Saturday, December 30, 2017

Anca Mihaela Bruma writes and recites, Roberta Di Laura dances


She walks
through lagoons of millennia
painted in hues of blue lotuses
and eikonal spaces.

She brings us
to Eternity and beyond
with footprints left
on the sands of Time.

Her hair
is spread across the skies
streaming Pasts, Presents and Futures,
the canopies of our lives is displayed
inside an Ancient hall of mirrors,
echoing our destinies,
humming the rhythm
of the timelessness…

Each of her kisses
is like a prayer or prophecy,
she wears a tiara of Ancient stories
and a garland of Akashic records,
sheltering everyone into her Heart,
unfurling her celestial presence
within the shoreless times…

Her smile
is a portal to the vastness of the Worlds,
an unending dawn falls under her steps…

Her amber eyes
holding the secrets of the skies
in front of the chaos…

Only the Sky
is the rival of her feline beauty,
as she is the keeper of the universal flame
and custodian of cosmic Wisdom.

She stands horizontally in her expression
and ontological loveliness,
unraveling periods of uncertain nothingness,
as human history on papyruses gets immortalized.

Her legendary mysticism
passes the vastness of Time
and murals of Creation.
The entire Universe
is versed and rhymed
with her own Universe…

Her voice
sounds like the shades of effervescence,
speaking about an Existence beyond the Existence
beyond the zero point,
carrying her convenants and arks
and the lasting Wisdom
of Everythingness
and Nothingness.

She…. Ankh…
the key of Life,
the eternal Breath,
unlimited in her form vastness,
the pinnacle depths of Be-ing!

She aligns pathways
with the voice of the supreme,
wrapped in her folds of Time,
engulfed in her folds of Space.

With all her rays of awareness,
where Light interludes with Night
Ankh… the Eternal Breath,
contemplates the lightness of the Light,
the roots of Eternity,
the multitudes of the “I”s.

Ankh… the timeless giver of Life
in the depths of azure dreams,
she scribbles her heart’s hieroglyphs
on the diverging fields of Infinites,
so our memories and dreamtimes
can rhyme within the moonbeams.

As a timeless giver of Life
she teaches us
that it is not the Time
which makes the Eternity…
But the LOVE…

is not just a drop in our EXISTENCE!!!


  1. “Eikonal” is the German form of the Greek word for likeness, icon, or image. The eikonal equation is a non-linear partial differential equation encountered in problems of wave propagation, when the wave equation is approximated using the Wentzel–Kramers–Brillouin (WKB) theory and provides a link between physical (wave) optics and geometric (ray) optics. Gregor Wentzel, Hendrik Kramers, and Léon Brillouin had independently developed the theory in 1926, though Harold Jeffreys had devised a general method of approximating solutions to linear, 2nd-order differential equations in 1923; in 1925 Erwin Schrödinger’s equation, one of those linear, 2nd-order differential equations, described the changes over time of a physical system (such as atoms, molecules, and subatomic particles)in which quantum effects, such as wave–particle duality, are significant; he won the 1933 Nobel prize. Even earlier, in 1837, Joseph Liouville (who had been the first to prove the existence of transcendental numbers) and George Green (the 1st person to create a mathematical theory of electricity and magnetism) had performed similar work. The WKB approximation for one-dimensional waves reduces the equations into a differential equation in a single variable, which is described by the trajectory of the particle; in general, the trajectory is complicated, so the eikonal approximation reduces the equations to a differential equation in a single variable, resulting in a straight-line approximation. This has proven to be useful in wave scattering equations which occur in optics, seismology, quantum mechanics, quantum electrodynamics, and partial wave expansion.

    The ankh ") is an ancient Egyptian hieroglyphic ideograph symbolizing "life." The gods were often portrayed carrying it by its loop, or bearing one in each hand, arms crossed over their chest. The ankh appeared with almost every deity in the Egyptian pantheon (including pharaohs). In tomb paintings the deities of the underworld used the symbol to confer life on the mummy of a corpse. It was often used on amulets with other hieroglyphs (the sjed and the was) that mean "strength" and "health"Thomas Inman suggested in 1869 that the symbol combines "the male triad and the female unit," and in 1904 E. A. Wallis Budge postulated that the symbol originated as the belt buckle of Isis, the mother goddess. Alan Gardiner explained the hieroglyph in 1957 as a depiction of a sandal-strap (ˁnḫ) which came to be read phonetically and could be used (as "rebus writing") for the similar word ˁnḫ "live," a triliteral root probably pronounced /ʕánax/ in Old and Middle Egyptian. (This verb and its derivatives are likely ancestral to the Coptic words ōnh "to live, life" and eneh "eternity.”) Coptic Christians preserved the shape of the ankh by sometimes representing the Christian cross with a circle in place of the upper bar. This is known as the Coptic ankh or crux ansata ("cross with a handle”). In 2004 Andrew Hunt Gordon and Calvin Schwabe speculated that the ankh represented the thoracic vertebra of a bull seen in cross section, the sjed was the sacrum (base) of a bull’s spine, and the was was a staff. The Cypriots still use the symbol to represent the planet Venus (the goddess of love was their main deity in ancient times) as well as the metal copper (which gave Kypros its name).

  2. Egyptian mirrors of beaten metal were often made in the shape of an ankh, perhaps to symbolize a perceived view into another world.

    Akasha is a term for ether (Quintessence, the material that fills the region of the universe above the terrestrial sphere) in traditional Indian cosmology. In Urdu, Nepali, and Behbali it means "sky." The Sanskrit word was derived from a root meaning "to be visible" and in Vedantic philosophy was regarded as an ethereal fluid that pervaded the cosmos." In Vedantic Hinduism it is the 1st material element created from the astral world; in Nyaya and Vaisheshika Hinduism, the 5th and last physical element, the substratum of the imperceptible quality of sound, the One, eternal, and All-Pervading physical substance. In Samkhya Hinduism it has the specific property of sound, while in the Carvaka branch it is excluded as an element because its existence cannot be perceived. To the Jains it is the part of the universe which provides space and makes room for the existence of all extended substances. Buddhists divide Akasha into limited and endless space. [The Greek word "aither" meant "pure, fresh air" or "clear sky" and was thought to fill the space where the gods lived, the pure essence that they breathed. Aether was the son of Erebus (deep darkness, shadow) and his sister Nix (night) and the brother of Hemera (day), Hypnos (sleep), geras (old age), Thanatos (death), and the Moirai (the Fates).] In the 19th century theosophists referred to "Akashic records" or the "Akashic library," to an etheric compendium of all knowledge and history; following the notions of their fellow traveler Rudolf Steiner, in "Science and the Akashic Field: An Integral Theory of Everything" (2004) Ervin László , posited "a field of information" as the substance of the cosmos, which he calls the "Akashic field" or "A-field."


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