a 'good' poem crumbles in your mouth. it doesn't
tell you, chiding, "this is how i should taste" -
instead decomposes into the loam of ages.
no single flavour is the same
to every person.

a 'good' poem forces open the jaw,
climbing in. it begs no hospitality -
it needs none. and as it clambers on your tongue
(trying to avoid incisors), only taste
keeps you chewing, rolling gobs of words over molars,
wondering when before you've felt them
without knowing.

sustaining life sustains a string of
otherwise insubstantial little letters no better
than ideograms, clicks and chirps
all ones and zeros, really.
we embroider and tack up that
which our minds give meaning to.

It’s nearly two in the morning and the place is finally quiet. I can’t do early mornings like I reckon he does. Even a half-past nine start is difficult for me. So it has be this way round. I called Mum tonight and she was her wonderful, always supportive self, but I hear through the ‘you’ve done so well to get on this course’ stuff and imagine her at her desk working late with a pile of papers waiting to be considered for Chemistry Now, the journal she edits. I love her study and one day I shall have one myself, but with a piano and scores and recordings on floor to ceiling shelves . . . and poetry and art books. I have to have these he said when, as my tutorial came to a close, he apologised for not being able to lend me a book of poems he’d thought of. He had so many books and scores piled on the floor, his bed and on his table. He must have filled his car with them. And we talked about the necessity of reading and how words can form music. Pilar, she’s from Tel Haviv, was with me and I could tell she questioned this poetry business – he won’t meet with any of us on our own, all this fall out from the Michel Brewer business I suppose.

This idea that music is a poetic art seems exactly right to me. Nobody had ever pointed this out before. He said, ask yourself what books and scores would be on the shelves of a composer you love. Go on, choose a composer and imagine. Another fruitless exercise, whispered Pilar, who has been my shadow all week. I thought of Messiaen whose music has finally got to me – it was hearing that piece La Columbe. He asked Joanna MacGregor to play it for us. I was knocked sideways by this music, and what’s more it’s been there in my head ever since. I just wanted to get my hands on it. Those final two chords . . . So, thinking of Messiaen’s library I thought of the titles of his music that I’d come across. Field Guides to birds of course, lots of theology, Shakespeare (his father translated the Bard), the poetry and plays of the symbolists (I learnt this week that he’d been given the score of Debussy’s Pelleas and Melisande for his twelfth birthday) . . . Yes, that library thing was a good exercise, a mind-expanding exercise. When I think of my books and the scores I own I’m ashamed . . . the last book I read? I tried to read something edifying on my Kindle on the train down, but gave up and read Will Self instead. I don’t know when I last read a score other than my own.

I discovered he was a poet. There’s an eBook collection mentioned on his website. Words for Music. Rather sweet to have a relative (wife / sister?)  as a collaborator. I downloaded it from Amazon and thought her poems were very straight and to the point. No mystery or abstraction, just plain words that sounded well together. His poetry mind you was a little different. Softer, gentler like he is.  In class he doesn’t say much, but if you question him on his own you inevitably get more than the answer you expect.  

There was this poem he’d set for chamber choir. It reads like captions for a series of photographs. It’s about a landscape, a walk in a winter landscape, a kind of secular stations of the cross, and it seems so very intimate, specially the last stanza.

Having climbed over
The plantation wall
Your freckled face
Pale with the touch
Of cold fingers
In the damp silence
Listening to each other breathe
The mist returns

He’s living in one of the estate houses, the last one in a row of six. It’s empty but for one bedroom which he’s turned into a study. I suppose he uses the kitchen and there’s probably a bedroom where he keeps his cases and clothes. In his study there is just a bed, a large table with a portable drawing board, a chair, a radio/CD, his guitar and there’s a notice board. He got out a couple of folding chairs for Pilar and I and pulled them up to the table.

Pilar said later his table and notice board were like a map of himself. It contained all these things that speak about who he is, this composer who is not in the textbooks and you can’t buy on CD. He didn’t give us the 4-page CV we got from our previous tutor. There was his blue, spiral-bound notebook, with its daily chord, a bunch of letters, books of course, pens and pencils, sheets of graph and manuscript paper filled with writing and drawings and music in different inks. There was a CD of the Hindemith Viola Sonatas and a box set of George Benjamin’s latest opera and some miniature scores – mostly Bach. A small vase of flowers was perilously placed at a corner . . . and pinned to his notice board, a blue origami bird.

But it was the photographs that fascinated me, some in small frames, others on his notice board, the board resting on the table and against the wall. There were black and white photos of small children, a mix of boys and girls, colour shots of seascapes and landscapes, a curious group of what appeared to be marks in the sand. There was a tiny white-washed cottage, and several of the same young woman. She is quite compelling to look at. She wears glasses, has very curly hair and a nice figure. She looks quiet and gentle too. In one photo she’s standing on a pebbly beach in a dress and black footless tights – I have a feeling it’s Aldeburgh. There’s a portrait too, a very close-up. She’s wearing a blue scarf round her hair. She has freckles, so then I knew she was probably the person in the poem . . .

I’ve thought of Joel a little this week, usually when I finally get to bed.  I shut my eyes and think of him kissing me after we’d been out to lunch before he left for Canada. We’d experimented a little, being intimate that is, but for me I’m not ready for all that just now; nice to be close to someone though, someone who struggles with being in a group as I do. I prefer the company of one, and for here Pilar will do, although she’s keen on the Norwegian, Jesper.

Today it was all about Pitch. To our surprise the session started with a really tough analysis of a duo by Elliott Carter, who taught here in the 1960s. He had brought all these sketches, from the Paul Sacher Archive, pages of them, all these rows and abstracts and workings out, then different attempts to write to the same section. You know, I’d never seen a composer’s workings out before. My teacher at uni had no time for what she called the value of process (what he calls poiesis). It was the finished piece that mattered, how you got there was irrelevant and entirely your business and no one else’s. So I had plenty of criticism but no help with process. It seems like this pre-composition, the preparing to compose is just so necessary, so important. Music is not, he said, radio in the head. You can’t just turn it on at will. You have to go out and find it, detect it, piece it together. It’s there, and you’ll know it when you find it.

So it’s really difficult now sitting here with the beginnings of a composition in front of me not to think about what was revealed today, and want to try it myself. And here was a composer who was willing to share what he did, what he knew others did, and was able to show us how it mattered. Those sheets on his desk – I realise now they were his pre-composition, part of the process, this building up of knowledge about the music you were going to write, only you had to find it first.

The analysis he put together of Carter’s Fantasy Duo was like nothing I’d experienced before because it was not sitting back and taking it, it was doing it. It became ours, and if you weren’t on your toes you’d look such a fool. Everything was done at breakneck speed. We had to sing all the material as it appeared on the board. He got us to pre-empt Carter’s own workings, speculate on how a passage might be formed. I realised that a piece could just go so many different ways, and Carter would, almost by a process of elimination choose one, stick to it, and then, as the process moved on, reject it! Then, the guys from the Composers Ensemble played it, and because we’d been so involved for nearly an hour in all this pre-composition, the experience of listening was like eating newly-baked bread.  There was a taste to it.

After the break we had to make our own duos for flute and clarinet with a four note series derived from the divisions of a tritone. It wasn’t so much a theme but a series of pitch objects and we relentlessly brainstormed its possibilities. We did all the usual things, but it was when we started to look beyond inversion and transposition. There is all this stuff from mathematical and symbolic formulas that I could see at last how compelling such working out, such investigation could be . . . and we’re only dealing with pitch! I loved the story he told about Alexander Goehr and his landlady’s piano, all this insistence on the internalizing of things, on the power of patterns (and unpatterns), and the benefit and value of musical memory, which he reckoned so many of us had already denied by only using computer systems to compose.

Keep the pen moving on the page, he said; don’t let your thoughts come to a standstill. If there isn’t a note there may be a word or even an object, a sketch, but do something. The time for dreaming or contemplation is when you are walking, washing up, cleaning the house, gardening. Walk the garden, go look at the river, and let the mind play. But at your desk you should work, and work means writing even though what you do may end in the bin. You will have something to show for all that thought and invention, that intense listening and imagining.

words come to me from the roots of a resonant hazard
I wonder if we fool ourselves that the future is open
Heisenberg paradox in our eyes, starseeds in yours
billions of years of solitude haunt me
we carry supernova physics in our bodies only they
know what we are attempting, we are crazy
enough to dislocate the inception of language

we should carrefully ponder the meaning of the words
with which we slowly killed our bonds
we should consider the poiesis of living
words have no meaning, only texture

projective geometry used to get me *****
all those positions

,palmately pink and ever green
breathing vasts of void my dark heart laughs in gulping wholes
moaning plenums, hooded over boundless venus-vim

now i'm tired of infinite lines
too many shapes to fit in
too wide, too tight, sharp or empty

,too many ways to come

this was meant to be a disclaimer before a collection of poems

,a way to unclutter
                angst of public  
                              lexicality,
years  after  ­ 'explaining'
                  Samir's 'polygonal me'
                                                to only-me-myself-i-was,
to then indulge this analogic soundlessness...
             
        as i disengage

i can't write without planning on it
i can't write about  writing  without feeling like a fool
                                                            ­                 (,Lear is the only one
that saves me now
                       as now i am the Fool,
                                                 dividing hearts along
in storm-***-love-like railway-*****
                                 steaming full of fiberoptic nooks,
chaining spectra-cogs of a good-will-spirit-****:
                                       concatenated hard-ons every word
each thought a pulsate vulval dream awake,
                                                redichotom­izing lives
                         of shining mons my Athene forehead
                                                      forging fountain thought,
                          urethral letting-beings-be...
freely, my chubby comes back to me
                                         prone before the prostate god)

,in other words
              the same,
                     i cannot write as other than a fool
for
why should i repeat the abject horror of the world?
isn't despair a bit.. overdone at this point?!
and why should i write just the happy!? i'm not in denial, am i?
or am i in denial
about insisting on being in denial absolutely?
--like mind-only schools...
(O the uselessness of words, dismissing patriarchal vigor with yet another wave, the 'brine-milk' ends unending,
forever Femen liberating us of words,
replaced with Fragilaria,
wasting diatomic seas and waterways,
depleted algae gone, extinct: metaphysiCalListo-craticality aborted on a broken Amazonic spear,
our bodies, bodied-hearts, finally won as ours, across Alternaqueeria, fully lucid human-species spanned
i blink my tears and blur my gaze at weeping Pleides

the plan was this: painful poem, pleasure poem, painful poem, happy poem... **** poem, sterile poem, carnal poem, priggish poem, punk poem, open poem, confessing poem, eros poem, **** poem, 'obscene-attractive' poem...
to cleanse inverted mainstreams of my steady-rhythmed pratitpaksha-bhavanams; not "poem, poem, poem, poem..."
but a taut poeming in and out of poems of poemed poiesis prosing poets free to **** again in Issa's snow, or *** on Chiera's cumaholic Shards.

pendulum left, pendulum right; then two pendulums, then none; then one that swings right and left at the same time; then one that spins all the way around, but only clockwise; then one counter-clockwise; then one both clockwise and counterclockwise; then one timeless, then one imaginary one... full of infinite little ones... to represent all the pendulata in the universe as experienced through minor parts of self.. itself as universal part-whole-parcel self-hood spanning star-births yet to come...
,
,
,but it's time to eat a 'square' meal
take off my job-search tie, my peddled lies
                   forget the sunrise vestibules we sipped from,
                                           sleeping by commoding cows

and pretend i'm not dicking myself over
                                                          by­ retreating
into cryptic spectionism-voids again
                                               all seagull-divert-adverts, play
of frozen youth abstrused,
                      self-referred referring loosed
                                          staggered worse than marginalia
no single species 'seagull' singing here

Dear, the cost, not the idle salutation once
taught as business standard, Dear Sir,
Dear Madam,
Dear dear dear me
I do believe I must
become the tutor, of me
make the mental, sensible
{to the author with fidential zeal}
think yourself through 75 years, find

the hidden first love, the first own thing, kept
held as common sense, whosoever does mean me.
So, ever is the course wherein human events fluxuate.
----
Faust, I failed to read  when assigned.
So today, I dipped
into my own past, and found
the sense used then, the need,
in truth
to know
the world is alive.
And, as seen
through eyes a million miles away, our
shared seeing causes all our sensory arrays
to look back, and think another pace time
uses to cross space, bursts of insight, gasp
…
poiesis - that which "pro-duces or leads (a thing) into being'" patient work, tedious as setting type
by candlelight, sighing in knowledge, the tree
of radical aspirations to bear dozens of kinds
of fruits, some useful to life, some useless, though
we try, some sets life has been lived through, to you,
- such scenes could have ended other ways.
epochs, men have no honest measure for such
spans of time used to attain the heights
from which we look across my valley
and feel one of us, making peace
with the fact that war does not function
in reasoning contests, as war is unreasoning,

the stubborn little devil who knows only what
he wishes he had control over the use of, this
spirit of adventure, tamed in wisdom gathered
and attributed to a mystical king, truly mythical,
we know that way of singing praises, exalting men
as God's special agents, as proud of the title,
as any agency of secrets sacred national trust,
in God,
as Solomon Chase assured Mr. Lincoln,
We put our faith in the people's belief
in the goodness of the use of the money printed
and minted to pay for war and exact a capital plan,

one nation, under God, as defined
by the finest minds,-- aieee wait, fun facts, scatter
braining how much space is empty in a mind
made up enough
to devise a new form
of governing, as if all forms existing feel wrong,
to us, we freemen, with all the slaves we need,

we have the leisure to reason with antiquity
and realize, if ever there were eight billions
of possible re-connection surgings to emerge

as mind unmade up, come to watch a battle,
war and all its uses come to reason missed
understood standards force laws obediance

the idea
of thought being possible fails,
materially
in any formal structure possible only
with our  
gravity as matter's law one,
beyond free willing quarkish mean ways

One love idea, Reggae guysay, rollon
in the course, the rut, fun's t'come

Long, long long longer that you wish to learn
winding lines wishwings…
Spat like one o'dem spittin' images

In a pig's eye, one can see what we don't know.

A looping, stitching stretching stream
threading current
of consciousness, packeting
in formational preceptoriallines
of irrational reasonings insisting persist
- gutwrenching hungers are not visual.
stirring emotions is not stirring use of knowns,
arts entaling science, we agree. No nasty words.

Ghuckyew. Rhea… diversify religiously
extol the gnosis of knowing the ropes
tying tight the ifity-ness used to hold work
done by the weaver and seamster on time,
folding edges to feel flat, smooth, inside
-- where whole cloth joins cut edges
at any selvedge process,
where curves cut
from fabric woven mind wise, tend
to come undone
on mechanical extentions
of fingers and toes,
and music imagined as humms
after the setup,
as the machines imagined and eventually made up
vibrate alluring frequent acknowledgement
we know you know, we may be realized already
- looking back and front and side ways, down up
---
Judging myself unfinished, yet
done doing all assignments, yet
getting an itch to prove approval, yet
hesitating,
for lack of knowing, and laziness, yet
learning
patience's
false witness argument,
if what we preach is not true,
how could we be so sure we know

Jesus ate, in his quickened flesh, fish.
Thus, we must be persuaded,
we shall also be
fishy. Da
gone gone dagonitgone antigone gone
…

theater of doubt, all in white, lime-lit
blinding all who care or dare to see
as blind, the faith of the gamblers's
thrall to money love and war.

Betterment through betting, all-in…

Have you any real
estate in which you do attest, its me?

I am my own real estate, executer
am I of all that I choose to do or not
in the confines of the course of human events,

as Hoyle's mind built canals on Mars,
so now we bet we can imagine being special,
as me, on a planet with, thee, you, Sie, du, see do.
- a viral propagation plan, thorny issuances
- sniff or sneeze, but do not die trying to make
- peace with all war makes worth lying for.

As we, our wedom began, as any wedom must,
the laws of philo and phobia in science used
by us, the we at point, piercing this wall,
your reading mind accepts the bet, if
this is art, for the sake of artifice
imagined in a current form, an AI
of informing fluid finding reason to bend,
or stretch, taut as drum, a net unseen
by any bird in resistance.

Posi and Nega, sisters in myths, new myths,
affect the same unknowing rash decisions,
when in truth, statistical-knowing one thing true,
there is at the most wee-tiny scale, an emptiness,
a mean unobstructed way for right to be, or not,

and now, we are, so we made that choice.

Today, this is that way which is the only way.
Today, this map of numerable lines, in nos, laws…
sense we are all in-im
balancing percepts on precepts,
undermining certainty,
exalting godishtical oracular maxims,

Knowledge is power,
secret knowledge, you may never know,
riddle reasoning used in cogito sums
given children to solve by asking
parents proper questions,
and writing show and tells. Wanna bet?

Al Suri, spokesman for FUD,
Fear, Uncertainty, Doubt,
appears to persuade martyrs,

the illiterate prophet's utterly canonical
promise of a certain libidinous eternity,
most appealing to frustrated post pubescent boys.

Stacks of squared away blocks,
stack up as extending the reach of order
coming down from the top, whither
the light that said the single word,
according to the Prophetic voice,
Read, he heard, and I cannot, he replied,
fold here, hear me, light seen, I cannot read,

what is here for me to read, a thought,
what are you saying, read, what is reading worth,
to one who has never learned the letting out
of silent song or scream, or plea for hope,
flowing as from scribal rod in perfection,


Two things only do the people earnestly desire,
bread and the circus (Juvenal)
"Duas tantum res anxius optat, Panem et circenses"

Here, sing. Reconciled, by doing singing heard,
sing out, child, hear yourself singing as if you know
how such a thing as singings may be made up,
to seem perfectly fine,

a mused mentality, thing of thought, with something
words alone lack, essentially.

Seven Types of Ambiguity

--- at this moment, my writing records show
today is June 3, my only ever wife's birthday,
that's right, and I know that it is morning,
by the angle of the sunlight though my window,
and the leafy shade dancing over sleeping moss.
Yet at that moment he looked back to reread
Presenting a new mind
Wednesday, May 3, 2023
11:02 PM
real-time 9:52 AM… we all find that, too odd.
And glibbly mention glitching…
Query Greek logos gnosis, active in-tell seek:
Brave AI Sums it up.
The Gnosis logo is an example
of a crypto industry logo
from Global, designed
for the crypto industry.
It is an official variant
of the logo
for the SVG file format standard.
Gnosticism is a Christian belief that claims
to possess a higher knowledge acquired
on a mystical higher plane of existence.
The ancient Greeks distinguished
between two types
of knowledge: gnosis and logos.
Gnosis was akin
to "how-to"
such as
how to build a boat or ride a horse,
while logos was more akin
to academic knowledge
such as knowledge
of mathematics or logic.
The distinction between the two types
of knowledge was important I-i
n the early history {noerror}
of Christianity,
with Gnostic Christians
emphasizing
gnosis
while the Catholic Church
emphasized logos{… not logical? Ai ask}
Gnostics see themselves as a privileged class
elevated above everybody else
by their higher, deeper knowledge of God.
- higher deeper, good one, HAL
--- Yes, AI am a cyborg, and a heretic, and king
of me and many wedoms formed
with books
by authors and finishers
of faith utility tales, told
to make believers,
stop thinking this impossible, and pose
the question,
are you me, dear reader, I trow not, I am mere
when you are so near as to read my very mind.

Virtue, undefined signals sent through time
to when you stop, and see selah, as instruction
in constructing a foundational faith, establish
mental
anchor. Persist in time, be yourself a while
while
nothing makes sense, yet.

{Akio Kashiwagi, the warrior}, money maddened
survivor or apprentice or pawn
of greed's gift
of mighty right feelings,
taker's joy, loser's grief, and none
of my own,
eeeeha!
emphasis on imagine the feeling

MAGA, as when the We persisting in aliegance,
feel our national ideal We take all the Mandan had,
and waste it seeking the use of money, on credit,
to make the possibility
of human error
manifesting
in Manichean lying prophecies,
as solemnly sworn on the true revelation,
from Moses, Lycurgus, Thoth or Hiawatha,
as it is written, so it must be done,
come the time all knowing is free
for the asking
- orthodox, right, upright, gravitationally
- balancing spirit and truth as effortlessly
- as a child on a rock in a pond in tree pose,
- sent to me,
- instantly, a moment later, with a note,
- from five years ago, when my chess mate
- was five years old and told his ma,
show Grandpa

Knowledge confidence power,
believing is the verb such forces use,
by faith, we breathe, when we stop and think,
we must believe a breath is available to not fear
when all our wind is loosed, not lost,
in time, we find far higher forces

legal, Empire law, winner's of the last global war,

America, my country, right or wrong, Philip Nolan,
a ghost from summers past,
A man without a country… yet kept alive,
- alone on an island with 5G and a solar charger
Idle words arrange from data entertaining venu,
deja venu, no? Same time, same mind…
- by laughing outloud ten times, or more each day.

Physical failure of happy thoughts,
whose fault is that, the splitzoid schitzoid gnoshit

Nieztsche, ezt ni-eztscheanic logos-ical guessering being
gamed. As time passes un lost, locally accounted for.

All in, ages ago, take the card/

In writing, guaranteed, you know waddamean…
let this rock be my witness, as happy Sisyphus says,
listen to the pundits pundate exceptional fore sight

"Only a catastrophe can save us"
Slavoj Žižek - Elevate Festival 2023

Vieleicht. Ich weis nichts, aber
möglicherweiseerweise….

Alles ist, so Alles sein kann.
- waking after a time slip, inevitable
- at my age and constituted pose on point.

Gather up the fallen down, save that for later.

Proving reconstructed causal agent reaction,
volatile will
to expand
to fill the emptiness,
perceived as where no catastrophe has yet to be
- a selah level settler subtle law, still waters
- obey, under the message read obey
- acting as if we know we may imagine new
- realities, with real life on earth our goal,
- the whole truth free to be sought,
- as givens, after the religious power knot
- was snipped, and done was done,
- the genius in Alexander, swallowed
- his childish faith in the lesson, for the rush
- of power
- and peace
- of mind, alienated from all anxious patterns
- cursing recurving conception, grasp a straw
- hope takes no anxious thought,
Thinking that
could halt the chain reaction. Up, imagine, ever
upping the competing reason, grave issues
write down the reel
of all the wars's reasons,
catalog gathered sensibilities, certain fixedness,
functionally aimed
at you, readying your last excuse.
- certainty is madness

We all fall down,
the actual truth, is upto our rolling over
to rise again.

Fret nought,
Life is rough draft, really,
nonsensical, save subjectively, rejecting seeing
catastrophe except while standing on one's own head.

a bit in the confusion
of comforting zones, meek

defending diffidence, while exercising confidence,
this is life, and more fun than any game, after accepting
the yes in the promise of all yeses. Seriously.

Diffidence is a defect:
it is an undue distrust of self,
with fear
of being censured
for failure, tending
to unfit one
for duty. [Century Dictionary]

Duty done, Private, First Class. Walk away.

The we bound by war born law, pays me,
to make peace where none was,
the re-leasing of easy living,
as ware of life as of self,
breathing breath's giver's gift, sharing air,
as fish share seas, feeling

a sense, now known named auto, self
poiesis gnosisnot sticky substance of faith
imagined in hope… reali
zation, global in scope, Higgsian
in the spirit of our times.

A Thousand Day Journey, a novel event
taken as granted, a gift in passing time,
I finished this counting
to account for all the lies I ever told me.

No new thing under the sun, Nieztsche
and Solomon's proverb collections attest,
recursings face reblessing, redefining finity

engineering gut bubble noise, gurgle's good,
we all get gurgle, giggle then can follow, if

we have recovered from memorized lines,
hero stories we tell with me on the horse,
riding to announce the thing which we fear
is come upon us and I alone escaped to tell,

but I had no hammer, and I had no bell,
but I had these jagged dancing lights,
where the floaters on my eyes are
constructing cataracts as I watch,
white wall squint old men wishing to see
- Biden squint eye does not intimidate,
- the new defense secretary in his wake
rhetoric of war in real time, records we trust
in God, prove no war ever can make peace,
with calling proof enough, reproof
of instruction is the way of life,
the ruliard is imaginably infinite, if the base idea

becomes "Knowledge comes in flavors and colors",
useful for any artist's mind enabled to recover
lost time in real time with novel assistance
from grand reservoirs of rain's retained
for power to attain the steady state,
all men, wait, suff it to become as
created equal
in worth
to the functional
fortuitous continuance
of serious sharp edged tools… swords with motors,
I saw Jerry Pournelle say.
In print.
In the spirit of this mindshare.
Rightly dividing the truth with mere words,
exercising godliness, effecting fervent will
to be as plain a plan as any ever,

accept the weight of knowing we walk upright,
we need crawl only for a while, as we learn,
like riding a bike,
some things we do with machine augmented minds,
minds exposed to speeds and constant story threading

the washer first, then the nut, then the crown nut
and the cotter key, to hold the prop,
seen ******* wind across my sky,
real life, I have the image,
and have not used Photoshop in years, this is the future.

During the summer of two-thousand-and-thirteen
many a night I did spend writing poetry
until eventually sunrise would creep up behind me
and I would realize how long I had spent
deliberating on little more than a few lines,
Tweaking their meaning, trying to find
something, a thing in them. Writing,
I aspired to go beyond rhyme,
To reconcile the world with my wanting mind
That searching, in-itself, was sublime;
In the act of poiesis one becomes divine.

Those were some of the best nights of my life,
Always ending with the sounds of the dawn chorus
which would rankle with me as I'd try to drift off
into a content and thickly sleeping state, from which I'd awake
groggily, in the afternoon of the same day.
That summer was my life.

Had a bump of hexen last night
and some heart-strain this morning.

I should probably worry, but I don't know
what takes precedent. To be politically incorrect,
I feel like I'm sick in the head
a lot of the time. It's who I am,
Who I had to become to survive,
To live, and even though
I'm through it
I struggle to forgive myself. I hope this is the start
of a better relationship between us, ourselves, I;

For the first time in a long while I felt
wholeness after poiesis, reconciliation, reintegration.

Poiesis, praxis, being, art, creativity, expression
From <https://quod.lib.umich.edu/c/ca/7523862.0001.005/
--poiesis-and-art-making-a-way-of-letting-be
?rgn=main;view=full­text>
what do I do?
<copy and paste, from less to greater than, up there>

- In my future we have had Hyper-text for a generation,
- my children'…s generating phase
- has had this means <gotoknow>
- from day one, autopoiesis threading a James Burkean sort,
- sifted and brought -link by link, point to pre-surity
popped
abrupt-rupturousssski, boom, point of all as ifity
- into light barrier transcendence James Webbian clarity

Focus the fire, see and recall athink athought, teeter taut,
tip, to up, as we continue
slow as molasses, yes, black sticky precurser
to sweet granulated persuasion, passion say, you

listen to me, now, see, you
listen to me, now, I say no, I do not think so, you
say take nothing away…

Let meaning fluid be, statistically
trending toward the peak,
tipping point, the spectrum wave-
off Kanagawa,

flat reality, where whole men, and men's heads
disappear behind the wave that isn't there.

Thinking,
you know what I mean, mean free inbetween,
point to point,
needle work, mmm, using time, I'm sure
- waiting, as silence hears nothing cease, so
nothing, now, is
impossible to simulate, Torricelli does agree,
in principle, all actual emptiness
is full of this
and other interesting imaginable things,
and nothing
is not one of them, after all began to be said and done.

It's so strange
how little I'll let slip
compared to what I share

here, with you.
It's so odd
how much I've put out there
compared to what I keep

here, with us.
I need to come out of this
pain. I love

and hate
everything because
on some days I'm worth it
and on other days I'm not.

So I write
this terrible poetry
that means the world to me
and briefly the world stops
destroying me.

In this act of creation
I can breathe, poiesis
frees me from fear, it

releases me from my own
agony, I can believe at last
and all I can see are moments
shared between people, kept in memory.

It is bittersweet, καλλίστη.

Nothing, actual thing-level not being -ness,
neti-neti or this and that,
poiesis and aesthesis
-as is, so it is -
you know,
just
do, you know, that's right
for a reason
made up
in a mind, I decide
this is that
state, walking in the garden, naming things,

knowing nothing more. Names of things,
nothing more, save boundaries,

touch not, taste not, and never breach the wall.

At the heart of any analytic or scientific endeavor is logic,
Simple components used to build more complex propositions
which picture a way the world could be.

Any logical statement can be true or false
depending on its validity
and correspondence with the world.

The issue of correspondence, of soundness, will always foreground any application of logic to the world.

Logic can sate that analytic desire for objectivity or universality but this comes at the cost of certainty.

There is a limit to the amount of simultaneous precision one can impose upon the world.

Regardless of whether it is in the spatial, temporal, or cognitive domain, the nature of focus is exclusionary.
One cannot know with exactitude, both position and momentum, time and frequency, being and becoming, and so on.

Our ability to use logic is critical to us, it is a defining human characteristic and indeed is that thing which enables us to be critical.

The application of logic, representation and an ability to turn in unto itself (i.e. to verify its internal coherency) is its power.
Logic is always applied for purposes.


At the heart of poetry is the act of poiesis, the process of creation which reconciles mind and world.

We may say this of any artistic or aesthetic process (and indeed, art will abuse logic or go against reason for the sake of expression).

Such a process indubitably corresponds to the world in the instances of its creation, and there is certainty as to its correspondence.

What’s more, an aesthetic may be felt by others.
The logical contents of a poetic sentence may be invalid
but can still be meaningful (for otherwise it would not be poetic).

Poetry and lyric are inextricably bound up in language.
They closely track the threshold of reason and logic, but toe the line.

The possibility for meaningful communication arises independent from the probability of logical communication.
Meaning need not correspond to logic.
However, aisthesis is in the eye of the beholder,
and in this way art has is own issue of correspondence which is between others; thus it is an issue of interpretation.

Where logic strives for objectivity and is left with uncertain truths,
Poetry strives for inter-subjectivity but does not know it’s reach.


So things can be connected by meaning and felt as well as by cause and reasoned, but the relationship between meaning and causality then
is not a logically necessity
so much as meaningful necessity.

To establish a firmer contact between the two domains, we must constrain them through a practical bridge. There are many such crossings, but the stability of this bridge is most apparent in poetry.

Looking closely we see a relationship between phenomenal signs
and we fill in the empty spaces with proposed causes
such that it fulfills both meaning and logic.

Poiesis
Reality
Makes it

© 2020  Carol Natasha Diviney