Didn’t Emma Goldman once say
what good is a revolution
without some God Damn dancing?
[…]
Make sure the flavor stains
tomorrow’s page.
Bullpen, Cornelius Eady
“And is the blues the moment you realize
You exist in a stacked deck
[…]
Is the blues the moment
You shrug your shoulders
And agree, …
To be pushed around by any old breeze.”
I’m a Fool to Love You
At 800 PM EDT (0000 UTC), the center of Hurricane Milton was located
near latitude 27.2 North, longitude 82.8 West. Milton is moving
toward the east-northeast near 15 mph (24 km/h), and this general
motion is expected to continue through Thursday, followed by a turn
toward the east on Friday. On the forecast track, the center of
Milton will make landfall just south of the Tampa Bay region
within the next hour or two, and then move across the central part
of the Florida peninsula overnight, and emerge off the east coast of
Florida on Thursday.
Maximum sustained winds are near 120 mph (195 km/h) with higher
gusts. Milton is a category 3 hurricane on the Saffir-Simpson
Hurricane Wind Scale. Little change in strength is likely
until landfall, and Milton is expected to remain a hurricane
while it moves across central Florida through Thursday. The system
is forecast to weaken over the western Atlantic and become
extratropical by Thursday night.
Hurricane-force winds extend outward up to 35 miles (55 km) from
the center and tropical-storm-force winds extend outward up to 255
miles (405 km). A sustained wind of 54 mph (87 km/h) and a gust of
96 mph (154 km/h) was recently reported at the Sarasota-Bradenton
International Airport. A C-MAN Station in Venice, Florida recently
reported a sustained wind of 71 mph (115 km/h) with a gust to 90
mph (145 km/h).
The minimum central pressure estimated from Hurricane Hunter
aircraft observations is 954 mb (28.17 inches).
Hurricane Milton Intermediate Advisory Number 19A (NOAA)
Forecast Form, a calamity form(?). Just might be.
I.
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which heaven to gaudy day denies.
II.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling place.
III.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
She walks in beauty, George Gordon Byron
What Palestine has taught the world. (The Slow Factory)
It’s not complicated…
There is nothing complicated about colonialism, genocide, and occupation
Back home the shine is nulled
Just shades of a musical theme
Or it could also be said
That it’s night
[…]
May imagination always come before knowing
Like shadows of a musical theme, Tilsa Otta
Translated from the Spanish by Farid Matuk
Welcome to the world, Lennox!
via MCA Chicago. Catalog.
El término discrepancia describe una variación entre dos elementos que deberían de ser el mismo. Así, una discrepancia implica la existencia de un doble imperfecto, y articula una condición que da cabida a la evaluación y medida. La obra de Leonor Antunes, artista nacida en Lisboa y residente en Berlín, consiste en la producción de situaciones de este tipo, mediante el uso de repeticiones, duplicaciones o alteraciones de detalles dentro de un espacio o en la configuración de objetos.
Al identificar su obra como “sucesos”, como experiencias construidas de duración limitada, las intervenciones escultóricas de Antunes buscan despertar las capacidades perceptivas del espectador; lo animan a involucrarse con cada espacio u objeto de manera novedosa, mientras reconocen que estas situaciones están llenas de energía, de relaciones interiores y memoria. La artista está interesada en la arquitectura y el diseño modernistas, ya que representan un periodo cultural de innovación extrema y de toma de riesgos formales. Durante los últimos años, ha desarrollado un vocabulario definido de materiales, mediante el uso repetido de varios tipos de cuerdas, cuero, hule, latón y madera; materiales que hacen referencia tanto a la producción manual como a la industrial, y que además apuntan hacia el periodo modernista.
Tobias Ostrander
Leonor Antunes: a secluded and pleasant land. in this land I wish to dwell, August 21, 2014 – January 19, 2015. PAMM.
“[Emperor] Suinin is best known for events that surround the founding of the Ise Grand Shrine. The Nihon Shoki states that around 2,000 years ago the Emperor ordered his daughter Yamatohime-no-mikoto, to find a permanent location to worship the goddess Amaterasu-?mikami (the Sun Goddess).[5][7] Yamatohime searched for 20 years before settling on a location in Ise, where she established Naiku,[a] the Inner Shrine.[4][8] She is said to have chosen the location after she heard the voice of Amaterasu say; “(Ise) is a secluded and pleasant land. In this land I wish to dwell.”” Wikipedia.
Le plan flexible. CAPC Bordeaux. Catalog.
Azabudai Hills. Mori Living. Refer to Michiko Yamawaki.
Poetry is what you find
in the dirt in the corner,
overhear on the bus, God
in the details, the only way
to get from here to there.
Ars Poetica #100: I Believe, Elizabeth Alexander
Forough Farrokhzad in Paris Review, by Joanna Scutts, 2020.
“In 1954, a nineteen-year-old poet walked unannounced into the office of the literary editor of Roshanfekr (The Intellectual), one of Iran’s most prestigious magazines. Her fingers were stained with green ink, and she trembled with nerves as she handed over three poems. One of them, the twelve-line “Sin,” described in explicit detail her affair with the magazine’s editor in chief. Different translations give different nuances to the opening of the poem: “I have sinned a rapturous sin / in a warm enflamed embrace” (Sholeh Wolpé), or “I have sinned, a delectable sin, / In an embrace which was ardent, like fire” (Hasan Javadi and Susan Sallée) or “I sinned / it was a most lustful sin / I sinned in arms sturdy as iron, / hot like fire and vengeful” (Farzaneh Milani). Across these variations, there are a few scandalous constants: the heat, the embrace, the pleasure, and the boldly unashamed I. The speaker declares herself as a sinner, but there is no repentance in the poem, no punishment. She is not her lover’s victim, but a joyous coconspirator, exhilarated by her power to arouse him: “Lust enflamed his eyes, / red wine trembled in the cup, / my body, naked and drunk, / quivered softly on his breast” (Wolpé).”
J’ai péché, péché dans le plaisir, Abnousse Shalmani, Grasset, 2024.
Dans ce roman puissant et subtil, au rythme effréné, Abnousse Shalmani met en regard les vies extraordinaires de ces deux écrivaines [Forough Farrokhzad, Marie de Régnier] qui firent toujours le choix de la passion, amoureuse, poétique ou purement sensuelle, au risque de s’en brûler les doigts. Une ode très contemporaine à la liberté artistique et à celles qui ne renoncent jamais, en Occident comme en Orient.
Shalmani also essayist. On Laïcité, 2023.
Matter of fact, you could line them up, one by one.
An array of nano-differences would emerge.
We might call that a scale.
Whatever.
Habilitas, Rodrigo Toscano
“exploring about in the recesses secretly” VW