Hello darkness, my old friend
I’ve come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
‘Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dared
Disturb the sound of silence
“Fools”, said I, “You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you”
But my words, like silent raindrops fell
And echoed
In the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, “The words of the prophets are written on the subway walls
And tenement halls”
And whispered in the sounds of silence
در فراسوی مرزهای تن ات تو را دوست می دارم
.
آینه ها و شب پره های مشتاق را به من بده
روشنی و شراب را
آسمان ِ بلند و کمان ِ گشاده ی پل
پرنده ها و قوس و قزح را به من بده
و راه ِ آخرین را
در پرده یی که می زنی مکرر من .
*
در فراسوی مرزهای تن ام
تو را دوست می دارم.
در آن دور دست ِ بعید
که رسالت ِ اندام ها پایان می پذیرد
و شعله و شور ِ تپش ها و خواهش ها
به تمامی
فرو می نشیند
و هر معنا قالب ِ لفظ را وامی گذارد
چنان چون روحی
که جسد را در پایان ِ سفر ،
تا به هجوم ِ کرکس های پایان اش وانهد …
*
در فراسوهای عشق
تو را دوست می دارم ،
در فراسوهای پرده و رنگ .
.
در فراسوهای پیکرهای مان
با من وعده ی دیداری بده .
I loved you in the morning, our kisses deep and warm, your hair upon the pillow like a sleepy golden storm, yes, many loved before us, I know that we are not new, in city and in forest they smiled like me and you, but now it's come to distances and both of us must try, your eyes are soft with sorrow, Hey, that's no way to say goodbye. I'm not looking for another as I wander in my time, walk me to the corner, our steps will always rhyme you know my love goes with you as your love stays with me, it's just the way it changes, like the shoreline and the sea, but let's not talk of love or chains and things we can't untie, your eyes are soft with sorrow, Hey, that's no way to say goodbye. I loved you in the morning, our kisses deep and warm, your hair upon the pillow like a sleepy golden storm, yes many loved before us, I know that we are not new, in city and in forest they smiled like me and you, but let's not talk of love or chains and things we can't untie, your eyes are soft with sorrow, Hey, that's no way to say goodbye.
Leonard Cohen
The Buddha Composed was an exhibition at the Varley Gallery of Markham Ontario by Julie Oakes that addresses a fresh interpretation of the centuries-old Buddhist culture and tradition. Curated by Katerina Attanassova, it featured a collaborative piece that Oakes did with eleven different artists. It was the premier vernissage for the bronze Weeping Monkey, a sculpture based on suffering with turquoise eyes that slowly leak tears. Opening to Tibetan monks dedicating a prayer to all sentient beings with sitar music by Prosad, this video, directed by Pooyan Tabatabaei.
Later in life, Edgar Degas suffered from poor vision probably associated with macular degeneration. His brushwork seemed less refined closer to his death in 1917. “Bodies were outlined irregularly, images were marred by strange blotches of color, and there was virtually no detailing of faces or clothing,” Marmor wrote.
To test whether that affected Degas’ work, Marmor used Photoshop to re-create what the artist may have seen.
While the two later paintings (After the Bath, Woman Drying Herself and Woman Drying Herself) look rough in their original form (above), the blurring effect eliminated the coarseness (below).
Claude Monet, who often painted nature and buildings in his paintings, suffered from cataracts as he got older. The eye disorder can disrupt color perception and visual acuity.
The results suggest that both Monet’s and Edgar Degas’ vision corrupted their ability to see colors correctly. The results cast doubt on the standing theory that the artists’ change in style reflected a growing interest in expressionism.
According to Stanford researcher Michael Marmor, Monet’s work began to show a yellowish cast as his cataracts developed. To reveal how Monet saw the world, Marmor darkened images using Photoshop and reduced the levels of blue to replicate a yellowing effect. He also used blurring filters.
These paintings were created about the time of his most severe visual disability. Top left is the Japanese Bridge at Giverny (1918-1924; oil on canvas, 89 100 cm); Muse´e Marmottan, Paris, France/Giraudon/Bridgeman Art Library. Top right represents what Monet would have seen through a disabling nuclear sclerotic cataract with a visual acuity of 20/200. Bottom left is Monet’s Japanese Bridge at Giverny (1918-1924; oil on canvas, 89 100 cm); Muse´e Marmottan, Paris/Giraudon/Bridgeman Art Library. Bottom right is what the painter would have seen through a disabling cataract with a visual acuity of 20/200. The colors are surprisingly consistent in the images on the right despite the marked differences between those on the left.
Top left is Monet’s painting Waterlilies, done when he had moderate cataracts (1915; oil on canvas, 130 153 cm; Muse´e Marmottan, Paris, France/Bridgeman Art Library). Top right is the same image, blurred using Photoshop as it would have appeared to Monet at the time. The bottom image is a detail of the left section Monet’s Morning With Weeping Willows, painted after the cataract was removed (1915-1926; oil on canvas, 200 425 cm; Muse´e de l’Orangerie, Paris/Giraudon/Bridgeman Art Library).
Top left is a photograph of the subject of Monet’s Water Lily Pond as the bridge appears today. Bottom left is the photograph, blurred using Photoshop as it might appear through a moderate nuclear sclerotic cataract.
Top right is the painting (1899; oil on canvas, 89 92 cm; National Gallery, London, England/Bridgeman Art Library), which was created before Monet suffered any visual symptoms. Bottom right is the photograph again seen through a disabling cataract with a visual acuity of 20/200.
ساسان توکلی
Touka
رضا دقتی
