I decided then to examine my inner emotions and visions. By externalising my inner visions into visible art works I was able to observe the way inner emotions operate and generate images. The first film that I created for that purpose, Quantum Words (2006; ), visualises an inner vision I had using images of flares of light that seem to come from ‘inner realities’ and which pass through me and to the audience. The film’s images followed the images that I saw in my vision. The importance of this film is that it combined both the emotional inner vision and the articulated mind through which I was able to make sense of each image and symbol used in this film, which I later addressed and presented in the first three papers I gave in conferences.
With the making of this film I also noted the dual role of emotions in artmaking. Emotions, in my case, demonstrated a role in generating visions, or ideas, that made the content of the films, as well as a second role which I can only say contains a purpose to itself, regardless of the art work, and seems as if attached itself to the art work. This I noted following the visions that I had, which occupied my mind for a long time, but once externalised in the completed film, they brought with them a sense of satisfaction. It was as if the visions were now externalised and ‘satisfied’. Yet, I did not feel that satisfaction as my own, but rather as belonging to the visions and inner images. I felt an emotional identification, so to speak, with that satisfaction, as if one person identifies with another.
For the second film I decided to go further and to create a character that will ‘represent’ the inner world of emotions. The Prince of Hampshire (2006; ) presents a character that lives in such an inner reality and which has arrived from that place to tell us about its existence. With these films I attempted to visualise my inner worlds, and to communicate the creative process to the audiences.
I started at this time to interview artists, and initially focused on poets. Poets are known to be the masters of language, which obviously highlights the use of words. Words are the tool by which the mind thinks. In that way I could examine my assertion that the intellect governs inner emotions. Poets can share insight on their inner emotions and images which are later translated through thought into words.
But the poets that I had begun to interview for this research proposed a different approach to my understanding of inner reality that exists along with an outer reality. All poets seemed to share an experience in which an unknown source was triggering inner emotions within them that inspire them to create poetry, yet the poets insisted that the process of creating poetry is not the co-existence but rather the combination of both worlds, the inner emotions and outer intellect. All poets suggested that their inner emotions are shaped by the intellect into coherent sentences that can be communicated to the audiences, as Sylvia Paskin ( para. 9) explains:
‘…a poem can’t just be emotional. If it were just emotional there would be no boundaries to it; you would just have syrup… emotion has to be filtered in a way that it has structure and clarity. This is very important.’
The poets’ descriptions indicate a process of filtering emotions through the intellect. This suggested that emotions are not separated from logic, but rather an initial stage in the process of creativity, and which are later filtered by the intellect. This repeating evidence from the interviews has established the core theme of ‘feeling’ within chapter 10 – Stimulation.
I shall mark in blue each theme, as follows, so that the reader can see where and how each theme was situated in the final chapters:
Chapter 10: Stimulation (Sensing–Feeling–Acknowledging). Chapter 11: Internalisation (Shape–Movement). Chapter 12: Application (Place–Space).