What no one will remember (Part ii)
All photographs were taken with a Finepix S9600 digital camera. No digital editing, except for minor adjustments with contrast and saturation levels.
All photographs were taken with a Finepix S9600 digital camera. No digital editing, except for minor adjustments with contrast and saturation levels.
The self is a function of life.
Every aspect
of life as experienced
by so-called man
is within the realm
of nature, the universe,
totality. Nothing is
outside it,
nothing
belongs to something
other than itself.
Life is a manifestation (
for lack of a better
word
) of what nature
is doing.
My ego
is not independent
to the field
of nature, it does not
confront or exchange
with any external.
All my memories, actions,
thoughts, insights,
responsibilities, etcetera,
do not belong to
me.
They are all part
of that function
that life
is portraying
through a living organism.
The experience
of being-hood is a sort of modulation of life itself.
There is no center or
self that engages with life.
Rather life is engaged with nature.
In other words,
I’ve never experienced
anything.
One could say,
I am the illusion
of being a drop of water
inside a totality
that is itself all water.
The IT has been doing ITSELF.
Nothing belongs to me per se.
Even this instant,
these words, these attempts
to define what’s happening
are not me nor belonging to me,
but aspects of what life
or, sub specie aeternitatis,
what nature does.
Life is, a Spinozan could say,
a mode in nature. I’m inclined to say
there is no one
perceiving this, life itself
is busying itself with life-stuff,
nature-stuff, thought-stuff,
society-stuff, and so on.
There is no me
in all of this.
There is only a recurring
sensation that life – the
experiences that compose our definition of life –
belong to me.
But that sensation
is itself an impression like any other.
Can death be overcome?
Only a thought
that suggests that “I will die” exists,
but not the actual death of the self
– because there is no self.
Throughout itself,
ordinary nature
would no longer
be its opposite.
Truth occurs
within itself
no longer in earth
but open,
clearing, never rid of primal conflict
notice this Open
the world of paths
lighting
the self-closing
center
at bottom
intended to denote
that the essential
has rid itself
of everything
concealed.
(All the words, including minor phrases were extracted from page 53 of Heidegger’s essay The Origin of the Work of Art, found in the book Poetry, Language, Thought as translated by Albert Hofstadter, printed by Harper Perennial Modern Classics)
Ya no visitaré a la luz
con débil cascara de astro
su sucia esencia de curva
es inacabable el modo de andar
y son ancianas fosas de oscuro
cada puñado de vivir se siembra
como agua en las noches enteras
ya no más
lucero que es punta arrastrada
son frescos los troncos de negro
y mi mirada los junta en cruz
quítenme el ritmo de vela
y déjenme la congoja vieja
como un pliegue de eternidad
ya no más
dura energía voluta
que son crudos garabatos
los de la sombra
y el arte abstracto de morir
no lleva rayos claros
en las arrugas de mi piel.
It is a sad thing to be a poet.
Pick out a few strands of impermanence.
Sit and write in fever and sweat
on how the ash is sweet and immense.
But it is in vain
I tell you.
Nothing will remain
beyond the faded terrain.
For art’s sake. Can there be anything more pathetic?
All we do is lace pigment on fragments.
All this perversion of language, an erratic
falsification of meanings and judgments.
I am being honest finally.
I tell you.
Don’t even care how this ends really
because I’ve started to drink myself silly.
When Midas asked Silenus what fate is best for a man, Silenus answered: “Pitiful race of a day, children of accidents and sorrow, why do you force me to say what were better left unheard! The best of all is unobtainable—not to be born, to be nothing. The second best is to die early.”
– Will Durant (The Story of Philosophy)
Whose torn bolt
was released
on the curvature of time,
who left this mass
of obscurity as a stone
in the sky,
have I begun
to carve enough
misery
from this chunk of night,
or designed
a chorus of smoke.
Its slanting invasion
made us embrace
like twins of twilight
and the irony
of it all
we are abundance
in its thirst,
dancing like swirls
of sweetness in its mouth.
To be happy mud
smeared
on your breasts, I said.
But I could hear
you muttering
the wisdom of Silenus.
Unable to rephrase
the meaning of silence
we laid still
like two
immobile spots
of darkness.
The renowned Danish neo-classicist sculptor Bertel Thorvaldsen [1770 – 1844] (above) has a museum dedicated to his art in Copenhagen, Denmark. I’ve taken some pictures of his most representative works exhibited there. Enjoy!
jalar la luz
desde sus trenzas de pulso
clavar los dedos
en el esplendor de la ilusión
apretar
el crudo óleo del brillo
arrancar con uñas
el follaje del fuego
y pellizcarle a
cada estrella
su borona de incendio
To be absurd from feeling to toe,
I’d punch the snow to disfigure
the torso of beauty
to join the mad soliloquists
the drunks and hopeless angels
with whales swimming in
their eyes of quivers.
Rapidly the curves of snowfall
impact the distant slums and they are
carrying pain too beautiful that we
stare and suffer. I cannot add a because,
a therefore, a necessity.
The event has sweetness
that only forgetfulness with relish.
I am too vague a vacuity too vain a villain,
being an absurd contemplator
the suspense of my erosion
is my only occupation.
and yeah, the feat of beauty
on daylight’s squirm.
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