I Feel You!...
I
feel you in everything...
in
the glorious nights inside your incandescent eyes
where
butterflies knit my dreams and compass my heartbeats.
I
feel you in everything...
while
resting your sigh in the corner of a letter
and
the blue grass kneels at the border between dream and spring.
I
feel you in everything...
in
the rhythmical sunsets of your absences and prologues,
within
your unspoken words turned into sleepless stones.
I
feel you in everything...
when
I conjugate your breath with my acoustic verses,
in
the silence of your footsteps, on the tip of my eyes.
I
feel you in everything...
when
I swallow the octave of your presence,
a
fluorescent beauty rustling in theatrical infuses.
I
feel you in everything...
in
all scarlet concentric moments of the past,
in
the euphoric tempo of samsaric and philharmonic sensations.
I
feel you in everything...
in
all your silent similarities and rippled reflections,
when
your thoughts are juxtaposed with the pattern of my breathing.
I
feel you in everything...
when
your restlessness rotates inside my lyrical veins
and I
wonder behind my face highlighting your insights.
I
feel you in everything...
during
all echoless autumns and multiplied mornings,
when
you come to resurrect me from my own lasting winter.
I
feel you in everything...
when
I write this letter now and seal it with a kiss!
Mon
chéri! It has been grown inside my heart!...
Starring Raluca Irod
Johnny Alici (music)
ReplyDeleteI wanted to show how powerful can be by associating the art of word in relation to visual art.
It is incredible how much an experience is enriched when art forms are combined, one illuminating the other and requiring the use of multiple senses. It is this combination that seems to transform observers into participants and prompt them to notice things they might otherwise have missed. When the two or three mediums are presented together it adds to the artistic sensory input by increasing the emotional effect on the viewer/listener/person experiencing the art.
Visual/video poetry sprawls beyond definable boundaries, but there are certain underlying coherences that unite much of what is otherwise a very disparate corpus. I wanted to show how powerful can be by associating the art of word in relation to visual art.
It is incredible how much an experience is enriched when ART forms are combined, one illuminating the other and requiring the use of multiple senses. It is this combination that seems to transform observers into participants and prompt them to notice things they might otherwise have missed. When the two or three mediums are presented together it adds to the artistic sensory input by increasing the emotional effect on the viewer/listener/person experiencing the art.
Through video/visual poetry I try to create a synthesis between poetry and film, generating associations, connotations and metaphors neither the verbal nor the visual text would produce on its own. Through visual and audio layering I am looking to make it more attractive to those who would not necessarily read the poetry. The visuals just create a subtext, with a series of suggestions and visual notes, embellishing the poem therefore the poet’s voice is not just heard but also “seen”.
-- Anca Mihaela Bruma
"Samsara' is a Sanskrit word meaning "wandering" and connotes cyclic, circuitous change. Connected to the ideas of karma and moksha (nirvana), it refers to the belief that all living beings cyclically go through births and rebirths and, ultimately, the release from the cycle via self-realization, self-actualization, and self-knowledge. The notion evolved out of early discussions of "punarmṛtyu" (redeath) and "punaravṛtti" (return): The nature of human existence involves 2 realities, an unchanging absolute Atman (soul) connected to the ultimate, unchanging, immortal, blissful reality (Brahman) and an always-changing body in a phenomenal world (Maya); redeath reflected the end of blissful years spent in svarga (Heaven) and was followed by rebirth back into the phenomenal world. The idea evolved slowly in early Indian texts but was not fully developed until the mid-1st millennium BCE, especially in Buddhsm and Jainism (and also some Hindu schools). In the 15th century Sikhism modified the belief to provide for divine grace as the means of salvation.
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