In-between the sun and moon,
I sit and watch
and make some room
for letting light and twilight mingle,
shaping hope
and making single glances last eternity,
a little more,
extending love beyond the doors of welcoming,
while wedding all the parted people,
even sons to violent mothers,
and searching all the others finding light
where twilight lingers,
in-between the sun and moon.
In-between the sun and moon, Pádraig Ó Tuama
“earn—by practice and careful contemplation—the right to express it”
“The danger and its necessity focused them, made them calm.”
(TM)
A sea-god, whose father had been a mortal, becomes a skeleton.
The skin of the sea was thick, to-night,
And the tone of the sea was dull;
When I found by the edge of the sullen sea
The half of a sea-god’s skull.
Half of a sea-god’s skull was there,
Half of a sea-god’s tail.
When I dug them out of the clutch of the sand
The peering moon went pale.
The peering moon went pale, because
Her other eye had seen
The other half of the sea-god’s bones
Ten thousand fathom green . . .
Ten thousand fathom green with sea,
The sea-god’s other bones
Swayed in a dead sea-goddess’s arms
On a pile of sea-washed stones.
The skin of the sea was thick, to-night,
And the tone of the sea was dull,
While I buried away from the sinister sea
All the mortal part of a skull.
Skull Song, Genevieve Taggard
… Perhaps this, my skin engulfed
Ashna Ali
in morning dew and music,
is the true human romance.
Immune to purpose.
“AI-generated images no longer serve as evidence of anything, having been detached from their material origin. Imagine, then, the surprise of Maja Malou Lyse upon learning that the viewing of pornography through VR technology enhances male fertility by as much as 50%, as recent studies suggest. Fertility, futurity, and pornography thus become deeply entangled.
Maja Malou Lyse has conceived a paradoxical environment that suggests we are not simply at the end of the image, but at the beginning of a new world in which images persist, yet their meaning, function, and credibility are fundamentally altered. In her work, images no longer describe reality; they operate within it. Images function as an affective technology: they produce sensations, they produce time, they produce the species. They are rehearsals for possible futures rather than records of the present. “
Chus Martínez, Curator via kunst.dk
The Sandbaggers, British spy television series, 1978 – 1980.
How the Pentagon Started Taking U.F.O.s Seriously, by Gideon Lewis-Kraus (NewYorker, 2021)
r-p-o-p-h-e-s-s-a-g-r, E. E. Cummings
it fills him with a great and irresistible longing, the bright, leaping colour, the blast of warmth to his face, the array of fascinating implements to stoke and poke and grip.
It seems extraordinary to him to be in such close proximity to a creature which is so emphatically from another element, from wind or sky or perhaps even myth.
can usually be persuaded with a few words
(Maggie O’Farrell)
The Morning Star flies from the clouds and the bird cries to the dawn.
Amaryllis, awake! Lead your snowy sheep to pasture while the cold grass glitters with white dew.
To-day I will pasture my goats in a shady valley, for later it will be very hot.
Among those distant hills lies a very great valley cut by a fair stream.
Here there are cold rills and soft pasture and the kind wind engenders many-coloured flowers.
Dear, there I shall be alone, and if you love me, there you will come alone also.
Fête Gallante, Marcantonio Flaminio, translated from Latin by Richard Aldington
Fêtes Vénitiennes, Jean-Antoine Watteau. 1718-1719
Chicle y Polvo, Tunnel Projects.
won’t you celebrate with me
what i have shaped into
a kind of life? i had no model.
born in babylon
both nonwhite and woman
what did i see to be except myself?
i made it up
here on this bridge between
starshine and clay,
my one hand holding tight
my other hand; come celebrate
with me that everyday
something has tried to kill me
and has failed.
won’t you celebrate with me, Lucille Clifton