This final section is divided into three sub-sections and is concerned with collaboration in activism, writing, community and common purpose. I have worked with Swiss sociologist, novelist, poet, sculptor and artist Urs Jaeggi since the mid-1990s, and here are parts of collaborations with discussions around their making and enactment. There is also a consideration of ambiguity (‘textural ambiguity’ – with its text/texture ‘plays’) in the making of poems on photographs, and in photographs themselves in ‘On Textures of Ambiguity – a collaborative exhibition of poems and photographs [of Will Yeoman]’, in which the subtexts of this book come into relief: ‘I am fascinated by the way apparent ambiguities come about from not being able to position an ‘object’ in relation to other ‘objects’, to set something seen in the broader context of seeing – to show the other co-ordinates around a single point; the inability to show the GPS co-ordinates, so to speak, might actually tell us more about the locally specific than the vista image, the points of reference, the photograph of the broader landscape’. The act of displaying and exhibiting has been a theme across this Poetics Trilogy, with the curatorial act always in question. From collaborating with another writer/artist, the section moves into more personal poetic considerations regarding activism. Throughout the trilogy, I have used my own poems as ongoing ‘windows’ into practice, with specific usage in tension with the ambiguities of the language arrangement, the prosody, of the texts. And we ‘resolve’ into the contradiction of supporting a cause while objecting to some of its methods (as failing, to my mind, to take in some of the contradictions in a specific ‘protest’ action). This section, and the book (other than the conclusion which address all three volumes of the Poetics), concludes with communal statements of participatory activist poetics.