The Poetic Porosity concept
by Bernardo Marçolla
This concept was elaborated in the 2007 CAPES award-winning doctoral dissertation as Brazil's best thesis in Arts. The research addresses imagination from a multidimensional perspective, approaching its dynamic as a poetic learning. Such learning demands the understanding of Art as a flow, as a movement to be apprehended through the experience. Referred to me as the concept of Poetic Porosity, it presupposes the permeability and the transit across different levels of reality in a simultaneous, dynamic and porous way.
Beyond the physical universe there are also a multitude of other types of reality coexisting simultaneously. Some of them we can easily know and recognize. We may call them ordinary levels of reality. They are often approached by our sciences.
|
Our biggest challenge is to learn about the Life without lost its complexity and its many possible perspectives.
Fortunately, there is a kind of vehicle that allows us to move across the Universe and establish relationships between its various reality levels. This happens through Art.
Fortunately, there is a kind of vehicle that allows us to move across the Universe and establish relationships between its various reality levels. This happens through Art.
The artistic creation is so taken as a vehicle of transit between ordinary and extraordinary levels of reality. Formed by the imbrication of rhythm, transcendence and aesthetic experience, the poetic porosity presupposes a different place for the artist, taken not as the origin of the work of Art, but as a kind of mediator who puts himself at the service of it. Therefore, the artist puts himself as a channel that allows the expression of something that does not emanate only from himself, but from imaginal realms and, thus, from reality itself. At first, it seems all very separate. The borders are clear. |
But, by adhering to the world rhythms, the artist stands as the expression channel of a movement that flows through different levels of reality, in an attempt to represent the complex multidimensional nature that permeates us all. Through ups and downs, by the Art slowly we can get in tune with ourselves and with the Universe. Imagination is about RHYTHM. |
Let us figure, then, that the relationship we establish with rhythm is directly associated with our relationship with ordinary levels of reality. Let us also imagine that by adhering to this rhythm we are led into contact with extraordinary spheres of the real; we transcend. Thus, we have two virtual spaces – which correspond to different levels of reality and are connected by the same movement. When it addresses extraordinary levels of reality, it takes the form of an instantaneous, blunt experience. Inspiration. Insight. Imagination is about TRANSCENDENCE. |
We must bear in mind, however, that this same rhythmic flow alternates its movement between two distinct directions. So, at a much slower speed, when it goes in the opposite direction, it implies a return to ordinary levels of reality, at which time we can say that there is room for artistic creation – which implies a work and sharing in an intersubjective dimension through the enjoyment of the work of Art. Imagination is about an AESTHETIC EXPERIENCE. |
This dynamic produces an effect that I consider fundamental to point out, since it refers to the porous character of our own relationship with the world. Recursively, with each new cycle or experience, the boundaries we set to separate ordinary and extraordinary levels of reality shift away – as with the horizon as we move toward it. In this way, what is considered extraordinary comes to be gradually incorporated by experience, becoming the object of sharing and thus becoming an extended ordinary reality. The image is that of a spiral, where each new revolution shifts the boundaries of our representations and our consciousness. It is Art as the movement of Infinity, making its appearance in a living, pulsating and expanding world. Through Art we move as the INFINITE. |
TO LEARN MORE: