The poetry comprising, responding to, and inspiring the musical work being showcased at the Venice Biennale.

By Dr. Geosmin Turpin

1. contact

“What do we lose when we avoid physical greetings?”

Asking the soft miracle of our matter through

cantilevered whispers of divinely sensitive instruments

A touchmanic dance confined to two dimensions

Where do we begin? Love is a full-contact sport

Craving clarity, seeking supercritical contact

Piezoelectric pressure and superconductivity

Resonant frequencies and body harmony

Tuning hypersensitive fingers, lit by sniper sight

mixing repulsive revelations, adoration and abrasion

Dislocated data devotions

a combination of obsession and attention

Superblooming into roughness and rapture

we bite to contact: razor light,

more delicate than rays of light

Tell me tracing isn’t a work of art

2. skin music

Overcoming diffraction limits by slurring a surface;

phasing out and amplitude skipping CD purring sick

Listen when the body speaks

I will be wearing armour; and will be harder to shrink

Uncleft, atomthin, stronger than steel

Crumple and fold into

superconductive roses

With all the brutality of self-assembly

Piercing and polarised

needletongued prayer

Repetition legitimizes

Feedback loop reliance

3: falling to earth

Angelcrushed by contact drift

I’ve seen a signal; make me feel noise

Max out the gain and go force-for-force

Corrosive devotion and kaleidoscopic collision

Saturated potential/counting dead pixels

Blunted and atomtipped

Twinning and mirrored

Breaking through that fawning static

Falling from heaven to hit

the ground with your back teeth                

Etching the tip in caustic acoustics

X. coda

Love is the most important experiment:

It asks for fastidiousness, and rigour

Passionate and attentive curiosity

Holding hypotheses lightly

No good poet has clean hands

But what about the scientists?