less than clear

It isn’t just my aged mother who is confused by Windows. I’ve been looking at the other kind and wondering what they are for.

They aren’t usually there to be looked at. But are they there to look out of? Or to look in at?

Presumably it depends on where you are: if you’re outside, you look in, and if you’re inside, you look out.
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shadow play

I was never any good at art when I was a child: I think I stopped actually looking at things and relied on too many pre-conceptions about what I expected to see. For example, shadows were black. Well, I suppose I thought they might be different shades of grey, but they certainly weren’t blue, pink and orange.

coloured shadows
I suspect painting black shadows is a beginner’s mistake, like using clichés in poems instead of trying to look beyond the expectations and see things anew.
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light relief

Midnight Moths owl: Birmingham  Big Hoot Art Trail. Artist: Alyn Smith
When I told a friend that I’d been looking through old poems trying to find one to send to a competition with the theme darkness, he laughed and said I should find that easy: after all, I write lots of dark poems.

In fact he was wrong. The subject matter isn’t always the most cheerful, but I do tend to find a bright twist to things. Like the owl in the photo – the Midnight Moths owl from Birmingham’s Big Hoot Art Trail – I can’t help but see the stars.

Coincidentally, yesterday I came across the word eigengrau: the colour that we see when there is zero light.

It seems that even in perfect darkness we don’t actually see black: our optic nerves make us see a dark grey instead. Perhaps we should re-name them optimistic nerves. Perhaps I should write a poem about that.