Andrew Chrystall

"Joyce preceded to work out in detail the laws of the media which we have gradually learned to formulate as follows: that an intense impact, some shock or crisis, produces a moment of fission or abstraction of some part or function of the body and embeds it in a new material outside the body. This amounts to a new posture or situation of the old body which engenders a chain reaction both in the senses and in the environment." #McLuhan

... "to burn always with this hard, gemlike flame" comes from The Renaissance: Studies in Art and Poetry (1873) by Victorian essayist and art critic Walter Pater ....😂🤣 and he does it literally 🔥💎🔥

As Raimon Panikkar (1978: 50) reminds us, “Dialogue does not primarily mean study, consultation, examination, preaching, proclamation, learning, etc.; if we insist on dialogue we should respect and follow its rules. Dialogue listens and observes, but it also speaks, corrects and is corrected; its aims are mutual understanding.” It (#dialogue) is not a frozen reality but a living process of questioning and answering that reveals all our diversity and our contradictions.

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Because language is a mask, or vortex of energy generated by the innumerable perceptions of countless millions of people over long periods of time, words are, in effect vortices of power and energy capable of realising and radiating inexhaustible force.

E.T. Hall writes McLuhan in 63’ noting that “there may be two kinds of extension: Type A that steps up or amplifies parts of man’s organism (microscopes, field glasses etc…) and type B: that extends the organism in time or space – that is multiplies the organismic processes indefinitely (writing systems, mathematics, telephone, TV etc…).”

Clearly Lewis sees the puppet condition as resulting from the innering of what has been outtered by the wild body. By “wild body” he implies the integral body of pre-literate man, using the world “wild” in its older technical sense of “uncivilized”. The innerings and outerings of the fragmented or civilized man would seem to be far more complex and much less appealing than those of the wild body. But in the electronic age, we have finally outtered all our selves again, that is, all our senses are now outside us electronically in a simultaneous field, and we can, if we choose, adjust the ratios of those things to the focal point of con-sciousness. For surely the latter is a ratio among the five senses. Other creatures would seem to have a fixed ratio merely. - MM 62'

Recreating ancient Egyptian art; looking to usurp the sky goddess Nut (Nuit or Noet), who personifies the vault of the heavens

For Carpenter, McLuhan had long ago crossed over to the other side – “what I studied, he lived, for him life was art and art was life…” Edmund Carpenter, “Remembering Explorations,” Canadian Notes & Queries 46 (Spring 1992): 6-8.

"I can only regard the movie as a mechanization and distortion of this cognitive miracle. Whereas cognition provides that dance of the intellect which is the analogical sense of being, the mechanized medium has tended only to provide a dream world which is the substitute for reality, rather than the means of proving reality." - MM 69'

X.COM arrests the flow of action in a series of still shots. This is a #timeline. It is, therefore, allied (in some minimal way) to SPACE EXPLORATION, the outter quest, print and the American Experiment. Elon knows his McLuhan.