Tracing voice energy in group toning - interpreting through different senses
Attending Zen Brushwork classes has allowed me to re-engage with my past drawing practice and open the potential for cross sense interpretation, as Abrham’s says;
'Although contemporary neuroscientists study "synaesthesia"--the overlapping and blending of the senses--as though it were a rare pathological experience to which only certain persons are prone (those who reported "seeing sounds", "hearing colours," and the like), our primordial, preconceptual experience, as Merleau-Ponty makes evident, is inherently synaesthetic [...]
'[...] The intertwining of sensory modalities seems unusual to us only to the extent that we have become estranged from our direct experience (and hence from our primordial contact with the entities and elements that surround us):
... Synaesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the centre of gravity of experience, so that we have unlearned how to see, hear, and generally speaking, feel in order to deduce, from our bodily organization and the world as the physicist conceieves it, what we are to see, hear, and feel
(Merleau-Ponty, Phenomenology of Perception, p. 229) (p. 60)
It is not, for me, a case of internally seeing images when hearing sounds, but allowing the sounds to flow through to my hands, moving with them as we gesticulate with our own language. Being fully present, as Abram states, cannot prioritize the one sense over another.
Examples of the potential for this crossing-over are the relationships I see in the voice and drawing;
Mira Schendel - Monotypes: ‘the trace of the line would materialize from the slightest friction between the body, the paper, and the ink, in contrast to the direct intentionality of drawing with graphite with paper.’
Reminds me of Stephen Connors Strains of the Voice - ‘Where the breath simply escapes, there can be no voice.’
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