Re: Phonemes

On Sep 18, 1:48 pm, Harlan Messinger
<hmessinger.removet...@xxxxxxxxxxx> wrote:

Because we move our eyes and heads. Because we don't walk around all day
with our eyes fixed on one spot in front of us for minutes at a time.
This isn't a big mystery. I can keep repeating this answer as long as
you keep asking the same question.

Look at this line: a F l d E r 9 p 2 W d H b P a q 8 t s
If you fix the 'a' on the left side you can't read the letters
on the right side, if you fix the 's' on the right side you
can't read the letters on the left side, and if you fix the
W in the middle you can't read the letters on either side.
You see only one small spot clearly, everything else
unclearly, and if you turn the head and your eyes what
has been seen clearly before turns unclear. The same
applies for all we see, not just letters; however, most
people don't notice their unclear seeing all their life
long, and some were most amazed when I showed
them my experiments in 1974 - How unclear I see,
and I never realized it before!, they exclaimed.

No, we don't, because we move our eyes and our heads. Well, maybe you
don't, but the rest of us do.

Everybody sees unclear, apart from the central spot
in the visual field (whose rays fall on the fovea), and
it's the ingenious economy of vision that makes us
assume we see all clearly.

Oh, please. Give it a rest.

Certainly not. I insist that you try to find a good
reproduction of the 1919 L.H.O.O.Q joke. All depends
on it. Just googling a bad online reproduction is the
same as only consulting online dictionaries in matters
linguistic.

Your site isn't on *my* first 500 Google hits for "mona lisa".

I said I published a brief summary of my interpretation
in sci.archaeology in Oct. 2000, "Mona Lisa smiling"
(a reply to one Andy), and it was on the top of the search
results for "mona lisa" for a long time, first in deja, then
in Google (in the Google groups, that is). Margaret
Livingston's book appeared in 2001, only after my said
Usenet message, and anyway I sent my interpretation
around the world a long time before, since 1974/5,
there are copies of my books in several libraries,
but the online message could well have been seen
by M.L. (Margaret Livingston, that is).

I know you said it. But I've already seen evidence that what you claim
others have said and written is not actually found in what they've said
and written. So I don't trust your report.

Everything I say evokes the same protest, first my
interpretations of Leonardo's painting (Mona Lisa,
John the Baptist, Last Supper), then my geometrical
examinations of paintings, drawings, statues, and
buildings, then my reconstructions of pre-Greek geometry,
then my archaeological work, now my linguist experiments.
Perhaps I need this challenge of always being rejected,
as it sets me free: every time I am being rejected I grow
some bolder - what do I care about their prejudices?
..
No, I said it isn't an *admission* when I say that. Read for
comprehension. It is an absolutely mundane and unremarkable observation.
It is not some stroke of insightful genius on your part, not some
esoteric phenomenon upon which you have stumbled as you seem to be
convinced.

I did visual experiments back in 1974, when attending the
official school of arts, my main teacher kindly supported
me, and then I discovered that Leonardo must have
carried out the same experiments long before me.
That was a nice revelation to me. What you make
of it is your choice, not mine.

If your description is meaningless, then it gives me no way to know
whether my experience is the same as yours. I could experience something
entirely different from yours or exactly the same as yours and have no
way to know, from your description, which it is.

Some people were able to carry out my visual experiments,
others weren't. Same for my linguistic experiments.

A threat? What makes you think I care what your opinion of me is?

I don't know whether you care. I just tell you what I feel.

.

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