YOU ARE HERE

 

(the image with which the words interact and collaborate came from many web locations, so I can't credit one source at this time, but will when such identification can/does happen; the image proves quite popular with those seeking an image of? confirmation of? a possible entry point and point of departure for bifurcation within the dynamics of a system more apparently dynamic than others that seem calm or serene with the activity apparently and effectively embedded, at the molecular and atomic levels where activity can be described as jolly, rowdy, vigorous, cataclysmic, energetic —a place of energy, so sacred places?  The pinballing antics of electrons?  The tines have struck paydirt? bedrock? penetrating tines, those interacting on subterranean, from some perspectives, surfaces functioning as roots of an early prototype for synthetic trees like Lackner's synthetic  trees that might stand just as tall to save the planet? )





caption and credits for the image at left as shown in the online edition of Columbia's Alumni Magazine:

This artist rendition shows large “synthetic trees” that could each capture tons of CO2 per year.

STONEHAVEN PRODUCTIONS

 (Lackner's trees, in the artist rendition, are forms     of forks, the tines more closely aligned with  rungs such as are useful for the limited fork  guided inquiry in forks and ladders)

 


 


 YOU ARE HERE


 


with a limited fork.  

You are able 

to connect 

dots, bits and pieces 

of information 

you have acquired

with your senses,

with your feelings,

with your intellect,

 


with your beliefs,

with your fears,

with your doubts,

with your regrets,

with your mistakes,

withyour hopes,

with your dreams,

with your certainties,

with your illusions.

 

You are a poam of (an) existence (system)



making poams out of tines of existence, bits and pieces of the stuff of existence;


you make a poam 

every time you make something,


shuffling energy of thought and idea into matter,

into other forms of energy.

It's as if every perceptual tool we have is a form of, iteration of, tine of 


Harold's purple crayon

 

with which he maps and makes configurations of reality as he moves, as he lives and thinks dynamically; 

a configurable, flexible system of being

(Crockett Johnson's Harold has known this publicly since 1955).  From the outset,
Harold was a pro at limited forking, and he used only a single chalk tine.

 


Many factors contribute to how you connect the dots, particles, tines of existence into meanings.  But whether or not you find meanings, and no matter how bleak or blissful may be meanings that emerge (for awhile and recede or are modified, crushed, extended, etc), this connecting of the dots does establish that they are connectable.


And like the constellations, their being connected is more a way of seeing things

than a way of actually forcing things to exist (only) within those (impernanent, temporary) framing systems  --though they may fit (apparently) perfectly.