Yes, it's interesting to (boring old) me to think that the architectural-numerical dimension started also (along with so much else) with Mandelstam. He wrote several poems about buildings, and Omry Ronen (Approach to Mandelstam) outlined some of the complex internal architecture in two of his longer odes. This is what got me started down that path. It's such a big part of traditional writing, but 20th-cent. & contemporary poets don't seem to go there much.

In writing various long poems over the last 15 years I've found that the numerical calculations & structuring are very helpful, they become part of the thinking/planning process, they mesh with the subject-matter in various ways... I find these "rhymes", which serve to synthesize my own private experience with other things...

Music - architecture - poetry. Keeps the wrangling litter-world at bay.

Reading an interesting book about the mathematician Georg Cantor, of infinity & set theory fame. Proved that any point, numbered on a grid of any dimension (2, 3, 4, 5 dimensions...), can also be located on a line (1 dimension). Not sure why this was so shocking and revolutionary back in the 1880s, since a point is defined as dimensionless, hence you could locate infinite points anywhere. But I'm not a mathematician.

But it makes me think of poetics of Mandelstam & Joyce. Mandelstam describing poetry as an art whose humble exterior disguises a multidimensional reality of "terrifying density". Omry Ronen, in his book Approach to Mandelstam, took him at his word, and in a huge book analyzing just two poems, gives them an image of allusive INFINITY : each LINE bearing so much weight of fused & transmuted literary echoes & other references. Joyce does something similar in the prose of Ulysses & FW.

And of course verbal art in general is a process of compressing multidimensional reality into a near-dimensionless medium.