The Body of The Real

So, here´s how it works:

The first horizontal line is decided by the opening price; the other horizontal line by the closing price.
Two vertical lines connect these two lines; together they constitute a squarei. This square is called the Real Body.

If the closing price is higher than the opening, the Real Body is left hollowiii. In the opposite case – a closing price below the level of the opening – the Real Body is filled in with a colour, most often black or red.

If the opening price and the closing price are identical, which is very rare, there won´t be any body at all – it will simply be a line. I don´t know if this line has a name.

During the given time frame, there will almost always be some variations of the price that go both above and below the area covered by the Real Body. These are drawn as vertical, singular lines, without any horizontal line at the end. This is called the Shadow. So, in most cases the Real Body comes with two Shadows.

These are the basic figures of the language by which our material reality is being communicated. Signs and images, existing simultaneously as language and translation.

The figure of the thin, singular shadow pointing out from the square of the real body creates an image that has some resemblance to a candle. This is how the language got its name.
The filled out, solid real bodies are mostly called ”black candles” or ”red candles”.

The solid, red or black candles signify a downward movement, that might or might not indicate a trend of decline. The hollow real bodies, the ones where the price has closed higher than it opened, often are called white candles.

This is wrong – there actually isn´t such a thing as a white candle. However, given the fact that this is a commonly used linguistic image, it is important to be familiar with its existence in order to understand the language – even if the language in this case is built on a misunderstanding or misinterpretation of the actual circumstances.

The wrongly named white candles signify a movement upwards, which might or might not indicate a rising trend. This relationship between directions in movement and tendency is not stable. More often than sometimes, the downward movement – when occuring in the right pattern or composition of serial candles – indicated by the black or red candle actually is the sign or starting point of a rising trend. In this sense, the values of the different real bodies are neutral; they have no meaning or significance in themselves, they can only be read and interpreted as composition (or language).

In the imaginary of candles, the individual body has no certain content or value; candlesticks because of this can be said to move, function and communicate with the world in purely collective logic. It is impossible to make any coherent narrative out of a single candle; only looked upon in at least twos or preferrably threes they start to reveal their stories – always appearing and operating on the world in possible combinations and temporary alliances.

This could perhaps be understood as a blurring of the dichotomies of individual/private and collective/public in a socio-economic context, but it can also be that this pattern follows completely other parameters. Maybe like the pattern of birds moving in clusters; always belonging to the collective of militant formations, knowing no individuals, and simultaneously in constant free-flow exchange and ever-changing relations; transgressing the concepts of organization and improvisation.

Sometimes the Real Body comes with no upper shadow; it is then said to have a shaven head. Sometimes the body has no lower shadow, which is having a shaven bottom. The Real Body is the essential movement of value. The Shadows have no value of their own; they´re merely figures of extraneous fluctuations.

In times when the Real Bodies are really small, this tells the story of a tug of war between the positive and the negative. These tiny bodies are described as spinning tops. The spinning top is a sign of the Neutral; it can be either white or black, most often it comes with small upper and lower shadows, but the size of the shadows are not important. It is the diminutive size of the Real Body that constitutes the image of a spinning top.

On rare occassions there are no real bodies at all. That is special. This phenomenon is talked about in the terms of doji lines, and it occurs when the opening and closing price are identical. The doji is very important.

The Three Black Crows is a negative pattern that is a sign of the lack of conviction of the positive. The Three Black Crows thus is an image with the power to predict the reversal of a current uptrend. You will recognize the image by three consecutive long-bodied solid candlesticks.

The Hammer and The Hanging Man – in spite of being each others opposites – are both recognized by the same three main criteria: 1) The Real Body rests at the upper end of the Shadow; a weightless object, seemingly floating in the void. 2) The thin, long lower Shadow is always at least twice the height of the Real Body; this is essential. The color of the Real Body, however, is not important. 3) The Body has no upper Shadow – or only a very short one. Here is a co-relational pattern between three actors: the longer the lower shadow, the shorter the upper shadow, and the smaller the real body – the more meaning can be ascribed to The Hammer or The Hanging Man. Although the real body of The Hammer or The Hanging Man can be white or black – it is slightly more positive, if the real body of The Hammer is white. And slightly more negative, if the real body of The Hanging Man is black.

The three-day formation Upside Gap Two Crows is a negative reversal sign. The pattern typically develops in the following manner: Day 1 – A positive day that continues an uptrend, shown as a white real body. Day 2 – A negative day despite the body's gap being higher at the opening. This is seen as a very small black or coloured real body. Day 3 – A second negative day, opening higher than it opened in Day 2, but closing below the level it closed Day 2, but above the closing of Day 1. This shows itself as a bigger black or coloured Real Body ”engulfing” the body of Day 2.

Finally, the Three White Soldiers appear as three consecutive long-bodied hollow squares, all of which have closed higher than the previous day, with each event´s opening occurring within the body of the previous square.

Anders Paulin, 2013