Aftermath | Øystein Sture Aspelund

second grade fire safety psa voice: now firefighters may look scary. firefighters look like the devil. when you see a firefighter, you might think, “aaah, this is a cyclops, like the one that killed my dad, and now it’s here to kill me too”, and you might want to kill the firefighter,

date idea; you and me in a immersive monet exhibition

Some gouache paintings

Whimsical Creatures, Mechanics, and Celestial Details Collide in Ori Toor’s Frenzied Illustrations

Slime molds

I was wondering last night if it was at all possible to translate sign language poetry into writing, when translating poetry from one spoken language to another that uses the same communication devices is already a headache. So I found a book about sign language poetry (by Rachel Sutton-Spence) and it is a delightful read! At one point the author describes a poem by Clayton Valli about a boat, in which the rising and falling pattern of the words he chose (which are located at different heights in the signing space) evokes the bobbing motion of a boat on the water as it approaches a bridge. And, okay, it will never be the same thing but you can tinker with written words to create similar effects, like how Victor Hugo’s poem The Djinns uses rising and falling line length to convey quietness then frantic action then a return to stillness.

Then the author analyses a Christmas ASL poem by Dorothy Miles and at first you’re like, this is translatable—she lists things children ask for Christmas, and includes signs like “pets” and “cake” which both involve touching the back of one hand with the other, creating a visual rhyme. The English translation pairs “pets” with “candy cigarettes” to preserve the rhyme. The author adds that symmetry in signed poetry is comparable to assonance: instead of signing ‘2 people walking’ with one hand the poet might sign ‘1 person walking’ with the right hand and ‘1 person walking’ with the left hand, for poetical effect. As English doesn’t have this opportunity for symmetry, you can translate the intent behind this deliberate, aesthetic symmetry as a rhyme. But then the author goes on to describe how Miles uses gentle, fluttering-open ‘5′ handshapes to convey a feeling of magic and excitement, and adds extra finger-wriggling or fluttering to some signs to make them ‘sparkle’, so the poem goes something like magic-shivers-up-arms, magic-run-downstairs, magic-feel-bumps-through-stocking and as a translator, how do you not ruin the specific charm of this poem?? You would have to draw actual sparkles around every verse to convey a similar effect.

I really love poetry for how great it is at making us aware of all the resources and hidden treasures of our own language, that we often overlook in everyday life, but I also love the other side of the coin, how poetry in translation gleefully makes us aware of all the cool things our language lacks.

Caravaggio living paintings by Ludovica Rambelli Theater

Metamorphosis