Overweening Generalist

Showing posts with label Eric Wagner. Show all posts
Showing posts with label Eric Wagner. Show all posts

Monday, February 17, 2014

Qualia and Having a Nasty Cold Virus, Drinking Wine: What's It Like?

My colleague Eric Wagner recently wrote that reading primary sources rather than studying what other writers have to say about the primary sources was lately more enjoyable for him. While I read this, I had been trying not to notice that I seemed to have been "coming down" with a particularly virulent cold virus that others around me had been jousting with. (I used the quote marks in that last sentence for  fans of George Lakoff.)

This is not the flu; I have no fever. But it is a markedly aggressive HRV (human rhino virus) that has had normally hale and stout friends sneezing, hacking and croaking their speech for eight days, some even 17.

Eric's self-observation made me think of Robert Anton Wilson's line about reading primary sources to avoid the "standardization of error," which made me look up and read about Vilhjalmur Stefansson's life.

                                      If you feel not-sick while reading this, do you 
                                      remember vividly what it FEELS like to be like
                                      this guy?

As my throat got scratchier and my feeling of physical being worse and worse, I thought about our reactions to works - even people and ordinary objects - prior to contamination by others's opinions or learned "expertise."There's a long line of thinking that says Go First To The Source, forsaking all others. Both Eric and I have been influenced by Ezra Pound in this, although Ezra, much of the time, wants you to see for yourself, by thinking for yourself, that his - Ez's - esthetics were superior all along. He's funny in that way. One of Ez's students, Louis Zukofsky, wrote a book called A Test of Poetry, which seems like a better way to test your own esthetics without previous knowledge that "experts" agree that So-and-So is great, others less so, etc. In an earlier part of the Roaring Twentieth Century, I.A. Richards conducted similar tests about poetry; I did a gloss on him HERE. Wagner has a blog that's centered on his experience reading and thinking around Zukofsky.

What Pound, Richards and Zukofsky seem to want to engender in their readers is an axiology: a personal hierarchy of values about what's good and why and how works are alike in some way and not in others, etc.

I went to sleep reading about Heidegger's phenomenology, neuroscience ideas about Art, Kant's ding an sich ("the thing in itself"), and wasted into somnolence thinking how underrated phenomenology was...or that it seemed  that way to me.

I woke up feeling much worse. The virus had set up shop in me, clearly: I had observed friends with this same thing, hoping I wouldn't get it. My symptoms, as I understand them, arose due to my immune system's "war" (for Lakoff fans, again) against the virus, which only wants to hack into my own cells and use their resources to make more copies of themselves. The symptoms are a good thing, even though we feel like shit. It means we're probably winning. (Who's this "we"?)

As I felt worse and worse and dreaded the at-minimum seven day sentence of dealing with this virus, I began to realize something I'd noted many times before: being sick, for me, seems like an odd discrete mind-state. I don't think I've been sick for a couple of years, but here I am, knowing intellectually that I'm usually not in this state. The odd thing - for me - is this: I can't feel what it's like to not be sick when I'm sick, even though I spend most of my life, in effect, "practicing" the state of being not-sick. I can certainly remember the state of wellness, but it's as if I remember it by reading about it in a book.

I've talked to friends about this and it seems around half know what I'm talking about and roughly concur: a nasty cold or the flu is a discrete mental state, like being high on LSD or mourning the loss of a loved one. The other half either doesn't "see" it this way: they're still "themselves" but just temporarily feeling lousy. It's not discrete; it's more a matter of degree for them, which certainly seems legit to me. Others who haven't seemed to agree with my "discrete state" of sickness idea seemed to have either been bored with my line of thought, or that I was talking too much again about some bizarre idea.

So I dropped my thinking of esthetic perception and read all day on qualia, a topic in the philosophy of mind that generated much debate and heat, shed some light of various quality, and seems to go on and on and on.

Very very briefly and ridiculously inadequately: We both sit down to drink a glass of zinfandel and talk about rock, stocks, the Sox, or life's building-blocks. Apart from the language of wine-tasting (the gamut: oak cask, aged, berry, body, nose/bouquet, tannins, bitterness, fruitiness, etc), we're drinking wine poured from the same bottle. How do you like it?, I ask. It's very good, you say. Yea, I like it too. Nice color.

Here's the thing: those on the side of qualia's existence and importance say there's something ineffable about your experience drinking that wine, an explanatory gap. It's not like doing your income taxes. Drinking that zinfandel - your experience doing it - is not like feeling rushed and late for work. It's not like stubbing your toe after getting out of the shower. Each of these things is different from each other, even though they all involve you in the world, subject to gravity and made of atoms, possessed of articulate language, and a nervous system well experienced in myriad environments. It seems like each experience of the world cannot be completely reduced to physical processes; there's always something left-over, something ineffable and unique about our experience.

We do simulations of what it might be "like" to "be" someone famous, brilliant, beautiful, or widely hated. Some of us may have tremendous imaginations, but we cannot know, I cannot know, what it's like to be Dave Grohl of the Foo Fighters. Or Cate Blanchett. Or Dan Dennett.

I began to think of having this nasty cold as a suite of qualia: the feeling of being literally phlegmatic due to a virus? We've all had the experience. But how do I know your experience is the same as mine? I can't. Oh, we can talk and nod: yep, I feel that way too; those words seem adequate enough. But they are only words.

A typical thought-experiment in philosophy: You meet some alien from another world who cannot feel physical pain, but It speaks your language well and is crazy-intelligent. You explain the physiology of nerve pathways and the spine, types of pain receptors, qualities of pain from a paper cut versus a kick to the shins, etc. The alien downloads into his freakish mind, from the Cloud of info available to us via Internet and books: everything available that has any sort of important bearing on the physiology of pain. And categorizes and memorizes all of it, so any question you ask it about pain, no matter how occult and abstruse? Our alien can answer you in a matter of seconds, with a long stream of data that seems meaningful in some way. Very soon It knows everything any human has ever discovered about pain, and could lecture at the best medical schools on it. Every human authority on pain in the world recognizes our alien ("It") as the Brain About Pain. And yet: It can't feel pain. This is qualia. The alien knows everything about pain except the actual experience of pain, and what sort of "knowledge" is that? 

"What's it like to experience_____?"


"What's it like to be_____?"

Now: qualia is usually discussed in terms of basic, simple experiences, like the wine example I gave. Departures from our mundane, "ordinary" feelings of "reality" - altered states of consciousness - seem to enter into the qualia discussions less often. But if they are not the same, then surely the ideas do overlap? Being very stoned on hashish while sitting intensely close to one of the great violinists in the world as she plays the Chaconne in D minor seems like both a very radical altered state and so filled with qualia as to be qualia-stupid: just model it: This is what it is for me to be radically stoned and sitting 4 feet from Victoria Mullova playing Bach...Yes? And how was it different from the way coffee smelled, from down the hall on Sunday morning while you were still in bed and just coming out of sleep? We realize one experience was otherworldly, but only you know what it was like for you to experience both events.

A very convincing idea in cognitive psychology that has to do with the question: Why do we "like" horror movies or tragedies and sad stories? Why are we drawn to news stories about horrible things that happen to people? A big part of the answer is: we use these stories to mentally rehearse worse-case scenarios for ourselves. Just in case. The fictional horrors and depressing stories are more "enjoyable" because, while we know they could be "real" in this case everyone's safe because they are not in fact real. We build circuitry in our brains about these stories, just in case we need to draw upon the "knowledge" there. David Hume said this type of thinking about the sufferings of others builds empathy towards others. The experience of the stories have qualia, if you're into that too. But maybe I'm muddling up the topic even more than I normally do...

Daniel Dennett defends the materialist view of the world by saying that qualia is a fancy word for something that is so ordinary we hardly ever think about it: the way the world seems to us. He has a very refined and nuanced refutation (or denigration) of qualia, and I refer The Reader to his book Consciousness Explained. Because most of the eminent adherents of qualia seem to talk about it as if it's aligned with the Hard Problem of nailing down what consciousness "is" and we don't have any way to scientifically answer this to most scientists' satisfaction, it's a metaphysical concept. Which is anathema to the materialist. I disagree with Dennett and Minsky and a few other qualia-denigrators/deniers of repute, but not for reasons that seem all that robust to me: I think it's a question of personality and temperament. I think the major reason I like and "believe" in qualia is because it's fun to do so. Others choose Batman or God. Go figure.

Now, I have thought a lot about very high order abstractions like god, justice (especially informal examples), terrorism, Being, and infinity. There are similar debates about these words too, and what they refer to, or why referring to them is to talk poppycock. It's all fascinating to me. I find I think about these ideas in as many rational ways as I can; I try to articulate the points of view of those who seem to disagree with me in order to better understand where they're coming from. And I note I always have strong emotional responses to each word, for different "reasons." With qualia, I'm okay with it: I find it pragmatically useful to assume it exists, because it's pleasurable to do so. I'm well aware of a host of very good arguments against it, that it's "mere metaphysics," and that it might be an accident of language or brain evolution; it could be the result of a kludge.

V.S. Ramachandran thinks qualia is probably related to brain development that differs us from chimps. We have Wernicke's Area. Parts of the parietal lobe became differentiated in function way back in our dim past. "Rama" thinks qualia has to do with the idea of "the self" and finding meaning and brain areas - it has a whole hell of a lot to do with the Big Problem of consciousness - so he thinks qualia is a metaphysical concept now, but with further neuroscience, it can become physical.

John Searle sees consciousness as explainable by biology too, "like digestion," and I once heard him say that "conscious states are qualia all the way down."

David Chalmers posits a "principle of organizational invariance" and says that hey, if you AI/roboticists can array computer chips in a way to map the neural circuitry of the brain, you'll get qualia, which is such a trippy idea I almost feel a cannabis contact-high writing this.

But I and many others see Chalmers, Searle, and Rama as serious characters. And aye, the Materialists are worthy opponents too.

Robert Anton Wilson, as far as I can recall, never used the word qualia, but he did think we experienced it, because of the array of life-experiences and memories we brought with us to any further experience. These memories and life experiences were totally unique to us. Right there: qualia. But add to this: our nervous systems are not identical, physically, so our sensoria cannot be 100% identical. We bring cultural references and a vast suite of tricks that our language can play in our experience too. Wilson was a longtime linguistic relativist. He said we also bring moods and expectations to experience, which seem highly variable and can shape our experience of something as simple as a glass of wine. For Wilson, we lived alone on the island of our own vastly idiosyncratic subjectivities, but due to language, gestures and time-binding, we can have intersubjective discourse, bugs and misunderstandings and all.

Indeed, have you ever been so preoccupied that you took your first sip and then were asked "How do you like it?" and you realized you didn't even tune in to the taste and note anything? That's a quale right there: singular for qualia. Either lie and say it's "a bit too jammy for my taste, but all in all it's quaffable and not plonk by any means, no," or admit it: you didn't even notice, because, "I just found out the IRS is going to audit me." So...there's qualia: your total feelings about finding out you're being audited by the IRS, but only your unique feelings about it. Everyone will agree it sucks, of course. But there's more!

For Further Reference
-John Searle's TED talk on consciousness: 15 minutes. The old Berkeley dude still has it, here.
-Wiki for qualia. I was going to make most of the post about Schrodinger, but the Idiot parts of my writing brain took over. Sorry!
-Stanford Encyclopedia of Philosophy is usually a first-rate place to dig into a topic in philosophy, and here they come through in spades.
-V.S. Ramachandran! It's worth 8 minutes of your day, probably.
-9 1/2 minutes: this guy does a very good job of giving us a basic idea about qualia
-Thomas Nagel's famous 1974 paper, "What Is It Like To Be A Bat?", which did a lot to make qualia into more of debated and then popular topic in the philosophy of mind. (Schrodinger's ideas should have done it in the late 1940s/early 1950s, but I think he was way ahead of his time.)

Wednesday, December 11, 2013

Robert Anton Wilson's Tale of the Tribe: Scrying For Shards

Prof. Eric Wagner has recently made a proposal to one of his circles of Weird Pals (Full Disclosure: the OG is one of 'em) to experiment with astral travel to see what might be learned by looking around Dealey Plaza on 22 Nov, 1963...and then on "back" to the Library of Alexandria. I say "back" in quotes because, presumably, when going discarnate and traveling in one's astral body, time makes even less sense than it does to those of us reading the latest from certain neuroscientists and physicists.

I don't know how serious Wagner is, but I have a strong hunch he's at minimum jocoserious, a Joyce portmanteau meaning, roughly "joking-serious."

Hey, if I'm scryin' I'm dyin'. And I've spent a few hours surfing the Net and whatever books are in the house on the subject of traveling trans-ordinary-space-time. It's amazing how many books are in the local libraries on this. And I stumbled onto hierogamy, DMT, and Stanislav Grof's holotropic breathwork techniques...which leads me further afield. Which was what I wanted, turns out.

(Wow: you Terence McKenna fans: have you read David Luke's paper "Psychoactive Substances and Paranormal Phenomena: A Comprehensive Review"? I thought Terence's cosmic "machine elves from hyperspace" was just his experience, but it turns out to be quite common...and preceded Terence's first experiments. When I say my foray-researches into astral travels took me far afield, Luke's paper really sent me, ye gawds!)

One very good thing about astral travel I've found so far: no TSA. And as far as I can tell, I can keep my seatback and tray table up for as long as I want and indeed: may not even be aware they're there.

                             I love this collage, assembled by RAWphiles: artists? 

Tale of the Tribe
As most of you Wilsoniacs know, RAW left us tantalized with a book unfinished. At the end of TSOG: The Thing That Ate The Constitution, he gave us a preview of his upcoming book, a bit of a precis. See pp.203-213 of TSOG. The preliminary subtitle seemed to be "Alphabet/Ideogram/Joyce/Pound/Shannon/McLuhan/TV/Internet." It was claimed by someone that RAW's actual final book, Email To The Universe, fulfilled that contractual obligation, and it may have in some sense, but the Wilsoniacs know there wasn't nearly enough about alphabet/ideogram, etc in his final book (largely - roughly half - cobbled from old "lost" RAW pieces - really good ones, too - that Mike Gathers and a few others had sleuthed and put up on the Net for other Wilsoniacs. RAW's publisher asked Gathers kindly to take a few down and Gathers inferred those articles were going into the new RAW book; Gathers said okay, Email came out, Gathers received a free copy and he was right: there they were...).

But we really wonder what RAW had to say about The Tale of the Tribe. Lofty sounding, innit? If he hadn't been so dogged by post-polio sequelae I feel oddly certain the book would've been yet another masterpiece, maybe his best of all his non-fictions. But we're left to guess. RAW had taught a course on "The Tale of the Tribe" in an online Maybe Logic Academy (officially: a course taking off from Ezra Pound's "ideogrammic method"), and angels forwarded me the notes. Very rich stuff, but paradoxically, when I study the notes - including RAW's voluminous commentaries - the absence of the book seems all that much more tantalizing.

We are left to make educated surmises, it seems. It's been suggested by more than one of us that it's up to each of us to write our own version of The Tale, based on our own studies of RAW, Marshall McLuhan, James Joyce, Claude Shannon, Ezra Pound...and the others he names in that precis, that maddening and unmaterialized Coming Attraction: Timothy Leary, Ernest Fenollosa, Alfred Korzybski, Buckminster Fuller, Nietzsche, Vico...and the first named chronologically: Giordano Bruno. For RAW: they all influenced his work, but more intriguingly, they "all have something in common."

McLuhan scholar Paul Levinson said Bruno's model of a de-centered universe was a model of cyberspace. And the Church burned Bruno on February 17, 1600.

A taste? RAW, in discussing Bruno, puts in bold print:

Bruno's universe, infinite in both space and time, has no "real" or absolute center, since wherever you cut a slice out of infinity, infinity remains. Thus every place an observer stands becomes a relative center for that observer. -p.205, TSOG

You're at the center, right where you are sitting now.

I've spent many hours meditating on this idea, in sympathetic or empathetic harmony with what I perceive to be RAW's personal philosophies. Then I extend this to my own views, heavily influenced by Wilson. I wonder how this decentered realization related to embodiment - his own body, one that aggrieved him perhaps much more than the present Reader's body has them, and certainly more than my own body has aggrieved me. I do think this was part of it, but only a small part, as RAW knew how to get out of his own body. I think he was an Adept.

I've also spent very many hours "traveling" and trying to meld Bruno's and RAW's decentered "reality" with Joyce's "nightmare of history," the bloodbath of the 20th century, the immemorial injustices brought by Kings and Popes and landlords and bankers and other robotic hive mentality alpha apes...and our own egos and the whips and scorns of time.

O! To get...out of Time! (gnostic? aye!) And Einstein showed Time and Space were two sides of a coin. A decentered universe implies a liberty and personalized sense of Time. Freedom from death of some sort? Freedom from a ravenous State? We all know RAW wanted to live on and on and on, despite the failing muscles and meanness of politics and money-worries.

Was The Tale to be RAW's own TOE (Theory Of Everything)? Somehow I doubt it; he, like Blake and Joyce, seemed to think the poetic faculty a saving feature of our nervous systems. Science - and RAW loved science - would bolster sounder visions. In this he was - as I read him - much like Kenneth Burke, who RAW admired, but who seems curiously missing from RAW's books. Burke thought that science was the dominant mode of metaphorical understanding in the world in his own lifetime, but that it would be succeeded by "secular piety," a sort of "poetic humanism" more nuanced than the old Humanism: pluralistic, subjective, and spiritual. I think RAW was with Burke there, but also, for RAW: the end of money capital as it now works; RAW, from his teenaged years saw all that as a disaster. And he was right.

As a 21 year old, James Joyce reviewed a new book on Giordano Bruno by J. Lewis McIntyre, saying at the outset it's about time! - a book on Bruno. And we need more in English. Joyce points out - as does RAW in the tantalizer - that Bruno foresees Spinoza, but the young Joyce writes of Bruno's variety of philosophical mysticism that "It is not Spinoza, it is Bruno, that is the god-intoxicated man." Joyce was not all that interested, at 21, in Bruno's memory-system, his elaborations on Raymond Llull, or "excursions into that treacherous region" of morality. Joyce is interested in Bruno as an independent thinker, and places him above Bacon and Descartes in "modern philosophy" because of his theism coupled with pantheism, his rationalism coupled with his mysticism.

Here we see what may seem at first glance an eccentric caste of mind: putting (the still relatively unsung) Bruno above Bacon and Descartes. But RAW was very much with Joyce here: the insistence on personal negotiations between the poetic faculties (pantheism and mysticism) with what is usually taken as the "real" modern faculties: rationalism and theology. For Giordano Bruno, James Joyce, and Robert Anton Wilson: all of them. They like them all. They are all good. Especially when you have combined them all, negotiated them all, in your own unique nervous system...which can transpersonally tap into the Infinite.

In a lecture titled Knowledge and Understanding Aldous Huxley writes, "The Muses, in Greek mythology, were the daughters of Memory, and every writer is embarked, like Marcel Proust, on a hopeless search for time lost. But a good writer is one who knows how 'to give the purer meaning to the words of the tribe'...Time lost can never be regained; but in his search for it he may reveal to his readers glimpses of time-less reality."

Other Sources
"The Bruno Philosophy," in Occasional, Critical, and Political Writings by James Joyce
A wonderful site by RAW students about his "Tale of the Tribe" ideas

Friday, June 22, 2012

Translations? A Mid-Sized Armful of Disparate Riffs OR: Does Any Of This Make Sense?

"Many addicts HP basic entry in the work that the reader can't help noting that the formation of the people after the end of the road, which leads to death, hitting something disgusting, as if they were linked to related/human skin. -Michael Chabon (Chinese) (Arabic) (English) (Ukrainian) (Dutch) (English)"


               Novelist Michael Chabon, who just happens to live in Berkeley too


In my previous blogspewage, Prof. Eric Wagner responded in the comments section with a quote from Michael Chabon, which related Joyce's Finnegans Wake to something almost sinister or evil or menacing, as HP Lovecraft's Necronomicon was meant to make us feel. The latter book, while fictional, "is" real on some ontological level - it has some ontological status, I will argue. But this isn't my point, of course. You're reading the OG and you know he digresses like Laurence Sterne on bad acid.


What "is" the first paragraph, above? "Many addicts..."?


It was an experiment in machine translation using Babel Fish. Here's how the first paragraph was derived: I cut Prof. Wagner's quote from Michael Chabon, pasted it into Babel Fish's box, and translated it into Chinese, with a nod to Prof. Searle. I then cut/pasted the Chinese (which I understood exactly zero of, looking at it) into the original translation box, chose the Chinese to be translated into Arabic (more weird characters I didn't have a clue about), and then repeated these iterations, from Arabic to Spanish, Spanish to Ukrainian, Ukrainian to Dutch, and finally, Dutch back into English.


The original quote from Chabon, as given by Wagner, was this:



"A reader steeped in the work of H.P. Lovecraft could not help observing that, to many educated people, there was something unmistakably loathsome about the Wake, a touch of Necronomicon, as though it had been bound in human hide. - Michael Chabon"


                                                       H.P. Lovecraft (d.1937)


I'm guessing the Machine thought "Lovecraft" - at some point - was really "basic entry." Anyway, the translation by Babel Fish was, I thought, ironic, in that, the original subject matter had to do with a novelist's take on Joyce's novel, which most people find the most difficult book to "translate" from Joyce's own Dream-Wake-Language (at times I've called it "Wicklang," for reasons readers of the book might understand) into their own understandings. Chabon further related Joyce's book to Lovecraft, whose profoundly extra-terrestrial, transdimensional forces of appalling indifference to human understanding or suffering suffuse his books. It's as if the Transhumanist's Artificial Intelligence Machines, from the year 2030, combined with Genetics and Nanotechnology, had reached their "singularity," and come back to haunt us with a stark omen for us all: "formation of the people after the end of the road, which leads to death, hitting something disgusting, as if there were linked to/related human skin." But then my ma always said I had a very active inventive complex...


                             Supposedly the small print is the first page?


For the translation going on in my own nervous system (i.e, "speaking for myself"), Chabon's observation has, via an iterated polyglot Babel Fish peregrination, been made far more..."eldritch," to use a word Lovecraft himself used often. And thus, what I see as ironic. 


The Reader (translation: you) may see it differently. If we keep looking at the translated passages, back and forth, we can see where the Machine got its ideas. "Bound in human hide," via its commodius vicus of recirculation via Babel Fish becomes "linked to related/human skin." Readers steeped in HPL's work became "addicts" at some point. Where the Machine got "formation of the people at the end of the road" seems somewhat less clear to me, and therefore qualifies as my favorite part of the translation.


I was actuated to think/write about translation by Prof. Wagner's answer to my question.


                               Russian structuralist linguist semiotician
                               Roman Jakobson (1886-1982) I interpret
                               his expression here as something like:
                              "Wait a minute...did I forget to turn off the 
                               stove before I drove to the library?"


Moving On
Professor Roman Jakobson, the great, great structuralist, said there were three basic types of translation, and I'll give my riffs on each, after you look at Dr. Timothy Leary for a second:

  1. Intralingual: This looks like re-wording. Hope I'm not giving Dr. Jakobson short shrift here. I would give many examples I've gleaned from academics, but I'd rather sit here and wonder about the scads of translations of the Tao Te Ching, supposedly by the Chinese person who history has (at times) named as "Lao-Tzu"...how much has THAT book changed via translation down through the years, travels, languages, changes in semantic understandings, writing systems, etc? To go back to Prof. Wagner's answer: How can I not agree? Let me give perhaps an extreme example, but I think it nevertheless fits my purposes here: Timothy Leary wrote a book called Psychedelic Prayers and Other Meditations. In some definite ways, it's a "loose" (what the hell does that mean?) translation of other previous English translations ("intralingual") of "Lao-Tzu," who was known to have been translated very early on circa 300BCE by syncretists who wished to lessen political factionalism among warring Chinese states. Leary didn't know Chinese. And furthermore, he's using his own syncretistic ideas derived from ethology, psychedelic drug experimentation, diverse religious knowledge and metaphors derived from them, and his PhD in Psychology to concoct a "guidebook" for people in the late 20th century English speaking world...to prepare for psychedelic drug trips. Leary re-worded much of prior English translations of the Tao Te Ching and translated/interpreted for an assumed audience. I think if Jakobson were in my room right now he'd be screaming at me for mis-interpreting what he meant by "intralingual," but then Roman would've been missing the point, my point. I'm a hermeticist anyway! This is what we do...<cue: canned laughter from 1960s TV sitcoms>
  2. Interlingual: I think Jakobson means "translation proper" here. Sorta like what you non-native English speakers are doing right now, as you read this blog. If you were to look at my text here and re-write it "in your own words," - in whatever language - without trying to do "damage" to what you think the OG means, I think you're having at Interlinguality. But then, as Professor Carlin said, when he noted that often in the court of law, a lawyer will tell someone on the witness stand to "tell the court...in your own words..."...this is absurd! No one has their own words! We're all using the same ones everyone else is using! But if you must use "your own words," just go ahead and say them: "Fringly cragit ponchee flooo!" (I suspect Roman would again be all frowny were he here.)
  3. Intersemiotic: As I understand it, Roman Jakobson meant "an interpretation of verbal signs by means of signs of nonverbal sign systems." Hell, that's the interpretation by one of his colleagues that I copied into my notes from some highfalutin' book on Semiotics. I'm not sure and don't remember, but Jakobson may have been able to speak English, and may have actually written those words himself. I don't know. Do you know? Anyway I think he meant something like reading a book of poetry (in translation?) and then doing something like making a painting out of how the poetry made you feel. I'm not entirely sure. You come up with a better interpretation!

Ending The Blog Post
I harken back to one of my favorite living writers, Tom Robbins. In an essay collected in his book, Wild Ducks Flying Backward he writes about how his novels have been translated.  Now, most writers tend to assert something substantial got lost in the translation from their native tongue to the translated one, but Robbins goes on (see pp.209-211) about how he thinks that, sometimes, "literal back-translation" into English has improved his work. Say what you will, but I must applaud Robbins here for his cosmic sense of humor and overall non-graspingness. 


Q: Can loose translations of texts give rise to edifying misreadings? And if so, why? (You may choose to take this course for non-credit.)
                               Tom Robbins, one of my favorite 
                               living prose stylists. Born: 1936. Died: NEVER