• This is a work of prose. The main difference between poetry and prose is that prose uses the natural flow of speech in sentences and paragraphs, while poetry uses a more structured form, often with lines and stanzas, and emphasises rhythm, meter, rhyme and other (ethnographically-specific and/or international) linguistic structures and devices. 
• “Dimension” is such an interesting concept word! In poetic writing, “dimension” refers to the multi-faceted qualities of the composition, generally broken down into three aspects: (i) the lexical thematic dimension (meaning and theme derived from word choice): (ii) the visual dimension (the poem’s visual evocation and shape on the page) and (iii) the rhythmic acoustic dimension (the sound, meter, and rhythm created by the words). In addition to these three, some literary scholars also refer to a “fourth dimension” that is specific to each reader. This dimension includes the individual reader’s background, beliefs, and unique perspective, which moulds their personal comprehension of the poem or work of prose. In physics, the fourth dimension, as time in space-time, is considered to form the cornerstone of our comprehension of physical laws and predictions. The theories of modern physics, like Einstein’s general relativity, rely on this concept. Dictionaries, Merriam-webster for example, define the fourth dimension as something outside the range of ordinary human experience.
• No Dimension, No Intersection is a visually-evocative work. This refers to something that creates a vivid mental image or strong emotional response in the reader. It uses descriptive language (art, or other media) to stir feelings, memories, and sensory experiences by painting a clear picture using words in one’s mind. In writing, such visually-evocative imagery helps readers “see” a scene, person, consideration or emotion as if they are there. Poets and writers use descriptive words, metaphors, and other techniques to create this effect.
• From another perspective, No Dimension, No Intersection is a tender meditation on the intersection of memory, time (past, present, future) and “emptiness” of conventional reality, (a key concept in this Mongolian lineage of Gelugpa Buddhist logic). The technique of posing a question, “Is this only memory, or something that truly once occurred?” is used for philosophical reasoning, a compositional strategy, that in western scholarly circles is referred to as Socratic questioning (named after the Greek philosopher Socrates).

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FURTHER READING

For another poem where appearance opens into perception, see Mongolian Poetry 66: Like An Illusive Image.

For a related meditation on the movement of thought see Mongolian Poetry 45: Do You Remember,

The shift from written contemplation into digital artwork finds a a visual expression in Artscape 17: Hallway Installation.

For a methodological perspective on moving between forms of knowledge and expression through intermedia, see Letter from Mongolia 18: a deliberately interdisciplinary practice,