Day 1956, leap.

You weren’t sure

if the ground you were standing on

could support your leap

of desperation


to the mountain you see



in the mist

Day 1866, searching.

For this

I have to go up

while ignoring


the monolithic structure

I have to scale


so when I am there

I can search

while opening doors

for clues

to my past

Day 1864, chance.

When two strangers meet

each other across the street


a world of possibilities


dispersing into nothing


we all carry with us

a thousand different futures


don’t get attached to much

to the one you live now


you might someday

meet someone

on your side of the street

Day 1861, sculpted.

If I see you standing

like a statue


not finishing

where you moved


an expression

without words


I realize

that I am the one

that sculpted you

Day 1859, route.

We like to take the shortest route



because we value the destination

the straight line


not the detour

a pause

a corner

Day 1857, again.

The tracks from last year

in the field where I sowed

are still there


I would be stupid

not to follow them


this year

Day 1843, beating.

When you walk alone

in a city


listening to your heart



the buildings fading



your thoughts follow



wondering whats behind

the next corner


hoping its

the same

Day 1837, something to read.


“Imagination enters into the taking of the photograph, if only by the choice of a point of view, which then becomes the point of view of those who look at the photograph. But imagination can enter into the photograph more deeply than it can into the map making. It is true that maps of the same area can differ precisely according to the purposes for which they are drawn – land use maps and geological maps for instance -but the business of the map maker is nonetheless to record information in a neutral way. The photographer by contrast can choose a point of view precisely in order to give the landscape a particular focus of interest. Furthermore, the more imaginative a photographer is, the more he or she is likely to select a point of view which, left to our own devices, we would not have chosen. In this way the photographer gets us to see what we would not otherwise have seen. Imagination chooses a point of view and the photograph directs our perception accordingly. It is not fanciful to speak of a photograph’s revealing new, and hitherto unimagined aspects of a landscape. All this of course is to be contrasted with doctoring the photograph. A photograph of a landscape, however imaginative, is to be distinguished from the celebrated ‘photograph’ of fairies at the bottom of the garden. It is at one and the same time a work of imagination and concerned with what is really there.”

From Philosophy of the arts. An introduction to aesthetics by Gordon Graham (ISBN o-415-16687-X ISBN)

Chapter 3, art and understanding Page 51 (E-book 2001)

Day 1831, B&W.

I sometimes wish that I could see the world in black and white.

A neat dividing line through every gradation.

Just black and white.

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