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Cosmology: the last phenomenology in the process of writing
essay [ ]

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by [VeronicaValeanu ]

2010-04-07  |     | 

To produce existence through writing is a human dimension whose monad is inhuman.
Any alternative attempt undergirded by the endorsement of utter reductionism would be useless, especially if we allow for the author- readers interference of plans (and why not, also the multiplication of this process into infinitely possible projections). Moreover, we already live with the impression that the sum of the mental spaces interferences might be at least as extensive as space itself.

The cosmology – perhaps the only tool in perpetually measuring out the act of literay creation – is the study of the universe in its totality, and by extention, the place of humanity within, including the implications of scientific, philosophic and esoteric disciplines.
The human spirit verges on the infinite, which doesn’t reduce its evolution component equal to the evolution component of the universe itself. Even only the fact that somewhere all the sciences and spiritual domains are superposed or merge must accredit the human mind which reiterates through motivation,causality,trajectory and result the supreme act of creation. Art, through all its forms, among which the literary production of sense (absolutely similar to existence) reproduces all the phenomena pertaining to cosmogenesis by the means of fetishizing, losing and regaining consciousness, awareness, empathy, clash of realities.

The major components of the universe, hereby transposed on the literary process phenomenology map are: space, matter and energy.

We see as [+infinite] an atemporary locus of all that can be created, and as [-infinite] all that hasn’t been created yet. As for the human mind, infinitely lesser resolutions are unlikely to breach into this continuum.
These transition fluctuations from the – to the + operate like a draught from the universe of expectation, a huge hall from one side and the other of both the author and the reader. However synthetically created this notion might seem, the space between the autor and his creation is identically built. You enter it, deposit inside, then exit along with sealing it. This space is alive because it is treated as such and the aliveness deposited inside can find place for gestation.
Phenomenologically speaking, the space created by the author is the resultant of the process of spatiality-making. What in the real world would be feasible only by using force, it may as well be mentally achieved by using a certain frequence. A bioenergy practitioner can send out a therapeutic space on a certain mental frequence, so will the author, in a more or less sacralized manner ( simply as implementing space).

The main function of the space is to be filled, never emptied.
When it comes to the literary creation, a space’s sealing out is undertaken due to a safeguarding intention against the abuse – a perpetual loading of sense or spreading an energy towards its own dilution – and sometimes even in anticipation of the reader’s need to have something he can open (thus he reiterates the author’s initial gesture, this time with reversed polarity, an assumed one). The Hegelian „mean infinity” implies a subject’s/phenomenon’s location in a summing of the limits and a restless breaking of those limits, without being able to exit from the Limit.

Einstein, in the general theory of relativity, had imposed an alternative vision, instead of gravity (so, the predisposition) acting like a force field in space-time, so that we should finally see gravitation as modifying the geometric structure of the space-time itself. Consequently, the maneuver time should be accelerated, respectively decelerated. This can be analogically achieved within the creation process and, once assumed, with pressure implications.

A space can be generated under pressure even between blocks of meaning and processing methods when it comes to interpretation. A space can thus amplify - by weakening intensity – whereas by shrinking, it creates overacuteness. But once generated, it cannot be emptied. Even the concept of void/nothingness imports worthiness, endurance to identity if we were to refer here to Buddha’s spiritual teaching, all culminating in achieving interior peace. Even in nature, the interior of an atom is all a void around the nucleus – but it’s exactly from there that the emittance is propelled.

In the universe, the visible matter only occupies 4%. So does it in the poetic literary act, where the poet is in search of sense, not of significance.
The matter is substance – it has mass and volume and occupies space, manifesting in particles and waves, due to its capacity to radiate. From all that can become concrete through the firmness of the being (key-words, syntagms, blocks of phrases with independent meaning) through the creation of illusion to anchoring in illusion, to a new order dictated by the consciousness which creates – is matter.

The states of the textual matter are in their turn solid, fluid and gas.
The solid state is characterized by rigidity and stability. The visible constructions and (sometimes apparently) irremovable which populate a certain reality, by the selection of the implementing conditions.
The fluid state is closer to the mental transition of real events towards assumed awareness. The fluid elements of a text are detectable due to the fact of transforming in the purpose of adapting to the form of the recipient (or of the alloted space).
The gas state has the same symptom on the internal level of the matter as the energy does on the external level.
A text can have the three of them at the same time, depending on the decoding level.

Similarly to the universe, these states can only be stages that depend on certain conditions (pressure, from among the most significant ones); to the extent that if the existing conditions change – this doesn’t depend on matter – so will the states of the matter. Evaporation illustrates it best, as passage from a liquid state to a gas state (also the passage from the concrete sense to the figurative or to the metaphoric sense). The language offers here interesting structures also from the grammar perspective – in English, a repetitive action is seen phenomenologically as a fact in itself.

An author interested in craft can always resort to matrices of credibility and why not to decredibility in order to materialize an energy.
Every textual key changes into concept (by being transcendent) in a scalar way – we may as well find it disguised in infraconcept, intentionally made occult only to make it radiate more, or it could be hyperceptible from a material point of view, and then the vibrations awake at the level of interpretation the need of self-protection caused by overexposure.

In the cosmos, this has a bigger mass than matter (the mass is not only the matter’s exclusive characteristic) due to the capacity to attract around matter allowing assimilation (the black holes). Textually, it represents a place of perdition (similar to the concept of death, and sometimes of involution together with the incredible acceptation of the local matter componence to embrace this new condition.

However there is a balance between the alive reality level and the dead reality level. The antiparticles (the form in which antimatter is found) are created where collisions of the particles with energy take place. A good illustration would be here the stage direction of a non-phenomenon (a form of consciousness which is not detectable in space-time).
In astrophysics the antimater evenly spread is annihilated by matter; which is worthy to be proven in terms of literary phenomenology. Something is lost in the deployment of forces, but this is far from being a reason to worry about. The flux of the maneuver energy, once saturated (by maximal tensioning) is no longer able to materialize, part of it remaining discharged on the route.
All the destructive, negative charge is unlikely to be deposited in sense resevoir diagrams, like energy. Yet, it can be accumulated except the case of welcoming the intention of being rematerialized, with positive polarity.

So, even if there is antimatter at the level of the writing process, it can be regained at the touch of matter. If we were to scrutinize the abstract concept of „religion” whose foundation resides in the etimology of the Latin word „religare” (i.e. to bind again), we notice that in the esoteric plan there is also interest for reintegration.
In the case of the matter particles colliding with the antimatter ones, they annihilate each other, a new type of energy thus resulting at the level of writing.

Neutralization - neither reduction of the literary space, nor a premise of the vacuum – it only means giving off energy (which in astrophysics is acknowledged as equal to the double of the mass of the annihilated antimatter).
This idea is worthy revendicating in the case of the evolved poetic approach which tends to escape even from metaphysical territories, verging on antimetaphysics, a sort of existence from the trancendental towards the real (an invocative procedure however much we tried to deny its convergence to kabbalah practices).

It stands for 26% of the universe.
Discovered no sooner than the last century, the concepts of dark matter and dark energy have revolutionized astrophysics. Dark matter was labelled as “missing mass problem” – the scientific estimation regarding the mass of the universe had been inexistent before, moreover, nobody had stipulated why the universe has a gravitational force in connection with the Big Bang; whereas dark energy was labelled as “the cost of having space” and certifies the fact that there is a counterforce (an antigravitational one) in conformity which the universe is dilating.

In the phenomenology of the literay act, dark matter represents the initial predisposition, the only capable to give the textual universe a gravitational force. This acute sense has the role of coagulating space, which otherwise wouldn’t materialize. Even if hardly observable, its presence can be deduced from the effects of this influence on the visible matter of the text. The predisposition is conscious and generates a subtle vibrational field of mental control.

It represents 70% of the universe.
In the phenomenology of the creation process, it corresponds to the intentions that are detectable within the message. It must be preceded by the author’s protension functioning like a seduction of all the limits, to a broad and fractionary extent.
The intentions contribute to extending the notion of literary space, even beyond its limit of endurance, given the author’s tendency to display the realm of possibilities in interpretation – to the reading’s resonance level. The intentions themselves may sometimes allow self-disintegration, thus exercising a feedback pressure upon the creative act. This is made available owing to the mental control directly projected. Consciousness plays here a tremendous part, enabling the author to appear to himself, in anticipation of the creative act like another projection, a converse one, with a view to rediscovering itself.

The intentionality, phenomenologically examined, may lead to a confirmed disaster, moreover, a reversible one. Yet, the fulcrum consists of the following board: the infinite (or the infinitizing possible intentions to be considered during the creation occurs when this infinite produces significance for the reader. The infinite doesn’t need to be caught up with, but awaken like a guided missile.

In literary phenomenology, the concept of energy can be translated as force, emanation and vibration. It is perhaps the most intense component of the creative process. It even precedes existence on the textual level.
In astrophysics there is the notion of Zero-point energy (the energy in vacuum, a stagnation state before the tension) perfectly applicable to the above-mentioned theory. In kabbalah we come across the term Ain as Unmanifested Absolute or Uncreated Energy.

The energy’s main purpose is to act in order to transform itself into matter. Thus, is enters a circuit and provokes movement. What if the last front frontier of a literary text’s emotional channeling to the reader as well as the only modality of measuring the literarity were the energy? In conformity with the energy’s law of conservation, this can neither be produced, nor annihilated by itself, only transformed. The transformations operated on a text before the final form resort on a subconscious level to the potential energy (a concept also existent in classical mechanics and defined as work – here, approach - against a given force.)

In the eventuality of a more careful reconsideration in the future of the multiverse as permanent and definitive notion for the science, it is highly recommended to simultaneously amend the infinity of intertextualities and metatextualities of the literary creation.

Once problematized, this type of phenomenologic analysis must mean for writing nothing but a threshold to the elaboration of a large analysis project concerning the awareness and consciousness process.
To the same degree as literature will remain both a formula of motionless caption in time and a formula for escort.


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