Rosalinda is the new WALK PhD student – she has walked and met people in various cultures inspiring her poetic canvas.   Today she is concentrating on nature as the inspiration for poets and how our tactile perception influences our art in 3D.

Please click here to see Rosalinda’s travel blog and here to see her poetry blog

The PhD

Research title

Re-Play on the Poetic Canvas: Investigations into the transfer of poetic metaphors on the poetic canvas inspired by the “beat” of walking a landscape inside the framework of phenomenological and metaphysical theories focusing on the differences of tactile and non-tactile experiences.

Research Aims and related question (s)

Aims:

The aim of this PhD proposal is to investigate how the “beat” of the walking paths carved out by Machado, Snyder, Whitman and Wordsworth can inspire an innovative poetic collage: verbal, vocal, kinaesthetic and visual linked in Buddhist symmetry.

Draft research questions:

  • How the poetic ‘canvas’ is enhanced by using mementos (visual, audio, kinaesthetic) gathered on the walks like a vision quest with reflection of their tactile elements?
  • How does walking a poet’s footprints with a tactile perspective focus change the outcome to re-create (literally – physically – and metaphorically) a line of a poem on a written canvas?
  • How does the forefinger serve as a phenomenological tool that stimulates brain activity and becomes an important part of the precepts that leads to the concept by comparing a visual and audio experience void of tactile inputs?

Background

Concrete poetry has been described as a “constellation” that connects words and form moving beyond the individual poet or verse. (Gomringer 1956: Line to Constellation, Concrete Poetry Manifesto 1956). The e/mergence of text and form can be seen as far back in the Spanish  visual  arts  with  Goya  in  1799  during  a  social  and personal crisis that moved beyond the individual court painter. Ortega y Gasset in 1914 (Meditaciones de Quijote) following Husserl, introduced phemonology theory to Spain with his quote “yo soy yo y mi circunstancia” (I am I and my circumstance) and remains part of the common language to express our interaction with the world; a combination of individual and social context.

Methodology

In investigating the “beat” of the walking paths carved out by Machado, Snyder, Whitman and Wordsworth, I want to explore the canvas like a ‘sandbox’, with the memory of objects found on walks possibly generating a new understanding of their poems with this tactile input.  First, I would investigate, tacitly, objects related to their poems and think about how these objects (natural or man-made) could be used when ‘reconstructing’ a poem — i.e. using grass to form letters or shapes by walking Whitman’s Leaves of Grass.  I will also examine the phenomenological ‘idea’ that the forefinger is a powerful tool, stimulating brain activity and becoming an important part of the precepts that leads to the concept (Honke: 2011).   My own reaction (re-play) to the poem would be introduced as well with an added line (post walking).   Colours for each poet would be determined from the walk linked to the landscape and poem itself.  A printer box used for letters or imitation could serve as the “collective memory” from the walk to hang side by side with the canvas to conserve the remaining objects (symbols) for further studies. Walks created with tactile and non-tactile focus will be documented to compare results.  Seasonal changes will be part of the series of walks to fulfil a multi-perspective analysis for Buddhist symmetry.

The poetic canvas becomes a new Concrete poetry transformed into a subtle 3D canvas inspired by the Nature walk. Without the stimulus of a walking path, where full body senses are involved from feeling the wind, hearing the woodpecker, touching the river rocks, etc., can a true Concrete poem emerge to form a Re-play on the original?  The abstraction of words on a page aided by form may only force an intellectual cognitive connection but not necessarily a link to the heart (empathy).  However, by walking a poem, the heartbeat is involved to drive the body through the essence of the poem in situ stimulating a higher number of sensory inputs compounded by the use of diary notes and object gathering (mental or physical) to activate a spatio-temporal process. This process can enhance a cognitive shift leading to a consciousness shift, contemplating metaphysical theory in movement based on the heart “beat” (Kant). I hope to bridge the physical world with inner reflection expressed through the “concrete” action of the heart transferred to the ‘canvas’; the heart being the main driver of the framework of a healthy system to regenerate old cells. Otherwise, we feel “bogged down.” Someone had to walk the bogs to create this term, and others empathize from experience. Over time this becomes culture whether or not you have bogs in your backyard.

The poet as philosopher (Maria Zambrano: 1939 Filosofía y poesía) appeals to our common language to convey wisdom with metaphors, and Nature is the protagonist with the four poets I chose.  In addition, the Buddhist symmetry link to these four poets is an innovative approach to their work.  I hope to investigate a new depth to the poems beyond intangible typeset and imaginary objects. This project seeks a deeper empathy (collective and individual) through the actual beating of our heart, which would not occur without the walking ex-peer-i-ence to create a new version (re-play). Furthermore, the tactile focus and comparison with non-tactile walks can serve to extract the major difference an artist experiences for during the creative process and the final outcome from these two scenarios.