poemimage

The visual & the poetic.

Category: Digital collage

How We Listened

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Have you forgotten how we listened

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to what was not being said.

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The sun and the night both shining in Autumn.

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Shining upon what is concealed

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& beneath the crossroads,

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a deeply buried wind

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streaming through the empty house.

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Dedicated to my (late) brother Larry, whose birthday is 2/22, who cried over his black fish floating belly up, who slipped climbing the crabapple tree & gashed his belly open with a nail. We passed through the cage of black & white TV broadcasting one Friday late into the night and throughout the weekend until a funeral on Monday.

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My video poem concerning this event: https://vimeo.com/11304739

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I think I found the spiral Xray online a couple of years ago. Of course , neither am I claiming any copyright credit for the photographs of J.F.K.’s funeral. A detail from a still photo of a performer riding a horse in my video poem is also in the mix. I will take some credit for that.

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Mona Ono / Yoko Lisa

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Leonardo da Vinci
sits at the piano
composing
‘Imagine’

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A Divining Rod of Ancient Silver Divining Twin Streams

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A divining rod of ancient silver divining the outlines of the future

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A divining rod of ancient silver divining channels between flowers

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A divining rod of ancient silver divining the stone wheel of memory

film and granite

A divining rod of ancient silver divining the wind upon the fields

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A divining rod of ancient silver divining the moons beneath the city

giotto and russian pilot

A divining rod of ancient silver divining the roots of wisdom fruit

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A divining rod of ancient silver divining sea and Self, an ongoing dialogue between sea and Self

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A divining rod of ancient silver divining social collapse

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A divining rod of ancient silver divining twin streams:

Pottery: the Jomon (縄文) Period (Japan, c. 12,000-300 BCE) and William Blake (1794) England.

Religious calendar art showing Jesus with children and the iconographic image of Cuban revolutionary Che Guevera.

Many years ago I did a printmaking project in an elementary school. One of the students made a print of (what I thought was) a Central or South American religious deity. I was intrigued with the clay pots or possibly drums. Then I realized I was looking at it upside down. How odd such a cartoon, reversed, depicts an altogether different creature. Nothing about the ‘accidental’ image reflected the student’s cultural heritage.

Photographic still from the B movie ‘Plan 9 from Outer Space.’ And the Pietà, Michelangelo’s great work, in St. Peter’s Basilica.

Angelus Novus by Swiss-German artist Paul Klee & the exquisite Donna Summer modelling a gown.

A painting by Giotto and a photograph of the parachuting Russian pilot whose jet was shot down by Turkey. Photographed before being shot, as he floated to earth, by terrorists allied with Turkey.

Digital configuration of Blake’s art + Jomon pottery.

Neil Armstrong Apollo 11 spacesuit & the Shroud of Turin.

Goldfish and residential street in Toronto.

Faux-Beat Anti-War Poem by Luther Blissett

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I have seen the greatest minds of my generation riding vacuum cleaners in the sky above Syria. George Washington’s wooden occult teeth clitter clatter in the rubble filled streets. General Sherman’s occult army empties another town on his flaming march to the sea.

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Jet-diving vacuum roar sucks up intricate silver jewelry dropped upon/ into the embroidered rug. Loot! Booty! This should be worth something! Dropping beside/ into delicately curved brass dishes of fragrant food flavoured with aromatic spices. A wedding photograph framed within the ancient yew.

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Great-grandmother’s sacred water-well dripping twisted rags in Springtime. Pawn shop lights blinking. Pawns on the azure-tiled cafe floor tipped beneath an abandoned chessboard. Dripping ruptured pipes drip, once it was every minute, rusted, caustic water drops staining the almost (e8=Q).  Staining the almost.

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See the fleet footed family fly beneath gleaming sedan billboards into the shade shadow of a brighter tomorrow. See the family scurry hurry parallel rust-flaked punctured pipes into the caustic, occult ceiling of a brighter tomorrow. A gleaming tomorrow/ flee flee Washington’s wanton wooden teeth.

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Swing low sweet chariot with minus reflective surface. Aim from the plastic-wrapped heart in the gleaming plastic bowl in the chilled gleaming refrigerator darkened by a dead bulb.

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Luther Blissett is a mythical figure in contemporary European art history. He works on multiple media platforms cross-referencing a multiplicity of artistic disciplines concerning identity, the body, society and the psyche.

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Lost by Chris Pannell

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Every street was Italian

the inks on my map blotched and ran

the motorways rose and fell like roller coasters

singing choruses from I Pagliacci.

German and English signs

had been broken and tossed aside.

Gargoyles on buildings dressed in suits

money managers amok

commandeered red double-deck buses from

their streetcar tracks.

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I was driving a taxi full of hit-men

who were expecting me to get them quickly to

their destination

and to avoid the carabinieri.

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Chris Pannell’s latest poetry book is A Nervous City (Wolsak and Wynn, 2013). This title recently won the Kerry Schooley Book Award from the Hamilton Arts Council. In 2010, his book Drive won the Acorn-Plantos People’s Poetry Prize and the Arts Hamilton Poetry Book of the Year.

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From 1993 to 2005 he ran the new writing workshop and published two anthologies of work by that group.

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He has a book of poetry forthcoming in 2016 called How We Came to Pass. He is a former board member of the gritLIT Writers Festival and a former DARTS bus driver. He hosts and helps organize the monthly Hamilton reading series Lit Live.

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Distance Swimming

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In her mirror

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She feels illumined by an accelerating process

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Initiated by the 20th Century.

watery

A darkening fog.

the heroic ball and glove

Klee-song,

hand

Cocteau,

newly

de Chirico,

love

Arise from her in swirling, serpentine eddies. A ventriloquist.

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She unties a boat on the shore. The underground river.

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Languages of illumining clarity speed into each other like blood in water,

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As vast and translucent as the Northern Lights.

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 & For reasons both utilitarian and mythopoeic

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The face in the mirror anticipates leaping.

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& Distance swimming through shadow-lands,

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Beneath the precipice of shallow, atomic time,

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Within and without darkened chambers & coincidentally

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 Light reflecting upon ancient vials.

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 & Our spines an unbroken chain of receptor cauldrons.

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& Her gift. The mirror.

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Paul Klee catalogue (1951), Giorgio de Chirico painting ‘Song of Love’ (1914), photographic still from Jean Cocteau’s ‘Orphee’ (1950), pictured: Jean Marais  and Maria Casarès

Mémoire by Arthur Rimbaud

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I

Clear water, like the salt of childhood tears:
The white of women’s bodies opened in the sun,
And truth, beyond walls or the silk oriflammes, won
Out with the valour of a maid pure in her years.

The frolic of angels in their moving blaze of gold,
Imponderable arms sparkling with the coolness of the grass,
And the blues of Heaven taking up their beds to pass
Under the canopy of shade into the arch and hill’s fold.

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II

The stones, under the water, extend as in a clear broth,
And depths, freckled in prepared beds of pale gold,
And frocks of girls, loosely faded, as green as mould,
And willows, and hopping birds, unfettered, woven in the day’s cloth.

Round as the eyelid, with the warmth of a gold Louis,
Blooms the marsh marigold, fresh in its wedding vows.
The mirror at prompt noon, jealous of the day’s drouse
Tarnishes into a sphere, heat-flecked and dear to us.

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III

Too upright is Madam in the meadow’s rippled glass.
The sons of toil are in the cotton-fields falling as a white cloud.
In her fingers she twirls her parasol, tramples it, too proud
To watch her children reading in the flowered grass

Their books in red morocco. Of what they think or dream —
As on all paths a thousand angels flare upon the day —
Of hopes lost in high mountains, she cannot follow; her way
Is overcast and cold, as is the shadowed stream.

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IV

Regret of arms satiated and celibate,
Sainted, straight white beds on moonlit April nights,
And the tear-wet joy falling on abandoned river sites,
And the rotting evenings in August that these germinate.

Under walls let her weep now: the winds possess
Only the high poplars, their motions tremulously sown.
Underneath in lead, unglinting, weighed with stone,
An old dredger labours, the small boat motionless.

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V

Flotsam, plaything of these waters that nothing hinders,
A boat beholden to stillness, and with arms too short,
And flowers blue or yellow, not then ever sought,
And breath now spread upon a water dull as cinders.

And for all that there are willows, powder, the plume of blood
That would drag out roses from reedbeds of time’s jaws,
The boat stays here, unmoving, and the chain draws
On the eye, water-heavy and deep in the unbanked mud.

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Translation C. John Holcombe

http://www.textetc.com/workshop/wt-rimbaud-1.html

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 Original photo credit: Massimo Sestini

Paul Klee and Ferdinand the Bull

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Ferdinand the Bull only wanted to smell the flowers.

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My favourite book as a child. I found the story captivating and the ink drawings mesmerizing. I remember my mother in the sun-drenched living room where I would turn the pages over and over.

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‘Fairy Tales’ by Paul Klee. Perhaps my favourite artist of all my favourites. Was Paul Klee so unlike Ferdinand? Flowers too cast shadows.

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Ark

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Both on the material and the spiritual planes the ark symbolizes the power to preserve all things and to ensure their rebirth.

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Biologically speaking, it can be regarded as a symbol of the womb or of the heart, there being an obvious connection between these two organs.

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The basic symbolism of the ark is the belief that the essences of the physical and spiritual life can be extracted and contained within a minute seed…

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until such time as a rebirth creates the conditions necessary for the re-emergence of these essences into external life.

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The ark, during the cosmic parlay, floats on the waters of the lower ocean.

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The rainbow, in the realm of the ‘upper waters,’ is a sign of the restoration of the order which is preserved below in the ark.

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Both figures together, being complementary, complete the circle of Oneness.

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They therefore correspond to the two halves of the ancient symbol of the ‘world egg.’

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As a symbol of the heart (or of the mind, or of thought) the image of the ark is similar to that of the drinking-vessel, so frequent in medieval mysticism.

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from A Dictionary of Symbols by J.E. Cirlot

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Images: Photographs of political hip-hop artist Keny Arkana in montage with a page from The Lindisfarne Gospels, an illuminated manuscript created around the year 700.

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Constructing a Self-Referential Collage

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Moon shattering upon a highway her voice inside you.

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Her voice inside you, a falling stone.

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Her mountain stone an echo, your mouth erupting.

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Tattooed with Hittite song her skin barely visible, a windshield.

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Her Hittite moon evaporating, condensing upon your windshield.

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She confuses you while casting forth the vibrant song of singing birds.

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Birdsong at work within you, within a song-stone breeze, erupting.

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Her stone-sliding an echo.

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Almost a whisper

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Your voice evaporating & erupting, an engineering marvel.

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Lyrics on collage from ‘Just Like Tom Thumb’s Blues’  https://vimeo.com/113869969

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