Toot and Come-Inn: Cannabis Seeds and Finnegans Wake, and dogs, you dig?

Toot and Come-Inn: Cannabis Seeds and Finnegans Wake, and dogs, you dig?

By Steve Fly Agaric 23. (Dedicated to Sirius, the dog)

-- Is that answers? -- It am queery! -- The house was Toot and Come-Inn by the bridge called Tiltass, but are you solarly salemly sure, beyond the shatter of the canicular year? Nascitur ordo seculi numfit. -- Siriusly and selenely sure behind the shutter. Securius indicat umbris tellurem.

--James Joyce, Finnegans Wake, pages 512-513.

Back in 2002, when i asked Robert Anton Wilson by email ‘Can you give a list of items for our emergency survival suitcase please?” he replied:

“Cannabis seeds, Finnegans Wake, one Rottweiler.”

RAW, like James Joyce and perhaps a rottweiler, rewards those who dig deeper. Do you dig? Beneath the surface lies a labyrinth, with seemingly infinite pathways, like the human mind, and like the cosmos. While processing a kind of special language, and the multiple entanglements at play, these writers help the reader acquire new, and enriched understanding. A fuller picture, contrasting, and with adjustable brightness, of both the work under investigation and the life of the mind of the authors.

This new found appreciation for all things, can be turned toward the self to produce reflections on the coherence patterns, and the incoherence patterns. Both mind-at-large, and the cosmos can be transformed, with luck into a holistic cooperative engine of creation: a fun house. Useful metaphors for this--turning onto a new perception and a perpetually refreshing appreciation for the interconnection of all things--are psychedelic drugs, and some forms of cannabis. Ideogrammic method, Pranayama, great art and stoned perception may share a similar neurological dog pound. It has been said before that Finnegans Wake produces the closest approximation of the LSD experience, in all literature. Once again this generally says to me: an increased perception of the inter-connectivity and entanglement of all things.   

Each of the three items Bob mentioned will be considered here to exhibit useful purposes for the survival of all around the world humanity. I'm taking this six word answer, and digging around through the shell-mound of history. I think that his answer deserves closer scrutiny, to be looked like a joke and a serious practical solution to our predicament. Please excuse my bias. I don’t own a dog, or spend much time with them, however i'm always within a few feet of Finnegans Wake and some cannabis.   

Cannabis Seeds: seedsmanchaps

Cannabis is a versatile plant, no i mean versatile, like over 50’000 uses and counting. Capable of supporting an entire planetary civilization, if we could just figure out the fucking sharing part of the equation. Hemp can be used for building materials (Hempcrete) textiles, food and drinks, essential oils, bio fuels, paper, plastics, the list runs on. The female cannabis sativa plant provides another long list of health benefits for both the body, and for the mind (a hidden bonus of the plant which has been known to humans and used for thousands of years, starting in ancient China around 2500 BCE.)

Seeds are relatively tiny and easy to transport, in a small hip sack, for example, you can carry seeds to sew a farm capable of supporting hundreds of people with both industrial hemp, and cannabis foods, and launching the equivalent of the entire Woodstock festival, into orbit on the buds. You can clone, and cross breed as you wish, and you can get off your botany and make cuttings too, exploiting the natural abundance of nature all around us: ‘the intelligence within the cherry stone’. These rather awesome conditions on planet-world make all the shit grow, and without claiming taxes, or ownership, or patent. I think that RAW is giving us a hint at a critical tool to help humanity get off the grid, by growing a self sustainable future, literally green, really high yielding, and full of fun, just like the books.

Finnegans Wake: [insert placeholder:-]

To start with my own thoughts on FW, i think that Europe, India, Asia, Africa, Indonesia and the Americas would benefit immensely from taking a leaf out of Joyce’s poetic, global congress. To mean, we will do well to practice searching for meaning, with sympathy, in the mega-haystack of over 70 different languages, every day, for the rest of our days on planet world. FW is a dry run for the future, a time-space when/where all your familiar maps and models melt away into the carpet, and all that you have left is metaphor. I think we would all benefit from an extra effort to try and understand the each other better. Consider, for one moment, if you can, what you are not, where you were not born, where you have not been. FW and cannabis seeds, in my experience help this exercise. As does writing itself. You, we, them, us all together on the sub, the spearhead glistening in the other hand of the narrative driver: the author, whoever she or he, or it be. And you, we, them, us, the tribe, we strive to nurture more sympathy, compassion for, other languages globally, and with dialects locally, so that cultures and people may become enriched, contrasting, brighter, nuanced, distinguished with all the stripes and shades of meaning, and all the threads of genetic biological matter and of narrative entangled anti-matter 'ideaspace' that makes up all-around-the-world humanity, and it's DNA code. The mother load.    

FW could be RAWs most highly regarded single book, although he might say ‘beware the man of one book’ FW blasts the world of literature to pieces, and lets you put it back together again, and each time differently. An inexhaustible difference engine. A language or ‘natlanguage’ so powerful that it affected everything what came before it, or after. A real page turner. The mother load of performances by example: the the tale of the tribe. Holy sacrament, which the author has wiped his own butt all over. A densely packed hyper connected literary cosmos, providing endless entertainment and induces the sensation of an eternal present, for me, and a really trippy--infinite flux of being nowness. As you can tell, i think it really is a great book. I mean, it has all the best words! And some of the biggest words

The first published article by Dr. Wilson, in 1959 was titled ‘Joyce Tao’ and these two themes meandered through his life’s work, perhaps underpinning his rare skill for resolving opposites with wit and intellect. Taoism and Quantum Mechanics were both major influences on his thinking, today the fields of quantum entanglement, and quantum non-locality are all the rage, and i feel the progression for these fields will be something like the development of a broader, daring discipline, more like Taoism itself, in that it includes the human brain body mind nervous system. A presents new tools with which to navigate these reality labyrinths.  

Rottweiler: Canicula

The study of dogs within the context of the work of Robert Anton Wilson led me to a mongrel, a Mutt and a Jute. Any that read Bob know of his interest in the sirius double-star system a.k.a the Dog star.
Some will recall the chapter in ‘Cosmic Trigger I: Final secret of the Illuminati’ where Bob quotes G.I Gurdjieff on Mr. G's typically cryptic writings about ‘burying the dog deeper’. Bob provides lots of evidence to suggest that the buried dog is 'Sirius’, buried to mean hidden. You dig? He goes on to suggest that the 'Silver star' of the Thelemic tradition may also refer to Sirius. All this comes after his famous July 23rd 1973 ritual, and subsequent contact with something weird, and something very interested in bringing Sirius his attention. Was it his own subconscious, E.T, a 6 foot Irish Rabbit? best read the book and make up your own mind. I think we can agree, with little doubt, that RAW implied that you may require a Rottweiler for personal security in the future, during a tsarist occupation, when you're busy tending to the plants or starseeding the Wake over the fence, to the neighbors.

I work with cannabis seeds, and i recently contributed to the third edition of the Waywords and Meansigns project: Finnegans Wake set to music) I do not own a dog. But i just found out that canicula is latin for ‘puppy’ or ‘canis major’ so the dog star might also be called the puppy star. “Canicula” appears in FW only 5 words away from “Siriusly”. Seriously. Now, i feel stoned.

https://en.wiktionary.org/wiki/Canicula

I would also like to remind the reader of the meteoric impact that Dr Timothy Leary’s ‘Starseed transmissions’ had on RAW, and the line from chapter 69 of The Book Of Lies by Aleister Crowley “The way to succeed, and the way to suck eggs”

—Steve Fly.

Evidence from the good book:

if yet not,

after) is a wake, livit or krikit, and on the bunk of our

breadwinning lies the cropse of our seedfather, a phrase which the

establisher of the world by law might pretinately write across

the chestfront of all manorwombanborn. —58

wherein he had gauged the use of raisin; ads aliments, das doles,

raps rustics, tams turmoil; sas seed enough for a semination but

sues skivvies on the sly; learned to speak from hand to mouth

till he could talk earish with his eyes shut—130

looking backwards to

unearly summers, from Rhoda Dundrums; is above the seedfruit

level and outside the leguminiferous zone; when older links lock

older hearts then he'll resemble she—135

just becups they won the egg and spoon there

so ovally provencial at Balldole. My Eilish assent he seed makes

his admiracion. 144

but without those selfsownseedlings which are a species of proof

that the largest individual can occur at or in an olivetion such as

East Conna Hillock— 160

The oakmulberryeke with

silktrick twomesh from Shop-Sowry, seedsmanchap.—221.

So see we so

as seed we sow. And their prunktqueen kilt her kirtles up and

set out. —250

Rutsch is for rutterman ramping his roe, seed three. Where

the muddies scrimm ball. Bimbim bimbim. And the maidies

scream all. Himhim himhim. —314

I advise you strongly, along quaith a copy of

the Seeds and Weeds Act when you have procured one for

your self—447

I revolucanized by my eructions: the hye and bye wayseeds I

scattered em, in my graben fields sew sowage I gathered em: in

Sheridan's Circle my wits repose, in black pitts of the pestered

Lenfant he is dummed. (Hearts of Oak, may ye root to piece! — 545.

Jeminy, what is the view which now takes up a second

position of discordance, tell it please? Mark! You notice it in that

rereway because the male entail partially eclipses the femecovert.

It is so called for its discord the meseedo.—564

The eversower of the seeds of light to the cowld owld sowls

that are in the domnatory of Defmut after the night of the

carrying of the word of Nuahs and the night of making Mehs to cuddle—4: 15 593

Look what I found! A lintil pea. And look at here!

This cara weeseed. Pretty mites, my sweetthings, was they

poorloves abandoned by wholawidey world? Neighboulotts for

newtown.— 625

Quoted from Finnegans Wake, James Joyce, 1939.

"About dogs I will write elsewhere; here I will say only that no matter how much mechanistic biology I read, no dog who ever lived as a guest in my house ever seemed like a machine to me. They all seemed like four-legged people.Every LSD voyager has his or her own unique reports to offer; here I offer only my own recollections of my own experiences, expressed in my own favorite metaphors.After my first LSD voyage, dogs not only seemed even less like machines than before, but so did bugs and trees and birds and the starry sky itself. After my 100th trip, even I seemed less like a machine.I have not embraced pantheism or even panpsychism as a philosophy; rather, I have given up on philosophies entirely. I live amid wonders, which I file under the law of general semantics which states that no map can ever show "all" the territory. In fact, I think we should ban the word "all" from ordinary speech and restrict it solely to pure mathematics.--Robert Anton Wilson, LSD, Dogs and Me.

Helpful links,i hope. xx
http://www.waywordsandmeansigns.com/

https://www.questia.com/library/journal/1P3-6190384/the-mutt-and-jute-dialogue-in-joyce-s-finnegans-wake

https://gurdjieffbooks.wordpress.com/sophia-wellbeloveds-gurdjieff-academic-research-page/a-note-on-the-dog-gurdejiff-buried/

http://www.lycaeum.org/books/books/starseed/starseed.shtml

http://rawilsonfans.org/joyce-and-tao/

https://www.amazon.de/Finnegans-Wordsworth-Classics-James-Joyce/dp/1840226617

https://en.wikipedia.org/wiki/Pranayama

Fake News & Made Up Truth.

“Keep it unreal”—Mr. Scruff.

“Literature is news that stays news.”—Ez.

Silent But Dudley: Black Country Blues 

by Mr Steven James Pratt 

Link: http://a.co/7KhqHcL

Mark Pesce on Finnegans Wiki, and whatever happened to the book.

Please visit Mark's website here:
http://markpesce.com/ 

There are two other paths open for literature, nearlydiametrically opposed. The first was taken by JRR Tolkien inThe Lord of the Rings. Although hugely popular, the threebook series has never been described as a ‘page-turner’, beingtoo digressive and leisurely, yet, for all that, entirelycaptivating. Tolkien imagined a new universe – or rather,retrieved one from the fragments of Northern Europeanmythology – and placed his readers squarely within it. Andalthough readers do finish the book, in a very real sense theydo not leave that universe. The fantasy genre, which Tolkiensingle-handedly invented with The Lord of the Rings, sells tens of millions of books every year, and the universe ofMiddle-Earth, the archetypal fantasy world, has become theplayground for millions who want to explore their ownimaginations.

Tolkien’s magnum opus lends itself tohypertext; it is one of the few literary works to come completewith a set of appendices to deepen the experience of theuniverse of the books. Online, the fans of Middle-Earth havecreated seemingly endless resources to explore, explain, andmaintain the fantasy. Middle-Earth launches off the page,driven by its own centrifugal force, its own drive to unpackitself into a much broader space, both within the reader’smind and online, in the collective space of all of the work’sreaders. This is another direction for the book. While everyauthor will not be a Tolkien, a few authors will work hard tocreate a universe so potent and broad that readers will betempted to inhabit it. (Some argue that this is the secret of JKRowling’s success.)

Finally, there is another path open for the literary text, onewhich refuses to ignore the medium that constitutes it, whichembraces all of the ambiguity and multiplicity and liminalityof hypertext. There have been numerous attempts at‘hypertext fiction’; nearly all of them have been unreadablefailures. But there is one text which stands apart, bothbecause it anticipated our current predicament, and becauseit chose to embrace its contradictions and dilemmas. Thebook was written and published before the digital computerhad been invented, yet even features an innovation which isreminiscent of hypertext. That work is James Joyce’sFinnegans Wake, and it was Joyce’s deliberate effort to makeeach word choice a layered exploration of meaning that givesthe text such power. It should be gibberish, but anyone whohas read Finnegans Wake knows it is precisely the opposite.

The text is overloaded with meaning, so much so that themind can’t take it all in. Hypertext has been a help; there area few wikis which attempt to make linkages between the textand its various derived meanings (the maunderings of fourgenerations of graduate students and Joycephiles), and it mayeven be that – in another twenty years or so – the wikis willbegin to encompass much of what Joyce meant. But there isanother possibility. In so fundamentally overloading the text,implicitly creating a link from every single word to something else, Joyce wanted to point to where we were headed. In this,Finnegans Wake could be seen as a type of science fiction, not a dystopian critique like Aldous Huxley’s Brave New World, nor the transhumanist apotheosis of Olaf Stapleton’sStarmaker (both near-contemporary works) but rather a text that pointed the way to what all texts would become,performance by example. As texts become electronic, as theymelt and dissolve and link together densely, meaningmultiplies exponentially. Every sentence, and every word inevery sentence, can send you flying in almost any direction.The tension within this text (there will be only one text) willmake reading an exciting, exhilarating, dizzying experience –as it is for those who dedicate themselves to Finnegans Wake.

It has been said that all of human culture could bereconstituted from Finnegans Wake. As our texts become one, as they become one hyperconnected mass of humanexpression, that new thing will become synonymous withculture. Everything will be there, all strung together. Andthat’s what happened to the book.--Mark Pesce.

Eco and Wilson: Guerrilla Ontologists Are Mist

Today a country belongs to the person who controls communications.—Umberto Eco, Il costume di casa (1973); as translated in Travels in Hyperreality (1986)

"Belief in the traditional sense, or certitude, or dogma, amounts to the grandiose delusion, "My current model" -- or grid, or map, or reality-tunnel -- "contains the whole universe and will never need to be revised." In terms of the history of science and knowledge in general, this appears absurd and arrogant to me, and I am perpetually astonished that so many people still manage to live with such a medieval attitude.—Robert Anton Wilson, Cosmic Trigger 1, Final Secret Of The Illuminati.

For Umberto Eco 1932-2016

Disclaimer:

I read Foucault’s Pendulum by Umberto Eco more than 18 years ago, and i found it very dense and difficult back then, but influential none the less. I also tackled ‘Apocalypse Postponed’ (from Stourbridge Library) which i enjoyed much more, probably because it was non-fiction, and so accessible to my non-classical taste at the time. Did Umberto get high? i asked in my 20s. Still, the text required a slow reading, and challenged me on every page. Although i enjoyed Eco, i did not continue my affair with his works. Although, i acknowledged his greatness among living philosophers, i did not ever think to compare him with Robert Anton Wilson. On the passing of Eco last week, i found myself doing this in my head, and thought. Dang, might just as well write it down and out. I apologise in advance for any misrepresentations and/or skewed interpretations on my behalf, when writing of these intellectual giants.--Steve Fly

Eco and Wilson: Guerrilla Ontologists

  Umberto Eco and RAW have much in common, not least being born in the same year,1932. They were intellectual titans, able to swim out to the vast ocean of philosophy and science, classical history, occultism, and the history of secret societies, and drag the full net back to the shore of humanity in the form of fucking good story, over and over again. They both produced a mixture of scholarly works and fictional novels. They were renaissance scholars who each produced work that inspired a flurry of imitators. The Da Vinci code, by Dan Brown for example, seemed to me like a watered down mixture of major themes from Eco, in particular his most popular ‘In the name of the rose’ and Wilson’s ‘Historical Illuminatus Chronicles’ but who can really put a finger or a paw on it?  

  Both had deep interest, and a unique methodology of expressing thoughts about ‘reality’, that old slippery fish. Eco developed a rich latticework to represent the premise of ‘hyperreality’ inspired by his study of semiotics, and he translated and share his complex ideas with a large audience, a pretty rare achievement for a public figure, an intellectual who writes novels.

  Eco studied at many great learning centres of the world, in the thick of academia, whereas Dr. Wilson travelled an unorthodox route, largely an autodidactic species of genius. You could say Eco was high brow and Wilson low brow, but any two-valued comparisons such as high and low should be treated with suspicion. Both philosopher novelists turned their back on Catholicism at a young age, but continued to include it as a recurring theme.   

Not accidentally, Standard English also assumes a sort of "glass wall" between observer and observed, while English Prime draws us back into the modern quantum world where observer and observed form a seamless unity.--Robert Anton Wilson, Quantum Psychology.

  Wilson was a strong proponent of many different theories of ‘reality’, or perhaps he might say ‘Reality tunnels’ with an accent on the pluralistic nature of things, the process oriented world view. Wilson trawled the fields of semantics, cognitive psychology, quantum mechanics and design science, together with a practical interest in mysticism and neuro-metaprogramming. Inspired by Alfred Korzybski and ideas from Aleister Crowley, together with his friends Alan Watts, Dr. John Lilly, Timothy Leary and Buckminster Fuller, Wilson also had a legendary sense of humour.   

  The following quotes from Wikipedia put a nice touch to the term ‘Guerrilla Ontologist’, a tag which RAW was fond of using. Wilson published one of his first essays on James Joyce in 1958. 

'In 1967 he gave the influential lecture "Towards a Semiological Guerrilla Warfare", which coined the influential term "semiological guerrilla," and influenced the theorization of guerrilla tactics against mainstream mass media culture, such as guerrilla television and culture jamming. Among the expressions used in the essay are "communications guerrilla warfare" and "cultural guerrilla." The essay was later included in Eco's book Faith in Fakes.--https://en.wikipedia.org/wiki/Umberto_Eco

"His novels are full of subtle, often multilingual, references to literature and history. Eco's work illustrates the concept of intertextuality, or the inter-connectedness of all literary works. Eco cited James Joyce and Jorge Luis Borges as the two modern authors who have influenced his work the most.-- https://en.wikipedia.org/wiki/Umberto_Eco

I think that both Eco and Wilson, with their open pluralistic philosophy, or Guerrilla Ontology, and their interconnected novelistic techniques, of including real historical and literary forces, distorted by a surrealist mirror on set of lenses, would be delighted by the latest psychological research in the field of ‘Virtual Reality’. Here we have evidence that each individual perceives a different universe, due to the changing parameters of each human sensory system. In VR each participant gets a different audio visual experience, confronted with the fact that if you are not looking at something, how are you supposed to know it is there? and to a lesser degree this applies to sounds from behind too. 

Reality is that which, when you stop believing in it, doesn’t go away.—Philip K. Dick.

  Experiments show that even trained minds, fully aware that a they are in a simulation, perhaps walking across a steep drop on a plank, will wobble, shake and react almost unconsciously, as if, they were REALLY in the simulated scene. Meditation can have a similar effect, as can some drug use, and in fact all consciousness change techniques confront a similar question.    

  With VR, however, it’s like coming at it from another place altogether, a place where you are suddenly forced to face deep rooted questions of the nature of reality, identity, perception, likes and fears etc. You do not have to train the mind to be still, so that the clear images may emerge, or chemically alter your neuro-semantic system, no, although these techniques have their own plus and minus points. No, a convincing 3D immersive audio/visual simulation can trigger similar neuro-chemical activity, resulting in dormant, perhaps unconscious but instinctive sensory responses. It does not take much to pull the wool, or goggles, over the eyes, and influence the deep rooted physical responses to neural stimulation. I predict that soon, one may propose a new '360 immersive' expression of the meaning of Quantum Mechanics, or Quantum Entanglement, or Mirror Neurons. Make it new.

A democratic civilization will save itself only if it makes the language of the image into a stimulus for critical reflection — not an invitation for hypnosis.—Umberto Eco, "Can Television Teach?" in Screen Education 31 (1979), p. 12.

  This is my hacked together message, a trigger, whereby i hope you at least go and read Dr Wilson and Umberto Eco again. Contemplate for yourself the nature of reality and realities, and of virtual reality and virtual realities, and perhaps if you are fortunate, with the additional help of the latest VR hardware. With luck, in here, some of the the foundational principles of general semantics, and semiotics, can ride shotgun together, inside the latest 3D VR environments. 

  I think we are going to require innovative tools to help the public at large gain more empathy for what is beyond their senses, and learn to better discern the real from the unreal, or...the pretty much real from the not really so real, and so on...

...New tools to combat naive realism, together with captivating games, films, porn and beyond, all media that will shape and meta-program the minds of many generations to come. In VR, you may finally be able to go fuck yourself backwards, convincingly enough to never say that phrase again without wincing.        

—Steve Fly.

    Bristol.

    UK

I'll leave you with these thoughts...

The conspiracy theory of society . . . comes from abandoning God and then asking: "Who is in his place? - Karl Popper. From Yesod, Chapter 118 of Foucault’s Pendulum by Umberto Eco.

"You need the "is of identity" to describe conspiracy theories. Korzybski would say that proves that illusions, delusions, and "mental" illnesses require the "is" to perpetuate them. (He often said, "Isness is an illness.”) Korzybski also popularized the idea that most sentences, especially the sentences that people quarrel over or even go to war over, do not rank as propositions in the logical sense, but belong to the category that Bertrand Russell called propositional functions. They do not have one meaning, as a proposition in logic should have; they have several meanings, like an algebraic function.— Robert Anton Wilson, Language as Conspiracy, p. 277.

Waywords and Meansigns: Recreating Finnegans Wake [in its whole wholume]

Recreating Finnegans Wake [in its whole wholume]

by Waywords and Meansigns

Published May 4, 1939

Usage Attribution-Noncommercial-No Derivative Works 3.0

Topics Waywords and Meansigns, James Joyce, Finnegans Wake, Audiobook, Music,Roratorio, Anna Livia Plurabelle, Dublin, Ireland, Irish literature

Track listing:
Finnegans Wake is organized into four books. Roman numerals indicate the book, Indo-Arabic numerals indicate the chapter within that book. Chapter names are italicized, followed by the names of musicians. Finnegans Wake is circular, so you can start listening wherever. Mariana Lanari and Sjoerd Leijten suggest beginning with Book IV. To locate a particular passages of the text, use http://www.trentu.ca/faculty/jjoyce/ and http://fweet.org/


I.1 - Fall, pp. 3-29 - Mariana Lanari & Sjoerd Leijten, with Erik Bindervoet

I.2 - The Humphriad I: His Agnomen and Reputation, pp. 30-47 - Robert Amos; Chelidon Frame; Alan Ó Raghallaigh

I.3 - The Humphriad II: His Trial and Incarceration, pp 48-74 - Greg Nahabedian

I.4 - The Humphriad III - His Demise and Resurrection, pp. 75-103 - Un monton, torero; with Charlie Driker-Ohren & Walker Storz 

I.5 - The Mamafesta, pp. 104-25 - Tim Carbone 

I.6 - Riddles: The Personages of the Manifesto, pp. 126-68 - Kevin Spenst

I.7 - Shem the Penman, pp. 169-216 - Belorusia

I.8 - Anna Livia, pp. 196-59 - Dérive


II.1 - The Children's Hour, pp. 216-59 - Street Kids Named Desire; with Derek Pyle, Parker McQueeney, Zach Leavitt & Samuel Nordli

II.2 - The Studies, pp. 260-308 - Liz Longo & Izzy Longo, with Leo Traversa

II.3 - The Stories: Tavernry in Feast, pp. 309-82 - Hayden Chisholm

II.4 - Mamalujo, pp. 383-99 - Ryan Mihaly


III.1 - Shaun before the People, pp. 403-28 - Gareth Flowers

III.2 - Jaun before St. Bride's, pp. 428-73 - Steve Fly, with William Sutton

III.3 - Yawn under Inquest, pp. 474-554 - Peter Quadrino, Jake Reading & Evan James

III.4 - Humphrey Chimpden Earwicker and Anna Livia Plurabelle: Their Bed of Trial, pp. 555-590 - Graziano Galati


IV.1 - Dawn: Return to the Beginning, pp. 593-628 - Mariana Lanari & Sjoerd Leijten; with Eloísa Ejarque, Grace Kyne-Lilley, & Erik Bindervoet.


Additional track credits:
Track 1: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests reader Erik Bindervoet (pp.13-18, pp. 21-24).
Track 2: Robert Amos recorded by Robert Martin.
Track 3: Keyboards, Voice, Guitar, Bass, and Drums by Greg Nahabedian. Recorded and mixed by Greg Nahabedian and Paul Schmelz. 
Track 5: Tim Carbone (fiddle, guitar, drone, tan, keyboards, samples), Andy Goessling (zither), Phil Ferlino (piano). Recorded by Tim Carbone and mixed by Don Sternaker and Tim Carbone. 
Track 6: Background arrangement by Josh Pitre, featuring a Stravinsky circus polka and two ragtime pieces
Track 8: Dérive is Greg Nahabedian (keyboard, voice), Paul Schmelz (guitar, voice, keyboard), Noah Jacques (bass, voice), Paul DeGrandpre (drums, voice). Recorded by Paul Schmelz. Mixed by Dérive and Paul Schmelz.
Track 9: Recorded by Derek Pyle and Zach Leavitt. Sound collage by Derek Pyle, featuring many of the musical allusions found in Joyce's text. With Derek Pyle (bass, voice), Parker McQueeney (piano, voice), Samuel Nordli (mandolin, violin, and viola) and Zach Leavitt (guitar, bass, voice).
Track 10: Leo Traversa on bass. Recording by Taylor Roig. 
Track 11: Recorded by Robert Nacken at Nucamusic Studios in Cologne and by Hayden Chisholm in the Moers Residence house, and at Sant Vicenc beach in Mallorca
Track 14: William Sutton reads pp. 429-42 469-73; Steven 'Fly' Pratt reads pp. 443-68. Drums, turntables, guitar, arrangement, production, recording in Amsterdam by Steve Fly. Mastered by Tim Egmond at Ei-Complex Studios, Amsterdam.
Track 15: Produced by Jake Reading & Peter Quadrino. Executive producer: Evan James. Recorded and mixed by Jake Reading at Casa de Feelgood. Additional vocals by Evan James and Melba Martinez. 
Track 17: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests readers Eloísa Ejarque (pp. 610-612), Grace Kyne-Lilley (pp. 613-615), and Erik Bindervoet (pp. 13-18, pp. 21-24).



Derek's acknowledgments: 
Waywords and Meansigns would not be possible without the support of many people. Like the Joycean maxim says: Here Comes Everybody. Thanks to the fwread listserv, especially Peter Quadrino, Peter Chrisp, Roman Tsivkin, as well as Adam Harvey and Mariana Lanari; your collective knowledge of Joyce is astounding. Marie Broadway, Jake Tozer, Sam Nordli, and Emma Pampanin co-hosted the Finnegans Wake parties that inspired this project. Zach Leavitt and Chelsea Westra co-hosted the parties of the future. Elaine Thomas, Dylan Muhlberg, the Amherst Irish Association, Jacqui Wise, Krzysztof Bartnicki, Mike Moran, Mike Medeiros, Jason Gross, Rebecca Hanssens-Reed, Billy Mills, and the James Joyce Gazette played pivotal roles spreading the word about this project, through press coverage and otherwise. Thanks to Mackenzie Libbey, and Michael Robbins, for their support throughout. Thanks to L. Brown Kennedy and Annie G. Rogers for first introducing me to Joyce. Special thanks to Mark Traynor and the James Joyce Centre in Dublin, and to Robert Berry. 

Infinite thanks to the project contributors, and all who channel the spirit of James Joyce.

Run time 31 hours, 8 minutes, 11 seconds
Language und

...on music and poetry and poetry and music on...

...on music and poetry and poetry and music on...

by Steve Fly

Sounds Fly: Music Writing 

Link: http://a.co/6YdXrkt

"Omniverse / Is / The totality / Of / All the universes / And you / Are welcome / To / Be citizens / Of / The Omniverse--Sun Ra, Omniverse.

"Rhythm...is the first formal esthetic relation of any part to part in any esthetic whole or of an esthetic whole to its part or parts or of any part to the esthetic whole of which it is a part.--James Joyce, A Portrait of the Artist as a Young Man (1916)

"It is time we picked the fruits of the experiments of Cummings, Pound, Williams, each of whom has, after his way, already used the machine as a scoring to his composing, as a script to its vocalization. It is now only a matter of the recognition of the conventions of composition by field for us to bring into being an open verse as formal as the closed, with all its traditional advantages.--Charles Olson, Projective Verse. .

"Both poems offer instruction on humankind's place in the non-human world, availing themselves of pedagogical methods that best suit their theories. For Fuller, this is the didactic and linear narrative keyed to the tenets of progress and development. For Olson, it is non-linear ideogram that best replicates his understanding of post-humanist immanence--Mark Byers, Environmental Pedagogues. Charles Olson and R. Buckminster Fuller.

"The poetry I wasn’t to write is oral by tradition, mass aimed as its fundamental function motive. Black poetry, in its mainstream is oracular, sermonic, it incorporates the screams and shouts and moans and wails of the people inside and outside of the churches. The whispers and thunder vibrato and staccato of the inside and outside of the people themselves and it wants to be as real as anything else and as accessible as a song – a song about a real world, full of good and evil.--Amiri Baraka, New Music New Poetry, 1982,

"I think of the chords at times, i think of meditations at times, and rhythms at times, and--i don't know what else--John Coltrane, Tokyo, July 9, 1966.

Amiri Baraka, "Charles Olson and Sun Ra." Fourth Annual Charles Olson Memorial Lecture. Cape Ann Museum, Gloucester, MA. 19 October 2013.


Jack Kerouac and Steve Allen: Charlie Parker

The Fugs live on Sweedish TV. 1966



Ed Sanders 75th Birthday Party
 

Ezra Pound reading Canto LXXXI

John Sinclair: the 'Mohawk' Interview 2014

Eddie Jefferson: Ornithology
 

"Poetry lies not only in the spoken or written word. The poetry of facts is stronger still. Objects which signify something and which are arranged with talent and with tact create a poetic fact.--Corbusier, 1923.