Language embodies imagination

Language embodies imagination; its diastole and systole, its expansion and constriction. Our proclivity for constricting imagination by turning everything into literal noun-things lives in grammar. To see how this plays out, let’s track how the phrase ‘the unconscious’ can open to imagination or turn what began as an experience into a thing. Some emerging psychological

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What the body knows

A friend reported the following experience: “Being an empath can be an odd thing…I was introduced today to an art exhibit photo of two wall clocks hung side-side-side and synchronized.(1) I was asked what I thought it was about. I teared up and cried, with no idea as to why. I didn’t feel any emotion

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an example of being figured by the work

in the essay, “the dream-ego in the dream, the waking-ego in creativity,” i write of how we (in this case, composer, performers and audience) are figured by the creative work. Here is a stark example. Background for the Rouse composition from  https://en.wikipedia.org/wiki/Odna_Zhizn    Christopher Rouse’s 2009 composition Odna Zhizn (Russian for “a life”) is what

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the dream-ego in the dream, the waking-ego in creativity

JSSS Conference presentation Robert Sandford, M.A., June, 2018 In this talk, the dream-ego in the dream, the waking-ego in creativity, we will entertain the central image of a chapter of the same name from my upcoming book, A Jungian Approach to Engaging Our Creative Nature. Hillman writes in Healing Fiction (p.80), that Jung’s technique of

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group mind V: connection to the audience

Related posts group mind I: like conversation group mind II: transcendence group mind III: the nature of music group mind IV: chemistry group mind V: connection to the audience Insight: For every ensemble, whether in rehearsal or in performance,  there is always present, their audience. Always at issue in every rehearsal and every performance is

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