Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Arthur "A.I." Bleistift


 by Glen L. Bledsoe 

One young man has set the art world ablaze with this stunning technique or perhaps it would be better described as a discipline like yoga or Tai Chi Ch'uan. Young Arthur "A.I." Bleistift calls his technique "Analog Intelligence."

This technique relies on the ability of the artist to look very carefully at an object or a scene and hold what she has seen in her mind as accurately as she can for up to three or four seconds. Then the artist using any number of different tools makes a mark on a sheet of paper or a stretched sheet of specially treated cloth stretched across a wooden frame. Then (and this is important) the artist compares the made mark against what she can see and either modifies the mark to make it more representative of what is visible or moves forward to making another representative mark.

"The process continues," says Arthur, "until the image is complete." The Bleistift Method is taking the art world by storm. So much so that artificial intelligence artists fear their art form may fall by the wayside of history.

Joannas

  

A colorful abstract painting of female twins in a car.

guest story by Tim, images by Simon Sonnenblume

You're doing it wrong


When Joanna Muir woke up in the middle of the night, it wasn't unexpected. There wasn't any particular change in atmosphere, or a sudden sound. She didn't need the bathroom, she wasn't cold. She just woke up.

What was different, though, was the sign that had appeared since she went to sleep. It was simple enough -  a poster on her wall that looked to have been attached with sticky tape. It said, "You're doing it wrong."

A simple statement, perhaps meaningful, perhaps not. Joanna didn't spend much time on the message. She was more concerned about how it had got there, how somebody had got into her bedroom. Frankly, she was instantly creeped out.

Decidedly frightened, she got out of bed very fast and went to the door, listened, and pushed it open. All was as usual and she took some unconscious comfort in that. 

Joanna explored the adjacent rooms, mentally before physically, and then went downstairs carefully. 

Again, nothing, and a further explore showed all entrances, windows and placements to be as they should be. All were entirely as she had left them the previous evening.

She made herself a tea, and sat for a while, thinking. She decided it wasn't an immediate police matter, but it would be in the morning. She tried to re-ravel her nerves, thought that bed was the place to be, and went back upstairs.

As she entered her room, the sign fluttered slightly, not that it needed her attention. Next to it, a new sign had appeared. "And you still are", it said.

That was that. She grabbed and threw on some clothes, left the house in panic, got into her car, and drove. 

It might be that the risk to her, driving at speed in an unfocused state, was greater than whatever was at home; it certainly didn't feel that way and there was no such analysis going on. There were moments she caught herself sobbing with fear.

The lights of a hotel - the nearest - appeared. People. Help. A phone to use. Warmth.

She pulled in to park the car. As she reached to open the door, she found it locked and unopenable. She screamed. Her scream threw her head back and her eyes passed the interior mirror. And in the mirror, she saw a shape, a thing...a person, sitting in the back seat. It smiled at her.

She saw a shape, a thing...a person

She didn't faint. Somehow this concretisation of her fear helped - the potentials collapsed into the understandable, however horrific that might be. It was now a particular situation with a particular circumstance and could, in some way be navigated.

The figure cleared its throat. "Oh, sorry", it said. "Didn't mean to startle you. Hi."

This entirely unexpected approach was more than confusing. The waves of confusion fell upon the shore of her remaining certainty, as she opened her mouth to speak. Before any words could blossom, she noticed, all at once and yet all in a sequence, that the figure was a woman. A small slab of the fear glacier fell away. Moreover, it was a familiar woman. Very familiar. In fact, it was herself.

Joanna turned around in her seat. "What the..I mean..no, I mean, what the?" 

Joanna Back Seat said "Oh sorry, I'd forgotten what it was like when I saw - you - that it is to say, when you...Look, do you want a coffee?"

There seemed little choice, and Joanna Front Seat closed her mouth, stunned. Then she shrugged. "Sure", she said.

Now the car door opened, and the two of them walked to the hotel. Wary at first, Joanna's fear and rage had by now turned to open astonishment and confusion, but these emotions allowed her to walk next to herself to the hotel lobby. She even had the presence of mind to say "What will they say, there being two of us?"

"Twins", said the other Joanna, shortly.

Nobody did ask, or comment. The two Joannas sat in the lobby. One wanted coffee, the other needed it.

One wanted coffee, and the other needed it

"So?", said Joanna.

"Well, I bet you think I'm from the future, or the past, right? Or it's a multi-Universe, I've hopped over here from another. Actually, I know that's what you think because you're me."

This was confusing too, but somehow made sense, because these theories were exactly what Joanna was thinking. It was strange knowing that what you think was known to someone else, but then of course this wasn't someone else. The strangeness began to abate and grow simultaneously.

Two coffees later, and everything and nothing became clear. One Joanna had been asleep, and the other Joanna had found herself in her bedroom, with the sign in her hand. She had stuck it to the wall, though she didn't know why. She had followed the first Joanna to the car, though how she had been undetected was a mystery too. To be honest, this whole thing was as puzzling to Joanna as it was to Joanna.

"So, let get this straight", said both of the Joannas, simultaneously. "I - you - were asleep, and I -you found yourself in my room and then..well, wait, what?"

They looked puzzled. One Joanna moved nearer the other, perhaps to hear better. One reached her hand for her coffee cup, and so did the other. They reached for the same cup.

As their fingers met, they somehow merged into one another. "Oh my God", they said, as they moved closer again, shuffling up the seat.

They became one single Joanna

They leaned back, leaned against each other, merged, became one single Joanna.

After a few minutes, Joanna got up, left the hotel and drove home. There was no note, no sign that anything had ever happened. She went to bed, somehow no longer frightened, but still infinitely puzzled.

The next morning, Joanna went through her usual routine. She made her breakfast, left the house, went to work. Although all seemed normal, she found it hard to concentrate on the job in hand, and after a while, left her desk for a break.

In the little kitchen, she turned on the kettle, got a mug from the cupboard, and turned to see a sign taped to the wall. 

"Nope,"it said. "Still wrong."




The Corridor


 by guest contributor Tim


Henry Firenze wasn't expecting death, but then, death wasn't expecting him either. All of these things run to a schedule, we are told. Henry went out one morning to buy a coffee, and Henry met his end crossing the road.

On Earth, there were the usual recriminatory investigations that accompany tragedies. The ripple impacts of his death, so enormous for his immediate family, grew smaller as his relationship circles with the rest of humanity grew wider, until they faded out entirely. By and large, the world neither knew nor cared about Henry or his death.

This realisation, that the world, in general, doesn't care, may have been one of the triggers for the idea of religion, back when man's brain was new and unexplored. Somebody, somewhere, must have been depressed about the idea of the uncaring Universe. Whether they then made up the comfort of a God or whether God existed and gave him that comfort is debatable. It always was debatable, here on Earth.

For Henry, the debate was settled. He found himself in an afterdeath state, and instantly realised there is indeed more to life than an Earthly existence.

He "awoke", though that isn't the term, to his new reality. A room, not like a prison cell, not unpleasant, but comfortably featureless, as if it didn't wish to impinge upon him, didn't want to give him any ideas.

Henry was confused and puzzled and worried and intrigued to find that all these very human emotions and reactions still existed here, wherever or whatever here was. In fact, he decided, he was still pretty much the same Henry as he had always been, and that gave him some sort of comfort.

He sat for a while on his featureless chair in his featureless room, half shocked, half remembering what had just happened on Earth, and he grieved. His grief was mellowed by the realisation that if he was here after death, then his family would be too in some way, some time, and he would see them again.

At that point, he realised that if this was so, then surely his predeceased parents would be here. Was there no way they could welcome him, be here to greet him? He frowned.

Henry got up, and walked to the closed door. Ideas of what might lie on the other side pierced him, each colourful image dancing its temptation. 

He imagined (and was pleased to discover he could still imagine) a garden, or a warm cosy room, where his parents would smile and nod and laugh and exist, and they would all be forever reunited. A moment later he imagined a fiery pit and sharp pointed forks and grotesqueries, and for a few seconds, he thought the bravery required to open the door would be beyond him.

Henry opened the door.

There were no signs, no scents, no sounds

Outside were none of his imaginings. Outside was a corridor, matching its features with his room, which is to say, there were none.

Henry coughed tentatively, trying to disturb whatever may be there by the least amount, either from fear of offence, or just from fear. Silence.

Henry walked from the room into the corridor, and immediately the door through which he had come vanished as it if never was. 

The corridor pulled him left or it pulled him right. It didn't care which way he went, it just offered him the chance to go. It was a corridor of potential energy waiting for him to make it kinetic.

As neither direction offered anything over the other, with increasing puzzlement, Henry walked. 

The corridor was long enough that its vanishing point was in fact its only feature. Nowhere was there a junction, or a mark on the grey walls. There were no signs, no scents, no sounds. Henry could see and hear and feel nothing but himself and the noise he made with the corridor. He walked on.

After what seemed a long while he began to think that his body would surely soon begin to make its childish demands. Feed me. I need a drink. I'm tired. 

His body felt none of these things. It was as if it had moved into eternal stasis. Henry decided he could feel worried about this stasis idea - he chose not to, unsure of where that mental path might lead him.

The path he was on, though, just went on. After what felt like an impossibly long passage of time, Henry stopped. He turned around. In both directions the corridor was identical, as if he was caught between two opposite mirrors.

Henry burst into song. A note, flat, made no difference, except to himself. It was a relief to hear himself, not just his footsteps. The sung note hung and broke the muddy silence. 

The corridor dampened the noise, the very opposite of a bathroom. It didn't, thought Henry, seem intentional. It was just a result of its structure.

At that thought, Henry's inner chimp woke his curiosity, and he moved to investigate the wall more closely. It was of one-pieced smoothness, a tube almost. It curved over his head like an underground tunnel, perfect in symmetry. Henry's half-hoping fingers pressed against it, seeking some comfort, some sense, perhaps, of the organic. He got back no such sense. 

The temperature was perfectly bland, the feel was perfectly bland, the light was perfectly bland. 

Henry sighed, ever more puzzled. At last, he made a decision. He turned around, and walked back the way he had come. There were only two choices, and one had no apparent advantage over the other. 

Still the corridor lead Henry onwards, straight as a vector. Did it, and thus Henry, have a destination? Or was this the afterlife, an endless walk with no idea what for or why? Was this hell?

It was, Henry estimated, a day or three after he had started walking that he was edging towards giving up. After all, his body needed nothing, and walking further seemed pointless. He could just sit, sit here, perhaps for eternity. It's fair to say that Henry was becoming depressed. 

He made himself walk on.

A few days later, Henry was staring ahead glumly, resigned. His eyes saw nothing but corridor, the penumbra of darkness that defined the limit of his vision ever moving from him, until he became aware that it wasn't. That patch of darkness ahead had moved nearer.

His breath-rhythm picked up. It was a change. Something had changed. That little patch of darkness was a destination. It was a place, and places are where humans want to be, even dead ones. Henry wanted to be where the darkness was, to fire up his somnolent new-thing neurons. He walked faster, ran, stumbled, craved and pushed himself.

The dark patch grew nearer, measurable, reachable.

Henry arrived. The darkness grew around him, until he could see nothing. His hands in front of him, he adored this new state of blindness, this new reliance on underused senses. He walked forward, tentatively, slowly, then with increasing confidence. He celebrated the difference.

At last he was running forward, utterly blind, into the darkness.

And then the sound of his footsteps, the low thudding heartbeat of his feet, changed too. A slight softening of the sound. A sonic evolution from clay to bell. The floor was changing.

Henry reached down and used his new sight, his fingertips, to feel the floor. It had definitely changed. It was more metallic. And soon, his groping hands gave him what he had craved. The floor was no longer smooth. It had a patterned roughness, and pattern meant intelligence and design, and pattern meant Henry had found something, something incredible.

His delight was intense, a state now so unknown to him it was as if he had never experienced it before. Its old novelty ran over him with wash of cold, and a clarity came to his thought. This was not enough. There must be more. 

Henry stood up and a new Henry walked on into the darkness.

This time, it wasn't long before his sensitive eyes picked up a few welcoming photons. Ahead lay light. After leaving the light and running into darkness with the excitement of a child, this new light, this potential, this possibility, almost made Henry explode with excitement. He ran again, and quickly this time, quickly.

The light welcomed him. He thought it was a religious experience, heading into the light and for a while he found it funny that God would be so unsubtle, so obvious, so well, God. He ran into the light.

The corridor lay in front of him, as it had before, just the same. Endless. Nothing was ahead except more corridor. The floor had returned to its uninteresting featureless state.

Henry's tragi-comedy filled him, filled him so much his emotions topsy-turvied until he was sobbing like a baby, crouched on the floor. There was no other sound, nothing apart from his sobbing.

It felt like some hours before he stopped, and looked and thought, and worried again. At last, Henry got up and headed on. What else was there to do?

A long while passed, and Henry once again saw darkness ahead. This time, he didn't care. He knew what he would find. He felt he had explored all this place, if it was a place, seen all that this place could offer. 

He walked on, once again with feet encouraging time to pass, as if without them time would not move. He entered the familiar wonderful horrid darkness.

It was a surprise then, when the darkness presented him with an obstacle. He had had his hands ahead of him, an instinctive danger warding, when they made contact. Henry's heart almost stopped, though he realised that his heart was never going to stop. His hands had met a wall. 

A moment's investigation. Henry had reached a corner. This place had corners and he was briefly filled again with the joy of it.

Then, not allowing himself the extreme of emotions he had recently gone through, he played it down. A corner. It would lead to another corridor. It would go on forever.

Henry walked forward, a new direction that felt exactly like the old one. It took no time at all for Henry to slip back into his walk, into forward movement that achieved nothing and whose only benefit was that was its opposite was nothing.

The darkness ahead once more gave itself up to light. The light that pulled and tempted and promised. A hollow promise, Henry felt, a nothing dressed as a something.

Henry walked from darkness into light. 

Ahead was a door. 

It wasn't possible for Henry to analyse this, in his state of mind. His body, newly unencumbered with physical human failing or wants moved forward to the door. He opened it, half-expecting by now that it would be the door to the room where he started.

The door opened onto a landing. From the landing lead two staircases, one that went up and one that went down. There no lights or sounds to guide him.

Henry went to the meeting point of the stairs, and he looked down and up. Below, he could just see that the staircase was short, turned, and lead to another landing. It looked pretty much like the one he was on now. He looked up, and in the same way, the turn of the short stair seemed to lead to another identical landing.

Each had a sign that said "Floor seven"

He was beyond thinking, but some half remembered religiosity in him made him choose the upwards stairs. As he did so, he noticed, by the doorway, a sign. It had words printed on it. It said "Floor Seven".

Henry was overcome, again and at last. A place that showed it HAD a place, it was a meant thing, it had some sort of purpose. A purpose that he could figure out, that he could work on. Something to DO.

Henry almost ran up the short staircase, arrived at the next landing. The landing offered another staircase up. It offered a door. Next to the door was a sign.

The sign said, simply, "Floor Seven". The door next to it lead to a corridor.

Jow went up another stair, another dozen, another hundred. He went down a thousand.

Each landing was identical, and each had a sign that said "Floor seven", and a door, and each door lead to corridor.

It was on perhaps the fiftieth year of wandering that Henry paused in his impossible endless march up the stairs, or perhaps it was down. He hardly knew. 

Then, far above, so very far above, he heard a voice. 

Henry sat down and began to cry. Then he sat and waited.

The voice was louder now. The owner of it was coming down the stairs.

Henry thought about getting up about running towards it. 

He thought about all the nuances of interacting with the voice's owner, with the questions and delays.

He thought about sharing their experiences, the puzzles. He thought about the answers.

The voice was nearer, just a few landings up. The words were unintelligible, but the changes in tone and pitch were clear. It was self answering voice, a mono-dialogue.

Henry stood. Without, in the end, much thought, he went to the door of the landing he was on, opened it, and went through, closing it silently behind him. 

Muted by the door, the voice grew as loud as it ever would, passed by the landing, and faded as its owner went on downwards, down the stairs.

Henry turned. The corridor lead into the far distance. 

He began to walk.

The Fifth Sound Change

 



By guest contributor Tim

The dog heard it first, as dogs always do.

The old man paused a moment, with the bird half carved, and watched the yellow pup shift uncomfortably.

The old woman said the dog needed walking, but the old man knew that wasn't so, for they had walked together already that day, down by the river.

As he recollected that thought the old man remembered something else. He remembered how the yellow pup had been edgy somehow. Not mischievous as he often was, not hurried. Just uncomfortable, and in the way that Masters have, the old man had felt it too.

But the warmth of the house, and the smell of fresh coffee, and the soft welcome home creak of the wood under his feet as he had stepped onto the porch had reassured him, and he forgot.

The clock warmed the air with its brassy chime. Ten o'clock, and thoughts of white sheets and soft blankets were imminent.

The old man looked down at the worn spot where the dog should be, but the pup was gone. He was under the kitchen table; his refuge when a great storm was due.

The old man went to the back door and looked out. The sky was sugared with stars, and in the west the last embers of daylight were fading.

For some reason, tonight he became aware of The Sound.

In normal circumstances, such as they were, he would have tried not to notice it, but it was almost as if there was a slightly bitter quality to it tonight. As this idea began to fight to the surface, he began to sweat.

It was too soon. Surely it was too soon.

Hurriedly now, he went back into the house. The old woman glanced up, saw something was wrong, and with the intuition they all had, these days, thought as he did.

Together, silently, they moved to the calendar and flipped it back.

"Ten months", said the old man. "Ten months", he said again, as if the repetition could stave off the unavoidable.

They looked at one another, and tears began to form.

Down in the village, others had picked up the change in The Sound too, and already panic was beginning. This would be the fifth Sound Change, and there was no preparation that could alter it.

A few started to discuss ideas, again, scream them, really, as they had four times before; the busy-busy-make-work brought comfort to very few.

Almost five years previously, a shape - no more than that - a shape had appeared in the sky.

After the initial panics and enquiries were over, of course, the military found it entirely impervious to their weapons; indeed, impervious was too strong a word. The shape ignored them and nothing reached the target.

Attempts were made to communicate, but it was as if the shape wasn't there. It was unapproachable, just floating, just being. Nothing could get to it, and nothing came out of it.

Weeks went by, and then months. After a time, the world began to think of other things, and the shape became part of the background, an inexplicable new reality.

And then, with no warning, as night fell under the shape, came The Sound.

It was not a human sound, but humans reacted to it.

It grew louder and sharper, a lemon juice minor key that began to hurt, began to penetrate. People began to cry out with the pain of it, and it grew more intense.

The Sound enveloped the world, a blanket of agony.

People fell to the floor, tried all they could to block it out, to no purpose.

People died.

But not all people. About half of the world's population were affected.

At evening they had been living their lives, complicated or simple. By the morning, half of the world's population was dead.

The Sound didn't stop, but only half of the world was left to carry on. Everyone everywhere could hear it, but it didn't affect them as it had the others.

Body counts were made, and enormous resources spent on disposal of the corpses.

Religion, in all its physical and spiritual forms was invoked and placated and explored and begged.

The shape didn't move. The people of the world, traumatised, tried to carry on. Cities became towns, and towns became villages.

Fewer people, fewer resources - the world stepped back. Once again, the world carried on, what was left. After a year, healing had started.

The Sound never stopped.

One night, a year later, there was a shift in The Sound, a slight change in volume, and turn from sour to sweet, to cloying. On edge, the world once again became aware.

As night fell under the shape, The Sound changed, immediately.

It was the same pattern as before - half of the world was affected, writhed, died. Horrified, the other half watched.

There was no pattern they could discern, and families were split for eternity.

The remains of the world renewed efforts to communicate, now with much reduced efforts. Again, it was fruitless.

Helpless, once again the world settled down to inevitability.

Twice more, exactly a year apart, The Sound changed.
 
It was worse now. It was predictable.

Half of the world knew their dying day was coming. Hope faded that there would be a solution. Across the world, in parts, civilisation broke down entirely. In other parts, perhaps due to geography, or luck, or attitude, people banded together for support, formed little settlements and villages, lived as best they could.

Each time The Sound changed, there was killing pain for a few hours, for half of them, and then they were gone.

Today then, was the fifth change in The Sound.

The old couple knew it was coming, and they knew there was nothing to be done. They held hands in their front room, half breathing, aware that either or both of them might only have moments.

The Sound began to shift, It began to morph from its old form.

And then - it stopped.

The Sound was gone, after five years of lethal dissonance.

The Sound ended, and the shape, whatever it was, whatever its purpose might have been, simply went away.

Silence fell all over the world.

And the remaining population, those few that had survived, couldn't stand The Silence.

The Silence came, and the last humans, every one of them, died.

The Masterpiece

 By Martin Sercombe

 

“This artistic manifestation, with its rigorous denial of chromatic texture or overt symbolism, offers a compelling deconstruction of the human condition within the post-modern zeitgeist. The total absence of visual or sensory components, and refusal to allude to the socio-political struggles of our era, reveals a deep-seated existential angst that permeates all of contemporary culture.

By challenging the viewer's preconceived notions and subverting traditional artistic tropes, this work invites a profound introspection into the core of our being, forcing us to confront the inherent contradictions and uncertainties of our existence. Its sublime beauty and minimal conceptual framework makes it a truly transcendent example of contemporary art, pushing the boundaries of artistic expression and offering a new paradigm for the future of creative endeavour.” 


Professor Ursula Christensen, University of the Arts, New York

The Performance

A man standing in front of a microphone with smoke around his head.
He was channeling his poems

 Image by Martin Sercombe, story by Simon Sonnenblume

He started speaking too softly

The poet had been writing for decades in his small city. He was not only a poet. He was a painter and a writer as well. He used to read his poetry to his wife, the love of his life, during their evenings in the garden. No one else really knew about his poetry work. Until his old school friend, the mayor, and his wife came to see them for a small dinner party.

Before dinner, the poet and the mayor sat outside in the garden. There were still poetry papers on the table from the previous night. "What is this then?" the mayor asked, "are you going to write a book again?"
"No, no, that’s just..." the poet started to say. "Oh, it is poetry, isn't it?" And before the poet could stop his old friend, the mayor had already started reading. Much to the poet's surprise, the mayor did not stop reading. So he relaxed and leaned in more to the back of his chair.

After a while, the mayor put the papers down. "This is very good, you know. You should do something with this. Are you going to publish them, my dear friend?" "Oh, I do not know," hesitated the poet. "I just write this for fun and read them to Julia when we sit here during the evenings."

During dinner, the mayor suggested that the poet should recite his poems at the municipal theater. "Let me pull some strings. I know some people." he smiled.

A week later, the poet received a formal invitation by mail. "It is official now." the poet sighed. "Hard to back out at this point." The poet looked around in his atelier. He glanced over his paintings, his photographs, and the travel-story books he wrote. "Why the poetry?' he asked himself out loud. "Of all the things I created, they want the poetry. Surely they know I have done more than that." But his paintings were exhibited many years ago at some galleries in the capital, and he sold more than he owned now. Even the local museum had three of his paintings on display.


His travel-story books were translated into multiple languages. His friend Luiz, the local bookshop owner, said his books are still in high demand by tourists. Especially the book about his travels through the desert.

"Well, I have to go now." the poet said while putting on his coat. "I will see you after the recitation then." His wife, Julia, took his head in her small hands, pulled him closer, and kissed his forehead." "Yes, our son will pick me up. You will do wonderfully. You always do, my love. Do not worry about it." "Easier said than done." the poet chuckled. "I am sure you will manage," Julia said while she placed her hand over his head.

"Ah, there you are, right on time," the stage manager said. The poet got some makeup on, and the stage manager showed him around.
He let the poet peek through a hole in the wall. The theater was sold out
The poet noticed everyone in his family was there. Three generations.
His wife, Julia, had managed to get every family member there. Even those who lived far away. It made him more nervous than he already was.

Time ticked away. The moment to enter the stage came closer and closer. The poet noticed the sweat on his hands. He never had sweaty hands, did he? He breathed more shallowly, and unconsciously he swallowed quite a lot.

He heard the voice of this friend, the mayor, announce him. He felt the hand of the stage manager on his back. "This is you now."
The poet could not utter a word, so he just nodded. He walked past the curtain and stepped into the bright light.

He walked a little uncertainly. As if his legs were made out of rubber.
The stage looked bigger in the bright lights. Apart from a slim lectern, there was nothing else on stage. He placed his papers on top of it.
He grabbed the lectern with both hands. It was wobbly!
He quickly pulled his hands back. He organized his papers.
He did not dare to look up at the audience. He saw the sweat stains appear on the paper. Thank God there was a glass of water on the lectern.
But not now, not now. No drinking now, he calmed himself. He tried to focus on the text, and for the first time in his life, he felt that he needed reading glasses. What was on the paper looked blurry to him. He swallowed a few times, and then he started to speak.

He started speaking too softly. He heard some murmur from the audience. So he raised his volume. His dictation was stiff. It lacked rhythm and flow. He rushed the first poem to its end and rushed on to the next. He tried to turn the page, but by accident, he dropped all his papers onto the floor. A few even sailed into the audience. The people made an ooh-sound, and papers were placed back on stage.

The poet looked at the mess of papers on the floor for a moment. I can do this without the papers, he thought. I have read them out loud so many times for my Julia.

The poet wandered over the stage, and he slowly started to recite the second poem. The audience became quiet. The poet moved around all over the stage like he had done in his garden when reading his poetry for his wife, Julia.

It was one of his best lengthy poems, and he got lost in reciting it.
The poet mimicked the emotions with his face, hand gestures, and body poses. He put all of himself into the words that he spoke out loud.
The audience started to get mesmerized by the performance.

The light engineer of the theater, who was leaning back all the time, noticed the change in the performance and the reaction of the audience.
The light engineer started to play with the lights. He followed the poet with a spotlight and used different colors to emphasize the mood on stage.

The poet recited poem after poem. The applause got louder and louder after every poem, and there were even some cheers. After a while, the poet no longer recited his work. He was channeling his poems. He had become the experience. It was the performance of a lifetime.

The poet moved all over the stage, using his voice in all possible ways to convey the meaning of his words.  The poet felt his body was getting warm. A glowing sensation ran up his spine.

The poet spoke the last words of his final poem. The audience rose to give him a standing ovation. This was something they had never experienced in the municipal theater. There were loud cheers and whistles.

The poet did not know whether he should bow. Do poets bow? He did not know. So he just said a polite thank you and left the stage.

The poet stepped off the stage and felt like he was walking on air.
The mayor rushed over to meet him. "That was an absolutely stunning performance!"

"That wasn't me speaking." the poet said.

Night is Paper

by Martin Sercombe and Thom Conroy


 Night is Paper is a cine-poetic collaboration with novelist Dr Thom Conroy.

The artistic process began with a slide show of images generated in Midjourney. The images prompted a sequence of text-based fragments which combine to evoke a sense of eves-dropping into a shadowy, indistinct world where nothing can be fully understood.

A mix of found sounds and electroacoustic music from the Free Music Archive build upon this mood of unexplained mystery.

Songs

By Martin Sercombe and E.E.Cummings

 
 
The American poet E. E. Cummings’ work began to enter the public domain in 2019, which then allowed other artists to make use of his poetry in derivative works across a range of media.
 
 Taking advantage of this, Songs chooses five short poems from his first three volumes: Tulips and Chimneys, & and XLI Poems as the basis for extension into the realm of the moving image.
 
 The translation poses a number of challenges, namely finding ways to preserve the lyrical flow of Cummings’ language as it might be read or spoken, whilst preserving his idiosyncratic use of syntax, line breaks and punctuation. The second challenge is finding appropriate ways to illustrate Cummings’ word images without over defining or misconstruing their meanings or intents. 
 
These five works make no claims to have solved these problems. Rather, they attempt to preserve the spirit of the original works via complementary sounds, music and imagery, reinventing and reimagining them in the process.
 
All the images were generated using Midjourney, and the soundtracks comprise of public domain music selected from the Free Music Archive.

The Bather


This illustration depicts the legend of the moment before Dooth, the leader of the Funnelbeaker peoples, first gazes upon Mar-Thol (who is about to disrobe to bath in the Nile) and becomes besotted with her beauty. They marry only later to be cursed with immortality with their memories of each other's appearance erased by Arka-Arkitutti, the Witch-Queen of the Sea Peoples. For eternity they criss-cross the planet searching for one another with aching hearts.

Somebody needs to write an opera about this.

The Marriage of Arnold Finley


 By Glen L Bledsoe

The Marriage of Arnold Finley painted by Eyk Van Jens circa 1433 has been the subject of little controversy since its discover in an attic of an abandoned home in Amsterdam more than 150 years ago. Most art historians view it as a simple picture representing the matrimonial bond between Arnold and Marie Finley. However more recently a group of speculative phenomenologists have proposed that it is the first record of what is called iPhone Brain Swap Syndrome (iPBSS). This occurs when two people (usually teens) share the tangly bits of iPhone earphones and due to the circuitry of the iPhone their conscious minds momentarily switch bodies. While the couple in the painting do have a certain vacant look on their faces they most certainly are not wearing a shared iPhone earphone. The technology hadn’t even been invented then and most people in those days used flip phones.

The Curse


 
By Glen L. Bledsoe

The story of how a group of Funnelbeaker tribespeople from the area which today is the Netherlands were driven south by a megadrought 1400 years BC must wait for another day. How Dooth their leader joined forces with Egypt to defeat the Sea Peoples must also be delayed as well as the history of the establishment of the brief but powerful Egypto-Dutch Empire.

Today the tale you will learn is how Arka-Arkitutti, Witch-Queen of the Sea Peoples cursed Dooth when her ships were sunken, and her army made slaves. How she blessed and cursed Dooth as she was about to die.

As Arka-Arkitutti stood bound to the stake she said, "Dooth, you are a mighty warrior and leader of your people. You have defeated me in spite of all my magics and charms. You and the Egyptian Pharaoh will build a mighty but short-lived empire. You and your wife Mar-Thol will live forever as is your reward. Your punishment: you will be separated, perpetually seeking one another across the world and across time. Dooth, while your heart continues to burn with love, you will be unable to remember your wife's face as she will be unable to remember yours. You may cross paths a thousand thousand times looking for each other and not recognize each other's features."

And so across time Dooth, now known as Father Duvall, searches without hope for his wife. He knows not to waste his immortality. He performs good deeds wherever and whenever he is.

The Magical Shepherdess



By Glen L. Bledsoe 


A Shepherdess by the name of Miss Gowz

Tended Sheep the size of large cows

She sold wool to the spinners in town

So they might knit socks, scarves and gowns


Retold Children's Rhyme from the Egypto-Dutch Empire

The Autobiography of Jacob Henrik



 

By Glen L. Bledsoe 

Jacob Henrik was a man dedicated to perfection. The secret of his success, he would tell everyone he knew or happened upon the street, was his attention to details. No problem could escape solution if one methodically applied his resources to sorting through the intricacies and correcting errors every step of the way. It was his formula for success. It had made him one of the wealthiest men on the eastern coast of the Americas. 

As Jacob Henrik approached his fiftieth year he decided that it was incumbent upon him that he share his secrets to the world at large to not only running a successful business (or string of businesses as was his case), but to lead a better, healthier, happier life. To that end he decided to write an autobiography--an autobiography of a man who attended to details. 

Jacob Henrik knew his strengths and he knew his weaknesses. While he was master of ledger books and business agreements, of railroads and coal mines, and he knew that his 8th grade education left him unprepared to take on the telling of the story of his life in print. He understood that certain work had to be delegated, that one man could not take on every task, but could oversee the tasks of those who he managed. 

Over the period of several months he dictated his life’s story to a secretary who in turned handed the text over to an editor who in turn sent it to a team of proof readers who line by line wrangled the tangled rules of spelling, punctuation, grammar and capitalization, then double- and triple checked their efforts until they were satisfied that their work was polished and perfect in every way without error. Upon Jacob Henrik’s approval they sent the book to the printer. 

Upon receiving 35,000 copies of the book, almost seven and three-quarter tons of paper, which were placed in a special storage unit designed to preserve the volumes in pristine condition until ready to be given away to relatives and business associates, Jacob Henrik opened a fresh copy of his leather bound life story to the title page to autograph it and noticed: 

“The Autobiography of Jacob Henry” 

His last name was misspelled.

The Value of Now is Always One (1)

By Glen L. Bledsoe 

The true nature of time is counterintutive to the every day experiences of our daily lives. Everyone would agree that the present is fixed (that is simply is), but what is not apparent is that the future and especially the past shift to assure the stable experience of the present. That is to say, the Reliability of Now. 

History, memory, archeological reilcs and records of all kinds are soft, malleable. Events can ony be measured as numeric probabilities, and as such given values only between zero (0) and one (1). The farther back into the past, the less certain the event becomes, the smaller the value, the more flexible the event becomes, the more stable the present. It may be thought of as less an issue of altering the past to suit the present and more an adjustment as to the likelihood that events did or did not occur as they are understood at the present. Which leaves events of the past as shadowy, nebulous and as open-ended as the future. 

The closer to an event to the present, the higher the probability value until we reach the present, which is the only thing we can give a value of one (1)--simply because it is. 

The future is much like the past. The future shuffles itself to make certain that the value of Now is always one (1). The future and the past have only a single purpose, which is to create the present, the Now. The Past + the Future = Now. Only in this way can we move through time. Without it we become unstuck.

How will this understanding change your life and how will it improve your experience and appreciation of Now?

Father Duvall

 


By Glen L. Bledsoe 


FATHER DUVALL, an itinerant priest, draws crowds to listen to him preach wherever he goes, whichever chapel, church, synagogue, temple, mosque, community center, manor or home invites him. He, in the company of his traveling companion Brother Neb (who in spite of being blind greets everyone he meets by name whether he has met them before or not), travel from village to village, town to town, crossing county and country borders, continents from century to century. 


Father Duvall speaks. Father Duvall takes confession. Father Duvall witnesses. Father Duvall listens and advises. Father Duvall chastens. Father Duvall investigates. Father Duvall aids those who need him in meaningful and life-changing ways. He sometimes is known by other names, other appearances, but his work is always the same.

The Lost Children

The Lost Children by Martin Sercombe 
 
Throughout the city, people started to die of unknown causes.
As each year past, the plague struck younger.
Soon there was no one left over the age of sixteen.

 
For those that remained, the mutations started slowly.
One child grew an extra finger,
another an odd shaped thumb.


A great forgetfulness spread across the city.
The children struggled to understand the purpose of the things left behind.
The word ‘fun’ almost vanished from their vocabulary.

A few youngsters tried to bring a little joy back into their lives.

A makeshift circus traveled from ravaged street to street.

The performers made do with whatever they could find.

A tame rat and a threadbare teddy bear became the stars of the show.


 Led by the extraordinary juggling skills of Klara the Clown.


But in the end, the challenges of everyday existence took their toll.
 
 
Soon the shops would empty
and the children would have to leave the city in search of food.