By Eduardo Santana do Carmo
Guiding Professor: Prof. Dr. Gilead Marchezi Tavares
Federal University of Espírito Santo Institutional Scientific Initiation Program Final Research Report
Summary
The present research aimed to carry out an immersive investigation of Henri Bergson's real-time experimentation during poetic writing. Considering, therefore, that everyday automatism occurs in a relationship between current and current, placing the subject in a spatialized reality of utilitarian purposes, breathing techniques from Dance Movement Therapy were used to promote a moment in which the participants, through careful attention, deep into themselves, experience the Bergsonian fundamental self to a greater degree. In this sense, the cartographic methodology was adopted and during the monitoring of the emerging processes in the present study, through the guidance produced by the clues found and recorded in the logbook, it was possible to trace, in the experiential plan constructed here, processes that explain the intrinsic relationship between creation and life, insofar as this corresponds to the Bergsonian real time in which past, present and future coexist. Through this it was realized that the constant subjection to modern chronological time operates an annihilation of the inventive dimension of life, to the extent that it murders presence and experience, and deprives the body of its productive power of novelty, aspects that were related by the participants to health complaints and suffering.
1 Introduction
The difficulty of thinking about time without integrating it into space is equivalent to the difficulty of thinking about the time of the living present: the real time, or duration1, which is the internal fluidity of each person (GIL, 2015). It is understood, according to Bergson (1927), that real time consists of a non-numerical multiplicity of internal states that interpenetrate each other. From this perspective, the existence of two different types of multiplicity is evident: one that concerns matter and, from a mathematical point of view, forms a number; and another that is non-numerical, qualitative and belonging to the facts of consciousness, where the empty intervals that exist in space and effect a separation
of points, do not exist (idem, 1927). From this perspective, the philosopher explains that pure duration is experienced when the self allows itself to live in a coexistence between previous and current states, conceiving succession without distinction in points and enabling a concomitantly identical and changeable existence (idem, 1927).
That said, understanding that real time is not measurable, Bergson highlights that it is only in a relationship between duration and space, through which memory preserves previous perceptions and juxtaposes them in order, and that the real time of each one is projected into space, which gives rise to the creation of a fourth dimension corresponding to homogeneous time, since space does not carry out conservation (BERGSON, 2006). Therefore, the fourth dimension, which, with the three dimensions of space, forges the fabric of space-time, for the author would, in fact, be just a big confusion of space (GIL, 2015). In this way, it is understood that real time is equivalent to the time of conscious life and that, although it is radically different from space, it combines with it, forging access to the world, which explains the importance of memory, as it is through it that the coexistence of the three times will take place: the conservation and extension of the past in the present, as well as the anticipation of the future; duration, therefore, requires memory (idem, 2015). Thus, it is noted that the author places consciousness - which is implied by duration - as an important factor in the problem of access to things, stating that there is reality in each being, in each mode of access that constitutes a world in relation ( idem, 2015). In this sense, time occurs as the totality of the world, therefore, being in duration implies a constant constitution of the subject, as temporal coexistence makes the present an oscillation in the process of becoming, a manifestation of change that highlights it as a action center, since it is the possibility of becoming something new (idem, 2015).
When understanding the present as a center of action, it becomes evident that, for Bergson, the present is alive and of reality organic - immediate apprehension of one's own body -, which occurs as a temporal field that encompasses the immediate past and the virtual actions that constitute the inclination towards the future (HENRIQUES, 2016). However, the body not only constitutes the living present in this inclination to create the future, but it also does so by maintaining the extension of the past in the present, since it is capable, through an elementary contraction, of retaining the actions carried out in the recent past. ; that is, the body is endowed with a minimum creative, sensorimotor and freedom-intensifying temporal extension (idem, 2016). From this perspective, it is understood that consciousness makes funnels in its temporal field to create bodily movements - delving more and more into matter -, thus constituting different degrees of duration that belong to the same temporal structure, which suggests clues for a combination between bodily life and spirit (idem, 2016). Therefore, the body holds complex and highly variable actions, transmitting movements determined by reflex action and chosen by voluntary action, establishing itself as zone of indeterminacy (MARQUES, 2013). That is, it not only constitutes the dureé, but acts through it, increasingly intensifying its indeterminacy, since actuality is always permeated with virtuality and constituted in relation to it.
In defense of the universal continuity of matter, Bergson (2006, p. 234) states that “the materiality of the atom increasingly dissolves under the gaze of the physicist” and that, despite its continuous reality, matter is conceived as bodies solid to enable habits and the fulfillment of the needs of practical life, indicating that practical life introduces discontinuity. In this sense, the author states that, in the universe, there are real movements - since the universe presents concrete changes in its configuration - which are, therefore, indivisible and
qualitative, which aligns them with the continuity of consciousness (MARQUES, 2013). This alignment reveals the existence of rhythms of duration, therefore, the rhythm of duration of matter is faster than that of conscious duration, which intuitively contracts the different moments of material duration to perceive and act (idem, 2013). Thus, understanding matter as endowed with a temporal extension, even if insignificant, allows us to bridge the abyss between subject and object, since they do not differ in nature, but in degrees of duration.
However, although Bergson provides support for overcoming any dualism, it is noted that modernity operates based on Cartesian dualist thinking and, therefore, on a chronological conception of time, making time and space equivalent in a confusion that introduces the subject into a reality quantitative, as it removes it from temporal reality (ZUNINO, 2018). From these different ways of situating oneself in reality, it is possible to perceive two sides of the self: the superficial self - which is situated in an order of spatial, quantitative reality - and the deep me - which is located in an order of temporal, qualitative reality - (idem, 2018). Thus, the superficial, or social, self corresponds to a reality focused on urgent, practical and spatial action, where the necessary characteristics to act are fixed, where the empire of determinism, of shape, do automatism; on the other hand, the deep, or fundamental, self corresponds to a reality situated in duration, where time is an uninterrupted moving process that, consequently, constitutes the coexistence between past, present and future, weaving the unpredictability of life, becoming, creation and, therefore, freedom (RECH, 2010).
From this perspective, the present research aims to investigate in an immersive way the experimentation of the Bergsonian deep self during poetic creation, a process that requires contemplation, escape from chronological time and automatism and, consequently, an experience of the body that differs from the experience that occurs while this subject, which is a body, is located more in space than in time. Thus, the justifications for this research are given insofar as modernity is based on a capitalist system that, for production purposes, conceives a chronological temporality in which the subject finds himself in an automatism of constant servitude to productivity, denouncing such temporality as a forger of psychic illness (DARDIS; TOMÉ, 2022). Finally, this research was carried out in connection with the clinical practices of the Recorpar extension project, where immersion in dance movement therapy devices enabled an escape from automatism and chronological time, as it required a state of contemplation and attention to internal states, thus enabling the free act of artistic creation as an expression of duration.
2.1 General Objective
The general objective of this subproject was to carry out an immersive investigation of H. Bergson's real-time experimentation, which occurs during the creation of poetry, and what it is like to experience the body during this act of creation that requires contemplation and, consequently, a contact with non-chronological time (duration). Furthermore, the attempt is to highlight, through poetic artistic production, its becoming-conscious character and the reality of time as the coexistence of past, present and future.
2.2 Specific Objectives
The specific objectives of this research are: a) To highlight poetic writing as an act that occurs when the subject is situated in duration, that is, experiences the fundamental self; b) Know the relationship between the body and poetic writing during the experience of the fundamental self and c) Participate in the activities and clinical practices of the Recorpar extension project, since they enable a re-enchantment of the body for inventive learning, which presupposes, also, an escape from everyday automatism and, consequently, from modern chronological time.
3 Theoretical Basis
Starting from the conception of the body as “both a punctual instant in time and a mathematical point in space” (DELEUZE, 1999, p. 40) and as a center of creative action of a living present, carried out by Bergson (2006), not only the The inseparability between body and spirit is remarkable, as is the inseparability between subject and world, since the universe presents “(...) a Duration of the universe, that is, of a consciousness impersonal that would be the link between all individual consciousnesses, as well as between these consciousnesses and the rest of nature” (BERGSON, 2006, p. 52/53). Such unconsciousness presents itself as a plane in which processes of intensification of duration that allow perception (HENRIQUES, 2006), given that “Perceiving consists (...) in condensing enormous periods of an infinitely diluted existence into some more differentiated moments of a more intense life” (BERGSON, 2006, p. 244). In this way, Deleuze establishes the existence of organic syntheses, which introduce into the multitude of body organs a pre-subjective temporal field, which enables the existence of tiny singularities that emerge from this space intensive mentioned, introducing a primary differentiation between the duration of the living being and the duration of the universe (HENRIQUES, 2016). Such syntheses constitute the beginnings of an organism's sensitivity that, although they do not emerge in a sensitive consciousness, unfold into more elaborate passive and active syntheses, crucially participating in the construction of the living present and the emergence of a “self” (idem, 2016 ).
Considering this reality in which, as Tavares (2020) explains, subject and world are created concomitantly through affects-disruptions that occur in the body, which is a zone of indetermination, we agree with Nietzsche (2022, p. 51) when This clarifies that the body “does not say I, but does I”. Now, it is understood that the subject is entirely body (idem, 2022), in which the experiences happen and through which ways of being in the world are constituted (TAVARES, 2020). However, even though the experience takes place in the body, it is noticeable that the modern foundation, insofar as it creates a separation between body and mind, gives the body a secondary place and an identity that hinders the search for truth, as well as disregarding emotion and assigns supremacy to reason, especially when it comes to knowledge (idem, 2020). This conception ignores the fact that, as explained previously, “(...) knowledge is created as a invention in the pre-individual dimension - or, to better describe it, with the pre-reflected experience (an agency without a subject) - from which a world and a subject are formed” (idem, 2020, p. 24). Furthermore, added to this is the modern requirement for a mechanical repetition that gives the body a “readiness for action”, which is nothing more than habituality in operation, a closure to virtualities, making the body a machine, placing -o in automatism (idem, 2020).
Returning to Deleuze (1999) regarding the dureé and, consequently, to consciousness, it is understood that it, as “(...) conservation and accumulation of the past in the present” (p. 39) is, essentially, memory. Thus, the entire past coexists with each present, which shows that the past itself contains several levels in depth, which can be close to or distant from the present in question, with such levels being virtualities belonging to the being in question. itself, to the entirety of the past (idem, 1999). In this sense, according to Deleuze (1999), this past comes to be updated in memories that can be evoked, constituting psychological consciousness, that is, according to “(...) Bergsonian revolution: we do not go from the present to the past, from perception to memory, but from past to present, from memory to perception” (p. 49). In this way, returning to Tavares (2020), it is understood that the virtual is of the order of singularization, since it allows updates by acting on already constituted matter - which is current and always in the process of being -, giving rise to a new world , because “the present time is time that passes, that flows, that is always led to change by the brutal clash with the forces of singular particles” (p. 41).
Thus, Tavares (2020), considering the relationship between current and current - the previously mentioned closure to virtualities -, explains that this is “the level of habitualities and historical forms, the level at which automatisms disempower the subjects of their energy politics and its capacity to become-conscious of its own performativity” (p. 41). In this way, it is understandable that “Leaving the habitual movement into which we are already thrown (...) is rediscovering the connection or emotion that forged us and continues to forge us in the continuous flow of temporality” (idem, 2020, p. 25). However, escaping automatism and, consequently, chronological time, requires a reduction in directing attention to the practical and urgent needs of life (RECH, 2010), allowing for a different experience of time which, as Kastrup (2005) points out about the becoming-conscious, occurs “(...) when something that inhabited us in an implicit, diffuse and virtual way comes to appear in the field of experience in an explicit, clear and current way” (p. 48).
4 Methodology
This research investigated in an immersive way Henri Bergson's real-time experimentation during the creation of poetry, through breathing exercises and poetic writing with second-year Psychology students at the Federal University of Espírito Santo, enrolled in the discipline of Cognitive Processes2and with the students of the Special Topics in Cognitive Processes I discipline3. Thus, the breathing exercise carried out with the students was based on the breathing techniques carried out during the consultations of the extension project “Recorpar: a re-enchantment of the body through a learning ethos”, since the project, according to Souza (2023, p . 19), “works with the resumption of bodily expression in the construction of an ethos of inventive learning in the field of Education, based on performative practices, artistic techniques, awareness and expression”. In this sense, such experiments on presence, which include breathing techniques, enable a deviation from habitualities for the production of new subjects and worlds (idem, 2023), as they make it possible to inhabit a heterotopia, which is, according to
2(PSI 10486), a mandatory subject taught by Prof. Dr. Gilead Marchezi Tavares. 3(PSI 10714), an optional subject taught by Prof. Dr. Gilead Marchezi Tavares.
Foucault (2013), a “counterspace", one "unique cut of time” which “(...) has the rule of juxtaposing in a real place several spaces that would normally be or should be incompatible” (p. 24).
Therefore, cartographic intervention research was adopted as a method, which, according to Passos and Barros (2009), is the monitoring of ongoing processes, through guidance by clues, in which the research goals will be outlined. Thus, cartography assumes that all research is already an intervention carried out through immersion in experience, which will produce an agency between subject and object and theory and practice, on the experiential level (idem, 2009), which makes the method a “( ...) tracing this plan of experience, following the effects (on the object, the researcher and the production of knowledge) of the investigation path itself” (p. 18). In this way, the entire process of this research - guidelines, extension project meetings, readings and moments of intervention - are recorded, since, according to Barros and Passos (2009), the cartographic method implies the need for a diary board, as the recording of activities in the field allows us to monitor the provisional co-emergence of the subject and the object, constituting fundamental developments of the research. In this sense, the cartography method aligns with the intuitive method proposed by Bergson, in that it dispenses with stable forms produced by immobilization and is interested in the novelties produced in the field, from an immersive stance and willing to meet the researcher ( AMADOR; FONSECA, 2009). Now, the logbook forms part of the corpus of analysis and it is also from it that the analysis emerges, as the analyzers of the research problem emerge from it. Thus, the analysis of the research work will follow the points present in the logbooks.
Finally, fifty students participated in the research and the meetings with students from the mandatory and optional subjects took place, respectively, on 03/27/2024 and 03/13/2024. The first took place during the Cognitive Processes class, in the presence of the author and another researcher supervised by Prof. Dr. Gilead Marchezi Tavares, student Pedro Cesar Nascimento Bassul, who provided assistance to the Recorpar extension project during the course of his research, contemporary to this one. At first, he performed a breathing exercise with the class, aiming to direct attention to the body and produce slowness, through trigger phrases that guided the students' attention to feel their feet, hands, arms and other parts. of the body, as well as the state of these parts, whether they were relaxed, contracted, among other aspects:
(...) he asked them to sit with a certain posture on which he was explaining the details and began to breathe, which turned more and more towards a attention to one's own body and how it was at that moment; he shot, Also, some words that referred to specific parts of the body that we often don't remember exist during our fast-paced daily lives. Finally, he conducted the breathing exercise by imagining a small balloon and, after a while in this exercise, he asked people to slowly open their eyes at their own time (Logbook Record - 03/27/2024).
Then, the author proposed that they write a poetic account of the experience, based on a comparison between the body state when they arrived in the room and the body state after the intervention. Between one activity and another, a moment of speech was also proposed in which the students shared the experience of the breathing exercise.
Thus, a moment of sharing about experiences was started and some people spoke. We heard that some of the people have a It is a habit of doing similar exercises for the purpose of relaxation and, in this regard, I especially remember a student who said she practiced meditation. (...) Still at that moment, I talked a little with them about these issues of servitude to practical life, based on the theoretical references of my research, saying, mainly, about being excessively situated in the space that is required of us by the capitalist system in which we are raising ourselves and that we are creating. Then, they started writing their reports and the room became a little quieter (Logbook Record - 03/27/2024).
Regarding the second meeting, it was carried out by the professor supervising the research, during the Special Topics in Cognitive Processes I class, in which, after experimenting with body and breathing techniques, she proposed a poetic writing exercise to the students.
5 Results and Discussion
At first, it is essential to return to Kastrup (2005) about becoming-conscious, since it occurs in the suspension of a natural attitude, in the redirection of attention to the interior and in a qualitative change in attentional processes, which occur through concrete practices of presence to oneself, such as the bodily practices carried out with the participants of this research. Now, becoming-conscious “It is the act of making conscious, in an explicit, clear, intuitive way, something that inhabited us in a pre-reflective, affective and opaque way. (...) it is the knowledge of a human experience in action, changeable and fluid” (idem, 2005, p. 48). In this way, it is possible to quote one of the poems analyzed in this research, in which participant number fifty says that “Conscience has the lightness of the flapping of a butterfly's wings. No precise shape or flight rigidity. It's like a unique universe invented on the spot, which is remade every moment, with each new flap of wings. This is the present that escapes me, that seems so remote and distant. Would I be the one present? Am I remote from myself?”
In this sense, it can be proposed that becoming-conscious is a way of experiencing Bergsonian real time, since it consists, as explained previously, of an escape from quantitative time that enables the experience of time as a moving processuality, that is, as a coexistence of past, present and future that makes the subject an indeterminacy, always in the process of being in the now. Now, this escape from quantitative time can be created through physical exercises of presence that require the individual, above all, to produce slowness and attention to themselves. Still, one of the forms of becoming-conscious, according to Kastrup (2005), is the exercise of writing. Therefore, considering that artistic production consists of a free act, since art and freedom maintain a relationship between themselves that is itself duration (RECH, 2010), it is possible to say that poetic writing, insofar as it assumes a character of becoming-conscious and, consequently, experimentation with duration, is an act of freedom, which can only be carried out by the fundamental self. In this regard, Bergson (1927) argues that the free act emanates from the soul as a whole and is freer the more its dynamism tends to identify with the fundamental self; Now, “we are free when our actions emanate from our entire personality, when they express it, when they have the indefinable similarity that, sometimes, is found between the work and the artist” (p. 120).
In this way, the investigation of the body's experience during the proposed exercises and poetic writing, moments in which it was possible, to a certain extent, to situate oneself in the fundamental self, demonstrated, mainly, a
way of being in the world that, through the gestures of “(...) suspending the automatism of action, cultivating attention and delicacy, opening our eyes and ears, talking about what happens to us, learning to slow down, listening to others others, cultivating the art of encounter, keeping quiet, being patient and giving yourself time and space (BONDÍA, 2002, p. 24), made the experience possible as an event, a topic discussed by Walter Benjamin (2021).
During this experiment, I noticed tensions in some parts of my body, which I hadn't noticed during my daily life, I found this very interesting and also made me stop and think about how important it is to give ourselves that time, to stop for a bit, take a deep breath (Part.42). Returning to the roots, the human, interpersonal and self-personal connection, have been lost a lot amidst so much technology, and I felt, today, that I was able to find myself again and live in the moment (Part. 23). (...) The perception of the senses improves significantly, it helps to understand how we act on a daily basis (Part. 18). The bodily experience brought a certain awareness about the space and time that I now occupy, makes me aware of each bodily member and its action in the environment I find myself in (Part. 17). Feel your body, feet on the floor, shoulders relaxed... the mind without accelerator. Short moment that brought awareness of being present in the now (Part. 13).
Thus, with regard to experience, it is possible to agree with Bondía (2002) that, every day, millions of things happen, but nothing happens, since “Experience is what happens to us, what happens to us, what touches us. Not what happens, not what happens, or what touches” (p. 21). Now, returning to Walter Benjamin (2021), it is understood that modernity is poor in experience, which is evidenced, mainly, by the decline of the narrative due to the experience of the incommunicable - wars, inflation, hunger, among others -, followed by a oppressive myriad of ideas, that is, a disconnection between cultural heritage and cultural individuals. Furthermore, experience is murdered by excess information - which creates an illusion of knowledge - and, also, by modern times, in which everything is fast and comes down to fleeting stimuli, which makes the event a sequence of shocks, of fragments, of ephemera (idem, 2021). Consequently, the inventive dimension of the present is annihilated, as “(...) mechanism only considers the aspect of similarity or repetition (...), therefore, we reject the unpredictable. Well before we are artists we are artisans. And every fabrication, no matter how rudimentary, lives on similarities and repetitions” (BERGSON, 2005, p. 50):
I tend to be very tense, I am constantly distanced from my present, and I do everything I can to use it not as an experience, but as preparation for the future. (...) sometimes I forget to breathe, to feel, because at the same time. A time that makes me feel lighter also makes me aware of how much the future and the past weigh on me (Part. 1). It seems that each and every experience here within the course it needs to be rigid, hurried, regulated, heavy (Part. 46). At the moment I have been moving between calm and anxiety. Calm of a world without conflicts (...). Anxiety of a combative notion. Of flow repression. Inadequacy to standards (Part. 26). Tension from head to toe. Head in the past, heart in the future. Hands and teeth clenched, do not let air pass. Distressed shoulders and legs, they don't see the present. Oppressed chest and belly, suffocate the now. But the air keeps going in and out and in and out and in and out. Just air, just now... (Part. 20).
The automatism of practical life makes listening, perception, interest and availability. The superficial self has no time for others. Automation says a self-absorbed self. I am unable to listen, to experience real time (duration), to be interested (...). Serving practical life I produce, produce, bbreviation for the word “Participant”.
I produce and annihilate others as one of the ways of annihilating life (Logbook Record – 08/29/2023).
Still, another aspect associated with modern chronological time was present in most of the poems produced by the participants, an aspect that makes it essential to return to Tavares (2020), when the author argues about the aspect of modernity that, through the disciplinary power that operates on bodies , circumscribes ways of life based on neoliberal ideals linked to the market economy. Therefore, “(...) bringing attention to each part of the body allows us to understand the value, function and the level of overload that we place on ourselves daily” (Part. 21), since, as explained by Tavares (2020 , p. 43) “Discipline involves repetition of movements, establishment of habits to save body energy, and obedience to rules”. Now, through the discipline imposed in modernity, which consists of conducting conduct, to the extent that it maintains an intrinsic relationship with the useful distribution of time, it is possible to produce docile bodies that serve the market economy (idem, 2020). However, when questioning who exercises this power and where it is exercised, Tavares (2020) states that power, as force, is an action without a subject and, therefore, is found in the non-place, being exercised by everyone , without this reality being clear. In this sense, it is important to mention the bifurcation process which, in line with the notion of breakdown by Francisco Varela, occurs in a strangeness of oneself and the world in the face of affect-disorders (idem, 2020). Such an event imposes a hesitation on the cognitive field in the neural pathways, which allows the emergence of several paths for the electrochemical circuits and, consequently, explains the subject's permanent reality of becoming (idem, 2020). Mention the process of breakdown It is important because, according to the author, power is found exactly at this bifurcation, since it is in the non-place, where freedom exists, where worlds and subjects are constituted; in other words, “Power is the expression of politics insofar as it is a directive force that circumscribes the movement that was previously unpredictable and free. In this sense, it restricts, even though it produces worlds and subjects” (idem, 2020, p. 43):
I realize that the process of connecting with the now and with others is no longer as spontaneous as before. Anguish. An urge to scream arose. Outsource what It has made me feel suffocated for some time (Part. 48). The rest of the morning passed, hectic and automated until in the early afternoon I reached this dynamic moment (Part. 3). During the day, we are used to doing everything automatically, not we pay attention to the movement of our body structures when breathing and walking, for example. We live to produce, we live in the so-called “hustle”. At UFES, the morning class ends, we “run” to the RU, then we rush to the afternoon class, we think about work, tests, personal issues... that is, we are always with a full mind (Part. 8). (...) The calm is no longer present. Anxiety follows me unconsciously. Even on a sunny day, rain falls from my eyes. Even on a rainy day, sweat runs down my body. Close your eyes and trying to breathe calmly becomes an impossible mission (Part. 12). Presence is sometimes painful. It's much nicer, sometimes, to close myself off from the world and live as if I didn't feel it. But living is feeling. Feel the air entering your nostrils, notice that the short breath that fatigues me is often not noticed, but how can I not understand life? (Part. 37)
In this sense, Tavares (2020) explains that it is through an intentional attitude of presence, an attitude that is made impossible by automatism, that it is possible to restore to subjects their ability to become conscious and the political power of their own performativity. Consequently, the intention of presence - experience as an event - enables a reunion with one's own body, to the extent that this reunion speaks of
inhabiting the non-place, the great empty interval where the brutal shocks that occur are inserted in the direction of a future, signaling the emergence of a consciousness that is a spatial-temporal flow subsequent to these shocks and maintained by memory (idem, 2020) . What happens here in this reunion with the body is an infinitesimal space-time prior to a distinction between subject and object, where the pure and undifferentiated virtual particles that they constitute an opening to the previously mentioned plane of immanence, they become current under a principle of uncertainty, producing bifurcations, changes of direction, novelties, a present always in the process of being through a clash with pure virtuality (idem, 2020); i.e, (...) perceiving each member of my body is perceiving that they are one a little tense, a little painful, but with them you realize your existence, the existence of place, the place where you live and where each breath is found and have the realization of how rich she is! (Part. 15).
In this sense, Tavares (2020) proposes the reenchantment of the body as an achievement of this plane of immanence, called the dimension of communalities, in which the reunion with the body is an opening to its utopia, proposed by Foucault (2013): the non-place, the ambiguous zone, the indeterminacy that forges worlds, the hesitation that speaks of “the exact instant in which the entire body is taken in such a way that the hair stands on end, the face tingles, the limbs relax and contract involuntarily, the throat dries out, the heart beats at a different speed, thoughts are crossed by affective forces” (p. 34):
(...) Heavy and tense body. Forced. In doubt whether I should stay. In doubt about myself, my capabilities. Am I capable? The noise uncomfortable, looks cause shame, the body is awkward, a feeling of pure tiredness (Part. 25). Calm; meekness; relaxation; connection; mindfulness; gratitude; hope. I believe it is difficult to put together on paper the words that can characterize what I felt (Part. 23). Clarity; calm; despair; fear; tranquility; happiness; happiness; cheer (Part. 28). The class reassured me and exposed me, not in a bad way, but because I had to do things that I am not accustomed. But that's good. It moves me, pulls me and makes me rediscover myself. And me I know less and less about myself (Part. 47). (...) I was actually calm, good... until you have to stop to relax. I feel like because he's speaking too softly (I don't I heard correctly) my body went from a good state to an almost bad state too much. With every word he said as a guide, I tried to listen, but I didn't understand; When he understood, he tried to do what was proposed, but he couldn't I could (Part. 11). Restlessness; replacement; movement; to look; vulnerability; presence; permission; delivery; contact; to perceive; breathing (Part. 34).
6 Conclusions
6.1 And the surest thing of all things, there is no worth a path in the sun5
From the discussions, it is possible to perceive, in the present research, that modernity circumscribes, in bodies and from bodies, a determined and automated reality in which, according to Bondía (2002), instantaneity and the obsession with the new “(. ..) prevent a meaningful connection between events. They also impede memory, since each event is immediately replaced by another that equally excites us for a moment, but without leaving any trace” (idem, p. 23). This reality leads to the fact that “The Excerpt from the song “Força Estranha”; authored by Roberto Carlos.
our experience unfolds, therefore, more in space than in time: we live more for the outside world than for ourselves; we talk more than we think; we are acted more than we act” (BERGSON, 1988, p. 159). In this way, being excessively situated in space also means, as argued by Gil (2015), an understanding of time as a fourth dimension which, according to Bergson, is just a big confusion in the spatialization of real time.
Talking about time is talking about duration, it’s talking about life. Consequently, conditioning and placing a body in a pre-determined and segmented time is to annihilate the body itself.
life, which is intrinsic to creation, to indeterminacy, to multiplicity that cannot be measured. (...) Therefore, we need the leak (Logbook Record – 09/27/2023).
In this way, the poems as a whole also allow us to conclude that modernity as a determinist aspect creates ways of life disconnected from its organicity, since, taking up Tavares (2020), it mobilizes, through discipline, the power to come to be something new existing in the non-place, where it is possible to leverage political energy to forge new worlds. Such decoupling consequently means a disconnection with the present which, as explained previously from Henriques (2016), is alive, organic, intensifying freedom and creative, insofar as it is always constituted in relation to virtuality. In this way, the present as becoming something new described by Gil (2015), can be mobilized through the constitution of habits and, therefore, reduced to the “readiness for action” described by Tavares (2020), that is ,
The actual and the virtual coexist, and enter into a narrow circuit that leads us back
constantly from one to the other. It is no longer a singularization, but an individuation as a process, the actual and its virtual. It is no longer an update, but a crystallization. Pure virtuality no longer has to update itself, since it is strictly correlative to the current with which it forms the smallest circuit (DELEUZE, 1996, p. 54).
Difficulty relaxing. (...) I can't relax my stomach. Back pain, I can't stand straight. (...) I still don't know how to relax (Part. 49). (...) The ability to Perceiving in its entirety is a demand from our body but most of the time we do not listen to ourselves (Part. 21). First breathing activity I did, at that moment I realized that I can't relax so easily, as I felt I was in agony for having my eyes closed for a long time and not being able to perform the breathing exercise as well as I thought. I came to the conclusion that I can't concentrate on my own body as well, because I realized that I had some need to be tense/vigilant (Part. 30). Breaks are necessary. In such a busy world, it's important to stop, think... connect. But, in front of In such a busy world, we can often become overwhelmed. Not being able to hear commands, not knowing how others are behaving. It can stop you from...stopping. But it's important to try. In another space, at another time. To finally relax (Part. 7).
6.2 Life is a friend of art6
6 Excerpt from the song “Força Estranha”; authored by Roberto Carlos.
However, it is possible to conclude that the attentional exercises of presence, insofar as they place the individual in a non-chronological temporal flow - an experimentation of dureé - where contemplation is possible, they allow, as Kastrup (2005) argues, to become conscious and, consequently, embodied, belonging to the experiential scope, opaque and virtual aspects that constitute worlds and subjects uninterruptedly, to the extent that they exist as pre-affection -reflective. In this sense, through the poems investigated, the language of poetic writing was perceived as described by Ferreira (2016, p. 91): “(...) built by the experience of the body in the world, it is not just limited to articulated words by fixed ideas. It is the form of the body in movement, in which gesture and gaze reveal, at every moment, man in his way of being.” Thus, poetry explains the world lived and perceived by the artist, insofar as it is a beautiful expression of the poet creating himself and the world perceived by him; Now, it is constituted as a movement of creation that starts from an always unfinished body that is forged in the world, a world that also encompasses the culture and society in which it is located (idem, 2016). Therefore, “The poet's way of being and the world he experiences are shown in the verses, and also in the unthought, opening the way for another way of being and being in the world” (idem, p. 112). This perspective allows us to remember the definition discussed previously, based on the literature discussed, of a free act proposed by Bergson as an expression of duration - which corresponds to each person's life - and, consequently, associated with art. Now, the existence of real time leads to the idea of an “I” that lasts, which is constituted in the temporal flow of dureé in an indeterminate way and in constant production of novelty (CAPELLO, 2019). In this way, it was possible to perceive, above all, that the more it is possible to live the time of life, without underestimating the practical importance of measurable time and without inserting the individual, who is a body, excessively in space as required by neoliberalism, the more noticeable the own life as almost inseparable from art, since, as proposed by Bergson (2005), it is not possible for the artist to predict a portrait that will be created and “The same goes for the moments of our life, of which we are artisans. Each of them is a kind of creation. (...) each of our states, at the same time that it leaves us, modifies our person, being the new form that we have just given ourselves” (p. 7).
“On the path I chose there was a rock. There was a stone in the way
I chose." When I arrived in the classroom I remembered this poem, where today in this
Monday made me think about my journey in life and my psychology course. (...)
A different way of seeing the discipline was proposed today, it took away the weight and brings a form another of being in life, in class and on the course. With presence (Part. 40). (...) The accelerated and automatic disconnection from everyday life, even if for less than 5 minutes, makes (...) even after the experience I am able to better noticing the laughter, the sun, the university, the chairs and objects around, bringing a state of conscious living, instead of the constant state of anxiety, full of “where was I and now where do I need to be?” (Part. 17).
Finally, the main difficulty encountered in the course of this research was the scarcity of literature that explores the relationship between the excessive placement of the body in chronological time and illness, in light of the theoretical apparatus used. In this sense, the present study was able to contribute in some way to the understanding of this relationship, as it demonstrated this excessive positioning in space while linked to the production of docile bodies and automated ways of life that serve the neoliberal system, through poetic productions. who have related these ways of being in the world to health complaints. Furthermore, based on this investigation, it would be interesting to construct a research that investigates the conception of professionals in the field of mental health, especially those who work with diagnoses, about the relationship between body, time and illness.
Thanks
Firstly, I would like to thank my supervisor immensely for the enchantment and power she produced in me since our first contact, in the discipline of cognitive processes. It is with great affection and inspiration that I will take with me the new perspective that it was possible to build with you in this training process. Thank you very much for accepting my research topic, for authorizing me to carry out this creation and for making yourself available, despite the very difficult process I was going through. I am also immensely grateful to the entire Recorpar project team, who contributed with extreme learning in the construction of this research. Here, I express my deep gratitude to Raphaella Daros for her attention and commitment, her presence was essential for my training and for carrying out this study; to Juliana Amaral for her availability, authorization, presence and for everything she taught me in the Recorpar project; and Filipe Azevedo also for his attention, authorization and sharing of discussions and literature that were essential for the development of this investigation. Another person I would like to thank immensely is my friend Pedro Cesar Nascimento, for his attention, for what he teaches me and taught me during the course of this research, for his partnership in the theoretical discussions and for being present in the meeting with the students, a very important step of the research in which I needed your participation.
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