Write “the sweetest spot is in the vibration, just off center”
Free Write “the sweetest spot is in the vibration, just off center”
–mattie-martha semper Sweet Spot: The Connective Tissue of Relation
What are the “sweet spots” of your narrative? Use “essaying body/ bodying essay” to direct your embodied writing about your proposed story. Pick one moment in the story. A particular space or place, inside or outside. Where are the bodies and objects that create this scenario in relation to one another? What is their scale in relationship? What moments of touching or interacting can you define through the embodied mode of writing that semper suggests?
Now, in a separate narrative describe your own experience as an essaying body, using strategties of embodied writing to describe the experience of writing about these physical connections. Describe where you are and where you connect, intersect, overlap, feel, the world in this space, time, activity. How does the writing process become embodied?
Scenarios in the Sweet Spot: The Tissue of Relations“Knowledge of sensible realities thus comes to life inside the tissue of experience. It is made; and made by relations that unroll themselves in time”– William James, A World of Pure Experience
“the sweetest spot is in the vibration, just off center” –mattie-martha semper Sweet Spot: The Connective Tissue of RelationWhat are the “sweet spots” of your narrative? Use “essaying body/ bodying essay” to practice embodied writing in your proposed story. Pick one moment in the story, one place or space you want to be in it, and to write about using embodied language. Pick a very particular space or place, inside or outside. If you have an image of this landscape, city or built environment, use that as a resource for writing.I need to learn to place myself within the multiplicity of phenomena occurring simultaneously. As I began to digest the sentence, and consider the complexity of its implication, I got my first semiconscious glimpse of pluralism. A major trajectory shift was in motion. I could never fully return to the comfortable habits of binary thinking: this or that. From now on, I realized, I’ll attempt to make pluralism my ontological operative and try to place it at the nexus of my everyday experience. To do so, I’ll need to learn how to keep one perceptual foot grounded in the plurals, in the multiplicity of the fluxes. And somehow learn to move, with puny acupuncture needles, this elusive stuff called qi – considered to be both energy and matter at once – which travelsamidst the multiplicities. –Semper (14)
Embodied Narrative. A speculative scenario Where are the bodies and objects that create this scenario in relation to one another? What is the multiplicity of phenomena that can be perceived through movement and interrelationships of bodies (animal, human, geological, vegitation, fungal)? You don’t have to include all of these obviously.What is their scale in relationship to one another? What moments of touching or interacting or “rubbing up against one another” can you define through the embodied mode of writing that semper describes? How do the various bodies share space–human/ non human/ water/ weather/ plant/ other?Write out a short scenario for a single moment in your story, using these embodied strategies to describe relationships between the bodies and spaces. Be specific. Where are they? How? What? When? Answer these questions by utilizing using one or more of the embodied literary figures described by Semper–white space, metaphor, metonymy, synechdoche, simile, asyndeton, rhythm, etc. Dizzy-ing in its demands, the multiplicity of phenomena occurring simultaneously became my new orientation.A plethora of literary devices, alive and ubiquitous, are eager to be taken up and put to work. Each has an innate drive to express. And, like contiguous gooey connective tissue in the human body, each is a material force that is always responding to the movement of language within the growing elastic flesh of text.
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