Thursday, January 11, 2024

Nothing / EZE, 2024


Nothing

. . . 

Nothing 

as the originary state of the universe 

is 

. . .  

a pure power of determination 

without anything to determine.

Guess


The Connection

Science ~ Religion

Crosscurrent

Theory of Information

Asemic Sense

Toward Thirdness as an Asemic Condition

FaintPress Asemics

Peirce

Notes on Innovation

Spur to Interpretation

Inconsistency

Abduction

Definition in Its Circle

Anaphora



Tzimtzum

Tsimtsum: A Break with Neoplatonism


And Finitude

The Divine Contraction


Thirdness

Three for Peirce

Sign

Between

Zero

Cinema

Empty When Full / EZE, 2024

Empty When Full 


This, which has meaning, is meaningful.

This is, perhaps, a change of state.

This, which has no meaning, is asemic.

This, which has no shared meaning, is, perhaps, privately meaningful, but otherwise, this is asemic. 

This, which has a multiplicity of meanings, is, perhaps, privately meaningful, but otherwise, this is asemic. It is quus. 

A quus implies a change in meaning.

This is the confusion of the public, and often too, this is the confusion of the private.

This, with its multiplicity of meaning, is pansemic. The pansemic is meaning and sometimes, non-meaning and meaning otherwise and  ... . 

The pansemic implies that meaning is a process that includes a change of state.

The state of NULL is empty.

This is the meaning of this.

This is not.

Empty When Full

Linguistic Relativity Is an Asemic Condition



Sunday, December 31, 2023

oosjert / EZE, 2023

 


Asemic Engagement with Ab-Sen(c/s)e / EZE, 2023

Asemic Engagement with Ab-Sen(c/s)e


Notes on the Aesthetics of Merleau-Ponty


Klee on the Unseen


Merleau-Ponty formulates with remarkable precision the primary ontological theme: "What is proper to the visible [le propre du visible] is to have a layer of an invisible in the strict sense, which it renders present as a certain absence." It is this occult, secluded layer of invisibility that painting renders visible, that—in the words of Klee that Merleau-Ponty pieces together—painting annexes to the visible. It is because of painting’s engagement with this invisibility, which, while of the visible, also lies outside the realm of visible things, that Merleau-Ponty is led finally to what he calls the ontological formula of painting. The formula consists of words, written by Klee in 1916, that were inscribed on his tomb. They bespeak painting’s engagement beyond the here and now of visible things. Merleau-Ponty cites them in French translation: "Je suis insaisissable dan l’immanence." In Klee’s German the formula reads, "Diesseitig bin ich gar nicht fassbar" ("I cannot be at all grasped on this side, in the here and now"). [from "Freeing the Line" by John Sallis in Merleau-Ponty at the Limits of Art, Religion, and Perception]

signs and wonders

Asemics opens up the invisible as instantiations of meaning and of unmeaning, this, where the invisible reveals itself as statistical possibilities and as gap between.


On Eye and Mind

Seen and Not Seen






Thinking the Visible 

Making Science and Engineering Pictures

Spur to Interpretation