K. Valentine Cadieux
1. Collaboratory: To Artists and Scientists on the Mississippi
(And on seeing outside attachment to the way I see it, as part of the transitory texture of experience, or, Postmodern Science in Public: Participating in Collaborative Environmental Knowledge Systems.)
We are truthsayers, but what we say
is not necessarily right.
Many truths can still not tell you what to do.
You need to practice all those stances
to know how they make you feel
so they will help you when you cannot feel what’s important to the argument.
Articulating differences between what you feel and
what you experience, understanding and emulation vie;
how the thing’s perceived won’t tell you what it means.
Truthspeakers may spend all their time reaching for shapes to hold,
trying to find enough fidelity to contain the understanding,
make it there and not everything at the same time.
Sibyl of the syntax and grammar of thought,
what do the threads mean that shape a starchy
cotton bodice to make a woman imagine herself in a time?
Neuraesthenia makes my fingers and toes grip experience too tautly,
I find containers to stuff containment into,
speak the names of everything I know until I can learn who ought hear them.
2. (to the affect of STEaM[s])*
I can’t overestimate my operationalized
regard for the math parts of systemic understanding—
the horrifying simplification of rationality
at least proxied in the math, the music,
patterns that scaffold the experience of being
in enough ways to keep them real.
Containers wear out and fall apart, though;
not being able to hold it together
in the face of being toward death is not that uncommon.
Sometimes we need to know how people awash
in the overwhelming sensory spectacle of modernity
contain themselves enough to make the scaffold
patterns experienceable; their pressured speech
might tell you where to find grace against the impatience.
The creativities—of music, color, story, thread—
show the febrile strands of containment, the contingency
involved in what the ontology of your experience suggests.
Paying more than attention to material
shapers of the experience that informs feeling
means you might have to feel it to know what’s going on.