{"metadata":{"title":"Drawing an Ellipse","author":"Paul Guzzardo"},"slug":"paul-guzzardo-drawing-an-eclipse","md":"\n\n![(cc) Paul Guzzardo](../paul-guzzardo-drawing-an-ellipse/image1.jpeg)\n\n**1962** A Book Review: Marshall McLuhan \"The Gutenberg Galaxy\"\n\n> *If the human community is to retain meaningful possession of the\n> knowledge it is accumulating, breakthroughs to syntheses of new order\n> are absolutely essential.*\n>\n> Walter Ong\n\n**2022** A Dystopic Dispatch: The Atlanitc Magazine\n\n> WHY THE PAST 10 YEARS OFAMERICAN LIFE HAVE BEEN UNIQUELY STUPID\n>\n> It's not just a phase. [^1]\n>\n> Jonathan Haidt\n\nSixty years separates Walter Ong's plea and Jonathan Haidt's rebuke. The\nfailure to organize the sensorium is now a story of decadence, decay,\nand a loss of imagination. Sadly, this is also a failed decade for\nartists who found themselves play acting in a world of repetition and\nstagnation.\n\nRecognizing this is a rough polemic, prolegomenon tags[^2] with a series\nof \"in and out marker-dates\" and \"guiding graphics\" follow. While these\ntags won\\'t quite explain how American life ended up so uniquely stupid\n(leave that to Haidt) the storyboard they assemble might offer tips on\nwhat to do now.\n\n**2015:** The Guzzardo *Septic Turn in the Space of Appearance* five\ncity tour began in Dundee Scotland, from there Edinburgh, New Castle\nupon Tyne, Plymouth, London, then back to Dundee. *Septic* told of\ncreative statis, over-specialization, and how a sycophantic code got\nbaked into a devolved and bankrupt-American elite. This *Septic* circuit\nwas one bit in a string of exhibitions, lectures, and conferences\nsponsored by the Carnegie Trust Scotland. Labeled *The City is a\nThinking Machine,* the lot was to mark the centennial of Patrick\nGeddes's master work *Cities in Evolution.* *Septic* *Turn,* as an art\npraxis drill, pushed the Perp Walk as an essential sensorium tool. The\nlogo for this radar tool was Geddes's Medusa drawing. His Medusa jotting\nis from his notebook about devolution and cities of destruction. In\nclassical antiquity, the image of the head of Medusa appears in the\nevil-averting device known as the Gorgoneion.\n\n![A picture containing text, person, person, standing Description\nautomatically generated](../paul-guzzardo-drawing-an-ellipse/image2.jpeg)\n\n**1927** Maurice McNamee begins his training as a Jesuit in St. Louis,\nMissouri. In his memoir *Recollections in Tranquility*, McNamee\ndescribes his first impression of St. Louis.\n\n> \"St. Louis at that time was also one of the most polluted cities in\n> the country because of the cheap soft coal available from strip mines\n> in nearby Illinois. Every house and factory in the city belched clouds\n> of pitch-black smoke, and most of the buildings had been blackened\n> with soot.\"\n\n**1929** Father William McCabe completes his dissertation *An\nIntroduction to the Jesuit Theater.* The same year the Jesuit priest\nearns his doctoral degree in England from the University of Cambridge.\nLater as chairman of the Saint Louis University department of English he\nreworked and published parts of his dissertation, but its entirety was\nonly published posthumously in 1960.\n\n**1937** Father McCabe invites Marshall McLuhan to teach at Saint Louis\nUniversity. Under the supervision of McLuhan, Maurice McNamee begins his\ndoctorate on Francis Bacon\\'s thinking and prose styles.\n\n**1938** Walter Ong arrives at Saint Louis University, he too starts a\ndoctorate under Marshall McLuhan's direction.\n\n**1997** Jeff Daniel, a journalist with the St. Louis Post Dispatch,\ninterviews Father McNamee and Father Ong. In *McLuhan's Two Messengers*\nboth priests*,* now in their late eighties, speak fondly of their\nteacher, friend, and colleague Marshall McLuhan. They chide each other\nwith \"Mac\" anecdotes as they called him, and what it was like for\nMcLuhan to direct their dissertations.\n\n**2010** The son of Marshall and Corinne McLuhan sits for a radio\ninterview with the St. Louis KMOX anchor Charlie Brennan. Eric McLuhan\ntells Brennan that from 1937- 1944 his father studied his Saint Louis\nUniversity students, and that was the beginning of the media work.\n\n**2011** On the centennial of Marshall McLuhan's birth a Canadian author\npublishes *You Know Nothing of My Work.* In his McLuhan biography\nDouglas Coupland says McLuhan formed a posse in St. Louis. As Coupland\ntells it the posse was... \n>*...the first members of Marshall's personal proto-Warhol Factory, whose ideas helped to codify and articulate the genesis of Media Theory that would explode in 1962.\"*\n\n![](../paul-guzzardo-drawing-an-ellipse/image3.jpeg)\n\n**2014** Simon & Schuster publishes *The Innovators: How a Group of\nHackers, Geniuses, and Geeks Created the Digital Revolution by* Walter\nIsaacson: Isaacson writes:\n\n> Innovation occurs when ripe seeds fall on fertile ground. Instead of\n> having a single cause, the great advances of 1937 came from a\n> combination of capabilities, ideas, and needs that coincided in\n> multiple places. As often happens in the annals of invention,\n> especially information technology invention, the time was right and\n> the atmosphere was charged. The development of vacuum tubes for the\n> radio industry paved the way for the creation of electronic digital\n> circuits. That was accompanied by theoretical advances in logic that\n> made circuits more useful.\n\nIsaacson's Innovation 1937 Checklist:\n\n> 1937: Alan Turing published \"On Computable Numbers\". He proposed\n> inventing a single machine which can be used to compute any computable\n> sequence. In essence, Turing excavated the century old dream of\n> Babbage and Lovelace for a completely general-purpose universal\n> machine.\n>\n> 1937: Claude Shannon a MIT graduate student published a paper showing\n> electrical circuits could execute logical operations using an\n> arrangement of on off switches. In other words, you could design a\n> circuit containing a lot of relays and logic gates. Scientific\n> American later dubbed Shannon's paper \"the Magna Carta of the\n> Information Age.\"\n>\n> 1937: Howard Aiken wrote a twenty-two-page memo to his Harvard\n> superiors and executives at IBM making the case that they should fund\n> a modern version of Babbage's digital machine.\n>\n> 1937: Konrad Zuse a German engineer was working on and finishing a\n> prototype for a calculator that was binary and could read instructions\n> from a punched tape. (It got blown up in the war.)\n>\n> 1937: John Vincent Atanasoff, an assistant professor at Iowa State,\n> conceived the first partly electronic digital computer. His eureka\n> moment occurred in December 1937during a long impetuous drive one\n> night from Ames cross the river to Illinois. After a decade of patent\n> litigation, he is now credited with inventing the first electronic\n> digital computer.\n\n**2018** Jessica Z Brown and Paul Guzzardo propose an add-on to\nIsaacson\\'s 1937 register. The rider was called STL 37. It went like\nthis:\n\n> In 1937 Jesuit Father William McCabe set up a base camp on Grand\n> Avenue St. Louis for a Canadian\\'s posse to map and triage what was to\n> come.\n\nThis add-on was in the form of a request.\nIt was directed to the Cultural Heritage Sector of UNESCO. The ask was\nfor a designation of a New World Cultural Heritage Site, one more legacy\nnotch. STL 37 proposed that Marshall McLuhan, Walter Ong, and the rest\nof the posse, just like Turing, Shannon, Aiken, Konrad Zuse, Atanasoff,\nwere prescient souls. As the e-switch was being flipped on this St.\nLouis posse saw a coming digital maelstrom. Brown and Guzzardo hoped\nthat a \"New- Media UNESCO Hallowed Ground Designation\" would not only\nmark a site but provoke new tools *to retain meaningful possession of\nthe knowledge accumulating.*\n\n![](../paul-guzzardo-drawing-an-ellipse/image4.jpeg)\n\n**1992-3:** Father Maurice McNamee and Paul Guzzardo collaborate on the\ndesign of a new entry for a 1912 concert-lecture hall. The design brief\nexplored the ellipse as passage. The ellipse was not only an integral\nelement of Jesuit baroque theater, it also was a facet of McLuhan's\nmessage.\n\n> In the Gutenberg Galaxy McLuhan quotes George Poulet's \"Studies in\n> Human Time.\" He does it right after he talks about the Baroque\n> shifting \"the periphery of vision.\" Poulet's passage is about bits of\n> passage and bits of us. *\"But to renounce the depiction of being for\n> the depiction of Passage is not only an enterprise of unprecedented\n> denudation; it is a task of extreme difficulty. To depict Passage is\n> not simply to seize oneself in an object which fades away and by its\n> own blurring, self appears more distinctly; it is not to paint a\n> portrait of oneself which would be all the more faithful by the\n> disappearance of all the traces of occasions which had led its\n> creation. It is to seize the self at the instant when the occasions\n> remove from it its old form and impose upon it a new one.\"*\n>\n\n![](../paul-guzzardo-drawing-an-ellipse/image5.png)\n\nMaurice McNamee\n\n**2001:** Saint Louis University Press publishes Father McNamee's\n*Recollections in Tranquility*. The five-hundred-fifty-page memoir is\nexhaustive, taut and seizes you. The storyboard he drew includes near a\ncentury of players and settings: a farm boy in Wisconsin, Missouri\nseminarians, heroic mentors, a world of literature, art, and piety.\nDeftly carved out, all there but the two years we worked together. Never\na mention of the 1912 concert hall retrofit or cast of players. [^3] Not\nsurprising, the good Jesuit father was not one to speak ill. But in our\nkindly parting, and a priest's moment of frankness, he expressed\nsomething close to fury about how empty the elites were, the chosen, the\nones we were bound to work with in our struggle to draw an ellipse. Our\nparting might have been an omen, a premonition of a coming stupid?\n\n![](../paul-guzzardo-drawing-an-ellipse/image6.jpeg)\n\n**2007** The book was \"The Jesuit Influence on Baroque Architecture.\"\nFather McNamee was completing his survey of baroque church architecture\nwhen he died. He was ninety-eight years old. The last of the posse,\nMcNamee, credits Father McCabe for his passage into the ellipse. He\nwrote this in *Recollections in Tranquility*.\n\n> Father McCabe\\'s courses exposed an entirely new horizon for me. It\n> was a course on the Jesuit theater as it had developed at St. Omers, a\n> Jesuit school on the continent for English Catholic students during\n> the years of persecution in England. It revealed to me for the first\n> time what an important part the Jesuits played in the cultural life of\n> the continent before the suppression. The course was the fruit of\n> Father McCabe\\'s doctoral dissertation at Cambridge. He showed that\n> the theaters were an integral part of an education in the traditional\n> Jesuit collegium. They centered specifically on the annual production\n> of a spectacular dramatic performance, which sometimes involved most\n> of the students in the college and many of the city population. It was\n> the duty of the rhetoric teacher to write the text of the play and to\n> oversee its production. The settings for these plays were elaborate,\n> demanding the work of expert designers in the baroque manner. Andrea\n> Pozzo was a Jesuit brother and a world-famous theorist on perspective,\n> as well as an accomplished baroque artist himself. Among other things,\n> he designed the fabulous baroque fresco St. Ignatius in Glory on the\n> ceiling of the San Ignazio Chapel of the Roman College. He devoted\n> some of his time to designing sets for the spectacular Jesuit theater\n> productions. The performances included musical accompaniment and\n> formal dance, so training in both areas was part of the curriculum in\n> the pre-suppression Jesuit schools. I was to learn later how\n> completely involved the early Jesuits were in promoting the arts. They\n> commissioned churches all over Europe designed in the elaborate\n> baroque style, so much so that baroque is sometimes called the Jesuit\n> style. The Jesuits certainly did not invent it, but they used it so\n> extensively that it became identified with them.\n>\n![](../paul-guzzardo-drawing-an-ellipse/image7.png)[^4]\n\n[^1]: From Jonathan Haidt's Introduction: The story of Babel is the best\n metaphor I have found for what happened to America in the 2010s, and\n for the fractured country we now inhabit. Something went terribly\n wrong, very suddenly. We are disoriented, unable to speak the same\n language or recognize the same truth. We are cut off from one\n another and from the past.\n\n[^2]: The full title of Walter Ong's *The Presence of the Word* is:\n *Some Prolegomena for Cultural and Religious History*\n\n[^3]: The hall was the Sheldon Concert Hall. I was chairman of the\n building committee and Fr. McNamee was co-chairman.\n\n[^4]: The Jesuit Father pushed the conjurer on stage. Jesuit Father was\n a theater man. Like the juggler he was Cambridge trained. Literature\n for both was a spotlight to strut. When the Jesuit ushered the young\n professor to Saint Louis University Marshall McLuhan was uncharted.\n Message and medium came later. Like McLuhan, Jesuit William McCabe\n straddled worlds. McCabe was first to leap onto and look back in\n wonder at Jesuit Baroque theater, the ring where Lope de Vega and\n Molière trained as dramatists. McCabe wrote about dramatists, richly\n designed haptic environments, multi-sensorium backdrops to bridge\n the gap between gods and men, and tableaus to advance synthesis and\n sort through bewilderment.\n\n> **The one that followed the Father continued passage through bewilderment.**\n\n-----\nPaul Guzzardo is a lawyer, media activist, and artist-designer based in Buenos Aires, Argentina. \n[paulguzzardo.com](https://paulguzzardo.com/) [@guzzardopaul](https://twitter.com/GuzzardoPaul)","html":"

$\"(cc)$

1962 A Book Review: Marshall McLuhan "The Gutenberg Galaxy"

\n
If the human community is to retain meaningful possession of the\nknowledge it is accumulating, breakthroughs to syntheses of new order\nare absolutely essential.
\n
Walter Ong
\n

2022 A Dystopic Dispatch: The Atlanitc Magazine

\n
WHY THE PAST 10 YEARS OFAMERICAN LIFE HAVE BEEN UNIQUELY STUPID
\n
It's not just a phase. ¹
\n
Jonathan Haidt
\n

Sixty years separates Walter Ong's plea and Jonathan Haidt's rebuke. The\nfailure to organize the sensorium is now a story of decadence, decay,\nand a loss of imagination. Sadly, this is also a failed decade for\nartists who found themselves play acting in a world of repetition and\nstagnation.

Recognizing this is a rough polemic, prolegomenon tags² with a series\nof "in and out marker-dates" and "guiding graphics" follow. While these\ntags won't quite explain how American life ended up so uniquely stupid\n(leave that to Haidt) the storyboard they assemble might offer tips on\nwhat to do now.

2015: The Guzzardo Septic Turn in the Space of Appearance five\ncity tour began in Dundee Scotland, from there Edinburgh, New Castle\nupon Tyne, Plymouth, London, then back to Dundee. Septic told of\ncreative statis, over-specialization, and how a sycophantic code got\nbaked into a devolved and bankrupt-American elite. This Septic circuit\nwas one bit in a string of exhibitions, lectures, and conferences\nsponsored by the Carnegie Trust Scotland. Labeled The City is a\nThinking Machine, the lot was to mark the centennial of Patrick\nGeddes's master work Cities in Evolution. Septic Turn, as an art\npraxis drill, pushed the Perp Walk as an essential sensorium tool. The\nlogo for this radar tool was Geddes's Medusa drawing. His Medusa jotting\nis from his notebook about devolution and cities of destruction. In\nclassical antiquity, the image of the head of Medusa appears in the\nevil-averting device known as the Gorgoneion.

$\"A$

1927 Maurice McNamee begins his training as a Jesuit in St. Louis,\nMissouri. In his memoir Recollections in Tranquility, McNamee\ndescribes his first impression of St. Louis.

\n
"St. Louis at that time was also one of the most polluted cities in\nthe country because of the cheap soft coal available from strip mines\nin nearby Illinois. Every house and factory in the city belched clouds\nof pitch-black smoke, and most of the buildings had been blackened\nwith soot."
\n

1929 Father William McCabe completes his dissertation An\nIntroduction to the Jesuit Theater. The same year the Jesuit priest\nearns his doctoral degree in England from the University of Cambridge.\nLater as chairman of the Saint Louis University department of English he\nreworked and published parts of his dissertation, but its entirety was\nonly published posthumously in 1960.

1937 Father McCabe invites Marshall McLuhan to teach at Saint Louis\nUniversity. Under the supervision of McLuhan, Maurice McNamee begins his\ndoctorate on Francis Bacon's thinking and prose styles.

1938 Walter Ong arrives at Saint Louis University, he too starts a\ndoctorate under Marshall McLuhan's direction.

1997 Jeff Daniel, a journalist with the St. Louis Post Dispatch,\ninterviews Father McNamee and Father Ong. In McLuhan's Two Messengers\nboth priests*,* now in their late eighties, speak fondly of their\nteacher, friend, and colleague Marshall McLuhan. They chide each other\nwith "Mac" anecdotes as they called him, and what it was like for\nMcLuhan to direct their dissertations.

2010 The son of Marshall and Corinne McLuhan sits for a radio\ninterview with the St. Louis KMOX anchor Charlie Brennan. Eric McLuhan\ntells Brennan that from 1937- 1944 his father studied his Saint Louis\nUniversity students, and that was the beginning of the media work.

2011 On the centennial of Marshall McLuhan's birth a Canadian author\npublishes You Know Nothing of My Work. In his McLuhan biography\nDouglas Coupland says McLuhan formed a posse in St. Louis. As Coupland\ntells it the posse was...

\n
...the first members of Marshall's personal proto-Warhol Factory, whose ideas helped to codify and articulate the genesis of Media Theory that would explode in 1962."
\n

$\"\"$

2014 Simon & Schuster publishes The Innovators: How a Group of\nHackers, Geniuses, and Geeks Created the Digital Revolution by Walter\nIsaacson: Isaacson writes:

\n
Innovation occurs when ripe seeds fall on fertile ground. Instead of\nhaving a single cause, the great advances of 1937 came from a\ncombination of capabilities, ideas, and needs that coincided in\nmultiple places. As often happens in the annals of invention,\nespecially information technology invention, the time was right and\nthe atmosphere was charged. The development of vacuum tubes for the\nradio industry paved the way for the creation of electronic digital\ncircuits. That was accompanied by theoretical advances in logic that\nmade circuits more useful.
\n

Isaacson's Innovation 1937 Checklist:

\n
1937: Alan Turing published "On Computable Numbers". He proposed\ninventing a single machine which can be used to compute any computable\nsequence. In essence, Turing excavated the century old dream of\nBabbage and Lovelace for a completely general-purpose universal\nmachine.
\n
1937: Claude Shannon a MIT graduate student published a paper showing\nelectrical circuits could execute logical operations using an\narrangement of on off switches. In other words, you could design a\ncircuit containing a lot of relays and logic gates. Scientific\nAmerican later dubbed Shannon's paper "the Magna Carta of the\nInformation Age."
\n
1937: Howard Aiken wrote a twenty-two-page memo to his Harvard\nsuperiors and executives at IBM making the case that they should fund\na modern version of Babbage's digital machine.
\n
1937: Konrad Zuse a German engineer was working on and finishing a\nprototype for a calculator that was binary and could read instructions\nfrom a punched tape. (It got blown up in the war.)
\n
1937: John Vincent Atanasoff, an assistant professor at Iowa State,\nconceived the first partly electronic digital computer. His eureka\nmoment occurred in December 1937during a long impetuous drive one\nnight from Ames cross the river to Illinois. After a decade of patent\nlitigation, he is now credited with inventing the first electronic\ndigital computer.
\n

2018 Jessica Z Brown and Paul Guzzardo propose an add-on to\nIsaacson's 1937 register. The rider was called STL 37. It went like\nthis:

\n
In 1937 Jesuit Father William McCabe set up a base camp on Grand\nAvenue St. Louis for a Canadian's posse to map and triage what was to\ncome.
\n

This add-on was in the form of a request.\nIt was directed to the Cultural Heritage Sector of UNESCO. The ask was\nfor a designation of a New World Cultural Heritage Site, one more legacy\nnotch. STL 37 proposed that Marshall McLuhan, Walter Ong, and the rest\nof the posse, just like Turing, Shannon, Aiken, Konrad Zuse, Atanasoff,\nwere prescient souls. As the e-switch was being flipped on this St.\nLouis posse saw a coming digital maelstrom. Brown and Guzzardo hoped\nthat a "New- Media UNESCO Hallowed Ground Designation" would not only\nmark a site but provoke new tools to retain meaningful possession of\nthe knowledge accumulating.

$\"\"$

1992-3: Father Maurice McNamee and Paul Guzzardo collaborate on the\ndesign of a new entry for a 1912 concert-lecture hall. The design brief\nexplored the ellipse as passage. The ellipse was not only an integral\nelement of Jesuit baroque theater, it also was a facet of McLuhan's\nmessage.

\n
In the Gutenberg Galaxy McLuhan quotes George Poulet's "Studies in\nHuman Time." He does it right after he talks about the Baroque\nshifting "the periphery of vision." Poulet's passage is about bits of\npassage and bits of us. "But to renounce the depiction of being for\nthe depiction of Passage is not only an enterprise of unprecedented\ndenudation; it is a task of extreme difficulty. To depict Passage is\nnot simply to seize oneself in an object which fades away and by its\nown blurring, self appears more distinctly; it is not to paint a\nportrait of oneself which would be all the more faithful by the\ndisappearance of all the traces of occasions which had led its\ncreation. It is to seize the self at the instant when the occasions\nremove from it its old form and impose upon it a new one."
\n

$\"\"$

Maurice McNamee

2001: Saint Louis University Press publishes Father McNamee's\nRecollections in Tranquility. The five-hundred-fifty-page memoir is\nexhaustive, taut and seizes you. The storyboard he drew includes near a\ncentury of players and settings: a farm boy in Wisconsin, Missouri\nseminarians, heroic mentors, a world of literature, art, and piety.\nDeftly carved out, all there but the two years we worked together. Never\na mention of the 1912 concert hall retrofit or cast of players. ³ Not\nsurprising, the good Jesuit father was not one to speak ill. But in our\nkindly parting, and a priest's moment of frankness, he expressed\nsomething close to fury about how empty the elites were, the chosen, the\nones we were bound to work with in our struggle to draw an ellipse. Our\nparting might have been an omen, a premonition of a coming stupid?

$\"\"$

2007 The book was "The Jesuit Influence on Baroque Architecture."\nFather McNamee was completing his survey of baroque church architecture\nwhen he died. He was ninety-eight years old. The last of the posse,\nMcNamee, credits Father McCabe for his passage into the ellipse. He\nwrote this in Recollections in Tranquility.

\n
Father McCabe's courses exposed an entirely new horizon for me. It\nwas a course on the Jesuit theater as it had developed at St. Omers, a\nJesuit school on the continent for English Catholic students during\nthe years of persecution in England. It revealed to me for the first\ntime what an important part the Jesuits played in the cultural life of\nthe continent before the suppression. The course was the fruit of\nFather McCabe's doctoral dissertation at Cambridge. He showed that\nthe theaters were an integral part of an education in the traditional\nJesuit collegium. They centered specifically on the annual production\nof a spectacular dramatic performance, which sometimes involved most\nof the students in the college and many of the city population. It was\nthe duty of the rhetoric teacher to write the text of the play and to\noversee its production. The settings for these plays were elaborate,\ndemanding the work of expert designers in the baroque manner. Andrea\nPozzo was a Jesuit brother and a world-famous theorist on perspective,\nas well as an accomplished baroque artist himself. Among other things,\nhe designed the fabulous baroque fresco St. Ignatius in Glory on the\nceiling of the San Ignazio Chapel of the Roman College. He devoted\nsome of his time to designing sets for the spectacular Jesuit theater\nproductions. The performances included musical accompaniment and\nformal dance, so training in both areas was part of the curriculum in\nthe pre-suppression Jesuit schools. I was to learn later how\ncompletely involved the early Jesuits were in promoting the arts. They\ncommissioned churches all over Europe designed in the elaborate\nbaroque style, so much so that baroque is sometimes called the Jesuit\nstyle. The Jesuits certainly did not invent it, but they used it so\nextensively that it became identified with them.
\n

$\"\"$ ⁴

¹: From Jonathan Haidt's Introduction: The story of Babel is the best\n metaphor I have found for what happened to America in the 2010s, and\n for the fractured country we now inhabit. Something went terribly\n wrong, very suddenly. We are disoriented, unable to speak the same\n language or recognize the same truth. We are cut off from one\n another and from the past.

²: The full title of Walter Ong's The Presence of the Word is:\n Some Prolegomena for Cultural and Religious History

³: The hall was the Sheldon Concert Hall. I was chairman of the\n building committee and Fr. McNamee was co-chairman.

⁴: The Jesuit Father pushed the conjurer on stage. Jesuit Father was\n a theater man. Like the juggler he was Cambridge trained. Literature\n for both was a spotlight to strut. When the Jesuit ushered the young\n professor to Saint Louis University Marshall McLuhan was uncharted.\n Message and medium came later. Like McLuhan, Jesuit William McCabe\n straddled worlds. McCabe was first to leap onto and look back in\n wonder at Jesuit Baroque theater, the ring where Lope de Vega and\n Molière trained as dramatists. McCabe wrote about dramatists, richly\n designed haptic environments, multi-sensorium backdrops to bridge\n the gap between gods and men, and tableaus to advance synthesis and\n sort through bewilderment.

\n
The one that followed the Father continued passage through bewilderment.
\n

Paul Guzzardo is a lawyer, media activist, and artist-designer based in Buenos Aires, Argentina.
paulguzzardo.com @guzzardopaul

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SCALE Publishing

Drawing an Ellipse

Paul Guzzardo

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