NOTE:Timing based on Payday archives.
Oct.18/2014 1177247-5-1
(Part 16 at 12:26)
**Ralph Baldwin on “media ecology”
13:58
“reorientation and awakening”
20:56
hot and cold media (“help” vs. “fire!”)
21:00
FW (movie [fantasy] and TV [young are grim and serious] [Thunders 9 {Ondt and Gracehoper} and 10 {television} {applause}])
23:17
Seurat and Rouault (light on and light through/rear projection) (making process for the audience in Poe and the Symbolists) (data/form [hot photo and movie] vs. information/structure [cool TV])
30:52
media ecology/discovery is for HCE
35:09
black and white sound (much gradation and modulation, foreground and background)
36:21
postmodern MM
39:23
protecting the underwater landscape
40:26
DeGaulle joke
40:40
“stream of consciousness” (film’s effect on prose/see “Prufrock” and the involving, syncopated “Blues” [abrupt encounter of forms])
41:52
Alex Leighton (“to the blind all things are sudden”) (ancient seer and insights)
45:24
effects of the tape recorder (John Cage) and photograph
46:20
programming the human environment
48:05
“wild track” (history of art forms)
48:44
Earth will be considered our origin
49:59
the effects of radio being put around film (dwelled more on the shot [“Dr. Zhivago”, Fellini and Bergman], the shot became inclusive [see FW] as in cartoon and TV, the “thing”/research novel and interest in raw data and facts among the young [going Oriental], the existentialists and the new mood [LSD scrubs off “the tape of personal awareness”])
50:57
McLuhan calls his lecture a “tour”
58:41
the movie as a repeat of ordinary life (“parahodos”, prose Realism, and “the great age of satire” [Pepys and Defoe])
58:50
Oct.18/2014 1177247-5-2
(Part 17 at beginning for 54 seconds [completing Part 16 and then a longer section of this end of Part 16 is repeated at 24:05] and then at 27:05)
Paul Valery (Symbolist poet) quotation on the movie as a form of mechanical, visual, memory storage (which points to the more comprehensive computer storage)
27:11
“entropic” electric circuitry (the safety car is entropic/turning inward)
28:04
movie as, at first, iconic and then to the “rise of the visual” (high definition [hi-fi]) (“psychosomatic effects”)
29:11
Innis, Havelock, and Barfield (visual effect of phonetic literacy)
30:03
McLuhan says “the medium as the message/massage”
31:06
McLuhan repeats “Joyce’s ULYSSES mimes the retrieval of the involving Homeric gestalt/orality” from Oct.4 (“complicated issues”)
31:24
the artist (play) vs. writing out your tax form (work)
2:28
children are geniuses until age five or six
33:00
McLuhan describes “media ecology”
33:18
Aristotle on plot in the “Poetics” vs. the episodic
33:37
McLuhan on the non-visual “coincidental” (overlaying)
34:05
manuscript as “tapestry” (“textura”)
35:14
silent reading and grammar vs. slang
35:46
the inauguration of the “Rearview Mirror” (repeated the next day at Fordham) (Garden of Eden mentioned at 38:04) (climaxes with photo and film)
36:43
Victorian novels all begin back 30 or 40 years before the publication date of the book (Scott and Dickens, etc.)
39:21
photo Realism evoked the turn toward structural forms (heuristic probing, discovery, and prediction as opposed to a wrap-around “comfortable dreamworld” and “proof” [rearview mirror]) in the arts (“Madame Bovary”) (Art and Science joined hands) (Joseph Conrad and Flaubert’s “Sentimental Education” boast on the Franco-Prussian War)
40:05
Pop Art (comics, etc., are “avant-garde” in their “artistic mode”)
42:51
Dickens and Dostoevsky, Poe and Baudelaire (gangster/cowboy movies, the Beatles, and Chaplin made playfully outside of the studio) (“putting on” the public)
43:32
Question Period begins
46:05
Fragonard, Boucher, and Mozart
47:15
McLuhan says he is not an expert
48:35
people are anarchists perceptually (only trained faintly in books) (Gurdjieffian somnambulism)
49:07
environmental “volapuk” (see FW)
51:19
“psychosomatic” torture
51:42
studying media “like a surgeon”
52:29
anaesthesia’s horrors
52:41
no movie effect when on TV
52:58
McLuhan chides the questioner for “giving up too early”
54:19
the need for gestalts/pattern-recognition (“which we all do”) at very high speeds (McLuhan mentions speed-reading) (the newspaper as a Surrealist poem or “happening” [no story-line, just a date])
55:05
