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By Walter J. Ong

His vintage paintings explores the monstrous ameliorations among oral and literate cultures providing a really transparent account of the highbrow, literary and social results of writing, print and digital technology.

In the process his learn, Walter J. Ong deals interesting insights into oral genres around the globe and during time, and examines the increase of summary philosophical and clinical pondering. He considers the impression of orality-literacy experiences not just on literary feedback and idea yet on our very knowing of what it's to be a person, aware of self and other.

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The circularity of this anatomical medical logic is what constitutes such medical knowing, like Kant’s transcendental deduction, as both diachronic and transcendental. A standardized body comes into being because the empirical evidence that generates that knowledge is neither observable at any single moment nor separable from the abstraction that is its consequence. But this circularity also means that the diachronicity implicit to the comparison—bodies are sick before they are dead—must be bracketed analytically, even though it is the pathological development of disease, the 32 / Chapter One relation of cause and effect, that makes the evidence of the dead body relevant to the sick body, that links the two bodies.

Such a notion of time allows us to understand the various elements of a book as not simply sequentially apprehensible images, but as images that constitute a book because they are caused or intended, which is to say, organized according to an idea. It is this quality of being caused or intended that allows us to distinguish between the kind of thing we are seeing when we see a book’s cover and the kind of thing we are seeing when we see a water stain on that cover. We do not extract the concept of cause from experience; rather, a notion of causation is the precondition for experience.

7 22 / Chapter One We need a concept of time itself, and that concept needs to be “mindindependent”—that is, existing outside the sort of mutually constituting relations of sequentiality that link our experience of our own duration as subjects to our experience of the duration of the synthesized book. Such a notion of time allows us to understand the various elements of a book as not simply sequentially apprehensible images, but as images that constitute a book because they are caused or intended, which is to say, organized according to an idea.

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