…there. Oh, well, sure. The habit of discontinuous and multileveled perception. But it goes partly also with my interest in Joyce Pound Elliott because they are also multifaceted people. and very right hemisphere people. And Harold Innes. Harold Innes, I was…

…has a great deal of power. And how do you explain this power? Well, we could go back to the techniques used by Joyce in Finnegan's Wake, when he takes typically cliches like, though he might have been more humble, there's no beliefs like Ohm's. where he…

…Majesty's service. It's resistance, isn't it? A unit of resistance? It may well be. But by banging these old cliches together, Joyce typically gets these strange releases of archetypes and fresh perception. I think we were agreed that archetype is a fresh…

…which result in new forms and new ways of tackling them. problems of perception in new environments. Well, Marshall, you mentioned Joyce, and it seems to me that people who are Joyce experts are always saying that every reader gets something different out…

…them. problems of perception in new environments. Well, Marshall, you mentioned Joyce, and it seems to me that people who are Joyce experts are always saying that every reader gets something different out of Joyce. Would this be true of the archetypal…

…it seems to me that people who are Joyce experts are always saying that every reader gets something different out of Joyce. Would this be true of the archetypal experience? I think so. Individuals have unique sensory biases and preferences. And when they're…

…way of encountering the images of the day by scrubbing and repeating and purging our pet area of archetypal study in our time. Joyce, of course, makes them central to the wake. The wake is an all-night newsreel, a repeat of daytime images. It's the sort…

…So-and-so didn't know. It's a colossal arrogance, but it leads to a very interesting art form of ideas and patterns that are unusual. Joyce also put down Jung and Freud. Yeah, McLuhan did too. But that's a unique... He may have said it here and there in…

…them. TV is like that, of course. It's an X-ray mosaic screen. with the light charging through the screen at the viewer. Joyce called it the charge of the light barricade. In fact, Finnegan's Wake is the greatest guide to the media ever devised on…

…them. TV is like that, of course. It's an X-ray mosaic screen. with the light charging through the screen at the viewer. Joyce called it the charge of the light barricade. In fact, Finnegan's Wake is the greatest guide to the media ever devised on…

…where the viewer is often the vanishing point. TV makes the viewer the vanishing point for the charge of the Light Brigade, as Joyce called it. The TV viewer is on the receiving end of the charge of the Light Brigade. He goes inside him and the…

…is there to protect you against missiles from any part of the world. Okay. Let's switch over. We're going to have Paul on this Joyce thing. Let's go fast before John gets here. No, he's supposed to be here at 1130. No, no, we are supposed to be here…

…in that, me boy? Stemmerstone. Well, let's see now. On the more pragmatic level, I just finished reading the letters. Joyce wrote someone about this episode. It was about two washerwomen dialoguing across the board. Liffey River, presumably. And at the…

…division of eye-ear gives you pretty well the whole structure of the wake, doesn't it? In a way, it's the royal divorce that Joyce talks about all the time. It's the divorce of the senses. Which occurred with the advent of the written word. Of the…

…form of technology is anathematized. The golden calf was, of course, money. The creation of cities, markets, huge enterprise. Remember Joyce, he married his markets chief by fell. Well, this kind of ear-eye, ear split, which runs right through the wake,…

…fell. Well, this kind of ear-eye, ear split, which runs right through the wake, is also the east-west split, isn't it? And Joyce is loaded with their references to that, isn't he? Yeah, well, he sort of traces it through this progression from the tribal…

…classifications of personality types and diseases. They're of utter bane to all understanding of the human psyche. There's a phrase of Joyce which ends it all, young and easily frightened. The whole team was highly literate without knowing it. and imposed a…

…don't have the John Donne, right? Whoever comes to shout me. Well, we might have him as a check. Rumble. Or Marvell. He matches. Joyce. No. I've got some nice text right here. We don't need that today. We did some of that already. I can mention some.…

…the community. That's a little different from what Pound had in mind. Pound was thinking, along with, say, Yates and Elliott and Joyce and people like that, he was thinking of the all somewhat more elevated modes of awareness, if you like. But the fact…

…from the empirical toward the invisible. Industry immediately applied this technique. It's no coincidence that our writers, that Proust and Joyce should appear at this time, that our artists, beginning with the School of Paris, 1906, would all begin to break…

…examples and anecdotes and exemplars of the clash between the eye and the ear world. On the blackboard behind is a phrase from Joyce which pinpoints. Well, I'll read it out loud. It says, when European End meets end, I-N-D, which is a pun on the capital…

…called escapist. Nobody ever called TV escapism. Surah is very much like TV very involving very Mosaic like very much light through Joyce Joyce James Joyce calls TV the charge of the light barricade The light comes through charges at the viewer it's an…

…escapist. Nobody ever called TV escapism. Surah is very much like TV very involving very Mosaic like very much light through Joyce Joyce James Joyce calls TV the charge of the light barricade The light comes through charges at the viewer it's an x-ray…

…the environment. It makes that space. James Joyce has a phrase, which I'll put on the board because hard to get by ear alone. Joyce said of his Finnegan's Wake, What the reader sees is not what the reader hears. And he wrote it that way on two or…

…them. TV is like that, of course. It's an X-ray mosaic screen. with the light charging through the screen at the viewer. Joyce called it the charge of the light barricade. In fact, Finnegan's Wake is the greatest guide to the media ever devised on…

…Now, McLuhan, who's, as you know, a student of literature, and particularly very involved with modern literature, with Pound, Joyce... Eliot undoubtedly absorbed this idea that the medium is the message from the so-called formalist tradition. Yes, Eliot, for…

…is movie. And the episode that concerns movie and TV is called The Oont and the Grace Hopper, The Motorcar and the Airplane. Joyce doesn't just deal with the media in isolation, but he deals with them as they affect each other. Now you probably never…

…mobile platform for our eyes. The movie camera is eyes and feet wedded together. The TV camera is not. The TV camera, as Joyce points out, is more like the airplane. Whereas the motor car extends your feet and eyes, the airplane extends your whole body.…

…Every new form typically repeats the old experience and creates a strange deceit or illusion. Well, just to finish off the Joyce illusion, before plunging into this matter a little further, Joyce is the only person, I think, who ever did a complete…

…creates a strange deceit or illusion. Well, just to finish off the Joyce illusion, before plunging into this matter a little further, Joyce is the only person, I think, who ever did a complete study of human ecology, that is, the ecology of human man-made…

…And the ont is the film and the Grace Hopers TV. I'll just mention why they happen to pop up in that illustrative role. Joyce, I think, quite correctly saw that the motor car is very much like a movie camera, with the driver really in charge of screen…

…good or bad or the movie is good or bad. I'm just trying to make a distinction between their mode of operation. And Joyce has this fascinating section. It's in the thunder number nine of Finnegan's wake that he deals with the owns and the grace over.…

…had? Oh, well, it has involved readers in the whole poetic process as never before. Oh heavens, when you actually hear Eliot or Joyce or Dylan Thomas reading that stuff, why, it makes you feel that it's a normal part of human speech and behavior to be…

…for the first time, that changes everything about his poetry. His rhythms, his involvement in the language changes totally. Same with Joyce reading from Analypia. You know, I've gone through this whole question of poetry and hearing it and so forth. I begin…

…had? Oh, well, it has involved readers in the whole poetic process as never before. Oh, heavens. When you actually hear Eliot or Joyce or Dylan Thomas reading that stuff, why, it makes you feel that it's a normal part of human speech and behavior to be…

…has a great deal of power. And how do you explain this power? Well, we could go back to the techniques used by Joyce in Finnegan's Wake, when he takes typically clichés like, though he might have been more humble, there's no beliefs like Ohm's, where he…

…Majesty's service. It's resistance, isn't it? A unit of resistance? It may well be. But by banging these old cliches together, Joyce typically gets these strange releases of archetypes and fresh perception. I think we were agreed that archetype is a fresh…

…which result in new forms and new ways of tackling them. problems of perception in new environments. Well, Marshall, you mentioned Joyce, and it seems to me that people who are Joyce experts are always saying that every reader gets something different out…

…them. problems of perception in new environments. Well, Marshall, you mentioned Joyce, and it seems to me that people who are Joyce experts are always saying that every reader gets something different out of Joyce. Would this be true of the archetypal…

…it seems to me that people who are Joyce experts are always saying that every reader gets something different out of Joyce. Would this be true of the archetypal experience? I think so. Individuals have unique sensory biases and preferences. And when they're…

…you know, casting his perils before swings. This is a phrase out of Finnegan, and it's typical of the technique of Finnegan. Joyce regarded the human language as the biggest storage system of human knowledge and perception anywhere. And his own use of that…