Pierre Mabille (1904-1952) was a French doctor and writer who combined scientific practice with artistic language. For him, both terms were necessary when completing the nature of the world and, therefore, explaining it.
Because the scientific exercise has a lot of artistic expression and vice versa. Both science and art share the same origin, a combination of restlessness and wonder, curiosity and dazzling at the cracks that reality shows and where creative inspiration will enter.
With these things, and far from the mechanism of current diagnoses, Dr. Mabille maintained an organic relationship with medicine; a relationship where the marvelous will be linked to a palpable tension between two codes that apparently appear contrary. The development of emotion and passion that moved his life would lead him to be part of the magazine’s staff. Minotaura publication launched by Albert Skira together with André Breton.
From Minotaur, Dr. Mabille will come into contact with artistic expression at the height of the avant-garde boom, when collective emotion during the interwar period sought a place in the unconscious. For him, for Mabille, the dark nameless push that governs our destinies is going to be the origin of all illness; There is no evil that does not have its cause in a wrong reading of our experience in the world, when all abstraction disappears and things only have an irreversible direction.
He tells all this very well in his book. The wonderful mirror, recently published in Spanish by Atalanta; an initiatory journey that travels through our inner world through a gallery of mirrors where texts by Lewis Carroll, William Blake, Goethe, Rimbaud, Ovid, Kafka, Plato, as well as alchemical readings, are reflected. For Mabille, science becomes anemic from the moment it is not able to express the universe and its reasons with a language accessible to that collective emotion to which we alluded at the beginning, and whose origin is found in our unconscious.
To achieve this new and community poetry that heals the sick organism, Dr. Mabille understands science as a language, a path to explore just like poetry or painting, artistic disciplines that lead to a “unique mystery.” In this book we approach a sincere man, who, without any modesty, unties the girdles that scientific misinterpretation has tied throughout the time of reason.
Among many other curious matters, Mabille tells us that when she was a student she was already clear about it. He understood that it was enough to replace scientific notations with others so that the new symbols represented various thought processes. He contemplated science and its exercise as a kaleidoscope where illusion is an element to take into account.
Without going any further, the figures of geometry offered him all the possible metaphysical constructions. He understood that the world of abstraction, like myth, was planned from rational principles. And this was the reason why absolute freedom governed his studies. With this same freedom, Mabille dedicated himself to inverting real objects and converting them into virtual images, into forms of life until completing an exciting experience.
The stone ax It is a section where Montero Glezwith a desire for prose, exercises its particular siege on scientific reality to demonstrate that science and art are complementary forms of knowledge.
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