here

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Immersion in music playing itself, you lost in a film showing itself, wholly dancing oneself, we play playing flow flowing reverie horizoning—joy!

“Beyond words.”

So: inwordness tropes.

Yet, we’re also a window in saying how awing flight of time’s appellant cohering—release into “regioning of that which regions” (Heidegger), like the cosmos self-constellating—gives way, drawing oneSelf away into being time, freely awing, things thinging, points pointing like votexual distance emerging into nearing you, coming to you as you’re going there.

It’s a mirrorplay: bearing emerges from granting, yet given appealing enacts one’s granting.

You cause me to listen, more deeply the more you bear witness to your times, such that my reflective showing of care evinces more candor, which brings us into there being maybe higher, deeper, better, durable belonging in our time.

There being our time, here inwordly, is what there being time is all about, at best, that better times are intrinsically preferrable to common ones.

Any representation of there being immersive times frames, tropes time as—as phenomenality there being said, drawn, filmed, scored, so on.

Articulation is distanced—or not: depending on one’s sense of belonging to the time or openness to novelty, maybe uncanniness.

“I am,” you may say, “the way of my life,” true. In immersion, being immersion (like a newborn again, yet lucidly now here), we are that, I am that. I’m that. I am.

Anyway, interness (the notion) abstracts from lived time there being. Yet, framing is what we do: articulation differentiates relating from immersion or self-presencing of our interal times.

But interality is here, there, given, giving: you, me, the starry night, some dearly loving letter, giving in being given, given in giving letters, life, world.

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