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Embodied Experience and Sensory Thought ‐ Lived Space in Art and Architecture (2006)
ОглавлениеRainer Maria Rilke, one of greatest poets of all times, gives a memorable description of the utter difficulty of creating an authentic work of art and of its density and condensation, reminiscent of the core of an atom. ‘For verses are not, as people imagine, simply feelings…, they are experiences. For the sake of a single verse, one must see many cities, men and things, one must know the animals, one must feel how the birds fly and know the gesture with which the little flowers open in the morning’.1 The poet continues his list of necessary experiences endlessly. He lists roads leading to unknown regions, unexpected encounters and separations, childhood illnesses and withdrawals into the solitude of rooms, nights of love, screams of women in labour, and being beside the dying. But even all of this together is not sufficient to create a line of verse. One has to forget all of this and have the patience to wait for their return. Only after all our life experiences have turned to the own blood within us, ‘not till then can it happen that in a most rare hour the first word of a verse arises in their midst and goes forth from them’.2