One of my poems that conforms to the Chi Psi Phi poetic form had been published by Poets online. Check on of Grass and Gravel Times for details and links or use the links to the right.

Although it was not planned this form may be a subtle parody of counting syllables and adherence to form while using it convey a deeper image that goes beyond human language and drills down to the spiral genetic code that we all carry within us. The vanishing point of Fibonacci Rectangles, origin point of the logarithmic spiral, has been referred to the Eye of God (Spirit, my addition) by mathematician Clifford A. Pickover and referred to by Livio is an image that is important to me because it strives for a perfection that eludes the inherent ambiguity of language that is both beauty and curse of finitude—a contrast of the physical and spiritual. It is an image that can be develop outside the mind anyone in a nearly perfect representation by using formulas and tools such as a computer program which is not the case with poetic imagery.

On the other hand, a poetic image may be interpreted and thence stimulate a visual artist to produce a piece of art to reflect the poet's image—it could go the other way too. Neither image is in competition with the other but can work together to clarify the message. Thus by incorporating both images into a poem, it spans the spectra from art to science, mind to spirit, human to divine.

Given the glimpse I provided on Friday and the long hiatus from regular posts I will try to provide some additional information about Chi Psi Phi that has occupied much of my time over the past few months. While the following list is by no means extensive and inclusive, it does give some indication of the flavor of the background although it should be considered more a sketch than an outline.

Reading List for Chi Psi Phi

Wilber, Ken. 1997. Eye of Spirit: An Integral Vision for a World Gone Slightly Mad

Livio, Mario. 2002. The Golden Ratio

Ross, A.C. 1997. Mitaye Oyasin

Hofstadter, Douglas. Godel Escher and Bach.

Hofstadter, Douglas. 1995. Fluid concepts and Creative Analogies.

Dennett, Daniel C. 1991. Consciousness Revealed

Grothe, Mardy. Chiasmus

Museum of Harmony and Golden Section


The Golden Ratio


Global Consciousness Project-Poetic History

Four Prophesies of Stalking Wolf

Haught, John F. 2003. Deeper than Darwin. Westview Press.

Goleman, Daniel. 1995. Emotional Intelligence


The kernel of this project is exploration of the metaphysical relationships between religion, science, and art. The first part is to illustrate the conflicts inherent in Western Dualism in symbolic forms through the combination of poetry and art . I employ symmetry expressed by the golden spiral, aka. Fibonacci Series, and the chiastic and stornello literary forms. I use symmetry to exemplify inherent conflicts and to personify the differences between humanity (imperfect or finite material being) and the Divine (perfection or infinite pure spirit).

I am particularly influenced by the work of M.C. Escher, but also by much of western artistic tradition especially Da Vinci and the writing of John Ruskin whose intellectual influence has been largely corrupted and misrepresented by the attributing the actions of Cecil Rhodes solely to his intellectual dominance. Of course, an admiration of Ruskin would imply that I have a sensitivity for Turner landscapes. I do. Rural venues have been and continue to be an abiding inspiration for me, especially the prairies or steppes that humanity has never engaged much above the level of fear and temporary occupation yet inspire the spirit in a special “madness” that began on the Scythian plain and continues to this day.

I will provide an example of the poetic form in the near future. It will likely take the form of an image of the written word in an appropriately chosen geometric setting. I have to figure out how to do that first. :-))