so
"our acts are attached to us
as its glimmer is to phosphorous.
They consume us, it is true,
but they make our splendour."
(André Gide, Fruits of the Earth)
this night sky has no stars
its deep black bracketed
by 'peopled' words
that spill off shelves
but more than this
is Gide's remainder,
his least drop of water,
"...even a tear - if it wets my hand,
is a more precious reality."
something in the sip along Satie,
lip to vessel cradled by two palms
pressed within its pourwithoutadrip,
cult-of-the-beautiful ripped
from the sordid factsofeveryday,
worship of the imperfect
or tender attempt
to accomplish something possible
amidst the impossible thingoflife
is how one drinks tea differently with raku,
its size and shape and roughly textured surface
cradles the skin with weight saturated by significance,
the gesture of its movement found within the form,
a moral geometry
inasmuch as it defines
one's sense of proportion to the universe
its process dates back to 16th centuried Japan
like nothing before it,
inextricable from the tea ceremony
but most of all
how when one fires,
one reaches into flames of whitehotheat
to get at the work
and in those fleeting flaming seconds of extraction
one feels alive,
knowing there is also this reminder
cupped within the still-warm calm
of sipping tea from rakued form
"The knowledge that you are brave and strong
enables me to leave life without regret.
Take my joy. Let your happiness be
to increase that of saying to yourself,
'It lies with me.'" (AG, 1897)
posted by name of the rose at 2:25 a.m.
23 Comments:
[and in those fleeting flaming seconds of extraction
one feels alive]
thought-provoking analogies and ideas - that in the final form, one can appreciate the memory of its creation ... that one form is passing to another - transformation.
[defines
one's sense of proportion to the universe]
I like this thought, because it leads to others, and gives a sense of perspective, whatever that might be.
and the sense of setting, [this night sky has no stars,its deep black bracketed ...] only adds to the thoughts and obscurity of ideas, almost inviting light to be shed on them.
many, many ideas contained within.
[that one form is passing to another - transformation.]
...yes, it has so much to do with that
[almost inviting light to be shed on them]...that's an interesting idea, which I like
thank you
...from the fire and flames of a process to the calm creation of its aftermath...and so it repeats
with your permission, I'd like to record this piece ... and another - 'sandwiched in between' - and host them through a mutual accnt, like audiostreet; I'd credit 'nameoftherose' or 'soaktheedge' - or whomever you like, of course - and you could 'kill' the accnt whenever you chose.
I'd just like to see how they play out audibly.
would that be OK with you? and, I'd understand completely were it not.
I'm flattered...I wasn't sure if I would hear from you again for some reason...
it's an interesting idea...to do so and to hear how you would intonate the words...alright
fabulous.
and, I'm sure sure why you'd think that ...
although this piece has a few things that I am not yet
happy with so a word or two may change but use whatever version you like...I look forward to hearing it
feel free to revise it, as I have to go over it quite a bit anyway ... I'll most likely take a version from a few hours from now.
okay, it may change but if so, not by much
and I'm actually on 'sandwiched in btwn' at the moment, so ...
'sandwiched' is complete ...
http://www.audiostreet.net/artists/006/299/song_sandwiched_in_between___soaktheedge_blogspot.html
a few mistakes, but I think that the essence is there.
I just heard it for the first time just now and like it! ...also like your choice of music as a backdrop, very mellow, which fits...what is it that is playing (Chet Baker?)
...you have a good voice for this...it might be interesting sometime to co read something...not sure how this could be done...or perhaps layering voices in tracks somehow
...mainly, it is interesting to hear where/how you chose to intonate particular phrases since this allows me to hear the words more objectively...one does not get that opportunity everyday to hear someone else read one's own thoughts back to them and how nice to be read aloud to...thank you very much
...could I link the text on this site to it? if so, would you like credit?
I'm glad you like it ... it's a bit different from how I'd 'heard' it originally, which is why it's interesting to actually hear it ... the music was complete chance; I happened to be listening to Chet, and decided that it might not be bad to have it in the background.
a co-read would be interesting ... I used a little license on this one, unsure about a few words and adding the 'again' to Humpty etc, which was inadvertant.
linking: yes, of course ... the idea was to create another audio accnt for this, that you have control over; I hosted it here for convenience, but we can certainly keep it here; I suggest it only for you. I do not want credit/or a link, but thanks for asking .. may change later.
so you wish that I not create a link in that text on this site to your recording?...I respect that completely of course, but am not quite sure if you are saying that...
[linking: yes, of course] ... [I suggest it only for you. I do not want credit/or a link]...
I liked how you said "play it out
no, no .. what I was saying is that you are free to link; please do so ... the idea was to give you more 'control' over it ... but - link, by all means.
however, I do not want a link to me - my 'thoughts' site, that is - and am indifferent to a credit.
the 'play it out' is sort of the central theme in this piece, I think ... it's an important line in it all, as I can imagine the croupier saying something like this ...
it's a brilliant piece, btw ... as I've mentioned before.
and I suppose as well that I see this piece as being super smooth, like jazz ... the ideas flows ... and though the words are not as obvious to pronounce at the outset, they flow off the tongue, after a moment, like a hip poem or dialogue ... it's just a smooth, smooth piece with ideas and images and analogies that I noted again for the first time, and that I'd missed previously, but noted after reading it while listening to it while enjoying the music ...
yes, good, then I understood
...the link is now there to your recording
(and, of course, I would not have linked to anything else)
d and g write about smooth space and striated space (terms taken from muscle tissue...smooth muscle being involuntary, striated being voluntary)...flows are smooth...the night, the notes, the words trip off the tongue
...I appreciate what you've written here!...
[intonate particular phrases since this allows me to hear the words more objectively]
I'm curious as to which you're referring to here ...
This comment has been removed by a blog administrator.
one is always too close to a piece, having created it from the inside of thought, to know how it actually communicates through the mind and voice of someone else
...interestingly, for the most part, you read it as I would have...but there were a few parts that varied and I found those interesting to hear, for how they shifted nuance a little perhaps (but in an interesting way)
for example...in "undo the time that floats", you placed emphasis on "time" whereas I place it on "undo"..I like that...and again in "McLuhanistically-mythic consciousness", your emphasis is on "mythic" whereas mine is on "McLuhanistically"...
things like that...how you pronunced the word "neoreorality" like this: neoreo rality, which tells me that maybe the word doesn't work as I have written it in print, that it is meant to be 'neo re orality' (referring to Ong's secondary orality) and that maybe I should have spaced it out on the page like htis, neo re orality ... small things like these
also, not that this affects meaning, but how you pronounce (a few) words differently from me...for example, emphasizing the second syllable of protest, saying proTEST rather than my PROtest...how the first 'i' in your "rhizomatic" is short whereas mine is long, how you lift your voice upward to say the "post" of "post-history", how you generally pronounce centrifugal-centripetal more elegantly than I, how you say aeonological with a long 'a' sound whereas mine begins with a long 'i' sound...
but my favourite part is how you say "OM-ahah" because, inherent in the way you say it, one hears (presumedly) something very candidly 'you' in that
...little things like these are what I was referring to
I just deleted the previous comment of mine because I did not realize it posted before I intended it...it was just a redundancy, a duplication
interesting insights: many of the things that you mentioned were question marks for me ... 'McLuhanastically', for example; I sort of breezed over, because it's not so obvious to pronounce ... and 'neoreorality' - I had no idea what it was ... and 'rhizomatic' ... I'd assumed that it was a short 'i', as I've never heard it 'outside' of here, but questioned it as well ... 'Havelock', too
very interesting. complicated piece - I'd considered asking you about these things, then thought I'd just do it.
curious to see that we noted a few of the same things.
yes, that was interesting...as I read it aloud over top of your voice, to note the similarities too...
Post a Comment
<< Home