Memo To Prince Charles

June 4th, 1987

Memo 1987 | Memo 1990

Today, 47 years ago, your mother listened intently as Prime Minister Winston Churchill addressed Britain on the national radio broadcasting system - the BBC. On that day his vocal double was very effective in mobilizing the English language against the German threat. However, in this note I will do my utmost to make this challenge for your tenure as clear as possible. Remember, James Joyce predicted our dilemma in 1939 when one reads in FINNEGANS WAKE:

"his troubles may be over but
his doubles have still to come"

(p.138).

Since 1945 we've watched these "doubles" strut their stuff in the global theater with much anticipation. (The word "doubles" in this case takes on a "bottom-up" slant and refers to man's extensions, his technological environments.) And how successful was their hypnosis! Even the tired and worn-out ones did not fail to seduce. For under electric conditions there is nothing old under the sun! Within 25 years each and every double was taking on archetypal status. Each had ample room to spin their baroque spiral. Not so much for television though, for by the mid-Sixties we on the Secret Council of Ten ordered the severe rationing of "live" TV.

Television was the vortex for ratings struggles between these archetypal retrievals as they fought for the status of most-favoured anti-television anaesthetic. This would require a rapid series of innovations within each archetypal form. This is what I mean by a "baroque spiral". And advertising was then the Menippean satire of this battle of Jericho. You could also say that as fast as the walls were being knocked down, they were being rebuilt as genuine fakes. The first time they were toppled it was real and generally unforeseen. Yet, the second and third time it was anticipated and programmed because change, any kind of change, took on the appearance of "reality".

So, there will be lots of room for royalty and its expertise on economic cycles. But the ground must be created for its political acceptance among the archetypal fakes. I am very confident this can be programmed via the following:

Mixed corporate-media = rapid succession of innovations as ersatz anti-environment = hologram = Menippean satire: Computer as "ground" for such. Culture becomes business and environmental myth-making (new cliche´). LaRouche and Zappa mime privately Mixed Corporate-Media with

LaRouche favoring EYECON

(hardware, Platonic, Christian) and

Zappa favoring EARCON

(software - see p. 346 of biography, Aristotelian/Nominalist, Pagan).

The numbers below on the right represent content-obsession and interval position.

I just got off the phone with Bob White - more about that later. Anyway, "collectosomatic" is the notion, not ''psychosomatic''. As I told you in my last memo,

myth is

pattern-of-information/culture/community/
technology/words/archetype/story/passion.

Previously myth was imposed, now it is evoked. Instead of ruling men by controlling their passions, we rule through their passions. Myth is passion and under the electric myth all passions are retrieved and recycled simultaneously

as software "form"

(to live in on a long-term basis) and

as hardware "content"

(short-term and temporary lifespan).

In other words,

myth =

imagery (of all sensory inputs) =

culture in action =

advertising feeding on itself.

Now this is where your role comes in. You've got to understand the formula -

ADVERTISING

(books, theatre, art, music, movies, cars, radio, mags, t.v., cultural content, glassbead game)

ADVERTISES ADVERTISING

(all sensory inputs, propaganda of form, finneganswake)!!!

EEEEEAAAAAAAAGGGGGGHHHHH!!!!!

Think of crowds as putty, living putty. Technology (once it becomes a shared environment) molds that body of putty. "Collectosomatic"? Yessss. Think of each technology as an astrological sign, each imprinting its own particular dynamic on the crowd. Then imagine each technology interacting with other technologies and the suggested patterns become almost mathematical. Dump those patterns into a computer - voila! - sociological algorithms, a controlled (abstracted?) Bruce Bickford clay-animation film.

As Jonathan King bemoans in his 1965 hit "Everyone's Gone to the Moon", the human barriers between the conscious and the unconscious have evaporated under electronically mixed corporate-media conditions. This leaves consciousness in a continuous process/challenge of making sense without a framework. The resulting stress is considerable. The role of Freud's "censor" is thus taken over by the external man-made environment, i.e., any and all forms of technology. These become "clothing" for the raw, denuded, electrified state of consciousness. People become obsessed with their technological fix which nowadays is a collection of media in various states of sophistication. We can refer to this as their "myth", or the stage of/for their belief/"taste" system. The techno-fix is their belief/filter in the face of raw perception which humans can't take too much of without becoming very distracted by levels of mental anguish, wonder or ecstasy.

However, we have had the basic electric environment for over 100 years, and it consumes and reshapes hardware (including Nature) constantly. The relationships of shape-changing between hardware forms are intriguing, but the point being made here is that hardware is beginning to become software as it etherealizes - doing more with less. Hardware softens as software hardens, and hardware takes over the symbolic role more and more. Culture is our business.

"Unity in diversity", the futurists say. The ground of that slogan is the fact of our collective consciousness being electrically fused and imploded into one erogenous "zone". Hence, the Western bias for fragmentation is threatened. This, at first, becomes our weakness. However, the inclusive, tribal bias of the non- Western parts of the world are equally threatened by this electrified implosion and are attracted to the novelty of our Western fragmentation as an anaesthetic for their pain. The diverse hardware props are easily marketed to them. Our present weakness in the face of the electronic "charge" becomes our strength in propaganda terms. ("Propaganda" here is meant as a whole culture in action.)

But, perhaps, over the last few decades the "supply" of our Western cultural currency is disappearing. We have disappeared. We have become Third World, too. The planet essentially became a ghetto as the satellite environment formed after Sputnik on October 4, 1957. This would explain the revival of conservative hardware values as a consensus in the West in the Eighties. We need the anaesthetic, also. The battered hardware "world" can now take on the appearance of "human scale" for every crew member of Spaceship Earth. We all resonate nostalgically with and yearn to retrieve the same hardware myth. This global consensus guarantees the Berlin Wall will go down as the "mythic stage" has been set for a world government based on Western democratic "values" - the consensually retrieved parliamentary myth, "unity" via "diversity".

BUT, the Electric Erosion continues! Unabated!! In the Global Theater!!!

Maybe I should backtrack, retrace, say, from about the time of the invention of the telegraph - 1840. From then until around 1918 the electric telegraph served as the hidden "ground" for the "figure" of such activities as the proliferation globally of the newspaper and steel worlds and the lockdown of National Governments. By "lockdown" I mean a guaranteed environment or fetish for manipulation by politically powerful elites who, at that time, were the content of the newspaper, steam and steel worlds which media, as figures, distract perception from the telegraph as ground. This lockdown process always operates under the cover of a war fought over the obsolete spoils of the bureaucratic positions of the previously powerful elites. Again, between 1840 and 1918 these obsolete elites were the principalities of the Royal Houses. As these Houses fought to preserve what was instinctively perceived as an increasingly threatened "world-view", they were helpless to stop the effects of the imploding environment of the telegraph - namely, the collective need to "preserve" and develop the most recent industrial technologies. This development mandated the political necessity for centralized national bureaucracies. But don't forget - this is all happening as a visible figure inside the actual physical Present of the telegraph environment. Moving along historically, following this model of process pattern-recognition, the next period would be from 1918 to 1945 with the hidden ground being radio, of course, for the visible motorcar, airplane, and movie worlds. Politically, this would effect the lockdown of World Government under the cover of warring national bureaucracies. Makes sense, doesn't it? It gets even better! From 1945 to 1960, in the visible worlds of nuclear bombs, advertising, public relations and icon-making, politically you have warring world bureaucracies (i.e., "superpowers" and "multinationals") parallel with the lockdown of the Solar Government - thanks to the hidden Present of television; from 1960 to 1977, conflicting solar bureaucracies while locking down the Universal Government (inner and outer space) via the hidden operations of the computer with the visible worlds of laser beams, genetic engineering, and endless tribal retrievals; from 1977 to 1990, the hologram world is the visible figure amidst clashing universal bureaucracies complemented by Mythic Government lockdown compliments of the satellite surround. "Myth" is a whole culture (or mixed corporate-media) in action as I explained at the beginning of this memo. However, the satellite is an extension and etherealization of a whole culture. Therefore, from 1990 to 2020 we will witness Orphic (Orpheus tuned the whole world) battles of mythic stages (tribal and techno solipsism) to run "cover" for the lockdown of BOBRULE in response to the discontinuous hidden grounds of tiny, diluted "holeopathic" retrievals, "holeopathic" meaning a combination of homeopathy and hologram.

As technological environments interplay within electronic implosion, the watershed is considerable. Since World War Two, urban/suburban sprawl is the result of the road attempting to become the city and the city wanting to be the road. The movie's content can take on cartoonish nuance, the book's editorial point of view, the television's intimate dialogue, the radio's blare or the newspaper's epic scope. I'm emphasizing the slant of the genre here. The movie in formal effect is still a movie - the extension of eye, ear and foot. The same various stylings of content will be done by the newspaper, the book, radio, and the cartoon, etc. When a technological form first appears on the scene, it prefers a certain content styling for maximum effect. But when it is displaced by newer technological forms, it is more tolerant of media matings - perhaps, even more desparate. It will latch on to any and every style of clothing as it stands more naked. Of course, the genteel aesthetes of any medium will find these stylistic gyrations quite repugnant. The Underground Press of the Sixties is an example. And surely this would explain why some consider Rap a form of "music". The users of such contemporary mixed corporate-media multiplicity would find these confusions quite comforting.

What is architecture today? As we seek shelter from the mythic storm of hallucinating media archetypes, any form can offer the warmth of the hearth. City and town planners fail to consider the new achitecture of the highway and the kinetic security it offers to the auto enthusiast harassed incessantly by the tactile overkill of the electric maelstrom, as one example. The modern artist today has to at least feign a strategy of mixed corporate-media programming. The elite managers of our Global Theater consider this all in a day's work. And the floating, discarnate citizens of this theater must respond 24 hours a day to the massage of this complex sensory programming. The comprehensive artist must be prepared to mime this situation from all points of view - either satirically, joyously, mournfully, or preferably all three. Two examples are Frank Zappa and Lyndon LaRouche, Jr. (Frank was recently overheard discussing changes to downtown Los Angeles with Cheech, and LaRouche is forever running for President of the United States.) The mixed corporate-media artist would mime the sensory/technological massage symbolically. For example, Frank Zappa kinetisizes visual and acoustic effects; Lyndon LaRouche acoustisizes visual and kinetic effects; but Marshall McLuhan tactilizes visual, acoustic and kinetic effects.

Take this automobile and send it to James Joyce who moved recently to Sri Lanka to smell Wyndham Lewis' armpit a little stronger. Its licence plate number is not Marshall McLuhan's old Wells Hill Ave. address (in the 60's) and Zingrone can confirm that. Or better still, ask your MI5 friend who plays around with O'Driscoll in the Celtic Fetish Dept. This auto can be used as a television if you program it with Allen Ginsberg's memories of his poetry reading in Halifax, Nova Scotia in 1976. He spent the early hours of the next morning arguing with a Russian poet over the existence of God, according to my records. Rub the dial with some yeast infection and your second son will salute every third Time Magazine he encounters in the exhaust pipe.

We've got to use the Golden Section and new negentropic curvatures in your Reform Architecture campaign. We have the chance to implement these breakthroughs in proposing new choices for the upcoming colonies on the moon and Mars. Now that LaRouche is locked away for at least ten years we can hoick up his Woman-on-Mars strategy. Also, with the old Project Paperclip Nazis on the run since the Hitler Diaries and Mengeles hoaxes, we are free from any sabotage by the Gehlen/Bolschwing network. Trevor-Roper was very helpful in that matter. I think you should give him another little present.

Talk to you next week,

Bob

Memo 1987 | Memo 1990