There is only ,, illusion ” in art where ignorance of the bystander confuses imagination and its works with cruder processes. Truly men feel an enlargement before great or good work, an expansion but this is not, as so many believe today a ,, lie ”, a stupefaction, a kind of mesmerism, a thing to block out “ life ”, bitter to the individual, by a “ vision of beauty ”. It is a work of the imagination. It gives the feeling of completion by revealing the oneness of experience ; it rouses rather than stupefies the intelligence by demonstrating the importance of personality, by showing the individual, depressed before it, that his life is valuable — when completed by the imagination. And then only. Such work elucidates —
♦ William Carlos Williams, Spring and All
The world can expand. Life perceives and responds. Feedback is generated within and is redirected out.
Some things we experience broaden the scope of our projections. The creative response to stimulus can fuel and connote an expansive reality. The boundaries of the self stretch outward, extend upward and rootle downward, with compulsive energy when we encounter those “visions of beauty,” those moments of synthesis, when something more than what you know you know is conveyed. Imagination, that rare and impossible thing that fills in all the gaps, invents the way out of even the meanest cage, starts and whirrs its gears impatiently when we are faced with the evidence of design. We are nothing but sophisticated pattern recognition machines. The analogous spark that yokes moment to disparate moment, class to class, phenomena to its comparable repetition, illuminates our mechanisms. We see ourselves in expression, any expression that means something to us. This can be the play of atoms moved but undirected by curiosity or drive, as much as it can be the arrested manipulation of media. Nature is not art, but art might cause the same eidetic reverie that carries the sense of self beyond the confines of the body. We are composed of a oneness with everything that has translated within us: perception to pulse, experience to energy. What, that “stupefies the intelligence,” might come out of the moments between moments, when we make out directions that lead precisely nowhere? Do we learn something?
Of course the pornographic imagination is hardly the only form of consciousness that proposes a total universe. Another is the type of imagination that has generated modern symbolic logic. In the total universe proposed by the logician’s imagination, all statements can be broken down or chewed up to make it possible to rerender them in the form of logical language; those parts of ordinary language that don’t fit are simply lopped off. Certain of the well-known states of the religious imagination, to take another example, operate in the same cannibalistic way, engorging all materials made available to them for retranslation into phenomena saturated with the religious polarities. . . .
♦ Susan Sontag, “The Pornographic Imagination”
If the labours of men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the poet will sleep then no more than at present, but he will be ready to follow the steps of the man of science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of science itself.
♦ William Wordsworth, “Preface to Lyrical Ballads“
There must be a sense of play for poetry to work. There must be room amongst the litter of factive objects to dart; to squirm; to roll. After all, the empirical world was pulling at a similar cord to that of literary creativity in Wordsworth’s day. The science of oxygen and revolution were eerily contemporaneous: both materialized out of the same age of investigation and irrepressibility. A similar boldness as that which enabled Lavoisier to isolate molecules of air also led to the regime that would eventually sever his innovative head. The poets and the scientists were both treading uncertain ground, and asking daring questions, about what made the world the way it appeared, what moved and drove it in diurnal course. How exciting that we live now, when both still work towards that end, but we simply know more; and how disquieting to know that what we know, now, privileges us to much the same sum total of practical insight, as then.
How we imagine is the key. Poets sleep in the spaces between galaxies now; between an electron and a nucleus; climbing the ladder of DNA between proteins. The implications of vision are conjoined with physical enterprise in a way that inspires both the writer and the lab technician. There is poetry in everything, just as science can be brought to bear on every iota of phenomena. Where do we come from? This question signatures every project of inquiry. Let’s all play.