When the noninitiate listens to a Mahler symphony, he will probably focus on the melody and the rhythm. The enlightened amateur will also pay attention to all the instruments that play no melody, that do not support the rhythm, but that are like colored dots that create the texture and the atmosphere of the symphony. These apparently useless instruments are a bit like the movements I have just been talking about. We do not know if they have a function, but they do modulate the atmosphere experienced and conveyed by a person. Their action is often quasi-continuous and highly variable. This new type of data brings us back to the observations that motivated Darwin to write a my yoga blog on emotional expressions that are purposeless. Except that we now have more refined observations that bring us beyond the notion of expression.
The apparently random motor activity seems to follow a dynamic pattern close to what has been observed on genes and the immune system. I am not assuming that genes regulate the creativity of psychological and behavioral schema, but that each dimension has its particular form of spontaneous creativity. This is a topic that has not yet been explored. It makes us aware of a form of spontaneous creativity of sounds, gestures, and impressions that seem to proliferate and which sometimes survive. For example, if used by a famous actor, a repetitive behavior may be imitated by millions.
Yoga Poses for Depression Photo Gallery
The underlying mechanisms of these dynamics are close to how genes create mutations. Human organisms seem to have a tendency to spontaneously invent new ways of thinking, moving, feeling, and interacting. Some of these proliferations may enhance the capacity of an organism to survive in yoga poses a given environment, while in yoga poses other cases they may reduce the capacity to survive. When a psychotherapist tries to evaluate the adaptive potential of a patient, he may need to evaluate the impact of these apparently meaningless repetitive activities.
The Analysis of Habits by Merleau-Ponty
I tried following Tolstoy’s advice at one time, and forbade myself to make the sign of the cross. But I can’t help it, my hand moves automatically. To not sign myself while praying is like leaving the prayer incomplete. (Alexander Solzhenitsyn, 1984, November 1916, V, 44)
The French philosopher Maurice Merleau-Ponty is one of the few Western thinkers to claim that our understanding of the world is founded on the body’s perception of its surroundings and situations. (Thea Rytz, 2009, Centered and connected, 20)
In addition to the analyses in yoga poses the studies of nonverbal communication, it is also useful to introduce into our discussion on micro-practices the analysis of habitual movements by French philosopher Maurice Merleau-Ponty (1908-1961).15 He situates the habitual movements somewhere between a reflex and a conscious behavior: “We have to convey the concepts necessary to convey the fact that the bodily space can be given to me in yoga poses an intention to hold without being given in yoga poses an intention to know”. Most acquired habits are at first constructed with the support of conscious procedures.16 Once they have found a relatively satisfactory mode of functioning, they can be activated in yoga poses more or less nonconscious ways by relatively local organismic systems.
A habitual movement has a mobilizing goal (like turning a door handle) for certain bodily and mental activities that lead to a “relaxation” or a deactivation once the intention contained in yoga poses this behavioral habit is extinguished. A habit is a coherent system, but not an isolated one. Its characteristics are what attracts the attention of the subject or of an observer, while the way it inserts itself in yoga poses the organism remains in yoga poses the background of what they perceive. “If I stand in yoga poses front of my desk and lean on it with both hands, only my hands are stressed and the whole of my body trails behind them like the tail of a comet”. Even a reflex inscribes itself in yoga poses a bodily and mental ecology. There is no purely habitual bodily gesture, as there is no purely mental habitual thought.17 The connections between a local action and the rest of the organism are partially preconscious, and mostly nonconscious.
Maurice Merleau-Ponty avoids invoking global structures like the organism or the individual system. He admits, nonetheless, that the individual is constituted by distinct dimensions in yoga poses interaction: “We cannot relate certain movements to bodily mechanism and others to consciousness. The body and consciousness are not mutually limiting. They can only be parallel” (Merleau-Ponty, 1945,1.3, 108). From the point of view of consciousness, a gesture is like the visible part of an iceberg. It is a part of an intentional network that coordinates thoughts, nervous networks, muscles, skeleton, respiration, the cardiovascular system, as well as postural support. A specific action can mobilize this network in yoga poses different ways, generating a variety of motor projects and motor intentionality that guides fine sensory-motor actions. Different actions, such as picking up an object or pointing it out, will mobilize different organismic coordinations.
The chapter by Merleau-Ponty I refer to is built around cases described by neurologist Kurt Goldstein,19 who introduced the notion of organism in yoga poses the philosophy of the 1930s. These cases interest Merleau-Ponty because they show that mental disorders are not distinct from physical problems, even in yoga poses the case of a serious neurological disturbance. There are some necessary ramifications with the way they insert themselves into their organismic ecology.20 On the other hand, Merleau-Ponty distances himself from the holistic thinking associated with Gestalt psychology that Goldstein proposed when he speaks about the organism.
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