In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase qnatural syntax, q he means that physical nature enters human communication literally by way of a transmitting wave frequency. This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn't refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle. The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain qlaws of formqaa phrase used by D'Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the qlawsq of a wave's form, however, the author speaks of its elements of rhythmic composition, because qrythmosq means qwaveq in Greek and because qcompositionq describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.... is converted into bodily uses, then it was also seen and drawn among primal cultures as the vehicle or carrier of light, ... As I discussed in the previous chapter, the comfort zone of life depends upon agricultural conversion of the suna#39;s energy at different times during its annual cycle. So, as The Mustard Seed Manual taught , the Four Directions were seen as an inclusive branching or quartering diagram.
|Author||:||James H. Bunn|
|Publisher||:||Stanford University Press - 2002|