At its core, Infinity Strings by Hifsa Ashraf and R.C. Thomas is a meditation on transience, on the flickering presence of things as they arise, shift, and dissolve. Using the collaborative form of tan-renga, the poets weave a speculative tapestry of human existence, artificial intelligence, and the vast cosmos, all while maintaining the subtle depth of haikai tradition. More than a mere collection of linked verse, this book is a study in mono no aware—the bittersweet awareness of impermanence—and ma, the space between things that gives resonance to what is left unsaid.

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Beyond the individual poems in this sequence, the very structure of tan-renga reinforces these themes. Unlike longer linked-verse forms like renku, tan-renga consists of only two parts. This brevity amplifies the impact of ma, allowing the space between the two stanzas to serve as a silent field where meaning takes root. The tension between the first and second poet, the shift in perspective, the extension or redirection of thought mirrors the larger theme of transition.

 

The opening verse immediately sets the tone for this exploration of identity, technology, and human existence:

aurora
stepping out
of the primordial self

an Oculus
sunrise

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[Note: Ashraf’s stanzas are in regular font, Thomas’ are italicised]

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Here, the first stanza evokes emergence, both in the natural world (aurora) and in the formation of identity (the primordial self). The phrase suggests something ancient, an origin point, whether evolutionary or personal. The second stanza, an Oculus / sunrise, shifts this emergence into the technological realm. “Oculus” references not only the human eye but also virtual reality, particularly the Oculus VR headset. The juxtaposition of sunrise and the artificial Oculus hints at a new kind of awakening, one mediated by digital experience.

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This tan-renga exemplifies ma. The leap between the two stanzas leaves the reader suspended between natural and artificial evolution. The silence between them allows meaning to resonate: is this an expansion of consciousness or a substitution of the real with the simulated?

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Such interplay between presence and absence recurs throughout Infinity Strings, reinforcing the theme of mono no aware. In the context of haikai, mono no aware is not simply an elegy for what is lost, it is a heightened awareness of the passing moment. Another tan-renga embodies this delicate sensibility:

 

Chicxulub impact
space between us
opening up

the Pandora’s box
of here and now

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This poem evokes a collision, both literal and existential. The Chicxulub impact, known for its role in the mass extinction of the dinosaurs, serves as an immense force of transformation. The first stanza captures the rupture: space between us / opening up, implying not just physical distance but also an irreversible shift in understanding. The second stanza expands on this disruption: the Pandora’s box / of here and now. This moment suggests that once the rupture occurs, there is no return to a previous state; what has been unleashed must now be reckoned with.

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Again, ma plays a crucial role. The space between these two stanzas is where the weight of change is felt. It is in this silence that meaning lingers, emphasizing not just destruction, but the unknown that follows. This is mono no aware in its most profound form: an acceptance of change, even when it arrives with force.

 

parallel Jupiters
orbiting
our whispers

the pull and push
of zero gravity

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This verse captures the vastness of distance, both literal and metaphorical. Two Jupiters—massive, powerful—circling one another, yet never touching. The phrase “our whispers” introduces an intimate contrast: something small, fleeting, and delicate, existing within this grand cosmic motion. The second stanza extends this sense of precarious connection. (T)he pull and push / of zero gravity suggests a state of suspension, a relationship held in balance but never fully grounded.

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Again, ma plays a crucial role. The pause between the two stanzas allows the tension to settle—an unspoken force holding two entities in place. The reader feels the weight of what is not said, the impermanence of closeness. This is mono no aware in pure form: beauty held within the fleeting moment before it drifts apart.

 

One of the book’s most evocative examples of mono no aware appears in the following:

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tracking algorithm
on the solar panel
midnight stars

dreams burned
into sleep

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Here, the first stanza presents an image of technology measuring celestial motion, quietly observing the passage of stars. The second stanza shifts the focus inward: the ephemeral nature of dreams, imprinted yet fading. The interplay between external observation and internal transience reinforces the fleeting nature of human experience. Mono no aware emerges not in grief, but in quiet recognition—everything is passing, even as it leaves its mark.

 

Haiga as Part of the Unfolding

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At first glance, the interspersed graphics in Infinity Strings might seem like fanciful illustrations, but a closer look reveals them as true haiga—visual-poetic compositions that deepen the book’s themes. The formulas and sketches aren't merely decorative; they act as subtle blueprints for understanding the book’s exploration of AI, technology, and human perception.

[INSERT JPG: binary staircase]

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One of the most striking haiga features a stair-like progression of binary code, overlaid with physics equations and cosmic imagery. The cascading numbers suggest both an ascent and an infinite loop, mirroring the recursive nature of algorithmic thought. The surrounding scientific diagrams and planetary symbols merge the mathematical with the celestial, reinforcing the book’s interplay between structure and boundlessness.

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​Another haiga pairs the molecular structure of caffeine with the formula for photosynthesis, accompanied by floating "zzzz" symbols. The presence of “zzzz” suggests both sleep and digital suspension, hinting at modern life’s oscillation between hyperstimulation and exhaustion. The contrast between photosynthesis (a natural process of energy transformation) and caffeine (a chemical stimulant) highlights a broader theme: the tension between organic rhythms and artificial acceleration. Meanwhile, the digital clock reading “00:00” suggests an eternal moment of reset—neither ending nor beginning, just looping.

Like the poems in Infinity Strings, these haiga embody mono no aware by balancing structure and dissolution. Their elements seem temporarily arranged, ready to disperse—an ephemeral arrangement of meaning, mirroring the fleeting nature of the tan-renga themselves.

 

Conclusion and Summary

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The book’s final verse leaves the reader in a state of apprehension:

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final judgement
screams dilute
the darkness

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emitting us only
LEDs

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This closing moment starkly redefines the speculative thread woven throughout Infinity Strings. The first stanza evokes a moment of reckoning—screams dissolving into the vast, indifferent void. The second stanza shifts toward the artificial: LEDs replacing human presence, reducing us to signals in the dark. Unlike previous poems in the sequence where mono no aware was tinged with wistful beauty, this tan-renga offers no such solace. The silence of ma here feels absolute. What lingers is the cold permanence of artificial illumination. This dystopian finality underscores the collection’s most urgent question: What happens when technology outlasts us?

 

Throughout Infinity Strings, Ashraf and Thomas use the tan-renga form as a lens for examining the ephemeral. Their work does not just explore the speculative future; it mourns the moments already passing as we step into it. This balance between presence and absence, statement and silence, is what gives the book its emotional weight.

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We stand at the intersection of technology's integration with humanity, a new awakening on the cosmic scale—both glorious and terrifying—and at this point, inevitable. Infinity Strings does not simply examine the speculative future; it reveals how we are already enmeshed in it. This collection reminds us that the divide between the digital and the organic, the human and the artificial, is blurring, flickering. . . until only the ghosts of LEDs remain.