Preface - Electronic Poetry Center

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Here there a few residences and fellowships which allow poets a year now and then (the residences are at the universities, and academics who happen to be poets can’t apply!), but the full-time artists I know are painters and sculptors. That’s a clear distinction, and a pretty recent one here: visual artists can live off their work, poets can’t. They need a day job (which is how Bruce Andrews described his university position to me).
From: John Cayley Subject: Experiments I’ve read through and felt challenged by the experiwhat? discussions on and off for some time now. Yes, it is quite wrong to fall into the trap of using the word glibly. Still, metaphors are there precisely to extend the range of words, to allow us to use them where they both do and do not signify what we previously agreed they signified. I produce texts based on procedures and algorithms similar to those in Charles B’s splendid list. The use of such procedures is of course not new, but in this (the network) context we should be much more aware of the tools now available which allow us to make literary experiments using such techniques in ‘real time’. Until recently we’ve known about these procedures and when we’ve felt ludic we’ve sat down with siccors and paste. Now, with a little more trouble, you can learn a simple programming language and do the same. But once you’ve done this, the process of compostion, perhaps of writing itself has shifted to a new site. With a machine I can get feedback from the results of my procedures quick enough to adjust them according to non-arbitrary criteria. I can make my algorithms ‘learn’ more about the given texts and/or my responses to them. I can re-write the given texts so that they are better modulated by the algorithms. This is similar to experimental processes, isn’t it? Finally, and importantly, I can provide suitably equipped readers with as-ithappens-but-never-the-same-twice performances of the procedures which they can ‘read’ on their own screens. >Don Byrd wrote: > After a certain point, chaos no longer needed the help of art. To recall > wild nature in tranquility, to practice nihilistic techniques of art and > thought, to do automatic writing, or to create chance generated art is a > pointless gesture. All I can say is why so? I do not feel that I am making a pointless gesture. Even if all that was obtainable from such procedures was a more liberated approach to the literary experience, they would still be worthwhile. Personally I believe
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Preface Above the world-weary horiz
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of 750 subscribers. Because of the
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Introduction In a world where every
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But the "good old days" have passed
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Coeval with . . . to Ghosts vs. Mar
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From: Kevin Killian Subject: Carla
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If there’s one thing Harry learne
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The conservatism in this country co
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arts the mainstream is-and over the
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University of Auckland, is convenor
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less literate is implied by that "m
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What I am bothered about in these r
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From: Dodie Bellamy Subject: Breaki
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characterization of some the struct
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This is not so much ingratiation of
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My reconstruction of the argument i
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into the poetic. And I am wondering
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From: Patrick Phillips Subject: The
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ideology which contorts the referen
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disparaging Reznikoff-while preserv
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intervention). Though I can anticip
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eturns, repetitions, etc., is perme
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From: Benjamin Friedlander Subject:
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shrewd, often polemical presence of
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eadings, recognition. Being inside,
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If I resist the idea of a literary
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From: Susan Schultz Subject: Commun
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From: Patrick Phillips Subject: The
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From: Steve Evans Subject: the soci
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The tradition of the oppressed teac
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My wobble is social, not theoretica
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From: Dodie Bellamy Subject: Spicer
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From: Dodie Bellamy Subject: Re: Gh
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Hermit Crabs Don’t Cry to Politic
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From: Robert Creeley Subject: Chick
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From: Jed Rasula Subject: Re: Olson
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BED… (P.S. Just in Baltimore and
Page 75 and 76: From: Ron Silliman Subject: Motivat
Page 77 and 78: From: Steve Evans Subject: Motives
Page 79 and 80: past year or so, despite the fact t
Page 81 and 82: It seems clear to me that some of t
Page 83 and 84: To clarify one general point in clo
Page 85 and 86: the most "out there" manifesto we
Page 87 and 88: Actually, the question of age is a
Page 89 and 90: indulges in "increasingly modest fo
Page 91 and 92: From: Tony Green Subject: calling G
Page 93 and 94: From: Ron Silliman Subject: Flaming
Page 95 and 96: parataxis, collage, sonnets, whatev
Page 97 and 98: From: Larry Price Subject: Anachron
Page 99 and 100: From: Ron Silliman Subject: Exile o
Page 101 and 102: From: Paul Hoover Subject: politics
Page 103 and 104: From: Aldon L. Nielsen Subject: lat
Page 105 and 106: Every site glides away toward absen
Page 107 and 108: Certain aspects of desire were regi
Page 109 and 110: whatever chaotic way) offer the abi
Page 111 and 112: From: Susan Schultz Subject: notes
Page 113 and 114: mouth, thick with money and piety a
Page 115 and 116: From: Steve Evans Subject: Shake Th
Page 117 and 118: From: Susan Schultz Subject: haoles
Page 119 and 120: From: Ron Silliman Subject: Univers
Page 121 and 122: From: Steve Evans Subject: Universa
Page 123 and 124: From: James Sherry Subject: Re: Uni
Page 125: From: Wystan Curnow Subject: Re-Aca
Page 129 and 130: From: Marisa A Januzzi Subject: dis
Page 131 and 132: Two senses of disorder, as also man
Page 133 and 134: At its best, Language poetry never
Page 135 and 136: hymed couplets I’ll be a langpo w
Page 137 and 138: From: Leslie Scalapino Subject: Re:
Page 139 and 140: From: Tom Mandel Subject: Re: apex
Page 141 and 142: From: Marjorie Perloff Subject: Re:
Page 143 and 144: language fails to describe their ex
Page 145 and 146: From: Eric Pape Subject: Re: apex o
Page 147 and 148: All every night walk by the venue i
Page 149 and 150: From: Ira Lightman Subject: CALL FO
Page 151 and 152: From: Bob Perelman Subject: Governm
Page 153 and 154: independence and possible sense of
Page 155 and 156: imagination, and often introduces t
Page 157 and 158: From: Ron Silliman Subject: Boy Tal
Page 159 and 160: From: B. Cass Clarke Subject: Quan
Page 161 and 162: Look at it this way-email is one of
Page 163 and 164: From: Nada Gordon Subject: where th
Page 165 and 166: From: Cynthia Kimball Subject: Ghos
Page 167 and 168: From: Loss Glazier Subject: Re: boy
Page 169 and 170: I do not want to be a woman all the
Page 171 and 172: i yam what i yam a world-changing f
Page 173 and 174: SAME TIME TO EXPLORE THEORIES OF SE
Page 175 and 176: From: Kali Tal Subject: Re: Boy Tal
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From: Ann Louise Vickery Subject: D
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From: Colleen Lookingbill Subject:
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7) Denial is an important part of t
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equirement of having to "pay dues,"
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From: Keith Tuma Subject: Re: Close
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From: Maria Damon Subject: more on
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From: David McAleavey Subject: Re:
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From: Kenneth Sherwood Subject: Int
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From: Hank Lazer Subject: close rea
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d’appui). It is easier for studen
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7a. Most probably that the monolith
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From: Eliot Katz Subject: more on c
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emancipatory elements which a reade
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From: Maria Damon Subject: Re: what
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in the culture through coercion of
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From: Kali Tal Subject: Re: what do
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their experience in a potent form-t
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From: Tom Mandel Subject: Re: Conse
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From: Colleen Lookingbill Subject:
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But her [Stein’s] account of firs
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ecognized as "man." In the cane-wei
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From: Alfred Corn (forwarded by Sus
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From: Ron Silliman Subject: Value i
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From: Alan Golding Subject: Howe No
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so-called so-called Language writer
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From: Keith Tuma Subject: Ghost Cor
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ones that distinguish LP from "main
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the "mainstream" poetry that has th
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(politically indifferent, not worth
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Lee Bartlett did with Palmer in the
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seems to be a general consensus on
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From: Alfred Corn Subject: More For
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From: Marjorie Perloff Subject: Jor
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From: Ron Silliman Subject: Childre
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From: Kevin Killian Subject: A happ
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From: Mark Wallace Subject: bland a
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From: Mark McMorris Subject: Re: bl
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what one could call a systematic sy
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While I agree with Jeff Hansen’s
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in this way as part of a guarantee
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The generational change has probabl
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of "elective affinity" by selective
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From: Jeff Hansen Subject: wild blu
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Hansen’s argument echoes (conscio
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not be so elegantly presented as it
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From: Jerry Rothenberg Subject: on
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I cannot make it cohere. I can read
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Before reading Pound, I had only re
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So why am I still conflicted about
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typos!) once a poem was in print. S
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Reproductions of Banality: Fascism,
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influence. This new Pound criticism
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Yet Pound’s poetry is never simpl
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From: Dick Higgins Subject: Web Poe
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