The material other

---Shouldn't we re-imagine the semiotic artefact as no longer the embodiment of an abstract logical idea, but the evolution of materials in time as a physical system of forces? There is no division between media and agent. Instead, everything is a medium unfolding in time. When the medium is the message, it doesn't imply that there is any transcendental component which the whole scriptural event is pointing toward. The event is unfolding following its inner necessity, as the sum of all forces in its transformation. The only teleology it admits is its becoming-other. It is not autotelic, as if it had an inner potential it must fulfill or be true to, an entelechy of sorts. It does admit nonfinalistic or temporary reference points for navigation, but these points are floating frames, also evolving on their own terms, cancelling out any use of them as inertial frames, and invalidating any designation of fixed values.

---The art of writing has always followed and reacted to the changes in media technology, from the invention of photography and radio by the turn of the 20th century. Even if the metalogics of the codex and the printed page remain the dominant ground of semiotico-pragmatic spaces, the 21st century nonetheless has led us into the remodeling of these spaces under the expanded affordances of new media and digital kinetic spaces. Beyond an idealist notion of semantic logic, the realm of human meaning-making now includes the massive simulation of temporal and material effects. This foregrounds the procedural and less the structural, the emergent against the inherent, interactivity against passivity, and the poetico-technical against the nomological in the creation of sign-effects.

---We remain enthralled by the fiction of the given. Both concepts and objects--the conceptuality of the object and the objectuality of the concept--as self-evident forms given by reading are perpetual constructions, sketches or works in progress. We should re-imagine once more an aesthesis of movement above that of the monument. The material is the metaplasm of experience and the experience of metaplasm. Instead of a subject-object dialectic, we could imagine a co-evolution, co-invention, and co-implication of subject and object in the same information design dynamic.