To show examples of flexible criteria of resemblance, let me quote, not the most radical occult and Hermetic theories, but rather some instances of a very reasonable semiotic technique, the one recommended by the authors of the arts of memory. Those authors were neither Kabbalists nor sorcerers summoning spirits. They simply wanted to build systems for remembering a series of ideas, objects, or names through another series of names, objects, or images of objects. Other authors (Rossi 1960; Yates 1966) have studied and described the complex constructions of loci. that is, of real architectural, sculptural, and pictorial structures that those theorists built in order to provide a systematic plane of expression for the contents to be memorized, signified, and recalled. It is clear, however, that these mnemotechnic apparatuses were something more than a practical devise for remembering notions: it is not by chance or for decorative purposes that the systems of loci frequently assume the form of a Theater of the World or emulate cosmological models. They aim at representing an organic imago mundi, an image of a world which is the result of a divine textual strategy. Thus, to be semiotically efficient, they reproduce the presumed tangle of signatures on which the Universe as a significant Whole is based. As Ramus (1581) has remarked, memory is the shadow of the order (of the dispositio), and order is the syntax of the universe.
Husker Du Haus, too 2006.02.24
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