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Página 22 – Sitio sobre chorradas acerca de cómo escribir ficción

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  • El inconsciente colectivo y el mito

    woman sitting beside lighted torch

    Photo by Alice AliNari on Pexels.com

    [Joseph Campbell] se encontró con que toda narración, consciente o no, sigue los antiguos patrones del mito y que toda historia, desde la broma más tosca hasta las altas esferas de la literatura, se puede entender en términos del camino del héroe: el «monomito» cuyos principios el asienta en el libro [El héroe de los mil rostros]. [….]. El le pensamiento de Campbell corre paralelo con el del psicólogo suizo Carl G. Jung, quien escribió acerca de los arquetipos. Personajes o energias que se dan de forma repetida en los sueños de todas las personas y en los mitos de todas las culturas. […] en el inconsciente colectivo de la raza humana.

    The Writers Journey Mythic Structure for Writers. Christopher Vogler.

    Para mí, el inconsciente colectivo no existe. Lo que hay, son las realidades imaginadas. ¿Por qué? Porque un inconsciente colectivo no explica que los mitos humanos sigan los mismos patrones; sin que empleen todos las MISMAS técnicas narrativas.
    Si realmente hubiera un inconsciente colectivo, la forma del mito no se vería influenciada por la cultura original de aquel que cuenta el cuento. Tampoco sería distinta la idea controladora puesto que el inconsciente colectivo desarrollaría las mismas ideas controladoras y estas no habrían cambiado en cientos de años.


    Si bien es cierto que compartimos las mismas preocupaciones; lo que parece hermanar o volver universal un mito es el tipo de realidad imaginada compartida. Cómo: la idea del dinero, la ley o el amor romántico.


    Por esta razón es que la siguiente revolución humana consiste en hacerse responsable de la realidad imaginada como una realidad imaginada humana y no una realidad imaginada legitimada por la divinidad o la naturaleza. Una realidad imaginada en la que todo el mundo está de acuerdo con su ficcionalidad con el propósito de la cooperación colectiva como especie.
    Creo que ya se intentó. «La imaginación al poder». Lo que creo que no se intentó fué reconocer que requería saber cuándo y cómo necesitamos jugar el juego de la ficción de forma consciente ( saber que nos engañamos a nosotros mismos).


    Pasto kalo.

  • Why are comics and poems alike? Visual input p2

    flowing water from industrial pipe close up
    Photo by Ranjit on Pexels.com

    Graham Dunstan Martin and René Magritte were right. This is not a pipe. No image and no set of letters or words are reality itself. To just utter the word “butter” won’t make you any fatter than saying “water”. But were I to eat it and I will have trouble with my grease digestion inability, right?

    A picture or a photo won’t do much either… Besides affecting our wish to open the fridge door. Which is unrelated to the image being (relatively) harmless. Or a character gulping down a whole chicken and half a chocolate cake (Oh, they use magic so that much is to be burnt as mana energy) won’t harm how much you go and visit your own fridge or the neighbourhood’s café.  

    REALITY REPRESENTATIVE LEVEL

    Comic and literature (that means poems too) move in a reality representative level. And both use symbols. Thinking this way I’m about to nag you with the mantra I lived by 24/7 when I was an undergrad student1.

    Design model process2: Problem, reference frame, solution.

    • Problem: To tell a story
    • Reference frame: Authors are born into societies. The social and cultural environment and the cultural and social environment surrounding an author. As much as I have also suffered male chauvinism; it is not as severe as what the author of “Kim-Jiyoung,1982” has. And she hasn’t been forced to kiss the boyfriend of a girl who couldn’t understand my zero interest in kissing. Different environment is the same to different results.
    • Solution: To choose one or the other media. You either draw or become proficient with words. Maybe both,

    FROM THERE, COMIC AND POEMS HAVE IN COMMON SILENCE AND VISUAL INPUT, REPRESENTATIONAL LEVEL (SYMBOLS) AND DESIGN PROCESS MODEL applied. Believe it or not. And when I wrote that in Spanish I was as surprised I understand why you must be saying: “This is nonsense3«.

    So, what are the basics[5] in visual communication? Can they be used in poetry?

    Enjoy thinking what’s your media like any other activities out there? Pasto kalo.

    1. Nein. I’m still an undergrad. No masters, thus of course, no PhDs. ↩︎
    2. Simplified. ↩︎
    3. Nonsense is my specialty. Unfortunately; I have no idea how to offer falsifying processes to prove whether I’m wrong or not. ↩︎
  • Drizzle

    silhouette of tree digital wallpaper

    Photo by Pixabay on Pexels.com

    Look around.
    The gray invades,
    It blurries the trees.
    Hides perspectives.

    The flowerpots flooded,
    The ground barely sprinkled.
    Subtle spray to the breeze,
    Tickling the leaves.

    Growing the day,
    The sun beams dissolve its mist.
    Sparkles of saturated tints,
    Faded to thirst.

    And so,
    It drizzled.
  • Sobre cantidades y verdades

    transparent blur circle reflection

    Photo by Markus Spiske on Pexels.com

    No puede haber tanta verdad en cualquier relación.

    La abuela. Downton abbey. T4 E2. Escrita por Julián Fellowes
  • Why are comics and poems alike? Visual input p1

    grayscale photography of girl s face

    Photo by omar alnahi on Pexels.com

    <<The inclination toward wanting to connect the verbal and visual structure is totally understandable. One of the reasons is natural. Visual data has three distinctive and individual levels: the visual input which consists of myriad symbol systems; the representational visual material we recognize in the environment and can replicate in drawing, painting, sculpture, and film; and the abstract understructure, the form of everything we see, whether natural or composed for intended effects>>

    A primer of visual literacy. 1973, MIT press. Donis A. Dondis. Pag. 27-28. Op cit.

    SENSITIVE

    A poem is a close cousin to comic based on the sole fact that both, start by being an input. Visual or not, both require a sensorial perception that inputs information into the brain: fingers feeling little embossed dots, alphabets that require sight, lines that require eyes. Yes, I’m to force a little things. Let’s say those embossed dots are images. If there something as the image of spatial disruption in the gray matter of a blind1 person because, in spite of my own myopia magna, I can still see.  

    Voila, zeroth law. We’ve discovered the very beginning for everything.

    LITERATURE AND COMICS START both WITH SIGHT. And that’s nothing new.

    VISUALLY REPRESENTATIVE MATERIAL

    Sometime I had a whole entry based upon something Graham Dunstan Martin stated in Catchfire. If you may cause you have no idea what I’m speaking about, this is the entry…in Spanish. Unfortunately, I have had no access to any English version of the book to try and quote it as it was originally written. Una disquisición sobre la brujería aplicada.  

    Making it short; Dunstan Martin says magic works better in a “spellcast” language, for IT has to summon back taste, sense and image. Our mother tongue is nothing more than tossing coins into a counter. We use the word “butter” without tasting its salt, its grease, its calories. Nothing but a mere exchange of abstract ideas. However, take a language you don’t use (in the book the spell language hasn’t been really invented tough it has a brush of Latin) and you will be forced to remember everything there is to that being evoked. Such is magic.

    TO BE CONTINUED

    1. Blindness understood as any physical affection impairing the optical nerves, pupils or corneas and that; only so I won’t be naming each and every lack in perception ability existing in the world. A response to light, to summarize. And no, I won’t discuss the term to sugarcoat it into something inclusive just to behave derisingly and discriminative towards people who can’t or have difficulties to see and exclude them from this ideas I’ve been nonsensing about. ↩︎
  • Lay

    tree log

    Photo by Mike Bird on Pexels.com



    Your arms resting flat on ground,
    Yet your hands give more.
    Green lace gloves entwined gold and royal blood.

    Defeated by age or landlords,
    You lay strong.
    The rain came and you forgot.
    Half your root was drinking air.

  • ¿Somos iguales a pesar de los milenios?

    red and orange fire
    Photo by Adonyi Gábor on Pexels.com

    La gente reconoce fácilmente que las tribus primitivas cimenten su orden social mediante creencias en fantasmas y espíritus, y que se reúnan cada luna llena para bailar juntos alrededor de una hoguera. Lo que no conseguimos apreciar es que nuestras instituciones modernas funcionan exactamente sobre la misma base.

    Sapiens. Nuval Yoah Harari.

    Es curioso que no reconozcamos estás danzas alrededor de la hoguera.
    Como la danza del altar católico, dónde en cada misa se asesina1; de forma simbólica a un sujeto en nombre de un dios y se baila subiendo y bajando el cuerpo a un cántico que solía estar en un idioma «mágico» porque los asistentes no tenían ni idea.
    Están los gritos para atraer la lluvia de unos sujetos de traje y corbata que se inventan realidades en las que pagar los impuestos es posible aunque uno se los coma… O tiene que pagar los impuestos para que el gobierno pague programas sociales que incluyen a todo el mundo.
    Ah, y seguimos contando historias de la Llorona. ¿Para? Asustar a las personas con el más allá; con la idea que así se logra controlar su comportamiento en el más acá. Por lo demás, el imperativo categórico de Kant ni siquiera se conoce de modo popular.
    ¿Qué instituciones fundamentan el orden social de tus historias de ficción?
    Pasto kalo.

    1. O se conmemora un asesinato humano sacrificial. ↩︎
  • Image: the obvious thing common to poetry and comics p2

    dried flowers with printed text

    Photo by Elīna Arāja on Pexels.com

    LITERACY

    Any warning telling you: “Landslide danger1!”, is way more proficient than a board filled with words —not many to tell you the truth: one…two! And yet, that simple triangle in yellow with an image in black says it at a glance. However, you had to study so by reading a driving regulations binding or be taught at school.

    Both a comic and a poem require a higher literacy level (not talking of university degrees). And here it comes, our first catch. Rarely, schools are interested in having their students to learn drawing. Drawing is a magical stuff that happens to talented people. Meeee. Drawing is an ability that can be learnt by anyone, anytime. The real catch is that it requires, as any ability, a lot of practice.

    ARE THEY EVER REALLY TAUGHT?

    That, that is a blood pact in between comics and poetry. They’re both the kind of ability that is taught like a smear on the canvas. We’re taught in kindergarten to be free and express ourselves with crayons. Later, no one cares to teach how to actually use lines and shadows to draw lines and shadows instead of worrying about displaying a pipe2. Worst, the ability to express oneself freely goes suppressed. “Don’t draw on the book!”… Don’t draw on the bench3!

    Poetry, we might be (we are) forced to read poetry, to write some with a bit of rhyme, study perhaps rhetoric and other stuff I don’t even remember but… Does anyone care if we even let go of frustration by using poetry or if we happen to write an ode to the first love? Nope. We’re mocked because of it if we ever show the poem to others4

    A STONE AGE METHOD TO ACQUIRE VISUAL LITERACY

    How does one become visually literate? One; the stone-age way. By reading comics, crochet diagrams and… origami. Most people are always, to a certain degree, visually literate. Traffic signs and stuff have any driver knowing blue means “informative”, yellow “caution” and red “dangerous” or “forbidden”.

    yellow sign warning about electric shock danger
    Do you understand without a translator? Thanks your visual literacy!
    Can you tell me which crochet do you need and where to start? Are you a man who can read this?
    When do you flip over? Easy!

    Two, any ambition to be literate in a conscious scholarly way, needs you to go through design, paint or illustration schooling. And when it happens (literacy), you become literate uttering concept stolen from linguistics since visual literacy happens only among freaks…. I mean, artists5. For the rest of mortals. Visual language is not reckoned as a language of its own. And yet, it is one of the weird things we humans do that you won’t see animals doing consciously to indicate speed limits, how to create a loop to have a shell crochet or how to knot a knot.

    A person can speak the visual language without being able to specify so in the ridiculum vitae simply because many people ignore its existence. Should I write in LinkedIn I speak three languages? Spanish, English and Visual?

    And you? Are you visually literate? Enjoy your images in word processors. Or… in whatever it is the program you use to draw your comics. Pasto kalo.   

    1. In Spanish that would be four words: ¡Peligro zona de derrumbes! ↩︎
    2. Have you ever seen a Magritte painting titled: This is not a pipe? ↩︎
    3. Not an advocate of furniture damage… About books. Textbooks ain’t sacred! They should be used! Even if the student finds out the blank spaces just for drawing, it means they, at least, found the blank spots in there. ↩︎
    4. Didn’t happen to me but I have listened to horror tales. Or I’ve been accused or not writing what I wrote… ↩︎
    5. Graphic designers, illustrators, architects and industrial designers are not artists but, again, misunderstanding is in order. My own mother does. I am a writer, yet I happen to be visually literate thus I know how to create visual stuff too. Words can’t solve all communication problems. ↩︎