Seeing It Opposite-wise

Quadriga Up to now, we’ve been moving from non-verbal, non-glyphic communicative modes and trying to see how verbal communication functions as a remarkable, powerful, precise extension of gestural, visual, aural (etc.) expression and apprehension. As gestures, sigla, tones, even patterns of smell and texture become familiar and eventually routinised with very particular associations and expectations, so verbal expression draws on intensely formalised associations and expectations to lead auditor-readers to reach particular interpretative inferences. But Chris Spinks’s recent blog reminds me that my expression-apprehension hermeneutic leads to an equally powerful insight in another direction.

Chris cites the example of the photo of a coathook which looks distinctly like a cockeyed pugilistic octopus once that interpretation has been suggested (original source seems to be lost to the wave of online replications; perhaps this is it, as noted by Reddit in 2010). Chris suspects rightly that this sort of phenomenon stands to shed some light on the hermeneutical puzzles that have long been bothering him, and it’s just the sort of “not from within our discipline” exploration from which these two-paragraph essays emerge. Once you see that “Dans un tableau, les mots sont de la même substance que les images”/“In a picture, the words are made of the same stuff as the images”,

a great many other things come clear as well (from the Magritte section in the Beautiful Theology blog). We communicate via all manner of gestures, sounds, images, scents, touches, and more; words are at an extreme of this repertoire, an outlying data point, but they’re not sui generis. And once you get accustomed to thinking of interpretive activity in terms of expression and apprehension, of gesture and inference, or offering and uptake, a great deal of what puzzles Chris looks much less mysterious.


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