Mapping the Meanings – Semiotic Territories

Guattari - emphatic umph

Semiotic Territories 

If the world were different, or its circumstances, so would he be – no use going down that avenue.  Where he’d gotten to, he’d arrived of his own doing – his own choices, interactions and responses to his surroundings – his opportunities and limitations – his very own and very shared, complex experiences.

The “way of looking at it” is always only one way of looking at it – that’s the case of it, even when viewed through “multiple perspectives” – if its delivered of a human, it’s the processing of singular machines, however plural their construction may be.

So change is curious, in that, when any element alters, the entire effect is unknown, is of incalculable scales that can only be measured in probabilities.  Probabilities, hypotheses, theories and beliefs have one tremendous thing in common: they are all of them uncertain.  You’ve heard it said (or he has) – “the only thing that doesn’t change is change itself,” no, that doesn’t sound quite right, “the only thing we know for certain is that everything’s uncertain,” no, people don’t use the word certain and its relatives that often.  “Change is truth, truth is change”?

She said: “A shared past isn’t forgotten even in change.”  That works for him, for what is memory but the continuous recording of change?

It’s grown easy to confuse himself, he thinks.

 

He notes:  “You find yourself in an encyclopedia of circumstance and then you wonder.”  He only wonders because to inquire or investigate would mean to revise the encyclopedia by looking at it – selecting, perceiving, and thereby focusing an entry to the ignorance of the rest.  A book-burning, a global apocalypse, a conflagration of reality.  Not what he wants.  So he sits and stews or simmers there.  But the limiting fact of existing at “there” annihilates great distances.  He can’t seem to avoid mass destruction.  He takes deep breaths.

 

Writing like thinking like moving – all of it creating a splintered prism of mirrors, warped and shattering windows on presence.  He loves her.  And others beside.  And himself.  And the strange fanatic gifts of the world.  People – “good,” “bad,” or otherwise – how can they not fascinate, be beautiful, in even their minimal capacities?  Where had he edited this part of himself, during?  How he loved her, benefit or ill.

 

He changes, along with everything about (or around) him.

 

Everything was changing (an enormous statement) and he along with it (the Everything).  Self, selves, other, others – why did all seem unavoidably personal?  Just what was this ‘person-ness’?  He feeds encyclopedias to flames, and entertains the questions.  Realizing that questions are the riddling workings of erasure.

 

His question swipes across its context, even when he’s asking of its context.  In other words (his words) “focus obliterates the unclear.”  And the unclear composes the context.  The too-much and more-than, some even say “Beyond.”  What’s not forgotten in the stylus of changing – our memory?  What shared past is present?  He looks at her photographs uniquely each time, each moment, each instance.  Even in-stance he’s not stable.

 

How could he hold position on a spinning globe?

He asks Siri, the plastic voice of a Global Positioning System:  “Where am I?”  Her reply obliterates the world in a profession of some arbitrary gridwork (abstract and unreal) of names and points, streets and latitudes, longitudes, disabling fabrications designed to throw him off course and locate him against the constant movement.  He remembers not to believe, that very re-membering dismembering the possibles.

 

Desiring connection – the security or perceived safety of a tightened weave, to be knotted in a tangle of threads – he spies squirrels and birds, fences and trees, a woman’s breast.  To sense substance pressed against another, as if interacting a location that might not give.  Or give precisely.  An event.

 

He can’t remember what is not being forgotten.  He wanted to, wanted to know what she didn’t forget, like a recipe or table of contents, a topographical map.  He couldn’t imagine what response she would give – what saying or writing, what sculpting or paint – as an answer.

 

He stops guessing as an act of nonviolence.  Most probably he lays down and opens his arms as a wishing and welcome.  That is his practice now: bewildered? confused? give greeting and welcome.  “Hello there, unclear and unknown, I am unable to re-cognize you or you would be known and familiar…and yet I am sensing a pattern,” he says.  A family resemblance of mystery, a remembering of is.  If no one’s written that, perhaps they should (he thinks – another act of violence).  Pronouncements.  Aphorisms.  Like paradox-bombs, parables leaving remains.

 

As a first, he senses he understands “absolute truth” – that rage and genocide that attempts to rid the world of itself – its reality, complexity, multitudes.  Truth the large red button signed “Do Not Press!”  Depression must be a result of pressuring some truth, excluding all else?

 

Confused, he feels at home.  Mismembering, bewildered, changing with change.  Con-fused – isn’t that what he on some scale desires?  To be fused-with, part-of, belonging and participant?

He’s in motion, there is music and breath and these thoughts – all things depending on change.

 

“…no longer a subjective bubble, but rather a limitless interface through which ontological or ‘pure’ relations and ‘becomings’ easily pass…Subjectivity is constitutively open, or has a being-toward, as do all relative beings…We are semiotic, existential territories rather than brains in vats, and these territories or ecologies are not contained within our physical anatomy, nor are they known only as immanent representations.  The question becomes this: Where does your cognition or subjectivity terminate if it is a suprasubjective process and not a stable substance?  The ‘self’ becomes a sign relation or interpretant rather than an unrelated, ontological entity…What is being constantly emphasized is a kind of semiotic ontology in which relations become crucial at every level of analysis and allow for the interweaving of corporeal and incorporeal factors.  Relations are an intrinsic dimension of being, and every being becomes the active center of a web of relations with other beings…beings that are nevertheless in mobile relationships…the ‘truth of the relative’ rather than the ‘relativity of truth.”

– Paul Bains, The Primacy of Semiosis: An Ontology of Relations

ernst bloch - human

Locations in the Mapping of Meaning

In my efforts to ground and attend to my experience and express it with honesty (see Opening the Hand) I have developed a map of locations – realms of the process that have risen as prominent regions within the difficulty, effort, grief, growth and procession of engaging dramatic change…  You can view it here:  Locations on the Map of Meaning.

To view the text for each mode, simply hover over the nodes title, click or press the + button or the down arrows beneath each location title to see full content.  Some nodes lead to further nodes or you can use the buttons along the bottom of the screen.  Repeating my former disclaimer…

All of this is to say that I plan a series of posts that will be intensely personal, self-revelant, my own way of reaching toward my experience, my being, and selecting language with which to mark it down – for re-memory, re-cognition, observation, reception, attention, account.  These are journal entries, frankly.  They are what I have to write.  I am calling them “Mapping the Meaning.”  Since I know very few of you personally, in your whole presence, I expect confession, inquiry, and its self-circular expression to genuinely interest or benefit very few of you.  For me, it is writing with an open hand.”

Locations on the Map of Meaning

Opening the Hand

Mapping the Meaning

What follows will most likely be of little interest to the bulk of you.  For the past few years I have been working to drive and weave the resources for my writing ever more densely into the thickety webs of my authentic experience of the world.  Normally I press this through interdisciplinary inquiry into ways we make meaning, or co-construct what we live as relational/relating realities, attempting the time and effort of translating and investigating these passions and fascinations through creative genres and forms.  However,  life events of the past couple of months have greatly constricted available moments or periods for research and reflection, and magnified the complexity and overwhelming magnitude of our multi-layered, cross-scaled, relativity-dimensioned (see Multi-Sense Realism, et. al.) actual experience of living as human beings.

The most authentic and naked (or base) way I have had of “making sense” of my experience has been, for most of my life, to do it on blank pieces of paper with a writing utensil in hand.  This has enabled my body, like a court stenographer or EKG, to jitter out marks and symbols of what happens to it, get strange glances at the process, notate various strata of its responsive-formative interactivity and selection, and extend/diminish/further and edit or retract (evolve) its activity of living survival.

The past 65 days have been characterized for me by grief and bewilderment, gratitude and wonder, tectonic shifts and rejoined connections, breakings and openings, terror and panic and archaic survival strategies, and desperate hope and frenzied imaginings…I suppose you could call it trauma, dramatic change, upheaval…LIFE.

I’ve been fairly caught up in processing it all (with dear good help), parenting my children, continuing academic study and frenetically seeking employment that it all might go on.  So I feel my posting of late has been fragmented, disorganized, spotty, haphazard, almost accidental…

I have found employment – fraught with uncertainty still, but employ – and something about that one structural determinant has triggered me to assay an account, as much for myself as for anything else…to make the time to manufacture a kind of map for myself of what has and is occurring in my life in this span.

All of this is to say that I plan a series of posts that will be intensely personal, self-revelant, my own way of reaching toward my experience, my being, and selecting language with which to mark it down – for re-memory, re-cognition, observation, reception, attention, account.  These are journal entries, frankly.  They are what I have to write.  I am calling them “Mapping the Meaning.”  Since I know very few of you personally, in your whole presence, I expect confession, inquiry, and its self-circular expression to genuinely interest or benefit very few of you.  For me, it is writing with an open hand.

photo 2-001

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ReWritten / ReWriting

ReWritten

The Disappearance of Needs 

In any genre.  Writer becomes when the needs disappear – needs like expression or dialogue, understanding or inquiry.  The need to devise layers or multiples of perspective, to experiment or experience language or thought.  To love.

When these needs are expunged or exhausted, and a human puts pen or pencil to page, writing might begin.

 

These needs are not expunged.

Needs complexly relocate.

 

Maybe they find a more suitable object, event, or entity.  Writer attempts to construct love via language and page.  This is also dialogue.  But what is needed is resonance-WITH.  What is longed for are moments of positive resonance with an other of Writer’s same kind.  Where resonance would be acceptance, acknowledgment, empathy.  Comprehension, understanding, attunement with Writer’s barest, most authentic expressions – Writer’s openness and risk, Writer’s life-experiencing, meaning-making processes.

[NOTE: Obviously it is literature being addressed herein – not formulaic, hack, commissioned, business or “professional,” aesthetic or philosophical – domain-specific languages, entertainment or communication-purposed compositions.  Rather – writing that lays bare living – which can (also obviously) partake or occur within any and all of the above forms and kinds of inscriptions]

 

Writer, utilizing all accessible knowledge, craft and experience divulges (as best Writer can at this instant) Writer’s lived experience.  Writer loves her.  Writer grieves.  Writer imagines.  Writer pretends.  Writer co-constructs (borrowing from the everywhere that language, experience, emotion, sensation, cognition, DNA, biology, physiology, dimensions etc. comprise) trails of letters, incipient sounds, rhythms, definitions, analogies and metaphors, socio-cultural baggage, spatio-temporal perceptions, historical variety and habitudes, toward some sort of text, artifact, writing.

 

In other words, Writer writes.

 

And as Writer writes, Reader reads (they are one and the same initially) and that reading also co-constructs the divulgence and activity-experience the writing com-poses.

Posing-with =  Writing.  An individual, posing-with, everything-at-disposal (its affordances and limitations) through language-inscribed.

 

[NOTE: pose1 pōz/

1.  verb

1.

present or constitute (a problem, danger, or difficulty).

“the sheer number of visitors is posing a threat to the area”

synonyms: constitutepresentcreatecauseproducebe More

2.

assume a particular attitude or position in order to be photographed, painted, or drawn.

she posed for a swarm of TV cameramen

synonyms: modelsit More

2.  noun

      1.

a particular way of standing or sitting, usually adopted for effect or in order to be photographed, painted, or drawn.

photographs of boxers in ferocious poses

synonyms: posturepositionstanceattitudebearing More

      2.

a particular way of behaving adopted in order to give others a false impression or to impress others.

the man dropped his pose of amiability

synonyms: pretenseactaffectationfacadeshowfrontdisplaymasquerade,posture More

]

 

The needs remain because they’re needs.  Needs oxygen, needs community, needs interaction, needs movement.  Needs nutriments, needs love.  Needs habits and practices, processes and conventions.  Needs society, needs shelter, needs protection, needs…

As if folded-into.  As if woven.  As if inherent and intrinsic, automatic.

As of anything and everything, then, Writing is not solitary.  “To write” is TO-WRITE-WITH the universe-encyclopedia of said individual, “writing.”  Some languages verb this better than others, some will allow us to feign.

Writer will not feign, unless “to survive” necessitates “to feign.”

Writer intends to write-with, perhaps finally surpassing a former dream of being no one, no thing, instead edging toward and everything that one is, of necessity, Writing.

photo 2

Revisiting Aspects of Writing

to see if there might be some positive resonances yet….

images-5

Aspects of Writing.

(please click image or title to link)

A Guarded Narrative

Theories exist that propose a process for primary and profound attachments.  That as these attachments proceed, they will inevitably expose (or reach, come up against) individual limitations.  As humans intermingle with increased intimacy and time, eventually the darker reaches, safer holdings in us (traumas, repression, grave fear or terror, shame) will be engaged and something will ensue – usually either openings or closures.  The following was composed as an attempt at a relational account of this…

Alfred Hitchcock Doors

 

We Open Doors

We struggle.  We stumble forth.  We reach, we ramble, we run.  We learn to walk.  We tumble and waver, we stride.  We overhear, we listen, we engage.  We greet what we encounter, we welcome and inquire.  We reciprocate.  We open doors.

We gaze, we laugh, we remember and rejoinder.  We wander, we wonder, we happily agree.  We chide and we dispute, we recommend and reason, we exclaim.  We open doors.

We step forth, step through, we open chambers.  We confess.  We beg, we plead, we rest and bless.  We sing.  We join, we sway, we dance.  We kick and scream and wriggle.  We resonate.  We hurt and we forgive, we open doors.

We whisper while we shout, we worship and succumb.  We praise and denigrate, argue, negotiate, we push and we budge. We hesitate.  We wrestle with the locks, we suppress and unremember, we fabricate, we lie.  We pry the doors.

We change the stories.  We imagine.  We concoct and recreate.  We design a thread and tell a tale, we corroborate with doubt and love.  We fear and we recall.  We reassure.  We swoon, we falter and we soothe.  We open doors.

We enter dungeons.  We smell the dark.  We trigger mines.  We panic and react.  We flee aimless and return, we grasp and seek and hope.  We lift the doors.

We reach the wetlands.  Cross the plains.  We clamber mountains holding onto rope.  We knot and we undo.  We disrobe and arm ourselves.  We bleed.  We heal.  We stack the rocks.  We open doors.

We attach and we press on.  We scab and suffer.  We get lost.  We recover.  We holler, we recoil, we respond. We widen cracks and we expose.  We grope, we censor, we divide.  We rage and we varnish, we forget.  We ask and refuse the answer.  We testify, profess.  We strain and crawl.  We collapse.  We guard the doors.

We collaborate.  We weave and tear and shape.  We invent.  We threaten cores.  We gird our hearts and steel our minds, we clasp our hands.  We jump and weep and fly.  We grieve.  We repose, we dialogue, we alchemize.  We sear.  We use our weight.  We bolster.  We open doors – they slam us.

We protect.  We damage and arrange.  We repair.  We gossip with our notions.  We theorize, we enter forests.  We drown and cradle rocks, we float and we resign.  We hear the latches, we peer downstairs, we take our steps and count the beats.  We’re keeping time.  We feel the tremors, we sense the snap, we open doors.

We break them down.  We tremble.  We contract.  We slither, wriggle, wind.  We explode, we come undone, we disappear.  We hear the lock.  We search the key.  We gather, we conspire, we close in.  We close doors.  We seal, we paint, we turn.  We shrink, explore, thin out.  We look away, look forward, look about.  We separate and margin. We barrier and bind.  We open doors.

We pause, we blind, we wish.  The doors shut tight on what we’ve opened.

 

 

 

Erosion, continued: “What Begins as I, Ends as It”: A Form of Fiction (explicit)

MEANING from EXPERIENCE:  “What Begins as I, Ends as It”: A Form of Fiction

 

“Every movement resonates with its preacceleration and its overarticulation, active in a contagion of speeds and slownesses”

-Erin Manning, Always More than One

 

I.

The erosion would be complete (or very nearly) now.  What had once seemed an “inner life” or “personal experience,” perhaps “individuality” or some such, (as far as could be sensed) was wholly in absentia.  No happening, event, or perception – let alone interpretation or meaning.

Now it was only something thesauri’d as anguish – maybe migraine, maybe ennui.

The emptying and erasure, incessant deterioration.  Taking it back to the cells.

  •          Movement.
  •          Terror.
  •          Survival.

Formulating a system.  Psychology and reflection not necessary.  Systems in relation for persistence.  An added instant.  Another day.

            Flefzzhat, remune, it sounded like, and signifying nothing.  Activity is all.  Behavior.  Quieted, plastic, rearranged.  Emotion in hiding or exile.  It would not be decease, and he could not seem to help it.

It was cold.  Began to chill.  Unable, apparently to warm itself.  Something gave it liquid, which, though iced cold, seemed to flush it warm.  Reaction, not response.

Activity observed, not intention.  It shivered.  A scribbling, not a mark.  A murmur, not a sound.  It seemed deflated.  Otherwise.

Not like a rodent, really: not furtive or purposeful.  How to describe it?

A wrapped tree or  scarecrow – if the scarecrow was broken and crook’d.  What would survival mean, without love for words, without relish?  Without desire – is it pro-cess?

Dead crow in flannel.  No future envisioned, no breathing to count by.

 

II.

Room after room over months all displacing.  Pieces at a time – chair here, sock there, key, sign, and implement.  A picture.  Emptiness synonymed, a variant from loss.  Loss implies gone; emptied – gone away.  The figure shuffling toil devolves the way of water – seamless evisceration – an evaporate.

The labor worked like cancer on its host – a devouring accretion.  Humans call it grief – the impression of depression.  Unable to relate, all signs a bag of Scrabble tiles.  A tick will move toward warmth, grass stems trigger to the sun.  Scarecrow? – merely flux.  Perhaps the wind.

At one time it forayed.  The worlds of animals and humans.  Would have named systemic processing: “living.”  Drill down deep enough, or extend exponentially – the vitality recedes.

            Vitality recedes.

            Sonic elements, sense.  Beyond the psychosocial, even basic physics began un-mattering.

Another room, another artifact, another particle of dust duly removed.  The figure now a beach – sand devolving slowly toward rock.

Rock:  elemental, unfeeling, simply there.  Simply there, in its flux.  Taking space by making it.  Stupid, muted, dumb.  Pointilism sans points – that sort of thing.  The figure itself an oxymoron, an elision.  Not illusion.  From outside this is really happening.

From within, it’s only time.  The songs of Orpheus, collected as poems.  Dalliance in extinction, without a puffin’s reward or a dinosaur’s drama.  Just scarecrow – a covered tree – limbing in almost dark.

Prime example of nearly.  Nearly being, nearly attached, nearly meaningful – nearly perceived.  Nearly alive – another way of saying (in a scientist’s tongue): NOT.

III.

If a statement of faith is “always more than one” then here we have a really hard problem:  no statement, no faith, and ever only one…Beckett’s dissolution… How It Is.

“how last how last”…”vast tracts of time” 

IV.

It echoes.  The emptying room.  A hollow.  Blowing stiffly enough, some would say it howls.  If a howl, then a cry.  If a cry, a reaching out.  Scarecrow doesn’t cry.  But the drink kills the migraine, whites out the angst.

Wrapped tree in snow.  You know it’s there.

It, without life or blood or brain.  It now alone, now diminished, now slowly stripping bare.

            Call it the Passenger Pigeon, the Ibex, Orpheo rising from the dead.

Call it Nothing and No-one.

 

Please do not call it at all.

     V.

Someone said meaning was the sticky point.  Point dislodged.  Evaporate.  Another: “this is love.”  Love fucked and raped in eye socket, armpit, ass – then abandoned.

Another room cleared by the scarecrow.  More bark removed from the tree, even while the burlap clings.

Life would astonish the gods – an elegy owed.  It’s worse than that.  It’s autopsy alive – with light everywhere.  A copyist’s error.

            Branches clack, and make impressions.  That is all.

 

 

“Determining Gapless Playback”

Might it indeed be we passing through world as world makes its way through us?

In other words, we walk along, and call it “moon,” but once we’ve passed it goes on in its nameless and momentous being?

Likewise “Holly,” “daughter,” “self,” … “being”?

And anything else to which we lend ideas?

If “lending” (for practical purposes)

is not dictation.

.

Incise.  Excise.  Decide. – a definition.

Who of you likes to be told what you are?

Who of us can be?  Even by our (many) selves?

 

Erosion, take two

II.

This is the story of how I began telling the truth.  The truth I defined as “two truths and at least one lie.”  The truth of my experience.

Poets often carry sorrow in their sockets – some underlying angst influencing attention.  There’s sclera, iris, pupil, and a deepening mirror of perceived pain…or seared “ego.”  Grief or grudge – and difficult to distinguish.

As much as there is to learn or to know, some simple patterns give the slip.  Once you figure a composing context, the information is derived.  Look out for what might constitute survival for each respective entity.  Aim your inquiry there.

Parents hurt as much as heal.  As do love and risk and wisdom (or well-being).  All that is given in life is also taken away – exactly when it is given.

Everyone canvasses sorrow.  The surgeons in their trembling hands, the librarians in their order.  The therapist’s reflective stance, architect’s angles, businessman’s mettle.  We all know that we’re going to die.  Celebrities in their acclaim, the athletes in their strength, and whores in their affection.  Everything is risk.

truthlies