If we are sincere, we plant seeds of compassionate awareness that lets things go and lets things be. Joyful feelings are free to arise without creating clinging, and painful states can arise without expressing themselves in harmful ways.
How can we embody the essentials of life?
It feels as if these skills are settling in, becoming embedded. The space left by unlearning is being filled with confidence in our newly regained wisdom and satisfaction.
Intention through action.
Struggling knowing: I don't know, and then something release in my lower back. Relax.
The quality of the space changed from one week to the other, almost in silence. I want to keep connected; having capacity of understanding besides connection.
In my mind thinking, what did I enjoy?
I was stuck with the first movement which I really enjoyed like in a kitchen working with different pots. It was more about what am I going? Image of building new body, a new me.
Comfortable to step out to the world and offering my gifts, more than comfortable.
Following the impact of the question to make room to new stuff. Trust in the power of that gentle joy and being changed by the experiences.
Happening through that
Honour the space between no longer and not yet.
Reflections on place/space/void/time:
'Length of time depends upon our ideas.
The size of space hangs upon our sentiments.
For one whose mind is free from care, a day will outlast the millennium.
For one whose heart is large, a tiny room is as the space between heaven and earth.' (2)
The 閒 ideogram consist of the pictorial sign for "moon" under the sign for "gate". This ideogram depicts a delicate moment, when the moonlight streaming can be seen from the doorway. The aesthetics of 閒 translatable with the ambiguous terms of "crack”, “between”, therefore indicates a portion of two dimensional spaces, the half-closed door, but also a portion of time, in which the moon appears.
The space is perceived in relation to the flow of time. And therefore to the function that inhabit it.
Stay safe, stay well and stay connected,
Debora, Uri and Marina
(1) Image: "Ver", Augusto de Campos + Julio Plaza
Poemobiles: the poem-book. In Brazil, the experience of object-books was clearly born from the encounter between poets and visual artists in the Concrete and Neo-Concrete periods (late 1950s and early 1960s). Concrete poetry was fundamental to underline formal and sonorous aspects of the words, making the text detach itself from a traditional syntax to another syntax, poetic-visual. As a result of the ideas of this period, one of the most innovative partnerships and of fundamental importance for the graphic arts and their relations with poetry in Brazil, Augusto de Campos produced with the artist and theoretician Julio Plaza a series of three-dimensional object-poems that move when manipulated, the POEMÓBILES.
(2) 菜根譚 -Ts'ai-ken t'an- 洪應明。Hong, Ying Ming