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One of my concerns in the last post is inspired by renewed awareness of what is lost by our focus on rational, alphabetic, numerical, and clock-inspired analysis. This is a way of chopping up reality and focusing on one aspect of our experience that becomes a mystique that is hard to see around. This is not to denigrate the value of that kind of analysis but to emphasize the need for a humanizing balance: Netzach to balance Hod.

My guide lately through this forest has been McLuhan, with his illuminating contrast between tribal reality as a closed sonorous reverberation, and the modern view which sees reality as a deviation from the Platonic ideal of mathematics and "laws" of physics. My previous guides through this territory have been David Bohm and Neil Douglas-Klotz.

For example, we learn to speak before we learn to read. Speech is not simply the stringing together of phonemes to express thoughts in words; speech is a full-body experience that relies on vocal tone, facial expression, and hand gesture as well as words to convey meaning. When we listen to someone speak, different parts of our brain are engaged in analyzing gestures and facial expression and tone and words. Alphabetic writing bites this in half and calls strings of phonemes "language" and derides the rest, conveying only some of this through the use of typefaces like bold and italics.

I don't know when I will have time to work on this, but my mind has been returning to the question of devising a conlang ("Rheomic") to express reality in terms of flow instead of parsing out a subject-object distinction.

To cite a couple of immediate examples, there is the example I cited in my first post on McLuhan about the affects of piping on the social life of Indian villages. Here's another example:

Prince Modupe tells in his autobiography, I Was a Savage, how he had learned to read maps in school, and how he had taken back home to his village a map of a river his father had traveled for years as a trader.

...my father thought the whole idea was absurd. He refused to identify the stream he had crossed at Bomako, where it is no deeper, he said, than a man is high, with the great widespread waters of the vast Niger delta. Distances as measured in miles had no meaning for him. ... Maps are liars, he told me briefly. ... The things that hurt one do not show on a map. The truth of a place is in the joy and the hurt that come from it. ... I understand now, although I did not at the time, that my airy and easy sweep of map-traced staggering distances belittled the journeys he had measured on tired feet. With my big map-talk, I had effaced the magnitude of his cargo-laden, heat-weighted tracks.

McLuhan, Understanding Media, p. 158
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Marshall McLuhan considers the story of King Cadmus and the dragon's teeth to be an essential metaphor in the examination of Western history. King Cadmus, who was said to bring the Phoenecian alphabet to Greece, planted dragon's teeth like seeds, and up sprouted an army, ready for battle.

It may be impossible to overstate the effect of alphabetic literacy on humankind. Since it warps our perceptions before they hit the conscious mind, we are numbed to it; we cannot tell where letter and number stop and raw reality begin, because our brain is designed to look for shortcuts. The conscious censor makes us unaware of the seams in our text-inspired reality-narrative. (The brain also numbs to redundant sense data -- a process called "adaptation" -- so it is no surprise that since we are immersed in literate culture we become numb to the evidence of literacy's affects inside us and outside us.)

Once writing was developed, our brains latched on to it. We can recognize power and potential when we see it, and the abililty to trap words (thoughts, concepts, the universe itself) in writing conveys immense power. This power is reflected in the forms of the alphabets themselves -- the Hebrew letters designed to resemble flames, the Tibetan alphabet inspired by the cracks in the human skull.

It is reflected also in the apotheosis of the alphabet, which we see explicitly in the Hindu and Jewish traditions. The Hindu alphabet is called "devanagari," the "writing of the city of the gods." In the Jewish tradition the divinity of alphabet was captured much more vividly, with the innovation of an invisible God whose name exists only in written form -- it was (and still is) blasphemy to translate God's name to spoken form, or to destroy a medium bearing the written name of God. Letters are used as an oracle in many traditions (for example, the tradition of casting runes). Esoteric traditions find magical significance in the ways letters and numbers combine, or in the interplay of consonant and vowel, and often assign metaphorical or transcendent meaning to each letter, dividing up the cosmos in an explicit way, to match the implicit ways language, alphabet, and number chew up our experience of the world.

A creation myth from Jewish Haggadah included in The Other Bible describes the creation of the universe through the expression of the Torah in written form, an interesting contrast with the Genesis story itself which describes God creating through speech. The intent may have been to establish a mythical primacy of alphabet over speech.

Esoteric traditions seem to be ambivalent about the use of writing. While the written/unspoken God was called the chief demon (archon) in the Gnostic tradition, along with rejection of the written code of law and the imperial edifice it makes possible, there is also extensive use of writing. I think this may be because they found they could harness the power of writing for their own use as a tool in psychological self-exploration. In Gnostic esoterica (as in certain Hellenistic, Egyptian, and Jewish esoterica) initiates are able to assert power over angels, demons, and forces of nature by using their signs or knowing their names. With that power thus granted, the initiate is able to access parts of the mind or the collective unconscious usually closed to conscious awareness.
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Marshall McLuhan summarized his thesis in the clause, "the medium is the message," by which he meant that the real impact of each medium is best understood by examining the effect of the medium itself on the human individual and society as a whole. The "content" was in his mind less important than the effect of the medium itself on a person's "sense ratios." Each medium, as an extension of some aspect of the human body, has in his analysis the effect of distorting the mental balance, traumatizing each of us and society as a whole.

This thesis paved the way for ideas such as memetics -- the idea that messages act like "viruses of the mind." It also helped paved the way for neuro-sociology and neuro-theology, disciplines that examine our neural predispositions for certain kinds of thought, activity or belief. His influence on scholars like Leonard Shlain, who sought to explain sexism in terms of the effect of alphabetic literacy on the human brain, is obvious.

He classifies media as "hot" or "cool."

A "hot" medium is one that extends one single sense in "high definition." High definition is the state of being well filled with data. A photograph is, visually, "high definition." A cartoon is "low definition," simply because very little visual information is provided. Telephone is a cool medium, or one of low definition, because the ear is given a meager amount of information. And speech is a cool medium of low definition, because so little is given and so much has to be filled in by the listener. On the other hand, hot media do not leave so much to be filled in or completed by the audience. ... A cool medium like hieroglyphic or ideogrammic written characters has very different effects from the hot and explosive medium of the phonetic alphabet. (p. 22-23)


McLuhan took pains to describe the effect of media as comparable to a physical trauma.

The new media and technologies by which we amplify and extend ourselves constitute huge collective surgery carried out on the social body with complete disregard for antiseptics. If the operations are needed, the inevitability of infecting the whole system during the operation has to be considered. For in operating on society with a new technology, it is not the incised area that is most effected. The area of impact and incision is numb. It is the entire system that is changed. The effect of radio is visual, the effect of the photo is auditory. Each new impact shifts the ratios among all the senses. (p. 64)


Culture shock was portrayed as a clash of sense ratios, with some cultures being for example more "tactile" while others are more "visual." To illustrate the numbing effects of a medium, McLuhan cited this example from The Ugly American:

As a civilized UNESCO experiment, running water -- with its lineal organization of pipes -- was installed recently in some Indian villages. Soon the villagers requested that the pipes be removed, for it seemed to them that the whole social life of the village has been impoverished when it was no longer necessary for all to visit the communal well. To us the pipe is a convenience. We do not think of it as culture or as a product of literacy, any more than we think of literacy as changing our habits, our emotions, or our perceptions. To nonliterate people, it is perfectly obvious that the most commonplace conveniences represent total changes in culture. (p. 86)


This illustrates the danger of being absorbed by media, becoming incapable of seeing their effect on our values and emotions, numbed to their effects in reaction to the trauma they cause. The dangers is immense; the traumatic effect of media may go a long way to explaining dehumanization and social stratification.

Art was portrayed as the solution: "The artist can correct the sense ratios before the blow of new technology has numbed conscious processes" (p. 65). In his analysis, artists are visionaries who can see and explore the effects of new media and report on their emotional, mental, and social effects.

McLuhan's analysis was not rigorous and will not withstand that kind of scrutiny. For example, he simply asserts that given media are hot or cold without evidence or argument. He asserts that America is a "visual" culture, also without evidence. He also cannot account for the fact that media may not be easily classifiable. For example, would the internet be hot or cold? It might be hot in the sense that many webpages are high-definition text or images with no interaction; but chat and blogging are extremely participatory and are the essence of cold media (the abbreviations of "chatspeak" testify to the high level of participation it requires). McLuhan is best seen as a non-linear prophet, an artist attempting to draw attention to dehumanization.
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Ah, yeah, I love what reading McLuhan does to my mind.

I can't read him as an academic, he made too many statements that in themselves just aren't rigorous enough. However, as a prophet, his writings were of immense value. He took the implications of monism to their outer limits, and had a special talent for drawing attention to our state of interbeing with one another, with culture, and with our artifacts as extensions of ourselves.

In particular I like his invoking of the Narcissus myth to explicate the conscious censor: our media as a pool of water reflecting back our image at us, which fascinates us so much that it becomes all we can see. This works much better than Plato's Cave.

He would be particularly edified to know that the internet has come to be arranged just like a brain.
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I recently finished reading Pascal Boyer's Religion Explained, which I enjoyed greatly and which I found to be very illuminating. I do wish there was some way to cogently summarize his argument, but there is no "sound bite" summary. It is a complex (but IMO convincing) argument involving several parts of the mind and cultural mechanisms which interact in complex ways. In his estimation, we are rather "stuck" with religion because it is not a system for answering the big questions -- this is a recent add-on -- but is a way of reacting to experiences in every day life. Certain things about the way our minds work -- emotions and inference systems -- make it slightly more likely that religious memes will persist.

Okay, I'm stopping there. I'd told myself I'd resist the temptation to try to summarize the book's argument and I meant it. Any further than that and I'll just be botching it.

Now I'm re-reading Marshall McLuhan's Understanding Media and I'm certain to have some things to say about that.
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1. I decided to skip chapter four of Bohm's book. It is heavily mathematical -- which doesn't scare me (math is one of three things I will actually claim that I am good at) but the amount of time and energy it would take to digest it was not worth the payback in terms of how much I was getting from it that is relevant to my current interests. I can always come back to it and I am developing a queue of things I want to read.

I'm detecting in Bohm's thought a kind of neo-Pythagoreanism that reminds me of Bucky Fuller. He asserts, for example, that what appears to us to be randomness is simply order of indeterminate degree. Quantum uncertainty is not true uncertainty, but demonstrates the workings of hidden variables which we have not recognized or understood. Following this to its logical conclusion, reality is made of nested sets of structures that go "all the way down" (and "all the way up"). This flies in the face of conventional interpretations of quantum theory which hold that uncertainty is a inherent part of quantum reality.

On the whole, I am sympathetic to this kind of thinking. I go one step further and say that there is a kind of order or pattern that exemplifies all that exists -- this is implied by my idea of the cosmeme. The cosmeme, in turn, is proposed based on the idea that nature is frugal and parsimonious -- and will therefore utilize a good idea to the fullest extent possible.

I'm tempted to read Fuller again, but, my gosh, that requires such an investment of time and energy...

2. Along another line of thought, thinking about memetics has made me want to read Marshall McLuhan again. His theory of media as extensions of human senses kept popping into my mind. I'm going to try to track down a copy of Understanding Media and put that on the reading queue.

3. On the fiction front, I'm reading Darwin's Radio by Greg Bear, which [livejournal.com profile] alobar recommended. Bear's prose style is a little lurid for my taste, but I'm enjoying the book and I like the direction it goes in. Bear's way of incorporating unorthodox science into his story is not unlike Greg Egan's.

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