Author: dig

  • AG2020_1850439a

    AG2020_1850439a

    Dresses hung to dry in the sun is the leading indicator as to where we are. A working class neighborhood, with neighbors who endure the brightness summer morning sun and have preference for how washed and dried fabric should feel against one’s skin.

    Campaign sign tucked in between tree and pole is another indicator. Iron bars on the windows is supposed to be one, but I suspect it might be dated.

    This is the site we should try to read the city’s architecture responding to its inhabitants’ desires for security, affordability, infrastructure — water quality, fire and police service, more green and shade covering, alternative energy use — gas and solar, water reclamation, biodiversity and for a wider range aesthetic vocabulary.

    Everyday life is already developed from the points of affect, of desire, and of reverie. We claim as much as we can to satisfy the manner in which we want to live. There are always pushback, when our manners hit the limit of private space, or when our plans abut the plans of others, but hopefully we can come to an understanding, that aiming for civility is just and ideal.

    Image was featured in Burnaway’s article Miami Dérive.

  • A twirler performs

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    not for an audience (I just happen to be there), but with confidence and in harmony with the animating powers of this place.

  • 50238746311_5c0dc5905b_b.jpg

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    A video still. In which Mr. Anolis displays poise and agility, and takes an exit.

  • T

    A short film directed by Keisha Rae Witherspoon, 2019, 14 minutes. MadeInTheCountyOfDade.com

    Short q& a with Witherspoon.

    Keisha Witherspoon- Of A Certain Age statement.

  • Witness

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    I weighed […],
    actions,
    […],
    on the scales I was given,
    calibrated
    in units of fear and amazement.

    […] everyday
    something has tried to kill me
    and has failed.

  • Poetry, Permeability, and Healing

    Essay by Jane Hirshfield from 2018 via poets.org.

    At the etymological root of both healing and health is the idea of “wholeness.” To heal, then, is to take what has been broken, separated, frag­mented, injured, exiled and restore it to wholeness.

    […]

    Many things beyond physical illness and physical fracture need healing. Some are personal, some are collective, and these two realms are not disconnected. We don’t live in compartments; we live in our lives.

    […]

    kintsugi, done well, offers damage made visible as part of the cup’s his­tory, damage made beautiful because the cup was repaired without denial.

    […]

    Poems are words that live in the fractures, […] they make new by rejoining parts into a visibly changed whole.

    […]

    a person who can ask words to do things words have not done before is not powerless. To make phrases that increase what is possible to think and feel is both exhilaration and liberation. To expand reality is to counter despair, depression, and impotence.

    [..]

    [Poems] loosen us from the loneliness of separation and the erasures of generality. The particularity and unexpectedness of poetry’s language shake us from sleepiness, complacency, habitual mind. Empathy breaks us from the hypnosis of ego’s grip on its own sense of purpose.

    […]

    The rational mind, untempered by poetry, divides; […] fierce rational power, in isolation, is inhuman. Art dwells at the crossroads between what in us is body, what in us is emotion, what in us is history, and what in us is mind. To step into wholeness of seeing and feeling, under any conditions, is in itself restorative.

    Jane Hirshfield