Catharsis (Ancient Greek: κάθαρσις) is a term often used to describe that state of purification. Most prominently described in Artistotle’s Poetics, it was in ancient times and is still today in use as a means of narration. Aristotle found catharsis mainly in the dramatic form of tragedy. The staging of a tragedy evokes a state in the audience that ought to purge them of negative sentiments. This is achieved through mimesis (imitation or simulation) of actions. Poetic text and theatrical acting together induce a more or less intense simulation, depending on the skill of their originators – according to Aristotle. A good mimesis then provokes those two things called éleos and phóbos in the spectator.
Pity and Fear are commonly used as the English translation of éleos and phóbos. Within German speaking studies though, their corresponding terms „Mitleid“ und „Furcht“ (a translation originating from G. E. Lessing) would be criticised as imprecise. Therefore a more accurate description of what induces catharsis would be lament/ emotion (Jammer/ Rührung) on one side and terror/ shudder (Schrecken/ Schauder) on the other.
A good catharsis is meant to help me cleanse my passions or sentiments. As I watch the protagonist go through intense states on stage (or respectively: on screen, in a novel, in a telenovela etc.) I feel for them. I take a stance towards the mimetic simulation in which my sentient and, what’s more, my moral compass are shaped. Catharsis, throughout history, was therefore frequented as an instrument for moral and politcal education – bearing in itself, of course, the immediate potential of misuse.
In a psychological sense, the element of catharsis is also in use, very pracitcally, to cleanse from traumatic experiences or to handle negative memories. There are various methods in psychoanalysis and psychotherapy that attempt to induce cathartic moments, hoping to heal wounds. (see, for example: anger therapy (S. Freud), psychodrama (J.L. Moreno))
The importance of telling stories of trauma, and with it building a bridge between the literary and the psychological sense of catharsis, is pointed out by philosopher Richard Kearny:
„Cathartic healing involves the narrating of past wounds both as they happened and as if they happened in this way or that. And it is precisely this double response of truth (as) and fiction (as-if) that emancipates us from our habitual protection and denial mechanisms. One suddenly experiences oneself as another and the other as oneself – and thereby begin to apprehend otherwise unapprehendable pain.“
The Tears Orchestra, established on January 24th, 2023, is a musical ensemble that comprises up to 120 highly-skilled tears. Its repertoire is a diverse amalgamation of renowned classical pieces, jazz standards, improvisational pieces, and original compositions crafted by the artists themselves.
The Tears Orchestra, led by conductor Lisa Zwinzscher, premiered on January 26th, 2023, as part of the Crying Institute at the Bauhaus University Weimar. The concert was pre-recorded and broadcasted digitally to reach a wider audience.
This performance marked a significant milestone for the Tears Orchestra, showcasing their impressive musicianship and the wide-ranging appeal of their repertoire. The decision to make the concert accessible online demonstrated the orchestra’s commitment to engaging with diverse audiences and utilizing modern technology to expand their reach.
The success of this premiere performance bodes well for the future of the Tears Orchestra and its continued growth and development as an innovative and dynamic musical ensemble. With their passion for music and dedication to artistic excellence, the Tears Orchestra is poised to become a leading force in the world of contemporary classical and jazz music.
THE INTENTION OF THE CONDUCTOR
Lisa Zwinzscher: “I have found that tears can be used as a unique instrument, capable of evoking a range of emotions and telling a powerful story. By transforming crying into singing, I have discovered a new way of channeling and expressing my innermost feelings.
Tears are like an instrument that can be played to encourage dancing, playing, laughing, crying, cuddling, thinking, and even flying away. They are a symbol of hope, a reminder that even in the midst of sadness, there is still a glimmer of light that can guide us towards better times.
Music has the power to lift our spirits and provide a sense of comfort and support during difficult times. Scientific studies have even shown that singing can boost our mood and make us happier.
That is why I want to encourage you to turn your tears into music. When you feel like crying, let yourself sing instead. Allow the power of music to heal and uplift you, and let your tears become a beautiful melody that can inspire others to find hope and joy in life.”
There are many ASMR (Autonomous Sensory Meridian Response) videos on YouTube designed to comfort and calm people. ASMR is a tactile sensation that can be triggered by certain sounds, touch or visual stimuli, causing a tingling or pleasant sensation in the head or body. ASMR videos are often designed to create these sensations and can be used as a relaxation technique or to reduce stress.
Some examples of ASMR videos that can comfort people are:
It is common for women to take on the role of a trusted friend or confidant in ASMR videos to create an intimate and personal atmosphere. These videos are often referred to as ‘roleplay’ and can include different scenarios and roles, such as talking to a friend or performing a wellness treatment.
The idea behind these videos is to put the viewer in a positive and calming atmosphere and build a connection with them, much like a trusted friend or confidant. Many viewers report that these videos make them feel less lonely and build a positive emotional connection with the person featured in the video as you can see in the comments:
“Im so glad ASMR people exist, they are the only ones who care about me. Thank you for existing. I love you.”
What do you get from the videos:
Wiping your tears Brushing your hair Positive affirmations/Letting your feelings out Giving you tea Negative energy plucking Neck/Shoulder massage Reading poems Comforting words & affirmations Cutting your hair Listening to you
…. and so on
There are not yet many scientific studies on ASMR and its effects on the body, but it is believed that when ASMR is triggered, hormones such as oxytocin and endorphins are released. Oxytocin is a hormone often associated with empathy, social bonding and trust. It has been shown to be released during certain types of touch and physical closeness and can promote positive perceptions of interpersonal relationships.
Endorphins are chemical compounds in the brain that help to relieve pain and produce feelings of happiness. It is thought that endorphins are released when ASMR is triggered and can help to create a pleasurable sensation in the body.
Benefits:
Stress reduction: ASMR videos can be used as a relaxation technique and can help reduce stress and anxiety.
Improved sleep patterns: Many people use ASMR videos to help them fall asleep and report that they help them fall asleep faster and sleep deeper.
Improved mood: ASMR videos can help promote a positive mood and emotions such as relaxation, happiness and contentment.
Improved cognitive performance: some studies have shown that ASMR sensations can help improve cognitive performance, including concentration and memory.
Pain relief: ASMR videos can also help reduce pain and create a pleasurable sensation in the body called an “endorphin rush”.
Problems:
Sensitisation: Some people report that regular use of ASMR videos makes them immune to the stimuli and they can no longer experience ASMR sensations. This is called sensitisation and may mean that the videos are no longer as effective.
Addiction: As with any other relaxation technique, there is a risk of people becoming addicted to ASMR videos and using them as their main source of relaxation and stress relief. This can lead to a lack of other coping strategies and excessive consumption of ASMR videos.
There is a possibility that the use of ASMR videos may lead people to seek less true human interaction and instead rely on videos as a primary source of comfort and relaxation.
Mental health “experts” such as ASMR creators use their reach to sell nutritional supplements that have no proven effect.
There is a possibility that the use of ASMR videos may lead people to seek less true human interaction and instead rely on videos as a primary source of comfort and relaxation. If this is the case, it can lead to social isolation and loneliness.
I think it is important to note that ASMR videos are not a complete alternative to human relationships and interactions. Also, I would say that it is important to maintain real connections with other people and have social relationships in order to live a fulfilling and healthy life.
When ASMR videos are used as a way to relax and relieve stress, they should be used in combination with other healthy strategies such as exercise, meditation, social interactions and a balanced lifestyle.
Ich schaue Naturdokumentationen mit meiner Tochter und wir Trauern und Klagen über den Zustand des Planeten. (nur eine von Zeit zu Zeit)
Wir trauern um Korallen, wir klagen für Kelpwälder, wir trauern um Haie. Wir klagen für Schalentiere. Seegurken.
Wir sitzen auf dem nassen Sofa mit gesengten Köpfen. Wir legen unsere Stirn aneinander, halten unsere Gesichter unter dem Kinn. Wir schluchzen laut. Wir spüren das Wasser in uns, das Herz ist eng und weit.
Wir klagen für Nutztiere, wir klagen und trauern wegen der Plastik. Wir klagen für uns und alle anderen Affen. Wir klagen um alle Wälder. Wir klagen für alle Wasser.
Wir legen uns hin. Wir rollen ein Sück. Wir setzen uns mit angezogenen Knien.
Wir trauern um Insekten, wir klagen für Maulwürfe und Feldhamster. Wir trauern um Schafe in der Mongolei.
Wir sind routiniert. Wir klagen weiter. Wir wehklagen
existing crying material: professionelles Klagen in Neapel
Als ich von 2012 bis 2013 in Neapel gewohnt habe, ist in einer der Wohnungen, die an denselben Innenhof grenzten wie mein Zimmer, ein Mensch gestorben. Ich kenne die Umstände nicht, noch habe ich die tote Person gesehen. Jedoch war für drei Tage das Klagen mutmaßlich professionell Klagender zu hören. Das Klagen, das auch Singen umfasste, war rund um die Uhr wahrnehmbar. Die Klagenden wechselten sich ab und ich konnte sehen, wie sie über den Hof kamen und gingen.
Innenhof in der Vico Luperano (google/Maps)
In der Zeit, die ich in Neapel verbrachte, konnte ich immer wieder beobachten, dass die Beziehung zum Tod und die Aussicht zu sterben, den Menschen gegenwärtiger ist. Das hat viele Gründe, die über die Jahrhunderte besprochen wurden. Zum einen liegt die Stadt zwischen dem aktiven Vulkan Vesuv und den Campi Flegrei (Phlegräische Felder), hier wurde schon in der römischen Antike der Eingang zur Unterwelt vermutet.1 Zum anderen ist die Mafia genauso sichtbar wie der Vulkan. Die Porträts ihrer getöteten Mitglieder prangen als Murales auf der Straße und weilen so weiter unter den Lebenden.
Il murales dedicato a Ugo Russo, Napoli. Il Manifesto vom 28.02.2021, https://ilmanifesto.it/a-un-anno-dalluccisione-di-ugo-russo-il-padre-denuncia-ancora-non-ce-lesito-dellautopsia, abgerufen am 19.03.2023.
Das Leben in Neapel ist immer konfrontiert mit dem Tod und die Bewohnerinnen nähern sich den Toten an, statt sie zu fürchten. Über Jahrhunderte haben sich in Neapel/im ganzen Süden Italiens besondere Formen des in der Welt seins, Rituale und Sprachen entwickelt, in Opposition zum hegemonialen und dominanten Norden (Italiens). Elisa Giuliano, eine Kuratorin der Ausstellung Ceremony (Burial of an Undead World) (10-12/22, HKW, Berlin) schreibt in dem gleichnamigen Katalog in ihrem Text Kiss the Dead:
It is what we call „a third space“, one that is perhaps mobile and radically other, but also exist at a distance from the world-systemic order of colonial modernity and capitalism. This typically Neapolitan capacity for distancing and resistance is due to to the indiffe- rence that Neapolitans express toward power.
In der Ausstellung selbst wird in mehreren Stationen die magische Praxis der Neapolitanerinnen beleuchtet. Ein besonderer Fokus liegt dabei auf der Pflege von Gebeinen unbekannter Menschen in den Katakomben der Kathedrale Basilica di San Pietro ad Aram. In diesem Ritus kommt die Ignoranz der Neapolitaner*innen gegenüber der Obrigkeit gut zum Ausdruck. Der Mythos sagt, dass die Gebeine von Menschen stammen, deren Seelen nun im Zwischenort Fegefeuer feststecken. Lebende Lebenden, die um diese Gebeine trauern und sie pflegen, können den Aufenthalt der Seelen im Fegefeuer verkürzen. Die Verstorbenen nehmen zu den sie Pflegenden Kontakt über deren Träume auf und teilen Informationen über ihre Identität mit. Die sie Umsorgenden lernen so die vorher anonyme Person kennen und kommunizieren fortan mit ihnen über Träume.
Cimitero delle Fontanelle, Foto: Karoline Schneider.
1969 schloss die katholische Kirche, die Orte, in denen diese Form der Knochenverehrung stattfand, mit der Begründung, dass nur Gebeine von Heiligen diese Aufmerksamkeit erhalten dürfen und das Pflegen von Gebeinen von Seelen im Fegefeuer von Nekrophilie geprägt ist und befremdlich sei. (Vgl. Giuliano 2022, S. 193) Heute wird der Brauch an vier unterirdischen Standorten weitergeführt. Über den Zeitraum des Verbotes hat er in Erzählungen überdauert und sich in Einzelfällen performativ über den Score „Andare a basilare il morto!“ (Geh und küsse die Toten) erhalten, wie Laura, eine Neapolitanerin in Giulianos Text berichtet. (Ebd. S. 192) Die Kombination aus einer widerständigen Geste im Ritual und dem Betrauern von Seelen unbekannter Entitäten, die nicht den Status Heiliger haben, interessiert mich sehr. Der liminale Zustand der Seelen und ihrer Anhänger, die zum Fegefeuer oder zur Marginalität verurteilt sind, sind in der Tat in der Lage, den dominanten Referenten, die Kirche, zu entzaubern. Sylvia Wynter unterstreicht, dass die Kategorie des Liminalen eine bewusste Veränderung bewirken kann, indem sie die Ungerechtigkeit der dominanten /normativen Struktur aufdeckt. Diese gerät, ihrer Autorität beraubt ins Schwanken. Gleichzeitig öffnet der Blick für das Liminale alternative Denkweisen und Handlungsspielräume. (Wynter 2015, S.200 ff.)
Ein weiteres Beispiel aus dem Süden Italiens sind die oben erwähnten, professionell Klagenden (prefica / chiagnazzare / preficha). Sie sind Fachleuten der Totenklage, die angeheuert werden, um bei Beerdigungen zu trauern, indem sie die Klage aller anderen „leiten“. Sie zeigten und zeigen den Trauernden einen Weg in der Trauerkrise.2 Ihre Performance, ihre Gesänge, ihre Lautstärke öffnen einen Raum zum Trauern und selbst klagen. Sie bringen eine Seele in die jeweils vorgestellte andere Welt, oft ohne Umweg über das Fegefeuer. Sie sind Animateurin und Medium und schaffen und halten wie die Pflegerinnen der Seelen im Fegefeuer einen laminalen Raum. Die Klagenden schotten die Trauernden gegenüber der Außenwelt ab, in der sie laut und und sichtbar sind.
Im Institut kam die Frage auf, ob wir über Unbekannte trauern können? Ich habe mich gefragt, ob es so etwas wie Unbekannte gibt? Ich denke an die Arbeiten Water Talk (1967) und We are all Water von Yoko Ono.
you are water I’m water we’re all water in different containers that’s why it’s so easy to meet someday we’ll evaporate together
but even after the water’s gone we’ll probably point out to the containers and say, “that’s me there, that one.” we’re container minders
Yoko Ono: We are all Water (2006), hier Schirn Kunsthalle, Frankfurt am Main 2013.
Querverweise 1 Bei Vergil (Publius Vergilius Maro) wird in dem Epos Aeneis ein Teil der Campi Flegrei (Avernischer See) als solcher benannt (29-19 v.u.Z.) 2 Die lokalen Bezeichnungen und Hinweise auf das professionelle Klagen als gegenwärtiges Phänomen sind einem Artikel von Concetta Formissana auf visuviiolive.it entnommen, einer neapolitanischen regionalen Internetzeitung. https://www.vesuviolive.it/cultura-napoletana/313855-ernesto-de-martino-chiagnazzare/ (zuletzt geöffnet am 20.03.2023)
Quellen Concetta Formissana (2019): Sulle orme di Ernesto De Martino: l’antico mestiere delle “prefiche”, le “chiagnazzare” napoletane. November 2019. https://www.vesuviolive.it/cultura-napoletana/313855-ernesto-de-martino-chiagnazzare/ (zuletzt geöffnet am 20.03.2023) Ernesto De Martino (1961): La terra del rimorso. Contributo a una storia religiosa del Sud. Mailand: Il Saggiatore Ernesto De Martino (2000): Morte e pianto rituale nel mondo antico: dal lamento pagano al pianto di Maria. Erstausgabe 1958. Turin: Bollati Boringhieri Ernesto De Martino (2002): Sud e magia. Erstausgabe 1959. Mailand: Feltrinelli Sylvia Wynter (1984): The Ceremony Must Be Found: After Humanism. boundary 2, Vol. 12/13, Vol. 12, no. 3 – Vol. 13, no. 1, On Humanism and the University I: The Discourse of Humanism (Spring – Autumn, 1984), S. 19-70 Sylvia Wynther (2015): The Ceremony Found: towards the autopoetic turn/overturn, its autonomy of Human agency and extraterritoriality of (self-)cognition. In Black Knowledges/ Black Struggles: Essays in Critical Epistemology, (Hg.: Jason Ambroise / Sabine Broeck). Liverpool: University Press. Anselm Franke, Elisa Guiliano (2022): Ceremony — Burial of an undead world. Ausstellungskatalog zur gleichnamigen Ausstellung HKW (2022), Leipzig: Spector Books
As a natural-born crier, I consider myself an expert in the art of tears. I possess the talent to effortlessly express my emotions through tears. Although my family has accused me of exaggerating, I believe it to be a compliment, as I am able to feel things more deeply than others.
Upon receiving the task from the Crying Institute to develop a new crying material, I was filled with genuine excitement and gratitude for the opportunity to innovate and design new technologies that our world deserves. Initially, I generated a multitude of clever ideas, such as crying paintings, crying cactus, crying cola, etc. Even though it was so much fun during those experiment times, I ended up didn’t proceed with any ideas as they were dull over time.
Except for one day, I realised that in order to invent something truly valuable, I needed to unlearn and then relearn anew!
I put down my ego next to my laptop and pretended to meditate for 3 minutes. Suddenly, an idea struck me: tears contain a three-layered component known as tear film. I then pondered the possibilities of filming tears to see these tear films.
Wow, I was super proud of myself. Let’s make a film about the tear film then!
Chapter 1: The Tear Tracker
In order to film the tears, I need to create a device that can detect, track and visually record my tears. I made a device by using recycled parts from the electronics lab at the Bauhaus-Universität.
The device is made from the breadboard, wires, LED, camera, resistor, RTC etc.
Due to the complication, I decided to make a short video to show how it look and function.
Chapter 2: The Interface
In simple words, in order to track my tears successfully, I need to put my wonderful creation, the Tear Tracker, inside my eyes. The preferred location is next to the pool of tears where I believe it is the place of tears production.
To show you how to do it, I created an instruction video that contains important steps but yet very simple.
Chapter 3: The Tear Film
Now it comes to the most important part of the journey. I would cry to activate the device and film my tears!
Sadly, it wasn’t that simple. I couldn’t cry.
…….
Going back a bit to the story of the experiments before Chapter 1. Even though I didn’t proceed with any of those dulled ideas, I couldn’t avoid the fact that I sacrificed tons of tears in order to test those innovations.
Crying after crying makes me cry for real. I burned out from crying and I cried from being burned out. One day, like today, I woke up and realised that I don’t have any more tears to drain…
I need a new material!
…….
(Storytime) Once upon a time, but around 8 years ago to be precise, my mom moved from our planet to another faraway land. I couldn’t reach her due to signal issues. I miss her every day and that missing energy has been killing me, so I decided not to look at any of her photos. The videos are highly prohibited, maybe because my mind knows I will cry so badly. Well, thanks to the self-defense mechanism. -_-
However, as a professional, the project is more important than my heart. I decided to finally face my fear and step into her old materials in order to complete my new material invention.
…….
In this chapter, you will see the final part of my project. I hope you enjoy my film and my tear film. 🙂
Every month, my body releases two types of fluid: water, which drains from the small holes in the inner corners of my eyes, and blood, which drains from the hole in the corner of my legs. While the blood is well-known to be scheduled, the other translucent fluid is often underrated, even though it is also part of the plan.
Yes, I’m talking about the emotional upset in the form of tears that women experience every month as part of the PMS (premenstrual syndrome) symptoms. Changes in our hormone levels, especially when the levels of serotonin are low, can lead to feelings of tearfulness, sadness, irritability, sleep issues, and food cravings, all of which are common PMS symptoms.
Even though it is a real thing that happens to around 75% of women, pop culture still loves to use it to stereotype women as being unreasonable and having uncontrollable emotions triggered by raging hormones before or during menstruation.
However, ‘Those Bloody Tears’ are very real and as natural as life itself. The social portrayal of women crying in a negative way doesn’t seem fair. It is because those tears are part of women’s nature and actually indicate a normal healthy body.
I feel blessed that I am able to release my emotions. I feel grateful that I can embrace my sensitivity and vulnerability. I feel connected to the complex nature of my body. I feel privileged to own this crying material as a part of me.
The power of tears cannot be underestimated and every cycle reminds me of the wonderful part of being a bloody healthy woman (period)
<object class="wp-block-file__embed" data="https://cryinginstitute.artnextsociety.net/wp-content/uploads/2023/03/Crying-in-tatto_Alastuey-Sara-Old-Material.pdf" type="application/pdf" style="width:100%;height:600px" aria-label="Crying-in-tattoo Crying-in-tattoo How tears are represented on ourselvesDownload
This performance is brilliant, and maybe you could all relate to the lyrics.
Some men have also given their two cents to the phenomenon, see below.
Further research required.
Lachen/Weinen
bei Plessner Erscheinungsweisen der Expressivität des Leibes, in denen die Zusammengehörigkeit von Körper und Geist deutlich wird. Der Körper übernimmt eine sinnvolle Antwort auf eine ansonsten nicht beantwortbare Situation, in der dem Menschen die Beherrschung über sich entgleitet, er sich aber dennoch nicht verliert, sondern als Mensch im Ganzen ausdrückt. Der Körper reagiert durch Automatismen auf »Situationen, denen gegenüber keine wie immer geartete sinnvolle Antwort durch Gebärde, Geste, Sprache und Handlung noch möglich ist« (Lachen und Weinen, S. 275). In L. und W. äußert sich der »Verlust der Beherrschung im Ganzen«, eine »Desorganisation des Verhältnisses zwischen dem Menschen und seiner physischen Existenz« (ebenda, S. 274). Indem der Mensch sich aber seinem Körper überlässt, findet er den sinnvollen Ausdruck für das Ganze seiner Situation. – Phänomenal aufschlussreich ist für Plessner auch die Ausdrucksform des Lächelns, die sich von L. und W. unterscheidet. Sie ist weder vom inneren noch vom äußeren Anlass, noch von einer Zweckmäßigkeit eindeutig geprägt, sondern der eigentliche Ausdruck für die exzentrische Distanz des Menschen von sich, weil sie im Ausdruck vom Ausdruck Abstand wahrt. Das Lächeln ist vieldeutig und bewahrt die Unergründlichkeit des Menschen, der darin bei aller Offenheit gegenüber der Welt zugleich immer bei sich ist. Im Lächeln wird das Körper-Geist Zusammenspiel offensichtlich, insofern es sich unbewusst einstellen kann, um dann mühelos vom Geist übernommen und zum bewussten Ausdruck werden kann. – Dem L. kann eine selbstironische oder verspottende Intention zugrundeliegen, es kann sich als befreiender Ausbruch eines inneren Konfliktes einstellen, vor allem erscheint es als Reaktion auf das Komische. Dessen Wesen wird allgemein in einer Diskrepanz zwischen Vollkommenem und Unvollkommenem, Schein und Wirklichkeit, Anspruch und Realisation gesehen. Für Freud dient das Komische dem Lustgewinn durch Entlastung von Verdrängungsaufwand. – K. Lorenz sieht das L. ursprünglich als zum Drohverhalten (»Zähnezeigen«) gehörig, während das Lächeln eine beschwichtigende, kontaktaufnehmende Gebärde ist.
Literatur:
H. Bergson: Le rire. Paris 1900 (dt. Das Lachen. Zürich 1972)
S. Freud: Der Witz und seine Beziehung zum Unbewußten (GW Bd. 6). London 1940
H. Plessner: Lachen und Weinen. In: Gesammelte Schriften Bd. VII. Frankfurt 1982. S. 201–387
Ders.: Das Lächeln. In: Gesammelte Schriften Bd. VII. Frankfurt 1982. S. 419–434
A. Stern: Philosophie des Lachens und Weinens. Wien/München 1980.
Metzler Lexikon Philosophie, unter https://www.spektrum.de/lexikon/philosophie/lachen-weinen/1188 (zuletzt aufgerufen am 06.03.2023)
The term “swallowing one’s tears (back)” is often used to describe someone suppressing their grief or despair, stopping themselves from crying. The expression seems to float somewhere between a figure of speech and a literal description of a physiological process. However, in most dictionaries, no entry can be found.
Here are some examples on possible usecases of this expression (translated from German):
“James de Malplaquet sang to it as if he had to swallow his tears, with a gentle vibrato in his voice, a glass of whisky or red wine in his hand nearly all the time (…) and paid homage to such beautiful despair that one felt the desire to drown oneself in a barrel of ale in the cellar of a British pub that very night.” (Tagesspiegel, Oliver Dietrich, 20.01.2012)
“Sharma apologised before the plenary with his head bowed, paused, had to swallow his tears. Shortly afterwards, the watered-down Glasgow Pact was adopted.” (taz, Susanne Schwarz, 12.12.2022)
“This time, however, Stanisic has to swallow tears for once, which make his voice brittle. ‘That’s how it is when you work with memory,’ he says, ‘eventually it gets you.'” (Süddeutsche Zeitung, Karin Janker, 14.06.2019)
Similar semantic constellations also exist in other languages than just German and English, for example, svälja gråten in Swedish, polykat slzy in Czech, or inghiottire le lacrime in Italian. In other words: We’re probably onto something.
However, in terms of its physiological content, the phenomenon of swallowing tears hardly appears to be a subject of scientific interest. This could indicate that it is actually more of a metaphorical construction than a physiological process. Yet, a brief study of the process of crying itself certainly shows the possibility of a literal interpretation, for tears are formed in the lacrimal glands and then flow through the tear ducts into the nasal cavity. This in turn is connected to the pharynx, so that it is indeed possible to swallow one’s own tears very naturally (alongside the mucus that also forms in the nose when weeping).
That swallowing (back) one’s tears is an actual thing might be also supported by the fact that any advice to stop unwanted crying often mentions intentional swallowing. This is where the proverbial “lump in the throat” comes in. It occurs because emotional crying opens the muscle at the back of the throat, called the glottis. Crying tries to keep the glottis open while swallowing, creating the feeling that a lump is forming in the throat. It is advised to drink a sip of water, swallow empty or yawn, which can help the felt lump, and eventually the crying itself, to go away.
The German speaking internet as well as reddit wonder if it is harmful to swallow one’s own tears, but be reassured: This does not seem to be the case.
Metaphorically, or even poetically speaking, the process of swallowing one’s own tears seems significant in that crying per se seems to perform a movement from the individual’s inside to their outside: emotions and the nervous system produce a fluid that makes its way from the interior to exterior parts of the body, to the visible and thus to the social, when tears run down the cheeks. Swallowing tears reverses this process: The movement into the outside is thwarted and diverted back into the inside, the attempt to make and become visible is prevented and the social potential of crying, the receiving of support and help from others, is made impossible.
But: perhaps you’re just saving them for another day?
“Lyric poems, even when based on narratives, do not resemble stories. All stories are about battles, of one kind or another, which end in victory or defeat. Poems, regardless of any outcome, cross the battlefields, tending the wounded.” (1)
– John Berger
Index
Introduction
Poem
Story
Analysis
Introduction
Developed and illustrated during the courses “erzähle (dich selbst) mit Code” and “the crying institute” this project seeks to visually explore a favorite poem of mine which made me cry the first time I read it: “Scheherazade”(2) by Richard Siken. The illustrations are inspired by me and my friends’ interpretations of the poem, our shared experiences, and our nightmares.
Tell me about the dream where we pull the bodies out of the lake and dress them in warm clothes again. How it was late, and no one could sleep, the horses running until they forget that they are horses. It’s not like a tree where the roots have to end somewhere, it’s more like a song on a policeman’s radio, how we rolled up the carpet so we could dance, and the days were bright red, and every time we kissed there was another apple to slice into pieces. Look at the light through the windowpane. That means it’s noon, that means we’re inconsolable. Tell me how all this, and love too, will ruin us. These, our bodies, possessed by light. Tell me we’ll never get used to it.
Story
Written by Richard Siken, Scheherazade is named after the main protagonist of the collected middle eastern folk tales known as Arabian Nights: Scheherazade married the king, Shahryar, who had become disillusioned with women after being betrayed by his first wife. Consumed with bitterness and anger, he started marrying virgins one after the other, only to put them to death the very next morning – making sure no woman would ever get a chance to break his heart again. Eventually, his minister fails to find more brides for the king. This is where Scheherazade came into the story – the minister’s daughter. She offered herself as the next bride, which made her dad terrified, but he had no other options. Yet Shcheherazade walked onto this path with a plan. On the night of their marriage, she started telling the king a captivating story, ending it with a cliff-hanger. “we are running out of time”, she had probably said. The dawn was nigh, and it was time for the king to end her life as he had done with the women before her. The king however, was so invested in the story at this point that he decided to let her live another day just to hear the rest of it. And so went 1001 nights – Scheherazade told stories one after another, leaving the ending unresolved, leaving the king eager for more. Until she ran out of stories to tell. Until the king fell in love with her and spared her life. (3) quick search on the internet shows that the poem is generally perceived as a poem about love and the power of love. Probably also because of Scheherazade’s story ending with the king falling in love with Scheherazade and sparing her life. Yet this poem scares me. But I agree that this poem is, in fact, about love.
Analysis
The poem starts with the repeated phrase Tell me… which reminds of the peculiar relationship between the king and Scheherazade. Is this an order? Or a desperate appeal in supplication? Is the poet looking for comfort or hoping to fill the gaps in a waning memory, not remembering how, why it all started? Pulling the bodies out of the lake to me means facing all the feelings and fears which you have swept under a carpet. Here visualized as toys and objects from my childhood, because I have a similar fear of anything related to that time. I refuse to watch “cute videos” of myself as a child. I can’t look at my face in older family photos, I can’t recognize that little girl. Do I feel like I’ve failed here? Maybe I do feel like I failed her because the very act of typing down this question brought tears to my eyes. Perhaps I fear the little me wouldn’t deem the adult I have become worthy of love because I’m not a “loving” person. Love has always been scary to me – and I’m not precisely talking about romantic love, but fostering a love for anything and anyone. Family, friends, places, life, and self-love. I find comfort in this passage from the book “I Was Interrupted” by the American director Nicholas Ray (4) – which, admittedly, I’ve never read. Selected lines from this passage are used in a song titled “the Hole” by the French experimental metal band Hypno5e (5), which happens to be one of my favorite music bands.
Today Susan asked Dr. D., “How does one overcome fear?” Was she asking for her or for me? Dr. D. looked at me. Why did I feel had to say something? I said, “By confrontation.” Vague enough, but implying, I suppose, confronting that which you fear head on. That’s okay for an implication, but hardly a remedy for the wound (pain). How about love? Dedicated love of life. Love of —for—God. “God grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.” All doing. All living. Must battle fear with love. Even the want to love will help.
Nicholas Ray – I Was Interrupted
I used caps and pills as a symbol of what keeps you going – keeps the horses running – It could be love, the want to love, or a responsibility that comes with being loved. It could be a fear of lovelessness. And it could be literal pills. The line the horses running, until they forget that they are horses could be interpreted as how you can get drowned in love, letting go of your past, your fears, your bitterness, your hatred – but to love is to be vulnerable. To love relentlessly and without falter is to knowingly walk the path towards heartbreak, what the king had been trying to avoid, and to take vengeance for.
Then comes the line it’s not like a tree where the roots need to end somewhere (love is endless?) … it’s more like a song on a policeman’s radio what are the songs on policemen’s radios but the reports of crime. At this point the poem stops being romantic, bringing something morbid into an uncomfortably intimate relationship. The imagery of dancing and kisses is amplified by the tenderness and sweetness of apple only to be juxtaposed by slicing into pieces – a wording that surly evokes violent connotation. The apple itself could represent any number of things depending on your perspective, which, in my opinion, makes it one of the most fascinating symbols used in this poem. My favorite one is taking it as a reference to the story of Adam and Eve, in which eating an apple leads to their expulsion from the Garden of Eden and their eventual mortality. In this sense, the apple could represent the inevitability of loss that is inherent in love. With every kiss that apple gets sliced into pieces, with every kiss we fall further in love, knowingly walking towards its “true destination”. This creeping dread and fear of loss is effectively captured in this passage from Derrida’s speech in memory of his late friend Jean-Marie Benoist.(6)
To have a friend, to look at him, to follow him with your eyes, to admire him in friendship, is to know in a more intense way, already injured, always insistent, and more and more unforgettable, that one of the two of you will inevitably see the other die.
Jacques Derrida – The Work of Mourning
Tell me how all this, and love too, will ruin us
We talked about houseplants in one of our sessions, and an interesting question arose: do our houseplants cry with us? I’ve been thinking about it a lot. Especially because I’m helplessly watching my Monstera die. A plant that has magically survived my “can’t even get out of the bed, let alone water my plant” phases, but is somehow struggling to survive even though I’ve been doing my best to take care of it. Tell me how all this, and love too, will ruin us.the sheer realization that love is not an ultimate cure, it’s not enough. And what it does offer, it gives for a price. “A broken heart — that grief of love — is always love’s true destination. This is the covenant of love.” (7)
The poem ends in, in my view, a hopeful manner.
These, our bodies, possessed by light. Tell me we’ll never get used to it.
light brings a more positive and hopeful tone, so does the hope to never getting used to it which sounds like a plea to never lose sight of the why we love. Despite everything, or because of everything. Battling our way through life with love.
For even the want to love will help.
1. John Berger, And Our Faces, My Heart, Brief as Photos (New York: Knopf Doubleday, 2011), 21.
2. Richard Siken, “Scheherazade,” in Crush (London: Yale University Press, 2005).
3. Bristy Chowdhury, “Scheherazade: the story of a storyteller,” Art UK, last modified January, 2018, accessed February 20, 2023, https://artuk.org/discover/stories/scheherazade-the-story-of-a-storyteller.
4. Nicholas Ray, I Was Interrupted: Nicholas Ray on Making Movies (California: University of California Press, 1995), 160.
5. Hypno5e, “The Hole,” track 5 on Des deux l’une est l’autre, 2007.
6. Jacques Derrida, The Work of Mourning (Chicago: University of Chicago Press, 2003), 13.
7. Nick Cave, “How do I not have my heart broken?,” The Red Hand Files, last modified December, 2021, accessed February 20, 2023, https://www.theredhandfiles.com/what-can-you-tell-me-about-love.
‘/i am not a robot.’ is a Dadaesque poetry book created by a machine, taking the human processor out of the loop. It uses python script and algorithmic text libraries to curate a broad selection of randomized poems. These poems are based on personal crying texts; a compilation of old journals and manifestations. The result is an interpretation of these texts through the emotionally sober eyes of the machine, adopting an absurdist outlook and exploring a somewhat literary translation to the act of crying.
Last week, I felt a deep feeling of sadness to the point where I felt like my thoughts would consume me. I knew I had to do something to distract myself from the overwhelming thoughts that were racing through my mind.
I remembered a store that sold scents that I had never visited before, thinking it was unnecessary for me to buy something from there, like it wouldn’t be worth it to spent money on this kind of experience. However, I decided to try something new and visited the store. I spent some time browsing through the shelves, inhaling different scents and focusing only on my sense of smell. The experience was new to me, and it allowed me to be present in the moment and appreciate the simple pleasure of smelling different fragrances. It was a way to escape from the constant chatter in my mind and find a sense of peace.
As I continued to explore the store, I suddenly realized that these scents were triggering memories from my past. The floral smells reminded me of my mother, and I was transported back to my childhood.. When I was a child it was the smell of my mother’s perfume that brought tears to my eyes. It was the scent of her perfume that brought tears to my eyes and reminded me of how much I missed her when she was away traveling. I used to smell her clothes for comfort, and the memory was as vivid as if it had happened yesterday.
In that moment, I realized again that the power of scent was not only calming, but also had the ability to evoke memories and emotions. However, at the same time, it can also bring back negative memories, reminding us of a disliked person or a place. The trigger factor of smells is big since it’s capable of conjuring both positive and negative emotions.
Den Tod tragen, 2012-2019, von Kerstin Grießhaber & Julia Hartmann, Fotos: Samuel Perriard.
In seinem Buch „Die Matrix der Gefühle. Das Kino, das Melodram und das Theater der Empfindsamkeit” postuliert der Filmwissenschaftler Hermann Kappelhoff 2004, dass das Weinen ein Bekenntnis des menschlichen Subjekts zu seiner Verletzbarkeit sei. Später, schreibt er, wurde das Weinen privatisiert.
Für unsere Arbeit „Den Tod tragen“ stellten wir, Kerstin Grießhaber und Julia Hartmann, uns die Frage, wie man das Weinen, als Zeichen der Verletzbarkeit und der Trauer heute künstlerisch sichtbar machen kann, um so an einer gegenwärtigen und konkreten Trauerkultur zu arbeiten und an die Notwendigkeit einer solchen zu erinnern.
Wir entwarfen objekthafte Bekleidungsstücke, die sich mit der traditionellen Toten- und Erinnerungskultur in Deutschland auseinandersetzen und von deren Materialität inspiriert sind.Wir forschten zu traditionellen Ritualen und Objekten der Toten- und Erinnerungskultur in Deutschland, wie beispielsweise den Totenbrettern, die zur Aufbahrung der Toten dienten und nach der Bestattung als Andenken aufgestellt wurden oder dass man aus den Haaren Verstorbener Personen Gedenkschmuck fertigte. Diese wiederentdeckten Rituale und Objekte nahmen wir zum Anlass für eine Neuinterpretation für unsere Bekleidungsobjekte und arrangierten diese in inszenierten Fotografien.
Darin legen die Träger:innen diese Bekleidungsobjekte ritualhaft,Schicht für Schicht an. Zuerst das weisse Hemd (Seide bearbeitet), dann die Kappe, die die Haare als Identitätsträger verdeckt, dann ein trachtenartiges Objekt, das aus Gummi geknüpft ist und schließlich ein Kopfputz, der aus Holz und schwarzem Samt gefertigt ist.
Der Kopfputz vollführt in der gesamten Fotoserie, von der hier zwei Fotografien zu sehen sind, dieselbe Bewegung wie die Totenbretter, von der horizontalen in die vertikale. Somit lässt der Kopfputz den zukünftigen Tod der Träger:innen bereits erahnen. Die trauernde Person ist zugleich die zukünftige tote Person.
Die Bekleidungsobjekte verändern die Silhouette der Träger:innen unabhängig davon von wem sie getragen werden. Sie sind nicht personalisiert oder Geschlechter spezifisch. Sie werden so zu kollektiven Objekten einer möglichen Trauerkultur, die es weiter zu entdecken gilt.
“Highly-sensitive people are real, we exist, and we have proven it. That alone is something to celebrate.“ – Elaine N. Aron
I chose to write about being an HSP, because me myself am one. I think there are still some misunderstandings about the term so I just wanted to share some facts and my own experiences to clarify.
A highly sensitive person is someone whose brain processes all information very deeply, including emotions, thoughts, and sensory input. This makes them more physically sensitive and emotionally sensitive than other people. High sensitivity is considered a normal, healthy personality trait, although one that — like all personality traits — comes with its own advantages and drawbacks. Researchers refer to this trait as Sensory Processing Sensitivity (SPS), environmental sensitivity, and differential susceptibility.
HSPs are often negatively described as “too sensitive.” But being an HSP isn’t a bad thing. Like any personality trait, it comes with challenges, but also many strengths. For example, highly sensitive people tend to excel at creativity, empathy, and the ability to notice things that others miss or make connections that others do not see. The tradeoff for these gifts is that the sensitive mind can become overworked easily, which makes HSPs prone to becoming overstimulated or emotionally overloaded.
Based on these traits, you might recognize a friend, coworker, or even your partner or yourself as being a highly sensitive person.
“Hungry-eyed fogies, gargoyles in full cry above the ruck and tumble of the street. They stare through shadows at a first-class loser, failed at selling shoes, flunked waiting tables, freaked out at knocking holes through cellar walls for slumlord hovels, scratched through flea-bitten nights in far-off places, fumbled over phrases for a shrinking ear. Open mouthed, they shrug me off, but I don`t care. An empty bag, I litter-dance in air.”
