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Rain came upon,
I was aware cold was to follow.
Hence I was waiting blossoms to pop.
What I got was rotting,
nothing more.
Am I strong enough to keep sending seeds to the wind?
To patiently seek them sprouts?
Shouldn't I just declare defeat and about?
Lo topo [traducción del español al español: Entiendo]. Los tipos decentes recaen con la metanfetamina y violan en manada. Los chicos buenos embarazan a su novia y se vuelven responsables volteando hamburguesas.
The female of the species. Mindy McGinnis. Harper Collins.
ALWAYS HORIZONTAL
Safeguarded by a really strict monk order, horizontality is, rarely broken in text with exception of a few covers and titles. Graphic editorial design won’t allow that much. Either because of tradition or because we; the readers can be really particular about what’s comfortable when reading. Europeans say sans serifs are the ultra comfort. Me, short sighted and astigmatic to top; I can’t read anything without serifs. It is easier for me to complete by Gestalt a shape that has bolder strokes in a side than a series of lines my mind will confuse with a block1.
BALANCE
I have already started talking direction. Horizontality. Verticality. It all starts with balance. What’s the most usual position for a human body to be in balance?
Standing up! Or asleep in bed. Horizontal or vertical, balance is all about what we do without falling. And yes, I’m speaking strange terms in a blog about writing fiction. No arches, no genres, no metaphors. Visual direction.
… Then, the most stable shapes out there are | y _. Any shape deviating some grades from that and we will have unbalance. Unbalance is a disaster! It means STRESS. Consequently, it creates an illusion: movement. Shapes breaking this convention seem to be about to fall, therefore, we think they’re moving. Unbalance is the trick to create movement whenever we’re dealing with image.
That can’t happen in poetry? By creating spaces, we create movement. Spaces can break the balance if we know how to break it. Of course, the rest of literature media is not as forgiving when altering the balance. Text is boxed into a “text frame” with blank spaces called margins —oh, we’re seeing the contour—or columns.
Text, text has to be encased into balance or we will panic.
Remember, this is nonsense and “Together, the physical and the psychological are relative and not absolute2”.
Have fun thinking if you’re to use straight, wavy or broken lines. Have fun breaking balance. Pasto kalo.
No cuestiono si es famosa o no (fue embajadora en tres países distintos, incluído el mío). La interrogante corresponde al hecho de que yo no la conocía… ¿¡Por qué?! Bueno, ahora ya sé quién fué ( incluyo el link por si acaso).
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Listen to the night,
Chirping high,
Ultrasonic engulfing buzzing b's.
Go to sleep to its lullaby,
The darkness fresher than the scorching light.
Good bye.
Dream about me,
Feet into the star stream.
Mind wandering.
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El trabajo de bibliotecario mágico, quien tiene que pasarse los días en esta clase de ambiente sobrecargado, es un empleo de alto riesgo.
La luz fantástica. Terry Prattchet.
Suele pensarse que los empleos de mayor riesgo en las historias de fantasía son: bárbaro, rey, princesa, héroe o… Cazador. Pero, ¿ser bibliotecario o tesorero? El bibliotecario puede quedarse atrapado entre una reyerta de libros mágicos y cambiar de forma. El tesorero, tener que perseguir a alguien a quien no le importa firmar nada en absoluto [ si bien la papelería burocrática es inútil] y, encima, te grita todo el tiempo.
¿Qué empleos de alto riesgo tendrás tú en tu próximo trabajo de ficción?Pasto kalo.
CAN READING’S DIRECTION BE ALTERED?
Yes, by changing scale. Scale tell us what to look at first. It is the most catchy resource of comic visual language and of literature. It changes the literacy’s directionality by changing the relativity of concepts.
Scale is a concept attached to the size of the media’s surface. Just by changing the size in points of this line, changes the thing that requires your immediate attention at the time of reading. And, if I change its size to make the letter bigger by making it bolder, the urgency comes across faster.
A ledger size billboard isn’t the same as a three line advertisiment. Dealing with scale, the ledger size is enormous; whilst the three lines thing is tiny. Pick up a commercial presentation card and three lines grow up in scale at the same time the ledger advertisent ceases to exist.
Such is the reason why, disregarding the system (centimetres, inches, pixes), the media sets the scale. In a comic —I’m aware Big Choma, they’re paneles, chomas or vignettes but technicalities are not urgent right now— our eyes immediately compare the little squares containing the drawings AND OUR BRAIN DECIDES WHICH IS BIGGER.
Thus when we change the letters’ size —yes, point size— in poetry as Dadaists, Futurists or as Alfredo Ballesteros exemplifies in la clausura about Vicente Huidobro; we can see how this works. Size matters1. If not, children books, rarely but they do, make room for colour and scale variations; however, the horizontal line convention is something I have yet to see broken.
TO BE CONTINUED
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De colores únicos,
Algunos sin pareja.
Otros que danzan en corro.
Dulces y apetitosos.
Baratijas en el fondo de una caja de galletas.
Brillantes tesoros,
Cuando uno solo;
Lo repara todo.
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Contra la lectura. Mikita Brottman. Blackie books. [The Solitary Vice (Counterpoint, 2008)].
En cualquier caso, ¿quién dice que los lectores prolíficos son necesariamente personas con conciencia cívica? A fin de cuentas, Hitler fue un gran lector, como Unabomber.
.
La conciencia cívica no aparece necesariamente de leer. Eso no quiere decir que la autora del libro o yo misma; estemos en contra de leer. Es que es un poco más complicado. Por el momento, hay que rumiar esta idea.