I work in the expanded field of poetics. This includes poetry as creative research, exploring other media, and collaborative practices. Composition by procedure and reuse of language have been productive ways for me to create new rhythms, and thereby, new forms of sense. The hypertrophic, unbound book, from A Book of Poems on Beauty, takes on the unwieldy topic of its title. The subject feels endlessly generative, moving from aesthetics, to ethics, to visual criticism. The urge to form conclusions is huge here, to make aphorism and declarations about beauty—and in resisting this urge, I find the project’s poetics. My poetry seeks to move beyond grammar without devolving into counter-sense, but ascending to the sensory. Not to bring more sense, but to bring more senses—meaning as an amplification of sense, of the senses. Kant’s idea of the Sensus Communis, taken up by Hannah Arendt is that we all know collectively when art is good or not, we all share “taste.” For Arendt, the compelling idea was that there is something common that we could count on, a social world. For me, it’s that what is common is our bodies or rather, what they apprehend—not our individual subjectivities, like a series of equivalencies, but actually something that goes between us, that actually exists. It is that we know in common, without (or before) language.