Body

When composed
I have been most like a
lightly punctuated piece of prose.

I recently noticed this
when asked about tendencies
and putting ourselves into forms
or shapes.

When tasked
under grammatical conditions
we need not justify
why we do
to be understood through all the
various transitive verbiage.

Assembly was always required
of us
but never easy.
Only a certain grace found in
a harmless poem
could reflect lightly
a likeness of Others.

Our bodies of work
lie
in the white spaces
where there is room for the shadows
cast by the words beheld
and there are more than enough
glimpses of more
meaning
to be caught-

in mid-air-
afloat where we see
more than the sun setting in
(a day).


Image of writing by Joseph Carstairs, penned c. 1820 in [Public domain].

Graphing exponential poetry

Poetry is a verb, actually

like making math.

Word problems are like poems-

not the answers,

that would be equating

sentences with results,

or pseudo-solutions

as situationally contingent

on truth, theoretically philosophy.

Those theorems,

like theories (of everything)

contain figurative

symbols to represent

flatly for us

a two-dimensional space, so we can grasp

a ratio reliant deeply

on equivalent symmetry

or isonomy

for all,

unequivocally.

Arithmetically synonymous

to finding n

with figuring out

the answers-sans numerals

by visualizing potential

probabilities

physic-all-

y

testing x

:for scalability

and (un)limited (un) confidential correspondence

or N/A on

.

Image By Joshi1983 (Own work) [Public domain], via Wikimedia Commons. Description: English: Volumetric visualization of a fractal function f(x,y,z) where the cut of z=0 graphs the Mandelbrot fractal and the cut of z=1 graphs the Juliaset fractal. The final iteration counts were mapped to opacity levels and colours. The shadow effect is made by tracing rays back to a vanishing point and using the opacity level along the traced ray to determine how well lit each point should be.