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11 May 2004.
My table is now:
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LITERATURE |
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1 text with no semantic or illumagistic significance OR Subliterature |
2 words alone OR Solitextual Literature
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3 words whose semantic meaning is of crucial importance for the artworks they are in combined with visual effects of little aesthetic importance for the artworks they are in OR Visually-Enhanced Literature |
(A) works as described above whose words have been infiltrated by graphic matter which is clearly decorative only, as when fancy initials are used to start chapters of novels, or a calligrapher renders a poem OR Illumagistically-Beautified Literature
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(B) works as described above whose words share pages with graphic elements obviously intended to illustrate the words only OR Illustrated Literature
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| 4 words whose semantic meaning is of crucial aesthetic importance for the artworks they are in combined with visual effects of near-equal aesthetic importance for the artworks they are in OR Litagraphy |
| (A) works as described above whose words are fused with graphic elements whose aesthetic importance is equal or nearly equal to the words' aesthetic importance, as in many examples of classical concrete poetry, OR Fusional Litagraphy |
| (B) works as described above whose words share pages with graphic elements but are separate from them which are as aesthetically important to the works they are in as the words, as in many specimens of sophisticated collage, OR Collagical Litagraphy |
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ILLUMAGERY |
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| 5 visual effects of crucial aesthetic importance for the artworks they are in combined with textual elements whose semantic meaning is of little or no aesthetic consequence for the artworks they are in but whose connotations or references to language are of an aesthetic importance nearly equal to that of its visual effects for the artworks they are in OR Textagraphy |
| (A) textual elements whose words are irrelevant or of little relevance which serve as the subject matter of illumagery OR Textagraphic Portraits of Language |
| (B) textual elements used as design elements in illumagery with no concern for their semantic significance, if any, OR Textagraphic Designage |
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| 6 visual effects of crucial aesthetic importance for the artworks they are in combined with textual elements used as labels of some parts or the whole of the artworks they are in but of little or no aesthetic consequence for those artworks OR Labeled Illumagery |
| 7 visual effects of crucial aesthetic importance for the artwork they are in combined with words or other textual elements that are part of visual elements being depicted (such as a name on a sign in a streetscene) but are without aesthetic importance OR Texted Illumagery |
| 8 visual effects alone OR Solivisual Illumagery |
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Just a few notes on the above. I've decided, purely arbitrarily, that "subliterature" is a form of literature. I've also changed my term, "litragraphy," to "litagraphy" to make it easier to pronounce. The only other thing I think worth calling attention to is the similarity in size of the four major divisions, and the nice more or less equal size of literature and illumagery. Those who would call just about everything "visual poetry" (which for me is limited to the division labeled, "litagraphy") would have 1 and 2, and 8, as the only sections containing no "visual poetry."
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