Thursday, 24 April 2025

The poetry of the body

Gaston Bachelard's 'The Poetry of Space' was at one time an essential text to read. It gave artists a rationale that they could use to value the poetic (i.e. non scientific) way that they shaped lived experiences and his text demonstrated how emotional responses to spaces like attics, cellars or even drawers, could be communicated through a more poetic understanding.  

What I'm looking for is a companion volume, 'The Poetry of the Body'. Something that like a dérive, eventually finds purpose in wondering about. My unsettled mind, as it flitters around and alights on stuff and then dips into things, never quite settles. I cant seem to drill down and deeply focus on one thing or another, each of my posts skips around an idea, but never quite settles down and I'm looking for some sort of confirmation that this is ok, this is normal.

I was watching a butterfly in the garden yesterday. It seemed to be randomly drifting around, following the shifting air currents as a light breeze passed through the hedge. Then it settled on an old stuffed textile. The cloth was now a pale yellow, a ghost of its former self, but it  offered a moment of warmth to the butterfly, that then spread out its brown spotted wings as a gift to the world. As it bathed in the sun, the surface it had happened upon became something else, a spot for sunbathing. It was a sunbathing spot that hosted a sunbathing moment, like all the billions of moments that butterflies of this sort had had in their pasts and futures. A moment that I now thought was what that old thrown out stuffed cloth had been made for. It was already degrading, it had the grime of nature already woven into its texture, touches of green were now growing through its tight matrix of fibres and this moment, was perhaps the moment of its transformation, woven back into the matrix it had emerged from. 

The speckled wood

 A moment of inconsequence, but it felt more real to me than the many systems of thinking and categories of connections that I had been wrestling with over the last few years. 

I sitt in a plastic red chair, writing about something I felt yesterday. As I lean forward to write, I'm aware my shirt lifts away from my lower back and I feel the cold air that this lets move across my skin. The chair exerts pressure to my upper thighs and I can rock slightly from one side to the other to make myself more aware of this. I cough occasionally, I am getting over a nasty viral infection that I have had to struggle against over the last two weeks. I wonder how many more I will succumb to in the future, before one takes a hold that I cant shift. I have an itch that I cant really get at as it sits between my shoulder blades, but I don't mind, it helps make me aware of that part of my body and it guides me to an ache that sits across the top of my shoulders. My attention, like that of the butterfly's, flits around and then I forget these body sensations because something else takes my attention. The flow of awareness, the impact of constantly occurring qualia on my perceptual screen, is like a mist that I walk through and as things appear to solidify themselves as they emerge out of this mist, I tend to mostly let them fade back again, unless it feels as if they hold some sort of importance. 

For a brief moment this morning I saw something come into focus as I was looking at the work of Flora Joan, who is an acupuncturist and artist. She is part of 'The Nature of the Points' a group based in Amsterdam who have been thinking and acting within a territory that straddles visualisation and healing.

Tongue and diagnostics: Flora Joan

Tongue reflexology

The tongue can be used as a diagnostic tool and it can be used to assess the flow of Qi (energy) in the body. I was interested in Flora Joan's illustration because she was bringing together elements from both inside and outside traditional Chinese medicine, in particular her own focus on a return to nature. Looking at the range of activities that take place under the umbrella of 'The Nature of the Points', also helped me develop my own thoughts on how useful my work on the visualisation of interoception was and I could see a clear link between the work they do and what I'm attempting. 


Visualisations of subjective models of the body's interior

I have cardiac arrhythmia and certain medical and music scholars have speculated that Beethoven may also have had the same condition. In his musical scores he sometime uses asymmetrical rhythmical patterns and changes in tempo, that could possibly mirror the effects of an irregular heartbeat. This aspect of his work has also been linked to a correlation between the known times when it is argued he would have experienced stress or a very high emotional connection with what he was engaging with. It is impossible to prove this of course, but it is another of those possibilities or what ifs, that help me frame up what I'm thinking about in relation to emotion and its communication. 

An invisible hand about to close on the chest

Sometimes I dream about my inner body being squeezed and then realise its my heart trying to tell me something. Out of dreams, sometimes emerge images that sit between the conscious and the unconscious mind, they can be an alternative poetry of the body. 

I think of Beethoven is a giant of poetry, particularly in the way his music's expressive power and ability to evoke emotions, goes right down to my body's core. I 'feel' his emotional intensity, as a type of 'sound poetry', something that I intuitively feel ought to be possible as 'visual poetry' as well. 

The externalisation of an idea of a headache

I have attempted to visualise inner sensations in a variety of ways and after running several workshops with people looking at how others can visualise interoceptual experiences, am now very aware of the necessary time it takes for people to confront the difficulties that face them when attempting to learn a new or developing language. Often you need to show a 
cliché in order to open a pathway towards an alternative.

Headache

Sometimes I have to rely on existing conventions and deal with clichés, as in the image of a headache I came up with above. This was an image arrived at by consensus but which I now feel could go on the side of a packet of Anadin. Which in itself might be a good thing, but I have never thought of my work as graphic design for pharmaceutical companies. 


An image of sinusitis intuitively feels to me that it is much more interesting.

Headache: Sinusitis

This is a more personalised image, one made as a consequence of a conversation, so it is an actual 'portrait' of two people's interoceptual experience, rather than a generic visual idea. Perhaps this is where the value of the work lies and that by tapping into individual experiences and trying to make them visible; am I finally making some sort of embodied visual poetry?

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