REVELATIONS II

   Is it safe to say that written characters or symbols portray various objective shapes? and that these convey for any observer only what is personally associated with them? In effect, can we simply say that shapes and symbols reflect what people name them?
   Learning the meaning for every word in a sentence, we begin to comprehend the total sentence? Learning the meaning for every letter in a word, we begin to comprehend the total word? Language comprehension then fundamentally appears to influence the number of words that a person knows and understands. Therefore, the process for decoding language and symbols necessarily involves the creator of same, or, in other words, the original creative impulse that "named" them.
   When people are taught English, does it mean that people understand English? What if the people are only two years old? Do they understand English? Of course they do. To an extent. To the extent that they were taught. If somebody taught English to you, and somebody else taught English to them, does it necessarily mean that the words convey the same meanings for each? What person ultimately defines the meaning for every word that you are taught?
   Realistically speaking, word meanings admit to relative experiences. Experiences associated with the time of the event that named them. For example, the very same symbol, shape, or word can suggest a whole series of meanings relative to the time of its description. Perhaps something like a photo albumn of pictures holding relative meanings. For example, runes, glyphs and cuneiform symbols lend shape to mysteries to the extent that they become painted with ignorance.
   As objects reflected from a mirror, words are not always what they appear. A tarnished mirror holding dust and sediment will reflect a biased image. Similarly, symbols, words, sentences, and the books that contain them speak to the personal objective experience of each individual observer only. The connections between words and their meanings ultimately appear according to how those connections appear for each individual observer! In every case a simple uncomplicated homogeneus medium becomes the necessary requirement for the character of a reflective surface. Water is a reflective surface and essentially resembles no predetermined shapes - although it might appear to reflect them. Like water, human beings resemble reflective elements, and humanity a sea of particles with each individual blended one into the other where no distinctions exist. How then does a collective group of people communicate if within that group exist people who speak different languages? In other words, people who see things differently? Has a situation like this ever happened in human history? Do women have babies?
   With the same spirit but unique characters we enter the world with our own understanding... essentially with our own language. Even before we get here our bodies have registered impressions. Therefore we come into a world of voices, sights, and sounds different from what went before. Yet, echoing from musical recordings flow lyrics and melodies that hauntingly sound familar. Sounds and symbols continue to echo ghostly impressions like carrier waves with particular messages. Whether a body of language, a body of knowledge, or a body of parts our bodies provide recepticles for recording experience... a container to capture an echo, or a memory to record and to play a particular message again. Similarly, music, song, and language convey interference patterns that vibrate like different players in a band (sentence). Different bands experienced in succession convey compound patterns and signatures (paragraphs, stories, themes). Each are played out and exist in reference to the homogeneous medium that contains them... like an object on a mirror, or a sound from a quiet space.
   As letters signify the basic units accounting for the composition of words, perhaps letters are where we should focus for the investigation of word history. Perhaps we could get to know these "band members" by listening to how they once interacted and behaved in the past, and then ponder the manner in which the same members interact and behave today. The beginning and the ending of a song mark the birth and the death of a dramatic life. The song with a blank space calls attention like a gap in the popcorn trail of history. A gap that captures our focus until we beg for a way out of that forest of uncertainty. - E.M.

Last page update 05/14/10