i belong to the wind, to grandmother moon
to the vision of the hawk, the depth of the sea
i am the heart of a lion drinking the sun
i am the true journey, the undiscovered path
i am the life in the fox, centered and silent,
apparent in the stillness between breaths
i am the flame of meaning that lights the night
see me with your old soul, your wise owl eyes
What is your vision of that essential energy that is the base of all things seen and unseen? Does your vision lean toward the scientific or the metaphysical? Tell us in prose or poem. If you feel comfortable, share your work – or a link to it – in response to this theme. All writing shared will be published next Tuesday. You have until Monday evening – 8 p.m. PST – to respond.
Gary Bowers (One With Clay) is one of our triple-threat poets: poetry, art and humor. Words like “quick-witted” and “pithy” come to mind. He is adapt at combing his talents and this is a post he created, which I will cherish. It’s always nice to be acknowledged and Gary is particularly kind to me. Thank you, Gary! This is sweet and clever. There’s a lot more of Gary’s poetry, art and unique style to be enjoyed on Gary’s blog,where he often acknowledges other creatives. Recommended. J.D.
Jamie Dedes is alive, though she was given but two years to live in a prognosis delivered before the end of the last century. She credits her son and “an extraordinary medical team” for her continued existence. Though I don’t know her well–I don’t even know how many syllables are in her last name, much less how to pronounce it–I would venture to add that Moxie also has something to it.
For she has Moxie in abundance. She cares enough about poetry and its practitioners to have created and maintained an outstanding resource-blog called THE POET BY DAY, which connects poets via showcased poet exemplars, essays, links to items of interest to poets, her own poems, and on Wednesdays, those springboarding challenges known as prompts, which are invitations to write about a specific thing, or on a certain theme, or some other limiting, focusing factor.
And it was a week ago Wednesday that I responded to one such prompt. This one:
Write a poem, a fiction or a creative nonfiction piece telling us how you envision a feminine God or about the feminine side of God. What might S/he be like? Does/would such a view change the way you feel about yourself and the world? Would it change the world? How? You don’t need to believe in God or in a feminine aspect of God. This is an exercise in imagination not faith. Have fun with the exercise and if you feel comfortable, share the piece or the link to the piece below so that we might all enjoy.
For some reason this prompt struck a chord and got me going. I don’t know if there is a Supreme Being. I have certain feelings but I don’t trust them, being a rationalizer and wishful-thinker. A much more intelligent man than I am, Stephen Hawking, envisions a cosmology that, in the words of Carl Sagan in his introduction to Hawking’s A Brief History of Time, gives “nothing for a Creator to do.” In other words, Hawking’s universe has no need for a Creator.
But if there IS a Supreme Being, it makes sense to me, since the Supreme Being brought us all to be, that since that Being birthed us all, that She be a mother. And so I took a weird word from a conspiracy theory about our 44th President, Barack Obama, for a title, and was off to the races imagining God as Mom:
*****
birther
o god
thou residest betwixt r and t
god s be thy name
birther of us all
mixmistress of galaxies
crecher of clusters
ovulatrix of ylem
thy mother’s care is in the dew
thy admonishment is in the don’t
and when we want to play in the woods of reckless fun
thou respondest “we’ll see”
which almost always means “fat chance”
thy human smartalecks speak of heat death
it is merely a pause
in thy menopause
and soon thou’lt bake us cosmic cookies again
thanks for Ever
y
Thing,
maman
*****
Sure was fun to write, and oddly, bouncily, spiritually uplifting. Things just seemed to naturally occur: the Heat Death of the Universe resonates with the “hot flash” of menopause–hey how bout that, menoPAUSE–perhaps prelusive of the Big Crunch and the next Bang–and double up on “baking us cosmic cookies” with us being some of the cosmic cookies She bakes–and Everything with the y, possibly the Spanish “and,” joining Ever and Thing–and the French word for Mama, maman, slightly hinting at both “amen” and “ma MAN.” Wrote it first, realized it later. Could it be that She helped? Fun to think so.
I posted “birther” in the Comments section of Jamie’s post, and she replied that she loved it and wanted to include it in her following-Tuesday post. I happily agreed, and supplied a photo and my poet’s curriculum vitae at her request. She published my and three other poets’ responses to her prompt last Tuesday, and I was proud and happy enough to be in such august company that I put a link to her post on my Facebook Timeline.
As fate would have it, the next day was Jamie’s Birthday, and it was there I learned about her “Sixty-seven Years on the Razor’s Edge.” You can too, and I think you should. HERE is a link.
One thing I’d left out of my poet’s biography was the fact that my specialty is Acrostic poetry, i.e. poems where the first and/or last and/or midstream letters of the poem form words. In my gratitude to Jamie, and wanting to show off a little of this weird skill, I composed and illustrated a birthday acrostic for her, thus:
Here are the words of what may be the first birthday-occasion, acrostic, limerickal, end-words-all-rhyme-or-nearly-so poem in human history:
Jamaica may thrill, undenied,
And Nawlins is burstful with pride;
MARVEL at, though, who’s hied
In the clouds with her stride,
Energetically shifting the tides.
The recommended read for this week is Ted Kooser’s The Poetry Home Repair Manual: Practical Advice for Beginning Poets. There’s so much I like about this manual. For one thing, Ted assumes that if you are a heavy-duty reader, you already know quite a bit. After all, one of the best ways to learn to write is to read. He operates on the moral principle that if you have a gift then you have the obligation to offer something by way of giving back. He says, “I hope I won’t exhaust your patience” and he doesn’t. He assumes that our ultimate goal is to reach others and to move them, so there is a great deal of emphasis on the relationship between the poet and her reader. He discusses our job as poet – not money, not fame – but “to serve the poems we write.” This perspective makes reading and working with Ted Kooser’s The Poetry Home Repair Manualan refreshing guide to the poetic terrain for both budding and experienced writers interested in creating work that is fulfilling and truly artistic.
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Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today its adoption of a new policy: all images of public-domain artworks in the Museum’s collection are now available for free and unrestricted use. This updated policy, known as Open Access, utilizes the Creative Commons Zero (CC0) designation. This policy change is an update to The Museum’s 2014 Open Access for Scholarly Content (OASC) initiative. The Met’s Open Access policy facilitates the use of more than 375,000 images of public-domain artworks for both scholarly and commercial purposes. The Museum is collaborating with global partners to enable greater access to the collection.
In making the announcement, Mr. Campbell said
We have been working toward the goal of sharing our images with the public for a number of years. Our comprehensive and diverse museum collection spans 5,000 years of world culture and our core mission is to be open and accessible for all who wish to study and enjoy the works of art in our care. Increasing access to the Museum’s collection and scholarship serves the interests and needs of our 21st-century audiences by offering new resources for creativity, knowledge, and ideas. We thank Creative Commons, an international leader in open access and copyright, for being a partner in this effort.”
“Sharing is fundamental to how we promote discovery, innovation, and collaboration in the digital age,” said Ryan Merkley, CEO, Creative Commons.
“Today, The Met has given the world a profound gift in service of its mission: the largest encyclopedic art museum in North America has eliminated the barriers that would otherwise prohibit access to its content, and invited the world to use, remix, and share their public-domain collections widely and without restriction. This is an enormous gift to the world, and it is an act of significant leadership on the part of the institution. I want to congratulate Thomas P. Campbell, the board of trustees, and The Met staff for making such a strong commitment to collaboration and sharing, and I hope that other institutions, both public and private, will follow the path they are setting out here today.”
Middle Kingdom Dynasty:Dynasty 12 Reign:Senwosret I to Senwosret II Date:ca. 1961–1878 B.C. Geography:From Egypt, Middle Egypt, Meir (Mir), Tomb B no. 3 of the nomarch Senbi II, pit 1 (steward Senbi), Khashaba excavations, 1910 Medium:Faience -William the Hippo is the mascot for the Met – public domain photograph
To maximize the reach of The Met’s Open Access initiative, the Museum announced its new partnerships with Creative Commons, Wikimedia, Artstor, Digital Public Library of America (DPLA), Art Resource, and Pinterest. The Museum also welcomes its first Wikimedian-in-Residence, Richard Knipel, who will collaborate with Wikimedians around the world to bring images of public-domain artworks into Wikimedia Commons, Wikipedia, and diverse GLAM-Wiki initiatives. Creative Commons will support search and re-use of The Met collection with its CCSearch beta .
“The Met has again proven itself a leader among the world’s great cultural institutions. By opening their vast collection of art and antiquities to be freely available under Creative Commons Zero, they are lighting the way for other institutions to follow,” said Katherine Maher, Executive Director of the Wikimedia Foundation. “Wikipedia’s hundreds of millions of users from around the globe will now be able to experience The Met’s greatest treasures, no matter where they live. This remarkable cultural heritage is now free for anyone to view, share, and use.”
Washington Crossing the Delaware by Emanuel Leutze, MMA-NYC – Public domain photograph
Loic Tallon, The Met’s Chief Digital Officer, said:
“In our digital age, the Museum’s audience is not only the 6.7 million people who visited The Met’s three locations in New York City this past year, but also the three-billion-plus internet-connected individuals around the world. Adopting the CC0 designation for our images and data is one of the most effective ways the Museum can help audiences gain access to the collection and further its use by educators and students, artists and designers, professionals and hobbyists, as well as creators of all kinds. I am particularly delighted to be launching the Museum’s CC0 policy in collaboration with Creative Commons, Artstor, DPLA, Pinterest and the Wikipedia community, and for their support in bringing the Museum’s collection to their users.”
The Met’s new agreement with Artstor, a service affiliated with the education not-for-profit ITHAKA, will make the images discoverable throughout its digital resources, which support a global education community and provide tools to encourage image and data use in research and teaching.
Melencolia I (B. 74; M., HOLL. 75) *engraving *24 x 18.8 cm *1514, public domain photograph
“We are thrilled to help further the impact of The Met’s bold public digital access initiative through our work in the global educational community,” said Kevin Guthrie, President of Artstor and ITHAKA.
“We look forward to making these 375,000 images available so that teachers, students, and researchers around the world can find them, use them, and most importantly re-use them. The CC0 license for these images is a sea change that will help educators and students advance our collective understanding of art and human values by encouraging their use, not only in traditional classrooms and scholarly publications, but also in new digital projects and online courses.” Guthrie added, “Access is just the beginning. We look forward to continuously finding ways to work with those engaged in education to enhance and encourage the reach of this collection.”
The public can also find images offered from this initiative on Pinterest, thus making the collection more easily accessible to their community.
Evan Sharp, co-founder and Head of Product at Pinterest, said:
“Pinterest is where more than 150 million people discover ideas for their lives, whether they collect images of artistic masterpieces or the art of the everyday. We’re honored to partner with The Met to make this unprecedented collection accessible to the Pinterest community.”
The rollout of this change in policy is an ongoing process, as the Museum continues to collaborate with new and existing partners to develop our content-distribution efforts and explore new opportunities.
While all images of works the Museum believes to be in the public domain are included in this initiative, certain works are not available for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than The Met; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.
The Museum continues to work with Art Resource for licensing images of works under copyright or other restrictions, or for images not available on The Met’s website.
The Met’s Open Access initiative is made possible through the Bloomberg Philanthropies.
“The Metropolitan Museum of Art’s new initiative brings its collection to an even larger audience. One of the first museums to offer audio guides, invest in mobile apps, and develop a robust website, The Met continues to be a leader in providing access to its encyclopedic resources for millions of people all over the world,” said Kate D. Levin of Bloomberg Philanthropies.
Related blog posts about The Met’s new image policy can be found on Now at The Met and Digital Underground, as well as on the websites of our partners Creative Commons, Wikimedia Foundation, and Artstor.
Additional information and instructions can also be found at metmuseum.org/openaccess.
SONJA BENSKIN MESHER, RCA UA submitted this poem and associated artwork in response to the last Wednesday Writing Prompt, Tears Into Light.
Sonja is a British artist and writer. She says about her visual art that “The work is my statement. I have worked full time as a visual artist since 1999, and have spent those years exploring ways to communicate thoughts and concerns with my paintings and drawings. Its not all you see on the surface, it goes deeper than that. The work goes back touched and collected. My present surroundings, here in Wales, and that of Cornwall where I spend much of my time, inform the work, and inspire the subject matter. Then with the work I remember, and try to make sense of it all.”
Sonja Benskin Mesher, RCA paintings (This is her Facebook page, so you can connect with her there as well as view photographs of her colorful paintings.)
Also in response to last week’s prompt, Clare attached the link to her poem. She said, “It doesn’t exactly fit your prompt, Jamie, but I just wrote this wee poem this morning, and then read your post, and it kind of fits…” It’s a lovely poem and her site, Nest of Mist, is charming and thoughtful. Bravo, Clare!
Jamie Dedes' THE POET BY DAY Webzine 