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is a very common word in chemistry, since chemists are constantly synthesizing new compounds—that is, compounds—including drugs and industrial chemicals. It's also often used when talking about writing; nonfiction writers must often synthesize large amounts of material from many sources to produce a book—which represents a of the important materials. An electronic creates new sounds (which may imitate the sounds of acoustic instruments) by generating different basic tones and then manipulating and merging them together with others.

in the meaning defined at transitive sense 1

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synthesize

Definition of for English Language Learners

synthesize

syn·the·size \ ˈsin-thə-ˌsīz \
: to produce from the combination of simpler materials

synthesize

transitive verb syn·the·size
: to combine or produce by synthesis

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halcyon

peaceful, happy, or prosperous

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synthesis gas
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Merriam-Webster unabridged

Words at Play

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The cinema, while encouraging a certain bodily knowing, also, and in that very process, opens up the recognition of a peculiar kind of non-knowing, a sort of bodily aphasia, a gap which sometimes may register as a sense of dread in the pit of the stomach, or in a soaring, euphoric sensation. . . .Out of these tensions are generated a series of differences, gaps or discontinuities between knowing and feeling that sometimes sharpen into a sense of the uncanny. (70)

Nonetheless, this sense of the uncanny is sufficiently occasional so as to be marked as a figure against the more necessary and continuous ground of our existence in which feeling and knowing are generally undifferentiated and generally lived as commensurable–this because we are incorporated systemically as embodied and conscious subjects who both have and make sense simultaneously . Thus it is an undifferentiated experience of “sense” that grounds and conjoins body and language, feeling and knowledge–their coincidence so ordinary in our experience that their sudden divergence is marked as “uncanny” or, in the extreme, pathological. Emphasizing this conjunction of the lived body and representation, Alphonso Lingis tells us: “My body as the inner sphere where representations are perceptible. . .and my body as an image seen by rebound from the world, are inscribed the one in other. . . .The density of the body is that of ‘pre-things’, not yet differentiated into reality and illusion. . . . [The body] is a precinct of signifiers.” (71) And, from the other side of this reversibility and emphasizing language and representation as conjoint with embodied being, Ricoeur argues that language not only designates “its other” but also “itself”–and in so doing it is not only referential but also reflective, radically bearing within itself “ the knowledge of its being related to being .” He tells us: “This reflective language allows language to know that it is installed in being. The usual relationship between language and its referent is reversed: language becomes aware of itself in the self-articulation of the being which it is about . Far from locking language up inside itself, this reflective consciousness is the very consciousness of its openness.” (72) In that we are both embodied and conscious, in that we both have and make sense, the literal and the figural in-form each other–as they in-form us. The “matter that means” and the “meaning that matters” emerge in a reciprocal and reversible structure that is the lived body having sense in the world and making sense of the word. Thus the (figural) phrase “in all senses of the word” resonates with ambiguity and suggests its own reversal to the (literal) phrase “in all words of the senses”–and this without a loss of either reference or reflection, even as the direction and focus of the emphasis changes.

Our embodied experience of the movies, then, is an experience of seeing, hearing, touching, moving, tasting, smelling in which our sense of the literal and the figural may sometimes oscillate, may sometimes be perceived in uncanny discontinuity, but most usually configure to make sense together–albeit in a quite specific way. Although I cannot fully touch Ada’s leg through her stocking or Stewart’s sensitized nude body on the screen of The Piano , although the precise smells of fresh laundry and the warmth of the linens that I see in Pretty Baby (Louis Malle, 1978) remain in some way vague to me, although I cannot taste the exact flavors of the pork noodles I see in loving close-up in Tampopo , I still have a partially fulfilled sensory experience of these things that make them both intelligible to and meaningful for me. Thus, even if the intentional objects of my experience at the movies are not fully, wholly realized and are grasped in a sensual distribution that would be differently structured were I outside the theater, I nonetheless have a sensual experience that is not reducible either to the satisfaction of merely two of my senses or to sensual analogies and metaphors constructed only “after the fact” through the cognitive operations of conscious thought.

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