Showing posts with label 2025. Show all posts
Showing posts with label 2025. Show all posts
Friday, October 31, 2025
Thursday, October 30, 2025
Sunday, October 26, 2025
Saturday, October 25, 2025
Tuesday, October 21, 2025
Hermeneutics of Scale / EZE, 2025
Background Theory
Using Asemics and Polysemics as a Basis for Hermeneutics
One purpose of representation is to give meaning.
With asemics, a representation fails to give meaning in a particular way.
For example, asemic writing is about writing without meaning as writing. It constitutes its own interpretative genre. However, though the asemic writing may not have meaning as writing, asemic writing often emerges as having meaning by way of an interpretative genre other than the one that initially defines it.
Writing implies that the basis for meaning is in language, and writing thereby calls for its audience to read it. Hence, language serves, at least initially, as the interpretative genre. But should the writing prove unreadable as is often the case with asemic writing, the basis for meaning shifts. Indeed, this shift allows asemic writing to function as art rather than as writing, but nonetheless, asemic writing is a hybrid form of writing and of art.
The Asemic and the Polysemic as Hermeneutic
Asemics starts with null meaning and finds meaning through re-interpretation via a different basis.
Polysemics starts with a surplus of meaning, but it functions much like asemics when its multiplicity, rather than converging to a meaning with an interpretative basis, collapses to null meaning, in which case the polysemic also develops through re-interpretation, often developing as a series of meanings rather than remaining in play as an immediate multiplicity.
For the asemic and the polysemic, difference is a matter of scale.
For both the asemic and the polysemic, meaning is immediately null.
For both the asemic and the polysemic, meaning is non-immediate until an interpretative basis emerges to create meaning.
The partial basis for meaning that emerges both for the asemic and the polysemic often generates a multiplicity.
For example, the writing of asemic writing may yet be interpretable as writing, even if only partially, and this mixture of writing and non-writing often requires its own genre to substantiate meaning.
The asemic and the poysemic thereby form a nexus, which generates a hermeneutic.
Monday, October 20, 2025
Sunday, October 19, 2025
Saturday, October 18, 2025
Consistency Asemics / EZE, 2025
Friday, October 17, 2025
Asemics as Warp / EZE, 2025
Velocity and Relevance Agenda
Against a Concept of the Slow News Day
Made Relevance
Hegelian Horseshoe
Near and Far
Thursday, October 16, 2025
An Asemics of Tolerance and of Limitation / EZE, 2025
On Miltonics
Academics
Regarding Freedom of Speech on Campus
On Intolerance
On a Paradox of Tolerance and Its Asemics
On Legality
Sunday, October 12, 2025
Rationality Asemics / EZE, 2025
Definitions and Relations
History and Such
Rationalism in Continental Philosophy
Rationalism in BonJour, In Defense of Pure Reason. A Rationalist Manifesto
Recent Trends
Asemics
Rationality, Rationalism, and Rational Behavior
Asemics by Limit
Limitations of Rational Choice Theory
Asemics by Undefinition
Between Rational and Irrational
Between Behaviorist Economics and Rationalist Economics
Friday, October 10, 2025
Wednesday, October 8, 2025
Cancel Culture ~ Athenian Democracy / EZE, 2025
Lepers and Such
Ostracism, the Ancient Greek Way
Public Shaming, the Way of Cancel Culture
Socrates Martyred
On Cancel Culture
From Political Correctness to Cancel Culture
Accountability, Censorship, Punishment
Athenian Democracy
How Athenian Government Worked
Politic Psychology
Teaming for Value, Value for Teaming
The Republic on Art
Monday, October 6, 2025
Collage as Asemic Practice / EZE, 2025
On Collage
Collage often breaks the totality of representation by interrupting the expectation that image concerns singularity.
The genre-unified image of the collage typically reveals itself as more than the representation of a single image: it reveals itself, instead, as a shift in images or as a shift across images.
Collage often breaks the totality of representation by interrupting its unified construct of time, especially the sense that the image occupies space and time only as a single moment, thereby introducing multiplicity where one-ness is expected, especially where this one-ness is a genre-identified type of presentation.
The collage is typically a series of layers, which appear as un-unified and/or as differing over time, but which are encapsulated (and thereby unified) in the singularity of the presentation. The presentation, other than the time it takes for its audience to assess it, remains somewhat, but not entirely, fixed. Yet it is though this difference in image that the collage calls the supposed fixity of its own presentation into account.
Collage is an un-fixer of image.
Collage is drift.
Collage is an un-fixer of image-time as a single moment.
Collage un-fixes representation, making representation incomplete.
Collage is an obvious cover-up of gap.
History of Collage
Cubism
Cubists
Georges Braque
Pablo Picasso
Collage Asemic
Cecil Touchon
Through a Circular or Spiral Motion - For Jim Leftwich
Jim Leftwich
Writing as Collage Process
In art, collage often breaks the totality of representation by calling attention to its multiplicity.
What Makes Writing Identifiable as Collage?
Writing as an Artistic Process, Inferred
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