SUBJECT ANALYSIS IN THE PHILOSOPHY OF COMMUNICATIONS LT "SUBJECT ANALYSIS" stand for any complexity of probes aimed at understanding the subjects that men sub-ject to predication. Subject analysis is distinguished , therefore, from the attention that we focus on predicates , upon what is said of subjects. Subject analysis looks principally to the beings grasped in subjects and only functionally to meaning expressed in predicates. Let " saying " or " talking " mean not only communication in the language of words but communication in the broadest sweep of its complexity , even the communication that a man carries on with himself.l Subject analysis presupposes a certain epistemology of judgment, i.e., the subject component, whatever it is that we are " talking about," is grasped in sensorial perception and, more often than not, is symbolized as opposed to predicated meaning; the predicate is an intelligible formality or " aspect " under which the subject is understood here and now in this act of judgment. Given that the subjects about which we talk. which engage our attention, very often form symbolic patterns which reveal diverse ways of being and styles of life, the use of subject analysis is valuable for whatever light it might throw on men themselves and on their cultures. Subject analysi~ finds its constitutional charter to philosophical existence in Socrates's" Know Thyself." When the same subjects are reiterated in constantly repeated symbolic structures we encounter the iconic. Let " icon " stand for form in the sense of Gestalt or structure constituted by a tissue of images, often metaphors, that are repeated without 1 Walter J. Ong, "Communications Media and the State of Theology," Cross Currents (Fall, 1969), pp. 462-480. 748 744 FREDERICK D. WILHELMSEN perspective and hence without conscious irony. What Susan Sontag says about poster art is an admirable instance of a species illustrating the genus of the iconic: " Posters have come to be regarded as mysterious cultural objects, whose flatness and literalness only deepen their resonance, as well as ... rich emblems of society." 2 The iconic, due to its flat literalness, is repeatable because any one of its elements is interchangeable with any other. This recalls Aristotle's insistence that metaphor obey the structure of any proportion, "a transference being from either genus to species, or from species to genus, or on grounds of analogy." 3 Irony, on the contrary, always involves the critical interjection of a fresh consideration, a perspective. All subject analysis partakes of the ironic. It is by no means perverse that Arthur Koestler's study of creativity commences with an analysis of humour as paradigmatic of the novelty marking all creative thinking. The iconic, however, eschews novelty, and its very flatness and lack of perspective permits the anticipation of the iconic act. This familiarity, to return to Susan Sontag's observations on poster art, indicates that we are confronting an art form which " is usually parasitic on other forms of art-on the world itself, or a highly stylized image of it." 4 The American cowboy, our icon, acts in a predictable way or the genre is offended.5 The iconic, as understood in this essay, must not be narrowed to staged and stylized theater. Iconography embraces every playing dimension of life in Huizinga's sense of the term.6 A classical " Saturday night on the town " with the boys is an iconic gesture in that it involves a series of repeated and anticipated acts whose specific content will often vary but whose formal structure is rigidly predictable. The issue is well illustrated by games: the content of chess or baseball, for example, always 2 Dugald Stermer, Introductory Essay by Susan Sontag, The Art of Revolution, Castro's Cuba 1959-1970 (New York: McGraw-Hill, 1970), p. xx. • Aristotle, Poetics, p. 21, 1457b-1458a. • Stermer/Santag, op. cit., p. xx. • Jane Bret, and Frederick D. Wilhelmsen, The War In Man: Media and Machines (Athens, Ga.: University of Georgia Press, 1970), pp. 67-7~. 0 Johan Huizinga, Homo Ludens (Boston: The Beacon Press, 1955). THE PHILOSOPHY OF COMMUNICATIONS 745 changes but the rules remain the same, and it is the game, not its content, that is played. Repeatability and predictability are the rule. The novel monkey wrench of humour...
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