PROPOSAL!

Assessment Description
Learning Outcome 1 is assessed through a seven to ten-minute recorded presentation that
features talking and visuals (still or moving image) and/or sound and is delivered by you
individually.
Your video should demonstrate and share a strong sense of your context and what makes it
complex and connected.
There will be significant overlap between this presentation and the work you produce for
the practice briefs as well as your independent activity. However, only the recorded
presentation receives summative assessment for Unit 1

IDEAS

(On the presentation)

When writing your proposal, ask yourself the following questions and use the various boxes to organise your thinking: 

1. What ideas/interests are most relevant to me and how do these reflect my values? 
2. How does this project build on and/or depart from my previous work (creative or other)?  
3. Is my project feasible in the scope of my part-time MA? Consider, e.g. what the project aims to achieve. No artist can fully engage with huge issues such as ‘truth’, ‘society’ or ‘culture’. Be selective, close some doors. Declare your commitments as an aim that is supported by several objectives.  
4. What is my field? What do I already know in this context and how will I deepen this knowledge and understanding through my research and/as cultural production? (e.g. primary research – visits to archives, libraries, galleries, museum collections, experimenting with new techniques, etc.) 
5. What does this project need to come to fruition? What is required of me as a person/practitioner to support this becoming? 

IN THIS 1000-1200 WORD ESSAY NCLUDE:

• Your name and the working title of your project   
• Summarise your research question and rationale (50-100 words): What do you want to discover and why?     
• What steps do you need to take to achieve your aim and objectives?   
• What practice-based/led and other methods will you use and why?  
• Influences/context(s): Which artists/designers/curators/performers/musicians/theorists/ philosophers/economists/geographers and so on who are key to your enquiry? (Your list should feature at least ten cultural producers. You may only reference two or three in proposal while featuring others in your bibliography.) 
• Identify what your project might need in terms of resources, materials and support. (Use bullet points to respond to this question). 
• Provide a bibliography of sources that are relevant to your research. (Begin with an indicative ten sources – a combination of artworks, articles, books, papers, projects, websites, etc. [use Harvard referencing – see Cite Them Right (linked below)]. This list is something you will add to, continually.) 

IDEA VOMIT

who am i

what do i do.

place

land

add people who are in cy in the video ( FILM STUFF IN CYPRYS)

use phone

talk in greek and use subtitles?

HOW MY CONTEXT IS COMPLEX AND SHOW MY NETWORK OF RELATIONSHIPS AND ENVIRONMENT.

philosophise my own perception of life

explore life like an outsider

WHAT IS MY PROCESS AS A CYPRIOT WOMAN

ARTIST

EMOTIONAL

GENUINE

SENSITIVE

FAMILY ORIENTED PERSON

MAYBE show the difference in lifestyle at home and here

THE DUALITY OF LEAVING HOME AND WANTING TO GO BACK BUT NOT WANTING TO LIVE THERE FOREVER

THE WARMTH OF FAMILY AND COMMUNITY AND EVEN FOOD AND WEATHER

tHE LACK OF RECOGNITION AS AN ARTIST

SEXISM

I BELIEVE IT SHOULD BE A NARRATED VIDEO! (EMMA CHAMBERLAIN STYLE)

sacrifice one lifestyle for the other.

I work and study online- USA QATAR CYPRUS LONDON

A SPLIT EXISTENCE

AN INTERCULTURAL LIFE. EVEN WITHOUT TRAVEL!!!

---

DIY search:

 Liz Lerman’s Critical Response ProcessSM

NOTES:

Liz Lerman evolved a new approach to group critique on artistic works in progress. Critical Response Process is a 4 method that emphasises the values dialogue and the opportunity for artists to exercise a degree of control in the criticism directed al their work.

INTERVIEW BY NANCY STARK SMITH- ON- LIZ LERMAN(Choreographer).

this CRITICAL RESPONSE PROCESS- has 3 roles & 4 steps

THE 3 ROLES:

1. artist – OFFERS WORK IN PROGRESS FOR REVIEW
2. responders- COMITTED TO SUPPORTING THE ARTIST AND ENGAGE IN DIALOGUE
3. facilitator- INITIATES EACH STEP- KEEPS THE PROCESS ON TRACK- WORKS TO HELP THE ARTIST AND RESPONDERS TO USE THEIR TIME WITH FRUITFUL Q AND As.

NOW THE 4 STEPS:

STEP1: statements of meaning

Facilitator creates a space that will help artists see that what they have created touch/ influences another human being.

ASK

-what was stimulating? how did u feeL? what meaning do u make of what u saw?

how do you interpret what u saw? what was compelling for u?

STEP ONE ISNT ABOUT JUST ASKING FOR AFFIRMATIONS BUTTTTTT IT SHOULD BE FRAMED POSITIVELY 100%

STEP2: artist as Questioner

The creator asks quesions.

The more they clarify their focus the deeper the dialogue.

Facilitator may help probe the artist to dig deeper.

STEP3: Neutral Questions from Responders

Responders ask Artist informational/ factual questions.

it can help, wben first introducing ihe Process, for the facilitator to lead the group
in practicing how to form neutral questions in response to a hypothetical work of
art (not the piece under review)

Neutral questions example: What kind of texture were u going for??

STEP4: permissioned opinions

Facilitator invites opinions.

responders first name topic of the opinion and the artist gives permission on wether or not they should state it.

” I HAVE AN OPINION ABOUT___________ WOULD U LIKE TO HEAR IT”

What I experience
is that people get
up from Critical
Response and they
cannot wait to go
back into the studio.
That is my definition
of good feedback.
—Liz Lerman

---

DIY Search:

Nonviolent Communication: A Language of Life-  Marshall B. Rosenberg

Nonviolent Communication (NVC) is a communication and conflict resolution process developed by Marshall B. Rosenberg in the 1960s. It is often referred to as “compassionate communication” and is designed to help people communicate more effectively, express their needs and feelings, and resolve conflicts in a nonviolent and empathetic manner. NVC is based on the idea that the way we communicate can either foster understanding and connection or contribute to misunderstanding and conflict.

The key components of Nonviolent Communication are:

1. Observation: NVC encourages individuals to make clear, objective, and nonjudgmental observations about a situation. Observations are distinct from evaluations, as they focus on what is actually happening rather than offering subjective interpretations.
2. Feelings: NVC emphasizes identifying and expressing one’s feelings associated with a particular situation. This helps individuals connect with their emotions and communicate them to others.
3. Needs: NVC highlights the importance of recognizing and articulating one’s needs and the needs of others. Understanding and expressing these needs can help in creating a common ground for addressing conflicts.
4. Requests: NVC promotes making clear and concrete requests rather than demands. A request is a specific, actionable expression of how one would like a need to be met. It leaves room for negotiation and collaboration.

The ultimate goal of NVC is to facilitate empathetic communication and to build connections between people, even in challenging or conflict-ridden situations. It can be used in various contexts, including personal relationships, professional settings, and conflict resolution efforts. NVC is often applied in mediation, therapy, and communication training.

The process of NVC encourages active listening, empathy, and a focus on common human needs as a way to bridge the gap between individuals with differing viewpoints. By applying the principles of NVC, people can better understand one another, find common ground, and work together to meet their shared needs while respecting individual differences.

Nonviolent Communication has been influential in the fields of conflict resolution, psychology, and communication and has been used in diverse settings to promote better understanding and collaboration.

---

DIY Search:

There were a lot of sources and articles to read but here is my summaey of what you may read online on the topic of ” the practise of giving feedback”

The practice of giving feedback to improve teaching is an essential aspect of education. Effective feedback can help educators enhance their teaching skills and, in turn, improve the learning experience for students. Here are some key points related to giving effective feedback to improve teaching:

1. Constructive and Specific Feedback: Effective feedback is constructive and specific. Rather than vague or overly critical comments, feedback should offer clear suggestions for improvement. For example, instead of saying, “Your lecture was boring,” you might say, “Incorporating more interactive elements into your lecture could make it more engaging.”
2. Timeliness: Feedback is most effective when it is delivered in a timely manner. It’s important to provide feedback shortly after the observed teaching session so that the details are fresh in the teacher’s mind.
3. Goal-Oriented: Effective feedback should be aligned with specific goals and objectives. Teachers and evaluators should have a shared understanding of what is expected in terms of teaching quality.
4. Focusing on Strengths and Weaknesses: Feedback should acknowledge both the strengths and weaknesses in a teacher’s performance. Recognizing what a teacher is doing well can be just as important as addressing areas that need improvement.
5. Engagement and Interaction: Encouraging engagement and interaction in the classroom is often a key component of effective teaching. Feedback may address how a teacher manages class discussions, encourages student participation, and creates an interactive learning environment.
6. Incorporating Student Feedback: Student feedback can be a valuable source of information. While students may not have expertise in teaching, their perspectives on the learning experience can provide insights into the effectiveness of a teacher’s methods.
7. Professional Development: Effective feedback should be seen as a part of ongoing professional development. It should be a tool for growth and improvement, rather than a judgment or critique.
8. Tailored Feedback: Feedback should be tailored to the individual teacher’s needs and the context of the classroom. What works for one teacher or class may not work for another, so feedback should be personalized.
9. Reflective Practice: Encouraging teachers to reflect on their own teaching is a valuable part of the feedback process. Self-reflection can lead to meaningful improvements.
10. Encouraging a Growth Mindset: Effective feedback should promote a growth mindset, where teachers see challenges as opportunities for development rather than fixed limitations.

In summary, the practice of giving feedback to improve teaching should be a thoughtful and supportive process that helps teachers enhance their skills and create more effective and engaging learning environments for their students. It’s a collaborative effort between educators and evaluators aimed at continuous improvement.

---

VIDEO:

Our next task is to watch a video= A documentary on giving constructive feedback!

Ask yourself: What might a lite version of this entail if you only had 15 minutes to provide a cohort with feedback on the work-in-progress they’re developing for your MA?

darn

---

READ:

Bolt, B. (2016) ‘Artist Research: A Performative Paradigm’, Parse (3)

NOTES:

Artistic research, as discussed by Barbara Bolt, likely explores the idea that artistic practice itself can be a form of research. This approach challenges traditional notions of research, which are often text-based and theoretical, by considering artistic practice as a valid way of generating knowledge and understanding.

In a performative paradigm of artistic research, the emphasis is on the act of creating, performing, or exhibiting art as a form of research inquiry.

This means that the art-making process is not just a means to an end (the artwork) but is, in itself, a way of exploring and generating new insights.

This approach blurs the boundaries between artistic creation and research, suggesting that art is a way of asking questions, experimenting, and investigating ideas. It values the performative aspect of art, where the process of creating and presenting the work is seen as a form of communication and a source of knowledge.

Barbara Bolt’s work likely delves deeper into these ideas and their implications for the field of art and academic research. If you are interested in the specific details and arguments presented in her article, I would recommend accessing the article directly through academic sources or libraries.

IN DETAIL

the idea of “performativity” in the arts, particularly in contemporary discussions around visual and performing arts. This concept suggests that all art is inherently performative, meaning it does something or creates an effect. This shift in thinking has been called the “performative turn.”

The author differentiates between “performance” and “performativity.” While performance refers to deliberate acts in art, performativity focuses on the repetitive nature of art creation. Art practice is seen as a repetitive process that enacts or produces “art” as its effect. This repetitiveness conceals the conventions of art.

t artistic research can be seen through the lens of performativity, where repetition and iteration are central to understanding how “the new” emerges in art. It’s a different way of thinking about artistic practice and research compared to traditional qualitative and quantitative research.

The text EMPHASIZES the differences in how art and science establish “truth claims.” In scientific research, truth is based on objective measurements and calculations, leading to replicable results. Artistic research, on the other hand, is often seen as subjective and not easily replicable, making it challenging to conform to scientific standards.

The text also explores the concept of performativity, which focuses on the idea that artistic research doesn’t merely describe something but actively does something in the world. It argues that the effects of artistic research are multi-dimensional, including changes in material practice, methodology, and audience experiences. The performative aspect of art has the power to transform how we perceive the world, and the text suggests that it should be valued and assessed differently from traditional scientific research.

The author contends that artistic research should not be measured solely by scientific standards of replicability and objectivity but should be evaluated based on its unique transformative impact on the art world and beyond.

Systems thinking:

Systems thinking is an approach to understanding and solving complex problems by examining them as integrated systems rather than isolated individual components. It’s a way of thinking and modeling that considers the relationships and interactions between various elements within a system. Here are some key points about systems thinking:

1. Holistic Perspective: Systems thinking looks at the whole system, including its parts and their interconnections, rather than analyzing isolated components separately. It emphasizes the interconnectedness of elements within a system.
2. Feedback Loops: Systems often involve feedback loops, which can be either reinforcing (positive feedback) or balancing (negative feedback). These loops play a crucial role in how systems behave over time.
3. Emergent Properties: Systems thinking acknowledges that the interactions among components can lead to emergent properties – outcomes or behaviors that are not immediately obvious from looking at individual elements.
4. Cause and Effect Relationships: Systems thinking explores the dynamic cause-and-effect relationships within a system. It’s not just about identifying linear causality but understanding how various factors interact and influence each other.
5. Boundaries: Systems thinking often defines boundaries for the system under consideration. These boundaries help delineate what’s inside the system and what’s outside. What is considered relevant to the system is within the boundaries.
6. Systems Diagrams: Diagrams, such as stock-and-flow diagrams or causal loop diagrams, are commonly used in systems thinking to visualize and model the structure and behavior of a system.
7. Interdisciplinary: Systems thinking is an interdisciplinary approach that draws from various fields, including engineering, biology, ecology, management, and social sciences. It can be applied to a wide range of domains to address complex challenges.
8. Problem Solving: It’s often used as a problem-solving method to address issues like environmental sustainability, organizational change, healthcare delivery, and more.
9. Learning Tool: Systems thinking is also employed as a tool for learning and education. It helps individuals and organizations better understand complex issues and make more informed decisions.
10. Pioneers: Early pioneers in systems thinking include Jay Forrester, who developed system dynamics, and Donella Meadows, known for her work in sustainability and the book “The Limits to Growth.”

Overall, systems thinking is a valuable approach for understanding and managing complex, interconnected systems in various fields, enabling a more comprehensive and effective way to address challenges and make decisions.

TASK 1:

Watch the short video: Swansan, J. Systems Thinking.

The point of this exercise is to introduce you to systems thinking and the relevance it may have for you and your work on the course.

What is systems thinking

Instead of approaching the issue with a cause-effect solution, You combat it by “zooming out” and looking at more external factors that cause the issue.

Systems thinking, means tackling an issue in a broader sense and from all possible directions/causes.

For example, why is obesity an issue in the US? Is it merely because people dont exercise? OR could it be explored more culturarly like=

• the qualitty of their food
• the price of junk food vs healthy whole-food
• accessibility to naturally sourced materials
• Non walkable cities
• No motive for exercise in their community (cycling/sports)
• DNA

So if you just tell these people to eat less and excercise, It could work for some, but not at a level where you would see change in your community.

Systems thinking means advocating for more walk-friendly neighborhoods in this case, creating events in the community that help people get together to excercise in a fun way, creating parks, bicycle lanes. –

In parks and rec Lesley tries to ban super unhealthy sports drinks and make people eat healthier, tries to create a park. – She approaches the issue with systems thinking! -melissini’s note lmao

How would i go about aproaching my practise in a “systems thinking” way

Maybe by psychoanalyzing my practice? Although I do not think that is very productive for me.

Why do I paint the way I paint? It just comes to me. I will try to open my mind to this question and come back to it though.

Okay so I have tried to answer this question without putting my self in boxes. I don’t know if its easy.

Why do I create using Oil as my material? Because its easy to blend, change, work over, It doesn’t look cold and still (like acrylic can sometimes look that way to me). It allows for you to work on it again and again, sculpting something without needing to erase a “mistake”. Everything looks moving and blurry and fuzzy, like your interpretation of something in your head (like in your dreams) instead of a picture.

Why do I Paint people, faces? Why do I have a personal style in the aesthetics I create? I don’t know. I observe and my creations are my interpretation of what i see. This is how I see things and maybe you can tell what I focus on.

I will try to think of this question more. I do like to paint and see my culture in what I paint. I have never painted a blue eyed blonde person for example. But that’s only because it hasn’t yet happened, I haven’t felt that aesthetic deeply in order to represent it YET. And maybe those particular aesthetics don’t interest my subconscious as much.

When I paint I don’t look at something for inspiration, I don’t have a reference picture ( I feel that reference pictures are like borders in my head, blocking my creativity and only allowing me to copy what i see). The two factors that tell me what to paint are how I feel and what I see.

I put on music I like, Most times music from my childhood and I paint, I follow the shapes I like into what they will lead me to create, I put colours and create relationships and work accordingl to what I see after each new stroke. If I like what I have put on the canvas then I work around it, If not then I add what I like and look at the piece from afar a a whole, until I like what I see.

For now that is how I analyze my process and motive with my practice.

I don’t think much when I create.

I feel as though the time I am not creating is the time to think, and cultivate emotions and philosophies that then come to you subconsciously when painting.

I believe if I am thinking of what I am creating and why, and what “message” I want to give out, consciously and on purpose, then the work looks too literal and “childish”.

To me the time spent not working on a piece. The time spent with your friends, going about your day, arguing, laughing, experiencing the ups and downs of your day to day and the work that goes into reacting and understanding your emotions and relationships with others IS still work you do for your practice.

It just isn’t too literal and obvious. Because your art is a projection of your emotions. Not your thoughts. And what you cultivate in that day to day is your entire personhood and how you handle those emotions.

DAAAAAAAMN. i DID THAT!

I realize now after reading ALL OF THAT. That I was able to sort of understand my practice better, through Systems Thinking. I didn’t see that coming. Well played Marsha.

TASK 2:

look up context and pictures of leaning(??? )

Here’s a picture of leaning —->

Leaning has a lot of possible meanings? Do we mean an inclination to do something? Do we mean to depend on someone?

I foraged (slay) in Google scholar by looking up the word “Leaning” and what do you know. The library angels are at WORK.

The first thing i found is this book titled

Leaning:
A Poetics of Personal Relations
ByRonald J Pelias

And here is what the book is about:

Ronald J Pelias explores leaning as a metaphor for analyzing interpersonal interaction. Bodies leaning toward one another are engaged, developing the potential for long-lasting, meaningful relationships. But this ideal is not often realized. Pelias makes use of a wide variety of tools such as personal narrative, autoethnography, poetic inquiry and performative writing in his exploration of the physical space of relationships. This deeply personal work is essential for scholars and students of qualitative research and autoethnography.

Turns out the text i found is literally the next task for reading. OOP

Lets start with this text then.

PROLOGUE NOTES:

Leaning: How bodies place themselves in relation to others.

Leaning towards others carries the greatest potential for meaningful relationships.

When I lean, I am an attentive, engaging listening presence.

“I find myself always asking how my body stands in relation to others” “I seek a comfortable fit, Although that’s not always possible” “When I lean in, I want to hold a positive sense of myself. If I don’t I want to pull away”

(THIS IS ALL BODY LANGUAGE, SENSUAL INFORMATION- in relation to week 1’s findings)

Cultural markers= RACE GENDER RELIGION ETC encourage/ discourage particular leanings.

I find myself leaning towards those who share my ways of seeing. Our bodies come together and forge alliances.

We bond SETTLE together, armed with the strength of our commonality.

IN PARTNNERSHIP, WE RESIST THOSE WHO MIGHT PUSH US IN DIRECTIONS WE’D RATHER NOT GO.

So leaning WITH others then becomes a personal comfort and a political force!!

Affinity (comfortable compatibility) breeds conviction and institutionalizes power

( Not sure what this means?)

Affinity comes with the risks of personal blindness, political indoctrination, empty associations.

It comes as little surprise, then, that I find myself leaning on others. To stand, I may need help. To speak, I may need guidance. To be, I need love. I depend upon others for their support, their companionship.

I need others, and I want others to need me, to lean on and with me, to find my body a place of trust and comfort, a place where love might flourish.

LANGUAGING RELATIONSHIPS.

TASK 3:

READ:

  Day 10: Touch from Olsen, Andrea (2020) Body and Earth: An Experiential Guide.

The importance of touch and the body

ΑΦΗ !!

To know through touch … is to understand better.

Touch provides immediate physical objective information, basic to our survival, discerning weight, size, texture, and temperature.

Communication is observed in hands, whether in touch or in gesture, sometimes in direct contrast to words.

Intention is expressed through the body.

touch deprivation affects physical and emotional development and can result in retardation or death.

The text had a few excercises to do that would remind you of the importnace of the sence of touch.

One of them is to caress an object you hold dear, with your eyes closed and then with your eyes open. What associations do you make?

When my eyes are closed I only think of the way I perceive the objects, not its actual look, I am reminded of emotions and memories more than I am reminded of the exact geometry and look of the object. Not looking at the object made me caress it carefully and realise a few textural details I had never payed attention to.

WHEN WE TOUCH SOMETHING WE ARE ALWAYS TOUCHED BACK!

READ:

Paterson, M. (2009) ‘Haptic geographies: ethnography, haptic knowledges and sensuous dispositions’, Progress in Human Geography, 33(6): pp. 766-788. 

This paper is the first overview of the treatment of haptic knowledges in geography,
responding to bodily sensations and responses that arise through the embodied researcher.

Haptic= relating to touch.

The author discusses the limitations of language in expressing these experiences and emphasizes the difficulties arising from the dominance of visual metaphors in Western culture.

The article introduces the concept of “haptic geographies,” delving into the haptic, or tactile, aspects of embodied experiences and their implications for research methods. It traces the development of “haptic knowledges” in the context of fieldwork and explores the somatic sensations involved in bodily activities. The author clarifies the term “haptic” beyond cutaneous touch, encompassing internally felt bodily sensations.

The text also examines the historical development and interconnectedness of the haptic system’s components, including kinaesthesia (sense of movement), proprioception (sense of bodily position), and the vestibular system (sense of balance). The overarching goal is to provide a more defined framework for understanding and incorporating haptic knowledges in empirical research.

utilize the body as a “research instrument” (Crang, 2003) or a “tool for gaining insights into research subjects and their geographies” (Longhurst et al., 2008)

In western societies we put a focus more on what we see than what we feel with our bodies.
OCULARCENTRISM.

The sensorium, defined as “the subject’s way of coordinating all the body’s perceptual and proprioceptive signals,” is culturally variable and continuously shifting (Jones, 2007: 8). It is influenced by societal rules, technological mediation, and the physical environment. This variability not only impacts the reflexivity of the embodied ethnographer in fieldwork but also influences the interpretation of linguistic constructions, cultural variations, and power relations.

Stoller (2004: 820) suggests that sensuous descriptions enhance the clarity and force of ethnographic representations and the analysis of power relations. Acknowledging sensuous ethnographies as potentially groundbreaking opens up innovative possibilities for thinking, writing, and reflecting on previously overlooked aspects of human experience.

Sensuous ethnography, in bearing witness to social trauma, abuse, and repression, has the potential to shock readers into newfound awareness.

In summary, the renewed attention to sensuous scholarship offers a rich avenue for understanding and representing human experience beyond the visual bias, acknowledging the diverse ways in which individuals engage with and make sense of their surroundings.

Performing ethnographies capture the bodily experiences of walking, with examples illustrating the fluidity and ease of movement discussing how sensory experiences are intertwined during this everyday activity.

The author talks about how we understand feelings and experiences in a way that doesn’t rely on traditional ways of explaining things. They focus on how our sensations and feelings change over time and how new technologies play a role.

It introduces the idea that our feelings are not just about immediate sensations but also about how our bodies have learned to feel over time.

The text also says that touch is not just about feeling things but is a way of knowing and performing. It talks about how touch is connected to our memories and helps us make a connection with places.

To wrap up, the writer suggests three things to think about for future studies on haptic geographies. First, researchers can share their bodily feelings using introspective methods, sort of like looking inside themselves. Second, it’s important to understand that experiences can be complex and different, so we shouldn’t stick to standard terms. We should explore the actual experience of doing things during fieldwork.

TEAMS MEETING WITH ANNA MACDONALD/ MA PERFORMANCE SOCIETY:

Introducing Somatic research methods.

We watched 2 videos that showed multiple peoples literal soma-σώμα ( Greek for body) leaning on one another.

Also objects leaning on eachother. A man being entrapped by a contraption that is made of objects leaning and pulled onto one another. ( an old fashioned animal trap).

I do not particularly feel very moved by these examples as they get their point across quite literally but i really enjoy the conversation and multiple ways we can interpret the word leaning in each context.

We then performed multiple meditation exercises. While being instructed and guided through them by Anna. I meditate daily so I really enjoyed this exercise.

And lastly we all performed as leaning sculptures along 3 different objects. Performing is not at all how I express my self so this didn’t really my thing but I really enjoyed seeing the multple creative ways others interpreted leaning with their bodies.

Here is a poem i feel reflects how i interpret the meaning of this lecture.

“Δόξα στ’ ανθρώπου το κορμί! Στη σάρκα,

που σαν καλοκυβέρνητο καράβι

σιδερένιο στα παλάτια του πελάγου

βαστάει του ανέμου τους δαρμούς, του δρόμους

και τα λιοπύρια.Δόξα στα χέρια, ω χέρια προκομμένα,

σα σπαθιά δυνατά και σαν αλέτρια,

στα πόδια, που ματώνεστε περνώντας

τα φτερά, δόξα στο χορταριασμένο

βράχο του στήθους.

 

Το φέγγος του ματιού και του προσώπου

την αντρίκια ψυχή και του στομάτου

τ΄ οργισμένο τ’ ανάκρασμα δοξάζω,

των Ηρακλειδών τα ραβδιά, τα νιάτα

των Αντινόων.

 

Δοξάζω το κορμί, που αποτολμάει

στη μέρα αγνάντια ολόγυμνο, απ’ τ’ αρπάγι

άγγιχτο της ακάθαρτης Αρρώστιας,

θεϊκά να μετρηθεί με τη γαλήνη

των αγαλμάτων.

 

Στο κορμί δόξα, ρόδο της Υγείας,

και απέραντο χαμόγελο της Ύλης,

και σύγνεφο, που κλει τ’ αστροπελέκι,

στο Πνεύμα, πόγινε από πλάστης πλάσμα,

στο κορμί δόξα!

 

Στο κορμί δόξα, που και κείνο πλάθει

με την ορμή της πύρινης αγάπης

τα ωραία παιδιά, τα λιονταροθρεμένα παλικάρια,

τους πολέμους, τις νίκες, και τις πατρίδες!”