Capturing Light: Investigations of Color in Words, Music and Images #5:

June and Everything After

More Than Enough

The first lily of June opens its red mouth. 

All over the sand road where we walk 

multiflora rose climbs trees cascading 

white or pink blossoms, simple, intense 

the scene drifting like colored mist. 

 

The arrowhead is spreading its creamy 

clumps of flower and the blackberries 

are blooming in the thickets. Season of 

joy for the bee. The green will never 

again be so green, so purely and lushly 

 

new, grass lifting its wheaty seedheads 

into the wind. Rich fresh wine 

of June, we stagger into you smeared 

with pollen, overcome as the turtle 

laying her eggs in roadside sand.

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Thoughts About Thinking Our Way Forward

This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. –Walter Benjamin, Theses on the Philosophy of History

“The ideal subject of totalitarian rule is not the convinced Nazi or the convinced Communist, but people for whom the distinction between fact and fiction (i.e., the reality of experience) and the distinction between true and false (i.e., the standards of thought) no longer exist.”  Hannah Arendt

 

Beyond Defining

Defining is natural in human beings. It has helped us focus on survival needs and safety, but it is often the bane of creative problem solving and innovation to see the world as separate pieces like a puzzle that can be taken apart and put back together. It is why teeth are not included in medical care and the mind is considered separately from the body. The world is complex more than complicated. What people construct is complicated. Nature is complex and can’t be separated into discrete units that can be analyzed separately and then shoved back into the mix. This is main reason that things made by people fit so poorly into the structure of a living planet. People make clumsy chunky stuff without the subtle mechanisms developed over billions of years of evolution and interaction with the complex systems that integrate with each other to form the planetary environment. We can’t take into account all the multitude of ways objects, creatures, plants, elements, and weather work on each other to make the world new every day. We need to learn to think in creative ways that take us out of our little human box in order to solve many of the problems our myopic simplistic approach to exploring nature and using resources. It will be interesting to see if we can shift our thinking enough to save ourselves from problems our limited way of thinking causes to begin with.

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Capturing Light: Investigations of Color in Words, Music and Images #4

Reflections

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Capturing Light: Investigations of Color in Words, Music and Images #3

 Colors in Love

A Love Song

by William Carlos Williams

I lie here thinking of you:—

the stain of love
is upon the world!
Yellow, yellow, yellow
it eats into the leaves,
smears with saffron
the horned branches that lean
heavily
against a smooth purple sky!
There is no light
only a honey-thick stain
that drips from leaf to leaf
and limb to limb
spoiling the colors
of the whole world—

you far off there under
the wine-red selvage of the west!

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Capturing Light: Investigations of Color in Words, Music and Images #2

Shades of Blue

 

  • BLUES
    • Scotch Blue, is Berlin blue, mixed with a considerable portion of velvet black, a very little grey, and a slight tinge of carmine red.
    • Prussian Blue, is Berlin blue, with a considerable portion of velvet black, and a small quantity of indigo blue.
    • Indigo Blue, is composed of Berlin blue, a little black, and a small portion of apple green.
    • China Blue, is azure blue, with a little Prussian blue in it.
    • Azure Blue, is Berlin blue, mixed with a little carmine red : it is a burning colour.
    • Ultramarine Blue, is a mixture of equal parts of Berlin and azure blue.
    • Flax-Flower Blue, is Berlin blue, with a slight tinge of ultramarine blue.
    • Berlin Blue, is the pure, or characteristic colour of Werner.
    • Verditter Blue, is Berlin blue, with a small portion of verdigris green.
    • Greenish Blue, the sky blue of Werner, is composed of Berlin blue, white, and a little emerald green.
    • Greyish Blue, the small blue of Werner, is composed of Berlin blue, with white, a small quantity of grey, and a hardly perceptible portion of red.

 

“The deeper the blue becomes, the more strongly it calls a man towards the infinite, awakening in him a desire for the pure and, finally for the supernatural. The brighter it becomes , the more it loses it’s sound, until it turns into silent stillness and becomes white.”

Vasily Kandinsky: a quote found in Victoria Finlay’s The brilliant History of Color in Art.

Dead my old fine hopes
And dry my dreaming but still…
Iris, blue each spring

Bashō

No Popping Blues without Oranges and Yellows to make them Snap.

 

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Capturing Light: Investigations of Color in Words, Music and Images #1

The green park in winter.

The snow fell lightly as the footsteps of children. The snow lay masking the trim pathways, shrouding the trodden grass, the snow as far as one could see, on the housetops, on the trees. The sky was low, heavy with the cruel cold, and the light was grey and dim. In a long line gleamed the round lamps, and entangled with the leafless trees was a violet mist, and it trailed along the ground like a train of the winter night. The piercing cold had killed the colors, but the mist was violet, exquisitely soft, but cold,  cold so the weary heart could scarcely endure its anguish. The houses of Carlton House Terrace were dark menacing masses against the whiteness of the snow. The day dwindled into ghostly silence and there was no glimpse even of the setting sun. Gray sky grew darker and the lights gleamed more brightly, surrounded each one by a pale aureole.

From: the year 1900 in A Writers Notebook, M. Somerset Maugham 

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Moonlight Field Trip

I made a decision to let the vampires and zombies out for the night. I was concerned that they might cause mischief, but I was more worried that they might be mistreated by nervous and fearful people abroad in the dark. In the twilight, I began to get them prepared instructing them on rules of behavior. They started to leave too early and I stopped them telling them to wait for a signal, which was a song. They were quite peaceful roaming about like children. Some were naked (I had neglected to tell them about clothing). I could see their sturdy shadow shapes in the moonlight standing and moving alone and in small groups by a pond where people where fishing. I kept my watch over them until dawn for I was their teacher and caretaker.

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