McLuhan at MOMA with Ralph Baldwin and Tony Schwartz, 27 June 1966

Bob’s Notes

Payday 

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