Wave Forms: A Natural Syntax for Rhythmic Languages - Tapa dura

Bunn, James H.

 
9780804741781: Wave Forms: A Natural Syntax for Rhythmic Languages
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ISBN 10: 0804741786 ISBN 13: 9780804741781
Editorial: Stanford University Press, 2002

Sinopsis

In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase "natural syntax," he means that physical nature enters human communication literally by way of a transmitting wave frequency.

This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn't refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle.

The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain "laws of form"―a phrase used by D'Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the "laws" of a wave's form, however, the author speaks of its elements of rhythmic composition, because "rythmos" means "wave" in Greek and because "composition" describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.

"Sinopsis" puede pertenecer a otra edición de este libro.

Acerca del autor

James H. Bunn is Professor of English at the University of Buffalo, where he is also a member of the Center for Cognitive Science. He is the author of The Dimensionality of Signs, Tools, and Models.

De la contraportada

In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase “natural syntax,” he means that physical nature enters human communication literally by way of a transmitting wave frequency.
This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn’t refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle.
The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain “laws of form”—a phrase used by D’Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the “laws” of a wave’s form, however, the author speaks of its elements of rhythmic composition, because “rythmos” means “wave” in Greek and because “composition” describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.

De la solapa interior

In this daring book, the author proposes that artistic and literary forms can be understood as modulations of wave forms in the physical world. By the phrase natural syntax, he means that physical nature enters human communication literally by way of a transmitting wave frequency.
This premise addresses a central question about symbolism in this century: How are our ideas symbolically related to physical reality? The author outlines a theory of communication in which nature is not reached by reference to an object; rather, nature is part of the message known only tacitly as the wavy carrier of a sign or signal. One doesn t refer to nature, even though one might be aiming to; one refers with nature as carrier vehicle.
The author demonstrates that a natural language of transmission has an inherent physical syntax of patterned wave forms, which can also be described as certain laws of form a phrase used by D Arcy Thompson, L. L. Whyte, Noam Chomsky, and Stephen Jay Gould. He describes a syntax inherent in natural languages that derives from the rhythmic form of a propelling wave. Instead of the laws of a wave s form, however, the author speaks of its elements of rhythmic composition, because rythmos means wave in Greek and because composition describes the creative process across the arts. In pursuing a philosophy of rhythmic composition, the author draws on cognitive science and semiotics. But he chiefly employs symmetry theory to describe the forms of art, and especially the patterns of poetry, as structures built upon the natural syntax of wave forms. Natural syntax, it turns out, follows a fascinating group of symmetry transformations that derive from wave forms.

"Sobre este título" puede pertenecer a otra edición de este libro.

Editorial
Stanford University Press
Año de publicación
2002
Idioma
Inglés
ISBN 10 
0804741786
ISBN 13 
9780804741781
Encuadernación
Tapa dura
Número de páginas
368
Contacto del fabricante
no disponible
Persona responsable
no disponible

Otras ediciones populares con el mismo título

9780804745079: Wave Forms: A Natural Syntax for Rhythmic Languages

Edición Destacada

ISBN 10:  0804745072 ISBN 13:  9780804745079
Editorial: Stanford University Press, 2002
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