Encountering Pain
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Encountering Pain PADFIELD PRINT.indd 1 25/01/21 7:10 PM EncounteringPain... EncounteringPain... EncounteringPain... ...is an individual experience, it ...by voicing it Encountering can be all consuming and yet (as medical interpreter) is a strange experience. invisible, and when you are in A foreign pain goes through your body, Pain... ...is an individual experience, it softens and darkens your voice and leaves behind canpain be you all are consuming the only andone yetthat ...is an individual experience, it its bitter taste. invisible,can really and communicate when you arethat in pain. can be all consuming and yet painSo encountering you are the onlypain onemakes that you invisible, and when you are in canvulnerable really communicate to miscommunication, that pain. pain you are the only one that Sobecause encountering you need pain to communicatemakes you can...is anreally individual communicate experience, that itpain. vulnerablesomething tothat miscommunication, could be quite Socan encountering be all consuming pain andmakes yet you becausecomplex, you when need your to abilitycommunicate to vulnerableinvisible, and to when miscommunication, you are in somethingarticulate your that needcould for be reliefquite becausepain you youare theneed only to communicateone that complex,is compromised when your by the ability to somethingcan really communicate that could be that quite pain. articulatenature of your pain.need for relief complex,So encountering when your pain ability makes to you is compromised by the articulatevulnerable your to miscommunication, need for relief nature of your pain. isbecause compromised you need by to the communicate naturesomething of your that pain.could be quite complex, when your ability to articulate your need for relief is compromised by the Encountering pain? The thought alone? I don’t know. nature of your pain. Encountering pain? The thought alone? I don’t know. Encountering pain? The thought alone? I don’t know. Encountering pain? The thought alone? I don’t know. ...in any form can feel like being compressed in a shrinking iron box in which one is entirely alone. ...inSerious any formpain dominatescan feel like every being conscious compressed moment, in aand shrinking into dreams iron box as well. in which one is entirely alone. ...in any form can feel like being compressed in SeriousPain comes pain in dominates many forms, every sudden, conscious like painshock, moment, a shrinking iron box in which one is entirely alone. andor slow into and dreams intensifying, as well. with many distinctions in between. Serious pain dominates every conscious moment, PainGraphic comes images in many and photographsforms, sudden, are like the painshock, most descriptive and into dreams as well. orways slow of andillustrating intensifying, different with kinds many of distinctions pain to anyone in between. with Pain...in any comes form in can many feel forms, like being sudden, compressed like painshock, in Graphicimagination, images and andso much photographs more helpful are the than most asking descriptive a person to ora shrinking slow and iron intensifying, box in which with manyone is distinctionsentirely alone. in between. wayspick a of number illustrating from different 1 to 10. kinds of pain to anyone with GraphicSerious painimages dominates and photographs every conscious are the moment, most descriptive imagination,All schools should and so have much these more paincards. helpful than They asking transcend a person to waysand into of illustratingdreams as different well. kinds of pain to anyone with picklanguage a number and culture from 1differences, to 10. imagination,Pain comes inand many so much forms, more sudden, helpful like thanpainshock, asking a person to Alland schools behavioural should differences have these of paincards.all kinds. They transcend pickor slow a number and intensifying, from 1 to with 10. many distinctions in between. languageLiving with and pain, culture stepping differences, on from encountering pain, AllGraphic schools images should and have photographs these paincards. are the They most transcend descriptive andis unique behavioural to each differences individual. Ifof people all kinds. can understand what languageways of illustrating and culture different differences, kinds of pain to anyone with Livingcauses with it in pain,its different stepping forms, on from it should encountering be possible pain, to endure andimagination, behavioural and differencesso much more of all helpful kinds. than asking a person to isand unique overcome to each much individual. of it – If justpeople as one can triesunderstand to what Livingpick a withnumber pain, from stepping 1 to 10.on from encountering pain, causesexplain itit into its children different as forms,they grow it should to learn be possibleabout pain. to endure isAll unique schools to should each individual. have these If peoplepaincards. can They understand transcend what ...is influenced by memories and it might be possible to look back in one’s memory to find a point where pain was less andThe overcomeimportance much of pain of itconferences/seminars/workshops – just as one tries to causeslanguage it inand its culture different differences, forms, it should be possible to endure critical or possibly did not even exist. There may be other circumstances where pain arises because a new experience explainis the sharing it to children of experiences. as they grow This can to learndiminish about the pain. awful and overcomebehavioural much differences of it – of just all kinds.as one tries to awakens the memory of past trauma. The area of memory is critical to the artist who is nervously attempting to keep Thesense importance of isolation of brought pain conferences/seminars/workshops on by pain. explainLiving with it to pain, children stepping as they on fromgrow encounteringto learn about pain, pain. traces of her body while at the same time considering the perception of collective memory. The body experiences a isEncouraging the sharing feelings of experiences. of identity This with can others, diminish and the then awful the ability Theis unique importance to each of individual. pain conferences/seminars/workshops If people can understand what crisis as it is intimidated by the possibility of forgetting. Memory has an important part to play as an essential perception senseand courage of isolation to discuss brought and on explore by pain. ways of reducing pain in iscauses the sharing it in its ofdifferent experiences. forms, This it should can diminish be possible the awfulto endure of one’s wellbeing, something that has often been lost when pain is experienced. Pain is closely associated with Encouragingso many forms. feelings of identity with others, and then the ability senseand overcome of isolation much brought of it on– justby pain. as one tries to uncertainty and this is difficult to consider. The positive thing is that on stage there is no place for that uncertainty. It is and courage to discuss and explore ways of reducing pain in Figure 0.1 Compilation of images and texts fromEncouragingexplain ‘Encountering it to childrenfeelings Pain’ ofas identitythey conference grow with to others, learn delegates. about and then pain. Wethe abilityare possible that art will enable us to convey that feeling again, operating through personification as a means of awakening Theso many importance forms. of pain conferences/seminars/workshops grateful to Veronica Brinton, Malgorzata Dawidek,and Connie courage Di, to Wendydiscuss and French, explore Ben ways J. of Hartley, reducing Andrewpain in memory. Pain can often result in bodily fragmentation so that a person in pain has a body that is essentially fragmented. is the sharing of experiences. This can diminish the awful Lucas, Susanne Main, Elena Manea, Rebecca Pardo,so many Clare forms. Plumley, Maiada Salfiti, Anna Sexton, Joan Yet choosing to present and show this inner fragmentation mostly motivates and then empowers me as an artist. sense of isolation brought on by pain. Simons, Erin Solomons, Virna Teixeira and Timothy Wainwright, all of whom contributed an image or Encouraging feelings of identity with others, and then the ability text for this compilation and the one at the end of the book (Fig. 25.2) and courage to discuss and explore ways of reducing pain in so many forms. PADFIELD PRINT.indd 2-3 25/01/21 7:10 PM EthicsCanada and in the FrameAesthetics ofEncounteringCopyright, Translation Collections Pain and the Image of Canada, 1895– 1924 Exploring the Work of Atxaga, Kundera and Semprún Hearing, seeing, speaking HarrietEditedPhilip J. Hatfieldby Hulme Deborah Padfield and Joanna M. Zakrzewska PADFIELD PRINT.indd 4-5 25/01/21 7:10 PM 00-UCL_ETHICS&AESTHETICS_i-278.indd9781787353008_Canada-in-the-Frame_pi-208.indd 3 3 11-Jun-1819/10/2018 4:56:18 09:50PM This book is dedicated to the memory of Professor Lisa Jardine, whose insight and support enabled this work to be done and to all people living with pain: past, present and future. First published in 2021 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.uclpress.co.uk Collection © Editors, 2021 Text © Contributors, 2021 Images © Contributors and copyright holders named in captions, 2021 The authors have asserted their rights under the Copyright, Designs and Patents Act 1988 to be identified as the authors of this work. A CIP catalogue record for this book is available from The British Library. This book is published under a Creative Commons Attribution Non-commercial Non-derivative 4.0 International licence (CC BY-NC-ND 4.0). This licence allows you to share, copy, distribute and transmit the work for personal and non-commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: Padfield, D., and Zakrzewska, J.M. (eds). 2021. Encountering Pain: Hearing, seeing, speaking. London: UCL Press. https://doi.org/10.14324/111.9781787352636 Further details about Creative Commons licences are available at http://creativecommons.org/licenses/ Any third-party material in this book is published under the book’s Creative Commons licence unless indicated otherwise in the credit line to the material.