Trust and Compersion

Moss on the west side of the waterfall, the Grandmother Land, in Ulster County, New York. Photo by Eric Francis for Book of Blue.
Moss on the west side of the waterfall, the Grandmother Land, in Ulster County, New York. Photo by Eric Francis for Book of Blue.

Eric’s series on compersion continues in the Book of Blue.

11 thoughts on “Trust and Compersion”

  1. My mental masturbation techniques are a little rusty, anybody lend a hand?

    Or a photo? Moss!?!

    Just not free enough..?! I’m gonna jump punch-lines and say, Every-time I step into my body, I see and feel others into theirs, not mine, theirs. Don’t get me wrong, I’m there, I exist… That’s the trick/art… It’s not the same without them!!! We’d just go floatin’ by, I Couldn’t Feel/Experience (all new), that with them/in me. It’s always New.

    I enjoy art in all kinds of ways. (all new). (It’s the “here space” mentality, that sometimes kicks it on the surfboard while riding a long,.. one,.. in!..)…

    (Yes, I know, the thoughts are highly interpretive). But, so is life.. You havin’ a good time? I’m thinkin’,… if some cats over there, and there… and those ones too.., are figuring out what a “good time” is,… (not a releasing of the fear into the collective party)…, (but an interactive/self-participating/”let’s have a blast living” festival/lifetime),… We’ve still got day’s man! Each though, is a pioneer. So… keep it flowin’…

    That’s the key!

    Smiles, Love,… a bunch of other words … “a butterfly!”….. [laughter]…

  2. somebody (mr. witte?) want to jog my memory about the diffs between Husserl and Heideggers’ phenomenology? I think there might be joke locked in there somewhere, and well… the day is just not the same without the punchline…

    xo
    m

  3. Thus, for instance, when someone reaches for a tool such as a hammer, their understanding of what a hammer is is not determined by a theoretical understanding of its presence, but by the fact that it is something we need at the moment we wish to do hammering. Only a later understanding might come to contemplate a hammer as an object. There is thus a sense in which this kind of argument, although very different from Husserlian phenomenology, nevertheless resembles it, to the extent that what is involved is a kind of suspension of the everyday understanding of what it means to experience beings in the world.

  7. Eric writes: … is symbolic…I don’t think I lose my sense of self, or of the issue, to photograph the moss. . .

    Yes, I do understand that the story/sitch/camera/space are compressed for the purpose of narrative. And beyond that, that your facility with a camera may be like mine with a bicycle: I ride the thing as if it wasn’t a vehicle, but rather part of my own body. So it’s not a recording device, but neither is it your body, your voice. I know we love our toys, but they can stagger the energy some.

    So, from *her* perspective (oh, and a little bit from yours)… do you raise the instrument to give yourself a break from ‘being seen’ and to suggest that you are the Seer?

    I don’t mean to make a morality play of this, just thinking about our bodies and how we extend and condense them. Heidegger is loose in the house today.

    M

  8. mystes, I see this particular image in three dimensions – it is like a depth portal. It is an interface, a conduit even. but more than that – it is a membrane. Can you see *into*the photograph? Beyond?

    The giver gives generously and the receiver receives openly as the metaphorical penis and vagina merge, yet remain discrete.. such is art.

  9. Well, the timing is spread over several hours, compressed for rhetorical purposes. Still, picking up the camera – not a recording device in my view, because what it sees is too subjective – is symbolic…I don’t think I lose my sense of self, or of the issue, to photograph the moss.

    The camera can take me out of immediacy; but I’m generally conscious of precisely that. It can just as easily bring me in…I also make sure I don’t take my camera everywhere…

  10. Eric, do you ever have the feeling that the instrument –the camera– pulls you out of immediacy? I get a little ‘eehhgg’ when I think of you reaching for a recording device as the situation of her visit begins to reveal itself.

    Not that everything isn’t a ‘recording device’ of some kind. Well, almost everything. Whatever isn’t a copy of a copy are like little singularities spinning almost invisibly all around us. I am under the impression that love-ties are for the purpose of mapping those. (Not that they’ll be in the same place when you go to look again. Ha!)

    Play awake, darlin’…

  11. I’ve been enjoying the moss photographs on here and in the Book of Blue; gnarly tree bark, the image of an interconnected root system beneath the soil, and the lushness of moss contrasted with grey rock always nourish me…thank you.

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