Material Synaesthesia:

Language is a synaesthetic metaphorical material behavior (i.e. written symbolic metaphors, acoustic symbolic metaphors) of humans in a dialectical relationship with the actual material landscape. It is a culturally emergent, evaluative process that evolves along with the actual landscape – a “thing-for-us”. This landscape (a “thing-for-us”) is “under” the entropy of our evaluative, culturally emergent physical laws (like thermodynamics). It is an irreversable entropic eternity. In other words, this process never ends.

An example:

I think it is the synaesthetic transformations from one sense to another that is what, sensationally, distinguishes us from other creatures – the degree of detail to which we are able to transform one sense into another. This, I think, is really what metaphor is – synaesthesia manifested. The convergence of the patterned frequencies heard by the ear, and the (different in type) patterned frequencies recieved by the eye occurs in the imagination. Even the first representative sound uttered by a human being was a metaphor for, say a rock. It was a synaesthetic translation from the range of some sense(s) into sound. The metaphor was waving in the air. The rock, from then on had been essentialized, and reduced into an acoustic metaphor wobbling in the ether and resonating in the bodies of the community.

The rock could be synaesthetically moved around away from the rock to the campfire, or on the hunt. The rock was now mobile, as a reductive metaphor.

Concealed conceptual synaesthetic abstractions within a literal context (metaphor):

Even a literal statement can conceal a metaphor. This is a type of syneshesia, where the seemingly literal “surface” is only literal because it has within it abstractions. These abstractions are only rendered with power in a context of varying disparieties. As contextual relations are established, the the degrees of abstract oppositions emerge. They emerge as synaesthetic conceptual metaphors, where a word in a context that is a seemingly topographical literal statement conceals an image, taste, and even sound. Location turns into, through conceptual synaesthesia, an imaginative experience.

An example:

The context in which the word “potato” is placed determines its power and meaning. Concealed within words in a context are abstractions, like color, taste, sound, line etc., that enlivens the imagination. However, it is only through the concealed abstract oppositions in a sentence, pragraph etc., that make a potato what it is. It is made what it is by the contextual degrees of oppositions. For instance:

The potato is in a ceramic bowl next to an apple on a wood table.” In this case, the red of the apple might bring to mind the flesh color of the potato… taste, texture soforth with degrees of abstract opposition.

The potato is in a quantum pool of particles going through entropy.” In this context, potato may no longer have a taste, or a (relatively) specific color, but an animated abstraction.

The actual potato – the landscape – is in a dialectical relationship with the maps of the potato. The actual potato is inseperable from the social, political, and natural activities of culture. It is intertwined in a dialectical relationship. The evaluative interpretations (maps) of the actual potato change along with the actual potato “underneath” the culturally emergent physical laws.

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