Groundwork type thing. Ran some courses off it at the home site. Wondering if others could gain something from it as well. Please feel free to pick apart, in fact I'd really thank you for such an act.
For this first practice I will attempt to lay an adaptive groundwork for metaphor that allow for both assimilation into a multitude of pre-existing forms and immediate application. We will observe the functions and direction of metaphor and attempt to create a solid metascape through exploration of the tools expressed.
It is important to note that these tools are by no means "new" nor of my invention. They have been with literature since it's conception. I have simply given them names.
We start with two dimensions. These two dimensions represent pure POSSIBILITY. They do not exist as "tangible" aspects, tangible here meaning communicable or expressive, until acted upon. The two dimensions of metaphor are Time and Space. They are all encompassing aspects that allow for creation as well as elaboration. No metaphor, good bad or otherwise, can exist without them.
Time is the POSSIBILITY of movement and MANIFESTS as CIRCUMSTANCE. Space is the POSSIBILITY of matter and MANIFESTS as SUBSTANCE. These are the two stances from which we recognize any image or metaphor, circum and sub.
Substance is the body of any metaphor, and circumstance the context. As you sculpt a specific image you create a context from which other interconnected images may arise. These images themselves carry substance and act as the conjuctions in a conecievable web of metaphor. Circumstance connects otherwise meaningless bits of substance, but this substance only remains substantial under circumstance.
Space and Time are the interdependent doubkle-helix on which all metaphor is constructed. They maintain each other effectively through a delicate dance of word.
All this is still ONLY POSSIBILITY. How does one manifest space and time effectively? In the real world we percieve all of space and time from a POINT. This point is us, our ego, our individual collective of emotion and experience. It has been said that all literature acts as both a cultural and individual mirror for both reader and writer. (This is no doubt because individuals are the carriers of culture, but this gets into metaphysics which I am abstaining from here.)
The way one manifests matter and movement, substance and circumstance, is through a POINT. This point can be conceived as a singular consciousness giving form and light to an otherwise dark and ambiguous world. From this point you sculpt all surrounding points and create substance through circumstance, and circumstance through substance.
This point contains neither movement nor matter OF ITS OWN but allows for all movement and matter to manifest as the two stances. It is from this point that your metascape will find flesh.
This is the central vortex of any metaphor, whether it be a large narrative or a piece of flash poetry. It is this point that drives and creates all.
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