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I probably think the new sentence, of Silliman, will hold up quite nicely.
Obviously, informed artists have a lot more to draw from. But I think it
tracks and preempts thing nicely, aside from the 'writing', which may be
the only thing that Goldsmith debunks. Just my opinion, I don't know much
context.

Luke

On Sat, 1 Sep 2018 at 12:03, Luke <[log in to unmask]> wrote:

> > (first and last theories of the sentence that silliman addresses there
> probably not true, sorry, had already mentioned quine, wittgenstein, new
> criticism... just highlighted those as good in my notes.
>
> all the best,
>
> Luke
>
>
> On Sat, 1 Sep 2018 at 11:56, Luke <[log in to unmask]> wrote:
>
>> Ha! Great.
>>
>> The new sentence thing is from a reconstruction of my notes on that
>> book... in full they just read:
>>
>> In the new sentence wholes can be made by any number of envisionments
>> because shifts  don't cohere but make a (felt experience of a) world (page
>> pending)
>> The general idea in the new sentence is that shifts only cohere into a
>> felt sense due to theories of the sentence. So maybe e.g. Todorov's claim
>> about higher level meaning coupled with the idea of the sentences combining
>> like a syllogism (frst and last theories of the sentence that silliman
>> addresses there) Then nothing can be inferred about anything outside the
>> sentence, yet the sentence can still make sense at that higher level: they
>> are illogical but create semantic shifts (syllogism pending).
>> This involves the reader in the text, is open, and non-referential, only
>> the feeling of a world (syllogism pending)
>>
>> Luke
>>
>> On Sat, 1 Sep 2018 at 11:06, Tim Allen <
>> [log in to unmask]> wrote:
>>
>>> I'm going with it too - for now anyway, a little along the path...
>>>
>>> On 1 Sep 2018, at 10:17, Luke wrote:
>>>
>>> bernstein = satire of closure
>>> prynne = parody of closure
>>> new sentence = rejection of closure
>>>
>>>
>>> I'm going with it!
>>>
>>>
>>>
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>>

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