[&- "embodiment resided in the translation of the movements of the painter's hand into the weave of interconnected brush marks." Stephan Bann, The true vine, on visual representation and the Western tradition, Cambridge, Cambridge University Press, 1989, p. 91. -&] touch
[&- "the marks in Jackson Pollack's Grayed Rainbow, for example, are records of the exact bodily motions that made them, and they evoke the affects a viewer migtht associate with those motions." Elkins, James. Pictures of the body: pain and metamorphosis, Stanford, Stanford University Press, 1999. -&]
[&- Elkins, James. Pictures of the body: pain and metamorphosis, Stanford, Stanford University Press, 1999. "'Pain' in this book does not denote aching or throbbing, or even unpleasantness of any sort, but rather the nonverbal eperience of sensation as opposed to the cognized memory or analysis or name of sensation." -&]
[*& "Many people have a tree growing in their heads, but the brain itself is much more a grass than a tree." A Thousand Plateaus: Capitalism and Schizophrenia, Gilles Deleuze and Felix Guattari, Minneapolis, Univ. Of Minnesota Press, 1987. , p. 15. "Why not invent a story: "The Man with the Wicked Tree in His Head"? Something will come to mind: I will die only if I can no longer invent anything. I am dead when I am silent." Diggelmann, W. (1979). Schatten Tagebuch eine Krankheit (Shadows, diary of an illness}. Zuerich: Benziger. Quoted in Dreifuss-Kattan, E. (1990). Cancer stories: Creativity and self-repair. Hillsdale, NJ: The Analytic Press. &*]
death is silence is death?
[*& "I had always assumed in some vague way that outlines were 'real'... looking at objects around me. When really looked at in relation to each other their outlines were not clear and compact, as I had always supposed them to be, they continually became lost in shadow... how was it possible to have remained unaware of this fact for so long? Second, why was such a great mental effort necessary in order to see the edges of objects as they actually show themselves... "I noticed that the effort needed in order to see the edges of objects as they really look stirred a dim fear, a fear of what might happen if one let go one's mental hold on the outline which kept everything in its place; and it was similiar to that fear of a wide focus of attention "the outline represented the world of fact, of separable touchable solid objects; to cling to it was therefore surely to protect oneself against the other world, the world of imagination."
"I noticed that the effort needed in order to see the edges of objects as they really look stirred a dim fear, a fear of what might happen if one let go one's mental hold on the outline which kept everything in its place; and it was similiar to that fear of a wide focus of attention."
"the outline represented the world of fact, of separable touchable solid objects; to cling to it was therefore surely to protect oneself against the other world, the world of imagination."
"I began to discover that there were a multitude of ways of perceiving, ways that were controllable by what I can only describe as an internal gesture of the mind. It was as if one's self-awareness had a central point of intensest being, the very core of one's I-ness. And this core of being could, I now discovered, be moved about at will" Marion Milner, A Life of One's Own. &*] mind or body
[*& "Collage relations transform the simple, historical finality of 'end' into a complex structure of overlapping edges, each now capable of expressing a form of desire. At 'an end - of roses,' an evocative 'it'....Now the art object itself discloses a life of the rose, capable of synthesizing masculine and feminine in a complex structure of broken edges....capable of preserving that imaginative space in which sexual identities can blend and sexual possession becomes a form of renewing the other's distinctness." Charles Altieri, Painterly abstraction in modernist American poetry, Cambridge, Cambridge University Press, 1989. &*]
[*& Paul Vangelisti, "Collage as language: further thoughts on 'Events'," in Katherine Hoffman, Collage:critical views, Ann Arbor, UMI Research Press, 1989, describes his own experiences working with collage poetry and the effect this had on him - essentially a move from "a certain 'tragic' ethos or stance for which the desire to write verse preordained" [him] to "the salvage in Portfolio is precisely comic, an assemblage of social and personal contexts within which poetic language may be renewed...in choosing to play with this phenomenon, I find my poetry redefining itself..." &*]
[&* Julia Kristeva, "Intertextuality and Literary Interpretation," Julia Kristeva: Interviews, NY, Columbia University Press, 1989, p.193. "If one takes into account musicality, rhythmicity, alliteration, and so on, this type of writing is obviously a temptation to go down as far as possible toward the semiotic, toward the confrontation of the subject with the object of loss, nostalgia, melancholia - in other words, that maternal form which may be conjured up as a dead mother, an absent mother. And it is an attempt to go down - note that the poet [Nerval] compares himself to Orpheus descending into hell - an attempt that is totally vulnerable because it assumes the possibility of self-loss, and at the same time accurate, because the poet pursues the vulnerability of the psyche experiences to the very edge of nonmeaning. But what one can see is that when the poet feels he has won out in this regressive quest, he expresses his triumphant emergence with a narrative, or at least with the opening of a narrative...use an 'I'...he begins to tell a story in which, instead of mythical, esoteric, ambivalent, and indiscernible characters, there appear two aspects of the feminine figure:...the mental and the carnal, the sublime and the sexual..It is as though from that point onward one is dealing with protagonists in conflict, and beginning to tell a story." *&]