It’s the Holiday Season and what better time for Joe and Ricki Mensching to hold an open house for their train room, which takes up the space of their three-car garage. Ricki had asked me if I would take some photos, five are in this posting. Click here to see all 25 photos.
I also took five video clips, which I edited into a short movie of the Train Room Open House.
— kenne
Mensching’s Train Room Open House — Images & Video By kenne
An Aspen Fall — Photo-Artistry by kenne
In a letter dated 4/26/03, by brother Tom wrote:
“I am in the midst of ‘trying’ to memorize a poem . . .
‘Final Soliloquy of the Interior Paramour’ by Wallace Stevens . . .
never mind why . . .
although the exercise was triggered by a piece by
George Steiner in which he wrote:
‘The danger is that the text or music will lose what physics
calls its ‘critical mass,’ its implosive powers within
the echo chambers of the self.'”
Tom was aware that what is committed to memory
and susceptible to recall constitutes “The Blast of The Self,”
an intensity of outward attention — interest, curiosity,
a healthy obsession was a motivation stronger
even than love or hatred or fear.
— kenne
Final Soliloquy of the Interior Paramour
In which we rest and, for small reason, think
The world imagined is the ultimate good.
This is, therefore, the intensest rendezvous.
It is in that thought that we collect ourselves,
Out of all the indifferences, into one thing:
Within a single thing, a single shawl
Wrapped tightly round us, since we are poor, a warmth,
A light, a power, the miraculous influence.
Here, now, we forget each other and ourselves.
We feel the obscurity of an order, a whole,
A knowledge, that which arranged the rendezvous.
Within its vital boundary, in the mind.
We say God and the imagination are one…
How high that highest candle lights the dark.
Out of this same light, out of the central mind,
We make a dwelling in the evening air,
In which being there together is enough.
Untitled Image by Katie Turner Bailey (1999)
IF —
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream – and not make dreams your master;
If you can think – and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build ’em up with wornout tools:
If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’
If you can talk with crowds and keep your virtue,
Or walk with kings – nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run –
Yours is the Earth and everything that’s in it,
And – which is more – you’ll be a Man my son!
— Rudyard Kipling
if…else statement
Izzy was his name
Looking to execute “if”
Condition is true
True was his game
Looking to execute “else”
Condition is false
— kenne
Traveling down the Beni River with a few jungle stops before returning to Rurrenabaque.
Video by kenne
The bridge at Rurrenabaque, Bolivia — Images by kenne
(Click Here To See More Photos)
Balsa Wood Rafting On the Tuichi River, Madidi National Forest — Images and Video by kenne
Double Bayou Dancehall (October 19, 2002) — Photo-Artistry by kenne
DOUBLE BAYOU, THAT IS
— kenne
Note: Click on the Double Bayou Dancehall below the top image
to see a video on the history of dancehall.
