The way you talk about the operation in which poems need to be worked up between the hitting and not hitting is deeply nuanced. I don't know how this squares with Harman's more blunt working of objects that exist somehow behind and apart from their disruption(which any contact involves). Aren't object-forms made from disruption? I think the retreating object is between every on-off contact-human or otherwise- some zero balance point that only exists through this operation- the interferance pattern. Only through that can it equate something inbetween. Contact and non-contact are deeply entwined. Spatially they are a unit.
The way you talk about the operation in which poems need to be worked up between the hitting and not hitting is deeply nuanced. I don't know how this squares with Harman's more blunt working of objects that exist somehow behind and apart from their disruption(which any contact involves). Aren't object-forms made from disruption? I think the retreating object is between every on-off contact-human or otherwise- some zero balance point that only exists through this operation- the interferance pattern. Only through that can it equate something inbetween. Contact and non-contact are deeply entwined. Spatially they are a unit.
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