A. Staley Groves is a contemporary poet. Originally from the Midwestern United States, Groves now lives in Southeast Asia and is a lecturer at the National University of Singapore. An active musician within the DIY subculture of the 1990s, the craft side of Groves’s poetry is first and foremost devoted to thinking music. This notion was informed through his subsequent study of philosophy and modern poetry with the European Graduate School. The last decade was a development of this notion into a concept, that Poetry, as a written device, reveals to the committed reader the core features of music: sound and rhythm. Through the engagement with written poetry the recovery of sound and rhythm nourishes the denaturation of thought “under the reign of Technik.” In this way, the static image, the statistical image that writing has become, is once again metabolized by the body that reads. The metabolic countermove against pervasive technologies comes by the fluid of thinking that is the imagination, an imagination we are constantly at risk of losing access to. For the human imagination hydrates an otherwise desiccated screen upon the page, in similar stride regarding the maintenance of reality through the unreal capacity of the imagination as propounded by Wallace Stevens. Stylistically, Groves’s poetry advances the secular conception of “pure poetry” with deference to the ambit that characterizes poetic thought. The general apparatus of the poetry carries distinct images through a series of phase changes. In this regard, individual poems reduce and expand distinct images. This particular and possible ontological mode of the apparatus affirms the distinctive triumph of metaphysical imagination in general. Through the disembodied expression of the poetry, the reader gains an affirmation of their singular imaginative metabolism. Finally, this ontological notion of the verse is an offering to science regarding its representative confoundment of the scientific image and technoscientific practice of reading such images.