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A few notes on meaning

November 18th 2011 01:44
In a sense, there's no such thing as a romantic relationship -- there is no such thing as a relationship. You have two people, their memories of each other, their behavioural dispositions, their environment, their social and legal contracts, etc. But it's not as if the relationship has reality in itself; this is merely a convenient way of speaking.

Well, the same is true, I'd suggest, of "meaning". It's not as if meanings exist -- this is merely a (very) convenient way of speaking. We seem to have an idea that words are containers that carry meaning; words travel from one brain to another and offload their cargo. But do words contain anything? Isn't the more realistic way of thinking to say that words are sounds and images -- physical things -- and they have physical effects that might or might not match my desires?

Is there non-physical "meaning" in addition to words? -- I am caused to produce the words, I produce them, they have effects on you -- is there anything more?

***

Do people have to have a single intention when they speak? Do they have to have a clear intention?

Judges will sometimes use the "intention" of parliament when interpreting a statute. But the whole thing is legal fiction: that law was drafted by many people, was voted on by many people, was worked through many committees. So, how could there be a single "intention"? It's not as if a parliament is a person.

But is a person a person? Don't people "contain multitudes" in the same way that parliaments do? Don't people have many and contradictory thoughts, and don't they change over time?

***

Do people have to have a single meaning when they speak?

-- Sometimes people want their words to work on multiple levels simultaneously, for instance literal and metaphorical.
-- Sometimes they want to convey different messages to different audiences simultaneously (to the spy who's bugged your phone as well as the diplomat you're talking to).
-- Sometimes they want words to be open to different interpretations simultaneously, as I did with "life-affirming".

***

Do people have to "have a meaning" at all?

The idea of "meaning" seems to involve other concepts -- intention, free will, reference, thought, clarity.

But consider:

-- People can begin to speak before they're quite sure what they think, or the words can come in a flash of insight before their sense is understood.
-- Sometimes they speaking without thinking at all, automatically reaching for cliches or favourite words/phrases -- perhaps defensively. Speech can be a conditioned response.
-- Sometimes they've memorised words without knowing the meanings -- national anthems, song lyrics, nursery rhymes, prayers, etc.
-- Sometimes people want the words to be meditated upon, to be explored in their ramifications, as with poetry or koans.
-- Sometimes they use words as causal levers, without regard for reference -- the child that learns "fuck" as a swear word before knowing what fucking is; the bridegroom uttering words as part of a marriage ritual; the actor that knows Shakespeare's words will move her audience, though she can't decode Elizabethan English; the writer that puts words together because they "sound right", regardless of their sense.
-- Sometimes people will just waffle, trying to conceal lack of meaning; or they'll speak in terms so general as to be devoid of meaning.
-- Sometimes people are intentionally vague or ambiguous; and this vagueness can in turn have other effects or communicate other things: coy or flirting ("I'm old enough for a lot of things now"), threatening ("You'll get what's coming to you"), humorously solemn or profound ("Reality exists").


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More notes on stuttering

January 15th 2011 23:59
* I'm a stutterer, but I don't normally stutter when I'm acting, and -- oh, the irony -- I couldn't pretend to be a stutterer if a role required it of me.

Speech therapists will often say the same -- they'd find it very difficult to imitate a stutter, though they're around stuttering all day.

* At the most basic level, do Firth's stammers seem involuntary or intended, and do his blocks, his inability to say particular things, seem genuine or faked? What, if anything, did Firth's performance lack with respect to stuttering?

Well, as I've mentioned, I very much doubt I could do better, though one might think I'd have an advantage; and the point isn't to have a go at Firth (he did an excellent job), but to try to articulate something, to try to describe something.

So if you wanted to be ridiculously overpicky, perhaps he (and writer and director) could have done more to convey:

-- (a) the variety of stuttering -- you've got this block for a particular word or sound, and you work at it, and you try all these different ways to get past or around it;
-- (b) the acute awareness of audience;
-- (c) intentional stutters;
-- (d) knowledge of words that you always have trouble with;
-- (e) knowledge that you're about to have trouble with this particular word;
-- (f) (ineffective) attempts to conceal a stutter or minimize its effects (for instance, volume variation, muffling, glossing over something or saying it quickly, defensive laughter, apology, convoluted word avoidance, using gestures and facial expressions, using sentence fragments).

***

Some elaborations and random thoughts...

* From memory, Michael Palin's comic performance does a better job of capturing the mechanical side -- that is, it was more realistic, more convincing. (And so was the boy who greets Firth outside Rush's room.)

What Firth does well is convey something of the internal -- the isolation, worry, tension, embarrassment, humiliation, etc, etc -- and he also does a great job of physical effects that accompany the stutter -- for instance, going red in the face from the effort.

* Rather than realistic stuttering (very difficult to replicate), Firth often uses catches in the throat, choking, and silences -- which, granted, were drama-wise effective as a substitute.

* The silences of a real stutterer are filled or are active, whereas an actor's silences are often empty.

A stutterer is never quiet for the sake of it, but is continually doing something, trying to pronounce something, trying to think tactically, trying to get meaning across -- often using the silence itself to mean something. (Rush touches on this when he's helping Firth prepare for the big finale speech.)

* We use the single word "stuttering", but presumably there are a variety of causes. Like asthma, it may be a condition that we label via symptoms rather than causes.

* We use the single word "stutter", but there are a variety of fluency disturbances, including: repetitions of phrases, words, syllables, sounds; drawn-out words; word avoidance (eg having to stop and think to yourself to find an alternative expression, or coming up with something awkward/weird/convoluted instead of the obvious way of saying things); awkward explosions or incorrect sounds when you try to force it; unnaturally deliberate, emphasised, or careful speech; leaning on, or overuse, of expressions like "um", "I mean", "you know"; unfree breathing -- held breaths, uneven breathing; imploring the other person to help you complete the sentence; laughing a stutter off; multiple attempts, in slightly different ways, at saying a word; and simply giving up when a word proves too difficult to get out.

* In real life, most people aren't consciously aware of other people's stuttering. The amount you can get away with is surprising, though it does depend on the type of stutter.

After all, there's a lot of fluency disturbances in natural non-stuttering speech. People stumble when they're nervous or put under pressure, when they're ill, when the environment is noisy, when they're preoccupied...

* Even repetitions have their own variety -- slow or fast -- obvious or barely noticeable -- loud or soft -- awkward or automatic and habitual.

Stuttered repetitions are often difficult to copy. One can hear the difference between a nervous tic, and an actor repeating the same word quickly. It's almost as if you sense the different thoughts, thinking, time to think, that go into the different stutters, and also into the sentences that lead up to them ("He was preparing for that stumble" vs "Whoa! Where did that come from?").

* Sometimes a stutterer's repetition is intentional, perhaps applied to words they wouldn't normally stutter on -- because they're restarting their attempt at getting past a block, because they're reassuring themselves with what they are able to say, because they're trying to help the audience keep the thread of their meaning, or because they're trying to "cover up" in some probably futile way, for instance pretending that the stutter was for emphasis.

* Stutterers pay a lot of attention to the effect of their stuttering. They're tracking the audience's impatience, ability to understand, level of hostility, they're tracking time, and they're tracking the effect, communication, miscommunication of the sounds that do emerge. "Does what I've said, interpreted before the sentence is complete, convey the wrong meaning?" "Does the sound I just made give the wrong impression?" "Have I or haven't I lost them?" "Have they given up trying to make sense, and written me off as an idiot?" "Are they having a quiet laugh at me?" "Are they too lost in superiority or pity to pay any heed to what I'm saying?" "Were they surprised by the initial stutter, and missed the start of what I was saying?" "Will I have to repeat it all, and go through all this again, just so they get it?"

* In natural non-stuttering speech, people use lots of sounds that you won't find in any dictionary, but which still carry meaning or imply something about the speaker or their thoughts.

To get some sense of this, watch a children's cartoon and pay attention to the noises the characters make.

* One reason for intentional restarts is that you're trying to to use words on a more-than-just-content level, and your stutter has ruined the attempt. So it's sometimes like a musician/dancer/gymnast false starting, then trying again.

Don't think of words as just "content". One weaves a spell with words, evokes emotion, creates moods, builds up rhetorical emphasis, builds up patterns, evokes thoughts and ways of thinking, etc. This is obviously true of poems and speeches, but to some extent applies to everyday conversation -- every joke you tell is more than just content, and involves mental effects, leaps, connections.

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Seeing as

September 7th 2010 05:28
What's the difference in meaning between "He saw a smile" and "He saw contractions of facial muscles"?

Well, apart from the fact that the former has more information than the latter ("contractions of facial muscles" is ambiguous), the difference is the thoughts and reactions he immediately had, the way he processed things, his dispositions to react, and what was foremost in his mind. In fact, it would probably be misleading or incorrect to speak in terms of muscle movement -- he might simply not think this way.

Consider the difference between "He saw his daughter" and "He saw a girl whom he had fathered", or between "He saw a house" and "He saw a painting of a house", or between "He saw a smile" and "He saw happiness".

Three thoughts:

-- The first lesson here is that our perceptions are loaded. When you look at me smiling, you really do see a smile or a face brightening or happiness -- you don't see contraction. These things are of relevance to you, or of more relevance, and mean more to you, than muscles alone.

-- The second point is an anti-reductive and linguistic one: our nouns aren't simple givens, and don't refer just to external objects, but communicate a complex of reactions, categorisations, perspectives, beliefs, etc.

-- Thirdly, when I use a perception word, I tend to communicate something about how someone else's brain works. It's almost like reported speech. But with most other transitive verbs I'm as easily seen as revealing, giving away, something of my processing.

For instance, when someone uses a derogatory word, like "nigger", the audience knows that there's some sort of racist attitude going on. But if context doesn't make things clear, to whom do they assign the attitude -- the narrator or the character?

In "He saw the nigger", I could be describing things from his point of view.
In "He talked to the nigger", the racism could as easily be mine.

***

Of course, there's an important sense in which a Nazi looking at a Jew does not see a person.

***

Primo Levi writes about seeing a spider, and seeing it as slow, creeping death, and I've written elsewhere about realizing a car is bearing down on you, and perceiving it as looming or unavoidable death or as destiny.

When we say "he saw x as y", we more obviously imply options in how the object is conceptualised or reacted to -- he saw x as y (or perhaps as x plus y), but he could have seen x as x, or even as z.

We understand the reaction-implications of something being x; and there might also be other meanings involved here -- for instance, the implications of its being x rather than y: "He saw the house as a butterfly" might suggest his madness.


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Dead authors?

September 3rd 2010 07:49
We're going to Westfield, Chatswood. We'll do some shopping before catching the 12.30pm screening of Inception.

So we arrive at 11.30am, and then we split up. You head to David Jones, and I to the food court. At 12.15pm, I phone your mobile and ask where you are


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Anglo-Saxon riddles

August 6th 2010 00:09
Extracts from The Exeter Book Riddles (1978), translated by Kevin Crossley-Holland. A set of 96 riddles from the 11th century.

Mr Crossley-Holland writes at his website
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On causal levers and vagueness. Many times, we walk around our house, and automatically we flick on the light switch if we find a room too dark.

Only on some rare occasions, in the morning and in the afternoon perhaps, do we consciously think about whether to turn on or not


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Rules of behaviour

May 27th 2010 02:27
* If you meet an alien, what do you do? Do you shake his tentacle? Do you offer him a beer? Do you stand far enough away that his eyestalk can focus -- or would this be offensive, making implications about orifice odour? Do you inquire as to the health of his herd leader, or would this be inappropriately personal?

* Dogs sniffing butts. There may be some biological bedrock that inclines people, on meeting, to behave in particular ways, or to expect particular behaviour. But even if this is true for humans, on top of it lies a sea of complexity -- of social and cultural norms, meanings, rules


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Fascinating article on what might at first glance seem an unfascinating subject -- pronouns! Jessica Love, "They get to me", The American Scholar, Spring 2010.

One general point is that it's kind of mysterious how anyone works out what pronouns refer to. Pronouns in themselves -- words like "he", "it", "they", "who", "someone", "you" -- contain only vague information, like singular or plural, male or female. So one relies on context to make meaning clear, leading to the further question, "What counts as context


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The word 'can' (Stephen Toulmin)

March 19th 2010 04:59
Two thoughts about the word.

***

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Fancies and crushes

March 9th 2010 05:39
Sitting on the bus, eavesdropping on the conversation of the girls in front of me.

One turns to the other and says, "And now, whenever I meet him, I'm conscious that everyone thinks I fancy him


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So Socrates asked Laches: What is courage? Laches answered: Remaining at your post. To which Socrates replied: No, no, no. You've only given me an example of courage, and of just one sort, whereas I'm looking for a general definition of all sorts of courage.

Skip forward two and half thousand years, and people are still playing variations of the same game


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About concepts

September 18th 2008 01:24
I tend to believe the following crazy things (or something akin to them):

1. When people talk about "concepts" (in the context of something like this blog), a lot of the time they're effectively talking about words, and practices associated with those words. The concept of tree, roughly speaking, is the ways in which the word "tree" is used


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Voice and authority

October 25th 2007 00:54
The Bene Gesserit of the Dune series are taught "to compel obedience in listeners on a subconscious level. By controlling the subtleties of her voice, a Bene Gesserit can directly address and thus issue commands to another person's unconscious mind in a way that the conscious mind is aware of, but is unable to resist."

In the non-science fiction world, you might unable to compel someone against their consciousness, but is there no connection between voice and obedience? Consider the way that teachers speak to students, parents to children, employers to employees, humans to pets


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