Abstract
This article analyzes academic production in the Arts from the materiality of the body, questioning the institutional assumption of continuous cognitive stability in university teaching. Based on a microsituated approach that treats lived experience as analytical data rather than autobiographical narrative, the study discusses cognition as a structuring tool of historiographical and artistic work. The reflection articulates three axes: (1) institutional demands for productivity and constancy, (2) embodied memory in ceramic practice as a non-exclusively verbal mode of cognitive activation, and (3) recent scientific evidence on cognitive alterations associated with fibromyalgia, often described as “brain fog.” The interdisciplinary dialogue with medical and psychological studies does not aim to claim clinical authority but to broaden the understanding of the bodily conditions that affect intellectual practice. The article concludes that artistic production is inseparable from the material conditions that sustain thought, and that bodily diversity must be recognized as a structural dimension of academic life.