The cultural transmissions of a society like famous paintings, popular music, good poetry, and enduring religious rituals/doctrines/texts serve as mediums for the embodiment of algorithms that interact with the mind and body in looping, mostly unconscious interactions that are mutually beneficial to the participants of the society and the algorithms themselves. Useful algorithms are also found in the mind and bodies of other people, and individuals in a group can be used to outsource specialized tasks to benefit the society as a whole. Since useful algorithms must be embodied in a medium to work, there are physical limitations to the computations that can be performed in our universe.

Notable critics, including Sunday Anozie and Robert Morsberger, have branded Christopher Okigbo's Labyrinths as allusions to the Nigerian crisis of 1965, as well as Igbo traditional religion, the historical and personal idiosyncrasies, and as a literary work from Theocritus and Vergil to Howl. This article veers from such imputations into a hitherto less trodden ground. It subjects the mind of the persona in Labyrinths -from 'Heavensgate' to 'Limits' and 'Silences', and from 'Distances' to 'Path of Thunder' to behavioural patterns. The article concludes that the behavioural patterns not only define how the mind works imaginatively, but that the very imagination wrought in obscurities methodically defines madness.

Social character is the key for someone to interact with the surrounding community. Interaction and socialization need to be introduced early by parents. If the results turned in reverse, then there must be other ways to be learned and practiced in family life. This study aims to cultivate social characters to children in the Juvenile Rehabilitation Institution through poetry learning. Changes continue to occur in handling and coaching juvenile delinquency in Indonesia. Regulations for the management of coaching continue to be carried out from Law No. 3 of 1997 concerning the Law on Juvenile Justice, then it was changed to Act No. 11 of 2012 concerning the System of Juvenile Criminal Justice. Characteristics of this relatively new law contain the main mechanisms of protecting children, who have problems with the law and following the Convention on the Rights of the Child. Education in the Juvenile Rehabilitation Institution has been carried out with all the limitations and can bring changes in the correctional behavior of children to be better that makes education restore the child's identity. Education held at this institution is expected to be able to achieve the ideals of children to be more beneficial after completing a kind of inclusive education. By applying a pragmatic approach, the study expects that there will be a change in children since they can learn the contents of poems, and at the same time, they are able to express their feeling by writing poems as well. From the process of learning, social characters in children such as honesty, openness, tolerance, cooperation, will be growing step by step.

Physics has been thought to truly represent reality since at least Galileo, and the foundations of physics are always established using philosophical ideas. In particular, the elegant naming of physical entities is usually very influential in the acceptance of physical theories. We here demonstrate (using current developments in thermodynamics as an example) that both the epistemology and the ontology of physics ultimately rest on poetic language. What we understand depends essentially on the language we use. We wish to establish our knowledge securely, but strictly speaking this is impossible using only analytic language. Knowledge of the meanings of things must use a natural language designed to express meaning, that is, poetic language. Although the world is really there, and although we can indeed know it truly, this knowledge is never either complete or certain but ultimately must rest on intuition. Reading a recently discovered artefact with a palaeo-Hebrew inscription as from the first century, we demonstrate from it that this ontological understanding long predates the Hellenic period. Poetic language is primary, both logically and temporally.

It is shown how the secondary structure of proteins, musical forms and verses of poems are approximately ruled by universal laws relying on graph coverings. In this direction, one explores the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structures organizing the foldings. Then one look at the musical forms employed in the classical and contemporary periods. Finally, one investigates in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.

We present set-theoretical solutions of the Yang-Baxter equation in BCK–algebras. Some solutions in BCK−algebras are not solutions in other structures (such as MV −algebras). Related to our investigations we also consider some new structures: Boolean coalgebras and a unified braid condition – quantum Yang-Baxter equation. Finally, we will see how poetry has accompanied the development / history of the Yang–Baxter equation.

Classical Arabic poetry is a form of Arabic literature, and almost every piece of Arabic poetry follows one of the 16 meters. The rhythmic framework of the poems or the verses is called meters. The deep learning (DL) model was implemented using TensorFlow in this work using a large dataset of Arabic poetry. The character level encoding was used to convert text to integers for classifying the full-verse and half-verse data. The study evaluates the data without removing diacritics from the text. The train-test-split method with a 70-15-15 split was employed for classification. 15% of the total data was considered unseen test data for all models. The work was conducted with multiple deep learning models, including the Long Short-Term Memory (LSTM), Gated Recurrent Units (GRU), and Bidirectional LSTM (Bi-LSTM). The Bi-LSTM model shows the best accuracy of all the models specified, with 97.53% for full-verse and 95.23% for half-verse without removing diacritic data.

In this study, I will present some documentary evidence that Carlos Drummond de Andrade’s poem “A Máquina do Mundo” [The Machine of the World] (1949) was based on prior reflections contained in a forgotten newspaper article entitled “Poesia e Pesadelo” [Poetry and Nightmare] (1949). In that article, Drummond critically analyzed some of the theses of Stephen Spender's essay “What Is Modern in Modern Poetry” (1948), which had just been published in The Tiger's Eye magazine. As soon as he read Spender's text, Drummond wrote “Poetry and Nightmare” and began to elaborate a narrative poem whose protagonist would be a machine. All the documentary evidence indicates that Drummond took Spender's lessons as touchstones for the elaboration of the narrative and allegorical structure of “The Machine of the World.” According to the interpretation I am proposing here, Drummond, in writing the machine poem, put into practice at least six lessons drawn from Spender’s essay, namely: 1) the modern poet must represent the tension between the external machinelike landscape and the landscape of the inner world of the creative imagination; 2) he must also represent the machinelike, ugly, and urban world around him in a beautiful and poetic way; 3) he must avoid the misconceptions of excessive utopian visionarism, as well as creeping realism; 4) he must reject the imperative of political engagement, whose principle of action states that poetry has a transformative mission in society; 5) he must free himself from the obsession with free verse as the only form of modern poetry and start using the traditional fixed forms; 6) he must understand machines as poetic symbols of human passions, and not just as exotic objects foreign to human reality. My conclusion is that, after reading Spender’s essay, Drummond changed his aesthetic and philosophical understanding of what defines the essence of modern poetry, both in terms of form and content.

The aim of this study is to analyse the names given to streets, monuments, spots of interest, et cetera in a street guide of an imaginary city called The Manada, whose map is constructed as a painting. For this analysis, we start from the 257 entries of the Street Guide, select their possible antecedents in literature and contextualize this street guide with respect to these antecedents. Our methodology is focused on two specific aspects of the Street guide: (1) to detect the semantic fields that emerge (with a methodology inverse to the creative one, that is, asking ourselves what key questions would result in the names of the streets) and (2) to detect the literary devices that are put into practice in the names of the places on the map, in order to determine how the relationship with the viewer-reader is established from a connotative level. The main findings of this study demonstrate that this is a unique piece, a new format both pictorial and literary, and that it has transcendence in the theme it deals with: the concealment of systemic violence. Comments about feminism, apotropaic devices and surrealism end our text.

We consider a multitude of topics in mathematics where unification constructions play an important role: the Yang–Baxter equation and its modified version, Euler’s formula for dual numbers, means and their inequalities, topics in differential geometry, etc. It is interesting to observe that the idea of unification (unity and union) is also present in poetry. Moreover, Euler’s identity is a source of inspiration for the post-modern poets.

In this paper we focus on the association of sound and sense harmony in the collection of sonnets written by Shakespeare in the XVI° beginning of XVII° century and propose a new four-dimensional representation to visualize them by means of the system called SPARSAR. To compute the degree of harmony and disharmony, we have automatically extracted the sound grids of all the sonnets and have combined them with the semantics and polarity expressed by their contents. We explain in details the algorithm and show the representation of the whole collection of 154 sonnets and comment them extensively. In a second experiment, we use data from manual annotation of the sonnets for Satire detection using the Appraisal Theory Framework, to gauge the system's accuracy in matching these data with the output of the automatic algorithm for sound-sense harmony. The results obtained with an 94.6% accuracy confirm the obvious fact that the poet has to account for both sound and meaning in the choice of words.

We assume that poetic devices have an implicit goal: producing an overall sound scheme that will induce the reader to associate intended and expressed meaning to the sound of the poem. Sounds may be organized into categories and assigned presumed meaning as suggested by traditional literary studies. In my work, I have extracted automatically the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment I have computed lexically and semantically based sentiment analysis obtaining an 80% of agreement. In a second experiment sentiment analysis has been substituted by Appraisal Theory thus obtaining a more fine-grained interpretation which in some cases contradicts the first one. The computation for the second poet - regarded by many critics the best of last century - includes both vowels and consonants. In addition, it combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them.