dawns—exactly when depends upon your mathematical metaphysics—McLuhan rides high. --Paul Levinson, McLuhan and Media Ecology//

//Prigogine is the mathematical demonstration of McLuhan's// //intuition that many seeming symptoms of breakdown are actually// //harbingers of breakthrough. --Robert Anton Wilson, Prometheus Rising, page 259.//

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McLuhan and Bruno?
"He who itches to Philosophy must set to work by putting all things to the doubt," said Bruno. In his speeches and letters and essays of the remaining 1950's, McLuhan was absorbed in "putting all things to the doubt." But carefully: within that pre-established framework he had once inveighed at Aristotle for first imposing on our thoughts. It appears that early in 1960 the dam that was harnessing those extraordinary energies broke. From a letter to old friend Bernard Muller-Thym, dated February 19th, 1960:

> The break-through in media study has come at last, and it can be stated as the principle of complementarity: that the structural impact of any situation is subjectively completed as to the cycle of the senses. That the effect of a medium is in what it omits and what we supply, but the factors of high or low definition image may qualify this radically. That in telephoning, for example, we are dealing with such a low definition auditory image that we are engaged in completing rather than filling in the visual... > The language is yet that of an exacting literary scholar, but the Bruno-like exuberance is shining through.

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