The Star Forest of Our Hearts Luke Orsborne

The Star Forest of Our Hearts

Even as the ghosts of digitized nations
slip through concrete and copper corridors,
trained to an algorithm’s lace like fictions
as nerve impulses skittering through warring cityscapes of disinformation,
we build
refuge out of the star forest of our hearts,
solace from a mass marketed desolation
that sought to quantify our moments of laughter and candlelight
into profitable data points,
electronically devouring life’s contours
along the splintering edges of nuclear armed surveillance grids.

Having waded through the shoals of synthetic tides
typing keys like throwing bread
into the rippling data of our managed distortions,
we were one slip away from drowning
in the hypnosis of an artificially intelligent destabilization,
becoming choreographed gestures on fragmenting coasts of awareness,
dancing our collective death
in an unraveling climate
to simulated music of the living earth
whose authentic chords we had long abandoned.

Yet it was from within fertile spaces
illuminated by the horrors of a centuries-long breakdown,
in the growing fractures of our CGI psychosis,
now wind powered, mercilessly, with the cobalt hauled by children,
that with great effort
we freed ourselves
from the image of hunted monster
into which extinction’s machinery had imagined us,
and opened to an urgent focus
into the cascades of solar musings breathing through us
as the sun poured itself across space,
blooming into the capillaries of new leaves,
guiding damp morning stretches of budding silver grey
into an earth memory’s grassy rock strewn hill side,
feeding through our eyes
warm flowering canopies
in gardens of possibility and dream,
where somehow
beyond the twist of jacketed wire
glossy front cover fantasies, hollow promises of roadway freedom
and second notice anxieties,
beyond the dizzy banquet of urban lights
whose glare stole whole constellations from our nights,
beyond school bells that recalled gunfire,
and camouflaged men patrolling the streets,
we found ourselves, somehow
scattering the regenerative seeds of our collective heart’s forest,
watering translucent growth in the shimmer of galaxies
that together we yet cradle
in love’s fiery pulse.

Luke Orsborne

Luke Orsborne graduated from William and Mary with a BS in Studio art in 2001. Informed by a long term practice of meditation and reflection, he continues to embrace his creative side in rural Montana, producing images and poetry as a kind of life line amidst the existential crises of our time. He also enjoys the tasty body of work derived from a collaborative process between sun, rain, and the soil of his garden. You can find a selection of his visual work on his Instagram page.

Instagram _lukeorsborne

Visions Enrique de Santiago

It had to be finished yesterday, like every day in 2021, creating. Because the reason for my existence is to navigate the wonderful.
Happy today and tomorrow for all, since according to the calendar of nature, each day should be celebrated loving it intensely.

Visions
Ending centuries of moonlight dimming
a dark fire travels the walls without knowing the foolishness of its orbit,
an empty smoke escapes from her womb that is the son of the empire,
leaving a rough trail of ancient scales,
and from that place new demolitions erupt to lower their faces when winter looms,
slowly the room is emptied leaving only undamaged strings that proclaim instantaneous blues,
because she admitted flowers in her womb,
and she came down the stairs with her bare legs,
while from her shadow the absolute gesture of death loomed,
hidden and unexpected
and emitted the song of the breeze of oblivion
in order to satisfy the gesture of a star bathed in failed zodiacs,
impertinent and uncertain attempts,
that were thrown to the cosmic confines beyond certainty.

Había que terminar ayer, al igual que cada día del 2021, creando. Porque la razón de mi existencia es navegar por lo maravilloso.
Feliz hoy y mañana para todos, ya que según el calendario de la naturaleza, cada día debe celebrarse amándolo intensamente.

VISIONES
Acabando con siglos de oscurecimiento de luz lunar
un fuego oscuro recorre los muros sin saber de la necedad de su órbita,
escapa de su vientre un humo vacío que es hijo del imperio,
dejando un sendero áspero de escamas antiguas,
y desde ese lugar estallan nuevas demoliciones para bajar los rostros cuando acecha el invierno,
lentamente queda vacía la sala dejando sólo cuerdas indemnes que pregonan azules instantáneas,
porque ella admitía flores en su útero,
y bajaba las escaleras con sus piernas desnudas,
mientras desde su sombra asomaba el gesto absoluto de la muerte,
oculta e inesperada
y emitía el canto de la brisa del olvido
para así saciar el gesto de un astro bañado de zodiacos fallidos,
impertinentes e inciertas tentativas,
que fueron arrojadas a los confines cósmicos más allá de la certidumbre.

Enrique de Santiago

Born in Santiago, Chile (1961). Visual artist, poet, researcher, essayist, curator and cultural manager. He studied a Bachelor of Art at the University of Chile and at the Institute of Contemporary Art (Chile).

Since 1984, he has exhibited in individual and group exhibitions, counting to his credit around more than 100 exhibitions.


He has edited five books: Fragile Transits Under the Spirals in 2012, with La Polla Literaria; Elegía a las Magas and the book essay: El Regreso de las Magas, both with Editorial Varonas. In 2018 he edited La Cúspide Uránica with editorial Xaleshem and Dharma Comunicaciones, and Travel Bitácora with Editorial Opalina Cartonera.

He has participated in various poetry anthologies, both in Chile and abroad. He has collaborated in the newspaper La Nación with articles on new media art, and in magazines such as Derrame, Escaner Cultural and Labios Menores in Chile, Brumes Blondes in Holland, Adamar from Spain, Punto Seguido from Colombia, Sonámbula from Mexico, Agulha de Brazil, Incomunidade de Portugal, Styxus de Rep. Czech, Canibaal de Valencia, Spain, Materika de Costa Rica and other printed and digital publications.

MacLean Gander, My Father at 92

My Father at 92

There is so much you don’t know about
After being dead for fifteen years.

This virus is terrible—it has deranged the world.
We won’t know for a while how that will work out.

The civil rights thing is interesting now—
Overt racism is as bad as it has ever been,

But some of it gets videotaped
And some bad cops have been convicted.

You’ve been dead so long you don’t even know
That the wars that started when you first got sick

Went on for years after your death.
We just left Afghanistan a few weeks ago—

It was was as bad as Saigon, 1975, maybe worse.
I’m glad you did not have to see that shit, it was bad.

And the whole climate change thing is crazy—
It’s real now and your grand-kids face it.

I’ll be dead, too, before things get truly bad.
I’m glad you do not have to know these things.

Tonight I feel your spirit in the wood
Of this house you built for your children.

It feels so good to me that you are innocent
Of any knowledge of what happened after you died.

If there is anything beyond history then now
You must inhabit that place,

And at least you are beyond pain.
Those last four years were rough.

There are things I would love to ask you,
And I would love to tell you about the life I have lived

Since you died—it has been hard and beautiful.
But I know you are beyond that now.

There was a fox in the meadow today,
And I have good wood—the fire is fierce

On the hearth you built. The house is warm,
And you look good for 92, your ashes rest

Where I can find them in Carpenter Cemetery,
And I always could talk to you.

Written by MacLean Gander © December 28, 2021

MacLean Gander grew up in Manhattan, where he attended the Collegiate School before studying at Harvard, where he received an A.B. in English and American Literature and Languages, cum laude. He was the Hoyt Fellow in creative writing at Boston University in 1981, where he took his Master’s in Creative Writing (Poetry).

In the 1980s he worked for several years as a researcher, writer, and reporter for Newsweek’s international edition in New York, and then spent two years in the Philippines covering the 1985 elections and 1986 “People’s Revolution” as a freelancer accredited to The Nation. After returning from Manila, he decided to relocate in Vermont and change his career path, taking a faculty position at Landmark College. In 1988, he was appointed English department chair, a position he held for nine years. In 1997 he was appointed Vice President of Academic Affairs and Dean of the College, a position he held for 11 years, a period of rapid growth and change for the college. During this time he earned an Ed.D. in Educational Leadership and Change from Fielding Graduate University. As Vice President for External Affairs and Strategic Planning from 2008 – 2009 he led and participated in the College’s consulting initiatives with the Kipp Charter Schools, The Prince Salman Center for Learning Disabilities Research in Riyadh, and with several other organizations and groups.

After returning to the faculty in 2009, MacLean held appointments in the writing department and then in the Core Education Program, teaching courses in composition, creative writing, journalism, and education. He currently holds an appointment in the Professional Studies program, where he teaches courses in journalism, leadership, and narrative nonfiction. He also donates his time as an investigative reporter for The Commons, Windham County’s nonprofit independent newsweekly, a role in which he is able to engage journalism and business students in internships and in doing reporting in real-world contexts. He lives in Brattleboro, Vermont, with his wife, the poet and artist Shanta Lee Gander.

Beyond the Bone


it is a super kind of role
rotating archetypes
where
number equals avatar
all four won once
if you want to get elemental
around the table
occurring at intervals
periodically
snap shot to
photogrammetry
a kinetic map
perception transfer
interface fidelity
contemplation points
an evidence board
but folded into
an icosahedron
edges linked by fiber optics
on invisible lines
as best they could trace
those
dice face are channels
those
dice face are mirrors
refraction may be
tubes of light
or if you prefer day stream
an almost calendar
in one lapidary being
an extraterrestrial of triangles
predeterminer and all
lets play
rotated and rolled
hyperstition is now
but also then
all ways
crossroads
a mobile hot spot
every time
is space
echolocation
our deep unknown ability
leads to where
wear leads
to dissolve dice
and sincerely know
the icosahedron remains spinning
all over time
an everlasting pattern
a rapidly occurring gem
from
the house of invention

written by Mitchell Pluto© December 11, 2021

convolutional echolocation

artificial neural network
neurons are aggregated
image input
visual cortex
layers and magic squares
number and color spaces
red, green, blue
processing example
image recognition
labeled
a set of facts
filters removing waves from particles
about that world, who was thinking the who
useful information
an algorithm
binary classifier
animal, non animal
vector of numbers on a clock
adapt parameters
template of being two points in time
self-driving car
spatiotemporal
the finding and collecting self

written by Mitchell Pluto December 2, 2021 ©


Interior Psychic Meteorology

my non representational paintings are automatic impressions from my subconscious. a sort of interior psychic meteorology.

Venus sextile Jupiter

I work on them everyday. there are no things, no pronouns, no gender, no politics, no beliefs, no morals. no 17th 18th, 19th or 20th century archetypes, no mystical ideas, no ideas about beauty or ugliness, no appropriation, no opinions.

Internet Poltergeist

it’s just a lot of yes too energy, paint, color and texture. the theme is about finding nothing. the exercise is liberating-the painting can not develop into something. I only name them when I share them, which I have been reluctant and hesitant to do. they are not made to be understood.

figures of speech in D minor

organize the snakes
pluck strings
divide the wave to the pedal point
a step, a diesis, a key signature
target a center
ignition
arrow
bow lyre
fabulist
the dirty gods
she had a nice base
associative process with dials from point to point
seamlessly one to the other
and then Sigmund Freud’s rings
hello
utterance
udder rants
a scale rave
turning things into words
a jewelers hammer
striking the strings
kinetic parenthesis circle intersection
drawing back waxing
links undone wading
octaves and moonlight
the face on a corpuscule
Saint Teresa melts the robot
into a full bodied universe

written by © Mitchell Pluto October 3, 2021

Alkalizing the Wendigo with a Whirling Mantra

Every culture has experienced cannibalism, headhunting and parasites. This intrusive painting is about those things but thankfully it’s all metaphorical. In this painting I use figures of speech to convey malignant narcissism and greedy tendencies as a psychic virus. While no specific group or person is targeted it is important to be aware of the dangers of being egocentric and that it puts everybody at risk.

An ancient parasite has been interfering with our optimum self moderating programing since the beginning of time. This is not an original idea and can be found as a theme through many Science fiction and horror stories. One specific example is The Mind Parasites by Colin Wilson worth checking out. However there are more real life examples. I found details in Sigmund Freud’s Totem and Taboo: Resemblances Between the Mental Lives of Savages and Neurotics that offered a general outline on taboo as a psychic contagion.

Anyone who has violated a taboo becomes taboo himself because he possesses the dangerous quality of tempting others to follow his example: why should he be allowed to do what is forbidden to others? Thus he is truly contagious in that every example encourages imitation, and for that reason he himself must be shunned.

Freuds statement makes me think of the origin of the scapegoat and the spiritual cleanse that shares a polarity with transgressions of the community. An organized ritual allows a contamination of an object to later be sacrificed.

How did the Wendigo archetype institute and set in motion such a horrible malware on the consciousness of humanity?

First and foremost the Wendigo represents a defense against becoming selfish. An example not to follow. It is no one’s ambition to become cannibalistic or maladaptive but abrupt experience overwhelms an unactualized mind. This is usually caused by trauma experience. An experience by all accounts that leaves a brain feeling abandoned. With no one else around to understand. While left defenseless against the brains own intense fear, a sudden disconnection occurs.

By looking in a mirror day after day one moves more progressively towards a reduplicative hallucination. An elaborate state where one see themselves as an apparition. This double tells the vulnerable self a story about how much stronger and more valuable it is than the other. it tells the other self it is the reflection that is important. Across this imbalanced relationship the double forever feeds off of one traumatic moment. As a kind of psychic parasitic disease, the reflection commandeers the entire body while holding the suffering self hostage. This painful body tries to fight but not being fully rehabilitated to control it’s own operations, instead seeks to control other brains.

Robert A. Brightman an American anthropologist describes the Wendigo as

“The wendigo (/ˈwɛndɪɡoʊ/)(also wetiko) Ojibwa wintikö. Cree wihtiköw is a mythological man-eating creature or evil spirit from the folklore of the First Nations Algonquian tribes based in the northern forests of Nova Scotia, the East Coast of Canada, and Great Lakes Region of Canada and the United States. The wendigo is described as a monster with some characteristics of a human or as a spirit who has possessed a human being and made them become monstrous. Its influence is said to invoke acts of murder, insatiable greed, cannibalism and the cultural taboos against such behaviors”

From Brightman’s statement we get a profile of a very unrelenting and maladaptive personality who is controlled by a psychotic spirit whose strategy relates to a person in the same parasitic mode a protozoa relates to a host. There is an invisible influence.

At the very top of my painting is an example of the Woodland Style. Inside the face is a very filtered cosmogram that offers a limited preview of a Peyote ceremony I was invited too. I choose the Bidu and moon cipher to act on behalf of an meaningful experience. The full night ceremony continues to make a deep impression on me. This impression is similar to my discussion in Astrology and Cosmograms . I review the root Loa as comparable to a strong radio signal filled with intelligent information and the brain as land-based radio station. In the painting this Loa voice scrolls from the lips to a wireless phone. This sudden illumination is delivered by a lightening bolt brightening a picture tube with a whirling log message. The subliminal effects directly communicates with the Mooladhara Chakra, the chair where the Kundalini sits. At it’s immature stage the Mooladhara is completely egotistical, security driven and possessive. These traits when pressed by scarcity and megalomania create a Wendigo.

scyphomancy with a touch of therianthropy

Written on September 18, 2021 by ©Mitchell Pluto

the cup reflected by the Pisces moon

was the rim where I sip

the moon’s abundant helium

my feet floated

I followed my paws

to the oracle

who spoke beyond the clover

who lifted

all periods

decimal points

conveying a flood of onomatopoeia

what?

the lost spring of language

synesthesia

a con jury

empowering the lines of the triangle

balance and beauty

I am a mind

not alone

a prism between two women

one fire

the other

a ray of light

three points passionately

sustaining

a stream of charged particles

warmth, love and vision

a charged link

lighter to lightest triangles

only the weight

my face

looking outside the mouth

of an ego

is a name with teeth

eating time in front of me

making a fence everywhere I stepped

with a plan to

organize all tree’s into things

I burn as brightly as

the interior of some hidden structure

that lives in the sun

and do not know that part

leaving a trail of items

in a landfill

the oracle whispered

in my ear

pollen and a gentle breeze

cottonwood seeds

overlay

a turquoise sky

we were inside

each other

ornamental patterns

hand, claw, fin, hoof, wing, tentacle

what we saw together

with the omnivoyant eye