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."Marshall McLuhan, quoted by Bob Dobbs, The Resonant Interval, Dialogue 13 (11 Feb 2021), 33:30
"The whole reality in the mirror is fake."Cameron McEwen, on seeing through the Android Meme, The Resonant Interval, Dialogue 13 (11 Feb 2021), 1:48:48
"There is Joyce with cocked ear, eye, and nose at the center of the action."Marshall McLuhan, read by Cameron McEwen, The Resonant Interval, Dialogue 13 (11 Feb 2021), 2:13:57
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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