Meaning/becoming and Use of Media-Elements

Central to the techno-poetic discourse mechanism is the observation of the construction of context through the use of an authored system. In particular the engagement with meaning/becoming in a mutable context is derived as a product of computer-based construction and navigation. Deleuze and Guattari speak of the "production of production" (Deleuze and Guattari, 1983, p. 5) . When we combine this notion with their notion of the "machinic assemblage" we begin to define concepts central to Recombinant Poetics. The authors describe the machinic:

What we term machinic is precisely this synthesis of heterogeneities as such. Inasmuch as these heterogeneities are matters of expression, we say that their synthesis itself, their consistency or capture, forms a properly machinic "statement" or "enunciation." The varying relations into which a color, sound, gesture, movement, or position enters into the same species, and in different species, form so many machinic enunciations." (Deleuze and Guattari, 1987, pp. 330-331)

ReP (Recombinant Poetic) works seek to be "operative" meta-machinic assemblages - where the the user of such a system actually engages with meaning through the use of the system. The user of the system may also explode meaning through interaction, producing an environment of great complexity. In fact a series of potential states of meaning may be observed during the use of a Recombinant Poetic system.

Wittgenstein has written in Philosophical Investigations that :

...for a large class of cases--though not for all--in which we employ the word 'meaning' it can be defined as thus, the meaning of the word is its use in language. (Wittgenstein, 1958, p. 20)

It is within my emergent generative techno-poetic environment that I seek to make such a statement overtly experiential, in terms of enabling alternate contextual comparison as engendered through interaction. Wittgenstein goes against the notion of felt meaning in the discussion of pure linguistic logic. In Philosophical Investigations Wittgenstein says the following:

The meaning of a word is not the experience one has in hearing or saying it, and the sense of a sentence is not a complex of such experiences. (Wittgenstein , 1958, p. 181)

I will disagree with Wittgenstein in terms of meaning generated in an environmental context of media-elements. A simultaneous conflation of the languages of music or sound, image, and text, can shift the meaning of a word or play intentionally with its ambiguity. I will also say that the meaning of an entire sentence can shift based on environmental factors. For example, if I hear the sentence "This book has a real future," in conjunction with listening to the music of "Taps," as well as hearing a voice expressing a cynical tone in the annunciation of the sentence, an environmental interpretation would suggest that the word was being used ironically and the exact opposite meaning was intended by the author of the media- environment to that expressed in just a simple reading of the words. Thus I am interested in how a particular "set of readings" arise out of a context as a product of the environment. Such a "reading" is formed through the intermingling of fields of potential. The meaning is a product of the summing of media-elements of image, music, text, and vocal intonation funtioning as an interpenetration of fields; thus forming one environmental field.

It is important here to again invoke Wittgenstein's statement "the meaning of the word is its use in language. " When we compare Wittgenstein's statement to that of related aspects of the project of Recombinant Poetics one can observe an important difference; In the emergent paradigm of Recombinant Poetics, one can observe multiple contexts of "use" within a time-based computer mediated environment arising as an experiential endeavor brought about through interaction, thus particular qualities inherent to this "use" are not just suggested through textual observation, but are understood through the direct experience of the vuser (viewer/user) of the system in relation to other environmental media-elements. Such "use" should be seen in the light of inter-relations arising from the juxtaposition of image, sound, text, as well as behavioural relations; made palpable through a computer-based environment.

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