Let no one know what you read, what you watch.

Always consume information alone.  To prevent tracking of your mind.  And what is there to explain?  Chaos.  In all its forms.  That is what there is to explain.  Networks.  Languages that describe problems (that which we don’t understand).  And dynamics that arise from those languages.  Situations.  Descriptions.  And dynamics that arise from the descriptions. (from 2004)

Let no one know what you read, what you watch.

The Poetic I

Poetry cannot be shared.  It can only be experienced.  That which can be translated.  That which cannot.  Model the resonance of explicit stimulus within the cavern of the subject(ive).  And measure/model the translatability/untranslatability of the explicit stimulus, in terms of its effect on the subject[ive].

A model of the textual/syntactic production that talks about a nature of syntax in terms that allow it to be considered as either poetic or not, translatable or not.  Describe that in the domain of syntax.

That would be interesting, to have a model for determining what is poetic and what is not, what is translatable, and what cannot be translated.  (From a position of syntax.)

It might relate to the composite numbers versus the prime (?!)  Composite :: translatable :::: prime :: untranslatable?  (Reducible versus irreducible?)  It might, it might.

The rational and the irrational: is there an undeniable way to describe them?

It’s about :: what can be understood, completely described, by other terms :: and what cannot be.

The poetic versus [the not].

Which must be the result of the juxtaposition of two differently-constructed languages.  The poetic exists in light of the juxtaposition of two such [differently-constructed] languages.  (That is why white culture loves to consume black poetry (rap) and also why Eminem is so popular…one culture juxtaposing another…and hence, understanding—and creating—poetry.)

So poetry does not exist, then, in the context of a single language (?!) :: but only as one result of {considering translation} of a text from one language to another.

What excites us…is the poetic…that which must be lost in translation.  And by the consideration of which translation, by perception of what would have been {lost-ness} is known to be the poetic by the would-be, the potential (but the unsuccessful) translator.

More on this.

The Poetic I

How many sixes are there? (There are 32,768 distinct sixes.)

Why is six divisible by three?  (See below for one idea.)  How many ways is six divisible by three?  (It depends: which six are we talking about?)  Is there more than one reason that a particular six is divisible by three?  (For some sixes, yes.)  Are some sixes not divisible by three?  (Yes, most of them!  It’s only a very particular type of six that is divisible by three, by two, or even by one, according to this way of seeing numbers.)

Some sixes are divisible by two but not by three! Some sixes are divisible by three but not by two. And then there are those sixes that are divisible by both.

When we say six, it is six applied to a certain shape of space.  Or a certain shape of space applied to six.  More in the Blue Notebook if, like Alice, you’re susceptible to Adventures.

How many sixes are there? (There are 32,768 distinct sixes.)