I’d posted this on LinkedIn:

Is it not outrageous that we baffle over the transparent and innocuously purport to narrate the opaque? 

To which I received the reply:

Elly, this is rather opaque.😌

And I thought; Perfect! It’s perfect because the surface reading of my post is accusatory in tone; specifically, exhortative with regards to those who are obscurantists, and yet, it is a species of it’s kind; i.e. it is itself opaque. The meaning of the fist part of the phrase then alters in meaning such that, in fact, no assertion is transparent; everything is subsequently a matter of interpretation. Accepting this, the original accusatory tone withers to make room to a host of multiple meanings negotiated for dialogical partners.

The larger picture tells the story of how “there are no facts, everything is interpretation,” leaving the transparent conspicuously opaque. What is it about linear, economized language, that suggests transparency; a single, objective rendering of truth? There is danger in this presumptive paradigm for unlike poetic verse that leaves unconcealed its opacity, begrudging those of simpler, more literal tastes, the scientific, fact-imploring, modality conceals its metaphysical landscape from view, as if unapologetic-like, truth is its proprietary alone. Is this exposition itself also evaluative, leaving therefore a resurgent relativism to contend with? There is a way in which ‘everything is relative,’ but that is only uninterestingly so; i.e with a spatial-temporal stamp. Everything that is anything is something because we make it so. What we see is not a mechanical representation of the world as is. This has been obvious to philosophers since Thales; I might even say it was obvious to my children by the time they were ready to talk; i.e. they were quite equipped to address the discrepancy between appearance and reality, believing and knowing. Still how we entertain this seemingly obvious set of binaries is where all the conversation is being had.

Philosophers are pretty much in agreement that the world out there as is, is beyond human understanding. I’ve gone over this debate in other posts, so I’ll resist repeating myself. Instead, I’d like to address the style of calibration defined by the word. I like the way Danto puts it in his analysis of Nietzsche – From Reading Nietzsche.

The psychology of the metaphorical address is, since metaphor is a rhetorician’s device, that the audience will itself supply the connection withheld by the metaphor, so that the rhetorician opens a kind of gap with the intention that the logical energies of his audience will arc it, with the consequence of having participated in the progression of argument, that audience convinces itself. There is another but comparable psychology of the aphorism, namely that once heard it is unlikely to pass from recollection, so its pointed terseness is a means of ensouling the messages it carries, and to counteract the predictable deteriorations of memory. So it is a natural instrument of the moralist.




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