Metaphor

The comparison of metaphor with a wormhole is interesting and quite striking, particularly as this comparison itself links two seemingly disparate fields...that of language/expression and that of science. However, it is true that everything within human understanding must be contained within the realm of literary expression. So in fact, language itself is the thread that binds human consciouness. Back to the direct consideration of metaphor...perhaps its most useful purpose, in practical terms, is to simplify a concept, or prime it for more holistic comprehension by linking it with, as Professor Moss noted, something more familiar. For example, in daily use, one may notice an especially putrid and foreign smell, but having never experienced the odor before, must relate the current sensation, and more importantly, its interpretation to preestablished molds of meaning; one might say, "inhaling such an odor is like getting bruised in the nose," or "it smells like maggoty fish in the garage on a hot summer day." Since everyone has experienced bruises, and probably smelled rotting fish, such comparisons allow the speaker a taxonomy, provide a matrix in which the experience may be recorded, remembered, and later retrieved and built upon again in relation to another novel experience, creating a chain, or perhaps chains within chains (links within links) of images and meaning.
in addressing the question, can metaphor be reversed, logic and syllogism immediately come to mind. if p is q, then conversely, is p also q? in logic, this is not necessarily true, but when p and q stand for literal figures instead of mathematical ones, the comparison can be nonetheless interesting and maybe even provocative. How about inverting a metaphor? If p is q, then not p is not q. This is like looking at the space outside the system or matrix set up by a metaphor--the negative space? Perhaps this is another bigger metaphor outside of the established one.... Indeed, when a metaphor is created, the number of connections and "bubbling" potential within it is nearly limitless, like Anno's Mysterious Multiplying Jar. Addressing the question raised in class today, the jar doesn't explode because the seeds of bubbles are infinitesimal. They might not even really be there...kind of like in Charlie and the Chocolate Factory when Charlie sees his grandparents before they were born floating in negative space. These unborn or rather untapped seedlings of ideas, bubbles lie in a negative space (a black hole?) until someONE sees it or somehow senses it and so makes the seed come to life--makes it branch and blossom like a fractal flower. One person cannot possibly identify all the bubble seeds, so the figurative jar may stay intact.

Pattern ID

Identity two non-written human language and/or non-spoken human language paaterns, and explain/demonstrate how these patterns might become (forms of) templates for written and/or spoken human language expression. You may demonstrate how these patterns form (or contribute to) an existing poetic form, or you may demonstrate how the patterns you identify might contribute to am orginal poetic form. // Please post, in your course-related blog, the identified patterns and the form(s) to which the identified patterns contribute.

The first non-written/spoken language that comes to mind is perhaps not commonly perceived as a language: music. Although music can certainly be written using its own notation system, its power to move and express lies in acoustics; its physical transcription serves solely as a memory/communication tool. The language of music conveys a dimension distinct from and deeper than “ordinary” language, such as English, Arabic, or Chinese, is able to. All music, from Mozart’s sweeping symphonies to Justin Timberlake’s “Sexyback,” (pardon the coarse-mannered comparison) can already be considered poetic forms in themselves. Slam and spoken word poetry find one way to incorporate some unique elements of music into the standard English poetic form. Words are arranged in rhythms more often utilized in music than in ordinary speech, and to reinforce the primary role of this cadence (and to use it as a catalyst for further expression), such poetry is usually performed (Example Clip). Even on a page, slam poetry has a distinct look and syntax: long sentences hurtle along with internal rhyme to create a sense of visceral momentum.

Another language that could recreate standard poetic form is Braille, which is not spoken and actually not truly written (because the purpose of writing is to be read with the eyes). Rather, meaning in Braille is conveyed through the entirely different sense of touch. This opens up a whole new gateway to possibilities in expression. Can one deliver poetry through the skin? The dimensional capacities of Braille are difficult to capture using objects as visible as words, even though Braille itself is originally meant to convey the meaning of words through an alternate course. Perhaps a pattern or rhythm of textures could embody a poetic thought, or words strive to mimic the sensation of touch in order to create a wholly new poetic/interpretive experience. This could be done by inciting images of textures, arranging words in patterns to resemble textures, or even by creating “touchable” poetry, in which words lift off the page, or textures themselves are incorporated into the literary body.

Other languages that would be interesting to consider are mathematic symbols, sign language, and computer codes such as C++.