hello people, friends, lovers, surveyors,
good and understandable post by Mark and I am still thinking about Dan's
Niels Bohr statement.
I took a walk and found something which I would like to put on this long and
nice round wooden table in our GREAT HALL.
I took some notes and the first is the question: " What is a metaphor ?"
Well in german we have a beautiful word for this: " Sinnbild ". Composed of
two parts: ‚Sinn' which might be translated as sense or meaning. This has to
be cleared and if I understood the previous posts right You guys go for
‚meaning'. I am not so sure of this and probably sense and meaning are both
aspects of metaphors. When you notice something you ask ‚ what does it mean
?' and ‚ how does it feel ?' and both questions appear all the time as Mark
with the Jaynes quotes made clear. It is only that depending on which kind
of metaphor is perceived, the meaning side or the sensual side are stronger
addressed. Often, the more complex a metaphor becomes, the more it loses its
sensual quality and gains meaning.
Second note is again a question: " How does Mr. Pirsig use metaphors in
‚Lila, an inquiry into values ?"
Immediately I remember the speech of the indian chief and how it touches all
the senses - direct and plain -. When I read Pirsig there are always
sensations, as for example Miv and David Buchanan have noticed in the
re-reading group. I think Mr. Pirsig tries to reestablish a partly covered
and hidden way of realizing sensations by reminding the reader of the
essential beauty experienced, when embracing the moment with all of her
senses. (This is also apparent in ZAMM and is probably the reason why people
like Richard Rigel accuse him of an unleashed hedonism. The difference is of
course - and plain to see - that Mr. Pirsig turns towards an inner depths
which is always present, as seen in his description of his everyday
doings/situations. This cannot be seen by the Rigels because they orientate
themselves at surfaces)
Some of Mr. Pirsigs metaphors are very adamant and clear (discreteness of
levels, the hot stove example) . These can be taken as a kind of nucleus for
the MOQ. Others are vague, hidden and open to discussion. When one sees the
development of the romantic/classic split in ZAMM towards the DQ/SQ levels
construct in ‚Lila, and inquiry into morals' these soft metaphors might be
the beginning of a third book. Ideas go out and explore the white spots.
These ‚ brand new kids in town' must be handled with care, while they grow
from a loose and complex set of patterns into a more concentrated value
pattern.
The beginning is there (the adamant metaphors) and the direction is there
(the soft metaphors).
What else do we need ?.
Andreas
I ain't the worlds best writer nor the worlds best speller. But when I
believe in something I'm the loudest yeller. (Woody Guthrie - ‚Stetson
Kennedy')
MOQ.org - http://www.moq.org
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