Proprioceptition technically is the sensory response to changes in muscles
in the body, whereby
balance and awareness of motion are affected. It is an internal sense,
I suppose like the kinaesthetic sense.
I suppose the word "imagination" in academic English at least, will be
forever conditioned by
Coleridge's romantic definition, which is pretty much the same as Eliot's
but much more complicated in its articulation, typical of Coleridge.
----- Original Message -----
From: "Rickard A. Parker" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, April 13, 2010 1:00 PM
Subject: Re: "auditory inwardness"
Peter Montgomery wrote:
> What a gas, Rickard! ...
Thank you Peter. But you know I've been thinking that "auditory
inwardness" would have been a better phrase for Eliot to have used
because he did write "below the conscious levels of thought and
feeling" and "auditory imagination" brings to my mind conscious
thinking of possiblities. From the very tiny bit about
"Proprioceptive Writing®" that I read, "auditory imagination"
seems to fit it.
Once again here is the quote from Eliot that Ken Armstrong supplied us:
> What I call the "auditory imagination" is the feeling for syllable
> and rhythm, penetrating far below the conscious levels of thought
> and feeling, invigorating every word; sinking to the most primitive
> and forgotten, returning to the origin and bringing something
> back, seeking the beginning and the end. It works through meanings,
> certainly, or not without meanings in the ordinary sense, and
> fuses the old and obliterated and the trite, the current, and the
> new and surprising, the most ancient and the most civilised
> mentality .
> T. S. Eliot, "Matthew Arnold," The Use of Poetry and the Use of Criticism