Your Quantic Scent

On March 14, 2013, in Poetry, by prosario2000

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You are so far away.

Yet, your perfume and scent has spread
penetrating every atom in the air,
as their particles reach you
with superpositions in space.

And they perform a theatric play
always acting within their stage
intermingling new poetic words
as each verse speaks your name.

And there, the angels walk,
and life is breathed,
and the nightingales are heard
as they shine their singing code to other birds.

And I feel you …

As a rain of photons interact with my nerves
and electrons translate their language to warmth …

… like when I feel the incandescent you …

… you feel me …

As your heart beats with my quantum kiss
I write these words.

And you feel me …

As I feel you …

And we live, and dissolve each other
In the quantic ocean of the waters of being.

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A Special Offer: Two of my Poetry Books

On July 21, 2011, in Poetry, Writings, by prosario2000

As you all know, I recently published my book Creative Heart, which is really a continuation of my poetic writing. Today I am making an offer. Not only you can buy the book, but you can also buy a package with all of my poetic works:

It Needs to be SaidCreative Heart

The offer includes signed copies of the book, unsigned copies, and eBook versions. If you want to only want to buy Creative Heart, you also have that option. If you are curious as to the content of the book, know that you can download a sample version for free.

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Words from Leila A. Fortier, poet, artist and photographer:

Leila A. Fortier

I feel a deep sense of respect and responsibility not to cage or confine the spirit of his creation which thirsts for communion with heavenly altitudes. Offered instead is a glimpse of the author’s spiritual body which is obsserved and felt within this book. It is a testimony of the ability to transcend limitations within this physical and material world.

to dance on the stars
and speak of your four-dimensional grace

Sparkle all the stars around your Moon,
and bite my steps towards your sight

– Excerpts from "Cosmological Constant"

and secretly transmute my touch
into hundred emotional states.

– Excerpt from "Find Me"

This is the introduction of Pedro M. Rosario Barbosa – not as a man . . . but as a metaphysical composer of this collection of devotional poetry, Creative Heart.

~ Leila A. Fortier
(From the Introduction)

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The Brain and the Cultural Animal
(cont.)

Small Foreword

Those of you who have read my articles and essays in MySpace or other blogs I participate, or I used to have, may recognize the following article regarding its content. If you have read it already, feel free to skip it. The reason why I include it here in another modified way is because the articles of these series will eventually form part of a book I’m going to write in a more concise, formal and academic manner. The second reason to include it is because it is a stepping stone to a broader picture regarding memetics, economics, politics, ethics and spirituality.

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(c) 2009-2010, Pedro M. Rosario Barbosa
Some Rights Reserved
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Literature

The imperfect way our brain is arranged through a series of exaptations is what allows us to have an aesthetic sense, hence our brain allows us to have an aesthetic experience. We have seen the following points already:

  • Synesthesia is a door to understand how our mind associates certain sensations. We are all, as Ramachandran states, "closet synesthetes", because our brain is set up in such a way that it can establish non-arbitrary associations among sensations.
  • Our primordial way of thinking is through images, which provoke us a reaction or an association with other sensations.
  • Synesthesia is also a key not only to understand associations among sensations, but also conceptual associations. People who have systematic damage of the angular gyrus are unable to do the "booba/kiki" experiment, and are also unable to understand metaphors: which are essentially associations among concepts.
  • Because of conceptuation, the associations among concepts, and elementary computations in our mind make possible language development. It is an integral part of human nature. It is not that language produces concepts or a world-view … it is the other way around, basic and elementary conceptuation by our mind is what makes language possible.
  • Artists, using associations among sensations and concepts, discover ways to hyper-stimulate the mind in many different ways. This hyper-stimulation is not necessarily reduced to an association with sensations, but also all sorts of associations among concepts, be them cultural or biologically predisposed.

All of these factors, and perhaps more, are the basic foundations for our aesthetic experience. In the case of the plastic arts, images and sensations play a major role in this experience, because this is what is being shown visually to us, and produce a set of responses from our own mind.

What about literature? Our primordial experience with literature is not a set of sensations, we only read words. Of course, a good-looking book or ebook reader may enhance our pleasure for reading a book, but what about the actual content? Does not that defeat the assertion that we think with images, or that images play a significant role in aesthetic experience?

Although our primary experience with reading literature is not necessarily images, imagination (the ability to reproduce images in our mind) does play a role while we read. Edmund Husserl discovered that phantasy, i.e. the reproduction of an image in our minds, plays a significant role at the time of making sense of our primary sensations. If you go to your pocket or your purse and hold an object inside there, when you touch it, immediately your mind will try to reproduce an image trying to figure out if it corresponds to whichever object you are touching.

When you read literature in general such as a novel or poetry, what makes it work is the fact that such works evoke to you a series of sensations, associations among concepts and values, and hyper-stimulation in many ways. Some of these are biological in origin, others are more environmental factors, especially coming from culture.

Further Along the Paths of Synesthesia and Metaphor

There is something very interesting about synesthesia that we have not discussed yet: when you combine sensations the wrong way. Take for instance, number-color synesthetes. It is true that if they look at a number, they see a color. However, what happens if you show them a colored number. If for a person who sees green when he sees five, you show him a green five, there is no problem. However, if you show him a purple five, or a red five, immediately they are disgusted by what they see. They see colors in "layers" (so-to-speak), so they can see the real color before them and the synesthetically induced color simultaneously. But then, their reaction is: "Oh my God! That’s hideous!" Why would that be?

It seems that the way our brain is arranged predisposes us to find some forms of sensation-arrangements to be pleasing, while finding others displeasing or ugly. The same thing happens with metaphors: we find some arrangements of metaphors pleasing, while others seem to be displeasing. In the case of poetry and rhetoric, not only metaphor or analogies, but the way they sound when they are read is also pleasing or not depending on how they are arranged. Finally, this is true in music, the arrangement of certain sounds can be pleasing while others are not.

This relationship between synesthesia and the way metaphors, concepts, sounds, etc. are arranged is not accidental. One of the key traits of synesthesia is that almost always they are in "one direction" so-to-speak. For example, in the case of number-color synesthetes, numbers evoke colors, but colors won’t evoke numbers. Ramachandran documents only one case where a color has evoked a number (but not the reverse). In the same way, metaphors work only in "one direction". He refers to a thorough research made by the linguist George Lakoff and the philosopher Mark Johnson in this area. For example, we speak of a "loud shirt", but not a "red sound"; we say "sharp taste" but not "sour touch". Like synesthesia, these are not pure random associations. We speak of a smell being "sweet", because in our brain, the sectors of smell and taste are close together.

It should not surprise us, then, that in the fields of art and literature there are eight times more synesthetes than any other field.

Some Principles Behind Poetic Art

Lover: Your lips are a scarlet thread
and your words enchanting.
Your cheeks, behind your veil,
are halves of pomegranate.
Your neck is the Tower of David
built on layers,
hung around with a thousand bucklers,
and each the shield of a hero (Song of Songs 4:3-4)

Question: Did the Lover just call her Beloved a "giraffe"? I understand the "scarlet thread", because red lips evoke beauty, elegance, and biologically speaking, sexual attraction to the Beloved. The same happens with the description of the cheeks. But "your neck is the Tower of David"??!!! Really?? If you tell that to a woman today, she would ask what the heck would THAT mean.

Fray Luis de León found himself with the problem, and would pay for it dearly much later. He was a great theologian, a mystic, and an amazing poet. He lived at the time of St. Theresa of Ávila and St. John of the Cross, two of the most eminent figures of the Mystical Period of Spanish literature, great poets too, and two great Catholic saints. The Inquisition had an eye on them. St. Theresa of Ávila had the Inquisition looking over her shoulder constantly: she was suspicious because she belonged to a Jewish family, and wanted to reform the Carmelite religious order. St. John of the Cross was in jail, and escaped (no one knows how).

On the other hand, Fray Luis de León did spend time in jail and did not escape mysteriously. What were the charges? Writing a work on the Song of Songs of Salomon. The writing was not meant to be published. It was a translation from Hebrew to Spanish of that very beautiful book of the Bible. Its translation was forbidden because of its erotic connotations. A nun, of all people, privately asked him to translate it and explain its meaning. In the introduction to the writing, Fray Luis de León explains that in Hebrew much of these metaphors and similes make full sense, but when translated to Spanish, they sound strange. If comparing a neck to a tower seems strange to us, it should not be in the Hebrew mind. What the author means is something like this kind of neck:

Nefertiti

Now, if you notice her neck, it is long and sensual, and her necklace looks like a set of bucklers, shields surrounding "the tower", a familiar scene for the Jews of the time, especially for a king like Salomon. Fray Luis de León did not use Nefertiti’s bust as an example to illustrate what these expressions mean. However, he did say that part of of the explanation for this expression is that the simile alluded to her height. Then, he makes an interesting observation: the Tower of David is fortified with shields, which is an indirect reference to his Beloved’s necklace. However, he did give an advice if you seek to understand strange passages in the Song of Songs: imagine what the author is describing within the context of passionate love, and then you’ll get it!

Here we find a clear illustration of how both biology and culture interact.

Human Universals

Much of the history of anthropology specializes in trying to study different societies, in order to try to understand their culture and see all the similarities and differences from several Western societies. However, there are many who have distorted their studies to indicate that societies are not only "too" different from ours, but also to the point of displaying them as almost the "complete opposite" of ours.

I remember the first time I found myself struggling with this view when the teacher wanted to analyze the beliefs of many of the African slaves that came to America. He showed us a Cuban movie called La Última Cena (The Last Supper), where a master decided to invite his slaves for a supper. During the discussion, The Last Supper brought up an African legend (I don’t know which of the nations had the legend, though), where it said how Lie wanted to kill Truth, and how Lie wanted to present itself as Truth, by wearing Truth’s own face over his. I remember one of the students remarking how astoundingly different was African culture from ours, and that this tale about Truth and Lie was evidence for that.

On the other hand, my mind was screaming: "No, it’s NOT that different!" In fact, I didn’t find any differences at all. In Christianized Western Europe and in American culture, we can understand this parable perfectly. There are many similar stories we can find in the Bible. For example, the classic wolf in sheep’s clothing (Matt. 7:15). When you look at the story of Truth and Lie you realize that far from being a story completely different from our way of thinking, it shows that it has transcultural concepts and world-views:

  • Even when we don’t have a formal definition of what is truth and a lie, all cultures share the concepts of truth and lies. Truth is correlated with states-of-affairs, and when one tells the truth, there is the virtue of being truthful, a quality admired in all cultures. A lie is when a person purposely intends not to tell the truth in order to deceive, and this is a vice despised in all cultures.
  • The reason we understand the story so well is because the notion of disguise is also shared by all cultures. Many use disguises due to cultural significance (from the mythical reproduction of ancient stories before the eyes of the spectator, to celebrating Halloween). However, disguises are often used to deceive, which is also a transcultural phenomenon.
  • Finally, there is the notion of presenting something that is false as if it were true, which is essentially what a lie is. This is also a transcultural phenomenon.

Why are all of these points transcultural? Because one basic need of every organism, and humans no less, is the need to know what is the state-of-affairs, the facts that surround it. Every single culture around the world has this need, and values it, because it is a means for survival. Lies are also part of the animal kingdom. Some animals survive because they are able to deceive their predators in a way. Some animals even try deceiving those of the same species, if it makes an individual have an advantage over other members of their species. This can translate to human culture as well, where lies can be used for good or bad purposes. Yet, lies are not in themselves a value that cultures consider moral, which is the reason why still today the use of lies for good purposes is such a hot-button in the field of Ethics, and society in general.

There is no basis to believe that there are no human universals, that is concepts and some world-views shared by many cultures. As many recent anthropologists have found, anthropological positions which seem to establish that no concepts or world-views are similar to our own are either unfounded, misleading, or seriously flawed. Margaret Mead’s work is used today as reference to understand the natives in Samoa, because it shows how they are so amazingly different from us regarding punishment, sexual jealousy, and rape. Today we know better, mostly because of a criticism made by Derek Freeman who looked at the data provided by Mead, and also those data obtained by the U.S. government in Samoa, and saw that all of these data (including Mead’s) contradict her main conclusions.

The same thing happens with colors. Give me a nickel for every person I have met saying that color categorization is not transculturally shared because Eskimos have about four hundred words for white. Well, this statement is false in two aspects: first, originally it was not four hundred words for the color "white", but for "snow"; second, not even this is true, there are no four hundred words for "snow", the Inuit have only two words for snow. This is the reason why this is called the "Great Eskimo Vocabulary Hoax". The reason why there are so manypeople willing to believe it is because of the prejudice that all cultures foreign to Western-European society must be completely different.

Yet, when it comes to colors, they are not all that different from ours. If you want to find out how do people from different cultures learn colors, you just have to go to your nearest neighborhood pharmacy or store and buy a set of eight crayons, Crayola brand! Steven Pinker will explain this to you:

Indeed, humans the world over (and babies and monkeys, for that matter) color their perceptual world using the same palette, and this constrains the vocabularies they develop. Although languages may disagree about the wrappers in the sixty-four crayon box –the burnt umbers, the turquoises, the fuchias– they agree much more on the wrappers of the eight-crayon box –the fire-engine reds, grass greens, lemon yellows. Speakers of different languages unanimously pick these shades as the best examples of their color words, as long as the language has a color word in that general part of the spectrum. And where languages do differ in their color words, they differ predictably, not according to the idiosyncratic taste of some word-coiner. Languages are organized a bit like the Crayola product line, the fancier ones adding colors to the more basic ones. If a language has only two color words, they are for black and white (usually encompassing dark and light respectively). If it had three, they are for black, white, and red; if four, black, white, red, and either yellow or green. Five adds in both yellow and green; six, blue; seven, brown; more than seven, purple, pink, orange, or gray. But the clinching experiment was carried out in the New Guinea highlands with the Grand Valley Dani, a people speaking one of the black-and-white languages. The psychologist Eleanor Rosch found that the Dani were quicker at learning a new color category that was based on fire-engine red than a category based on an off-red. The way we see colors determines how we learn words for them, not vice-versa (Pinker, 1994, p. 52).

We have to consider here the Pirahã people, studied by Daniel Everett. He claimed that the Pirahã violated Chomsky’s theory of Universal Grammar (UG) as well as the conviction that there are human universals. Yet a thorough study of his own data, plus data gathered from other linguists, social scientists and anthropologists seem to contradict Everett’s own statements. For instance, he claimed that the Pirahã were not able to believe anything if it were not empirically shown to them, which is a reason why they did not believe in gods, spirits or the after life. Yet according to Everett himself the spirits and the spirit-world have a large role in their lives. Linguists Andrew Nevins, David Pesetky and Cilene Rodrigues contradict Everett’s own statements about the Pirahã’s language, and did show how it does conform to Chomsky’s UG in many ways. Here is their paper, here is Everett’s response to that paper, and here is Nevins’, Pesetsky’s and Rodrigues’ response to his response 😛

Last, but not least, we cannot leave out the study made by anthropologist Donald E. Brown regarding "human universals", that is universal notions and concepts shared by all cultures, such as (but not limited to): war, beauty, affection, magic, age, anthropomorphization, antonyms, marriage, meal times, beliefs on the afterlife, measuring, body adornment, childcare, metaphor, moral sense, classification of fauna and flora, music, dance, songs, tools, numerals (counting), pain, pleasure, crying, death rituals, subgroups in a community, divination, poetry or rhetoric, empathy, promise, proper names, sense of property, envy, sayings, solidarity systems, facial responses of fear, disgust, anger, happiness, sadness or contempt, there is fear of death, self as subject, awareness of self, gestures, gossip, grammar, metonymy, hope, weapons, use of symbols and so on.

Notice something about poetry (as long languages admit poetry), and that is that there are also universal aspects of how it is performed. For example, the use of rhyme, repetition and variation in singing and poetry, and the fact that all over the world there is a poetic form where there are lines close to three seconds long separated by pauses.

Culture, Poetry, and Why the Past Matters

If we notice the list of universals, some of the universals are associated with survival, others are related to associations made in the brain, some of them are linked to the way to produce pleasing sounds, some that have to do with issues such as the meaning of life, some of them have a sense of self, and so on. All of these are biological in origin as we have seen in previous articles.

Then, why are there differences in culture? The reason is that the basis for the origins of art, literature, and music is biological, but there is a freedom in humanity’s own nature to express itself in different manners. This is where culture comes from. As we have seen with the example of the Song of Songs, the basic sensual admiration for a woman’s long neck is shared not only in Egypt and Ancient Jewish society, but also admired today in Western society (just think of the beauty of Jamie Lee Curtis’ neck, for instance). Yet, the ways they express this admiration can differ from culture to culture. It is not a surprise that when Spaniards invaded Mexico, they had to stand in awe at the amazing beauty of Tenotchtitlán, and especially its big monuments: the pyramids. It is not surprising to be moved by the vocals of Lebo M and his African Choir with the song "A Circle of Life" in The Lion King, or the more recent video by Shakira "Waka Waka (This is Africa)" uses the famous Cameroun song "Zangalewa" as the basis for her song. The same happens with Eastern Music of all kinds.

What is true in art, is true in literature and language. As we have seen earlier, a good work of art provokes a chain of hyper-stimulations in the brain, but it has to be done the right way so that the aesthetic pleasure of the work of art is reached. Literature’s reference to images, along with rhythm, rhyme (which may or may not be prestent), along with the way words are arranged and read, or even spoken, poems should create a whole chain of aesthetic hyper-stimulation of the mind. Cleverness of how we do this is key to creating a great literary work.

Perhaps not only do we discover in the French play Cyrano of Bergerac the uses of rhythm, combination of works and concepts, but also it uses other poetic devices such as hyperbole, or the musicality and the set of sensations and moods that the poetic verse in the play are trying to convey.

We should include in these layers all of those that belong to culture, because not only will they suggest visual impressions to stimulate our imagination, but the reader should discover the meaning of symbols and signs in the work.

This is the reason why, for me, the greatest poetic work is Dante’s Divine Comedy. There has been no poetic work before or since that can remotely compare to it. Why? Because when you read the book, you discover the following:

  • Theology: the doctrine of the Holy Trinity, the conception of the afterlife (heaven, purgatory and hell), the doctrine of sin and grace, the Neo-Platonic conception of angels, the doctrine on the soul.
  • Philosophy: Ethics (virtues and vices), physics, astronomy, mathematics.
  • Literature: Allusions to the works of Homer (the Iliad and the Odyssey), the work of Virgil (the Aeneid), and the Bible.
  • History: Julius Caesar, Brutus, and Cassius, Cicero, Octavian, Socrates, Plato, Aristotle, and many more.
  • Reference to the Status Quo of His Times: Religious Orders (Franciscans and Dominicans), references to Popes, references to political and religious figures of the time.

And much, much more. The Divine Comedy is a complete encyclopedia of the times and knowledge available at that moment in the Middle Ages. Would anyone do something like that in our times. Imagine writing about philosophy, science, ethics, religious orders, EVERYTHING you know …. all in the same work, exploiting sensations from the reader to make you feel fear, repulsion, desperation, peace, joy, and so on … ALL of those things in verse and rhyming! Now THAT is a work of genius!

Yet, we notice something very important about Dante’s Divine Comedy and every other classical work: they are not wholly "brand new". They are all based on a legacy, a gift by the past.

In this case, I’m not necessarily talking about knowledge of history or science. I’m talking here about the importance of how these styles and techniques achieve a certain goal in our minds, an aesthetic experience. Learning art, poetry and music are important, because they enhance our aesthetic experience, and they form a new basis for which new artists discover new ways for stimulating our aesthetic sense.

Mozart used a lot of earlier musical ideas when composing his symphonies (such as the structure of symphonies), but at the same time elaborated them to the point of them being works of genius. He even used earlier works of literature and adapted them to his opera. Think, for example, in Le Nozze di Figaro and Don Giovanni. Today there are whole new genres which try to mix all sorts of other genre: hip-hop practices sampling extensively, I know several artists which mix Puerto Rican music with Celtic music (Celtorican music), Jazz and others. What we learn from artists, writers and musicians is the value of culture.

All cultures are based on two things, human nature and the cultural past.

Reference

Brown, D. E. (1991). Human universals. Boston: McGraw Hill.

Damasio, A. (1994). Descartes’ error: emotion, reason, and the human brain. US: Penguin Group.

Damasio, A. (1999). The feeling of what happens: body and emotion in the making of consciousness. San Diego: Harcourt.

The New Jerusalem Bible. (1990). NY: Doubleday.

Lakoff, G. & Johnson, M. (1980). Metaphors we live by. US: University of Chicago Press.

Lakoff, G. & Johnson, M. (1999). Philosophy in the flesh: the embodied mind and its challenge to Western thought. NY: Basic Books.

León, F. L. de (2001). El cantar de los cantares. Madrid: San Pablo.

Pinker, S. (1994). The language instinct. NY: Harper Perennial.

Ramachandran, V. S. (2004). A brief tour of human consciousness. NY: Pi Press.

Ramachandran, V. S. & Hubbard, E. M. (2001). Synaesthesia: a window into perception, thought and language. Journal of Consciousness Studies, 8, 12, 3-34.

Rostand, E. (2003). Cyrano of Bergerac. (L. Blair, Trans.). US: Signet Classic. (Original work published in 1897).

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The Lady of the Morning Light

On June 18, 2010, in Writings, by prosario2000

Lady of the Morning Light

© 2009-2010, Pedro M. Rosario Barbosa

Creative Commons BY-SA License - Free Cultural Work

Dedicated to Alex, my sister,
and friend, who always
blesses me with her love,
and care, and knows how
to make my day when
I most need it.

You are the Lady of the Morning Light,
who softly lets the shadows be put to rest,
and not make the horizon assume acidic drops
which, in harm, would diminish the soul
when the yellow star begins to set at dusk.

You hold the light of the sun in your hands,
whose simplicity spreads in strokes of brush
to paint roses where the harmonies of grace dwell.
And with an embrace, you sculpt the kind of day
that not even the dark angels can begin to erase.

You make a Cherokee treasure shine bright
each time you surround her with the truest care,
and, with no empty lack of certainty,
make her walk over the clouds with smiles,
and make your art be part of her glare.

In every step you make, you invent instants
of calm rhythms which await to touch the soul,
to undo the haunting ghosts of sorrow,
and to my waking eyes uncover and reveal
what a wonderful friend you really are.

You are the Lady of the Morning Light.
Let your dawn be the time of my mind’s rest
whenever it finds your present time
and announce the end of my sadness and grief
in the midst of all of the joy that you bring.

You hold the light of the sun in your hands.
With it, always pour your rivers of loving warmth
and become the voice of the brightest day,
when strokes of paint fill in a delicious incense scent
as you keep enriching my life with your mind and heart,
and the glowing happiness is all that is spent.

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Book Recommendation: “Hearts” by Haven Veritas

On June 12, 2010, in Poetry, by prosario2000

Book Recommendation:
Hearts
by
Haven Veritas

If you love poetry, especially Spoken Word Poetry and erotica, you will certainly enjoy Hearts, by poet Haven Veritas. Her poetry can simply be described as intense, exquisite, and very sensual. Here I’m placing a video of one of my favorite poems: "Sweet Dreams".

httpv://www.youtube.com/watch?v=BuGvXd_Odfs

You ask me how can you buy this book? Very simple: You can send $12.00 via Paypal to info@havenveritas.com. You may also send her cash/check/money-order to:

Haven Veritas
P.O. Box 105
Warrenburg, MO 64093

Don’t forget to specify which address to send it. Enjoy the book!

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Fingertips

On June 9, 2010, in Writings, by prosario2000

As some of you know, I wrote “Fingertips” a long time ago, and several of you know about it already. Since “Fingertips” was not meant to be a capella, I created another audio version, this time I was able to learn enough about Audacity to produce some audio effects, still imperfect, though.

For those of you who don’t know, “Fingertips” originally was an assignment that my sister, Fiera Monica Tenkiller gave me. She wanted me to write a poetic work about fingers. At the same time I wanted to use one of my favorite Piano Concertos by Beethoven as background. I hope you like this new version.

Play OggVorbis

Download the audio file Here (Ogg Vorbis Format).

Creative Commons License - Free Cultural Work

The audio and the poetic work are released under the CC Attribution-ShareAlike Unported 3.0 License.
You can listen this file using VLC and Songbird. If you have Firefox 3.1 or higher, or if you downloaded the most recent version of Chrome or Chromium, you can listen to this Ogg file directly in your browser just by clicking here. You can manipulate the file using Audacity.

Music: Ludwig van Beethoven. II. Adagio un poco moto – III. Rondo. Allegro (excerpt) from Piano Concerto No. 5 in E-flat Major, Op.73 “Emperor”. Immortal Beloved Soundtrack. 1994.

——–

Fingertips

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Since I believe that words were meant to embrace,
and that music breathes life into the soul,
I want my readers feel their hearts be chased
by the feelings that recently took the role

of twisting them together in harmonious bliss,
to give the mind and heart big wings to fly
to a city of dreams within words like this
and on warming clouds underneath the sky.

This is one of my humble efforts.

Feel my fingers play as they trace your skin,
slowly making your shaking senses ignite,
and use you as an instrument that begins
an evening concert in grand opening night.

Lying beside you my fingers trace your lips,
where whirlwinds of notes I begin to write
in your heart, drawing a circle, an ellipse,
and a sweet kiss where I sculpt your invite

to cast shades of B-Flats in musical light.
As a clock, the full silver moon will mark
the point of the blessed glow of your sight
that a river of dreams will let me embark.

Let my roaming fingers play as they hitch,
vibrating like silent resonant strings,
a display of simple early dawn that bewitch
with rainbows that on your body they sing.

Feel my fingertips. Let them form in grace
a labrynth with a rain of strokes and embrace,
a hot burning rhythmic point that will race
as such cadenced heartbeats increase in pace.

Let my fingers draw a sketch of wonderlands,
of drops that write in streams of Braille
to prepare your skin to be read by my hands
and turn each moment into a silent veil

that will let me invent my sweet fancy way
from its drunken floating vision of my desire
to feel you mine in golden worlds that outway
the aereal mists that will vanish by entire

letters written by my pen, with every tune
that rain in your ear, you hear my words,
I feel your skin, and not let be immune
of you to return to my senses with no wards.

Feel my fingers play your skin as you rise,
let them travel your senses, let them warp,
and make you taste my words with no price,
hear my light, and feel submerged in sharp

arrows of paints in the depths of your life
and write small flowing twinkles as harps.
You will no longer cast me out with a strife.
Let your swift wings be finally free in my arms.

Feel me feel you, and my fingers will thrive
like piano keys that relentlessly mimic the day
when your love steals my dreams. Becoming alive
with each vivid trace, your concert I play,

and make love, make our tender bodies shake.
Let the beaming stars count the ways we taste.
Let the lilies outside watch us for our sake
and be not the same as we shift to our grace.

Let my fingers make this evening concert shine,
let us in pentagrams and quavers soar and fly,
let my kisses be a motif for our loving shrine,
and in joy set off all that our love will imply.

Feel my fingertips.
Feel my notes.
Feel me feel you.
Feel me feel you.

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I Know How to Love

On June 7, 2010, in Writings, by prosario2000

I Know How to Love

© 2010, Pedro M. Rosario Barbosa

I know how to love.

I know how to fire your wishes,
to make you feel in love like the first time,
and open wide the edges of the Earth
to make the heavenly spheres become your mind,

to be able to paint your body
with colored rains running down your skin,
and to prepare a pleasing meal of no regrets,
with made up melodies of bites, tastes and kiss.

My devotion translates into dance,
so, I don’t need to ask permission to find
how to sublimate your desires.
I just want you to ride little tips of time…

… and then …

… express my devotion to your eyes
and let you shiver. I thirst for you.
I betray my thoughts in my acts,
as I invade your veins with my soul.

Let me strip you from your dress in the dark,
and with candles, tonight, I’ll sip
the drops that the sun has left behind.
My fingertips will clothe your skin

with twinkles and tingling streams,
while you feel your hips meet my lips.
I know how to stretch the night
to renew the face of your world,

to drift your sight into galaxies,
to interlace their arms
so stars can play hide and seek,
and make you swim in oceanic dreams.

Feel me, and only me.
Time will transform into empty sands
and the wind of eternity will come to be.

Let me kill your nightmares step by step,
and print in your life all those instants
you never knew would come from me.

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Soñar bajo el Cielo

On February 15, 2010, in Writings, by prosario2000

Soñar bajo el Cielo

© 2010, Pedro M. Rosario Barbosa

Vida mía:

Quiero que veas el sol despertar el paisaje,
dorando las notas musicales del alba,
y suavizando las dulces horas del viento.

Abre los ojos, quiero avivar tus sueños.
No olvides el esplendor de anoche
cuando te transmutó el río celestial
en un torrente estelar de aguaceros.

Abandónate a la verdad de tu fantasía,
en la que viviré aferrado a la dicha
de mojar nuestras ilusiones bajo el cielo.

Quisiera vivir insistiendo en la alegría
de vivir sigiloso y oculto entre tus brazos,
y trazar aquellos senderos de tu cuerpo
por donde mis labios caminarán descalzos.

Encenderé tu piel en ardientes llamas,
Mientras que con alas te conduzco a los cielos.
Y para ahogarme entre tus amores
reptaré silenciosamente por tu pecho.

Estoy listo para llenar de miel tus ensueños,
para arrancar de ti la confesión de tu amor,
y en medio de clamores e incesantes besos,
ante el astro en la cima, un areito bailaremos.

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