20080521

falling


confusio linguarum confusio linguarum confusio linguarum
linguarum confusio linguarum confusio linguarum confusio
confusio linguarum confusio linguarum confusio linguarum
linguarum confusio linguarum confusio linguarum confusio
confusio linguarum confusio linguarum confusio linguarum

"The question is how did words first come to be accepted as signs at all? How did the first symbol originate? Contemporary linguists find this "such a serious problem that one may despair of finding a way out of its difficulties." Among the more than ten thousand works on the origin of language, even the most recent admit that the theoretical discrepancies are staggering. The question of when language began has also brought forth extremely diverse opinions. There is no cultural phenomenon that is more momentous, but no other development offers fewer facts as to its beginnings."

(
For instance, how writing under erasure disrupts [ . ]
inbeing within without.
There is no blankspace be/tween.Punctuation
of the juncture sans semainein
nohow hiddimage exist noplace ibidem. Dullthud
of the trusstogether whereon
a deliaison pulls preface: devoilement describbed
as mothertongues cuddle
on no return to original mouth.These teeth speak
displacement.That is is that.
)

"All humans alive today are descended from Mitochondrial Eve, a woman estimated to have lived in Africa some 150,000 years ago. This raises the possibility that the Proto-World language could date to approximately that period.There are also claims of a population bottleneck, notably the Toba catastrophe theory which postulates human population at one point some 70,000 years ago was as low as 15,000 or even 2,000 individuals. If it indeed transpired, such a bottleneck would be an excellent candidate for the date of Proto-World, which also illustrates the fact that Proto-World would not necessarily date to the first emergence of language."

(
An aeromythology in fullflight 'gainst the wind,up over
diffposit by buan [ ' ]
An ideal,asthaysay, that equilibrium is death. In short,
those internal lights
elude representation, degreezero unseen
phatic fax summing sums up.
Facsimile never made like the true-to-truth
transmission time, in this most
modified modified read scheme an
aleph ends all bets.Sun up always halo
so sonorized on naturapure again again end again,
always a day.
)

"One place we find evidence supporting this view is in the failure to locate a single 'semantic' region in the brain. Semantics, the drawing of meaning, is not a single process that could possibly be located in a single place. It would be more accurate to say that 'semantics is what it feels like to be running many grammaticalization processes at once'. We would say 'semantics is what it feels like to evolve symbols'. Extending a nice turn of phrase from the Canadian philosopher/poet Jan Zwicky, we might also state it thus: Semantics is the lyric harmony of embodied computational function."

(
Alterpiece of atrocity propped presentative in
absolute photofinish freezframe.
Stilllife [ : ] That haunting of i am i am inbecome
plural so solo, in installations
assembled via bigdream gottaway grasping
for a getback to where you once
belonged. (ego eimi.) (ego eimi!) (ego eimi?)
(pou ime?.!) ) ex machina!!!!(
Ephemeral engineered anthrodug
contragods gone abscondis, necrotech
snufffilm inreeling loops of
elopement. Procreation code embodied [ ..=... ]
Silence of a hidden visibility, whoever answers
rerecording static pause of
spheres disfigured, suspension.
)

"As stated in the stanzas of Dzyan above quoted, the men of that epoch, even though they had become completely physical, still remained speechless. Naturally the astral and etherial ancestors of this Third Root Race had no need to produce a series of sounds in order to convey their thoughts, living as they did in astral and etherial conditions, but when man became physical he could not for long remain dumb. We are told that the sounds which these primitive men made to express their thoughts were at first composed entirely of vowels."

(
Ursonate on oral how loud the acoustitotale
missing absence in vocal defiance
of definition immerz'd immediacy illimitable. Our
wight to wemain wilent to
wiolence on wick, everburn. In addition,
the instability multisculpts form [ .+. ]
Onlooker, onlooker, locking language and
sensation in spite of more talk
tasking the ark inwith ontogenesis of everything. How was
october 6, 1927 any different? [ " " ]
Designed to diminish finishes unending, info nodes
pop per second the word per minute threshold
and off we go! [ > ]
)

"But this theory of letters was soon to be doomed like the other parts of the sacred theory. Studies in Comparative Philology, based upon researches in India, began to be reenforced by facts regarding the inscriptions in Egypt, the cuneiform inscriptions of Assyria, the legends of Chaldea, and the folklore of China--where it was found in the sacred books that the animals were named by Fohi, and with such wisdom and insight that every name disclosed the nature of the corresponding animal."

(
Vanguish ish shits intrench twisted bits
byting turn to turn any trackable trace
on availability of evidence, the device records
everything : playback is a bitch!
This itching situation of inescapability
thrusts on thrown the beatitude of
goneness. Oh ort of chora so sophtly in
memory, the teletopos thoughttopple
of impossipossi : such strange surface
inwritten introduct [ ----- ]
)

"But similar segmentation occurs in the development of the organism. The organism during it's development goes through a series of stages that gives us the phrase "ontogeny recapitulates phylogeny." In other words the actual development of the species does leave its imprint on the developing embryo in the series of stages it goes through as it develops. These traces of the earlier stages of the development of life appear as discontinuous steps or stages. The stages itself are controlled by the DNA strand that exists in every cell. Those DNA strands act like software controlling the development process. They are written trances that produce discontinuous changes in the flow of development. The life processes of the organism by which it maintains its viability are like level of Process Being, but Hyper Being is instead like the discontinuous changes of the essence of the organism in the process of development."

(
Patternformshape pointing back to
Heraclitian camouflage, thunder to
accompany lightning of strike on awake
thru everlasting logos [ ∞ ]
Punnadoxes parallel the
puzzlement of slumberflux, a misanthro glut
inglotto to the unhearing herds. A horde
in experience of thinthickening
stumble, moist souls asoil'd incoil affix
the purification of forgetfulness.
Knitlike knots of ipseity in reflection
alters itselves to presence,
bedeuten und sinn.
(ditto itself ditto itself ditto itself ditto itself ditto)
No social singularity enclosed as
other, only all. Manifest inhabit lost body
outside any appearance, another ad infinitum aswimming. Double-sense
to endlessness.
)

"The Fall can be understood as a fall into time, likewise the failure of the Tower of Babel suggests, as Russell Fraser put it, "the isolation of man in historical time." But the Fall also has a meaning in terms of the origin of language. Benjamin found it in the mediation which is language and the "origin of abstraction, too, as a faculty of language-mind."

"The fall is into language"
. . . . . . . . . . . . . . . . . . . . . . . . .
o o o o o o o o o o o o o o o o o
O O O O O O O O O O O O O
Ô Ô Ô Ô Ô Ô Ô Ô Ô Ô Ô Ô
Ö Ö Ö Ö Ö Ö Ö Ö Ö Ö Ö
Ŏ Ŏ Ŏ Ŏ Ŏ Ŏ Ŏ Ŏ Ŏ Ŏ
Ō Ō Ō Ō Ō Ō Ō Ō Ō
Ө Ө Ө Ө Ө Ө Ө Ө
Ø Ø Ø Ø Ø Ø Ø
/ / / / / / / /
I I I I I I I
i i i i i i i i
. . . . . .
. . . .
. .
. .
. .
.
..
ö
o
°
°
°
ORIGIN
( the big "O" )

3 kommentarer:

autho unknowd sa...

noman, nomad, nogirl, nogood
just the sheer N of no,
gathers darkness inside shadow ,
¡ it lists, it tilts , the it of all of this:
How account for it; how call it to account?
And so the poem ends. And the book begins.

They don't begin anywhere but here (a grammatical function identical to beginning anywhere and here). But if time-space radiates from the presence of the poem's intentionality and by extension the reader's attention, it stands to reason that the questions posed by and to Writing appear primary, again.

As narrative is usually seen within a prose context, the primary transgression of genre is the one forgrounded on the cover, a novel in verse. The distinction between poetry and prose is fraught with hierarchal implications as earlier conceptions of literature privileged poetry over prose, but contemporary literature reverses this ordering. This differentiation, however, is based on the assumption that each genre necessarily does different work.
This conception was radically challenged in the 1960s by the Language School, which sought to break poetry from conventional lyric structures in order to create an active readership that participated in the meaning making of the text. A foundational critique cited by George Hartley in his article Textual Politics and Language Poetics,but leveled by Bernstein on behalf of the School, explains that "there is no natural writing style" and "what looks natural is actually the result of a number of procedures and assumptions about writing" (2). By exposing conventions as assumptions, Hartley shows Language poets deconstructed writing in order to create new writing practices which emphasized the inherent artifice of writing.

Poetry comes to know that things are. But this is not knowledge in the strictest sense; it is, rather, acknowledgement and that constitutes a sort of unknowing. To know that things are is not to know what they are, and to know that without what is to know otherness (i.e., the unknown and perhaps unknowable). Poetry undertakes acknowledgement as a preservation of otherness: a notion that can be offered in a political, as well as an epistemological, context.
This acknowledging is a process, not a definitive act; it is an inquiry, a thinking on. And it is a process in and of language, whose most complex, swift, and subtle forms are to be found in poetry,which is to say in poetic language (whether it occurs in passages of verse or prose). The language of poetry is a language of inquiry, not the language of a genre. It is that language in which a writer (or reader) both perceives and is conscious of the perception. Poetry, therefore, takes as its premise that language is a medium for experiencing experience.
Poetic language is also a language of improvisation and intention. The intention provides the field for inquiry and improvisation is the means of inquiring.

This is 'the language inasmuch as it is spoken by a single individual' (Martinet), or again 'the whole set of habits of a single individual at a given moment' (Ebeling). Jakobson has questioned the interest of this notion: the language is always socialised, even at the individual level, for in speaking to somebody one always tries to speak more or less the other's language, especially as far as the vocabulary is concerned ('private property in the sphere of language does not exist') : so the idiolect would appear to be largely an illusion. We shall nevertheless retain from this notion the idea that it can be useful to designate the following realities: i) the language of the aphasic who does not understand other people and does not receive a message conforming to his own verbal patterns; this language, then, would be a pure idiolect (Jakobson); ii) the 'style' of a writer, although this is always pervaded by certain verbal patterns coming from tradition that is, from the community; iii) finally, we can openly broaden the notion, and define the idiolect as the language of a linguistic community, that is, of a group of persons who all interpret in the same way all linguistic statements: the idiolect would then correspond roughly to what we have attempted to describe elsewhere under the name of 'writing'."

We can say in general that the hesitations in defining the concept of idiolect only reflect the need for an intermediate entity between speech and language (as was already proved by the usage theory in Hjelmslev), or, if you like, the need for a speech which is already institutionalised but not yet radically open to formalisation, as the language is.

"le signe linguistique unit non une chose et un nom, mais un concept et une image acoustique"
In Ston and gras vertu ther is,
Bot yit the bokes tellen this,
That word above alle erthli thinges
Is vertuous in his doinges,
Wher so it be to evele or goode

Semiosis refers to the generation and usage of signs. What is a sign? A sign is the means by which free energy is transformed by codification into constrained matter or information. Semiosis transforms energy from states of thermal and kinetic potentiality to spatiotemporal instantiations within multiple processes of codal constraints of organized relations. Codification is the formation of organized connections or relations with other forms of energy organization. Semiosis, then, is a relational process of codification by means of which networks of codification develop to transform energy into spatiotemporal instantiations of matter or information.

Recently I noticed my two-year-old daughter picking her nose. My wife demanded an immediate educational intervention to prevent a recurrence of this shameful activity. As usual, her mistake was asking me to do this job. Instead of trying to convince the young toddler of the importance of this cultural norm, I challenged her older siblings with a “Batesonian” (and, frankly, a misleading) question. "Hi," I said to them. "When Tamar picks her nose, what enjoys this activity? The nose or the finger?" My six-year-old daughter, the first to reply, pointed to the nose as the source of the libidinal pleasure. Her eight-year-old brother, who is always happy to refute his sister's arguments, assumed the role of the anti-logos and argued that it is definitely the finger that enjoys the activity. "Both of you are wrong!" I declared in an authoritative manner. "The pleasure exists in between." My wife was shocked, the kids were amused, and my little daughter continued picking her nose. Indeed, in a culture in which mental states are attributes of bodies, it is easier to explain pleasure in terms of objects (e.g., the nose or the finger) and their properties than in terms of patterns of interaction. Bateson was one of the main figures who struggled to constitute an interactionist language of inquiry.

McLuhan saw violence as a ‘lust for compensatory feedback’. When people don’t get the feedback necessary to adjust their relationships, he asserted, they will lash out in order to teach others not to ignore them. The absence of feedback causes violence. In place of the missing feedback, necessary to adjust and navigate the challenges of a particular relationship, violence makes a public announcement of the failure to relate.

“And as imagination bodies forth | The forms of things unknown, the poet’s pen | Turns them to shapes and gives to airy nothing | a local habitation and a name.”
=
“And as the semiotic fabric manufactures signs specially fitted to embody the forms transmitted by dynamic objects, the power of interpretance takes due notice and generates interpretants capable (1) of matching these signs with the right kind of collateral experience, (2) of discovering the identity of the forms being carried,” and (3) of transmitting in turn these recognized forms to further interpretants. Signs carry forms, and forms are an object’s only chance to manifest itself, attract attention, and enter the realm of knowledge. Learning is in great part a matter of apprehending such forms, of being able to give them a “local habitation,” i.e., of finding out how they relate to settled experience, and then of giving them “a name,” i.e., of embodying them into new signs, ones that do them greater justice than the initial ones. Interpretation consists precisely in this kind of continuous activity: finding and/or devising signs whose body gives the transmitted forms ever-increasing manifestation, always for the sake of the original dynamic object—the power that keeps feeding the whole process of semiotic determination throughout.

Duplessis again: "Let me respond, rather than answer. I don't write to express myself. I write to examine 'it.'" An examination of "it" means not a staking owning and remaking. It isn't about mastering and defending.There is a lot of "it" out there. This is what my poetry does. That I have standpoints emerging from my social locations (class, religious culture, gender, national origin) is a true statement; that I make intricate weaves of these elements is true; that I can learn more about any social location and respond to it if sufficiently moved is also true. I begin by setting out from myself, as you say—precisely, because by beginning I get beyond the boundedness of "self" into something more. As for "me," –forget "me" or "I." It's as if we are yearning toward a new pronoun to understand something else than what subject positions emerge from the pronouns we already know and use.

Not that different, but different enough.
I stare with the deep-filled eye of the past
along the unrecoverable border called “my life,” “today”
or “now”
where any detail becomes a limen.

As Howard Nemerov has written, “The flat statement that poetry is or ought to be communication, even if it happened to be true, would be uninteresting. Some poetry, not necessarily the most interesting sort, has the clear intention of communicating—meanings. Other poetry has the clear intention of deepening the silence and space about itself…. Meanings, generally speaking, are derived from the world and meanings are communicable, but is the world communicable? The work of art imitates in the first place world, it does not immediately imitate meanings except as these occur in the world” (op. cit.).

"For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth."

Vanessa P said...
Which is the very problem with post-avant; it lends itself far too easily to a fetishization of Make It New because there's nothing new that's newsworthy to be made. I disagree that post-avant suggests a more academic poetry per se, but it does suggest a more insular poetics, more arch, loucher in tighter pants. Apres-garde, on the other hand, has a very fine camp-follower ring to it, implying a happy servicing of what's come before. Or we could be sous- and sur-garde, and wiggle under and dangle over. Perhaps the point is not to position oneself relative to the garde at all.
September 26, 2007 11:52 AM

airbag/krockkudde allround/allsidig zipline/vajerbana gurus/guruer lookalike/dubbelgångare
slash/snedstreck

("Non educated delinquent") ( les doigts dans le nez)

Notera att oinloggade användare är tvungna att förhandsgranska sina ändringar innan de sparas.
Ä ä Ö ö Æ æ Å å Ø ø Á á É é Í í Ó ó Ú ú Ý ý À à È è  â Ê ê Ë ë Ü ü Ç ç Ñ ñ c g h j s u · ß Ð ð Þ þ Œ œ · A a E e I i O o U u · G g I i S s ? ? · A a E e S s C c N n Ó ó L l Z z Z z · · ? a ? ß G ? d ? e T µ p S ? s ? t F f O ?· – — ¡ ¿ $¢ £ © ® ° ¹ ² ³ † × · ” ’
( ljudhärmande ursprung )
Alfabet (från de två första bokstäverna i feniciska alfabetet aleph och beth, genom grekiska alfabetets alfa och beta) är en uppsättning skrivtecken, bokstäver, flera olika skriftsystem uppträder för första gången[skriftsystemet]


...a system of more or less permanent marks used to represent an utterance in such a way that it can be recovered more or less exactly without the intervention of the utterer.

Od poklopu ku poklopu kyklop kouli koulí.
The cyclops rolls the ball from on trap-door to another.
Nullo intellego skjønner ikke dinna unnerstaund (laevus levus) nerozumiem ikh farshtey dos nit la afham dut
ulertzen akostinincho begrijp het niet ne komprenas
ymmärrä cha dtuigim
nom entendo nun capisco
abhominen saepenumero reformo lacuna limen lingua
littera littera littera littera littera littera littera
littera littera
littera

littera




littera



littera

.......
......
.....
....
...
..
.

autho unknowd sa...

A:

On October 6, 1927, Warner Bros.' The Jazz Singer premiered.

A revolutionary step in movie-making, though it took 3 to 4 more years before the silent-era was truly over. Making full length movies with sound added to it, simply was too costly at the time. This movie was an important movie that marked the coming ending of the silent period and introduced the 'talkie' movies. This movie forms the perfect and symbolic transition between these two completely different movie types.

(The first demonstration of a taking film was probably a test film W. K. Laurie Dickson showed to Thomas Edison in 1889.

1922, Phonofilm (Optical) 1926, Movietone (Optical) and Vitaphone (Phono Disk)

In 1926, Warners premiered Don Juan, the first full length Vitaphone film, and the first with a synchronized sound track of music and audio effects. A year later, The Jazz Singer became the first feature with synchronized singing and dialog.

The Jazz Singer, is not the first "talkie", but is the first full-length feature film with sound vs a short.)

Thanks to the adventures of Jakie Rabinowitz and some bizarre songs, henceforth the cinema wasn't the same. The public preferred simple talkie stories and forgot the poetry, the visual beauty, the sceneries, the slapstick, the German Expressionism, the frenchified films, the avant-garde movements, the Pola Negri whip, the Brooks hairdo, Metropolis, the Garbo face, the sunrise of two humans, etc. The magnificent film narrative of the silent films that at that time was especially brilliant was at the beginning of the end of a beautiful dream…a splendorous, unique era of the film history.

autho unknowd sa...

Questions about the anthropological origin and function of representation tend to be regarded as at best supplemental, and at worst simply irrelevant, to the synchronic question of the causal mechanisms involved in the production of representation in the brain.

This view is fundamentally mistaken and, furthermore, that we won't get clear about the central issues in the debate over cognitivism in vispo studies until we get clear about the problem of representation. The problem is essentially one of how to define the human in terms of its most unique trait: the capacity for symbolic representation.

During the past fifty years or so, the word cognition has changed its meaning. Originally, it distinguished the rational from the emotional and impulsive aspect of mental life. Now it is used to refer to all information-processing activities of the brain, ranging from the analysis of immediate stimuli to the organisation of subjective experience. In contemporary terminology, cognition includes such processes and phenomena as perception, memory, attention, problem-solving, language, thinking, and imagery. In the phrase Cognitive Poetics, the term is used in the latter sense.

The shortest way to illustrate rapid and delayed categorisation is the following story. As is well known, Helen Keller was deaf, mute, and blind. She began to acquire the basic skills of communication as late as at the age of six. Before that age, she tells us in her book, she had no word for, e.g., ice cream. When she felt like eating ice cream, she felt an intense cold feeling all over her tongue, and drew her mother to the fridge. Later, after having acquired the word ice cream, the peculiar sensation on her tongue disappeared, and she was incapable of reviving it by conscious effort. 2 Most normal adults delay categorisation for fractions of seconds, so as to gather information required for making adequate judgments about reality. This is a requirement for satisfactory adaptation. In Helen Keller's case, categorisation was delayed for over six years; and the story can demonstrate the advantages and disadvantages of rapid and delayed categorisation. A category with a verbal label constitutes relatively small load on one's cognitive system, and is easily manipulable; on the other hand, it entails the loss of important sensory information, that might be crucial for the process of accurate adaptation. Delayed categorisation, by contrast, may load too much sensory load on the human memory system; this overload may be available for adaptive purposes and afford great flexibility, but may be time-and-energy consuming, and occupy too much mental processing space. Furthermore, delayed categorisation may involve a period of uncertainty that may be quite unpleasant, or even intolerable for some individuals. Rapid categorisation, by contrast, may involve the loss of vital information, and lead to maladaptive strategies in life. In Helen Keller's case, we see an opposition between a precategoric sensation on her tongue, and a word. The former constitutes delayed, the latter rapid categorisation. The diffuse sensations are recoded into a compact, focussed concept, and labelled with a verbal label. Different categorisation strategies may generate different poetic qualities. Different poetic texts may require different categorisation strategies. In the instances considered shortly, the particular poetic characteristics of poetic passages is missed, if treated by way of rapid categorisation. This, however, is not necessarily always the case: we have found experimentally that the poetic potential of, e.g., may not be fully realised by readers who are too tolerant of delayed categoriation