Anatomy/ A Personal Tour #2

Posted on December 18, 2010 by randomyriad

Introduction

I continue my exploration of personal anatomy moving downward from the head. I realized after the first section that none of the exploration was visual because I did not use a mirror, and as I did not wish to touch my eyes I did not really experience much of them at all. I was thinking about what about eyes could be explored. So I include that in this section moving down below the head where I can use my eyes to see what I am examining.

Part I

Eyes and Imagination

Move from a lighted space into a dark space, and notice as the darkness begins to separate into greys and muted colors.

Quickly move to brightly lit space, or switch on a light source and notice the colored pattern of tiny lollipop shapes that appears and fades as the surroundings come into focus.

Hold the index finger up a little away from the face at the level of the eyes and in the center between them. Note how much detail can noticed. Close one eye and quickly switch to the other eye, and alternate this a few times. With both eyes open move the finger toward the eyes in the center. Now quickly shift the visual focus to an object more than an arm length distant and continue focusing on it while moving the finger away from the eyes to the original location. Feel the strain of the muscles in the eye as they shift.

Move the finger to one side without moving the head until it is out of the field of vision, move it a little back and forth to locate an exact point where the finger disappears. Repeat these actions on the other side.

Toss a small ball up over 5 feet two times attempting to catch it both times, first with eyes open and then, on the second toss, closing the eyes as the ball begins to descend.

Look carefully around, noticing the range of tones of color and subtle gradations from bright to black the eyes perceive.

Close the eyes and make a mental picture of something studied for a short time. Make a mental movie of someone you don’t know handling the object.

Recall a song you know well. Imagine a  person singing that song and dancing while holding the object.

Remember a dream you had recently. Think about how these images and sounds are produced and perceived.

Part II

Back, Abdomen, Chest and Arms

Place the fingers of one hand in between the top of the shoulder blades and the fingers of the other hand in the center of the back along the furrow.

Place a hand on the flat part of a shoulder in between the spine and armpit and shrug to feel the muscles stiffen just under the surface.

Feel the vertebrae as the back arches and twists. Feel them flex together. Touch each bump down to the tailbone, feeling the sides and spaces.

Touch where the ribs and the shoulder blades join the spine. Follow them out as they curve around to the chest.

Place the hands on the hips just above the fat and muscle of the buttocks feel back along ridge that runs from the hip to the tailbone at the lower part of the back. Feel the muscles contract and bulge as the spine straightens from a slightly bent position.

Take some deep breaths and feel the air come through the nose, down the throat and fill the lungs as the muscles of the diaphragm pulls away from the spine expanding the space in the center of the chest and then relaxing, letting it all fall back. Feel the air flow out through the lips and nose. Sit still until you can feel the heart beat just off the center to the left under the ribs.

Begin to explore the chest from the tongue shaped bone in the middle above the soft belly up to the hard triangular ridge notched at the base of the throat. As the fingers move up, feel the dent where the cartilage becomes bone.

Feel along the upside down V of the lower edge of the ribs. Push up from a flat surface with one arm, feeling the muscles of the chest contract.

Cup each breast in the hand and squeeze gently. Examine the nipple, stroking the tip gently with one finger. Note any sensations this causes or change of shape or firmness.

Once more rest hands on hips. Find the front of the top of the hipbones. Move the fingers along the ridges on either side into the middle until they end.

Move down a little and Press in the center deeply to feel the pubic bone. Locate the belly button and examine the knot of skin.

Lean back and sit up with hands on the abdomen to feel the sheets of muscles stiffen and bulge. Explore the musculature of the abdomen by kneading and pushing in various places below the sternum and above the hips as the upper body leans forward and back.

Cough with fingers placed on the side of the abdomen to feel the muscles bulge and relax.

Listen for sounds of the intestines at work.

Place a hand on the chest just above and to the outside of the nipple move it away from the center until it curves under the shoulder next to the upper arm. Notice the hair that grows at the base of downward facing pit.

Find the place where the chest muscles attach to the shoulder, and the ridge of back muscles behind that attach to the back of the shoulder.

Locate the top of the shoulder blade and follow it to the joint. In the center of this area, grasp the muscle and skin and squeeze as the hand ascends to the base of the neck.

Then find the collar bone just below the neck and, with two fingers, follow it out to the shoulder joint. Place a hand on top of the shoulder joint, and thrust the arm under the joint forward and rotate it around to feel the joint work. Feel the thick musculature between the skin and bone that forms the round part of the shoulder.

Grasp the large muscle on the front of the upper arm just below the shoulder and raise the hand up by bending the elbow. Feel the muscle shift upward. Feel the pulsation of the artery at the base of the muscle close to the bone as it is grasped between finger and thumb. Now grasp the back of the arm and press down ward on a surface to feel the muscle become firm and rippled.

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Self Experiment in Anatomy: A Personal Tour of A Human Body

Posted on December 17, 2010 by randomyriad

Introduction

The body you tour will be your own, and therefore may or may not contain the same parts. Each body is unique. Though produced by the same process initially, each will go through its own lifetime of actions, reactions and incidents that produce its present form. Each experience will be unique and have different results. Each individual will come to this exploration with his or her own predispositions, life experience, and emotional state. Each experience will be affected by the timing and events surrounding the life of the person inhabits during execution. It is all together. There is no separating the physical and sensual from the mental and emotional. Maybe that is why I wanted to try this, to touch and move each part of the physical shell, moving that concrete information to a place where it can relate to more abstract aspects of me. Maybe the more the abstract me knows the physical me the more I will be able to inhabit my life in a more complete way.

Each human body is a miraculous organic conglomeration of tissues, structures, and processes that we cannot hope to understand completely how it came to be and how it works, but we each have one to explore. It is the one physical thing that belongs to us  from the beginning to the end of our lives. The body you have is unique to this world and yours alone to discover in this personal way, the explored and the explorer inhabiting the same moment of experience.

Part 1

The Head and Neck

Run fingers over the top of the head, noticing the underlying dome of bone very near the surface. Note the color, density, and location of hair and the skin of the scalp.

Move a hand to the back of the head, proceeding down over the knobby protuberance at the base of the skull.

Walk fingers along the ridge at the base of the skull, noticing where the muscles of neck attach to the skull.

Grasp the back of the neck between fingers and thumb and rotate the head, note the amount and change in tension in the muscles.

Now, feel the swelling of bone on either side behind the ears, continuing forward to the base of outer ear around the lumpy bone surface covered thinly by skin.

Grasp the shell-like part of the external ear, tracing the outer rim to the lobe hanging on the lower part.

Feel the stiff projection just in front of the ear hole, pressing it firmly causing the cartilage to shift under the skin.

Push these projections back over the ears to cover the ear holes and hum, sing or recite a short poem to hear the voice that travels in vibrations through bone.

Next place two fingers on temple in front of the top of the shell of the ear, feel the pulsations of the artery that ascends in between the skin and bone to supply blood to the scalp.

Press the fingers firmly in the space between ear and cheek to feel the hinge of the jaw in motion through the muscles and skin.

Move fingers onto the bony arch of the cheek feel the skin of the face bunch and stretch as the muscles underneath contract and relax as expressions change.

Place the hands over the eyes feel the lashes against the palms as the eyes blink.

Squeeze the eyes shut tight and open them wide, and feel the movement of the eyebrows against the hand.

Trace a finger around the entire margin of the bony socket noting the spongy duct just beside the nose.

Place the pointer finger and thumb of one hand on the outside of the eyebrows on either side of the face and slide them together coming into a pinch at the uppermost part of the nose.

Slide them down the nose over the bridge to the fleshy tip.

Next pinch the middle between the nostrils gently and spread the finger and thumb out noting the flexibility of the structure.

Pull and twist and fondle the bulb of the nose.

Then slide one finger down into the groove above the center of the upper lip and down, continuing around the lips to the lower lip noting the border between lips and skin and the difference in sensitivity.

Move your tongue over the surfaces on the inside of the mouth noting and counting teeth, exploring the spongy floor and hard ridged ceiling and as far back in the throat as possible.

Use lips and tongue to create popping, clicking sounds changing the sound and resonance by changing the shape of lips and cheeks.

Place foods of different textures, shapes and flavors. Chew and swallow paying attention to function of each part of the mouth and throat.

Drink both with and without a straw, swishing the liquid around and swallow again paying attention to the role of muscles and structures as well as the sounds and sensations produced.

Purse the lips together into a small hole and blow air through to produce a whistling sound try to control the pitch by changing the size of the opening.

Move fingers down the fleshy part of the cheeks under the eyes, pressing to feel the hardness of teeth and gums underneath.

At the bottom, grasp the lower jaw from underneath with fingers on the outside and thumb under pushing up into the soft space in back of the chin.

Move fingers up and down the jaw line from the chin to below the ear, tracing the lower jaw.

Place fingers around the side of the neck to the back where the small bumps of the upper spine join the skull and move down to where the vertebrae begin to bulge out at the top of the shoulder blades.

Move fingers around the base of the neck noting the cable-like structure in the of muscles and tendons.

Grasp the chin between index finger and thumb,  while stretching the mouth into a wide grimace, puckering the lips and frowning  feeling the change of shape at each contortion.

Pinch down along the lose flesh under the chin moving down to where it curves into the neck.

Place a finger and thumb gently on either side of the voice box and speak, sing, cough, swallow and laugh feeling the vibrations and shifting of the whole structure.

Whisper, talk, sing a song, shout and scream.

Listen to the voice that comes out, noting its range of pitch and  loudness as well subtler textures and timbres produced by slight adjustments in the positioning of oral structures, air pressure, and loosening and tightening of the larynx .

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My Life Since July:The Cover of Another Finished Journal

Posted on December 15, 2010 by randomyriad

Just a small journal with a couple of poems, a few doodles, some dreams. I was so busy during this one I hardly had time to write more than a few lines a day, but I like the cover and this doodle I did in September. I don’t doodle as much because I don’t work for Head Start, not so many long only slightly helpful trainings to keep myself engaged in.

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A Strange Introduction to a Truly Odd Tale

Posted on December 10, 2010 by randomyriad

Promantia

And they also tell the story

of Papadiabolous the Devil and his company, and of two of the hidden lives of Finnegan;  and how it is not always serious to die, the first time it happens.

Here is one man who was buried twice and now lies still (but uneasy of mind) in his two separate graves. Here is another man who died twice—not at all the same thing. And here are several who are disinclined to stay dead: they don’t like it, they won’t accept it.

Given here, for the first time anywhere, are the bearings and correct location of the Terrestrial Paradise down to the last second of longitude. You may follow them. You may go there.

Here also will be found the full account of where the Devil himself is buried, and the surprising name that is on his tombstone boldly spelled out. And much else.

We will not lie to you. This is a do-it –yourself thriller or nightmare. Its present order is only the way it comes in the box. Arrange it as you will.

Set off the devils and the monsters, the wonderful beauties and the foul murderers, the ships and the oceans of middle space, the corpses and the revenants, set them off in whatever apposition you wish. Glance quickly to discover whether you have not the mark on your own left wrist, barely under the skin. Build with these colored blocks your own dramas of love and death and degradation. Learn the true topography: the monstrous and wonderful archetypes are not inside you, not in your own unconsciousness; you are inside them, trapped and howling to get out.

Build things with this as with an old structo set. Here is the Devil Himself with his several faces. Here is an ogress, and a mermaid, both of them passing as ordinary women to the sightless. Here is a body which you yourself may bury in the sand. Here is the mark of the false octopus that has either seven or nine tentacles. Here is the shock when the very dead man that you helped bury continues on his way as a very live man, and looks at you as though he knows something that you do not. Here is a suitcase with 36,000 pieces of very special paper in it. Here is Mr. X, and a left-footed killer who follows and follows. Here are those of a different flesh; and may you yourself not be of that different flesh?

Put the nightmare together. If you do not wake up screaming, you have not put it together well.

Old Burton urged his subscribers to keep their copies of the Nights under lock and key. There are such precipices here! Take it in full health and do not look down as you go. If you look down you will fall and be lost forever.

Is that not an odd introduction? I don’t understand it at all.

This is the introduction to R. A. Lafferty‘s The Devil is Dead, and it just gets stranger as it goes along.

I read this when I was in high school. I am appreciating his high flying prose even more now that I have read Pynchon and Barth. Lafferty’s love of language and oral and common storytelling traditions shines throughout this odd little novel. It is like he is sitting across a campfire telling you a wild tale of the night.

Posted in Check this out, Fiction, mindworks, my museum of inspiration, Mythical and mysterious, Other peoples words, Word play | Tagged , , , | Leave a comment

Two Worlds Touch Here: The End of Cormac McCarthy’s Border Trilogy

Posted on December 6, 2010 by randomyriad
Cover of

Cover via Amazon

“Two worlds touch here. You think men have power to call forth what they will? Evoke a world, awake or sleeping? Make it breathe and then set out upon it figures which a glass gives back or which the sun acknowledges? Quicken those figures with one’s own joy and despair? Can a man be so hid from himself?

You call forth the world God has formed and that world only. Nor is this life of yours by which you set such store your doing. However you may choose to tell it.

Our decisions do not have some alternative. We may contemplate a choice, but we pursue one path only.”

Cormac McCarthy speaking through the Mexican drifter at the end of “Cities of the Plain“

He is speaking of dreams, but also about the creative process behind writing fiction, or is he talking about being a fictional character. Or are we all just a minor players in God’s great novel. It is a well written book, but the story of the dream as told by the Mexican drifter to the aging main character at the end of the book was difficult to follow, and I am sure meant as a commentary on the connection between fiction and life, dreams and life, all human endeavor. I will have to go back and read it again, maybe in a month or two to see if I can pull more out of it. It is quite packed with juicy ideas.

Of the three books in the border trilogy I liked the second, “The Crossing“, the best. It  was consistently compelling throughout.  I felt as if I was well within the skin the main character, and at the end I sat alone in the rain and cried. At the end of this one I was left with a big question mark. I think something important was there, but I am still not sure.

As always McCarthy’s crisp and literate prose is a joy to read. Whenever I read one of his books, I feel like I know more about the English language and how to use it to it’s best advantage.

Posted in Check this out, Dreamtime, Fiction, mindworks, Other peoples words, Questions and riddles, thinking in words | Tagged , , , , , , , | Leave a comment