Note to anyone dedicatedly trying to understand my essay, you probably should reread yesterday’s segment, for I’ve revised it. Okay, now back to:
The Nature of Visual Poetry
As a visual poem, Biloid’s “Parrots” is eventually processed in two significantly different major awarenesses, the protoceptual and the reducticeptual. In the protoceptual awareness, the processing occurs in the Visioceptual Awareness, to which it directly proceeds. In the reducticeptual awareness, it first goes to the Linguiceptual Awareness, which is divided into five lesser sub-awarenesses, the Lexiceptual, Texticeptual, Dicticeptual, Vocaceptual, Rhythmiceptual and Metriceptual. The first is in charge of the written word, the second of the spoken word, the third of vocalization, the fourth of the rhythm of speech and the fifth of the meter of speech. Of these, the linguiceptual awareness passes “Parrots” on only to the first, the lexiceptual awareness, because “Parrots” is written, not spoken. Since the single word that comprises its text will be recognized as a word there, it will reach its final cerebral destination, the Verbiceptual Awareness.
The engagent of “Parrots” will thus experience it as both a visioceptual and a verbiceptual knowlecule, or unit of knowledge–at about the same time. Visually and verbally, the first because it is visual, the second because it is a poem and thus necessarily verbal. Clearly, it is substantially more than a conventional poem, which would be processed entirely by its engagent’s verboceptual awareness.
Okay, this essay, only about a thousand words in length so far, is already a mess. Yes, way too many terms. And I keep needing to revise it for clarity. Or, at least, to reduce its obscurity. I have trouble following it myself. My compositional purpose right now, though, is to get everything down. Later, I’ll simplify, if I can.
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