Earl Goodson

“The multiform meanings of the Chinese word for writing, wen, illustrate well this interpenetration of human and nonhuman scripts: The word wen signifies a conglomeration of marks, the simple symbol in writing. It applies to the veins in stones and wood, to constellations, represented by the strokes connecting the stars, to the tracks of birds and quadrapeds on the ground (Chinese tradition would have it that the observation of these tracks suggested the invention of writing), to tattoos and even, for example, to the designs that decorate the turtle’s shell (“The turtle is wise,” an ancient text says—gifted with magico-religious powers—“for it carries designs on its back”). The term wen has designated, by extension, literature….3 Our first writing, clearly, was our own tracks, our footprints, our”
― David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World

“speak of this terrain as a primeval and unsettled wilderness—yet this continent had been continuously inhabited by human cultures for at least ten thousand years. That indigenous peoples can have gathered, hunted, fished, and settled these lands for such a tremendous span of time without severely degrading the continent’s wild integrity readily confounds the notion that humans are innately bound to ravage their earthly surroundings. In a few centuries of European settlement, however, much of the native abundance of this continent has been lost—its broad animal populations decimated, its many-voiced forests overcut and its prairies overgrazed, its rich soils depleted, its tumbling clear waters now undrinkable. European civilization’s neglect of the natural world and its needs has clearly been encouraged by a style of awareness that disparages sensorial reality, denigrating the visible and tangible order of things on behalf of some absolute source assumed to exist entirely beyond, or outside of, the bodily world. Some historians and philosophers have concluded that the Jewish and Christian traditions, with their otherworldly God, are primarily responsible for civilization’s negligent attitude toward the environing earth. They cite, as evidence, the Hebraic God’s injunction to humankind in Genesis: “Be fertile and increase, fill the earth and master it; and rule the fish of the sea, the birds of the sky, and all the living things that creep on earth.”1 Other thinkers, however, have turned toward the Greek origins of our philosophical tradition, in the Athens of Socrates and Plato, in their quest for the roots of our nature-disdain. A long line of recent philosophers, stretching from Friedrich Nietzsche down to the present, have attempted to demonstrate that Plato’s philosophical derogation of the sensible and changing forms of the world—his claim that these are mere simulacra of eternal and pure ideas existing in a nonsensorial realm beyond the apparent world—contributed profoundly to civilization’s distrust of bodily and sensorial”
― David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World

“come alive and to speak, had to be chosen by the reader, who would vary the sounded breath according to the written context. By this innovation, the aleph-beth was able to greatly reduce the necessary number of characters for a written script to just twenty-two—a simple set of signs that could be readily practiced and learned in a brief period by anyone who had the chance, even by a young child. The utter simplicity of this technical innovation was such that the early Semitic aleph-beth, in which were written down the various stories and histories that were later gathered into the Hebrew Bible, was adopted not only by the Hebrews but by the Phonecians (who presumably carried the new technology across the Mediterranean to Greece), the Aramaeans, the Greeks, the Romans, and indeed eventually gave rise (directly or indirectly) to virtually every alphabet known, including that which I am currently using to scribe these words. With the advent of the aleph-beth, a new distance opens between human culture and the rest of nature. To be sure, pictographic and ideographic writing already involved a displacement of our sensory participation from the depths of the animate environment to the flat surface of our walls, of clay tablets, of the sheet of papyrus. However, as we noted above, the written images themselves often related us back to the other animals and the environing earth. The pictographic glyph or character still referred, implicitly, to the animate phenomenon of which it was the static image; it was that worldly phenomenon, in turn, that provoked from us the sound of its name. The sensible phenomenon and its spoken name were, in a sense, still participant with one another—the name a sort of emanation of the sensible entity. With the phonetic aleph-beth, however, the written character no longer refers us to any sensible phenomenon out in the world, or even to the name of such a phenomenon (as with the rebus), but solely to a gesture to be made by the human mouth. There is a concerted shift of attention away from any outward or worldly reference of the pictorial image, away from the”
― David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World

“come to call “ideograms.” An ideogram is often a pictorial character that refers not to the visible entity that it explicitly pictures but to some quality or other phenomenon readily associated with that entity. Thus—to invent a simple example—a stylized image of a jaguar with its feet off the ground might come to signify “speed.” For the Chinese, even today, a stylized image of the sun and moon together signifies “brightness”; similarly, the word for “east” is invoked by a stylized image of the sun rising behind a tree.5 The efficacy of these pictorially derived systems necessarily entails a shift of sensory participation away from the voices and gestures of the surrounding landscape toward our own human-made images. However, the glyphs which constitute the bulk of these ancient scripts continually remind the reading body of its inherence in a more-than-human field of meanings. As signatures not only of the human form but of other animals, trees, sun, moon, and landforms, they continually refer our senses beyond the strictly human sphere.6 Yet even a host of pictograms and related ideograms will not suffice for certain terms that exist in the local discourse. Such terms may refer to phenomena that lack any precise visual association. Consider, for example, the English word “belief.” How might we signify this term in a pictographic, or ideographic, manner? An image of a phantasmagorical monster, perhaps, or one of a person in prayer. Yet no such ideogram would communicate the term as readily and precisely as the simple image of a bumblebee, followed by the figure of a leaf. We could, that is, resort to a visual pun, to images of things that have nothing overtly to do with belief but which, when named in sequence, carry the same sound as the spoken term “belief” (“bee-leaf”). And indeed, such pictographic puns, or rebuses, came to be employed early on by scribes in ancient China and in Mesoamerica as well as in the Middle East, to record certain terms that were especially amorphous or resistant to visual representation. Thus, for instance, the Sumerian word ti, which means”
― David Abram, The Spell of the Sensuous: Perception and Language in a More-Than-Human World