The Schizoid No. 3
©
March 1st, 2021
Text ontology A literary product, literary tissue or text consists, and cryptically may contain at readers' eyes, any kind of literary genre. It contemplates and/or tries to ascribe any faculty, form (style, subgenre), with which Literature as a Fine Art deals, including orality as language birth, development, and death due to over-induced reasons concerning colloquial, poetic, religious/ceremonial, technical and metalinguistic use. Whether praised subtypes of playwright, essays, narratives and poesy, as well as potential forms or contingent crafts/skills and instances that handle the act of writing and a preoccupation and process of general (tele)communication as interpreted information flow from various paradigms or cultures and under inherently logographic, demonstrative and detailed writing; including relatively literal and oral types of information (pictographic and spiritual information under heightened consciousness experience) such as advertising, journalism, chat or instant messaging, aphorisms, mail and electronic correspondence, screenwriting or theatre script, historiography, literary, semiological, semantic, hermeneutical and translational analyses, thesis or scientific research, editing and production of relevant literature for certain areas (concerning a theory) of knowledge; whether mathematical, economical, biochemical, humanistic and/or formal disciplines, among any act and form that implies the fact of writing some thing, even in the air, asemicity, and so on. Even though such object(ive)s are, at least figuratively, an odyssey, the writer or scribe does not claim to be "genuinely authentic" or lacking literary, musical and/or any kind of influence, the writer/scribe is motivated by at least proposing a literary design, product and pondering within a new pan-dialectic, technical and literary model of diction, writing, reading and understanding based on their respective, relatively obsolete, archaic and transcendental canons in order to be able to evade the impact of nonsense, absurdity, immaturity, ignorance, taboo, moral implication, cognitive bias, non-holistic hermeticism and any continental antinomy as (in)contingent as necessary in such a symmetric hegemony within a nature of nature itself. However, if the work of the writer had to be labeled or categorized, whether a typist, translator or poet(ess) as a specialty or genre, we would be forced to define it as the form of the form, the essence of the ulterior substance that is Literature itself, insofar as the phenomenology of topology of space-time is the whole, conceptually speaking, as well as thought, language and being, Literature, a complete image of a geometric fractal figure/shape, the nature of the phenomenology of consciousness and perception along with their respective uncountable interpretations. Within Literature and any visual-conceptual art, narrator has always been one of many emphasized voices which are inherently listeners as well as spectators, whether impersonal, omniscient, individual, or even intangible ones; concerning architecture, draftsmen, masons, and builders; in music the interpreter (director) for the audience, in dance the dancer; and synthetically, ultimately, or integrally, epistemo-aesthetically: a perceiver in intersubjective reality. All such due to shared experience of awareness of life; to living, to have lived and wanting to live. From, by, for and at mortals is the reason anything is written. Among plenty of reasons and excuses, one writes to mitigate the craving for expression and reverie. One writes as memento mori so as not to forget the imminent decrepit death without —relatively or excessively— besot or obstinate with it. To always keep in mind an equanimous premeditatio malorum of futile ecstasy and fatality on banal lightness of being and gravitation-gravity of human existence, condition, and nature. One writes to mention, to ponder and at the same time to wonder, to reveal, to pray, to excuse whether reasons, scenarios, uncertainties, or paradigms that inevitably constitute part of themselves and their form, mode, motive, theme, identity, essence, entity, reality, and constant reinterpretation of such.