THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT

 

THE DYING SWAN MOVEMENTS OF THE CLOCK AND THE CLASSICAL EPIPHANY OF ALBERT EINSTEIN’S TIME DILATION: THERE IS NO MORE FIRMAMENT 

The Dying Swan, ballet performed by Anna Pavlova circa 1910

The Dying Swan, ballet performed by Anna Pavlova circa 1910

 

Consciousness-Analogue

Colours are splashed by the sun’s primal meridian

Evoking the silence of silvery nights

Dim light’s ambrosiac reminiscer of the seas

Over a book of Hamlet, recollecting

Ancient coins, stamps, murals and seals

Time’s prolific mistress Ophelia is drowning

Drowning in the indistinguishable ether of memory

At the bottom of the floor the mosaic patterns mirror oblivion

Unoccupied by the birth of a star or a stream that flows by in

Words are radioactive decay of atoms causing collapse

Silence is the superposition

Thinking allows us to master the universe

In the holy Ajna, the sacred fire is the peacock’s wish to dance like the rain

Darker the clouds lighter the burden of the sinuous hills

And as the peaks coiled like serpent’s tail He Fathered the deep symmetry of the race

 

 

Events that become the ground reality of things self-collapsed into one possible nothingness frame

Rest all are mathematical projections of the hyperspace functions

Divine Mother, Mirra Alfassa

Divine Mother, Mirra Alfassa

The candle doesn’t mark the end of time but eternity

As long as we live as ‘one in many’, in the many fields of the Symbolist Movement

Crossing the frontier with Mallarme and Laforgue

Into the dead analogous world of parallel uncertainties

Paris transfigures

As Rome as Venice

The flowers in the garden

Bringing Her glory of the spring

Nestled in the relative harmonics of simultaneity

Sharp like the knife’s edge in the chill delirium

Voices ringing in the far-off shores

Felt the constant stillness of the soul.

The actor suffers to deliverance

The mob cracks; the walls, the fire

‘THERE IS NO MORE FIRMAMENT’

Far and beyond as near to nearness compelling thy light

To manifest itself in the synecdoche of universal bliss.

 

-Joy Roy Choudhury

Ref: ‘There is no more firmament’, one-act surrealist play by French playright Antonin Artaud, 1920s

Advertisements

Ophelia’s Death and the Paradox of Time-Vector in the Rational Thinking of Man

Ophelia, John Everett Millais, 1851-52

Ophelia’s Death and the Paradox of Time-Vector in the Rational Thinking of Man

Consciousness-Analogue

How poetry is silent admiring her death? Ever so beautiful in the fall of her hair

Time meta-trageth time in the mirror of existence

Saw the final dissolution of her metamorphic play

Shining like a star and drowning like a sun in the winter marshmallows of her youth

Slowly interspersed in space in the quantum-mevon world

Dream’s speech offered her the true light of consciousness

And in that binding of the self too pure was her matter earthly

A frame has frames many frames within the cosmic exegesis

To what the eye responds through the vermilion-psychiquazim

Ophelia was a child, a princess of her destinies

With a true heart of surrender to the life in her songs

A rose is a yellow moon in the fractal e-cubic vision of her art

Sine cosine angular momentum in tetragonal Brahman bliss

Art can speak more than the language of art, its vehicle is transformation and change

Mirrors stand gazing at Plato’s retrocausality in the cave allegories of his thoughts

Intelligibility is a king-shot hot-line offered to Hamlet

Often misunderstood by the strains of his character

What error stabs Rosencrantz and Guildenstern in the von-Neumann projections of history and time?

Oh Friends! Man cannot die till he bears the cross in the golden pentacle of his dream.

– Joy Roy Choudhury

Ref: Retrocausality, Samij Datta, 2012