Well, that’s the limit! she said, and happily placed a boundary. She had always loved discoveries.
So here is where acceptable ends and unbearable begins? Cool!
Let’s celebrate, she said, by building a custom house. Let’s paint the rooms in bright colours, and you can bring food.
It will be checked, of course, she grinned. For indigestible elements. Expect a tax on anything unhealthy or undesirable.
Well, that’s the limit! he said, about to start an argument. His words were interrupted by her smile.
It is indeed, she said.
Tea or coffee?
The prompt for day 6 on OctPoWriMo was conquered. This poem is about finally grasping the concepts of limits as something positive. It’s a work in progress, and I’ll add the notes for how I might possibly continue below.
the attempt to represent subject matter truthfully, without artificiality and avoiding conventions.
– characterised by relatively small, thin, yet visible strokes,
– open composition
– emphasis on accurate depiction of ‘no’ in its changing qualities
– often accentuating the effects of the passage of time
– ordinary subject matter
– inclusion of movement as a crucial element of human perception and experience
– unusual angles
Abstract boundaries use shape, form, color and line to create a composition which may exist with a degree of independence from references in the world. They create a new kind of ‘no’ that encompasses the fundamental changes taking place in technology, science and philosophy. Abstraction boundaries indicate a departure from reality in saying no. This departure can be slight, partial, or complete. Abstract boundaries exists along a continuum.
Boundaries Nouveau is a total style: It embraces a wide range of fine and decorative ways of saying no. It can use any type of material.
Their typical trait is to present the ‘no’ solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
Rococo boundaries are highly theatrical, designed to impress and awe at first sight. They emphasize grace, ornamentation and asymmetry.
These are a rejection of the idea of autonomous ‘no’. The ‘no’ is always constructed. ‘No’ is a practice for social purposes. A constructivist boundary makes the other an active receiver of the ‘no’
Dadaist boundaries cast away the logic, reason, and aestheticism of modern ‘no’. They reject the tight correlation between words and meaning. Dadaist boundaries embrace chaos and irrationality. They have been found in public gatherings, demonstrations, and literary journals.
Neoclassical boundaries are based on the principles of simplicity and symmetry.
Romanticist boundaries are characterized by their emphasis on emotion and individualism, as well as glorification of all the past and of nature.
These are boundaries by self-taught or naïve nay-sayers. Typically, those labeled as outsiders have little or no contact with the mainstream world of saying ‘no’. In many cases, their work is discovered only after their deaths. Often, outsider boundaries illustrates extreme mental states, unconventional ideas, or elaborate fantasy worlds.
This a form of saying ‘no’that relies on using video technology. These boundaries can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.