class="MsoNormal">Being of poets today’s entry nonetheless than Walt Whitman who claimed:

Starting from fish-shape Paumanok, where I was born,

Well-begotten, and rais’d by a perfect mother;

After roaming many lands—lover of populous pavements;

Dweller in Mannahatta, my city—or on southern savannas;

Or a soldier camp’d, or carrying my knapsack and gun—or a miner in California;

Or rude in my home in Dakota’s woods, my diet meat, my drink from the spring;

Or withdrawn to muse and meditate in some deep recess,

[…]

Solitary, singing in the West, I strike up for a New World.

I don’t think this was mere philanthropic spirit but rather the expression of a contemporary artist playing with words at that time and creating complex structures out of them in order to define their identity and their crisis. Confounding or diffusing personal limits as a prelude of post-modern schizophrenia is only a natural and previous stage. And although poetry can re-define a word by means of its metaphors and analogies, a word will always carry in it its root and will therefore have this meaning all along.

The charm of poetry is allowing us to see the words, or to be kinesthetic (synestesic?) about them even by creating vocal contrasts or antithesis. These expressions contribute more to the understanding of the world and us than historical or political recounts.

Even if words are words, they must enter the perception system by the physiological apparatus of the ear. Even if images are images they must enter the brain through the eyes. These all results in re-realizing the fact of the body as the interface through which we receive all this metaphors. Even our dreams happen through the body and could not happen anywhere else. That is why I disagree with Goodman when he says that these multiple worlds differ in response to theoretical rather than practical needs. Practical needs are those of the physical world, of the body. And since our interface with life IS the body all of our possible worlds differ in response to practical needs.

Truth is not important but no one can elude it. The truth of the body allows for multiple alter egos to live within us or, in other words, to allow us to access various kinds of “symbolic capital”.

Fragmentation and eclecticism started showing up in Dance in the 1950’s and 60’s and not as an ideal but as an embodiment: bodies were newly trained in techniques that allowed to use the articulations of the feet and legs in order to fragment the body by giving in to gravity.

AND UGLINESS: Fortunately this new way of thinking has allowed for the arts to show us as we are: infinite (paraphrasing Huxley)