Background
This poem contributes to my on-going body of philosophically informed poems, and collaborative works of art in the public sphere. Philosophically, the poem intervenes in the on-going debate concerning finitude/infinitude addressed by the work of Alain Badiou, & his most recent volume: Immanence of Truths (Immanence des Verites, 2018, Fayard). The poem takes up the religiously-infused local situation known as Venice, Italy, & was created in situ as part of the Venetian Blind project, during the Venice Biennale, in 2019. Furnished with transcendent imagery to be found in the galleries of Venice, it contributes a poetic thought of immanence & infinity together.
Contribution
Created in Venice within a collaborative art initiative, & sub-project, ‘Depth in Venice’. It queries concepts of surface & depth, of medium (water, air, heavens, climate) & temporal concerns of patience & waiting, slowness & counter-intuitive velocities, which complicate common-sensical thinking, such as Gilles Deleuze has explored (Difference and Repetition 2004, Continuum) -- pertinent for a city vulnerable to Climate Change sea level shifts. (The city’s own change during COVID-19 pandemic with cleaner, more creature-friendly waters is salient.) The poem dissolves the unnecessary false distinction, after Badiou, b/w immanence, infinite thought & politics
Significance
The poet was approached by the Deleuze Studies Journal (a leading journal in the field, published with Edinburgh University Press, H-index 3) for this poem to be their cover, for Vol 16, Issue 2, 20222. They requested the poem in the form of an art work, hand-written, to reflect and enhance aspects relevant to the issue’s content. The journal has not used graphic marks of poetry before in their cover design approach, so this is an inaugural decision to acknowledge writing (poetry) in its visual/spatial contribution.