For me as an artist, embodiment is a fundamental concept. Despite what a dictionary may or may not inform us about a word or term, we can occasionally (perhaps often?) construct idiosyncratic interpretations. This is even more the case with abstract concepts. When attempting to fit the roundness of tacit knowledge into the square holes of language, an insufficient lexicon is often revealed. Perhaps this is why humans developed the visual language of art in the first place, as a proto language to both discover and express knowledge.
Decades of painting, drawing, and working with sound has led me to think of embodiment or embodied form as follows. Form is a consequence of process; process is the flow of a cognitive state in time. Aesthetic form is a visual artifact of a specific cognitive state. As we all recognize some cognitive states are better than others, hence a hierarchy becomes necessary. The creative mindset appears the gold standard, as solutions to all the problems we have ever solved and all the problems we are yet to solve, are within reach from creativity’s elevated and fruitful vantage. Cognitive states are essentially perspectives from which we have experiences as well as the ability to reflect upon them. Some individuals acquire perspectives that are paradigm shifting. History is replete with these innovators that managed to see the world from a slight, yet crucial shift of perspective. But fertile, creative cognitive states for our personal well-being are equally essential.
I have noticed, when entering a creative cognitive state, frequently it has been catalyzed by a sequence of bodily actions. My paintings require significant body movement as I hover over the surface with a squeeze bottle, carefully dropping a network of thick viscous paint lines one by one to the surface. The emergent form is a resultant of both body architecture moving in time and the cognitive state necessary to perform those actions for hours. The more body actions are encoded and sequenced within a system, the more they become a kind of language. We can think of certain kinds of dance, rituals, yoga, tai chi, or even meditation as kinds of body languages. Systems are valuable for they are not only key to making sense of our myriad and complex experiences, but they also enable complex relationships to be adaptable with a degree of precision.
Neuroscience has shown what we do with our bodies has a consequence in the brain/mind. The body promotes a state of mind, the mind follows and in turn influences the actions of the body. A beneficial feedback loop is formed through an equivalence of mind and body. In this way, we can actually rewire our neural pathways. The resulting aesthetic form then is both embodied as well as an artifact of a creative cognitive state- creating the contextual environment for promoting and nurturing that state's sustained presence. This could be interpreted as a type of metacommunication or a kind of reading between the lines or visual inference promoting the context for specific cognitive states.