Finnegans Wake as "the "headless One" "The One with no Beginning"?

 Just musing, and came across the bornless rite and went straight to the wake as...the ONE with no beginning?
steve fly

In its original form this ritual is very old. Many of the "barbaric names" used in it are from the Ancient Egyptians. Others are to be found among the Greek Gnostics. Most of the more identifiable ones are from Merkabah Qabalah. In the original form, "The Bornless One" is called the "headless One" --- meaning "The One with no Beginning". The original form of this ritual was used for exorcism, but this and other later forms have been used to attain the Knowledge and Conversation of the Holy Guardian Angel.

Japanese Noh Play: Chant and music (from wikipedia)

Chant and music

Hayashi-kata (noh musicians). Left to right: taiko, ōtsuzumi (hip drum), kotsuzumi (shoulder drum), flute.
Noh theatre is accompanied by a chorus and a hayashi ensemble (Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Clearly, melody is not at the center of Noh singing. Still, texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called "Utai" and the speaking parts "Kataru".[7]

The chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldly feel of many Noh plays, especially those characterized as mugen.

Noh hayashi ensemble consists of four musicians, also known as the "hayashi-kata". There are three drummers, which play the shime-daiko, ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and a shinobue flautist.


Frances Yates and the Mnemonic Works of Giordano Bruno

After Warburg's death in October 1929 and the migration of the Institute to London in 1933, Brunian studies at the Warburg Institute took a very different direction thanks to the research of Frances Yates (1899-1981). While Warburg's interest in Bruno and image-based thinking brought his philosophy towards the present, Frances Yates' hypothesis of an Hermetic Bruno rooted his thought in a distant and partly mythical past at the antipodes of modern times. Nevertheless, while her Giordano Bruno and the Hermetic Tradition (1964) takes a different path from that traced by Warburg, her other Brunian study, The Art of Memory (1966), is perhaps her book closest to Warburg's preoccupations. Indeed the history of mnemonics practices, by means of which mythological figures lived from the Antiquity onwards as animated bearers of learning in the intimacy of the human brain, had everything to interest Warburg. In fact the Art of Memory was written in close consultation with Gertud Bing as confirmed by this excerpt from the preface: 

Now that the Memory Book is at last ended, the memory of the late Gertrud Bing seems more poignantly present than ever. In the early days, she read and discussed my drafts, watching constantly over my progress, or lack of progress, encouraging and discouraging by turns, ever stimulating with her intense interest and vigilant criticism. She felt that the problems of the mental image, of the activation of images, of the grasp of reality through images – problems ever present in the history of the Art of Memory – were close to those which preoccupied Aby Warburg, whom I only knew through her.
Frances Yates expounded the first results of her research on Bruno's art of memory in a seminar at the Warburg Institute in 1952. She showed her reconstruction of the wheel described in the De Umbris Idearum, Bruno’s first mnemonic work published in Paris in 1582. The two wheels illustrated below are part of the same work and serve as an introduction to using the larger wheel.

In the first fixed ring the practitioner will assign a mythological or heroic figure to each letter. Bruno provides some examples : A Lycaon; B Deucalion; C Apollo; D Argos ... (see De Umbris Idearum, pp. 107 ff). The letters of the second ring correspond to an action or a scene associated with each figure. The examples provided are: AA Lycaon at a banquet; BB Deucalion and pebbles; CC Apollo and Python; DD Argos and some cattle (ibid, p. 112). Thus rotating the first inner ring operates permutations between the figures and their action. Further permutation occurs when the third wheel is set in motion. It contains attributes or enseignes which can be easily passed from one figure to another. Bruno provides only four examples and leaves the rest to the imagination of his reader. These are : AAA, Lycaon at a banquet with a chain; BBB, Deucalion and pebbles with a headband; CCC, Apollo and Python with a baldric; DDD, Argos and some cattle with a hood. This way the systems makes it possible to create combinations of letters representing words, acronyms or syllables to be remembered by means of animated images mixing the attributes and accustomed actions of familiar mythological figures.

BAA: B Deucalion A at a banquet A with a chain
MAD: M Perseus A at a banquet D with a hood
CAD: C Apollo A at a banquet D with a hood
COD: C Apollo O and Proserpina D with a hood

To approach the larger wheel Bruno advises his reader that `...it is necessary to dilute the printed page into an immense space'. The last section of De Umbris idearum describes the content of  the larger wheel over 40 pages. It consists of five concentric rings divided into 150 rays each subdivided in 5 cells. On the outer rings are numbers, letters, the name of inventors followed by four more wheels of words corresponding to the categories of agent, action, enseignes, attributes (adstans) and circumstance.

Frances Yates reconstruction of Giordano Bruno memory wheel from `De Umbris Idearum' - Click the image to access full version (PDF 1.5 mb)
`How did the system work? By magic of course, by being based on the central power station of the … images of the stars, closer to reality than the images of things of the sublunar world, transmitter of the astral forces, the `shadows’ intermediary between the ideal world above the stars and the objects and events in the lower world.’ (The Art of Memory, p. 223)

This interpretation, based on a misplacing of the images of the planets, was first revised by Rita Sturlese in her critical edition of the De Umbris  of 1991 (pp. LXVIII ff.) and later by Francesco Torchia (‘La chiave delle ombre’, Intersezioni, 1, 1997, pp. 131-151).

Both scholars strip Bruno’s construction of its magical character. According to Sturlese the wheel is in fact an adult toy conceived to learn foreign words. Here each ray corresponds to a set of syllables combining one consonant with one vowel. Thus reconstructing a word with its phonetic constituents amounts to combining the various elements of each section. The addition of the images described in the last ring before the hub creates in the end a mnemonic background by means of which new words can be remembered. For instance to remember the word Numeratore you should pick the first syllable in the outer ring, NU, which corresponds to `Apis’; the second syllable in the second ring, ME: `in tapeta ’; the third syllable, RA, in the third ring: `deploratus’; the fourth syllable, TO, from the 4th ring: `compedes’; and finally RE in the 5th ring. This last ring  provides a background against which to set the image thus created:  `…mulier super hydram tres cervices e quarum singulis septem exiliunt capita habentem, vacuas antrorsum tendens manus’ (De Umbris, p. 151)


poets who spoke in poetic characters' Vico and the artificer

While modern theories of knowledge begin with something present to the mind - e.g., Descartes begins with self-evidently true, clear, and simple innate ideas - Vico, begins by asking how it is that the mind comes to have anything present to it at all (Verene, 1981).
And it is precisely to this question that Vico claims to have an answer, indeed, it is the master key of his science. "We find," he says,
"that the principle of these origins both of languages and of letters lies in the fact that the early gentile people, by a demonstrated necessity of nature, were poets who spoke in poetic characters. This discovery, which is the master key of this Science, has cost us the persistent research of almost all our literary life, because with our civilized natures we moderns cannot at all imagine and can understand only by great toil the poetic nature of these first men" (para.34, my emphasis).
But to understand what he means here by saying that the early people were, by necessity, poets (where the word "poet" is from the Greek poitetes = one who makes, a maker, an artificer), we must divide the process of making involved into two parts: i) the first, to do with the forming of a sensory topic, and ii) the second, with the forming of an imaginary universal which, from a 'rooting' in it, 'lends' the topic a determinate form.--John Shotter, CMN/UNH, http://pubpages.unh.edu/~jds/VicoNotes.htm

world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system

world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system--Bucky Fuller

The United States of America is not a nation. Nations are large tribes of humans that have been geographically isolated for millennia and have progressively inbred the physical types surviving under those unique geographical conditions. As mentioned, the U.S.S.R. had 146 naturally evolved nations" to integrate, the physiognomies of each U.S.S.R. nation looking quite different from the others'. The United States of America is a crossbreeding integration of humans from all the nations of the planet Earth; though often speaking of itself as the United States of America, it is not America. Its population is only one-half that of North and South America. The North Americans, consisting of Canadians, the U.S. citizens, and Mexicans, are evolutionarily cross-breeding into a single hybrid family of world humans. ...

It is the invisibility of the alloys and chemistries and of the electronic circuitry of the design science revolution which finds that revolution to be as yet uncomprehended and ignorantly opposed by humanity's reliance only on yesterday's politically visible means of problem-solving. It is both the invisibility and misinformedness that occasions the lack of spontaneous popular support of the invisible design science revolution by the most powerful political and money-making systems. Big government can see no way to collect taxes to run its bureaucracy if people are served directly and individually by daily cosmic-energy-wealth income. Money-makers cannot find a way of putting meters between people and the wind, Sun, waves, etc. Neither big government nor big business pays any serious attention to the fact that we can live on our energy income, rather than on nature's energy savings account (fossil fuels), or by burning our Spaceship Earth's physical hull, which consists entirely of atomic energy in the form of matter. ...

World Game will become increasingly effective in its prognoses and programming when the world-around, satellite-interrelayed computer system and its omni-Universe-operative (time-energy) accounting system are established. This system will identify the kilowatt-hour-expressed world inventory of foods, raw and recirculating resources, and all the world's unique mechanical and structural capabilities and their operating capacities as well as the respective kilowatt-hours of available energy-income-derived operating power with which to put their facilities to work. All the foregoing information will become available in respect to all the world-around technology's environment-controlling, life-sustaining, travel- and communication-accommodating structures and machines. - Buckminster Fuller - Critical Path

The Geoscope is a large-scale, animated globe of the Earth intended to help people visualise the spatial and temporal patterns of human activity, either in real time or replayed at different speeds. If the human mind is presented with all of this information at once, it should be able to use its visual pattern-detecting abilities to solve complex problems such as weather-forecasting, resource conflicts, and wars (p. 183). Data for the Geoscope can come from the world maps produced by the USA, using radio triangulation, during and after World War II (p. 184). Geodesic domes will be built to enclose entire cities (p. 179). --Critical Path


Bucky Fuller predicts atomic-scale computers forty years before graphene semi-conductors

The clearly stated work is a transcription of a recording Fuller made in the late 1960s. The transcriptions reside in Box 9, Folder 3 of the Stanford University Special Collection of R. Buckminster Fuller. The transcriptions document a series of discussions between Fuller and his patent attorney, D. Verner Smythe. The patent was not pursued and does not appear in Inventions, Fuller’s book of patents. The subject of the patent does, however, appear in Fuller’s magnum opus, Synergetics (1975 and 1979). To understand a node of Fuller’s thought requires tracing an idea across many other nodes of Fuller’s thought. But by tracing a line from diary entries through transcribed monologues through published books, Fuller is shown to predict atomic-scale computers nearly forty years before today’s discussion of graphene semi-conductor computers.--http://synchronofile.com/buckminster-fullers-ultra-micro-computer/

 By the time the phrase “never show half-finished work” appeared in his book Critical Path (1981), “Universal Requirements Checklist” had been renamed “Comprehensively Anticipatory Design Science’s Universal Requirements for Realizing Omnihumanity Advantaging Local Environmental Controls, Which are Omniconsiderate of Both Cosmic Evolution Potentials and Terrestrial Ecological Integrities.”--http://synchronofile.com/buckminster-fullers-ultra-micro-computer/


Steve Fly Musical Director for Cosmic Trigger play

“Steven ‘The Fly’ Pratt is a native of Stourbridge UK now an Amsterdam resident who plays drums, spins vinyl, writes novels and literary and cultural commentary.” —John Sinclair.Traveled to Palm Springs, C.A, acting as executive assistant to Robert Anton Wilson at the Prophets Conference (2000)

Worked as associate producer with Deepleaf Productions and Robert Anton Wilson on the award winning documentary movie Maybe Logic: The Lives and ideas of RAW (2003) Founding member and faculty staff at the Maybe Logic Academy studying alongside RAW, in 2010 led his own MLA class: email to the tribe.

Currently involved in innovative uses of new media. As creative director involved in a long term work in progress dedicated to the presentation and exploration of RAW explanations and theories. The project has guaranteed contributions from the Robert Wilson Anton Wilson estate, Maybe Logic Academy, Paul Krassner, Coldcut, Kid Koala, DJ Food and the Cinematic Orchestra.

c. 150 gigs as a drummer, 100 DJ turntablist appearances, with Reggie Watts, Bernie Worrell – P_Funk, Benny Reitveld – Miles Davis & Santana, Leo Nocentelli – The Meters, , Tal Morris – Credence Clearwater Revival, Rasaki Aladokun – King Sunny Ade. Festivals: Glastonbury, Burning Man, High Sierra.

“…a soundtrack of jazzy turntablism and live drumming provided by a Stourbridge native living in Amsterdam (enough said!).” –Q Magazine. Mohawk Album Review April 2014.