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The Living God: The Physical Metabolism Of Symbols

http://en.wikipedia.org/wiki/File:Miniaturk_009.jpg Topic: 17 permalink
Visits: 1,356 Tools are often painted on canvas, and during the Renaissance a painter, Lorenzo Lotto, drew tools within the sun.  
These instruments performed as signs or, better, as ensigns. It will be freemasonry that, later, shall represent actual carpenter's tools on symbolic drawings.  
The underlying idea is that signs embroidered or engraved upon a support, could be extricated from such support, and be employed. In more recent times, think of Rembrandt and of his Night Watch: the tip of the spear seems to protrude from the painting, ready to be unsheathed.  
 
Every symbol is thus implicitly regarded as a potential instrument, and is susceptible of being thought of as a removable instance.  
Between sign and instrument begins a clandestine commerce. If signs are designs, and designs are usable tools, it means that a tool is firstly considered as a shape. This shape may later lend itself to become either a drawn sign or the actual tool; and so a sign isn't but a tool that cannot be pried and a tool isn't but the same sign which now, rather than signifying, can be wielded.  
 
This idea that morphology matters is less futile one may deem. The molecules that we digest may be this or that, but before being any of them they are dimensions (atomic diameter, amount of protons, isomers and stereo-isomers), namely shapes. When a molecule binds its receptor, it is an handshaking of shapes that fit.  
 
We're not digesting a molecule to take avail of a substance, but of a morph, of a shape - of an ensign; of a symbol.
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