Irony... ughhh! Pt.2

"There is nothing outside the text."  Jacques Derrida

I will start this section with the qualifier that irony and its friends need not be eradicated completely, but should definitely be returned from common communication to their rightful place, entertainment.  By showing how irony/satire/etc. are human forms, hopefully I can show why it is imperative that such forms not lose their value.

Currently, and largely with respect to the Web 2.0 and text messaging, a major percentage of language is delivered in a textual (as opposed to spoken/audible) format.  Further, the contemporary abundance of information that is available in text format often necessitates that a reductive approach to communication be utilized so only the meat gets delivered, while decorative plating accoutrements be left in the pantry.  This being understood, there is often not enough time or space to set a tone, much less qualify every statement being delivered.

In this setting, it is possible that form is all we have; that a definitive form equals meaning pairing is necessary.  The transmission of information must be literalized so that meaning can be conveyed accurately.  When language is removed from inflection, intention must align with form.  To illustrate this best, I will call attention to the newest language, coding/programming.

There is no such thing as ironic/satirical/humorous code.  When one is speaking to a machine, the information must be logical.  What one desires (to happen as a result of communication) must be accurately conveyed using a standardized lexicon.

 When transferred to inter-human communication this becomes a bit of overstatement, as we are highly adept at communicating and understanding nuance.  The fact remains; the idea of inflection is paramount.  How are we to know for sure, from minimalistic text whether the speaker is being straight forward or not? 

This is all the set up for the point that will follow.

Theatre and early film acting is melodramatic, while contemporary filmic acting is wrought with subtlety (in order to be more effective.)  In this same way, contemporary irony/satire/sarcasm is most ironic/etc. when delivered in a less dramatic, more ‘convincing’ manner [which could be called minimalist with reference to inflection.]  The same way that subtle/realistic acting makes us less aware that we are viewing a fictitious scene, subtlety in irony causes confusion about the intention of the communicator, arguably becoming more effective.  Further, the counter-action of drama is that we, as real-life actors, become more dramatic, aligning our feelings’ formal manifestation with those we witness as ‘real’ or ‘moving.’  The question of simulation, of how ‘reality’ lines up with formal manifestation becomes clear.  Coming back to irony et al, as these tropes become over-used, the equal and opposite reactions that occurs between form and meaning changes the location of the reality to which is being referred.  When referential accuracy is lost, meaning is lost, and communication breaks down.

Although a constantly changing reality may be the most realistic form of reality, and the only possible reality for language, future posts will go to show it may not be the most positively productive force for human interaction. (Habermas anyone?)