| Topic: | Re:Re:Re:Re:Re:Re:Re:Re:Phenomenology / Street Photography / An Aesthetic Way. |
| Posted by: | John Schertzer |
| Date/Time: | 05/06/2003 19:03:52 |
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I wrote the following to an email questioning my previous post here: I did my grad work in writing, particularly poetry. Sound is a prime consideration in what the poem or lit piece does, meaning - does to the readers neurology -- one of the things that makes it "work." Now if I was to say something like "I'll tell you what, all this talk about the texture of text, its alliterative or consonantal patterns and how they tend to train the tensions and intent of an arbitrary content..." or "Some say the sounds may drive meaning as much or more than the things obviously being said, whether we voice them or weave words along a surface for others' reading" the staccato of the harder consonants, particularly the t's, in the first sentence, and the more flowing and smoother softer consonants in the second, give a different message neurologically, though the semantic content may be very similar. I really believe this has an influence, among other variables, obviously, on how we make pictures and kinesthetic responses based on those sentences. What happens if there are consistent patterns resonating between harder consonants and softer, or among various vowel sounds and and consonant and other vowel sounds? When one begins to weave this amid content, as well as other aspects of form, it would necessitate particular types of anchoring and arrangements of tensions and "color" on the surface of the spoken or written text. Remember, sonic patterning is used in many forms of meditation, and there is even a particular form of Kundalini ascribed to alphabetic sounds described in vedic writings. I just think this would be a great area for NLP modelers to explore. What do you think? best, JS |