Island trailer jams, mind-speed media, animal tempo, Meher Baba translation, and a Venetian exorcist—poetry, truth, and friendship.
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On a Danish island, Jed pairs a thrift-store drum-pad with a punk-moaning flute while watching wind, crows, and rabbits fold into his nervous system—“it feels as if I’ve become the island and the island has become me.” He calls Sean at sunrise by the San Lorenzo; they trade fresh poems (turkeys!), swap craft notes, and map mind-rate vs. heart-rate attention (TV’s fast cuts vs. the body’s slow boil). They unpack Sean’s transliteration of Meher Baba—how to honor Bow’s words and keep lyric rhyme alive—then dive into AI as collaborator (use it, but “get in there and mess it up” so it stays human). Jed reads a hot slice from his Father Pellegrino Ernetti/Chronovisor novel—exorcism, chant, tuning-fork acoustics, Venice humming like an instrument. Through it all: process over perfection, animals as metronomes, and a pledge to publish instead of over-editing.
Choice quotes:
• “The process of the art should have something to do with the product.”
• “The mind is the boil’s bubbles; the heart knows the moment it’s boiling.”
• “We’re tuned to a human essence we don’t yet have words for.”
Cool concepts:
Island→self permeability: living in a Danish trailer, flute + thrift-keyboard jams; wind, waves, birds, and rabbits become extensions of attention and body.
• Sound pairing & friction: punk-off-key Native American flute vs. lo-fi game-pad beats; the “moan”/yell of punk against grid-accurate rhythm.
• Animals as cognition cues: rabbits as “thoughts,” crows, sea hawks, salmon, turkeys, a bald eagle—nonhuman tempo calibrates perception.
• Mind-rate vs. heart/body-rate: TV/news cut frequency equals “mind speed”; heart/body intelligence moves in slower, wave-scale shifts (boiling-pot metaphor).
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• Poetics method (Sean’s “working practice”): state what is, then circle the indescribable from multiple angles so fragments cohere into one felt object.
• Process purity vs. over-editing: the labor of reconciling multiple drafts can strip life; product should carry the energy of its making (Rooibos/tractor treads).
• Transliteration dilemma (Meher Baba project): fidelity to Bow’s words vs. English rhyme & lyric flow; two versions vs. a harmonized single text; do it “in love and harmony.”
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• Chronovisor fiction thread: Pellegrino Ernetti, chant, exorcism, tuning-fork acoustics; Venice as resonant instrument; vibration/sex/chant fields; “publish, don’t dither.”
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• Ethos of truth: truth is felt at heart-rate, not forced; “the red button” problem (performing for publication) vs. writing like a letter.
It feels as if I’ve become the island and the island has become me.”
• “The rate of media… is mind rate. We need a balance of head and heart.”
• “Trying to make it truthful and you’re already fucked.”
• “Those are the anchors to the depths… one line of truth inside crystal-clear prose.”
• “The process of the art should have something to do with the product.”
• “Now when I drink rooibos, I just taste like micro-rubber.”
• “We’re getting surged with the non-human… we’ll realize we’re tuned to a human essence we don’t yet have words for.”
• “A poem circles the thing—none of it pokes it too hard, all of it points at it.”
• “The mind is the boil’s bubbles; the heart knows the moment it’s boiling.”
• “You have to not do that—three screens open is a way to be mind-fed.”
• “It doesn’t sound pleasing… two worlds not quite fitting yet, though you can hear they want to.”
• “Best artists forget they’re on stage—or they feel the whole audience as one body.”
• “Publish it. You don’t need other people there to make it good and real.”
• “My poems are always about the same things… records of what has moved me.”
• “Animals know. The slow soar of a bald eagle might be the better pace.”