Reply to Clark Goble Wed, 12 Jun 2002 21:37:14 -0600 Hello Clark, I got my copy of Derrida's "Of Grammatology" (Spivak translation), today. I am also studying Wittgenstein's Philosophical Grammar", and some other books by Talmy, Langacker, etc on grammar. As to the Dourish book it reflects my interest in embodiment. I think his point that phenomenological theory is important in the embodiment sense, and the technical work of analytical philosophy provides another source of understanding, that seems justified to me. Looking forward to hearing your thoughts on Dourish's views. CG: However I wonder about your insistence on a separation between film and text for embodiment. In the opening of the book I found the following: Embodiment...denotes a form of participatory status. Embodiment is about the fact that things are embedded in the world, and the ways in which their reality depends on being embedded. So it applies to spoken conversations just as much as to apples or bookshelves; but it's also the dividing line between an apple and the *idea* of an apple. (Dourish, 18) DS: The distinction I am making is the interactivity of a movie versus text. Dourish states that he is trying to incorporate lessons learned from phenomenology so he sympathizes with your concerns in that sense. CG: When we speak of *not* separating acting from idea, I'm not sure it implies that somehow films have a priority over text. (Because they "resemble" more closely the way in which we encounter these things as they are given to us in the world) Further it would imply that even if we were to create a perfect "virtual reality" that the object in this virtual world and the object in the real world are not the same. DS: Of course to me (and not to you) the concept of not separating action from ideas (interactivity) implies for me movies over text. I note you use the word 'resemble' in a passive sense, whereas I emphasize 'interactivity' to indicate media and action. The concept of virtual reality is a box one steps into out of the real world. I use the term language-like use of movies to describe a different way of thinking about movies. The technical area which is more interesting to me than virtual reality is 'augmented reality'. That simply means projecting information on the landscape. Not so conceptually different from slide projectors and movie projectors except the sense we carry the tool around with us and can use anywhere. CG: To make an analogy... Further this alterity of the apple (alterity as in how it is not constituted by me or my thinking) is a kind of fracturing of the order of existence that exists for me DS: That sounds like a Cartesian concept to me of fracturing of the order of existence. I get what you are saying about signification and apples are not the same things. Embodiment philosophy concerning the mind advocates 'unity'. In this case where you above use the word 'resemble' you are seeking to 'fracture' into separate pieces the continuity of phenomenon. While the 'resemblance' between my vision of an apple and the apple are not the same, I am able to reach out and eat the apple. I can interact with the apple. That apple is not wholly an apple once it is eaten. CG: Yet when we speak of a text that is simply an other way in which I encounter things. It has no logical priority over the other ways in which I encounter things. DS: Using your apple metaphor, I write down on paper 'there is an apple on the table'. I hand that to a blind person. They can't see the text. Nothing happens. I say to the blind person aurally, 'there is an apple on the table'. They eat the apple. You say there is no logical distinction between these two different ways of communicating? To me the priority is the one that gets food to the blind person. In an elementary sense we use communication between us human beings to guide action toward the basics of survival. We prioritize around that. I gather from your comments you would call the spoken word above in my example more 'natural'. Just appropriate for the situation. I'll let you continue. CG: If you think that today we prioritize text over image, allow me to delve back into history when the opposite was true. In Stoic and Aristotilean psychology there was the idea of a phantasm. Basically there was the problem of how the soul could possibly know sensory things. They had the idea that spirit was a kind of intermediary between material and the intellect. (Well for the Stoics spirit and soul were the same thing and were material) The idea was that the body opened up to the soul a window through the sensory organs. These "codified" the senses into a sequence of phantasms. These phantasms were views as a kind of impression or imprint on the spiritual substance. (Very materialistically for the Stoics, but also materialistically for the late Renaissance Platonists and Aristotileans) This inner sense is almost a kind of inner language. Now it was, in the Renaissance conceived of visually. Indeed the key aspect to Renaissance thought was the metaphor of vision and a stage, as I've mentioned here before. Since it is the phantasm that is presented to the soul it follows that the phantasm has primacy over the word. DS: When I hear soul talk I start wondering who let Descartes into the discussion. For me the Renaissance stage metaphor philosophically incurs an infinite regress. Who is in the head to watch the play in the head? And inside that observers head who is watching the stage in that entities head? And so on. In that sense the phantasm doesn't exist. Can't exist because the physical possibility of the structure violates boundaries implied in the concept of infinite regress. So one has to solve the unity problem of consciousness in some other way. From a connectionist point of view words are not like text. They arise from the neural networks and have the properties of neural networks in their pathway from the brain to the 'interface'. Where vision is involved in the construction of words a word connects to a specific activation of a vision based network. How am I to know that activation structure once the word is written on the page? See my last posting where I elaborate on factorial properties of lines in photographic surfaces. Here is a good place to make movies and show the difference between text and movies. Betcha some interesting things would appear out of your writing about something and I shot a movie of that something. CG: Here's the problem. You seem to be moving back to this Renaissance view of thinking. Basically you follow the same inversion that Derrida critiques in _On Grammatology_. Instead of suggesting that texts must be converted to utterance to be understood, you are suggesting that even utterance must be converted to this phantasm-film that is the prime language of the soul. (Yes I know you aren't putting it quite that way) Yet it seems obvious that we can think in terms of text. We can think in terms of utterance. There appears to be no "ideal language" of the soul. DS: Well you are arguing with Descartes not me when you perceive me with a Renaissance point of view. Words aren't sentence like structures somewhere up in the head someplace. Of course Chomsky thinks there is an UG (Universal Grammar in the brain) CG: The fact is that in our everyday encounter with the world, we experience images, texts, utterances, sounds and all else. To give any of these priority is an incorrect ordering of the phenomenal of our experiences. DS: I think it contradictory above to say something is 'incorrect' when you are denying priorities elsewhere. Conflicts with your point about priority. CG: The problem with the Macintosh way is that while some ways of being in the world are more natural, some *new* ways are often more efficient. For instance typing "rm *.tmp" is quicker than selecting and dragging all the files with a tmp extension. Further we have plenty of examples of "everydayness" gone horribly awry in computer interaces. So "the natural" doesn't mean a mimicking of the material. For instance the advances in science over "renaissance magic" was the change from images ala the "theatre of the mind" to a precise textual abstraction. That change of, for instance, how we encountered the planets led to a massive improvement and understanding. DS: GUIs work a lot better for most people than command line prompts. I've used command line prompts and they are a pain in the rear end to figure out. We both agree on your point here. I am agin scientism. Though how does this relate to movies? CG: Thus the move from the phatasm images of earlier renaissance thought to a more general textuality led to an improvement in our experiencing of the world. However, like the problem of nominalism, this also led to treating texts as higher than the things themselves. This led frequently to nihilism and was the reason for Heidegger's critique of science. Yet the solution isn't simply to go back to the phantasms of Renaissance thought. Rather it is to recognize the great diversity of modes of being. We should try and get as many perspectives as possible. DS: A networked global civilization would be one, diverse, or two, single minded? I tend to think we want to have diverse perspectives. One technology from IBM, Via Voice, is being geared up to take dictation from one individual in a crowded room of talkers. That an illiterate could speak to the computer, and the computer can speak back. That person doesn't need to learn to write, that person can just make movies (language like use of movies) to express themselves. That seems to me to be a very simplistic projection into the future, but one possible outcome of the evolution of words during the next hundred years. We want to have communication tools that solve our real world everyday problems. I'll let you have the last word for now; CG: For some things (philosophy in my opinion) texts work best. For other things I think film is far superior. This isn't because one is privildeged over the other. Rather it is perhaps because one is more natural. More importantly (given my critique of "natural") it is to find the mode of the thing examined we wish to examine or express and use the most effective vehicle for this purpose Thanks for the conversation, Doyle Saylor