Liora steps to the edge of a landscape that stretches beyond sight.
Hills and valleys roll outward, their forms dissolving into mist. The line where earth meets sky is never fixed. Light shifts, air moves, and with each step the apparent boundary slides imperceptibly away. The horizon is present, yet never reachable, always reconfiguring according to vantage, attention, and weather.
She breathes in, feeling the vastness, the indeterminacy, the pull of what lies beyond, and realises that the landscape is not a scene to cross, nor a picture to apprehend. It is a field of possibilities.
You may attend to one aspect of the horizon:
Near/far: notice how proximity shapes perception, how distance affects the edges of what is present.
Movement: attend to the changes that occur as you shift weight, gaze, or posture.
Limit: attend to the line where the world seems to end, and observe how it recedes, dissolves, or reappears.
No stance captures the horizon completely. Each stance reveals different admissible cuts.
If you attend to near/far
The immediate foreground—rocks, grass, small trees—claims attention. Patterns of light and shadow emerge. The distant hills recede into ambiguity. What is near is tangible and acted upon; what is far is suggested and relational. The horizon becomes a gradient rather than a line. Liora perceives that stability is scale-dependent, that presence does not require completeness.
If you attend to movement
Every shift—her own, of wind, of cloud—alters the scene. The hills tilt, mist curls, light catches leaves differently. The horizon changes shape with each micro-movement. Stability is experienced not as constancy, but as recurring relationality: patterns emerge, dissolve, and re-emerge without fixed form.
If you attend to the limit
The horizon beckons, but does not invite. It is a line without a past, without a future, without teleology. Each step reconfigures the boundary; it recedes even as she approaches. She notes the edge, not to conquer it, but to perceive its shifting admissibility. The horizon is a phenomenon experienced relationally, not a destination to achieve.
Liora stands, aware that no step completes the horizon, no observation fixes it.
The landscape persists in flux, but in ways that allow her presence to be taken up, accommodated, and enacted moment by moment.
She is neither aligned with the horizon, nor lost to it. She is within it, continuously actualising her cuts.
Nothing resolves, nothing concludes. And yet, the horizon is alive in each stance she takes.
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