Revised language stop function
The language stop with reference mainly
to the “period” is used by conventional composition to denote the end of a
complete thought, which is a sentence. Complete thoughts accumulate into
paragraphs, paragraphs into chapters, and chapters into books, in that, at the
end of a paragraph, the reader sums up the meaning of the sentences. At the end
of a chapter, the reader sums up the paragraphs, and chapters are summed up
after finishing a book...all something like the process of an adding machine. Eliminating
the use of a language stop inhibits the process of adding up groups of words as
they are read. In this way, constreaming reading is better facilitated, as fast
or slow as the reading may proceed, until the expression ends.
This is effected by removal
of language stops, or “periods,” from end of paragraphs. Use within a paragraph
is allowed. Within a paragraph, or strophe, a “period,” in addition to denoting
the familiar complete thought, can also denote a word or phrase as they may
relate to the reality of the composition.
Ars Soliloquy time notation
|
Notation
|
Symbol
|
Relative time
interval order
|
|
comma
|
,
|
1
|
|
two-dot ellipsis
|
..
|
2
|
|
three-dot ellipsis
|
...
|
3
|
Revised operant
In conventional reading, the dominant
operant process is "logic." Ars soliloquy requires
"continuity" to override the subliminal process of the logic “adding
machine.” Continuity is everything, and any means is used to thread the words
and phrases together. Continuity may be effected by, but not limited to:
- Harmonics,
such as rhyme, or alliteration.
- Complimenting
imagery.
- Occasional
pun.
- When
harmonics, imagery, or pun is not used, continuity is effected
simply by apprehension and trust in the theme.
General continuity is effected by the overall aesthetics of the language and the
aesthetics of its orchestrated semantics, as those semantics may relate to the
reader.
Ornament
The
constreaming narrative creates the dimension of its theme. Within that
dimension, another dimension of reality may be inserted, and set apart with * * * . This separate reality within the narrative serves to
accentuate, by contrast, mood, and voice, the narrative’s reality to the effect
that the narrative’s voice wants. This separate reality is termed, “ornament.” The ornament works as a specific dynamic or counter’space,
which imparts a multiple dimensional effect of the constreaming space; e.g.,
op.18 “Naked Ego.”
Phoenix Meta-information Page
Phoenix Homepage