Thursday, March 15, 2012

A Vision of Spring in Winter by Charles Swinburne

I
O tender time that love thinks long to see,
Sweet foot of spring that with her footfall sows
Late snowlike flowery leaving of the snows,
Be not too long irresolute to be;
O mother-month, where have they hidden thee?
Out of the pale time of the flowerless rose
I reach my heart out toward the springtime lands,
I stretch my spirit forth to the fair hours,
The purplest of the prime;
I lean my soul down over them, with hands
Made wide to take the ghostly growth of flowers;
I send my love back to the lovely time.
II
Where has the greenwood hid thy gracious head?
Veiled with what visions while the grey world grieves,
Or muffled with what shadows of green leaves,
What warm intangible green shadows spread
To sweeten the sweet twilight for thy bed?
What sleep enchants thee? what delight deceives?
Where the deep dreamlike dew before the dawn
Feels not the fingers of the sunlight yet
Its silver web unweave,
Thy footless ghost on some unfooted lawn
Whose air the unrisen sunbeams fear to fret
Lives a ghost's life of a daylong dawn and eve.
III
Sunrise it sees not, neither set of star,
Large nightfall, nor imperial plenilune,
Nor strong sweet shape of the full-breasted noon;
But where the silver-sandalled shadows are,
Too soft for arrows of the sun to mar,
Moves with the mild gait of an ungrown moon:
Hard overhead the half-lit crescent swims,
The tender-coloured night draws hardly breath,
The light is listening;
They watch the dawn of slender-shapen limbs,
Virginal, born again of doubtful death,
Chill foster-father of the weanling spring.
IV
As sweet desire of day before the day,
As dreams of love before the true love born,
From the outer edge of winter overworn
The ghost arisen of May before the May
Takes through dim air her unawakened way,
The gracious ghost of morning risen ere morn.
With little unblown breasts and child-eyed looks
Following , the very maid, the girl-child spring,
Lifts windward her bright brows,
Dips her light feet in warm and moving brooks,
And kindles with her own mouth's colouring
The fearful firstlings of the plumeless boughs.
V
I seek thee sleeping, and awhile I see,
Fair face that art not, how the maiden breath
Shall put at last the deadly days to death
And fill the fields and fire the woods with thee
And seaward hollows where my feet would be
When heaven shall hear the word that April saith
To change the cold heart of the weary time,
To stir and soften all the time to tears,
Tears joyfuller than mirth;
As even to May's clear height the young days climb
With feet no swifter than those fair first years
Whose flowers revive not with thy flowers on earth.
VI
I would not bid thee, though I might, give back
One good thing youth has given and borne away;
I crave not any comfort of the day
That is not, nor on time's retrodden track
Would turn to meet the white-robed hours or black
That long since left me on their mortal way;
Nor light nor love that has been, nor the breath
That comes with morning from the sun to be
And sets light hope on fire;
No fruit, no flower thought once too fair for death,
No flower nor hour once fallen from life's green tree,
No leaf once plucked or once fulfilled desire.
VII
The morning song beneath the stars that fled
With twilight through the moonless mountain air,
While youth with burning lips and wreathless hair
Sang toward the sun that was to crown his head,
Rising; the hopes that triumphed and fell dead
The sweet swift eyes and songs of hours that were;
These may'st thou not give back for ever; these,
As at the sea's heart all her wrecks lie waste,
Lie deeper than the sea;
But flowers thou may'st, and winds, and hours of ease,
And all its April to the would thou may'st
Give back, and half my April back to me.

Saturday, February 25, 2012

The Dance Partner

She put her hand into his and led him to the dancefloor. He realized she was in front and bringing him along with her. His anxiety began to disappear. It was like a smile inside of him. When they reached an empty spot, she turned around and opened herself to him. Reaching forward with both arms she put her hand into his once again. His other moved along her arm, starting at her elbow and under; to the back of her shoulder. She first put her hand on his bicep and then moved it up farther to the side of his shoulder. He could tell she didn't know how to dance very well, so he looked her in the eye and smiled. Her anxiety began to disappear.

First, he dipped her to the left slightly and the stepped back and she followed. He slid his hand out from under her arm and then held both of her hands. They were soft and fleshy. He could only slightly sense the bones inside them. They weren't plump or loose, but like little bodies. They were her breasts and thighs and waist and neck... they rested in his hands awaiting whatever he wished to do next. She looked at him. Her eyes were dark and large, framed with strong cheekbones and brow. He was used to a more petite women in height, so being able to look at her face without looking down caused him to admire her subconsciously. Her beauty also made it easy.

Sunday, August 28, 2011

In a Waffle House World...

the line cook wears his hairnet underneath a folded-paper boat. He works the pots and pans like he has eight arms, ham here, heating oil in that pan, cracks an egg (that's TWO hands... no he did it with one. I didn't even see what he did with the shell.) He wipes down the 6inch counter top he has in front of him... and it's all done with no flair, barely even with effort. The waffle waitress called out the order, messed it up and didn't repeat it. Dude was on it. Some country song was playing and then Phil Collins. [It] Didn't phase him.

I think his name is Eliazer. I guess that's a pretty unique name to only think that it might be what his name is... so I'm gonna say that's what it is. Eliazer. Waffle House blazer on target like a laser with the tater...tots, momma ...ummmmm, correction--- Waffle House doesn't have tater tots, just hash browns. They don't have french fries either!!! I had afriend once who was really upset about that. He eats his french fries with mayonaise which kind of grossses me out so I'm glad (at the time) that don't have french fries.

That's all.

Thnaks for reading.

Monday, August 22, 2011

Tori Amos' Birthday

This Consciousness that is aware
Of Neighbors and the Sun
Will be the one aware of Death
And that itself alone

Is traversing the interval
Experience between
And most profound experiment
Appointed unto Men-

How adequate unto itself
It's properties shall be
Itself unto itself and none
Shall make discovery.

Adventure most unto itself
The Soul condemned to be--
Attended by a single Hound
It's own identity.

-Emily Dickinson
poem #822

Tuesday, August 16, 2011

art market/ art history

In the 21st century free-market, art has become an elusive product. Yes, I said product. IF you buy art, then you are a consumer and carry the responsibility of knowing what it is that you purchase and for what reasons you are giving said amount of money for. If we look at shoes, and all you arelooking for is a decent pair of shiny leather point toe dress shoes to wear once for an outdoor occassion, then going to a discount shoe outlet and dropping 20.00 would be appropriate, but if you are looking to take the same shoe and embed style, legacy, and refinement into your image as a sign to others, so that you can generate a mystery of what it is that you possess then $200 on some Gucci loafers might be appropriate, and if by some off chance that you collect soes as an investment then you might look at $2000 David Hicks. Art these days is no different. Perceieved value and appropriateness to intent. That is not to say that the factors of the valuation of so simple. Even if it makes sense, you might be sold snake-oil, so it is important to know the context of the art market and art history to keep from being snowed over.

Thursday, May 19, 2011

more notes 2

On Picasso:"One thing that is made explicitly clear throughout the late graphics is that the desire is never satisfied. It will both fall short of and override its goal, much like the act of representation itself, which can never completely close the distance between referent and image... The desired object , thus, can never fully account for the drive itself. "desire is the desire for desire"
Continual deferral and the impossibility of closure are built into the very mechanism of desire, which is predicated on a psychic lack, that by definition, be fulfilled. As Picasso summed up..."the desire stays on."
--Inside the Image

Limits of representation
Limitlessness of Desire
Painting as an act of Love

In our relation to things, in sofar as this relation is constituted by the way of vision, and ordered in the figures of representation, something slips, passes, is transmitted, from stage to stage, and is always to some degree eluded in it-- that is what we call the gaze.
-Jacques Lacan

When the Andalusian fixes a thing within a stare, he grasps it, his eyes are fingers holding and probing... In Andalusia the eye is akin to a sexual organ.
-David Gilmore

miranda Fuetre & the Gaze

more notes

Monet, Renoir, Degas- sight was simply the sum of its light-- in terms of illumination
Reality is not waiting to be witnessed
Impressionist- "the gaze was out, the glance was in"
Cezanne- "with an apple I will astonish Paris!"
Courbet- "Let us be true, even if we are ugly"
Oscar Wilde "Life goes faster than Realism"
Rilke "Cezanne made the fruit so real that it ceased to be edible altogether."

Is it only now that Art has begun? -dP

"Art has carried the responsibility of the philosophy of art further than the philosophers of would have been capable. It was as if artists had to become their own philosophers in order to be taken seriously. -A. Danto

In order to consider Brillo Boxes as art, one would need to see how the history of art had evolved to a point where it was now possible for such a work to exist... to know something of the state of discourse of the art world, within which that possibility existed... Duchamp... Greenber...
--Danto

Bildungsroman- as history of modern art

there is no reason inherent in the concept of art for painting not to exist

*painting is charged with resentments as a result of an artistic discourse trying to purge concepts of talent as unacceptably elitist

conception of art that is made by artist with certain ends in view
___________________________
~from random slip of paper in my notes

without elementary disorder there is neither entropy nor irreversible process