The thirteenth session on Bob’s book What We/You Didn’t Know About Trump is a long detour: rather than read the Tiny Note Chart top to bottom, Bob heads straight for its bottom-right corner and the “Rumpelstiltskin” that lives there , and Cameron keeps returning to a single question — why range over such enormous variety at all . The chart, it turns out, is a machine for naming: what its interacting parts finally do is “pose the question of the name” , and the name Bob is working toward is Trump.
Key Topics
- Bob reads the chart’s top line — “a chain letter of phase shifts” over a “cyclotron of holeopathic cliché probes” — and traces its five columns back to four “forces” plus himself .
- The bottom-right holds the operative logic: as in Rumpelstiltskin, an unnamed force “rules the roost” until you name it , and the chart’s job is to name the Android Meme, structure and all.
- Bob’s coinage “holeopathic” fuses hologram with the homeopathic potentizing effect: after cold fusion’s “frictionless energy” , he reads the satellite’s global hologram as shrinking through media rather than expanding .
- His central thesis is that “LaRouche is a replay of Ezra Pound” — the Cantos’ anti-usury history reappearing in a figure unaware of it .
- Cameron reframes the whole method as “studying the cloud chamber of effects,” so that dating an era is “closer to poetry than to quantum physics” , and later names the stake as “orderability” .
- The two charts split into mirror and frame — the Tiny Note Chart is the mirror’s distracting contents, the Formula Chart its more-real outside — and the Android Meme is said to have become the “Tech Body” .
Notable Quotes
"You control things by naming them."
"The whole reality in the mirror is fake."
"There is Joyce with cocked ear, eye, and nose at the center of the action."
Outline
- 0:00:16 — The book and the two charts
- 0:07:54 — Reading the Tiny Note Chart’s top line
- 0:15:47 — Five columns from the “Rhyee” forces
- 0:23:31 — Seattle, the development course, and Krishnamurti
- 0:28:15 — Five rows: the “book of nature”
- 0:33:30 — Rumpelstiltskin: naming as control
- 0:40:17 — The Trivium, the occult, and Club 22
- 0:55:27 — Holeopathic: the satellite, cold fusion, the shrinking hologram
- 01:08:47 — The five quadrants: LaRouche as Pound’s replay
- 02:00:21 — Orderability and the word “lost”
- 02:04:03 — McLuhan’s four-or-five terms; iconography and collage
- 02:13:57 — The Joyce passage and McLuhan’s sources
- 02:17:54 — The McLuhan mailing lists
Mentioned Resources
Works and documents
- Take Today: The Executive as Dropout — cited for p.137, “causes merging with effects”
- “Up the Orphic Anti” (1995) — Bob’s essay whose Part 2, “Silencing the Virtually Solar Theater,” adds a “solar theater” to McLuhan’s Global Theater
- Explorations, “Notes on the Media as Political Art Form” (c. 1955) — source of McLuhan’s “national myth-making / collective phobia / cultural norm / individual sensation”
- Understanding Media and From Cliché to Archetype — McLuhan works Bob draws on for classification and for Milton’s Beelzebub confusing “mind with language”
- Ezra Pound, The Cantos — the anti-usury history Bob reads as replayed by LaRouche
- Finnegans Wake and Ulysses — the Joyce works behind the “22” and the Kabbalah
People
- Marshall McLuhan (media theorist at the center of the dialogue)
- Lyndon LaRouche (political figure Bob reads as a “replay” of Ezra Pound)
- Ezra Pound (poet of The Cantos, the analog-era figure behind LaRouche)
- William Irwin Thompson and Arthur Kroker (the chart’s other studied figures, with LaRouche, McLuhan, and Bob)
- James Joyce (source of the “22” motif and the Finnegans Wake Kabbalah)
- Cameron McEwen (Bob’s interlocutor, pressing the question of what the chart is for)
Closing
Behind the esoteric machinery, the dialogue is a sustained argument that a chart can be a way of naming a hidden ground — and Cameron’s pressure turns Bob’s system into an open question about whether that naming describes the world or only Bob’s passage through it.
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