Poem fractal
0.035 apart. A smaller distance means the lines are built more alike.
This number is read from the build of the lines. The bright edge is that number, carried outward until the pattern repeats.
by Mina Loy
−0.3132 + 0.1994i
Drawing the boundary…
−0.3481 + 0.2051i
Drawing the boundary…
Each poem scrolls on its own, so the two texts stay beside each other.
by Mina Loy
I don't care
Where the legs of the legs of the furniture are walking to
Or what is hidden in the shadows they stride
Or what would look at me
If the shutters were not shut
Red a warm colour on the battle-field
Heavy on my knees as a counterpane
Count counter
I counted the fringe of the towel
Till two tassels clinging together
Let the square room fall away
From a round vacuum
Dilating with my breath
If it is not my portion to meet thee in this life
then let me ever feel that I have missed thy sight
- let me not forget for a moment,
let me carry the pangs of this sorrow in my dreams
and in my wakeful hours.
As my days pass in the crowded market of this world
and my hands grow full with the daily profits,
let me ever feel that I have gained nothing
- let me not forget for a moment,
let me carry the pangs of this sorrow in my dreams
and in my wakeful hours.
When I sit by the roadside, tired and panting,
when I spread my bed low in the dust,
let me ever feel that the long journey is still before me
- let me not forget a moment,
let me carry the pangs of this sorrow in my dreams
and in my wakeful hours.
When my rooms have been decked out and the flutes sound
and the laughter there is loud,
let me ever feel that I have not invited thee to my house
- let me not forget for a moment,
let me carry the pangs of this sorrow in my dreams
and in my wakeful hours.
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. The large form and the small form are the same kind of thing. A poem can be drawn that way. The shape of the whole comes from the shape of the lines.
Primunia is the name for the source of that order: the pattern under the pattern, already there in a tree, a shell, and a verse.
The number under the picture is the poem constant. It is read from the build of the lines: their length, how uneven they are, the size of the stanzas, the share of vowels, and the way the lines end. A new word moves the number when it changes that build. The same poem always gives the same number.
Drawn on its own, that number sits in a quiet part of the plane, and most poems would look like the same soft disk. So the number is carried outward along its own direction until it meets the edge of the Mandelbrot set, where the shape turns sharp. The picture is the Julia set of that meeting place.
Each point on the canvas is folded again and again by one small rule. Points that stay near the rule form the dark interior. Points that rush away become the coloured bands. The hue comes from the poem constant, and the brightest bands turn toward gold. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
Branching draws the poem as a tree. Each turn follows a line, and every smaller branch repeats that pattern. A longer line reaches farther. The letters at the start of a line bend the next turn. A higher share of vowels opens the branches wider.
The trunk takes its colour from the poem constant and warms toward gold at the tips. When the poem has more than one stanza, gold forks leave the trunk. Each fork is a stanza beyond the first, up to three. The tree divides where the poem divides. One stanza remains a single trunk.
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