Architect one.
So I'm going to stop the screen share because there's not
much formally going on there.
This poem was a trip because I kept--
I don't know.
I prefer to write in lyric.
I prefer to write--
I don't know-- according to musicality,
but it just felt like Descartes himself was like, no, you
have to represent my theory.
[CHUCKLING]
And I was like, no, I don't want to--
I don't like talky poems.
I don't like discourse in poems.
But it just kept insisting on being there.
And so this is an experiment with a discourse in a poem
but with my critique happening inside it.
In the Middle Ages, the New World, like southern Africa,
was convincingly physically uninhabitable to Europeans.
Upon encounters and alongside Descartes' newly mathematizable
world and Copernican theory, the question of humanness
became wrapped up in the differences
between man's embodiment of the image of God and the New World
inhabitants.
The physical sciences and new struggles over religious
frameworks-- new heavens, new earths, a moving planet--
produced a reasonable man located
between the lower natures of brutes and divine natures.
Here, human others, inside and outside Europe,
were identifiable enemies of Christ.
Irrational and abnormal, the creed specific,
seemingly universal conception of the human
was a natural and rational "godded man."