At best, the image could be the result of internal proportionality, internal relationships. And not even a result, but rather only imagination or dream. For the second poem now reaches right into the relationship box: The Triangle becomes a number line, a means of representing time. And time itself appears as a container for completely different relationships. It is "the intersection of love", it rustles, it is the open space of dreaming. – However, as these meaning-laden determinations are at the same time bent back to Vordemberge's "yellow picture", the picture now also emerges as referential, as representative, even as an illustration of externality – right up to the analogy "intersection points – moon".
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Erlhoff M (1990): millimeter und geraden - oder: Über die Erotik von Produktion und Anschauung.: "Typographie kann unter Umständen Kunst sein": [Ausstellung], Landesmuseum Wiesbaden, 6. Mai-8. Juli 1990, Sprengel Museum Hannover, 18. November 1990-3. Februar 1991, Museum für Gestaltung Zürich, April-Juni 1991. Wiesbaden: Museum Wiesbaden, 69–74