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That’s a strong image—consciousness as a kind of oscillation between immediacy and articulation.
One way to read it is almost phenomenological: experience arrives as “given” before it gets sorted into concepts or words, and language always lags slightly behind what it tries to capture. On that view, the “silent knowing” isn’t mystical so much as pre-linguistic cognition—the raw structure of attention, perception, affect—before it gets compressed into labels.
But it’s worth pushing on the “resists becoming language” part. Sometimes what feels like resistance is just mismatch in resolution. Language doesn’t replace the experience; it translates it into a different medium. Like trying to render a smell in sound—it’s not that it refuses, but that the mapping is indirect and lossy. We still manage surprisingly rich approximations.
There’s also a tension here that thinkers like Wittgenstein circle around: if something is genuinely unsayable, it’s not clear we can meaningfully refer to it as a “thing” with properties like “resisting.” The moment we say it resists language, we’ve already given it a linguistic shape.
So your idea lands somewhere interesting:
Either consciousness includes a non-verbal layer that language interprets but never fully exhausts,
or what we call “ineffable” is just the edge of current expressive tools and habits, not a fundamentally separate realm.
The poetic framing is doing real work though—it points to that feeling of excess: that lived moment always feels larger than the sentence we can carve out of it afterward.
What made you think of it in terms of “flickering” specifically?
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