17 November, 2009

I close my eyes and I keep seeing things
Rainbow waterfalls, sunny liquid dreams
Confusion creeps inside me raining down
Got to get to you, but I don’t know how

Call me, call me
Let me know it’s alright
Call me, call me
Don’t you think it’s now time
Please won’t you call and
Ease my mind
Reasons for me to find you
Piece of mine
What can I do to get me to you?

I had your number quite some time ago
Back when we were young
But I had to go
Ten thousand years I’ve searched, it seems enough
Got to get to you, won’t you tell me how

Call me, call me
Let me know you are there
Call me, call me
I wanna know you still care
Come on now won’t you
Ease my mind
Reasons for me to find you
Peace of mind
What can I do to get me to you?

— “Call Me Call Me”
Yoko Kanno & The Seatbelts / Blue: Cowboy Bebop OST 3

17 November, 2009

A drawing is never really done. It is simply a glimpse, at a given time, of an idea. Drawings are thoughts fixed in graphite lightly. They can be the best way to abandon an idea with no regrets, or a way to retain that fleeting something, to be revisiting months or even years later. […]

Now that it’s said and done, I’ve finally come to realize that it never really is, that pencils provide the perfect impermanence, the ultimate lightness of seeing, the line that is always between the lines in a sort of fractal meta-physicality – no matter how closely you depict an idea, there are always dozens more hidden within. [… W]hile practice makes good, perfect is always in the next sketch, that the only real line is the horizon.

It’s no coincidence that etymology provides such solace; with each drawing you draw yourself closer to two things: understanding the nature of the world around you and depicting in patient graphite the worlds you have within. Like two mirrors placed face to face, the artist is somewhere in that infinity of reflection and counter-reflection. […]

A drawing is never really done.

— John Howe,
Drawing the Line Somewhere

16 November, 2009

When warm air rises, seeking the sun, cool air rushes in to replace it. That’s the way of the world. Joy and youth and love flow ever upward. What they leave behind is the cold consolation of the wind.

— “A Memory of Wind” by Rachel Swirsky
(apologies)

10 November, 2009

imaginarion

(inspired by a typo)

9 November, 2009

But all has not been said, for words are the shadow and the light of things and things are only what is being born and being;
And so when there is no bread we need only sit and await the new day, and the new day will bring us bread;
In the heart of the hungry man despair lays its traps and the man weeps and curses;

But all is not said,
And a man does ill to weep and curse when to sit and hope is well;
For as bread comes, comes one who does not know his name yet knows he is called by many names;
One to whom women speak, telling the secrets of women and those of the house and village;
And he who is to come depends on no one, has no one, has nothing: he must make his sandals and his pouches and weave his cloting and braid his belts;
For this he must find for himself food and drink and sleep and shelter and guard himself from the perils of solitude;
And he who is to come must go, always, for there is no whole or true coming or arrival without leaving and departure;

But all is not said, for he goes and comes and goes again;
And he who is to come will be unarmed and will refuse arms though they are made and adorned for him;
And he who is to come will be he who secures the roofs and foundations of your house, he who draws from death and the depths those who are all but lost, he who sees your city and your house because he can se the world, he who knows nothing and may be seen by all for what he is;

For all is not said because night follows day and the wise man sleeps until sunrise;
But the brave man’s eyes are open and he keeps watch for his brother;
And the woman who rules your house and the daughters she has given you, who knows more than your head, your heart, and your belly, accept the night and subdue it and so night works for your good and that of your people;
But he who is to come is he who arises against the night and says to it, Begone;
For this death comes and does his work like a good workman earning his pay;

But all is not said because absence and presence are not opposites but one same and single thing;
For as a moment takes no time though it seems that time is a succession of moments, so a man is not gone though he seems gone: where could he go? When?

No, all is not said because he has gone and returned and goes and returns and will go and will return;
For this when you sit in the kitchen of your house ask your wife and she will tell you to open your eyes by day and close them by night, that this is best to do, because he who came and went away is to return;

No, all is not said.

Kalpa Imperial by Angélica Gorodischer
chapter, “Down There in the South”

6 November, 2009

The worst thing about sorrow is that it’s blind, and the worst thing about anger is that it sees too much.

Kalpa Imperial by Angélica Gorodischer
chapter, “The End of a Dynasty”

5 November, 2009

The sculpting was highly complex, one pattern shifted into another, and the geometry of congruent figures kept drawing the eye away from the light. It was not sculpture, of course, since no one had hewn and worked this stone of the Horn. The form, commencing from the first seeds, had eaten into the asteroid’s cold ground and heaved in a wave of nanotransformations until, particle by particle, there rose here the memorial of Ugerzo’s gratitude. But how much can be contained in a seed’s starting algorithms, in an architectonic code of crysthorn? […] Surely all this could not have been provided by the code of an initiating seed. […] It seems unlikely that the planners had written into the seeds the future position of every piece of Izmir mineral, ergodic autoprogramming doesn’t work that way, one must leave room for chaos. So if it wasn’t the hand of the planners, whose hand was it? Whose was the talent behind this carving? Who gave grace to the fragile angels, put blood lust in the brows of the stalagmite demons, framed the illusion of refractive flow through the Cathedral’s epithelium?

The Cathedral by Jacek Dukaj
(apologies)