annotations arranged + aligned

1  essays in charcoal
2  apertural forces
3  stopgap motion
4  discursive excursus
5  sentience sapience
6  ellusional

process in progression

Prelude to an overture. The music of poststructuralism, postmodernism, and [literary and critical] theory, in general, was the military and the resistance anthem of an anarchic state that was my transition from teens to twenties. It has been the soundtrack to much of my thought since then, as an adult. This is an attempt to reconstruct those disconsonant anthems of a conflicted nation state into the song of a land.

remains detained in translation

A multidirectional overture that is, among other things, a two-way disclaimer and a one-note introduction. These transcriptions [and plausibly their scribe] are obsessively philomathic, compulsively autodidactic, impulsively pedantic, and temperamentally AWOL rather than vanguard. And though there are no characters or events whose fictitious status [quo] needs to be affirmed, and despite the fact that the expressions and impressions [b]logged here are manifestly those of the writer — though it must be mentioned, that whether anything has been appropriated [adopted, borrowed, stolen] or subscribed to, is altogether-entirely another question — there remains still the question of the fictional status of these writings.

In the interests of clarity, and for the sake of prose that can be, possibly [rather than probably], thought of as readable, much has been swept under the text. When it is written “In a metamodernist world”, the writer does not mean to imply that they know anything about the metamodernist world, or even, in fact, whether such a world exists, not to mention intricacies such as the sense[s] of the words “metamodernist”, and “world”, as understood by the essayist, and the ones being referred to here. This is not to deny the possibility of meaning. The intention is to flip the text over to reveal the fibre, the textures that lie beneath, the weave, the seams, the loose strands and threads, the knots. It is a composition composed of a composer, and various components, and how it all fits together on, and off, page is never one thing, or ever a done thing. To carpe from the deus ex machina of deconstruction, it is all sous rature, not through the inadequacy of the lexicon, but necessitated by the inadequacy of time, [re]sources and energy, and so its status, its sketchiness, is never in question. That a metamodernist world is one in which reconstructions and restructurings of deconstruction​/​poststructuralism can take place is the hope and the belief in the stringing [together] of words and worlds [our limited universes that are unlimited in the stories they tell — and in the ways in which they tell them].

in media rest

Does one start with a tabula rasa? In a metamodernist world the tabula rasa is not the blank slate, but rather a scraped [raze and rasure share Latin roots with rasa] tablet, with layer upon layer of traces and indentations, and so always already in medias res, in-to the middle of things — the narrative paradigm of the human condition. We do not experience coming into being, we do not know the beginning of our existence. Consciousness is always the consciousness of things that are already around us, and occurs through things that are already there; there is no unmediated immediacy [the Latin roots of both stretch back to the Classical Latin media​/​medium]. Living is a mediation, and it is through an infinitude of media [of intermediaries] that life takes place. There is no absolute to reach, or in which to rest; no way to transcend our state, to step outside, to stand back and survey whatever it is that subsumes all the realities, life and living, the entirety of everything [forever?]; what there is, is this — the journey and the destination, the medium and the message; in media rest.

metaphor metalepsis metaphysics

Meta is a spatial, topological, Euclidean Greek preposition, and phore means agent, bearer, carrier, producer; the metaphor is the makeshift of minds, the slipstreams of matter, the shapeshifting of meaning.

in/under revision/reconstruction —

The surfaces of words do not hold the tenor of things and thoughts, the figure of the vehicle sculpts and structures the ground of our inner worlds and our outer worlds, the lands within and without, and with it the words are assembled and shaped, encompassing all that is to be conveyed. It is what makes us human, it is civilization and culture and science. It is the fully opposable thumb and its grip, its grasp.

Moving through metaphor, metaphor moves through the self. Evolving from the movement of the body through sensory space and time, the metaphor is the fully opposable thumb, and its grip, its grasp. Metaphor is consciousness, meaning, language; it structures how we think, and everything we know. It is everything, and everything that it is, is self-referential​/​reflexive and recursive. Without end. Without limits. Held together within the surfaces of the self, and self-reflection. It constructs realities, whose concrete and sculptural architecture of mappings and venn diagrams are continually, and discontinuously, dismantled and deconstructed, to be rebuilt, reshaped, reiterated differently. And the ever-transitioning geometries — ways of being, thinking, knowing; the creation of meaning, and articulation of language — are, always already, altering the trajectories of our collective world.

Lepsis means seizure in Greek, and though the etymology of metalepsis seems uncertain, the Latin form transumptio means to take from one place to another. To take hold of something in order to move it. A progression of the metaphorical grip and grasp.


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