Ugly, or: Misunderstood

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The Skeptic's Kaddish 🇮🇱

Poetry Partners #93

‘An Ugly Poem’, by Amelia Michelle Nicol of ‘And Or Theory’

Far too philosophical and just Lacking imagery Overlapping or side by side, intertwined emphasis, color, leading lines, rules of thirds lists of negatives, another light dodging or burning art and beauty, the disturbing the differences, the uncertain certitude, fortitude, beauty and the ultimate objective good Seeking, seeking, wandering excitability and extremes anti-art longing for the simplicity of beauty of something to be beheld treasured, of that which cannot be mistaken: beautiful. free will in observation, attention taken away, taken apart Of all there is to seek beauty and the Great Beyond reconciling irreconcilable inferences art for the sake of art itself beauty and the divine something entirely beyond us also being with us Wants and needs, investments and future impressions of poverty and the fears of wanting, needing delinquency, fervor, indecisive instruments, machinery, conveyance longing beyond…

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Clarity

The distance beyond thought and the differences in attention, the works and talents afforded according to nature or the actuality of practical and practice, the applicant value of any amount of gradient or potential doesn’t concern me, the actuality of reality, place, space and privacy does. The immediacy of proximity and the ease of guessing at repetition: similar instancing and entrapment, especially in the refusal to believe? These supposed facts of proximity, participation and paradox limits challenges and values in shallow assurances of coincident don’t actually make sense. Beyond that, are a confiscation of privacy and personal space, and have no place. The shapeliness beyond words, these letters of assurance and the bends and curves of indicative within mind, the ways in which language has spelled us, movement and pacing indicatives of breath, these hollow vessels breathing timing and attention. The figures of daylight conditioning the relentless framework of wobble and turning axis, the distances could imagine timing, too, but these predispositions of shapeliness, were they harnessed in the length of a breath or the formulate of a word? What dust particle clung to a shape in mind to form a letter or word without? Particles of shapeliness caught in chambers to electrify to chemical form, these densities and pressures of space, motion and shapeliness besides time and space: distances like chemotaxis, Zeeman, the figures of absolved limits and absolute boundaries of interest, the guardrail figures of distances for slowing down, for stillness, for silence and actual clarity with no background. No light or dark, no prism of color, actual clarity. Water. A snowflake. Actual clarity in nature, actual stillness and that which is beyond form or thought, the conditions of impression or expression and the ways in which environment and predispositions in gradient potentials reform and converse actuality to perspective sense. According to each, and each to their own, patterns in nature and the need for deviation, for random chaotic reformations of past data, to do something differently…with all the same matter. No matter what. For the day when everything has actually been said, or the day when something new could actually be muttered. Exactitude in timing and the indicative weight of attention or excitement, any meaning cause or reason could be applied and seem to work well enough, perspective bias will never disappear. The fact that nothing is ever going to be new does not mean we could ever learn everything or know it all: constant change. The constant. is. Change. The distances beyond exactitude and the differences in ambiguity and unknowing. The distinction of reference and the need for the actuality of difference in the assumptions of knowledge and timing, especially. Referent unknowing and the need for real and accurate information, if the referent information is timed according to another diadem, the differences met with could symbolize anything according to that diadem, and could pretend to be reasonable. If it works…it doesn’t make it real, actual, or fact. It means that it could fit a diadem for a short enough or long enough time period to seem to make sense. But really, it just doesn’t. Synesthesia, the ways in which senses could be intertwined, perspective assurances of assumption and the actuality of perspective in biological sense and behavior. Perspective is easy to skew, the need for information reliability remains and the actuality of attention or excitement isn’t decidable to outside perspective. Water falling off the roof, splashes to puddles beneath the Elder Berry, washes these flat orange rocks beneath clean into the mud, the tops of them all shiny. It sounds like something I’ve drunk before, but something so much like water that it has no taste. It couldn’t be this same water, falling to the ground from the rooftop, it must have been something I heard, something I heard about…it fills me up. Imagined an abyss, that could fill with something, but that must have already been filled up. Down.

There’s plenty of give and take.

Inventions of timing, the conditions of interest and the attentive nature of any amount of environment, that which seems to interact or that which becomes background or scenery, props and the investments of surroundings. These figures of indicative and the movement of events, the ways in which an object can shift an entire story or interest in an entire room. The attentive value of any amount of space or the conditions of wonderment in the focus or focal of environment or interest: the irregularity of sightliness and the need for asymmetrical alignment. Quadrants or sixths, these lenses of angular flipping motions and motif, the movement in mind turned upside-down, optical chasms of possibilities and the comfort of thinking there is an absolute seat or placement of something. (Why it is so necessary to understand it is A unified field theory, and will never be ‘the’). The chair Boethius sat in must exist, must have this placement and value of time and space, must tell itself and if imagined hard enough, must be the one he was also imagining: the ridiculousness of assumptions upon mental and imaginary event based on environmental constructs is obvious. Without a homeland, no semi-colons and no place in particular for the imagination to rest or live or reside. Free thought, home-bound conceptualizations of attentive nature and the conditions of notice, expectations of impression or expression and the need for information reliability against over-arching metaphor and capsizing grandeur. Differences between ‘environment’ and private space, presence in environment and the separations of individual: the sense necessary to perspective and the divinations between that which is becoming of me and that which is surrounding me. The indicative sense in making myself with the objects I experience, and the need to be myself instead of thinking I’m something made by my environment is also part of the radical acceptance in behavioral American dialectics that accepts that I cannot change nor really control my environment, but I can definitely change myself and my own behaviors. I do not create nor control the environment around me for the most part, and the environment around me equally cannot create or control me. There’s plenty of give and take.