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 <avi@narkis.technion.ac.il>
>Para: 'YASMIN DISCUSSIONS' <yasmin_discussions@estia.media.uoa.gr>
>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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