Category: about

various ways and things about

Duet

Posted on Posted in A Symbol Life, overnight notes, picture postTagged ,

thinking about what matters .. Ursula

two pictures their meaning between them. meant for audience of one.

“A poem should not mean / But be.” MacLeish, Ars Poetica.

I stumble around, sometimes ,in the right direction the time comes along

2013, on the road. matching place overtime . The word, single word, “duet” suggests combination; some form of two. Standing still with soft eyes; my phrase from the 60s days, based upon the equestrian sense of riding a horse. Ride it with soft hands or hard. Different results, but then horses and terrain are different. If you can’t notice, don’t ride; you will choose wrong. At the SFAI, I talked about prints on the wall — variations in style of walking-looking. Be aware of your presence. You have a shadow; you aren’t one.

geometries or time . make the ‘or’ an ‘and’ ; geometries AND time. exposure and revealing .

The act of noticing. Action. la vie d’intérieur

Picking phrases that pick at me. One such: ‘they could calculate the exact mix of randomness and chaos..’ 

God moves the player and he, the piece.
What god behind God originates the scheme
Of dust and time and dream and agony? Borges (“The Game of Chess”)

[words proof diagram ]FOL, an abstract language.

flaneur / umsucht … The world is the collection of facts, not of things. — Ludwig Wittgenstein

Each is a half-open door …

not Iq84 ish… not two worlds-times in same space-place.. at least not that i knew before shuttering

An indirect reference item:
“Gabriela Alemán has written a terrible and beautiful story about the delicate borders between what is known and what is invented, and about the places where intimate tragedy and the tragedies of history intersect.”—Yuri Herrera, author of Signs Preceding the End of the World

Is there any hope for the world? No, there’s too much work

PICTURE POSTs are additions to portfolio items. This is part of my 180s open-ended folios.

PicturePost 3.24.25

Posted on Posted in picture post, UserInteraction

Picture Post. still walking. . People flinch. A told tale.. in Bless Your Heart Texas.

Into an elevator. Just three on our way down from 7th floor. At 6 a Texas Large gets on. Texans often talk, in effort to be friendly, friendlier than they want... 
... so, they must exaggerate emotion.. like poor salesmen
Next stop... too many waiting. 
Downward. Tex saying: wonder what we said... 
Downward, again. This floor, a very thin male ... hesitates.. Tex opens: Come on in, you're skinny enough. We can make room.

He gets into the elevator. Hesitates, a few moments, then turns around, pulling his shirt up, saying: Thin is what happens when you have all this...
Scars. Tubes. Surgical ports.

The last two floors the elevator sounds cover Tex.

I took pictures before. After. Not during.

picture post… Burnside Powells

Posted on Posted in as written, book shelf, minimum daily requirement, On The Road, picture post

from walkabout.. driving by, during rain, went too quickly. These were the slower version, a day or so later. The blue windows got me. In the mist, they seemed bluer than in this AM sun.

Text on the table was Auerbach’s Mimesis. Picked up in Portland during 2014 trip. What does that have to do with the pictures … don’t know, yet.

mimesis notes -- prompts, since the answer changes more often than the question
-- what is reality
-- what is a portrayal (of reality)
math itself is an analysis, a synthetic formulation of reality./ it proves and approves itself
by definition... is math a science or a philosophy

LONG QUOTE, from the epilogue, which I took as my prelude around 1963..
"the interpretation of reality through literary representation or “imitation,” has occupied me[ Auerbach] for a long time. My original starting point was Plato’s discussion in book 10 of the Republic—mimesis ranking third after truth—in conjunction with Dante’s assertion that in the Commedia he presented true reality. As I studied the various methods of interpreting human events in the literature of Europe, I found my interest becoming more precise and focused. Some guiding ideas began to crystallize, and these I sought to pursue.
The first of these ideas concerns the doctrine of the ancients regarding the several levels of literary representation—a doctrine which was taken up again by every later classicistic movement. I came to understand that modern realism in the form it reached in France in the early nineteenth century is, as an aesthetic phenomenon, characterized by complete emancipation from that doctrine. This emancipation is more complete, and more significant for later literary forms of the imitation of life, than the mixture of le sublime with le grotesque proclaimed by the contemporary romanticists. "