On Between-ness
Sriharsa
Watsuji Tetsurō
Augustin Berque
On Difference
On Between-ness
Sriharsa
Watsuji Tetsurō
Augustin Berque
On Difference
A speculation on a development from Imagism to Asemic Writing.
The credo for Imagism is the primacy of the image.
Does this primacy illicit a kind of cliché-breaking in the image-narrative pattern, which then renders the conventional logic asemic or nearly so?
See also: Trope, Tropes and Archetypes and Clichés
For example, take this lyric in "The Rose": Some say love, it is a razor / That leaves your soul to bleed. This lyric breaks the trope ~ cliché by substituting soul for heart, which, in turn, risks making itself asemic, i.e., without meaning or more to the point, dysfunctional in its normal form as communication.
Indeed, the expected noun (image)-verb (action), your heart to bleed, makes more sense than the given noun-verb, your soul to bleed, a phrase which defies the usual sense of what a soul does.
But notice too how the rupture of the image-narrative flow in "The Rose" is not altogether unlike the rupture forced by the verb-lacking juxtaposition of images in "In a Station of the Metro"?
Continuity as a Logical Imperative
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Thanks to Cece Chapman for this topic.
Sriharsa
Stitch
Mark
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"The Hole Story" by Cecil Touchon
Hermeneutics
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Mathematical Analysis
Machine Learning and Topology
A Survey of Topological Methods
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Notes:
A hole is an in-between-ness.
In-between-ness is a gap in the whole, a gap not on the edge(s).
In-between-ness is a lack in the parts, a gap on the edges that meet to form the whole.
Asemics too is an in-between-ness.
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An Asemic Geometry of In-Between-Ness
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Fulu looks to be a kind of spirit writing (Fuji).
Indeed, Wikipedia now defines fulu as "asemic Taoist magic symbols and incantations".
Works of fulu look to have (or to have had) semantic content, but over time, the need for semantic content may have fallen out, leaving works of fulu asemic.
Per the Wikipedia, here is the narrative at play in this de-semantic process:
... scholars of Taoism such as James Robson and Gil Raz have claimed that the incomprehensibility of written forms is central to the talisman's perceived authority and efficacy, and is one of talismanic script's defining features.
During the Eastern Jin Dynasty (317–420), it was already considered unnecessary for users of Taoist talismans to be able to decipher the writing on them in order for them to be considered efficacious. Ge Hong noted in his Baopuzi that as long as the inscription was authentic, successful use of the talisman did not depend on whether the user was able to decipher its script. By this time, the talisman's illegibility had already become a sign that they were of divine authority and held supernatural provenance. (from Dominic Steavu)
An aside for Hegelians: ... , note the Hegelian dialectics at play here, with Aufhebung operative, but ... .
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A Reflection:
Tortoise Shell Markings in the Dragon Bones Series
by Cece Chapman and Jeff Crouch (2020)
A Cecil Touchon Project