vulnerability
two deer
snake road
silver moon
break light
"There were no longer shadows
to help her see more clearly,
only glare." (Henry James)
posted by name of the rose at 11:45 p.m.
soak the edge
The inside of thought is where everything teems and stirs with a thousand cracks is where the water meets the shore like threads pulled taut that soak the edge
Sunday, November 28, 2004
snake road
silver moon
break light
71 Comments:
I can't see this ending well ...
for whom?
...the deer, the road, the moon or the porsche?
[is there a text that accompanies it, as well?]
yes, this
I'm going to guess that it end notsowell for either deer, and that the little red porsche and its occupants may have been a little worse for wear, aware that hitting large living objects in the road never bodes well for anyone involved ...
but I'm thinking that this is a little more esoteric that I'm reading it, given that it's associated with the image ...
yes, it is, the juxtaposition of things to a
moment-not-yet-passed ... at this point (as in the image) all things have yet to unfold, vulnerability in a trust
also remembering that the writer gets to chose the ending
I could spend a long, long time thinking about the different scenarios that this entails, but - I'm not going to indulge myself that way.
is that a charcoal rendering? I'm curious about the red tint, as well - and that you (often) use squiggly lines in teh corners and in other areas of similar renderings; is it to fill the space? add color to any otherwise white-ish space?
[also remembering that the writer gets to chose the ending]
one of the perks of the power of the pen ...
a smart reply, yours...
while driving home last night and rounding a sharp bend, I actually saw two deer standing in the middle of a winding country road and even without the porsche, it ended well...although sometimes, the unresolved, unfolding time of it needs expression too
the image...pen and ink, the red: pastel...the calligrapy pen often drips on first touch to the page after being dipped in the ink well, so I always test
it first in the corner before laying any line into an image...knowing that which can't be erased requires a definitive stroke (or ever striving for it)
This comment has been removed by a blog administrator.
[a smart reply, yours...]
does this imply that all of my responses aren't? ...
[that which can't be erased requires a definitive stroke]
interesting, it's such a foreign world to me ... I'd like to know more of the methodology of certain things, processes of how a work becomes 'finalized', what goes into it.
I just meant smart to step out of the metaphorical headlights of imagining the implications of [different scenarios]
[does this imply that all of my responses aren't?] ...
No, not at all. Your comments are very perceptive (although this comment is also telling).
[the methodology of certain things, processes of how a work becomes 'finalized', what goes into it.]...most processes are a little alchemistic, a bit like cooking, not very formulaic, not very Cartesian, each with its own sense of time (:it takes as long as it takes)
[No, not at all. Your comments are very perceptive (although this comment is also telling]
unfortunatately, you'd probably have to have heard my voice to have understand that that statement was made with tongue firmly planted in cheek ... didn't translate well.
[each with its own sense of time (:it takes as long as it takes)]
right ... this I can appreciate as an idea only, as being not at all artistic, I'm always somewhat amazed at different creations; it's completely foreign to me that someone can create a likeness of a being ... it's impressive; a different sort of memory and ability, for certain.
what's the post you erased?
now I won't be sure where the sarcasm lies, if it lies anywhere...
[create a likeness of a being]...sooner or later, I do some kind of portrait of those who leave an impression...its process is a way (to try) to see inside, to unravel someone from the outside in
...your images are down tonight
...and Paul McCartney's Working Classical plays on (perhpas boring for some)
[...your images are down tonight]
the bandwidth for the hosting is gone ... I thought that it would be tight, but an unusual number of 'hits' tipped the balance; it resets on the 1st.
[...and Paul McCartney's Working Classical plays on (perhpas boring for some)]
I can't say that I know that - I wasn't aware that he does classical?
what do you do with your works? do you show them? you mentioned in passing that you've spent time at exhibitions - is that the result of some of these works, or no? other things? sculpture, perhaps?
[what's the post you erased?]...my previous post beginning "a smart reply" inadvertently got posted twice
[I wasn't aware that he does classical?]...orchestral and chamber music performed with the London Symphony Orchestra (Somedays is a nice piece)
[what do you do with your works? do you show them? you mentioned in passing that you've spent time at exhibitions - is that the result of some of these works, or no? other things? sculpture, perhaps?]
...I've worked in a few gallery contexts...what I've posted here are unfinished sketches...ideas that were like blog posts, just thoughts that may or may not have any merit for sustained study in a more permanent medium...just a love for the flow, the play of it...when I have another body of work together that I like, I will consider showing it...but I am fairly critical of it all
[I've worked in a few gallery contexts]
which would those be?
a little administration, mainly education...
I liked your discussion of the bottom line, shaking it up...and the quote beginning ["even if your not in the mood to study, open a book..."]...good advice to hear ...sounds like yours is a transitional period...
serious issues with blogger comments ...
ya, I have been having some trouble myself...the bastards
btw - off topic ... sepiacootes looks like an interesting park; interesting jpg collage ...
that's totally stalker-ish, but whatever - it's late
ya, it trails some wetlands on the edge of a local university...I used to run those trails
[totally stalker-ish]
...if you think its late, its later here
... unhappy with it? revising?
No, I was editing it, just adding a comma, and when I published it, it completely disappeared
...its gone and since I wrote it on-line there is no draft to repost...blogger is doing some strange things lately...
gone
just like that
hmmm ... and it's no longer in the 'edit posts' either?
in passing, what I've done in the past is to save the entire page: briefly set the 'current posts' page to 100, the republish; after that, open the page and save it as a web archive/.mht file, which copies the entire page etc, images hosted elsewhere as well - then reset the values you had previously.
at the very least, in the event that the servers crash or the database is lost, you've got a backup.
hmmm ... and it's no longer in the 'edit posts' either?
in passing, what I've done in the past is to save the entire page: briefly set the 'current posts' page to 100, the republish; after that, open the page and save it as a web archive/.mht file, which copies the entire page etc, images hosted elsewhere as well - then reset the values you had previously.
at the very least, in the event that the servers crash or the database is lost, you've got a backup.
good advice to reflexively save before publishing but can you explain [save it as a web archive/.mht file]? since I have not done this before...
[no longer in the 'edit posts' either?]...no and I couldn't even get the back button to return me to the page before I published...its a metaphor, a sign, the past erased and oh for a sunny beach
to save as a web archive, after the piece has been published and you set it on the webpage, go to file, save as, save as type: Web Archive, single file { .mht} .. then save to your hard drive.
additionally, I find it a good idea to 'select all' then copy before I hit publish; that way any problems with publishing can easily be backed up to a (temporary) text file, for example, if it doesn't work.
also, if after publishing you get a 'Internal Error 500 etc', instead of going back, open another window, and open Blogger again; see if it's been saved in the Blogger from the new window ...
great advice
simple yet effective,
(and posted rather late),
I can't beleive I didn't know this...
thanks
right ... and setting the total number of posts to be displayed at once - 200, or whatever - allows you to back up everything ... and see it in one streaming page.
good to learn'from one who knows
... said Grasshopper, before entertaining the next question.
call it research...
although I sense a high lama somewhere in the scenario, grasshoppers et al.
[(and posted rather late)]
a rare moment of lucidity brought on by too much white and an 'In The Ghetto' karaoke'd rendition of Elvis' masterpiece ...
prophetics moments
karaoke Elvis...and later Elvis at that...
with this image, life is just about complete
[a rare moment of lucidity]
I need to ponder this for a while
[prophetics moments] ?
must go out...back in a while
[must go out...back in a while]
isn't that what Moses said, before he returned from 40 years in the desert?
I also think he said, 'don't wait up for me baby'
[I also think he said, 'don't wait up for me baby']
you sure about this? It sounds familiar ...
in retrospect, I am only certain of what made me smile...I should have let it stand at 40
['don't wait up for me baby']
I actually like this.
a lot.
a line you've used before?
ha...from an old movie (the title escapes me right now)...famous exit line..."where are you going?"..."out for a pac of cigarettes. Don't wait up for me baby."
Christopher Walken does a great paraphrase of it in the film called Communion...although I can't say that Moses would have had a fedora to tip
it would have been so much more fun had it been a line from (your) life ..., a classicly clichéd moment where the absurdity and lines write themselves.
I'm sure you've thought of saying it, though.
oooooh I've said it
...but more importantly
why is it that the best clichéd lines come to mind after the fact...you know when you're really mad? at someone, and need to take that person into a moment that pushes all common sense into the realm of insanity? to make the point?
alas, the best clichés happen in the rear view mirror, when you play it back and a part of you longs to have that moment to do over again...or is it just me?
[where the absurdity and lines write themselves.]
apparently it's just me
indeed, these lines always happen in hindsight, because if they didn't, it would probably mean that your partner isn't worth the weight of the moment, that their mind isn't working quickly enough to keep you off balance, that their tongue isn't sharp enough to keep you on edge ... everything you love about them, being used against you ...
and only in retrospect does the perfect line come to mind because, only in retrospect can you make sense of the tornado of unpredictability and faulty logic that you just weathered, piecing together one shattered line of logic after another ...
that's why one should always write on a piece of paper memorable lines, and lines of logic that lead into discussions, like a stick-it yellow note, that reminds you of the salient points, effectively trashing spontaneity.
[apparently it's just me]
me too! me too!
[that's why one should always write on a piece of paper memorable lines, and lines of logic that lead into discussions, like a stick-it yellow note, that reminds you of the salient points, effectively trashing spontaneity.]
the stuff of recurring dreams...room upon room, filled to overflowing with yellow stick-it notes and life reduced to wandering them, mumbling
'I need that line'
[everything you love about them, being used against
you ]...love is war sometimes but if we get lucky, we actually get to glimpse the absurdity of it while its spilling forth
[the stuff of recurring dreams...room upon room, filled to overflowing with yellow stick-it notes and life reduced to wandering them, mumbling
'I need that line']
you may be flying solo on this one ... I just need some guidelines to pull me back on task, some one-liners so I can smile at myself as I use them, thinking, 'how ingeniously I worked that into the conversation ....'
[love is war sometimes but if we get lucky, we actually get to glimpse the absurdity of it while its spilling forth]
[while it's spilling forth], after it's over, before it's begun ... yes
but it was such a good image, filmic, bunnuelian even...and if you mock my image, you mock me...
but seriously,
[so I can smile at myself as I use them, thinking, 'how ingeniously I worked that into the conversation ....']
...you probably have that cool, calm demeanor while all chaos is erupting...to be admired, really
[[while it's spilling forth], after it's over, before it's begun ... yes]...but there are also those rare arguments, when something so absolutely absurd is said in the heat of it, that it just erupts into laughter and disolves itself...I love those moments.
[and if you mock my image, you mock me...]
we teasingly mock that which we view affectionately ...
[cool, calm demeanor while all chaos is erupting]
isn't it all just noise though, secondary static with a few intermingled caustic words that cut through it all? ...
[that it just erupts into laughter and disolves itself...I love those moments.]
priceless, indeed ... equally so when either both - or just one - get(s) it ...
[isn't it all just noise though, secondary static with a few intermingled caustic words that cut through it all? ...]..I like how you've worded this...and yes, how true...when armed with certain self knowledge, one hopefully respects the 'line', that if crossed, there is no return from...its good to know what the line is that one will not cross
irrespective of this, of course...
[we teasingly mock that which we view affectionately]
...knowing full well that mockery can be a two way street
[its good to know what the line is that one will not cross]
isn't part of the fun though as well, to 'push the envelope' to the edge, to push the boundaries, to test the waters, to see how far it'll bend, before it breaks ...
like a tightrope of bitterness, sarcasm and daring that one must walk, very, very carefully ...
[isn't part of the fun though as well, to 'push the envelope' to the edge, to push the boundaries, to test the waters, to see how far it'll bend, before it breaks]...I understand this and know it, but what I was referring to was something beyond that...there is of course that difference between a good sparring match and downright abuse (which you are not referring to)
[like a tightrope of bitterness, sarcasm and daring that one must walk, very, very carefully ...]..if one walks it [very, very carefully], then one intuitively knows that there is a line, even if to be tested
not to get too serious here
[downright abuse (which you are not referring to)]
indeed, no ... I was not referring to that.
[if one walks it [very, very carefully], then one intuitively knows that there is a line, even if to be tested]
but of course ... principle of respect and knowing your 'other' ...
then yes to this...['push the envelope' to the edge, to push the boundaries, to test the waters, to see how far it'll bend, before it breaks]..which also has something to do with testing the limits of self with someone else
I have the impression that you're referencing something from the past, in these sentiments ...
but in some sense, aren't we always layering past lessons onto present moments...
a general summary of what I was asking, without actually answering the question ...
the past and present coming togething in one.
well, yes, in the same way that you might not want to define the revealing [tightrope of bitterness, sarcasm and daring] as you understand it
but yes to the overlay of past and present
...it is that filmic notion of 'persistance of vision' between two static stills, life like pile of slides stacked up on a light table that one can look through, see past the top image, through all the others straight to the bottom of the pile, always noting how the layers udnerneath change the view of the image on top
[always noting how the layers udnerneath change the view of the image on top]
indeed, interesting way to view it ...
past lessons layered onto an ever present now...
putting everything into a moment while also eliminating everything that exceeds it,
"...the moment is not the instantaneous, it is the haecceity into which one slips and that slips into other haecceities by transparency." (from milles plateaux)
and shifting tangents, you have deleted a few things lately...
a minor redesign ... not too happy with parts of the layout ...
your photographs are wonderful, stunning imagery
your words create similar perspectives ...
thank you.
this changed; I like it ... stronger effect, somewhat more visually arresting
thanks...it's a little truer to the moment
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