Monthly Archives: April 2023

Dali TV Guide interview: watch TV upside down

McLuhan to Sheila Watson, June 12, 1968:1

Obtain cover of TV Guide for June 8-14. It is a Dali explanation of the tactile nature of the TV image. Wonderful interview inside, too.

Here is that wonderful interview…2

He Prefers To Watch TV Upside Down

Salvador Dali, genius
and madman, tells what he
thinks of the medium

By Edith Efron

Salvador Dali painted the cover of TV Guide this week. He calls it ‘Today, Tonight and Tomorrow’.3

Dali is both genius and madman. (…)

We were sent to interview him about his cover painting and to get his views about television. Here is an exact report of what happened. (…)

“I want to talk about the Heepies. The Heepies are my friends”, he says, while the picture editor and the photographers arrange him. (…)

We begin the interview. “Would you care to interpret the cover you painted for TV Guide?”

“Ahhrrgh,” shouts Dali excitedly.  “TV — everything rigid, square, very clear. Soft watches, soft pianos, soft violoncellos — I create that. Now I create soft television.”

“Why thumbs?”, we ask.
 
“Thumbs? Very adequatt for looking TV. Shape. Thumbnail. Like TV.”
 
“Why just thumbs?” We ask. Why not other fingers?
 
“One feenger sufficient”, says Dali.
 
“Oh”, we say.
 
“Myself”, says Dali, “never watch television. Don’t like TV. Only one very leetle minute.”
 
“You never watch it at all?”
 
“Watch it upside down”, says Dali triumphally. “Through moiré filter.”
 
“Through taffeta?”
 
“Taffeta filter. Change completely. Is possible to see what my own brain create.”
 
“What does your brain create?”

“Liquid television!” Dali beams with satisfaction. “My last invention. Put liquid on hands.” He rubs imaginary liquid into his hands. “TV appear! DNA proves that origin of life . . . TV one day become correlated with DNA. Everything mechanical collapse except cybernetic machines!”

“Mmmmm”, we say. “Referencing back to your watching TV upside down — how does that work exactly?”

“Upside down. Everything in my brain. Project my brain on the screen. Vary agreeable! My brain very superior every medium.”

“What sort of thing does your brain project on the screen?”

“Happenings!” cries Dali instantly. “I make happenings in Paris. I did things extraordinaire. Omelettes aux fines herbes put on head of old, old lady.  She sits with omelette on head, trembles. Omelette falls to ground. Servant puts other omelette on head. Again she tremble, omelette falls. Finally, she up to knees in omelettes!”

“What other happenings do you create?”

“Deux mille boiteux!” shouts Dali in French. “Je mets deux mille boiteux dans une chambre.”

“Lame people?” we ask. “You put 2000 lame people in one room?”

“Si, si. After I throw one hundred wild ducks! Then observe.  Ah, if they did thees kind of theeng on TV, I would watch! But to look at people on pan-ells who discuss? What use? I know everything they say already.”

“You learn nothing new from TV?”

”Nevair”, cries Dali. ”Nevair anything new. Besides, everyone mediocre. Everyone. Except me. Me and Watson. Discover DNA. And Buckminster Fuller. Invent structures the most sublime of epoch. Monarchiques! I’m monarchique. The Heepies, they are becoming monarchiques.”

 ”Excuse me”, we interrupt. “The Heepies?” we ask, astonished.

“Absolument. After Louis XIV there was Revolution Française.  It  brought triomphe of bourgeoisie. The Heepies, they bringing back l’aristocratie.”

“Mmmm,” We say again. “What else would you like to see on TV?”

“Happenings. And things scientifiques! Lots of things scientifiques! And lots of Heepies, lame people. 0p and Pop artists who are most alive. Nevair filmed in advance. Everything filmed advance dead.”

Dali suddenly interrupts himself with an extreme double take. He stares across the room at the picture editor, who is a very pretty and non-ambiguous-looking young lady. “Are you boy in girl’s clothes?” he demands.

“No”, replies the picture editor coldly.

“Arrrgh,” says Dali softly.

“TV”, we coax. “Please stay on TV, would you?”

“TV for masses. Don’t like masses. Only like minority. Masses never cultivé, never good taste. TV should be for to shock them. Force them theenk. But nevair to please. TV for aristocrats to show them [the masses] what they don’t understand.”

”What aristocrats?”

”Op and Pop artists”, says Dali. ”Op and Pop artists superior to masses.”

“Would the masses enjoy a TV run by Op and Pop artists?”
 
“No, no. They would protest. The lame people, the wild ducks. They wouldn’t understand. They…” There ensues a flurry of talk about DNA and molecules in a self-liquefying merger of English, French and Spanish. Then: “Leeches represent living soft watches. The Dalínian universe represents the ideas of Watson. DNA is the… ”

“Excuse me,” we interrupt . ”What have leeches, soft watches, DNA, Dali’s universe, Op and Pop artists, the taste-less masses and TV got to do with each other?”

Dali looks at us with contempt . “The lame people – they are the templates,” he says. “In the genetic code, there are messengers. They always lame.”

”Oh,” we say.

“Everybody idiot but me,” announces Dali loudly.

”You say the masses would protest the lame people and the ducks,” we say, struggling to hold on to the interview. “Why make them watch what they wouldn’t like?”

”Masses need enigmas. Like religion. Must give them enigmas”.

“Do you consider yourself a priest?”

”Not a priest”, says Dali coldly. “Am Dali. That ees sufficient. TV not need humans to run it. Need brains not human. Cybernetics. Very  superior to human brains.

“But computers have to be programmed by humans. Who’d program them?”

“Fuller. Watson. Myself. We program the machines.”

“What’s wrong with the present programmers?”

“Afraid to lose job. Full of bureaucracy. No private initiative. All initiative completely lost. Too much pleasing the masses.”

“The situation would be improved by showing the masses omelletes on trembling old ladies’ heads?”

“Naturalement! The Heepies are against thees bureaucracy,  thees uniformity.” Suddenly, there is a new flurry of Heepies, DNA, molecules and cybernetics, with a few protons and antiprotons thrown in.

We ask again. “About this cover you’ve done for TV Guide — what else  can you say about it?”

“Ees desert. Dalínian landscape. Desert of Spain. Also like desert of California. Put TV set in thumbs. In usual desert.”

Does the desert symbolize TV?”

Dali looks blank.

“My editor thought maybe you meant the ‘vast wasteland’.”

Dali looks blank. “No, ees usual Dalían universe.”

“The cover just means…thumbs in a desert? It doesn’t actually have a meaning?”

“No. Just thumbs.” Dali changes the subject. “Must uplift masses. Op and Pop artists must uplift”, he repeats.

“Would you comment on the future of TV, Mr. Dali?”

This question provokes a veritable scientifique explosion. “Laser beams…DNA…oxydic nucleic acid…holograms! I make hologram of God!..My religious pictures metaphysical. Full of protons, antiprotons, molecules. Everybody make images of God. Michelangelo make of marble. Who make God like that? I make portrait of God with mathematical formula. Holograms! I make God with holograms. Show on TV. Fantastique!

“God on TV?” We stare at Dali.

“Ahhrrgh”, Dali leaps up from his chair. “Fantastique. TV experts don’t know what hologram is. Nobody here know nothing. Should do your job! DNA — don’t know what DNA is. How can you SPEAK people who know nothing? Hologram bring Into existence object in HEAD. Fantastique technology. God is in head, make real. Put on TV”. (…)

Someone tries to pay Dali tribute by mentioning his magnificent Crucifixion [paintings]. Dali stares at the speaker — and then rattles off a long and totally pointless anecdote about having received an elephant as a gift. “From Delhi to Dali”, he says triumphantly.

For a moment we all mill around him like stray cats, unwilling to go without a moment of true communication. But Dali will not have it. 

  1. Letters, p353. ↩
  2. Interview with Salvador Dali by Edith Efron, TV Guide, June 8-14, 1968, pp6-10. The transcript here has been prepared from online photographs of this TV Guide interview. Copies of the issue are regularly offered at ebay and elsewhere and sellers often illustrate their wares in this way. The interview has been lightly edited by omitting some of the less interesting material and by deleting words Dali probably did not use. For example, Ephron’s “Is possible to see whatever my own brain create” appears as “Is possible to see what my own brain create”. Dali might have known the word ‘whatever’; but he was too much of a genius to use it in the way reported by Efron in an interview with the press. Still, odd constructions like “No private initiative” remain. Could Dali really have said this? Or, at least, could he really have made his point about the lack of creativity in TV in such strange (for him) language as this? ↩
  3. The ‘Today Show’ and the ‘Tonight Show’ were TV programs in 1968 — which are still going 55 years later in 2023. The ‘Tomorrow Show’ would also become a TV program, but only 5 years later in 1973. Its use in the title of the TV Guide cover painting has the effect of contrasting present time, ‘Today’ and ‘Tonight’, with the future, ‘Tomorrow’. Or, as Dali’s intent seems to have been, to use time to contrast unreality with reality and superficiality with creative work. ↩

Ear-view mirror

Gordon records that McLuhan used the great phrase “ear-view mirror” in a letter to Barbara Rowes from August 9, 1977.1 But he does so as part of a questionable claim:

The television medium forces the use of what McLuhan later referred to as the ‘ear-view mirror,’ because the eye never receives a complete picture from the screen, just as the ear never receives a word in isolation from a stream of speech.

Gordon’s sentence is often enough cited with approval as if it captured the intent of McLuhan’s play on words. But of course it does not. In fact, once actually considered, it is hard to know what Gordon could have been thinking — his sentence is a sequence of non-sequiturs.2

The phrase is first of all a product of McLuhan’s Joycean mind that found it easy, enjoyable and informative to juggle words and thoughts.  Leaving off the ‘r’ from ‘rear-view mirror’ reveals a mind in action and reflects a common phenomenon in language — like the Cockney ‘enry’ or the Greek ‘oinos’. A funny thing happened on the way to the present.

Secondly, the phrase captures ‘tactility’ in its characteristic action of melding without merging, in this case ‘ear’ with ‘eye’ (view, mirror). According to McLuhan, this is what television, as the epitome of new media, is — the extension of tactility.

Thirdly, the coinage indicates that its twin, the rear-view mirror, is more complicated than might be thought. Like everything else, it is knotted and not-ed internally.

  1. Escape into Understanding, p210 with reference at p405, n63. ↩
  2. McLuhan’s phrase does not concern what “the television medium forces the use of”. Whether or not “the eye (…) receives a complete picture from the screen” depends entirely on how the ‘eye’ is conceived and how “a complete picture” is understood. And what this has to do with the reception of a word in “a stream of speech” — which is usually the case, but sometimes not — is obscure at best. At a guess, Gordon equated the linear “stream of speech” with an analogous ‘stream of images’ in TV and considered that both make sense only in such a chronological context. But this ignores McLuhan’s ‘allatonceness’. So a series of non-sequiturs goes wrong through an overconcern with sequence. ↩

DNA

McLuhan frequently referred to the discovery of DNA by Francis Crick and James Watson and apparently saw it as analogous to his discovery of the medium as the structure of all possible messages.

McLuhan to Barbara Rowes, April 29, 1976

All of man’s artifacts are structurally linguistic and metaphoric. This discovery, unknown to anybody in any culture, would justify a book without any other factors whatever. Remember the Watson autobiography of his discovery of the double helix in the DNA particle? Literally speaking, this breakthrough [of mine] about the linguistic structure of all human artifacts [= the medium is the message] is incomparably larger and deeper-going.1 I am, myself, unable to grasp the implications. Certainly it means that the unity of the family of man can be seen, not [only] as biological, but as intellectual and spiritual.2

*

The University In The Electric Age, 19643

Today, in the Age of Information, all materials and energy tend to become a form of programmed knowledge. The process of translation, or application, has become easy. The real work now consists in doing something else, namely imagining the present in all its depth. The power of the imaginative grasp of the present seems to have belonged only to artists till now. That is why they seem to have been “ahead of their time”. But their power to seize their own time in depth is also accompanied by a vision of the unused possibilities of their time. They are often inclined to refashion the sensory life of their age as if they were the Life Force providing DNA particles with new programs. Indeed it is not misleading to envisage the artist as Life Force so far as inventing new sensory environments and ground rules is concerned. If new technology is very much in the order of biological extension and mutation, the artist is not without his role in orchestrating such change with the orderly needs of our sensory life. Without this orchestration of established sensory modes with new technological environments, man undergoes progressive alienation from himself.

Toward an Inclusive Consciousness 1967

If the DNA particle is programmed from all eternity, or is totally programmed before anything happens, it’s an all-at-once operation.

McLuhan to Sheila Watson, June 12, 19684

Obtain cover of TV Guide for June 8-14. It is a Dali explanation of the tactile nature of the TV image. Wonderful interview inside, too.

Dew-Line 1.5, November 1968

The twentieth century is not the era of outer but of inner space. Ours is the era of the inner trip and DNA. The outer trip is for tourists only and for the cultivators of the old hardware.  

Dew-Line 1.6 December 1968

The scholastics were oral dialoguers who had memorized all the basic philosophic components needed in their dialogue. Each schoolman had to be an encyclopedia of such lore. They then went to work (operation-research style) to solve new problems by banging old clichés together, much as Watson and his colleagues did in approaching the DNA. problem (see The Double Helix).5

McLuhan in conversation with to Nina Sutton, 19756

You cannot have learning except at the price of creative ignorance. The moment you learn some vast new thing you realize how very ignorant you were up to that moment and so learning is always creating ignorance — it is like discoveries made on DNA particles or something like that — this suddenly reveals to the scientists themselves their ignorance. So discoveries are always creating ignorance.7


  1. Compare from ‘Effects of the Improvements of Communication Media’ (1960): “I would suggest that the penetrative powers of any structure of technology lie precisely here: namely, that the ratio among sight and sound, and touch and motion, offer precisely that place to stand which Archimedes asked for: “Give me a place to stand, and I will move the world.” ↩
  2. Cited in Gordon, Escape into Understanding, p224. ↩
  3. ‘The University In The Electric Age: The End Of The Gap Between Theory And Practice’, University of Toronto Varsity Graduate, 11:3, December 1964. ↩
  4. Letters, 353. ↩
  5. Watson’s Double Helix was published earlier in that same year of 1968. ↩
  6. Barbara Rowes, to whom McLuhan wrote the letter quoted at the head of this post, frequently joined Sutton in her sessions with McLuhan. ↩
  7. The ignorance revealed by discoveries is not only past ignorance. More important is the ignorance revealed by discovery in the present for future investigation. What might be called ‘essential ignorance’ is embedded in all the tenses of time. The ‘rule of thumb’: no light without dark, no dark without light! ↩

Archimedes

In 1960 and for a few years thereafter, McLuhan used the image of Archimedes’ lever to point to the inherently ontological or universalizing nature of media such that they “embrace the globe”, “imposing their assumptions upon the entire community”:

Technology, the Media, and Culture, 1960
The boast of Archimedes was fulfilled in the phonetic alphabet. The culture that uses it stands on the human eye and levers all the other senses into distorted configurations. Today, Archimedes can stand on the ear by radio or our tactile sense by television and enlarge the operation of these organs till they embrace the globe. 

Effects of the Improvements of Communication Media, 1960
I would suggest that the penetrative powers of any structure of technology lie precisely here: namely, that the ratio among sight and sound, and touch and motion, offer precisely that place to stand which Archimedes asked for: “Give me a place to stand, and I will move the world.” 

Effects of the Improvements of Communication Media 1960 
…media as extensions of our senses offer ready access to our inmost lives, putting the lever of Archimedes in the hands of bureaucrat and entrepreneur alike. 

McLuhan to Serge Chermayeff Dec 19, 19601
Natural resources and staples, whether cotton, fish, lumber, coal, iron, water power or waterways are in certain respects low-grade media of communication gradually imposing their assumptions upon the entire community, creating a kind of organic unity. But our electronic media are in a very basic sense new natural resources, new staples of global extent and distribution since they are extensions of our own private senses. Archimedes said, “Give me a place to stand and I’ll move the world.” Photography, radio, television, et cetera enable anybody to stand on the collective human ear, eye, skin and to manipulate the entire human population as natural resource.

The Humanities in the Electronic Age 1961
Madison Avenue is the collective Archimedes of our time. Archimedes had rightly observed: “Give me a place to stand and I will move the world.” Today, looking at our globally dilated senses, he would comment: “Well, I’ll be fulcrummed. Why, I can stand on your ear, on your eye, on your skin and move your world as I wish.” 

Understanding Media, 19642
Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don’t really have any rights left. Leasing our eyes and ears and nerves to commercial interests is like handing over the common speech to a private corporation, or like giving the earth’s atmosphere to a company as a monopoly. (…) As long as we adopt the Narcissus attitude of regarding the extensions of our own bodies as really out there and really independent of us, we will meet all technological challenges with the same sort of banana-skin pirouette and collapse. Archimedes once said, “Give me a place to stand and I will move the world.” Today he would have pointed to our electric media and said, “I will stand on your eyes, your ears, your nerves, and your brain, and the world will move in any tempo or pattern I choose.” We have leased these “places to stand” to private corporations.3 

  1. For the full letter see McLuhan to Serge Chermayeff. ↩
  2. UM, p68 ↩
  3. McLuhan would come to see this as a mode of “hijacking”. See The Hijacked World. ↩