Poetry came before language, for it was the poetic spirit in man that made language.
La poesía existió antes que el lenguaje, pues fue el espíritu poético en el hombre que creó el lenguaje.
--Hazrat Inayat Khan
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Mostrando entradas con la etiqueta quote. Mostrar todas las entradas
viernes, 17 de junio de 2011
A definition of Poetry :: Una definición de la Poesía (Carl Sandburg, 1878-1967)
Poetry is a journal of a sea animal living on land, wanting to fly in the air.
La poesía es el diario de un animal marino que vive en la tierra y anhela volar por el aire.
(Versión en Español: Diez definiciones de la poesía/ AntologíaCarl Sandburg / Versión de Agustí Bartra)
La poesía es el diario de un animal marino que vive en la tierra y anhela volar por el aire.
(Versión en Español: Diez definiciones de la poesía/ AntologíaCarl Sandburg / Versión de Agustí Bartra)
Extracts from ESCHER ON ESCHER Exploring the Infinite
Escher (1898-1972). Major themes in Escher's work are contrast, duality, transformation, infinity and spatial paradoxes. He uses symmetry to order this world of duality and paradox. This idea influences his work, both formally and psychologically.
In 1922 Escher visited the Alhambra palace and saw the wall tilings of the Moors. He was excited to find other artists who had been captivated by tilings, but also made this revealing comment: "What a pity their religion forbade them to make graven images." Escher's notebooks soon became full of repeating patterns inspired by the Moors. Imagery gave his patterns a different psychological character from the serene designs of Islam.
While Escher's work includes representation, it is still involved with the language of visual symmetry and order.
Escher was also fascinated by the concept of infinity, which led him into explorations of space beyond the two dimensional plane. He carved the surface of this six inch ball with twelve identical fishes to show that a "fragmentary" plane could be filled endlessly. When you turn this ball in your hands, fish after fish appears in endless succession.
Escher pursued themes of transformation in works he called "Image Stories" which involved images transforming from one state into another. In another version of "Pessimist and Optimist", he explains, "... on a gray wall, these human figures increase their mutual contrast toward the center ... each kind detaches themselves from the wall surface and walks into space ... Thus going round they can't help meeting in the foreground ... the black pessimist keeps his finger raised in a gesture of warning, but the white optimist cheerfully comes to his encounter, and so they finally shake hands."
"The structural world of Escher's art is fundamental to his language of symmetry ... his work ultimately refers to space and time ... [and] more than just a light hearted game ...[it] approach[es] something that is primeval and eternal, a groping for the secret of existence, much more than just filling the plane"
Source:
M. C. Escher:"ESCHER on ESCHER Exploring the Infinite",
Published in 1989 by HARRY N. ABRAMS, INC., New York
As cited at: http://www.dartmouth.edu/~matc/math5.pattern/lesson7art.html
In 1922 Escher visited the Alhambra palace and saw the wall tilings of the Moors. He was excited to find other artists who had been captivated by tilings, but also made this revealing comment: "What a pity their religion forbade them to make graven images." Escher's notebooks soon became full of repeating patterns inspired by the Moors. Imagery gave his patterns a different psychological character from the serene designs of Islam.
While Escher's work includes representation, it is still involved with the language of visual symmetry and order.
Escher was also fascinated by the concept of infinity, which led him into explorations of space beyond the two dimensional plane. He carved the surface of this six inch ball with twelve identical fishes to show that a "fragmentary" plane could be filled endlessly. When you turn this ball in your hands, fish after fish appears in endless succession.
Escher pursued themes of transformation in works he called "Image Stories" which involved images transforming from one state into another. In another version of "Pessimist and Optimist", he explains, "... on a gray wall, these human figures increase their mutual contrast toward the center ... each kind detaches themselves from the wall surface and walks into space ... Thus going round they can't help meeting in the foreground ... the black pessimist keeps his finger raised in a gesture of warning, but the white optimist cheerfully comes to his encounter, and so they finally shake hands."
"The structural world of Escher's art is fundamental to his language of symmetry ... his work ultimately refers to space and time ... [and] more than just a light hearted game ...[it] approach[es] something that is primeval and eternal, a groping for the secret of existence, much more than just filling the plane"
Source:
M. C. Escher:"ESCHER on ESCHER Exploring the Infinite",
Published in 1989 by HARRY N. ABRAMS, INC., New York
As cited at: http://www.dartmouth.edu/~matc/math5.pattern/lesson7art.html
domingo, 5 de junio de 2011
Todos los poetas...
All poets write in a foreign language, even when they are monolingual. And all fine poets are translators: they translate the world for us. That is, they explore it by refusing to pigeonhole it.
Todos los poetas escriben en un idioma extranjero, hasta aquellos que son monolingues. Y todos los poetas buenos son traductores: nos traducen el mundo. Es decir, lo exploran, negándose a encasillarlo.
-- Ilan Stavan
Todos los poetas escriben en un idioma extranjero, hasta aquellos que son monolingues. Y todos los poetas buenos son traductores: nos traducen el mundo. Es decir, lo exploran, negándose a encasillarlo.
-- Ilan Stavan
True poets...
True poets don’t belong to any country–– For them the only borders that ought to be respected are the borders of dreams. The trembling borders of love and lovelessness, the borders of courage and fear, the golden borders of mortality.
Los verdaderos poetas no pertenecen a ningún país–– Para ellos las únicas fronteras que deberían de ser respetadas son las fronteras de los sueños. Las fronteras temblorosas del amor y del desamor, las fronteras de la valenía y del temor, las fronteras doradas de la mortalidad.
–– Roberto Bolaño
(Nota: La traducción al español es mía de una cita que dio Ilan Stavan en una entrevista, pues no tengo el texto original. Para ver la entrevista de Ilan Stavan, haz clíc sobre el link en el título.)
Los verdaderos poetas no pertenecen a ningún país–– Para ellos las únicas fronteras que deberían de ser respetadas son las fronteras de los sueños. Las fronteras temblorosas del amor y del desamor, las fronteras de la valenía y del temor, las fronteras doradas de la mortalidad.
–– Roberto Bolaño
(Nota: La traducción al español es mía de una cita que dio Ilan Stavan en una entrevista, pues no tengo el texto original. Para ver la entrevista de Ilan Stavan, haz clíc sobre el link en el título.)
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