A Note on the Work

These text and image pairings are excerpted from "The Anthropocene: A Null Set for Puppets?", the first section of a full length manuscript in-progress — Light Each Pause: My Continuum Hypothesis, which revisits Georg Cantor’s notions of infinity relative to planetary glacial melt. Within these encaustic paintings, found puppets (and a purchased automata made by Jeffrey Maib) play with our precarious hour. Though whimsical, they ask: “How shall we then live?” Poems scour the history of set theory to posit a viable “constructive set” within which we mortals can flourish. Breakthrough moments in the life of Cantor’s “Continuum Hypothesis” offer hope (e.g. works of Kurt Gödel and Paul Cohen as showcased in Dana MacKenzie's The Universe in Zero Words). So does Paul Klee’s art and notebooks. Post-election, I now need to rewrite (overwrite) the overlord with a new set of poems.

The Anthropocene: A Null Set for Puppets?

Null Set for Puppets?

piano hammer, a pony
doorstop, a slippery slope

no. merely measure
making an opening

a singular 16th note

silenced portal, beauty
playful pail, this ladder

less a scale than a boat
shoehorn, a giant anchor,

{ } a little bit infinite

                               Pause is not a null set


        (not anything to do with emptiness).


                Pause is a puppet.

                        Later, a lady, is the puzzle


                of a countable
        disjoint union


                                (negligible set Y
and measurable set X).


        ((a story of difference))


                        One defines µ(Y) to equal µ(X).


After, a good helpmate, is the logic:


       “A measurable set X is called a null set if µ(X) = 0.


       A subset of a null set is called a negligible set.


       A negligible set need not be measurable,
              but every measurable negligible set is
                     automatically a null set.


       A measure is called complete


              if every negligible set is measurable.”

A Quick 16th Note

“somewhere”              repeated

our diminishing

physiological space

our atmospheric thinking

as if “the” 7th movement

whimsy subpoenas “again”

& “against” & “invented

angels               angles”


Arithmetically in His Bauhaus Course Notes

        another canon
        another excess toward totality

                      a periphery

        each barb of the feather
        aligned as wing


        oblivious to yellow




to follow
                X’s elevation of Y

        a waxwing’s call, encaustic merger

                growth                        upheaval

                                not enough
                        not enough
                not enough

a new animality?


When Merleau-Ponty Adopted Jacob von Uexküll’s Account

of animal & its “Umwelt”
I was born (edge
of a sapphire mine, fishery)
and promptly moved

at 58 (edge
of a cement mind, fishy)
I am still
“a melody singing itself”

who isn’t?
a dark lake treble
a linen fold
a susceptibility        to color
                             to analytic method
                             to crisscrossing
                             sensory pathways

By Page 117, We Are Back in 1911

Kandinsky’s sound-color
(hear the skipjack?)
Merleau-Ponty’s “permanent
sensory commune”
how we speak
below (:) residue halo
the visible stiffening
neck’s back
oboe throat too warm
too skeptical

Lori Anderson Moseman

Lori Anderson Moseman's poetry collections are Flash Mob (Spuyten Duyvil), All Steel (Flim Forum Press), Temporary Bunk (Swank Books), Persona (Swank Books), and Cultivating Excess (The Eighth Mountain Press). Her chapbooks are Host (Nous-Zōt) and Walking The Dead (Heaven Bone). A collaboration with book artist Karen Pava Randall, Full Quiver, was released by Propolis Press in 2015. To celebrate writers and artists whose creativity buoys others, Anderson Moseman founded the press, Stockport Flats, in the wake of Federal Disaster #1649, a flood along the Delaware River.


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