In Post WALKING TOWARDS THE CONCEPT OF FREEDOM OF 20 THINKERS. PART I We proceeded to infer, from the ideas and conceptualizations that 20 thinkers had about freedom, what the practice of walking represented for each of them. Now, we will try to venture into the area of pictorial creation. We will try in an imaginary way to walk inside one of the houses that Van Gogh painted, creating its interiors. We will use Artificial Intelligence to discover several of these rooms, such as the living room, dining room, family room, bedroom, courtyards and gardens, etc.
We chose Van Gogh because he was an outstanding creator and one of those who made a considerable number of houses. Of all of them (Van Goghian houses), we have selected one to recreate these hidden spaces.
To imagine walking inside one of the houses painted by Van Gogh, any of them, means a great effort that we have to make to conceive what the arrangement of the house would be like.
Anyone can carry out this mental exercise to idealize one of the houses he painted, however, it is very attractive to observe 4 or 5 printed rooms that Van Gogh himself could have imagined. It is a very interesting exercise as it allows us to “play” with a wide range of possibilities. We select the house that we like the most, the one that may hide certain plastic characteristics that appeal to us: the place, the countryside or the city from which Van Gogh drew his plastic motifs. However, it can be any painting by any painter.
As a further reference to the cause for which this proposal-invitation to motivate walking arises is Post WALKING: FEELING AND ENJOYING, which has turned out to be quite objective illustration of the 2 outstanding aspects that I explain in it, about “FEELING” and “ENJOYING”, which sometimes we don’t understand clearly, especially the concept of feeling.
Of course, this is an idealized way to promote and encourage walking; however, additionally, I should mention that it is also a consequence of my recent book, entitled “VISITING THE INTERIOR OF THE ARTWORKS OF GREAT PAINTERS” (1).
In this book, I expose the use of Artificial Intelligence to recreate the interiors of any painting by the Great Masters of Plastic Arts, and with this description we can recreate the architecture to build that house or use Holography (Chapter 6 of the aforementioned book), in such a way that we would not necessarily have to build that house, we would only wander around inside it, by means of holographic images.
As we already mentioned in Post WALKING: FEELING AND ENJOYING, autotelicity refers to doing an activity for its own sake, because of the intrinsic satisfaction it brings, rather than for the purpose of achieving an external goal: just walking for the pleasure of doing it.
In this case, using holographic images for walking could be considered autotelic for several reasons:
Immersive Experience: Holographic technology provides an immersive and exciting experience in itself. The sensation of being surrounded by three-dimensional images while walking could be rewarding on its own.
Exploration and Discovery: Walking with holographic images could allow you to explore interesting and exciting virtual environments. The simple act of exploring new worlds and discovering details in the images can be intrinsically rewarding.
Sensory Stimulation: The combination of physical movement with holographic visual perception could provide unique and pleasurable sensory stimulation. This could generate a sense of connection between your actions and the images you see, contributing to autotelicity.
Creativity and Play: If you have the freedom to interact with and manipulate the holographic images during the walk, you could be engaged in creative and playful activities. These activities tend to be intrinsically satisfying because of their autotelic nature
In short, walks using holographic images can be considered an autotelic activity because of the intrinsic satisfaction that comes from the immersive experience, exploration, sensory stimulation and creativity associated with holographic technology. It is not so much about achieving an external goal, but about FEELING and ENJOYING one’s own action and experience, about FEELING and ENJOYING a walk inside the idealized rooms of one of Van Gogh’s painted houses.
For copyright reasons, we will only present images of the interiors that we created with the support of Artificial Intelligence, recreations obtained from one of the artworks executed by Van Gogh.
As I mentioned in a previous paragraph, this is a sublimated way to promote and encourage walking, as perhaps no one is encouraged to walk inside a house, let alone in an idealized way; however, for a considerable number of people who are reluctant to walk, just showing them some ideas of how Van Gogh might have imagined a house to paint its façade is probably enough to get them to take the first steps and get them to walk, if not inside their house, then outside it.
We could also, in order to imagine walking outside that Van Goghian house, recreate the courtyard in front of it and the courtyard behind it.
Let’s waste no time and go for a walk, imagining that we are walking through one of the courtyards that Van Gogh walked through.
(1) Loya Pinera, Rodrigo & Loya Lopategui, Carlos, Visiting Inside the Artworks of Great Painters, EMULISA, Mexico, 2023. Available on Amazon, Kindle Edition: https://www.amazon.com/dp/B0D3GMC9KR.
I have wondered what are the different ways that I can use to transmit the benefits of this system. The main purpose for which I published this blog was to motivate people to walk and practice the WALK-RWD System and in this way they can experience its benefits that I have had over many years.
It’s a real challenge because I hear how difficult it is for people I know to decide to do any type of exercise. Personally, sometimes I find it somewhat difficult; However, I overcome that apathy, listlessness and laziness, just by repeating to myself several times that I always feel extraordinarily well, during and after having walked, allowing my body, mind and spirit to carry out this activity that pleases me and gives me levels of satisfaction in a short time, I emphasize: short time. Surely the mechanisms and forms of motivation are different for those people who live in places with high degrees of urban concentration compared to those who live in less complex places, in addition to other circumstances that also generate divergences in their stimulation and reluctance. Discouragement is always fought in the same ways, but with different intensity, depending on the circumstances, personal cases and our own way of being.
A very important element that we must always keep in mind, as part of the functional structure of the WALK-RWD System, is that we are not competing in any of the 4 fundamental activities that make up the whole, nor against any person, not even against Lord Time (Post THE WALK AND THE LACK OF TIME)
386. THE INCORRUPTIBLE “LORD TIME”
The title contains the words “feeling” and “enjoying”. There is no doubt for most of what it means to enjoy some activity, although sometimes we do not realize it; however, the feeling is that sometimes we do not truly understand it.
Suffice it to say that to enjoy something, you need to feel it, either consciously or unconsciously.
Let us observe how we should feel some experience, exercise, action, activity, etc.
Let’s begin to understand it by looking at its opposites.
Aversion, repulsion, negativity, hostility, animosity, contempt, disgust, etc., is the opposite; if we are not in these various positions, then very probably we can feel sympathy, attraction, affection, appreciation.
It has been shown that a very high percentage of the population suffers listlessness, apathy, laziness, sometimes depression (at different levels), when they know they are going to compete. Our system seeks to free us from that straitjacket, emotional-paralyzing chains. One of their mottos is “do not compete”; The only one we have to compete with is ourselves, which should be understood exclusively as developing abilities, tastes, desires, expertise, skills, faculties, but as we already explained in another post, the different “healthy” ways that we can use for it, ( Post PLAY AND WALK-PART I. NO TO COMPETITION, YES TO FUN), suffice it to know for now, that only a connection with our feelings will have to be achieved, through the following aspects:
1) Loving ourselves, taking care of our body and our mind;
2) Seek health;
3) Desire to be emotionally stable;
4) Experiment and take advantage of “here and now”;
5) Be empathetic with others and achieve patience with ourselves;
6) Be aware of the time we have;
7) Really know the attraction we feel towards walking, reading, writing and drawing;
8) The attraction or rejection that we feel about the activities and commitments that we are obliged to develop;
9) Be aware of our ability to concentrate and meditate.
The impulse that should move us is to be better in all aspects, with each passing day. We should not undertake any challenge to improve, if it implies some punishment for not completing it, therefore it should not imply high costs, only rewards for effort, for having “defeated” ourselves in silence -without anyone knowing- to advance our purposes and desires.
Several of the paragraphs that we mentioned above are closely related to the awareness that we must have when we develop an activity -any of the 4 of the System-, since we must carry it out to enjoy it in itself and not for any other, collateral, or for a satisfaction in the last future (Post THE “HERE AND NOW” WITH THE SYSTEM). These recommendations must be observed for any type of activity, in general; Its compliance is essential if we want to achieve (the) passion in what we do (Post LOOKING FOR PASSION IN THE REALIZATION OF THINGS, WHILE WE WALK).
How can we know about the attraction –or rejection- that we feel towards walking, reading, writing and drawing, or towards any other activity? In this questioning we will have to consider all the actions or activities that we carry out, whether for pleasure (own decision), by unconscious conditioning or by work, family, social, civic, religious commitments, etc.
In these aspects, our concentration, abstraction and meditation capacities play an important role (already discussed in previous posts), however, we will focus essentially on the function (act) of feeling and the art (exercise) of enjoying, in a simple and plain way, in such a condition that we can all respond in a simple and natural way.
FEELING
Being and feeling always go hand in hand. We feel good when we feel that our being is running freely: our mind feels free, our body moves calmly, our spirit flies in the air. We feel even better when we are also giving ourselves something: a moment of peace, meditation, contemplation, relaxation.
ENJOYING
In relation to enjoyment, we do not intend to unravel philosophical questions about hedonism, sensuality, eroticism or pleasure; we simply want to convey some ideas on how to truly enjoy (delight) what we do.
The fundamental thing that we must have in our feelings -not just keep it in mind- is that playing and the other 4 activities integrated into the WALK-RWD system are actions that contain an end in themselves, and that, furthermore, each one of them is co-propelled by the rest.
Each structured activity within the System is made up of several actions. Knowing and becoming aware that each action generated by our inclination to develop these activities, has its end in itself, places us in a position of balance and independence, in order to achieve enjoyment without conditioning of any kind.
This rule applies to all areas of human behavior: art, business, government, exercises, education, even within the same free time or illiteracy, etc., you have to educate yourself and perfect yourself, but leaving aside the things and forms that they are determined by the social structure (work, religion, rest, etc.) and we must select our activities for what they represent by themselves, for us. Only in this way can we enjoy them.
Human behavior should thus be directed towards these activities and actions for the value in themselves that they have for each of the human beings.
Now, if we already know that each action should be enjoyed by itself, how can we achieve it?
First of all, we can resort to the autotelic characteristic that certain activities have for a specific person.
This autotelic characteristic determines activities as absorbing and exciting, which is why an individual is excessively interested in them and thus manages to become engrossed in the value that they represent for themselves, exclusively, which allows them to become self-absorbed and enjoy them in an abstract way ( rapt).
The term “autotelic” comes from the Greek words “auto” (self) and “telos” (end or purpose). An autotelic activity is one that is performed for its own sake, is intrinsically rewarding, and is not performed with the aim of achieving an external result or goal.
In the games that we propose while we walk, read, write or draw (Post PLAY AND WALK-PART I and II. NO TO COMPETITION, YES TO FUN) that are creative, simple and fun, do not contain any link with the Obtaining or carrying out something productive, however, does have something beneficial for the person performing the action or activity by following their playful instincts.
We must also resort to the heterotelic characteristic that every human being has inside. A “heterotelic” activity is performed for the purpose of achieving a specific goal or result.
In the execution of plastic art and in other artistic genres, this characteristic drives the individual (woman or man) to act consciously or unconsciously, moving him towards the development of activities that have in themselves a specific objective or productive value, with an aesthetic character, which produces an attraction in itself.
Below I present several autotelic and heterotelic activities that we can develop while we walk.
Autotelic Activities:
Observe nature. As you walk, enjoy the beauty of the natural surroundings and appreciate the landscapes, trees, flowers, and animals you encounter.
Listen to music. Take your favorite music with you and listen to it while you walk, enjoying the rhythm and melodies that make you feel good.
Practice walking meditation. Focus on each step you take, feel your breath and contact with the ground, keeping a calm and peaceful mind.
To photograph. Take a camera or use your cell phone to capture interesting moments or beautiful views, enjoying your walk.
Talk to yourself. Use the walk as a moment of reflection and self-knowledge, talking to yourself about your thoughts and emotions, or about a special topic.
Draw outdoors. If you are an art lover, take your drawing material with you and create sketches or paintings inspired by your surroundings.
Contemplate the sky. As you walk, look up and observe the clouds, the sun, the moon and the stars, letting your imagination run wild and enjoying the firmament.
Read an audiobook. If you like to read, listen to an audiobook as you walk to immerse yourself in a fascinating story. Also, as we have recommended, read any document that you are passionate about.
Practice gratitude. Give thanks for the positive things in your life as you walk, acknowledging and enjoying all the good things around you.
Dance. If you’re feeling upbeat, put on your favorite songs and enjoy an impromptu dance as you walk.
Feel free. While you walk, you can feel free to do it on a forest path or through the open field.
Contemplate and examine a painting. If you like plastic art, go to a museum and contemplate the paintings that you like by walking through all the rooms of the museum.
Relying on holographic images. Engaging in an activity supported by holographic images can be very rewarding, even if they are not easy to create.
Heterotelic Activities:
Walking to reach a specific destination. Define a specific place that you want to walk to, enjoy a park or a friend’s conversation at home.
Do exercise. Set a goal for your walk, such as burning a certain number of calories or covering a specific distance.
Visit a tourist place. Plan a route that includes 2 or 3 nearby tourist points and take advantage of the walk to get to know your city or a place of interest.
Make purchases. Walk to the market or mall to buy groceries, clothes, or other items you need.
Go to your workplace. Walk to your office, whenever it’s close. Or, use a vehicle to a certain point and walk from there.
Go to your school. Walk to your school if it is close.
Do a sporting activity. If in addition to walking, you like a sport, such as skating, walk to a suitable place to practice it.
Walking to meet someone. Set up a meet up with a friend or family member and walk to the meeting place.
Participate in a charity walk. Join charitable events that involve walking for a charitable cause.
Walk your pet. If you have a pet, take advantage of the walk to take it for a walk and both of you will enjoy it together.
Walk to take pictures. Pre-define a photographic theme and walk around looking for related scenes to capture with your camera.
Conduct field research. Define a research topic and walk around your environment to collect data and observations related to the topic.
We must keep in mind that these activities, both autotelic and heterotelic, have their own advantages and can complement each other to provide you with a more enriching and satisfying walking experience. Let’s see what are the fundamental differences in these two human sensations.
Regarding the last autotelic activity “Contemplate and examine a painting”, we can imagine certain aspects, in relation to FEEL and ENJOY:
Enjoy: When contemplating a painting by Van Gogh, it is very likely that a feeling of enjoyment will be experienced. The vibrant brush strokes and play of colors can create a sense of wonder. The way Van Gogh captures light and movement on canvas can provide a fascinating and emotional viewing experience. Enjoyment arises from the appreciation of the artist’s creativity, the expression of the beauty and uniqueness of the work. This positive feeling can fill us with calm, inspiration and pleasure when contemplating a work of art.
Feel: When looking at a Van Gogh painting, one also experiences a wide range of sensations and emotions. For example, a person might be amazed by the intensity of the colors and the chaotic composition that reflects their emotional state. At the same time, he could capture the melancholy and loneliness often associated with his artistic style. Also, you might feel an emotional connection to the work if you have read about Van Gogh’s life and personal struggles. Thus, this experience can encompass both positive emotions and artistic appreciation, as well as more complex sensations, such as empathy for the artist’s internal struggle.
Viewing a painting by Van Gogh can provide both the “enjoyment” of visual beauty and the opportunity to “feel” a wide range of emotions and sensations by appreciating his art and the depth of his emotional expressions.
More specifically, one can imagine that one is observing any of the houses painted by Van Gogh and thus be able to describe how our “FEEL” and our “ENJOY” would be when contemplating it.
Regarding FEELING, it is certain that a mixture of feelings and emotions will be experienced. On the one hand, one could feel a connection to the loneliness and nostalgia that often characterize his works. The way Van Gogh uses colors and shapes can evoke a feeling of melancholy and reflection. The intensity of the colors and brush strokes could convey a sense of passion and emotional energy. Likewise, one could “feel” empathy towards the artist and his personal vision of the world, which often reflects his own internal struggle.
Regarding ENJOYMENT, one could imagine that despite the complex emotions that one would experience when observing the house painted by Van Gogh, it is also possible that one would find elements to enjoy in the work. The way Van Gogh plays with colors and textures could bring aesthetic pleasure. Perhaps you would appreciate the uniqueness and creativity with which he interprets reality through his expressionist style. The intensity and contrast of colors could create a powerful and enriching visual experience. Thus, “enjoyment” could derive from an appreciation of the artist’s technical skill and originality in rendering the house.
Taken together, looking at a house painted by Van Gogh can evoke complex and diverse emotions and sentiments to “feel”, while also allowing one to “enjoy” the unique beauty and artistic expression that characterize his work.
Additionally, we could imagine walking inside that house painted by Van Gogh that was built in some way, and thus describe our Feelings and our Enjoyment ((Future Post WALKING INSIDE A RECREATED HOUSE. REMEMBERING VAN GOGH).
FEEL: Walking into a house built following the inspiration of a Van Gogh painting, you may experience a unique and emotional sensation. The influence of the artwork on architecture could convey a deep connection to the artist’s vision and style. As in his work, it is likely that while walking in the interior spaces of the house, the colors and shapes evoke intense emotions and sensations. We could feel immersed in an atmosphere rich in emotional nuances, from euphoria to introspection. The house could become a space that, when we walk, invites us to reflect and contemplate, similar to the experience that his paintings usually provide.
ENJOY: Living in a house inspired by Van Gogh’s painting could give us constant enjoyment of creativity and artistic expression in everyday life. That is to say, observing ourselves walking inside the house, surely, the way in which colors and shapes are integrated into the architecture could generate continuous aesthetic pleasure for us. The vivacity of colors and the unique interpretation of reality could create a stimulating and enriching environment every day. The house could become a visually striking and stimulating space, where every corner and detail contribute to a unique aesthetic experience, while we walk around. In addition, being surrounded by elements that evoke the style of Van Gogh could inspire a feeling of connection with the history of art and human creativity.
Altogether, living in and walking into a house inspired by a Van Gogh painting could be an emotionally rich and aesthetically pleasing experience, allowing both the “FEEL” of a connection to the artwork and the “ENJOY” of the beauty and originality in daily life.
Now, regarding the autotelic activity of feeling and enjoying Van Gogh’s house, we do not need to build an interpretation or recreation -by means of Artificial Intelligence- of one of his paintings, but we could also walk inside it by means of a virtual form relying on Holography (last activity: “Relying on holographic images”). (1)
Let’s feel and enjoy the walks while doing them through any selected process.
(1) Loya Pinera, Rodrigo & Loya Lopategui, Carlos, Visitando el interior de las obras de los grandes pintores, EMULISA, México, 2023. Distribuido por Amazon, disponible en Kindle Edition: https://www.amazon.com/dp/B0D3GMC9KR.
One might think that rhythm, compass (beat) and cadence are not very appropriate concepts to be used in the activity of walking, because they are usually applied in music and in some other artistic manifestations. I would like to mention and emphasize that walking as a natural human activity comprises a “musicalization” and is therefore realized by combining functionally and organically these three functional concepts. Walking is a percussive musical symphony (Future Posts EXPLORING OUR PERCUSSIVE MUSICAL WALKING-BODY-RHYTHM; THE PERSONALITY DEFINED BY THE RHYTHM WHEN WALKING-BODY; WALKING AND THORACIC PERCUSSION).
Our body is permanently vibrating. It emits its vibrations when performing different functions through its various vital organs and systems: breathing (lungs and alveoli), palpitations, pulsations, heartbeat (heart), voice and language (mouth, larynx, pharynx and oesophagus), blood circulation (blood vessels), lymph circulation (lymphatic vessels), autonomous movements of some organs, etc.
The rhythm, the compass (beat) and the cadence of each body are organically aroused and create a vibrational symphony.
What does “organically” mean?
The term “organically” refers to how the different parts and systems of the body function and relate to each other in a natural and coordinated way to maintain homeostasis (Future Post THE WALK-RWD SYSTEM AND HOMEOSTASIS) and perform its vital functions.
In the physical aspect, the human body functions organically when the different systems (such as the cardiovascular, respiratory, digestive, nervous, etc.) work together to maintain an internal balance and allow for physical activities.
On the mental side, organic function refers to the brain’s ability to process information properly and maintain emotional and cognitive balance.
This implies – in both aspects – a complex interaction of biological, psychological and social factors that allow for effective adaptation to the environment and the demands of everyday life.
Considering the above, we can also consider arrhythmias, peristaltic movements and others as a source of organic vibration.
FUNCTIONAL ORGANIC RHYTHM, COMPASS (BEAT) AND CADENCE
Let us briefly analyze the concepts of rhythm, compass (beat) and cadence, taking into account the sensations and effects on the physical body as well as on the mental aspect:
RHYTHM: is the regular succession of events or phenomena with a certain periodicity. In the human body, rhythm can be observed in biological functions, such as heart rate, breathing, sleep and wakefulness, among others. It can also manifest itself physically as in artistic expression, in dance and ballet (Future Post WALKING, DANCE AND BALLET).
COMPASS (BEAT): is the regular division of time into equal units, which is used in music to measure and organize rhythm. In the human body, the compass (beat) can be used as a meditation technique to regulate breathing and mental concentration; it can also be observed in the coordination of movements and in the regulation of heart and breathing rate during physical exercise, e.g. walking.
CADENCE: is the rhythmic variation in the intensity, speed and duration of a movement or sound. In the human body, cadence can be observed in the way we walk, run or perform any type of physical activity. It can also be present in the way we speak (speeches and poetry), and in artistic expression such as in music and poetry. Cadence can be used as a tool to improve physical performance and mental attention in different situations.
Cadences, those variations in the intensity, speed and duration of our movements while walking (of constant time lapses) have been learned over millions of years in the natural practice of walking. We have developed that cadence (*) that we use when walking from the pristine origins of the human being.
(*) PERCUSSIVE CADENCE: Cadence implies rhythm, but also organization and harmony. In percussive music (percussion) it involves rhythm and time periods. An ordering that leads to intonation and harmony. It is the series of percussive sounds that are performed in a standardized and regular way. The percussive cadence in walking also involves the movement of the body to match the intonation (tones) produced by the steps. It is the perfect and normal distribution and organization of the sounds generated by the steps and the movements of the body as a whole. This walking cadence can normally be combined with sounds, movements and pauses, in both cadential spheres (sound and movement), which participate in a physical and auditory intonation, in full harmony. It is the normal harmonization that the body achieves when walking, as the steps are performed to a rhythm and musical beat of its own.
Each individual has his own rhythm, compass and cadence, as well as his own opening of step “d” when he performs his personal walking.
NORMAL STRIDE OPENING “d”
The step distance “d” of an individual is constant in normal walking. When we perform some extra activity while walking, this distance “d” is modified, either by increasing or decreasing it, transforming it into an irregular or out-of-normal gait.
In general, the normal walking pace “d” is greater than when reading at the same time:
DISTANCE d’ WHEN READING AND WALKING
d > d’
In the same way, we can illustrate for the other 2 structured activities within the WALK-RWD system, writing and drawing, and each of them will impose on each individual a specific stride opening.
To walk with a different stride opening than normal is to walk out of cadence, and of course, also with a definite rhythm and beat (compass).
It should be noted that the rhythm, cadence and compass, and therefore the step width “d”, change throughout the life of a human being, man or woman. The same values are not maintained in childhood, adolescence, maturity and old age. However, each individual develops these 3 parameters according to his or her gender, physical structure, weight, height, etc., and keeps them constant during certain periods of time.
The determination of each of these parameters involves measurements of time, space and number; and with them other quantifications such as speed, gravity, acceleration, weight, mass, etc. are combined.
Gaston Bachelard in his book THE INTUITION OF THE INSTANT, F.C.E., Mexico, 1987 (1932 in French) expresses his ideas about habits and conditioned rhythms, which shape the human being:
“A particular habit is a sustained rhythm, where all acts are repeated by equalling quite exactly their novelty value, but without ever losing that dominant character of being a novelty”(pp. 61-62).
“The global identity [of the human being] is made up of more or less exact reiterations, of more or less detailed reflections. The individual undoubtedly strives to copy today from yesterday; and this copying is also helped by the dynamics of rhythms” (pp. 63-64).
“The dominant habitus flows over those which are more unconscious” (p. 64).
“The human being is an integral sum of rhythms” (p. 64).
“The chronotropisms will be those that integrate the habits in this integral sum of rhythms that form the being” (p. 65).
Something more related to walking, Johan Huizinga, in his book HOMO LUDENS (p. 222), gives us some ideas that I will summarize: He refers to the body with its movement and balance when walking. That same rhythm that “contains” the body, from time immemorial, from the most remote times, which has manifested itself in the manufacture of food (archaic times), in an instinctive way, we also observe that the body carries it out, in an unconscious and imperceptible way, in walking.
And I, for my part, in the introduction to my book “Cocinopea”, describe this rhythmic movement that ancient human groups developed, to prepare their food:
It seems that someone whispered to us that the highest art, the best art, is the one that is performed with the greatest number of human senses. And therefore, we could venture to say that rhythm in bodily movements has a profound and subtle effect on the preparation of the cymbals, that rhythmic faculty, sensation and capacity are determinant in the being for it. I do not wish to expand any further on this, but I do wish to comment that the activities that take place in the kitchen, aimed at preparing food, have always been carried out in the company (association, adhesion) of chants and work tunes since the most ancient times and in very primitive activities such as grinding, milling, cutting, kneading, etc., as well as in the preparation of food, grinding, chopping, cutting, kneading, crushing, combining, mincing, mutilating, dismembering, slicing, carving, mixing, baking, roasting, and all of them surely had a compass (rhythm), a song, a rhythm, a melody, which accompanied and led them.
It was characteristic that these activities were carried out in groups, and as the activity of preparing food became more and more an individual activity, the custom and rituals of accompanying them with chants and rhythmic body movements in groups was lost.
Hence, we could also venture to say that a good cook is one who has an adequate and relevant inner rhythm. Rhythmic balance and good flavor merge to achieve the best dishes, which is why we recommend for this type of cooking the setting with music from the region, highlighting Huastecan sones; for each of the dishes there should be a specific suggestion of the music that can accompany the preparation of each recipe.
So it is also in our interiority that these 3 factors work to prepare the food: Rhythm, Compass and Cadence.
To conclude I would like to communicate the 5th Principle of the WALK-RWD system or Principle of Rhythm and Cadence, which arises and is an essential part of this Post:
5th Principle or Principle of Rhythm, Compass and Cadence.
Every individual has a rhythm, a compass and a cadence of his own, he only has to discover, apply and maintain them while walking.
The determination of these 3 parameters in each individual can be determined by the practice of walking itself. Only by walking can each person identify which ones are ideal for the body, both physically and mentally. There are two very important stages that we can go through in order to understand how to identify them. The first is related to ideas and the second is identified with health.
STAGE OF IDEAS. The human being when walking can manage to generate a greater number of ideas through the application of the WALK-RWD system (Post THE WALK-RWD SYSTEM ENCOURAGES CREATIVE THINKING. PART I; Future Post THE WALK-RWD SYSTEM STIMULATES CREATIVE THINKING. PART II, THE WALK-RWD SYSTEM AND COGNITIVE PERFORMANCE), the generation of an inexhaustible (unfading) wellspring of ideas and creativity; and when we enter into an attunement (symphony) with these three parameters when we walk, we may be assured that these are the normal and ideal parameters for that particular person, for he is generating an optimum number (quality and quantity) of ideas.
STAGE OF HEALTH. In the stage of health we can express the same; walking for the human being is a source of unquestionable youth (generation of health and prevention of diseases), besides the correction of morbid states when walking, through the application of the WALK-RWD system (Future Post THE SILENT SOUND OF OUR FOOTPRINTS HEALS US) and when we enter in a tuning (symphony) with those three parameters when we walk, we could assure that those are the normal and ideal parameters for that special person.
Let’s take a walk and introduce ourselves to these 2 stages of ideas and health
I have already referred, in some previous Posts, to this one I am publishing; for example, in Post WALKING ALONG 2 IMPREGNABLE SUMMIT OF FREEDOM, I mentioned that: “It is one thing to approach the concept of freedom by certain complicated paths [1st scenario] and another to approach freedom itself, to discover it, feel it and exercise it [2nd scenario], proposing in that Post a scheme to achieve it. Perhaps the latter is more difficult”.
I have decided to carry out the first scenario – that of approaching this point of understanding the concept – by means of this post, which I have divided into several parts, which I will present as I analyze different authors. It will be an important and intense effort, and I will have to carry it out with caution, since it will be necessary to become clearly aware of what the thinkers I have selected have written about the concept of freedom and their inclinations towards the practice of walking, in an indirect way.
One of the aims of this attempt is to find out where Freedom now stands at a fork or crossroads? At some point in its historical journey, perhaps it shows a reasoned walk up to these moments. From these indirect views to have the prospective of where it will – or should – go in the future. In future Post THE WALK OF LAW, FREEDOM, HISTORY, JUSTICE AND OTHER VALUES I mention the way Freedom walks, as I observe it: “The walk of ‘FREEDOM’ is swift and energetic, like the flight of a free bird in the sky. Each of its steps is expansive, always seeking new horizons and opportunities”.
There are a few concepts about which we need to be quite studious and very analytical, and freedom is perhaps the most important of these and, moreover, truly inextricable.
To walk towards that point of understanding the concept of freedom and to know its bifurcations is our purpose.
Many, many thinkers throughout history have devoted their intellectual efforts to study, analyze and evaluate these two scenarios. All their views on the subject are acceptable and worthy of consideration. But, very few have written and given their opinions on the natural, innate and spontaneous activity of “walking”; I have no doubt that a high percentage of them liked to walk and did it, consciously or unconsciously, as an exercise to “liberate” their ideas: thinking and writing.
Also in the field of art, the concept of Freedom is involved in an essential way.
There is a potential controversy regarding creation itself, especially in the context of using Artificial Intelligence (AI) to recreate new versions of masterpieces by great painters. The introduction of AI into the artistic world has raised important questions about originality, authorship and aesthetic value.
On the one hand, AI technology makes it possible to recreate works of art that mimic the style and technique of famous painters, which can be a form of homage and a way of experimenting with classical styles in a modern context, but it also presents a disruption and “pseudo-homage” by multiplying the works of those creators who produced an original and limited body of work in terms of the number of their works, which could now be greatly expanded.
From a positive angle, it is argued that these recreations can be a way of revitalizing and reinterpreting fine art.
There is no doubt that from now on, some artists will embrace AI as another tool in their creative arsenal, as it is demonstrative that these new technological means catapult creativity in human beings.
The freedom of creation in art in this age of the onset of AI reflects the constant evolution of the very definition of art and its purpose in society. It is essential to explore new forms of expression and reinterpretation of masterpieces through technology and to observe their cultural impact (1).
I propose in this Post, divided into several parts, to make a discursive-conceptual disruption or discharge by pouring out the most important ideas (conceptions) of a number of thinkers – 20 or less – that they had about freedom and try to focus on relating them allegorically to walking. An analysis of their thoughts in order to approach them methodically and reasonably, giving them a certain plasticity (flexibility) and thus involve them with an activity that they obviously performed but never mentioned, walking, but which – with reasoned intuition and sensitivity – we can incorporate into their conceptions. It is an exercise on my part that will allow me to refocus their thoughts and gain additional insight from them about freedom, and with imagination, their inferential relationship to walking.
There are approximately 20 thinkers and from each I will set out their thinking, in a very concise way, on freedom by analyzing some of their own books that they wrote on this subject. In addition I will have to make a great effort to research what walking might have meant in their lives. The latter could be likened to an essayistic exercise, if I may use the term; a challenge that kept me engrossed (busy) for a couple of months as to what would be the procedure and formula that could lead me to such an illustrative essay.
Throughout this study on freedom, I kept the formula in mind: To walk is to move forward and to feel free.
To approach – metaphorically walking – what has been thought, analyzed and expressed about the concept of freedom, may perhaps be a motivating invitation to confront ourselves with what freedom means for the human race. It could also guide us to delve deeper into the thinking of one or more of them, which would lead us to read and, I would like to take this opportunity to tell you, to do so by walking. With this idealized sequence, a new circle of Freedom-Reading-Walking could be fulfilled; a forced but achievable analytical process, and perhaps we will find in this formula some stimulation (motivation, invigoration) to carry it out. Most probably, we will discover a gap and want to fill it; however, the ideal means is the binomial “reading-walking”, with which a basis of functional approach between freedom and walking could be achieved, and reading would be the functional (analytical) bridge required to achieve that approach.
Some time ago, I once asked the following question: “Freedom: Existential longing, mental mirage or metaphysical reality?” Apart from going through some answers and opinions, analyzed and reasoned, trying to define what it consists of, I also tried some mechanisms to make it “felt” in some of its most elementary forms, just by walking (Post WALKING ALONG 2 IMPREGNABLE SUMMIT OF FREEDOM).
Freedom gains strength in function of its absence; the more we feel we don’t have it, the more we long for it. I have already mentioned on other occasions that it is easier to talk about that which impedes, hinders or is incorrectly called freedom – that is, the forms of “non-freedom” in society – than about that which really is freedom.
Walking allows us to feel and live “sensorially” that full force of our interiority, regardless of the types of our emotional chains. It allows us to move away from the mass fervor of consumerism (commercial hedonism), from the mass advertising envelope, as we are constantly being told that freedom is “a bonus” to be gained by acquiring things. When we walk along a country pavement, we say: “I breathe fresh air”; and that is nothing more than an allegory of feeling free, free from the things that imprison us, our commitments, obligations, physical things, from everything that makes us feel tied down.
Just to get a little closer to its definition, we can mention a classification of this concept in 2 aspects, which are not the only ones; the first one is constituted by psychological freedom, of a spiritual, psychic, mental and metaphysical type, which is defined with 2 words: inner freedom (Future Post WALKING AND INNER FREEDOM-WALK-RWD SYSTEM AS LIBERATION); and the second is made up of physical, civil, political, economic freedom, with all its rights, of worship, of association, of expression and others, also defined with only 2 words: outer freedom.
Now, the system of reading, writing and drawing, while we walk, is a possibility that we have at hand to move away from these chains. Those 3 fundamental activities that make up the System are linked to freedom, as we walk, we feel free from our bonds.
In a story in my book Evanescent Stories (2), entitled “THE TREE OF EXISTENCE; AND FREEDOM?”, I present a dialogue between the consciousness and the unconscious, -all the stories consist of a dialogue between these two mental entities-, which describes the struggle we engage in with ourselves for not understanding what is happening to us and for not being able to feel free. I quote myself:
“Freedom is the random space where none of the mental functions find a place. Disharmonies that must turn back, searching for the intuition of that reasoned instant that imprisoned generates our own reaction to exist.
It is paradoxical to blame each other.
Healing is the very yearning for freedom, that self-presence in the balance of the source of feeling and reason, of suffocation and subjugation; for the sole purpose of knowing and feeling that we are alone; condemned to hide in the memory of our own being, consuming that strangulation of deep solitude, the product of hopelessness, of being authentically us, and only us.
That is not being.
The vital horizon is observed when freedom is oneself.
And what comes next? My unconscious conditions are confused.
Nothingness. Absolutely nothing. Only hell. Blood flows at 103 degrees when freedom is taken away.
Let us not resist. Every movement is a creator of itself; even if we find ourselves at these limits, we should not aspire to recreate only if the other dies”.
So much for this part of the dialogue between these two entities seeking harmony.
The title of my book, “Freedom 103” (3), comes from this story, because there are 103 authors that I study and analyze their views on the concept of freedom.
The series of dialogues between the consciousness and the unconscious summarises our perennial struggle to be free. When our being is curtailed in its possibilities to act freely or is blocked, at that point of intransigence and despair, our blood begins to overheat (103°F) and boil if we do not manage to emancipate ourselves from our chains, whatever they may be, personal or external.
Walking is not the total solution to remove such chains, but it does help us to mitigate various emotional ailments. Let’s do it by choosing a place outside urban areas and take a book and a notebook with us. Let’s read that book – chosen in whatever way – that brings us release and rescue that aching part of our being. Let us observe the open space (contemplation) and let us unburden our sorrows by writing them down so that they too fly freely out of our being (Future Post WALKING LETTING TRANQUILITY FREELY).
Let us give ourselves permission to walk and make it a privilege that has virtually no monetary cost. Let us do these activities as a fundamental act of freedom.
Back in Post WHAT WOULD THE GREAT THINKERS RESPOND ABOUT WALKING?, I presented a short response from each of the 74 thinkers I chose. I elaborated those answers in a revealing and meaningful way, albeit in a funny way, about what for some reason they had distinguished themselves in their creative work.
I get to thinking that if we had a compilation of their views on walking – if they had made them – we would have an excellent assessment of what the exercise of walking is. Obviously, with this writing I do not pretend to achieve that, or even something close to it. J.J. Rousseau wrote a whole chapter on the subject of walking and it is really very interesting to hear what he thought (Future Post WALKING IN J.J. ROUSSEAU, analysis of his ideas on the subject). But the rest, he wrote almost nothing about this natural practice of the human being.
The first 3 authors I analyze, are the ones I propose below, and in each of them we will walk along the two stretches of the road that I am sure we will be able to know where we are standing and where we are going:
1. Eliade, Mircea, “The myth of the eternal return”, Ed. Alianza-Emecé, Spain, 1951.
Although it is not a book devoted to the subject of freedom, it contains a small section on this concept that is very interesting, as it deals with two aspects that make it essential to include it. The article is called “Freedom and History”.
The first issue is about the creation made by the human being (pp. 148-149) who attributes his creative impotence -of modern man- to the part of the being that has been captive to a mythical horizon governed by archetypes, and sometimes reduced by them. He has long been disabled – for a long time – to take the risks that lead him to the same creative acts, and he is limited – immersed in history – by his own way of conceiving freedom. The archetype is his actual model of freedom. According to my approach, this first aspect has much to do with walking: Creation, Creative Powerlessness, Archetypes: Post WALKING AND THE ARCHETYPE “MAGIC”. PART I; Future Post WALKING AND THE ARCHETYPES-THE COLLECTIVE UNCONSCIOUS, scheduled for publication July 1, 2024.
The second aspect that Mircea studies places the human being as the maker of history. To the extent that man advances towards modernity and becomes embedded in it, to the same extent his incapacity to create it increases; either because of his own impulse of several centuries, even millennia – says Eliade – that he achieves it alone, or because his leadership has been deposited in a few characters who lead the masses towards historical tasks exclusive to them, forcing them to carry out harmful actions and prohibiting them from acting naturally. It is thus an apparent freedom for the majority of mankind.
It is a freedom that is philosophically deterministic or indeterministic but defined by an elite, and ultimately a fictitious and non-existent freedom.
In a synthetic way, M. Eliade proposes a disposition of actions of modern man governed by archetypes that restrict him, on the one hand, in his creativity or creative activity, and on the other hand, in the worst case, defined by a small number of people who tell him what he must do and when he must carry it out. This development becomes increasingly difficult and complicated as our actions become more historical.
The author compares modern man with archaic man, the latter being a free and creative being, unlike the former who has been bound in his creative behavior. “The man who aspires to be historical cannot aspire in any way to the freedom of the archaic man with respect to his own ‘history’, because for the modern man his is not only irreversible, but also constitutive of human existence”. He makes this confrontation without reaching a definitive conclusion about his historical conditioning and about his relative freedom; however, he does foresee a future where historical man must seek and find the new man, who is the creator of his own freedom; to this end, and with the purpose of overcoming this archetypal cyclical – infinite – archetypal horizon, he proposes a philosophy of freedom, without excluding the supreme divinity and under the new condition of spirituality of the Faith-God binomial.
Modern man has been restricting himself in his creative work, limiting himself to creating only history. The archaic permanently recreated his cosmic traces and infinitely repeated his cosmogony, which transformed him into a free and creative being (a creator). The modern man has not transcended his historical state and has not been able to achieve the creation of a new man, a challenge that will have to be resolved in the future.
Its conceptual and functional linkage (relationship) with walking: We can say that Mircea Eliade, being a historian of religions, focused on “hierophany” and the manifestation of the sacred in the world, which led him to consider that freedom could be related to transcending worldly limits and connecting with the divine. In this context, walking for Eliade could be interpreted as a means of seeking that spiritual connection and escaping earthly limitations; a natural practice – like all those of archaic humans who were free and creative – and one that we should engage in intensively as in its origins. Modern man is limited by his own cultural conditionings and in order to place himself on the path of freedom he will have to walk, which is a “costless” practice, and as he continues walking he will encounter some forks and difficulties on the way, but at least he would have started with a natural archaic action of freedom.
Simmel, Georg, “The individual and freedom”, Ensayos de crítica de la cultura, Península, Spain, 1986.
Georg Simmel (1858-1918), who has been considered the self-consciousness of modernity, presents in this work a diversity of analyses on vital issues -religious, historical, aesthetic, philosophical and social- among which is freedom, and from whose final chapter “The Individual and Freedom” derives the title of this book. The twenty-six chapters that make up the book are critical essays on culture, which give us an insight into the thinking of this German sociologist and philosopher. The author criticizes all those scientific and technological instruments that can be detrimental to what we intuitively understand as life.
His analysis of freedom is embedded in the socio-historical study of the development of individualism as a longing of the citizen “to feel the autonomy of his person” (p. 272).
Like many historians, he locates the Italian Renaissance as the starting point of this individualistic movement, through which the formerly anonymous subject strives to be recognized, differentiated and admired by being able to “develop his forces, to freely unfold” his potentialities and his life.
In order to understand the approach of Simmel’s analysis of these two concepts in the essay “The individual and freedom”, where the author tries to vindicate them as the essence -internal/external- of the human being, it is convenient, if not necessary, to read also the previous essay entitled “The great cities and the life of the spirit” -in this same book- where he exposes the human evolution from the most closed social nuclei to the great metropolises of the beginning of the 20th century. In it, he describes the multiple apparent contradictions that arise in this development and which Simmel uses to explain the paradox of freedom in modern times.
In the essay “The Individual and Freedom” his analysis begins in Europe in the Middle Ages, where he investigates the incipient tendency towards individuation that was curbed at that time.
Individualism as a sign of freedom tried to be accentuated in that period, seeking differentiation through productive activities as a form of fulfilment in society.
In the 18th century, individualism evolved and came to have a meaning that corresponded more to the interiority of being; freedom was sought as a yearning that would allow the citizen to transform his various external limitations, concealing them in his ontological interiority.
The division of labor coupled with competitiveness are the ontological projection of its inability to find its essence (being).
An insurmountable struggle between economic – physiocratic – forces and a renewed striving for spiritual liberation are characteristics of this cultural development. The defends of freedom, sustained by a natural equality, brings man face to face with history, an arbitrary and artificial becoming for the human condition of which he was beginning to become aware.
The author argues that “the deepest problems of modern life stem” from the individual’s claim to preserve his autonomy and uniqueness in the face of the arrogance of society and its constraints, of what has been historically inherited by the culture and technology that proliferates in the cities and suffocates life, within each individual.
But just as the big city suffocates and constricts individual freedom, it also offers a kind of refuge or shelter from their reserved and isolationist behavior, towards which the vast majority of the population tends, by ceasing to have contact – even visual contact – with their fellow human beings; in this anonymity, a certain greater personal freedom is breathed. It can easily be observed that the urban individual, whom Simmel calls the “urbanite”, is freer in comparison with the close, guarded and prejudiced relations of small towns or rural villages, which socially compress the inhabitant only because of their proximity and lower density.
Curiously, it is in the big cities where Simmel finds that the freedom from prejudice enjoyed by the urbanite becomes a refuge to solitude (Post WALKING AND THE ELECTION OF LONELINESS. PART I, Post WALK IN SOLITUDE, AN ANALOGY OF LIFE) and freedom ceases to be linked to the vital feeling of happiness, as a synonym of well-being. In other words, greater freedom will not always guarantee a higher level or degree of well-being.
It is therefore necessary to search for a new category that reduces the being to what it truly is in itself, freed from everything that is not akin to its nature and that is not essential to it. Practicing Laissez faire as a doctrine that will allow him to become “free” in the economic and social aspect, by leaving all forces – economic and social – in full freedom for the human being to reach his natural harmony and happiness.
In short, Simmel sees freedom as the goal and longing of a personal ideal expressed in the movement – or phenomenon – of individuation that re-emerges in the 18th-19th centuries as a massive demand of the population for a life of personal freedom without ties or oppressions imposed by a cosmopolitan society dominated by a few.
This ideal – sought in the armed movement of the French Revolution – also poses since then a (practical-theoretical) antagonism between two of its main objectives: freedom and equality; for freedom cannot occur naturally in an environment of complete equality and undifferentiating.
Freedom is complementary to diversity and tolerance of differences, hence it is wrongly placed in hostile and oppressive environments. Equality cannot be realized in capitalism either, because this system implies the levelling of all things, including the human being – because of its exchange value – and money, which trivializes the inner-external life of individuals and prevents a harmonious and satisfactory existence.
Freedom is not only the positive part of the phenomenon, equality is its indispensable condition, but the human being is affirmed in his free acting and feeling when he accepts that he is different before others, and this will be the premise that will give meaning to his being, to his existence within his human condition.
Its conceptual and functional link (relationship) with walking: We can say that for Georg Simmel, a sociologist who examined the interaction between the individual and society, freedom lies in the ability to distance oneself from social norms and conventional structures. Walking could be seen as a solitary activity that allows the individual to escape momentarily from social expectations, experiencing a sense of freedom by being on the move and breaking away from the usual constraints. For the same reason, we should walk as it is akin to our human nature and therefore essential. To achieve freedom, we would have to follow the laws of nature itself, i.e. by walking we could make it visible and also feel it, because its manifestation is synonymous with walking. To walk daily is to make freedom perpetual. Our existence will not be imposed on us by others.
Freedom, according to Arthur Schopenhauer (1788-1860), is a state sought by the human being as an ontological entity and response, that is, required by the very essence of being. Achieving it implies the non-existence of impediments of all kinds and the lack of needs or the satisfaction of needs.
Depending on the type of needs and difficulties in satisfying them, the author defines three categories of freedom: physical, intellectual and moral.
Physical freedom is achieved voluntarily in the absence of material impediments. Political freedom is a derivation – or section – that belongs to the whole of physical freedom.
The author defines physical freedom as the power to act in the face of impediments, and moral freedom as the power to will. Moral freedom is free will.
Any category could be achieved by the absence of any “needy” force.
All needs present themselves to the being in terms of levels or degrees of being able to fulfil them. Thus the degree of a need determines the ontological will in the being’s acts to satisfy it.
As Schopenhauer demonstrates, every fact or phenomenon is governed by the universal principle of causality, no thing or circumstance escapes this law, which presents itself under three aspects, corresponding strictly to inorganic, vegetable and animal bodies, respectively: causation, excitation and motivation.
In causation, bodies are subjected to physical, chemical and mechanical transformations.
Excitation is the most representative form in the plant kingdom, as the changes or modifications that plants undergo are generated by this function.
Motivation is the form of causation unique to animals, including humans. It is the response that originates through understanding (depending on the level of intelligence on the animal scale), as it responds in addition to the other two categories to a requirement for understanding in order to analyze, appreciate and make deliberate choices to satisfy their needs.
In this category, arousal is complemented by a higher faculty that manifests itself as a response to motives (in exclusively sentient animals; in the sentient, abstract-thinking human being). Each response is provoked by a motive, which – in the human being – is transformed or converted into a will when it becomes conscious.
In this will, in this ability to choose, the power of free will is established, but for Schopenhauer it is a relative freedom. As there is no absolute power of the conscious self over the will, there can be no absolute freedom.
The author views the human character as individual, empirical, unchanging and innate, and thereby makes it clear that this dissimilarity is irreconcilable with the existence or the position of free will, in which a man can act in two equally opposite ways. The unborn being who, not having a conscience, might be thought to have no need and therefore: is he free or not? It can be argued that he is free insofar as he does not know his needs, but he is the most dependent and most constrained being insofar as he is absolutely dependent on the mother.
Schopenhauer describes some thoughts of philosophers before him and of other pseudo-thinkers on the doctrine of free will and likewise takes into account the positions of certain theologians on the subject. He focuses on these arguments of his predecessors and analyses them against the reasoning that if God created everything, including man, then any attitude (or decision) of man – considering the relation of causality and necessity-effect – is not responsible for it and therefore there is no free will, since the will would have no freedom of power to desire or not to desire. Schopenhauer mentions that this situation led the church to take hold of this problem and to determine that God had granted – by his divine grace – the human being free will, by means of which man can act freely for or against himself.
Schopenhauer, acknowledging the Kantian doctrine on the coexistence of freedom and necessity, concludes that the empirical need for action of the human being coexists with transcendental freedom, with that freedom that is not part of experience. It has been a mistake to attribute freedom to action, since the human being carries out his activities acting under a necessity that conditions him.
Man seeks to be what he desires and wants, and what he does depends on what he is. For Schopenhauer, freedom exists in man but outside the domain of his individual actions and can only be understood in its transcendental essence.
Its conceptual and functional link (relationship) with walking: We can say that Arthur Schopenhauer, as a philosopher, considered freedom as an unattainable ideal due to the impulsive and instinctive nature of human beings. For him, true freedom consisted in freedom from desires and passions: man can act freely for or against himself. To speak of freedom is to speak of the essence of being. Achieving freedom implies overcoming impediments of all kinds and satisfying the natural needs of the individual. Walking is a natural practice, therefore, walking is freedom. How well do we know that need to walk in ourselves? Knowing that need would put us on our feet immediately, its practice could be seen as a way to temporarily free the mind from worldly concerns, allowing a respite from the desires and ties that Schopenhauer considered limited true freedom.
EPILOGUE
There are 2 existential paths: one that leads us towards freedom and the other that opposes it. Let’s walk the first path and orient ourselves towards our natural freedom.
(1) Loya Pinera, Rodrigo & Loya Lopategui, Carlos, Visiting Inside the Artworks of Great Painters, EMULISA, Mexico, 2023. Distributed by Amazon, available in Kindle Edition: https://www.amazon.com/dp/B0D3GMC9KR.
(2) Loya Lopategui, Carlos & Pinera, Edel C. , Evanescent Stories, EMULISA, Mexico, 2021. Distributed by Amazon, available in Kindle Edition: https://www.amazon.com/dp/B0B86GMS8W.
This post is a complementary part of Post THE BLOCKED WRITER AND THE WALKS, dedicated to the Plastic artist. I will repeat some aspects that I mentioned in that Post, because I consider it very important for those people who have the labor speciality in plastic creations, even for those who make them as a hobby; besides that the plastic specialties have been differentiating more between their different fields, than the literary ones; that is to say, we have been getting used to listen more “indications, invitations to works, samples in museums, etc.” about the different genres in painting, sculpture, graphic arts, design, and a dozen more categories of plastic arts; and for this reason I present, for this group of concomitant arts, the simple process to achieve the unblocking, based on essential elements of the WALK-RWD system, which can help us in cases of “mental blockage”, both light and intense.
We must distinguish between inhibition and blockage. To be inhibition or discouragement is to have lost the taste for the activity, for the subject, for the image, for what the motif represents, for the very reason why we decided to paint that picture, etc., in other words, it is to lose the “taste for doing”. Being blocked is due to another cause, such as the loss of inspiration, of creativity, specifically the interruption suffered in the flow of ideas, in this case of graphic, plastic, visual and pictorial ideas. However, at some point in the presence of any of these conditions, they inter-influence and sometimes confuse each other.
This is another of the great benefits that the WALK-RWD system has, helping to unblock those people who suffer from feeling blocked in their creative work, which allows through its application, concrete help in the improvement of both morbid stages.
“These inner conflicts and confusions will have one of two main (and several secondary) results: The artist will become completely inhibited and produce nothing, finding his talent imprisoned in the mesh of conflict, and will turn his back on art to some other activity. The other possibility is that he will deviate from his most fruitful line of development to produce defensive distortions of what would otherwise be more legitimately his own – namely, his own self, which, after all, is the source of his claim to originality”. Schneider, Daniel E., The psychoanalyst and the artist, F.C.E., México, 1974, p. 22.
Concretely, I recommend two paths of action for plastic creators.
FIRST WAY: To have several options.
The first is that all plastic creators should have several possibilities in their productive work; not only to develop one work, but 2 or 3, in which they can unload their skill, creativity and ingenuity. That is to say, if they dedicate themselves to painting, to have several works in process in order to always have a more pleasant option than another.
You could also choose to work in another plastic genre, such as sculpture, artistic design, etc., in order to be able to produce several works alternatively, if you have felt blocked in any of them. We should always have several options of artistic plastic creation, so that the mind does not stop. If the blockage arises, we can move on to work on another work in the same plastic genre or in another, immediately; always alternating one and the other because the mind is freed in this way and can thus be re-channeled in its creative processes.
This is very important because the mind gets stuck, regularly when it remains “pressed” in the same work, due to lack of creativity. And it gets worse when we want to “rationally” force it to develop a job in which it no longer generates any creative process. That is why, when we take away this conscious pressure and give our mind other options to create, it dissipates – freeing itself from the purely conscious rational forms – and re-enters into its normal way of being prodigal in creating ideas and imagination.
The artist must know that he must not definitively interrupt his artistic creation, whichever way his unconscious leads him to communicate.
“The artist expresses only what he can express through the interpretative transformation of his unconscious. His masterpiece will be that which presents his central conflict, his most serious psychic wound”. Schneider, Daniel E., The psychoanalyst and the artist, F.C.E., México, 1974, p. 330.
SECOND WAY: Walking.
Now, if we cannot count on several possibilities of simultaneous creative work, then we can use the alternative resource that is walking, which never fails; most of the time in an immediate way.
In this other way of action, I am addressing painters – but it is similar for any other person who has to develop creative activities, not only plastic works – who feel paralyzed in their creativity and artistic exercise and cannot continue painting the work they have started with a lot of enthusiasm; the only thing they have to decide is to go for a walk for a couple of kilometers (or miles) during some days (3 or 4) taking with them, in each walk, an interesting book, and related to the plastic theme they are developing (either text for the theme itself or a book specialized in paintings, for example, the 10 most famous painting works, etc.). ). Be willing to read some pages during your walks and not forget a sufficient number of blank sheets of paper (or a small notebook) to draw some sketches that come to your mind, to restart and continue with your own work (Post THE WALK-RWD SYSTEM ENCOURAGES CREATIVE THINKING. PART I; Future Post THE WALK-RWD SYSTEM ENCOURAGES CREATIVE THINKING. PART II). Any word or phrase will redirect you to your own document, unblocking it, or any plastic work that catches your attention can unblock it.
He must also know that his conscious function will be blocking his unconscious.
“When a man adheres so intensely to the image of his beloved, he reveals the fundamental characteristic of all great artists, precisely that adherence of his love, of his psychosexual energy, his intensity, his determination to possess that image, if not in reality, at least through the internalizing psychic process which consists in incorporating it literally, making it part of his own ego and projecting it infinitely, modeling it, restoring it, by way of unconscious atonement for having devoured it, by way of unconscious atonement for having devoured it. This is what analysts mean when they speak of the ‘restoration of the destroyed object’ through its recreation in art, thus losing ‘a piece of themselves’, but gaining through this process the reward, pleasure, and relief of art…. “. Schneider, Daniel E., The psychoanalyst and the artist, F.C.E., México, 1974, p. 195.
This psychosexual energy is one of the ways in which the artist will be able to unblock himself when he knows of its existence (Future Post PSYCHOSEXUAL ENERGY AND WALKING).
Walking allows the unconscious to surface more easily, freeing it and encouraging the flow of ideas and greater creativity.
The steps to be taken are easy and concrete: 1) Start walking, 2) Start reading another document or a book about plastic works, 3) Abstract yourself entirely from your own work to be painted and concentrate on the text of others or on other paintings, 4) Continue in this way until the unblocking is achieved.
It is important to point out that the type of “document” or the book of plastic works to be accompanied during the walks must be analyzed in a certain way, so that it is ideal and effective, and is not another element that causes us rejection or boredom; it will have to be a document that attracts us in an extraordinary way.
The system does not fail and you will never be alone again when you feel blocked mentally, because you can always resort to this method, since it will allow you to free your imagination, your creativity and your intuition. In other words: it will free the unconscious from the shackles of consciousness and rationalism.
Let’s keep in mind that the enemies to defeat are rationalism and conscience, which are stubborn and cause blockage, for which I recommend these 4 previous steps within the second path, walking.
In short, there are two ways of action that can be exercised to avoid blockage, and they are complementary:
1. Have several options for simultaneous plastic creation, where the mind can freely choose which one it feels most attracted to, productive and creative, during daily moments of creative work.
2. Start walking reading, writing or drawing (WALK-RWD System).
Both courses of action are not exclusive and must be carried out permanently, that is, always give the mind several options in its process of creating, and walk every day for at least 20 to 30 minutes; and if you manage to get lost in your documents (texts and plastic images) -suggestive and stimulating-, continue with it as long as you are enjoying it, and thus your mental block will be eliminated.
I have no doubt that by staying alert with these 2 courses of action, no creator can ever remain blocked for more than 24 hours.
