Geometric Poetry Quotes

CIRCLES OF LIFE Everything Turns, Rotates, Spins, Circles, Loops, Pulsates, Resonates, And Repeats. Circles Of life, Born from Pulses Of light, Vibrate To Breathe, While Spiraling Outwards For Infinity Through The lens Of time, And into A sea Of stars And Lucid Dreams. Poetry by Suzy Kassem

So all night long the storm roared on: The morning broke without a sun; In tiny spherule traced with lines Of Nature’s geometric signs, In starry flake, and pellicle, All day the hoary meteor fell; And, when the second morning shone, We looked upon a world unknown, On nothing we could call our own. Around the glistening wonder bent The blue walls of the firmament, No cloud above, no earth below,— A universe of sky and snow!

Because it is occasionally possible, just for brief moments, to find the words that will unlock the doors of all those many mansions inside the head and express something - perhaps not much, just something - of the crush of information that presses in on us from the way a crow flies over and the way a man walks and the look of a street and from what we did one day a dozen years ago. Words that will express something of the deep complexity that makes us precisely the way we are, from the momentary effect of the barometer to the force that created men distinct from trees. Something of the inaudible music that moves us along in our bodies from moment to moment like water in a river. Something of the spirit of the snowflake in the water of the river. Something of the duplicity and the relativity and the merely fleeting quality of all this. Something of the almighty importance of it and something of the utter meaninglessness. And when words can manage something of this, and manage it in a moment, of time, and in that same moment, make out of it all the vital signature of a human being - not of an atom, or of a geometrical diagram, or of a heap of lenses - but a human being, we call it poetry.

If a man is at once acquainted with the geometric foundation of things and with their festal splendor, his poetry is exact and his arithmetic musical.

Whether we like it or not, if we are to pursue a career in science, eventually we have to learn the “language of nature”: mathematics. Without mathematics, we can only be passive observers to the dance of nature rather than active participants. As Einstein once said, “Pure mathematics is, in its way, the poetry of logical ideas.” Let me offer an analogy. One may love French civilization and literature, but to truly understand the French mind, one must learn the French language and how to conjugate French verbs. The same is true of science and mathematics. Galileo once wrote, “[The universe] cannot be read until we have learnt the language and become familiar with the characters in which it is written. It is written in mathematical language, and the letters are triangles, circles, and other geometrical figures, without which means it is humanly impossible to understand a single word.

Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.

It may appear surprising that sensibility should be introduced in connexion with mathematical demonstrations, which, it would seem, can only interest the intellect. But not if we bear in mind the feeling of mathematical beauty, of the harmony of numbers and forms and of geometric elegance. It is a real aesthetic feeling that all true mathematicians recognize, and this is truly sensibility.

In our work titled “On Nature and Against Method, Reflections & Propositions,” in Proposition XXXVII, we stated the following: The ancient Ionian thinkers and natural philosophers who had, in a sense, transformed into the fire of Heraclitus, namely the masters of the Milesian school, the cradle of civilization, await the reemergence of this Ionian vision, which we have described as a kind of reverie, within Blue Anatolia. Science, which is now struggling within a profound darkness of processes and risks coming to a complete standstill in its progress, may yet be revitalized by minds that will once again inherit and internalize the approaches of these Ionian thinkers toward nature. Today more than ever, there is a need for Thales’ water and magnetism, Anaximenes’ breath, Anaximander’s apeiron, Anaxagoras’ ordering mind, and Xenophanes of Colophon’s counter-awareness, his narratives, and his poetic sensibility. In this spirit, alongside our discourse on contemporary physics and astrophysics, we have undertaken a postulate not previously articulated, one that unifies nuclear strong interactions, neutron star physics, biophysics, and topology under a single framework, where a topology-centered new geometry prevails rather than the conventional hierarchy of physical forces. Just as the masters of the Ionian tradition, Empedocles and Anaximander, conveyed their insights through a poetic feast in their works On Nature, we too have woven these ideas into the fabric of nature through our poems. In doing so, we have prioritized form over meter. This form, inseparable from consciousness, existence, and knowledge belonging to this new geometry, establishes a new morphology, acting as a boundary condition that shelters our words, preventing them from being dispersed within the labyrinths of the cosmos. In the philosophical walks by the lakeside, frequently contemplated by Gödel and Einstein, and placed, in Paul Benacerraf’s terms, upon paired circles that avoid reducing our postulate to either of the two axes of philosophy, ontology and epistemology, we instead enable a holistic interaction between them. While incomplete encounters within mathematical and geometric solution spaces find completion in Hilbert space, transcendent reflections on nature and our challenges to method form the essence of this work. In this context, rather than a conventional poetry book or a mere collection of arbitrary texts, what emerges is a meta-text: a systematic inquiry into nature in which intuition and science are interwoven, expressed through poetic form. Moving beyond contemporary literary tendencies that often confine poetry within blocks of prose or reduce it to brief expressions relegated to journal margins, we have tested poetry as not a decorative element but as a constitutive principle of existence. These transitions, imbued with reason and transcendence between layers of perception, have brought us one step closer to the harmony of poetic expression and, ultimately, to mathematics and geometry, the language of the universe itself. May this work serve as a guiding cosmological atlas for an intellect that seeks both truth and itself across interwoven meta-texts, in its comprehension of the infinite nature of reality.