Dan(in the presence of everyone),

Your emails don't sound incoherent, but they look it. Bad news, good newß:

This is ajob for synesthesia!

Your typing is brilliant - you are using the keyboard as an analogue instrument. You make the difference between ....., ......, and .... mean something, and this is forwardthinking, forwardacting, exemplary.
UNFORTunately, it is being interpreted and presented on digital devices, the stupidest animal family in the whole bestiary......If ANYBODY ever listened to ME we'd have invented TouchSensitive TypingKeyboards which would preserve the differences between the hardnesses of our hitting the keys. That way I wouldn't have to keep going external image ?ui=2&ik=54c0a409a8&view=att&th=14131bddc5a0ae40&attid=0.1&disp=emb&realattid=ii_1413162a209e76c2&zw&atsh=1to make all these emphatic-semantic edits "in post" (which don't make me any less incoherent BTW), and instead could flow them directly. Currently, then, a LittleRedHen problem if you're reading this just send money via paypal to udderbot at gmail >dot< com.
Gregory Bateson, in Steps to an Ecology of Mind, correctly names language as conventionally a digital tool. Either you say a word or you don't. Either it's this word or that word. Smears and slurs blending words and punctuations are interpreted as errors or laziness or worse, as anti-communicative intent.
Herbert Brün, in much of his writings, correctly distinguishes between anti-communicative intent and a pre-communicative attempt to teach language to say something it has never said before.
Neither of these men stoop to define language. I say when language is confined to mere text, message and humanity suffer.
My thesis for linguistic synesthesia:In order for communication to handle emotion without (a) oppressing people ^or^ (b) becoming a dreary me-me-me fest,communication must arc into ((music and art and other means of )) preserving analogic differences,*not* by spelling them out,but by showing (allways) into them.

We have never not needed new words, spellings, dictionaries, but most of all we need new forms for those branches to take.

If one is interested in making such interventions, I invite you to this project and this one. In the context of either of those, I'd looooooove to talk perfect pitch - and by talking I mean to inspect, interrogate, adjudicate the language itself, not just our relation to language as lovers, haters, users, addicts, victims...