Sunday, February 28, 2010
NACHO
“I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour. I want to create objects with my hands, then I can give them my personality. I turn them into communicative objects that can arouse one’s sensations and imagination. In short, what I want to create are objects with a fictional or fantasy element, that allow you to escape everyday life.” -Nacho Carbonell-
Tuesday, February 23, 2010
Friday, February 19, 2010
Wednesday, February 17, 2010
her gentle body sways
with the honeysuckle
as she with an intimate gesture
asks permission to taste life.
a humble way of being
in this world,
which is not
given to us to hide in.
she carries the beauty of this universe
inside her wings
as her hovering body
gracefully turns in
gratitude.
a gentle knock at the door inside
with her beak,
and she owns the pain
we feel with every attempt
to find our place.
sometimes we only need
a hand on the other side
to hold onto as we dissolve
into the fierce heat
of our devotion.
she rises and falls
into the heavens,
i am reminded
to breathe.
if we only could listen to the quiet
she brings us
and continue to look
for the lost entry to our soul,
we could rest easier.
anneli (spiritweaves.com)
with the honeysuckle
as she with an intimate gesture
asks permission to taste life.
a humble way of being
in this world,
which is not
given to us to hide in.
she carries the beauty of this universe
inside her wings
as her hovering body
gracefully turns in
gratitude.
a gentle knock at the door inside
with her beak,
and she owns the pain
we feel with every attempt
to find our place.
sometimes we only need
a hand on the other side
to hold onto as we dissolve
into the fierce heat
of our devotion.
she rises and falls
into the heavens,
i am reminded
to breathe.
if we only could listen to the quiet
she brings us
and continue to look
for the lost entry to our soul,
we could rest easier.
anneli (spiritweaves.com)
More:
“If I had a camera,” I said, “I’d take a picture of you every day. That way I’d remember how you looked every single day of your life.” “I look exactly the same.” “No, you don’t. You’re changing all the time. Every day a tiny bit. If I could, I’d keep a record of it all.” “If you’re so smart, how did I change today?” “You got a fraction of a millimeter taller, for one thing. Your hair grew a fraction of a millimeter longer. And your breasts grew a fraction of a-” “They did not!” “Yes, they did.” “Did NOT.“ “Did too.” “What else, you big pig?” “You got a little happier and also a little sadder.” “Meaning that they cancel each other out, leaving me exactly the same.” “Not at all. The fact that you got a little happier today doesn’t change the fact that you also became a little sadder. Every day you become a little more of both, which means that right now, at this exact moment, you’re the happiest and the saddest you’ve ever been in your whole life.” “How do you know?” “Think about it. Have you ever been happier than right now, lying here in the grass?” “I guess not. No.” “And have you ever been sadder?” “No.” “It isn’t like that for everyone, you know. Some people, like your sister, just get happier and happier everyday. And some people, like Beyla Asch, just get sadder and sadder. And some people, like you, get both.” “What about you? Are you the happiest and saddest right now that you’ve ever been?” “Of course I am.” “Why?” “Because nothing makes me happier and nothing makes me sadder than you.”
from The History of Love
from The History of Love
From The History of Love
So many words get lost. They leave the mouth and lose their courage, wandering aimlessly until they are swept into the gutter like dead leaves. On rainy days you can hear their chorus rushing past: IwasabeautifulgirlPleasedon’tgoItoobelievemybodyisma deofglassI’veneverlovedany oneIthinkofmyselfasfunnyFo rgive me...
There was a time when it wasn’t uncommon to use a piece of string to guide words that otherwise might falter on the way to their destinations. Shy people carried a little bundle of string in their pockets, but people considered loudmouths had no less need for it, since those used to being overheard by everyone were often at a loss for how to make themselves heard by someone. The physical distance between two people using a string was often small; sometimes the smaller the distance, the greater the need for the string.
The practice of attaching cups to the ends of the string came much later. Some say it is related to the irrepressible urge to press shells to our ears, to hear the still-surviving echo of the world’s first expression. Others say it was started by a man who held the end of a string that was unraveled across the ocean by a girl who left for America.
When the world grew bigger, and there wasn’t enough string to keep the things people wanted to say from disappearing into the vastness, the telephone was invented.
Sometimes no length of string is long enough to say the thing that needs to be said. In such cases all the string can do, in whatever its form, is conduct a person’s silence.
Monday, February 15, 2010
"Now comes the long blue cold
and what shall I say but that some
bird in the tree of my heart is singing.
That same heart that only yesterday
was a room shut tight, without dreams.
Isn’t it wonderful—the cold wind and
spring in the heart inexplicable.
Darling girl. Picklock."
From Mary Oliver's Red Bird
and what shall I say but that some
bird in the tree of my heart is singing.
That same heart that only yesterday
was a room shut tight, without dreams.
Isn’t it wonderful—the cold wind and
spring in the heart inexplicable.
Darling girl. Picklock."
From Mary Oliver's Red Bird
Wednesday, February 10, 2010
Thursday, February 4, 2010
Wednesday, February 3, 2010
Monday, February 1, 2010
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