No, it’s not a crude drawing of an inked and pierced freak. But if it were, ‘he”d be badass
Actually, it’s something far more prosaic. It’s just a simple tool, like a stick for termite shish kebabs. An aid to draw on understanding.
I’ve observed that characteristic tensions in the muscles of the skull correspond with characteristic emotional flourishes. So, in the above, the lines, arrows and letters are merely pointing out the muscular contractions you the reader could, with your very own self, test to see if what I am saying is right or wrong:
- A Joy
- B Satisfaction
- C Dissatisfaction
- D Anger
- E Disgust
- F Surprise/Fear
- G Cunning
- H Perspicacity
- I Stupor
- J Sorrow
- K Ponderousness
None of those are final, although many have been confirmed over and again. I’m interested in your differences. In a comment put something like “A: Anger” or whatever. (I just realized that although I edited the html to make this element have “type=A” so that it would show letters like in the diagram instead of numbers, my theme must be overriding that because although it shows up with letters in the editor, it has numbers in the post, so, a slight edit…)
But that’s not all, the plot thickens. There are several other important dimensions to what I am describing. First of all, the muscles can pliably contract and release along an angle or they can ossify in contraction or slackness along that same angle. The above short labels for the angles are simplified nouns in place of finer-grained processes. Ossified ‘Joy’ can become ‘something else’ because less ossified ‘systems’ ‘below’ it can start to move ‘it as a unit’.
Furthermore, there is the issue of asymmetric contraction. Smiling with ‘one half’ of your mouth, for instance. What are ‘grin’s? Does a “Left B” get balanced by a “Right C”? What’s it like to balance a “Left B” with a “Right D-E”? Or, again, is it different than balancing a “Right B” with a “Left D-E”?
For that matter, how does the fact that we have two redundant halves (two brain hemispheres) effect the texture of our experience? What does it mean to harmonize these two redundancies? What is it like? What is it not like?
How can this information be used for something other than persuasion? Can it be used like a scalpel in rooting out the mind/body ‘connection’? Or is it just a curiosity? Another artifact of the small insectivore in us all? Even so, what are the patterns these muscular conformations arise from? And why are they all concentrated in the face?
But too, what does it do to pierce these continuities? Or even just massage them? War and peace. Ebb and flow.
I know, I know, I’m always asking: What is Being?