Bob's companion to the Formula Chart, introduced in Dialogue 11. Where the Formula Chart is sequential, the Tiny Note Chart is simultaneous — "times and spaces." A print artifact, it is "a specialized view of the Android Meme," titled "Xenochronous Bob's Tiny Note = the Grand Wazoo's Decad Dance." Its top line is "a chain letter of phase shifts"; below sits a "cyclotron of holeopathic cliche probes"; its bottom, off-chart "hexadic" line predicts the further bodies Bob would name over the next fifteen years.
Across the dialogues
Introduced and read top to bottom — chain letter, cyclotron, and the off-the-chart hexadic line
The chart is itself a biased, print artifact — a visual, specialized view of the internet-era Android Meme.
"it's a piece of paper. It's visual. And it's print. So it's a specialized view of what I'm going to call the Android Meme, which is the internet world of the early 90s and then on."
The chart pairs a linear form (the chain letter of phase shifts) with a circular one (the cyclotron of holeopathic cliché probes).
"the chain letter is Linear and connected. And then what's below the title? Cyclotron. There's your circle."
Its off-chart hexadic bottom line — two steps past the Tetrad — points beyond the chemical body to the chip, TV, astral, and "mystery" bodies, predicting Bob's next fifteen years.
"waiting for organic bodies, the spinning clothing crystals have danced the hex advertisement"
Bob lays out its full structure — the four figures, the off-chart bodies to come, and why it supersedes the sequential Formula Chart
Against the "visually biased," sequential Formula Chart, the Tiny Note Chart is "the big now" — simultaneous levels and spheres in resonance.
"But this Tiny Note is the big now with all these levels, resonance, and spheres interacting, interpellating, as they say."
The chart pictures the internet — but the internet is read as an afterimage of the Android Meme, the hidden ground grown 1960–90.
"the chart is going to be a picture of the Internet, but the Internet was an afterimage of the Android Meme, which was grown from 1960 to 1990."
Its figures are four studied thinkers — LaRouche, McLuhan, William Irwin Thompson, Kroker — plus Bob as the fifth, the integrator.
"I distilled it down to four people, maybe six... So the four levels were LaRouche, McLuhan, [William Irwin] Thompson, Kroker, and myself."
Read as the mirror itself — its columns traced to Cosmic Awareness's "Rhyee" myth and Bob's "holeopathic" coinage, its riddle answered by Trump
In dialogue 13 the title line resolves — the chart is a "cyclotron of holeopathic cliché probes," the columns named from Cosmic Awareness's "Rhyee" forces.
"this chart is a visualization of a cyclotron of holeopathic cliche probes, which I've explained previously."
The two charts split into mirror and frame — the Tiny Note Chart holds the mirror's distracting contents; the Formula Chart is the more-real framework outside it.
"the Tiny Note chart is the mirror, and the formula chart is not the mirror."
Read cell by cell — its method named as the cliché of art, its fifth quadrant the ground that swallows the four, its question "all four plus stages of apprehension"
Cameron's reading of the chart's method — its labels are suggestions ("you might think about this under this heading"), so it works "like the cliché of art," not the fixed things of science.
"it's more like the cliche of art than it is like the cliche of science."
The fifth column is not a fifth item but the ground — the Anthropomorphic Physical / Dobbs quadrant swallows the four analog quadrants that project it.
"Dobbs swallows the previous four."
With everyone a self-directing "quadrophrenia," the chart resolves to "five billiard balls" — a cloud of particles in the Android Meme's afterimage, already tending toward the Tech Body.
"this is a chart of five billiard balls in 1995 in the afterimage of the Android Meme"
The chart wrapped and reframed as prophecy — its base a "frictionless" medical technology, its "waiting for organic bodies" a forecast, Cameron countering that mirroring a technology "is not the only thing that thinking does"
Bob reframes the chart as prophecy — he reads it as having "accidentally predicted" the frictionless technology (holeopathic medicine, then iON in 2009) that, he concedes, was already on its way when he drew it.
"So I was predicting what was coming, but it had already arrived."
Cameron's counter — the chart's ground is a physical technology Bob mirrored and read forward, but that predictive mirroring "is certainly not the only thing that thinking does."
"at the basis of the Tiny Note chart is a technology and a physical technology."
Bob's framing of the whole chart — "the afterimage of the Android Meme" (1960–1990), a portrait of the internet built as a recapitulation of the four figures whose thinking ran up to a breakthrough none of them foresaw.
"I did create a mirror of the internet."
The ground question reopened — not McLuhan but Finnegans Wake underneath; the four quadrants given emotions (paranoia, schizophrenia, hysteria, panic, ecstasy) and the whole reread as a "cloud of faces," a collective mask
The ground question ("is the chart based on McLuhan?") reopened and refused — each quadrant is a rotating era, "not McLuhan as the ground," with the Dobbs quadrant (the digitizing Android Meme) as the Ground for the other four.
"It's not based on McLuhan."
Each quadrant is keyed to an emotional state through which its medium is apprehended — LaRouche/radio paranoia, McLuhan's schizophrenia, Thompson hysteria, Kroker panic, and Dobbs ecstasy, the epiphany that "bypasses the other quadrants' biases."
"the radio quadrant is paranoia."
Pressed a final time on what grounds the chart, Bob relocates the ground beneath McLuhan entirely — Finnegans Wake is the ground the Tiny Note Chart comes out of, the chart a palimpsest adding the factors McLuhan "didn't live long enough to add."
"I'd probably say Finnegans Wake is the ground, because it's used in the larger chart that the Tiny Note chart comes out of."
The vertical dimension — the chart as the "big now" against linear time; its conscious bias defended as a "correct fallacy," and Cameron pressing that it never became a shareable method
The chart's bias is deliberate, not a defect — a "correct fallacy," the only handle a "literate biased Western person" can get on the Android Meme's spirals; having gripped it you study each quadrant's sensory ratios and "move yourself away from the chart."
"This is the bias of a piece of paper, for flattening complex, multi-leveled, Orphic Baroque spirals."
Cameron's standing critique — the chart never became a shareable method. Against McLuhan's ideal (learned in school, applied out of school, "like chemistry"), it stayed Bob's private instrument, however much iON "ransacks" it on the radio.
"My take is that the chart is an interesting take, but it's a very personal one."
Given its one-line gloss — "human-minded five-body living," the chart as the human-biased projection whose ground is the Anthropomorphic Physical
Bob’s compact gloss on the whole chart — it is "human-minded five-body living," a projection he concedes comes "from my human bias."
"the phrase human-minded five-body living is exactly the meaning of the Tiny Note chart"
Confirmed as the anti-linear picture — Cameron argues history expresses its possibilities not as a timeline but as "epicycles and vortices," which is what the chart already sets out
Cameron endorses the chart as the non-linear picture his carbon analogy demands — the possibilities express themselves in history not as a straight line but as "epicycles and vortices," "contortions of time," exactly what the Tiny Note Chart lays out against a linear reading.
"there's very involved epicycles and vortices and all sorts of crazy contortions of time."
The four figures given their poets — each quadrant read as the "extension" of a modernist (LaRouche/Pound, McLuhan/Lewis, Thompson/Eliot, Kroker/Yeats, Dobbs/Joyce), with Theall's Varronian-versus-Menippean split beneath, layering a literary genealogy over the emotional keying of ep.16
The four figures get a literary genealogy — each quadrant read as the "extension" of a modernist poet (Pound, Lewis, Eliot, Yeats, Joyce), keyed to a pathology (paranoia, schizophrenia, hysteria, panic, ecstasy) — a poetic lineage laid over ep.16's emotional keying of the same quadrants.
"I say LaRouche is a representative of paranoia. And he's an extension of Ezra Pound."
Taken out of its author's hands — asked to define the difference between them, Cameron opens by declaring the chart already synchronic, so the artifact that had stood for Bob's historical method is conceded to the reading that denies history any fundamental role
Cameron's opening move in the synchrony argument takes Bob's own chart as evidence against him — if it applies always, it was never the chronology it looks like, and the disagreement has to be relocated.
"You think that the Tiny Note chart applies all the time."
Read out column by column for the first time as a physics table — each quadrant paired off with a subatomic particle, so the diagram stops being a chronology of media and becomes a claim that media and matter are the same inventory described twice
The chart's vertical axis stated as an equation rather than a label — each holeopathic column is not like a particle but assigned one, which is what commits the diagram to physics instead of analogy.
"holeopathic Radio Satellite is the Hadron."
Cameron closes the chart's two halves on each other — the gluon that appears in the McLuhan quadrant is the same gluon Bob's prose uses for advertising, so the diagram and the argument turn out to share a term.
"And on the Tiny Note chart, you have the gluons in the context of all of the subatomic particles."
The chart's most loaded borrowing declared as deliberate: advertising and the ratings are named for the particle that binds, precisely so the binding can be called counterfeit.
"And so I call that the gluons."
Read from the bottom up — the chart is recast as an advertisement, its lowest register pointing past itself to a sixth body the chart cannot contain
The chart's function inverted — not a summary of five bodies but a pitch for the sixth, which is why its bottom edge is the part that matters.
"the Tiny Note chart, is an ad for the hexadic."
The chart's bottom register given a physics: quadrants with almost no lifespan, mere instances, which is what a Bunsen-burner reading of the chart vaporizing requires.
"And that's why the quadrants are subatomic particles."
Re-read under one variable — the quadrants become five phases of the cyborgian, and the chart is claimed to have been pointing at the tech body long before the term existed
The chart is re-read under a single variable — each quadrant becomes a degree of cyborg involvement rather than a period, which is how a 1995 diagram is made to point at the tech body it predates.
"So look at the Tiny Note chart as five phases of the cyborgian."
The organising variable is stated before the quadrants are walked through, which is what converts a chart of dated events into a scale of degrees.
"so each quadrant is a different kind of cyborg."
Connections
The Tiny Note Chart takes levels seven and eight of the Formula Chart and recasts them simultaneously rather than sequentially.
Titled after Zappa's "big note" (as a "tiny note") and the Grand Wazoo's "Decad Dance."
Its top line, "a chain letter of phase shifts," refers to the letter searched for in Finnegans Wake.
The chart's title answers Zappa's "big note" with a "tiny note"; the "Grand Wazoo" and "Decad Dance" name its structure.