The WingMakers materials are composed of a story, music, visual art and images, philosophy, symbolic language, and poetry. In short, this collection of media appeals to us emotionally through the art and music, and intellectually through the philosophy and story. Individuals are attracted by some things more than others and this holds true for the WingMakers materials as well. In our experience working with the materials, the WingMakers poetry is often the last component to be explored. This is probably due to the effects of our modern culture in which audio and visual mediums play a predominant role. 

Having said that, the WingMakers poetry may be just as unusual as the rest of the WingMakers materials. We are not experts in poetic literature and so cannot judge the quality of the WingMakers poems. Whether they are “good or bad” in terms of poetic structure and expression is not the basis of their offering. They are designed to stimulate our emotions and arouse our thinking along the lines of life and its meaning. Aside from these major aspects the poems also offer hints and clues to the philosophy of the WingMakers. 

Following the style of all true coded materials of an esoteric nature, the poetry discloses and veils information simultaneously. The WingMakers poetry can be very direct in its description of the philosophy of the WingMakers and Lyricus materials and alternatively, they can be enigmatic and obscure. In order to gain a better understanding of the poetry we offer the following dialogue from the second Neruda Interview: 

Sarah:
"That's interesting. Everything else - the paintings, music, artifacts, and philosophy - is placed one-per-chamber. Why do you suppose they've placed two poems in each chamber instead of one?"
Dr. Neruda:
"In my opinion it was to provide a broader perspective into the particular theme represented by a specific chamber. The poetry appears to be designed in such a way to provide both a personal and universal perspective in each of the chambers... but again, it's just a working hypothesis at this time."
Sarah:
"I assume from the examples you left me, that the poetry is also a bit less abstract when compared to their philosophy and paintings. Have you considered how the poetry is related to the paintings?"
Dr. Neruda:
"Yes. And I believe the poetry and the paintings have the strongest connection of all the objects in each of the chambers. I think the paintings illustrate - in some subtle way - the themes represented in the poetry. In some instances, when the painting represents an assemblage of abstract objects, the poetry is also more abstract. When the painting is more illustrative, the poetry seems more like prose."
Sarah:
Are you saying then that the poetry carries the central meaning of each chamber?"
Dr. Neruda:
"I'm not sure, but it does seem that the poetry is somehow implied symbolically in the chamber painting that it's associated with. The problem is that the poetry is so highly interpretive that it's impossible to know precisely what its theme is intended to be. Also, and I should have mentioned this before, but the grammar and syntax of their language is very different from ours in that they have no end to their language punctuated with periods. 
"In other words, if we made a literal translation, there would be no sentence structure... more like a logic syntactical approach... which simply means an abstracted language flow which would be, for most people, very difficult to understand. When I was doing the translations of the poetry, I placed it in a sentence structure that fragmented its meaning so that it could be better understood. Perhaps in the process I unintentionally changed the meaning, but it was either that or the poetry would be too abstracted to understand."
Sarah:
"Is there a connection between the poetry and the philosophy of each chamber?"
Dr. Neruda:
"My colleague and I felt that all of the objects within a specific chamber were connected... probably in ways we couldn't fathom. We were constantly worried that the translation indexes were somehow inaccurate, and that this was limiting our ability to see the linkages between the various objects. And of course the most puzzling connection was the technology artifacts because we had no way to probe or reach any conclusions about their purpose or function."

 Darlene and John Berges

Source: http://www.planetwork.co