[85945] in Discussion of MIT-community interests
Perfect for Instagram, SnapChat, Vine, Facebook,
daemon@ATHENA.MIT.EDU (Lux HD Lense)
Tue Aug 2 20:57:38 2016
Date: Tue, 2 Aug 2016 22:51:11 -0400
From: "Lux HD Lense" <lux_hd_lense@cnpvo.com>
To: <mit-talk-mtg@charon.mit.edu>
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<p align=3D"center"><a href=3D"http://www.cnpvo.com/60b86VNZ4-oSeJdjhvVdVKyxdhVtFMuKmji0hvV0ONW6cf/gibberish-aerosolize">Perfect for Instagram, SnapCha=
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<p>Perfect for Instagram, SnapChat, Vine, Facebook, Tumblr, and More!<br=
/> Whatever the chosen instrument of an art may be, its appeal to those wh=
ose attention it bespeaks must be made through the senses. Music, which wor=
ks with the vibrations of a material substance, makes this appeal through t=
he ear; painting through the eye; it is of a piece with the complexity of t=
he literary art that it employs both channels,--as it might seem to a carel=
ess apprehension, indifferently. For the writer' s pianoforte is the dictio=
nary, words are the material in which he works, and words may either strike=
the ear or be gathered by the eye from the printed page. The alternative w=
ill be called delusive, for, in European literature at least, there is no w=
ord-symbol that does not imply a spoken sound, and no excellence without eu=
phony. But the other way is possible, the gulf between mind and mind may be=
bridged by something which has a right to the name of literature although =
it exacts no aid from the ear. The picture-writing of the Indians, the hier=
oglyphs of Egypt, may be cited as examples of literary meaning conveyed wit=
h no implicit help from the spoken word. Such an art, were it capable of hi=
gh development, would forsake the kinship of melody, and depend for its sen=
sual elements of delight on the laws of decorative pattern. In a land of de=
af-mutes it might come to a measure of perfection. But where human intercou=
rse is chiefly by speech, its connexion with the interests and passions of =
daily life would perforce be of the feeblest, it would tend more and more t=
o cast off the fetters of meaning that it might do freer service to the jea=
lous god of visible beauty. The overpowering rivalry of speech would rob it=
of all its symbolic intent and leave its bare picture. Literature has favo=
ured rather the way of the ear and has given itself zealously to the tunefu=
l ordering of sounds. Let it be repeated, therefore, that for the traffic o=
f letters the senses are but the door-keepers of the mind; none of them com=
mands an only way of access,--the deaf can read by sight, the blind by touc=
h. It is not amid the bustle of the live senses, but in an under-world of d=
ead impressions that Poetry works her will, raising that in power which was=
sown in weakness, quickening a spiritual body from the ashes of the natura=
l body. The mind of man is peopled, like some silent city, with a sleeping =
company of reminiscences, associations, impressions, attitudes, emotions, t=
o be awakened into fierce activity at the touch of words. By one way or ano=
ther, with a fanfaronnade of the marching trumpets, or stealthily, by noise=
less passages and dark posterns, the troop of suggesters enters the citadel=
, to do its work within. The procession of beautiful sounds that is a poem =
passes in through the main gate, and forthwith the by-ways resound to the h=
urry of ghostly feet, until the small company of adventurers is well-nigh l=
ost and overwhelmed in that throng of insurgent spirits. To attempt to redu=
ce the art of literature to its component sense- elements is therefore vain=
Memory, " the warder of the brain," is a fickle trustee, whimsi=
cally lavish to strangers, giving up to the appeal of a spoken word or unsp=
oken symbol, an odour or a touch, all that has been garnered by the sensiti=
ve capacities of man. It is the part of the writer to play upon memory, con=
fusing what belongs to one sense with what belongs to another, extorting im=
ages of colour at a word, raising ideas of harmony without breaking the sti=
llness of the air. He can lead on the dance of words till their sinuous mov=
ements call forth, as if by mesmerism, the likeness of some adamantine rigi=
dity, time is converted into space, and music begets sculpture. To see for =
the sake of seeing, to hear for the sake of hearing, are subsidiary exercis=
es of his complex metaphysical art, to be counted among its rudiments. Pict=
ure and music can furnish but the faint beginnings of a philosophy of lette=
rs. Necessary though they be to a writer, they are transmuted in his servic=
e to new forms, and made to further purposes not their own. The power of vi=
sion--hardly can a writer, least of all if he be a poet, forego that part o=
f his equipment. In dealing with the impalpable, dim subjects that lie beyo=
nd the border-land of exact knowledge, the poetic instinct seeks always to =
bring them into clear definition and bright concrete imagery, so that it mi=
ght seem for the moment as if painting also could deal with them. Every abs=
tract conception, as it passes into the light of the creative imagination, =
acquires structure and firmness and colour, as flowers do in the light of t=
he sun. Life and Death, Love and Youth, Hope and Time, become persons in po=
etry, not that they may wear the tawdry habiliments of the studio, but beca=
use persons are the objects of the most familiar sympathy and the most inti=
mate knowledge.</p>=20
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