{"id":11294,"date":"2026-11-13T08:00:00","date_gmt":"2026-11-13T08:00:00","guid":{"rendered":"https:\/\/www.raziemah.com\/blog\/?p=11294"},"modified":"2026-09-05T18:30:52","modified_gmt":"2026-09-05T18:30:52","slug":"looking-at-alva-noes-book-2023-entanglement-part-14-of-24","status":"publish","type":"post","link":"https:\/\/www.raziemah.com\/blog\/?p=11294","title":{"rendered":"Looking at Alva Noe&#8217;s Book (2023) &#8220;Entanglement&#8221;\u00a0 (Part 14 of 24)"},"content":{"rendered":"\n<p>0170 Chapter four (C4) concerns visual art.<\/p>\n\n\n\n<p>Pictures have been made by humans for as long as we have been around.<\/p>\n\n\n\n<p>The question is, &#8220;Who are we?&#8221;<\/p>\n\n\n\n<p>0171 If &#8220;we&#8221; are the civilized people who adhere to the forms of spoken labels<sub>2af<\/sub>, artifacts<sub>2bf<\/sub> and standard solutions<sub>2cf<\/sub>, then &#8220;we&#8221; are are not the humans who made &#8211; <em>what experts currently call<\/em> -&#8220;Paleolithic art&#8221;.<\/p>\n\n\n\n<p>Perhaps, anthropology needs a new technical term, such as &#8220;Paleolithic cave adornment&#8221;.<\/p>\n\n\n\n<p>0172 Here is a picture of the hand-speech interscope, with all but <em>the virtual nested form in the category of secondness<\/em> grayed out.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide40-1.png\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"360\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide40-1.png\" alt=\"\" class=\"wp-image-11295\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide40-1.png 540w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide40-1-300x200.png 300w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><\/a><\/figure>\n\n\n\n<p>0173 Now, let me consider an ibex that is carved into the handle of a launcher, designed to sling rocks towards an adversary.&nbsp; Does the ibex correspond to parole, since it pictures its referent?&nbsp; Or does the launcher gesture for itself, since it is <em>what it refers to?<\/em>&nbsp;&nbsp; Then, the ibex is an adornment that substantiates something that the hand-speech talker can&#8230; um&#8230; speak to.&nbsp; I could say to the ibex, &#8220;Guide my rock to the bison&#8217;s flank.&#8221;, while setting my rock in the device.&nbsp; The ibex will assist my aim and bless my achievements.<\/p>\n\n\n\n<p>0174 The launcher is like a manual-brachial word-gesture<sub>2af<\/sub>.&nbsp; The ibex is like the corresponding spoken word<sub>2bf<\/sub>.&nbsp; The aesthetic work<sub>3b<\/sub> of the ibex<sub>2bf<\/sub> enhances the process<sub>2cm<\/sub> of hunting bison with the team.&nbsp; The stone will inspire the bison startle and race towards the cliff, that it does not realize is there.&nbsp; A thirty-meter drop is as good as a lance.<\/p>\n\n\n\n<p>0175 <em>The first section of chapter four<\/em> (S1C4) opines that picture-making is first order and pictorial art is second order.&nbsp; Does this imply that I must turn my gaze to <em>the speech-alone interscope,<\/em> since the labels of &#8220;first-order&#8221; and &#8220;second-order&#8221; operate as explicit abstractions?<\/p>\n\n\n\n<p>Or, do I retain <em>the hand-speech talk interscope<\/em> because it calls to mind <em>implicit abstractions<\/em> and <em>who we evolved to be?<\/em><\/p>\n\n\n\n<p>0176 Using, say, <em>a Renaissance oil painting of a bowl of fruit<\/em> as an example, I associate the painting itself to a hand-talk word<sub>2af<\/sub> that pictures and points to its referent<sub>2am<\/sub>.&nbsp; The referent<sub>2am<\/sub> is the subject of the painting<sub>2am<\/sub>.&nbsp; The referent<sub>2am<\/sub> substantiates the hand-talk word<sub>2af<\/sub>.&nbsp; The subject matter<sub>2am<\/sub> substantiates the painting<sub>2af<\/sub>.<\/p>\n\n\n\n<p>0177 Here is a view showing the confoundings.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide41-1.png\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"360\" src=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide41-1.png\" alt=\"\" class=\"wp-image-11296\" srcset=\"https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide41-1.png 540w, https:\/\/www.raziemah.com\/blog\/wp-content\/uploads\/2026\/09\/Slide41-1-300x200.png 300w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><\/a><\/figure>\n\n\n\n<p>0178 <em>The painting as form<sub>2af<\/sub><\/em> entangles <em>the presence of an adornment,<\/em> otherwise labeled a &#8220;decoration&#8221;.&nbsp; Aesthetic work<sub>3b<\/sub> brings the dyad, {decoration as adornment<sub>2bm<\/sub> [substantiates] the beholding of the subject<sub>2bf<\/sub>}, into relation with the potential of the &#8216;painter&#8217;s power&#8217;<sub>1b<\/sub>.&nbsp; Then, the situation-level form<sub>2bf<\/sub>, entangles a perspective-level matter of aesthetic weighing<sub>2cm<\/sub>, which may or may not be cultivated, because the human transcendentals of beauty and truth are ready to serve as perspective-level potentials<sub>1c<\/sub> in the normal context of communal viewing<sub>3c<\/sub>.<\/p>\n\n\n\n<p>0179 <em>These associations to the hand-speech talk interscope<\/em> complement <em>the early sections of chapter four,<\/em> titled &#8220;Pictures in Context&#8221; (S1C4), &#8220;Surreptitious Substitutions&#8221; (S2C4), &#8220;The Painterly Attitude&#8221; (S3C4) and &#8220;The Snapshot Conception&#8221; (S4C4), and lead to the conclusion that vision is pictorial.<\/p>\n\n\n\n<p>0180 The irony, of course, is that a painting is a technical work<sub>3b<\/sub> and there are many tricks that the artist employs in order to provide the illusion that <em>the subject matter of the painting<sub>2am<\/sub><\/em> substantiates <em>a work of art<sub>2af<\/sub><\/em> that entangles <em>matters of decoration<sub>2bm<\/sub><\/em> in such a fashion that <em>the decoration<sub>2bm<\/sub><\/em> substantiates <em>an experience that the viewer is beholding the subject<sub>2bf<\/sub><\/em>.<\/p>\n\n\n\n<p>Then, <em>the form of that experience<sub>2bf<\/sub><\/em> entangles <em>an aesthetic weighing<sub>2cm<\/sub><\/em>.<\/p>\n\n\n\n<p>0181 <em>Pictures<\/em> generate <em>experiences by proxy<\/em>.<\/p>\n\n\n\n<p>This is <em>what pictures are meant to do<\/em>.<\/p>\n\n\n\n<p>This is <em>what I see<\/em> when I look at sections five (S5C4, &#8220;The Enactive Approach&#8221;) and six (S6C4, &#8220;Pictures as Proxies&#8221;).<\/p>\n\n\n\n<p>0182 The broad strokes of an &#8220;entanglement&#8221;, where <em>second-order pictorial arts<\/em> loop down to <em>the first-order work of picture making,<\/em> demands purchase.&nbsp; Do I buy it?&nbsp; <em>Pictorial art<\/em> offers <em>experiences by proxy<\/em>.&nbsp; <em>Making pictures<\/em> offers&#8230; something&#8230; that seems more like <em>speech-alone talk<\/em>.&nbsp; <em>Making pictures<\/em> is like writing with <em>ideograms<\/em>.<\/p>\n\n\n\n<p>Does that weave an &#8220;entanglement&#8221; between language (speech-alone talk) and thought (beholding the subject<sub>2bf<\/sub>)?<\/p>\n\n\n\n<p>What am I buying here?<\/p>\n\n\n\n<p>0183 The author unveils an &#8220;entanglement&#8221; between <em>making pictures<\/em> and <em>pictoriality,<\/em> between <em>first-order<\/em> and <em>second-order<\/em>, and between&#8230; dare I say?&#8230; <em>the interscopes of hand-speech talk and speech-alone talk<\/em>.<\/p>\n\n\n\n<p><em>Section seven<\/em> (S7C4, &#8220;World Styles&#8221;) seems to mark a transit from <em>the former<\/em> to <em>the latter<\/em>.<\/p>\n\n\n\n<p>0184 The transit remakes <em>what seeing is<\/em>.<\/p>\n\n\n\n<p>If the aforementioned painting<sub>2af<\/sub> is regarded in <em>a hand-speech talk manner,<\/em> then <em>the viewer<\/em> beholds <em>a bowl of fruit<sub>2bf<\/sub><\/em> in <em>the painting<sub>2af<\/sub><\/em>.<\/p>\n\n\n\n<p>If viewed in <em>a speech-alone talk manner,<\/em> then <em>the viewer<\/em> beholds <em>an artifact<sub>2bf<\/sub><\/em> of <em>what the artist is trying to say<sub>2af<\/sub>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>0170 Chapter four (C4) concerns visual art. Pictures have been made by humans for as long as we have been around. The question is, &#8220;Who are we?&#8221; 0171 If &#8220;we&#8221; are the civilized people who adhere to the forms of spoken labels2af, artifacts2bf and standard solutions2cf, then &#8220;we&#8221; are are not the humans who made [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-11294","post","type-post","status-publish","format-standard","hentry","category-unveiling-words"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Looking at Alva Noe&#039;s Book (2023) &quot;Entanglement&quot;\u00a0 (Part 14 of 24) - An Archaeology of the Fall<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.raziemah.com\/blog\/?p=11294\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Looking at Alva Noe&#039;s Book (2023) &quot;Entanglement&quot;\u00a0 (Part 14 of 24) - An Archaeology of the Fall\" \/>\n<meta property=\"og:description\" content=\"0170 Chapter four (C4) concerns visual art. 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