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These are no tattered waste paper baskets stuck in the corner of some nondescript office cubicle, nor are they mass-produced faux artisanal decor in the window of a quaint marina shop. Their scale alone they force us to really see them, not only be noticed but also appreciated for their artisanship. Perhaps they assert themselves on behalf of all wicker-made products, to restore some former glory to the craft now lost in antiquity. Along the walls wavy monochromes dance an enticing hula, shapes so often replicated in novelty salt and pepper- shakers, suburban hairdresser-mirrors, decorative glass knickknacks.

Here these rolling shapes are laid bare to linger between object, painting, motif and form. And the first thing he say is wow you are a little fat. Can you imagine? I started to cry, being all happy and exhausted and letting that man destroying all my feelings. So what? Love what you have! Eat what you want. But learn a little about nutrition that will make you eat sustainable and healthy! Hello Emelie, I think you have put a lot of thought into this but is this necessary? I look at their diet and I usually do small corrections if I see that there is some extreme like eating everyday a lot of cheese for example.

Because we also have to think about sustainability, what comes from the earth is living and gives us all the minerals, phytochemicals…to make us strong, healthy and respectful of our planet. So what I do is give recipes to people, simple, cheap, easy to make with raw materials and ask them to avoid a lot of processed food because I know them far too well and know how the industry works sadly, they offer us dead food. Have a peaceful day, Lila p. I will soon have a blog on sports nutrition and sustainability, helping people to consume right.

I think most Mountain Rescue team members would agree with that. I even got passed by a fancy dress smuff once. Eat, drink, run and be merry. Emelie one of the reasons everyone loves you and your running is because of your balanced love of all things. You have equal passion for food, sport, people, relaxation, reading and so many more things. That is so important and we all loose sight of that. You are a great ambassador and the more you share your thoughts the more you empower people to be individual and comfortable with themselves.

Hi Emelie! I think your thoughts are in the right place — focus in being healthy and also happy! Balance is required to live long, healthy and happy, being an athlete or a regular person. I can only say one thing: AMEN! This is absolutely what I think and what I have experienced myself. I tried to be leaner and thin, kind of good looking, showing all my muscles… Because when I was younger I used to hear that if you want to run fast you have to be as lean as you can.

And because I was overwhelmed with this kind of articles and photos you refer.

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And, when I was loosing weight and training only with lettuce, I failed in every race, no energy to push a good marathon after k bike, absolutely impossible, no energy. But when I train eating whatever my body asked me healty or not, including salad and fruits but also burgers, chocolate and pizza I feel stronger than ever because my body has gasoline. Lot of people think and says it! Even people who raced IM and long mountain runs! So this is why I am so happy to read your post, that a girl who is a referent for everybody says that!

But soon I realize that what I really love and what fulfills me is being stronger and faster and better, and the perfect body will be the best to fulfill your dreams. Thank you so much for this beautifully written post, Emelie. Your willingness to be vulnerable and authentic is incredibly courageous. Emelie, I love that you wrote this! Life is too short not to enjoy the sweet stuff. I make pancakes almost every weekend, for breakfast I eat Peanut butter and Jelly on English muffins or cereal and I love ice cream.

Emelie, I really respect your honesty and candor. Great article Emelie. A balanced life, running and eating is a great mantra. It is very disappointing how little the human body needs to survive, and I have to remember that when in tapering! I would kill to have legs and strength like yours!! Thank you for being so honest and sharing it with us!!

On a random note, what is the workout gear you are wearing in the one picture running up the mountain?? Fabulous message Emelie. There is a culture in running of lowest body weight you can maintain. But running competitively and trying to get thinner at the same time is risky, as you say. Even though I eat way more than others, I sometimes struggle to eat enough, but I am getting better the longer I am running, and know better now what I need. The best thing I have learnt this year is to stop comparing myself to others.

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Maybe I just need more food than others to stay healthy. I love this Emelie. You look fantastic and are a world class athlete. What you are doing with your diet must be right for you. A couple of people have commented that we have to be a bit more careful with what we eat as we get older. How not to kidnap it from the reading experience? Manguel , p. The freedom granted to the body in the bedroom, where it is liberated from social obligations, also makes it available for other worlds demanding its responses.

At the same time, the author reminds us that sometimes the greatest power of literature is evidenced because of an exterior opposite to what the pages bring us, that is, by the building of a world that contrasts with that which surrounds us. The concept of presence, naturally following that of sensation, is a fundamental notion to consider when dealing with the affects arising from a non-direct, or non-material, contact with the world. Nancy , p.

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Similarly, for Hans Ulrich Gumbrecht , p. This implies for Gumbrecht , p. Literary experience is a prime example. Likewise, the idea of substance as necessary to the production of presence interests me insofar as consciousness has access to things absent, distant, or fictive in the form of mental images. It is precisely this idea of presence, as a sensorial and emotional effect, that allows for the imagination to be presented as the dimension of literary experience in which we access the world in a non-conceptual way.

Gumbrecht emphasizes the fundamental importance of the quality of intensity in the production of presence: moments of presence are moments of extreme energy - they teach us nothing, they do not convey messages. The author defines as epiphany the sensation that we cannot cling to the effects of presence, that we are unable to grasp them in their ephemerality. Gumbrecht himself , p.

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Nevertheless, in Production of Presence, the author still harbors the notion that there is a need for immediate materiality for the effects of presence to occur. The French semiologist is, for his part, interested in the materiality of language: for him, it is from the latter that the intensity of the pleasure of the text rises. Barthes exalts reading as a space subject to contradiction; however, we are not in the domain of the sensation paradox as conceived by Merleau-Ponty and that I transposed to literary experience, as a universe of infinite and impossible possibilities in the space of the imagination.

In Barthes , p. The pleasure of reading comes, for Barthes, from ruptures in language. The ideas of pleasure and of bliss jouissance might lead the reader of Barthes to think of an activation of the sensible body through language. But the body here is not exactly the sensitive, as it does not suffice in its own sensitivity. In any case, Barthes, while rejecting the possibility that the concrete, real world may be represented by literary texts, cannot but admit that representation - the transposition of the real, external world into the text - is necessary, even if it is only a shadow of this text.

Yet how can one reject the possibility that this shadow may produce effects of presence? Similarly, Barthes , p.

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Turning now to Gumbrecht, and leaving behind not only the materiality of the text but also the materiality of the book as an object, we find a different possibility of access to the sensitive, when triggered by meaningful texts, through the idea of Stimmung. Here, the concrete encounter with the world allows for more subtle ways, such as the sensation provided by the mood or atmosphere that surrounds us. Stimmung effects could be thought of as sort of somatically produced correlates of the effects of presence as impacts produced by the sensorial perception on our bodies.

Now, we no longer depend on scents, types or rhythms traceable to the material surface of the work to penetrate the dimension of presence, which is also manifest from its non-material facet: all elements of the text can contribute to the production of atmospheres, and this means that works rich in Stimmung need not be primarily descriptive.

If the notion of presence proposed by Gumbrecht only seems to explicitly reflect the production of effects of presence in literary reading beyond its material aspects with the introduction of the idea of reading by Stimmung, there are, on the other hand, conceptualizations of presence in cognitive sciences and philosophy of the mind which go beyond sensory perception, or blur its boundaries.

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Cognitive psychology, for example, suggests the concept of embodied recognition as partial explanation for the production of sensory effects without the need for concrete external stimuli. The adherents of this theory, however, tend to restrict the effects of presence in reading to experiences experienced vicariously by the reader from the actions and perceptions of literary characters. Several recent studies question the independence of the cortical systems responsible for language, and those responsible for actions, from each other. He found that the sensorimotor cortex was activated, and that reading triggers regions of the brain that are otherwise activated by the described actions, albeit much more mildly.

Bergen , p. Porro et al. Researchers understand that these motor images can occur either internally, when the subject feels that he is performing movements, or externally, when he is watching them. His argument is based on tests showing that words activate regions of the brain close to those activated in the perception or actions involving the referents of words. She draws upon the theory of sensorimotor simulation to propose that presence in literary reading arises - countering Porro et al.

Presence is thus understood almost literally: readers feel present in the work by means of a preconscious sensorimotor mimetic process. Kuzmicova , p. Restricting the idea of presence to the direct physical component of spatial immersion, the author reduces the figure of the reader to a kind of preconscious theatrical actor directed by the text, and attenuates his role as the subject of experiences lived in imagination and memory. This essay is part of a broader meditation on a theory of imagination as a kind of distanced perception, that is, as a dimension where presence effects are produced by free association, albeit not immediately.

As such, the idea that effects brought about by language to the brain are only paler versions of the effects of actual perception or action corroborates my proposal: it is precisely because of the quality of concrete proximity that imaginative effects on the body occur. Yet, restricting simulation prompted by less concrete discourses to embodiment by sensorimotor resonance reduces the relation between reading and the body to a causal one. As we strive to conjure up an image - for example, that of a dog - we produce an image more or less controlled by consciousness.

But situations or ideas that we read in literary texts explode in our imagination, appearing in our consciousnesses only as flashes, which work in a similar way to involuntary memories: they are more effects than simulations. Nor do we control how the description of an idea can become the image of a scene, a face, a song, a smell, or a tactile sensation. More than that: even a carefully detailed description of a space or scene - I think, here, of works like Chronicle of the Murdered House, by Lucio Cardoso - will have in different readers diverse image effects.

The way texts go off in uncontrolled images is also what gives significance to imagination. After all, what role would it have if language itself, when processed by the brain, were to trigger unmistakable presence effects in the form of exact echoes of the sensations or activities described? Without the free and subjective character of imagination, all of us readers would conjure the same images from the same texts. This is also why the reflection concerning the concept of presence in literature is much more productive with regard to investigations on the potentiality of literature as a whole and on the ways of approaching literary reading, rather than in researches on specific literary works: presence effects triggered by a particular text will never happen in the same way in different readers.

Although his reflections focus mainly on the notion of presence as applied to palpable or tangible things, a dialogue with his Varieties of Presence will prove productive with regard to pointing out the limits of a notion of presence restricted to perception and especially to the connection between presence and understanding. Since focus here is to be understood as the focus of reflective consciousness which is subordinated to understanding , in all affective or sensory experiences the world would be closed to us.

It opens only in experiences that are circumscribed and evidenced by consciousness qua consciousness. Consciousness and experience - he uses the two terms interchangeably - are things you do and not things that occur to you, nor relationships of which you are part. Optimism, however, is here a form of pragmatic resignation in the face of a meaning culture which gives little scope to although it cannot altogether suppress moments of intense presence.

What does not strike me as obvious is the option to articulate this form of preconscious skill in a gradual continuity to understanding and, ultimately, interpretation. Using the example of the tomato: the moment we realize, by activating self-awareness, that we are not seeing a tomato, just part of it, the experience of the fruit changes brutally.

If I think of a distant friend, the entirety of this friend - absent from perception - is only the hidden face of himself. Imagination, while focusing on a real, yet absent, thing of the world, will be a quasi-presence of an existing object. Two questions, however, remain: 1 what is the status of this image when it arises to imagination without my intending it? The example the author chooses is Moses: because there is a very big chance that he is only a matter of myth, we cannot apprehend him as we do a distant friend.

For the author, when we imagine something that does not exist, we simply do not imagine it. Thus, it is the opposite of what I propose: presence as what resists rationalization. His is a pragmatic presence, and so it matters only as an act and not as an effect. By reducing presence to access, the author charges this access with some degree of action, ignoring the effects of presence brought by involuntary mental images and hesitating in case of events defined by their unpredictability.

That is, the possibility that mere objects are able to awaken memories or emotions from the involuntary activation of metonymic associations, which would give shape and life to the imaginary, affecting our bodies in the same way as objects available to perception do. To speak of affective effects of presence would always be for him to psychologize presence, and would amount to making it something impalpable and distant from the things of the world.

The incursion of the author is interesting as a denial of a representational relationship with the world, within the scope of perception. I, on the other hand, see aesthetic experience in a distinct way - precisely because, for me, between presence and concept there is not a gradation, but a rupture - and total presence in the sense of a cosmological connection with the world , achieved through its effects, may be elusive, but never illusory. I also understand it differently to mean that it is also up to literary criticism to open spaces for sharing affects, by recognizing that not everything offered to the public in a work of art is conceptually apprehensible.

The second moment comes, once again, suddenly - but now it arrives as something that exists beyond the realm of sensation. With this clearer image, the narrator can finally converse. Some understand that the main quality of that first overwhelming moment is only that of engendering the second one, and that the second moment fulfills the first, and enables one to meditate on it.

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Walter Benjamin , p. I consider here that when it comes to reading a novel or a poem, presence emerges like those images that, in all their weight, startle Benjamin when he is reading Proust.

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I propose, then, that imagination is, in literary experience, a dimension where things of the world are presentified to consciousness and, with that, potentially catalyze presence effects. In other words, it is precisely when they escape interpretation that mental images exert their impact on our bodies: when they produce presence effects on the senses and on the memory, thus triggering affects.