"the expanse (though not the leverage) of a bird's wing may be enlarged with little alteration."

"Again, since the weight of a fruit increases as the cube of its linear dimensions, while the strength of the stalk increases as the square, it follows that the stalk must needs grow out of apparent due proportion to the fruit."

D'Arcy Thompson, On Growth and Form (1917)

For me, there was never a response. Only radii, culminations.

As you said: a lilac, a strict ratio. Into fields once mine—a Chinese plum-tree which accumulates/amasses but doesn't grow. This is what's otherwise known as undulation, as coiling. The same is true of sunflowers, the closely arranged floret, the distances between tensions, notches, systems, then the transitions from curvature to lobe. An interval may be described either as "time-like,” "light-like" or "nondegenerative." Similarly, my sense of the divine was simply a strong impression of overlapping. Months later, I looked into the future. Inflorescence was an expression of distance. There was a certain law of inertia but it was different.

We remember buoyancy as one of the first non-linear forces in life. Except that we are laid by in a forest, whose summer fires decuss though don't result in outright angles. Instead the hot chiasmus begins at one edge and crests into another, at borders that fan fields. The few angles in the world that are truly obtuse, for instance the arching that occurs at the base of a frond. Our strands, coils, and sub-coils of alveoli—subcutaneous but at the quick / quickening. Those who then came after the horizon. A tightening, an abdomen that results in our first hymn. Duration was our first indicator, intuition was the second. In other words, the anatomies which desiccate on hooks, "corded somewhat after the fashion." The corresponding figures located in / under the skins, in other words the flaky under-scales, the incisions that when pushed back together compress again to a nudity. The gentler networks versus the visible ones. The variable strata of redness which indicate how thick or thin a lattice is. My body composed, larded in its triumphal ovals, crowns, delights inviting circularity. This circularity technically known as an amputation. At which point fractals will be easier for afterme to infer, easier for me to isolate and define. For instance, the waterfalls which act coextensively, layer after layer, reminding us of that which is the most visible or obvious. The waterfalls that maintain resemblance to one another, the cool shades functioning like reappearances or rains. The cuts which result in dimensionality, diaphony. The nightmare in which I find myself unable to flinch; OR, in which an animal turns into a black disc but never back again. I still remember the day I learned the phrase riparian zone, the littoral interface between river, shore. Like a prism, a thistle's a kind of trope, a field of rotators. Our mother, then in pain, picking shards of glass out of the palm of her hand with a sewing needle. That's what you get for buying the cheap crystal cups. Code is a privacy that splits. A seed is also a privacy that splits. In other words, the species-relative of the hanging garden: tissues that hover, accumulate, then slacken. Then lay by. This is what is known as skinning. Warmth reversed, into a "gill heart." How can I begin to describe it? How can I begin to show my gratitude? A lymph that extends well beyond the intertidal zone, the insignificance of lyric in the face of pure texture, intervening univocality. Geometrically, historically, the loop was our first raveling, our first experience of intuition, duration. A chain of flowers leading us on to a stronger sense of tesseracts. The re-oxygenation which occurs simultaneous to tautness, caution, visualization. Or, as in all black eyes, simultaneity as it is coupled with seriousness. A slope brambled / unbrambled by black berries. A kind of toggling which results in a not-unfamiliar silkiness. I carried that knowledge of salmon with me throughout high school, into college, an elegy both within and without. Frost preceding fracture. Friends moving in far-off fields. The sea-shell is the last pristine example of adaptive pressure, irreducible to externality, gradual though not repetitive. A pristine oscillation. In other words, a type of hymn, chorded from the voice-box. Velvet as an anti-topography, liminal in itself, the type of blackness that can be described as pre-thermal or "core." My mother responded with cusps, cups. It was not enough. When was the last time that reversibility was enough? Heat loss should be proportional to the surface of the animal. A surface is reversible as long as it isn't prone already to dissipation or desiccation, thus prone also to shreddings, unveilings. The series of stairwells / redwoods that precipitates vulnerability. I was ready to accept, as was the rest of my community, the consequences of our decisions, our terra-cotta lattice-work, our petals becoming angles instead of signals. The cantering motion inherent to or reflected by a lattice. In other words, four legs and feet propelled cross-wise, decussing in a dynamic four-step pattern. The nest is another example of a dissipative structure. Notice that there is no such thing as a completely rounded leaf. In other words, a system facilitates hypertrophic surface, which results in topography or rings of latitude. Every system or sense of loss. A forest, a simultaneity, no, an underbrush. Unraveling typically occurs from the top down. Originating at the canopy or emergent layers. Leaf area index (LAI) is key in both understanding and comparing plant canopies. Or, if I stood over you, averting my gaze, the daily occlusions conceived of as axial, as smoky. Mimesis was our last way of understanding, our last mud-smeared episteme. Knowledge can only come now via tampering, via bio-silk. Silk-screen vs. cheese-cloth. Other textiles, other flax, other incursions. The IEDs that undergird a canopy. Somehow it became difficult for me to think of a body of water in terms of a duration. A waterfall is not a composite structure, it is an outpouring. A lake is not a form of classification. The difference between classification and genre is that one (classification) implies striation while the other (genre) is a distribution of effect. There may well be a mathematical law of growth which can systematize the ordering of florets. Sometimes we can look into each other's faces and get an impression of translucency, as though one portent were floating atop another. Imagine a handful of seeds floating atop a pool of oil or blood. Atop / akin. This is only possible as a result of hypertensive strength, as a result of surface tension and dipole-dipole attraction. Akin to swallows, "showing [themselves] through the lattice." In the new world, you can describe LAX in terms only of its vectors—its shape classified as millefiori. In the new world, we have ratios to depict a lapse rate, ratios that extend into glaciers, other planar fixtures. This can also occur between water and glass. This can also occur between flexure and shell.