“and per se and”
Ah, synthesis! The conjoining and combining of objects, ideas, theories, values and systems, arts, media, experiments, research, disciplines, metaphors, symbols, rhythms, patterns, DNA, et (“&”) cetera.
Synthesis can be planned, hypothesized, purposeful–and it can be spontaneous, unexpected, coincidental. There are times when I feel as though the overlapping and intertwining of experiences seems to have been somehow “planned by the cosmos” (or some higher power); but coincidences occur more often than we think, especially when our consciousness is primed to make connections.
I have primed my own brain, recently, to synthesize thinking about aesthetics, neuroscience, the arts, philosophy and consciousness. So it should not surprise me–though it does!–that the books I have recently been reading connect many threads of my thought, including other recent readings. For example, Martha Reineke’s Intimate Domain: Desire, Trauma, and Mimetic Theory is an exploration of family “romance” in psychoanalytic theory that draws on Freud and Girard; but because Reineke uses Girard’s early writings as her basis, she cites Merleau-Ponty and phenomenology quite often. Furthermore, mirror neurons and the place and operations of consciousness appear in her claims and explorations in this (difficult) text. Mirrors and mimesis, minds and spirits…Gabrielle Starr’s Feeling Beauty, which I’ve mentioned in recent posts, examines the art-body-mind connections in neurological domains and mentions, more than in passing, the phenomenological aspects of the experience we term “art.” Arthur Danto’s The Transfiguration of the Commonplace: A Philosophy of Art (1983, though I read it last month) also wove itself into my thinking as I read Starr’s more current book. In addition (oh, there’s always an “in addition” with synthesis), I am re-reading Csikszentmihalyi’s classic, Flow: The Psychology of Optimal Experience. The states humans experience when we work hard at challenges we enjoy, such as art-making, are deeply connected to our brains and also rooted in our bodies.
So there is a coming-together, a process not unlike chemical bonding, that all of these texts and ideas produce in my mind. This post is one outcome, I suppose. But there will be others.
From Carl Sandburg’s “Tentative (First Model) Definitions of Poetry” (1928): “Poetry is the achievement of the synthesis of hyacinths and biscuits.”
[…] symbol ampersand supposedly evolved out of the Latin word et (as in et cetera), into “and per se […]