ELL: Incoherence II

[Mike Lawrence]

'Third, by manipulating the number of white squares on
a black background, we found that as few as four white
squares among 316 black squares(or 1.25%) produced
disruption patterning, yet increasing the number of
white squares to 20, 40, or 80, did not increase the
frequency of appearance of the cuttlefish 'white
square,' but only the clarity of expression.
[Cuttlefish Camouflage, J. Experimental Biology, June
2002:204]

It would be interesting to do some math relating to
the frequency of the earth(Schumann Resonance,
8-10Hz.).

Abondolo's marvelous passage:

'This sequence seems to be a cover for the word taarb*
'shaman.' If we try to force taarb* into the frame,
the final -r is assigned to the following
pseudo-possessive suffix, but for the formal
parallelism to remain, the final -r of the first half
must be re-assigned, as well:

ta-        b*-
     rcaa-     rdza

Although the formal parallelism is maintained, the
semantic transparency is blurred once again, since
this time the final -r of tar has slipped away in
spite of the fact that it belongs to the etymological
material of the word. The result is an accoustic
hide-and-seek similar to certain kinds of optical
illusion based on the complimentarity of
black-and-white patterns which one can only identify
one at a time: when you focus on one, the other is
blurred, and vice-versa.

....The first parallelism tells a story while
describing its topic; the second tries to utter and,
at the same time, to conceal a word. Yet both do the
same: poetry, and neither speaks directly. In addition
to manipulation at the syntactic level, Kamassian
poetic speech also relies on transformations at the
level of morphology(break-up of the word by
expletives, splitting words into constituent
morphemes, and intertwining them within etymological
phonic material, etc.) just as do the northern
Samoyedic traditions, Nenets and Nagansan.'
[Abondolo, The Uralic Languages, p.588]

We see here the relevance to Carl Jung's passages on
the quicunx and consciousness as it comes into being,
for the number four is also paramount in Jung's
system. It is at this point of 'fourness' that the
unconscious becomes conscious.

Incoherence III examines the word 'shaman' as graphic
camouflage.


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