Alphabet cultures and a lesson from aphasia
The history of culture has recorded numerous attacks against writing, culminating, probably, in Marshall McLuhan's philosophy (1964): alphabetic cultures have uniformized, fragmented, and sequentialized the world, generating an excessive rationalism, nationalism, and individualism. Here we have, in a succinct list, the indictment made of Gutenberg's Galaxy. Commenting on E. M. Forster's A Passage to India, McLuhan remarked: "Rational, of course, has for the West long meant uniform and continuous and sequential. In other words, we have confused reason with literacy, and rationalism with a single technology." That McLuhan failed to acknowledge the complementary language of design and engineering, with its own rationality, is a shortcoming, but does not change the validity of the argument. The consequences of these attacks-as much as they can be judged from the historical perspective we have since gained-have nevertheless not been the abatement of writing or of its influence. In the same vein, the need to proceed to an oral-visual culture has been idealistically suggested (Barthes' well known plea of 1970 can be cited).
There is no doubt that all the plans devised by architects, artisans, and designers of artifacts belong to a praxis uniting oral (instructions to those transposing the plan into a product) and visual cultures. Many such plans, embodying ideas and concepts probably as daring as those we read in manuscripts and later in books, vanished. Some of the artifacts they created did withstand the test of time. Even if the domination of the written word somehow resulted in a relatively low awareness of the role drawings played over time, experiences were shaped by them and knowledge transmitted through them. Drawings are holistic units of a complexity difficult to compare to that of a text.
The meaning conferred by the intermediary of writing is brought about through a process of generalization, or re-individualization: What is it for the individual reading and understanding it? It inversely travels the route that led from speech to writing, from the concrete to the abstract, from the analytic to the synthetic function of language. At any given time, it looks as though we have, on the one hand, the finite reality of signs (alphabet, words, idiomatic expressions) and, on the other, the practically infinite reality embodied in the language sequences or ideas expressed. In view of this, the question arises regarding the source of ideas and the relation between signs (words, in particular) and their assigned meanings, or the content that can be communicated using the language. Meaning is conjured in Western culture through additive mechanisms, similar to those of mixing pigments. In Eastern culture, meaning is based on subtractive mechanisms, similar to those of mixing light.
Alphabetic writing, although more simple and stabilized, is really more difficult than ideographic writing. The experience from which it results is one of abstraction. Henceforth, it subjects the readers of the alphabetic text to the task of filling the enormous gap separating the graphic sign from its referent with their own experience. The assumption of the literate practical experience is that literacy can substitute for the reference through history or culture. Readers of ideographic texts have the advantage of the concreteness of the representation. Even if Chinese characters stand for specific Chinese words, as John DeFrancis convincingly showed, the experience of that writing system remains different from that of Western alphabets. Since every language integrates its own history as the summary of the practical activity in which it was constituted, reading in a language of a foreign experience means that one must step- by-step invent this writing.
Research undertaken in the last 15 years shows that at a certain stage, aphasia brings on a regression from alphabet to image reading as design, as pictographic, iconic reading. Letters lose their linguistic identity. The aphasic reader sees only lines, intersections, and shapes. Ideas expressed in writing crumble like buildings shaken by an earthquake. What is still perceived is the similarity to concrete things. The decline from the abstract to the concrete can be seen as a socio-cultural accident taking place against the background of a natural (biological) accident.
In our days we encounter symptoms similar to those described above, testifying to a sort of collective aphasia in reverse. Indeed, writing is deconstructed and becomes graffiti notation, shorthand statements freed of language, and defying literacy. For a while, graffiti was criminalized. Later on it was framed as art, and the market absorbed the new product among the many others it negotiates. What we probably refused to see is how deep the literacy of graffiti goes, where its roots are, how wide the extensions, and how much aphasia in its writing and reading. After all, it was not only in the New York subway that trains were literally turned into moving papers or moving books, issued as often as authority was circumvented. Much of the public hated graffiti because it obliterated legitimate communication and a sense of neatness and order that literacy continuously reinforced. But many also enjoyed it. Rap music is the musical equivalent of graffiti. Gang rituals and fights are a continuation of these. Messages exchanged on the data highways-from e-mail to Web communication-often display the same characteristics of aphasia. Concreteness is obsessively pursued. :) (the smiley) renders expressions of pleasure useless, while (: (the grince) warns of being flamed. On the digital networks of today's furious exchange of information, collective aphasia is symptomatic of many changes in the cognitive condition of the people involved in its practical experiences. Neither opportunistic excitement nor dogmatic rejection of this far-reaching experience can replace the need to understand what makes it necessary and how to best benefit from it. More private languages and more codes than ever circulate as kilo- and megabytes among individuals escaping any form of regulation.
On the increasingly rewarding practical experiences of networking, literacy is challenged by transitory, partial literacies. Literacy is exposed in its infatuation and emptiness, although not discarded from among the means of expression and communication defining the human being. It is often ridiculed for not being appropriate to the new circumstances of the practical and spiritual experience of a humankind that has outgrown all its clothes, toys, books, stories, tools, and even conflicts.
A legitimate follow-up question is whether the literate experience of the word contributes to its progressive lack of determination, or the change of context affects the interpretation, i.e., the semantic shift from determinate to vague. Probably both factors play a role in the process. On the one hand, literacy progressively exhausts its potential. On the other, new contexts make it simultaneously less suited as the dominant medium for expression, communication, and signification of ideas. For instance, the establishment of a vague meaning of democracy in political discourse leads to the need for strong contexts, such as armed conflicts, for ascertaining it. In the last 10 years we have experienced many such conflicts, but we were not prepared to see them in conjunction with the forces at work in facilitating higher levels of efficiency according to the new scale that humankind has reached.
There is also the attempt to use language as context free as possible-the generalities of all demagogy (liberal, conservative, left or right, religious or emancipated) can serve as examples. But so can all the crystal ball readings, palm readings, horoscopes, and tarot cards, revived in recent years against the background of illiteracy. None of these is new, but the relative flourishing of the market of vagueness and ambiguity, reflective of a deviant functioning of language, is. Together with illiteracy, they are other symptoms of the change in pragmatics discussed in this book.