For this proposition and for attached text.
Finnegans Wake was a central reference for McLuhan.
For many reasons. The incredible intelligence of the use of language by Joyce, and also for the metaphorical Dublin as a city-world or the world in a city.
A non linear and global approach, or perception, of the functionning of the world, the human being, the brain.
Joyce was so modern and antic !
And McLuhan, about alphabetic writing and lecture, compared the occidental way of linearity, sequences, time, to ideography or hyerogliph that are an abstract representation of ideas but instantaneous, non linear and global. Here are different kinds of perception and vision of the world. Then, he comes back to the electric age and its medias to say that the civilisation that comes is closer to this system than to typography. A sort of revolution for knowledge.
And for McLuhan, the artists are the one that are able to perceive first the changes in mind and sensibilty, and to represent it, he also had an analyse about cubism : the representation of simultaneity of points of view in one painting is not only linked to the art history and its phases but also to the technologies around and its consequences that artists can see. He thought that instantaneity and simultaneity of electricity have been reproduced in artistic representation.
colette
> Message du 12/10/11 à 19h32
> De : "marcelo santos"
> A : "YASMIN DISCUSSIONS"
> Copie à :
> Objet : Re: [Yasmin_discussions] McLuhan net
>
> Finnegans Wake's intergalaxy
>
> The diegetic démarche of the Irish James Joyce, its Finnegans Wake, inaugurates an unheard experience. The words called as portmanteau that Eisenstein (1942) perceived in Lewis Carroll and that are the substance of Wake (Attrige, 1992), actuate as centrifugal and selftranslating vocables, just identical to themselves. In other words, the written work splinters syntactical and semantic edges to create what McLuhan (1962) calls a constellation of events or his galaxy. By the way, McLuhan himself, a reader committed to Joyce, noticed in his language the wider system of knowledge and human perception storage (McLuhan, 2003). As an effect of such narrative of no conventional and logical structure, there was a notation system – in an apparent way – even arbitrary. And when we say "in apparent word", we mean: there are almost forty languages (Derrida, 1987) present in Finnegans Wake, the legend of Tristan and Isolde, Giambattista Vico, Lucifer, Rome,
> Noah. Thus, besides the strange graphical plasticity of neologisms and onomatopoeias (riverrun and Brékkek Kékkek Kékke!), we see interpretative possibilities. Gutenberg's printing technology understood the alphabet as its culture medium. The written phonetic word, extension of human capacities, circumscribed some experience space (McLuhan, 1964). The visual galaxy originated by the typography, oriented by perceptive habits (linearity and associative pattern, for example), recognizes only the codex or the set of language prescriptions. As for the electrical galaxy, when it causes the implosion of Euclid orthogonality, it also redesigns the space of experience. Thus we ask: can a printed book anticipate the electricity age (McLuhan, 1962)? Would it be possible to verify, from a reading of Joyce book, the coexistence of perception status (ibidem)? Then, we say that Finnegans Wake language is the creation of a completely new cognitive environment,
> suspended between two galaxies: thus, intergalactic.
>
>
> http://pt.scribd.com/doc/56396550/McLuhanGalaxyConference-book2011#outer_page_615
>
>
> Cheers,
> Marcelo
>
>
>
> >________________________________
> >De: Avi Rosen
> >Para: 'YASMIN DISCUSSIONS'
> >Enviadas: Quarta-feira, 12 de Outubro de 2011 3:17
> >Assunto: [Yasmin_discussions] McLuhan net
> >
> >Digital art is globally produced and distributed simultaneously at the speed
> >of light, and within fraction of seconds reach any surfer worldwide.
> >Artistic global interactivity equalized the speed of the artist, art object,
> >and the art consumer. The cyber art cloud is monitored by search engines,
> >hubs, social networks such as Google, YouTube, Facebook, Twitter and Yahoo,
> >involving about 2 billion of users and hundreds of thousands of servers
> >that store in their memories the contents of around 1 trillion (as in
> >1,000,000,000,000) unique URLs on the web at once. (Google 2008).
> >
> >There is a dramatic change in characteristics of contemporary art made in
> >such intensive electronic environment as described by McLuhan* (1964,),
> >'Today, when we have extended all parts of our bodies and senses by
> >technology, we are haunted by the need for an outer consensus of technology
> >and experience that would raise our communal lives to the level of a
> >world-wide consensus'.
> >
> > * McLuhan, M 1964, Understanding media :the extensions of man,
> >Signet books, New York p.105.
> >
> >
> >Avi
> >
> >
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