Analogos

Analogos

A Visual Syntax Designed to Facilitate Concrete Thought

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Since the Analogos is a language, it provides a channel
for interdisciplinary dialogue.
The structure of all languages is based on the interaction
between a syntax, a syntagmic structure (that is consitituted
as finite, stable, reliable and constant), and a paradigmatic substance
(that is constituted as an infinite variety of terms to be arranged
according to the syntagm.) It is the stability of a basic, solid syntax
that enables the construction of meaning
when a selection of terms from the vast range
of free-floating paradigmatic options is given form
by the structure of the given syntax.

The Analogos is a four-part construct or concept-map
designed to make it possible to grasp complex artEvent experiences
by mapping the relationship that exists between and among
syntactical layers. It is based on the dialogue among 4 terms:

Each One has an internal self image and an external image-of-the-self,
And each Other also has an internal self image and an external image-of-the-self

An extention of this opens up communication between the One and the Other:
both a One and an Other each have an inner image of Self and of Other.

The PARADIGM version, which takes the form of a series of horizontal layers,
(see the basic example below as 1-2-3-4) is read from bottom-to-top;
the ground, at the bottom, serves as the background/source,
or foundation that supports all the layers above it.
This follows the tradition of geological rock strata that are deposited
as a sequence of layers, the bottom one being formed first.

The layered version is regarded as paradigmatic
because it has space to contain the variable aspects of content
that are possible to introject into the syntagmatic
(the set interrelation of triangles illustrated below), which latter is a stable,
structural framework designed to uphold with reliability and stability
any selection of 4 interrelated terms chosen from
the infinite possible options available inside the paradigmatic content .

4 Evaluation	de-context	meta-figuration	self-conscious
3 Realization	text	figuration	conscious
2 Schema	container/context	configuration	conscience
1 Source	pretext	(back)ground	unconscious
Basic Analogos Paradigm

The SYNTAGM version, which is a structure of triangles (above), presents either:

1) space, which is designed to represent a synchronic relation of parts
(when the triangles are not serialized with numbers or letters,
the absence of numbers being an indication
that there is no sequence through time; that is,
that all aspects of a moment in time coexist simultaneously);

2) time, which is designed to map a diachronic relation of parts
(when there are numbers included to represent a sequential passage
of an event through time.

The synchronic version can also take the form of concentric circles
See, Horner: Orchestrating Art Events, p. 80.
Orchestrating ArtEvents: Sources, Styles, Scenarios, Strategies

The syntagmatic version consists of any multiple of four triangles.
(See the archetypal version of 64 triangles, Horner: Orchestrating Art Events, p.161,
with a constant syntax according to the three dynamics illustrated on page 140.
See also Horner: The Subject of Art in Process, pp. 21-28.
Orchestrating ArtEvents: Sources, Styles, Scenarios, Strategies,
The Subject of Art in Process: Undressing the Emperor's Nude Close - Towards a MetaModern Art and ArtEducation)

The Analogos paradigm/syntagm is primarily interested
in unveiling the subtext of an event. This is possible
because it focuses on the inter-relationships that invariably transpire
between the basic elements that are common archetypically
to a diachronic time-based event or a synchronic space-based event,
(a still version of a moment cut from an event).
These must satisfy the dynamics intrinsic to the Analogos.
For example, a source (1) emerges from ineffable, intrinsic memory
(an unconscious or latent content);
a schema (2) is an inner finite value/structure
learned from the environment, such as, for example,
the patterns introjected from parents and other sources such as television.

On the one hand, then, the virtual, unconscious content (1) is liberating
because it is authentic and free from constraint,
while on the other hand, the schemata (2) are stabilizing
because they are embroiled in the material structure
that technics and language insist on. Realizations (3) are the finite,
outed content-versions that reveal the resolution of differences
between the desires of the source (1) and the structural demands
of the schemata (2). The evaluation (4) is a form of retro-activation,
looking back in order to look ahead so that what has been learned
can be infinitely structured for future benefit.

(The dynamic relationships between the four terms can be summarized:
1 and 3 are content-based while 2 and 4 are structure-based;
1 and 2 are inner forms in dialogue with each other,
while 3 and 4 are outer forms in dialogue with each other;
1 and 4 are infinite in scope, while 2 and 3 are finite in scope.)