|why this picture,continued?|
Balance: Samuel Johnson, an 18th century essayist, wrote (by
present-day standards) very long sentences. And then he'd lay out a very
short (text message short) sentence. For instance, in "On Sorrow," Johnson
writes several paragraphs of ornate sentences like this:
And then we get this little bump of words:
The effect of this statement is doubly or triply what it would be if it were not preceded by so many baroque, heavily qualified observations. The one is balanced by the other--each given their own weight because of the antithetical relation between them.
Asymmetry: this is different than contrast in so much as what's heppening is oddball, as when a writor slips into peeculiar spilling or colloqualistic jingocantism. There's a refurburishing tremor of non-sense-to-new-sense when we encounter an out-of-place register.
SUMMING UP, then, the meanings we create and "find" in visual texts are analogous to those we create and "find" in philosophical texts. The analogues are not perfect, but they are palpably there to be investigated and wondered at.