A brief primer on bachelor machines (with special reference to "Recantorium") 

¶ The Answer (a video made in collaboration with Lars Plenge) (2003)
¶ The Yellow Pages ads (1998)
         "The Critic" (0:32): MP4
          "Draperies" (0:31) MP3
¶ Legend, "bachelor" collaboration  with Bruce Andrews, Ron Silliman, Ray DiPalma, & Steve McCaffery; see, for example, Bernstein/Andrews, consisting entirely of appropriated texts and arrayed as a Benjaminian constellation.
¶The Nude Formalism (1989)
¶ "People should love and approve of me," sec. 13 from "A Person Is Not an Entity Symbolic" (from The Sophist) (recording 1977) (1:06): MP3
¶"Emotions of  Normal People" (from Dark City) (22:07): MP3
¶"Work In Progress" (for Eliot Spitzer)
¶ Oshamnu (from "A Person Is Not an Entity Symbolic but the  Divine Incarnate" in The Sophist) (a source for "Recantorium").

"Bachelor machine" comes from Duchamp's "Bride Stripped Bare by Her Bachelors, Even" (the lower part of the "Large Glass," e.g., "Chocolate Grinder"). Michel Carrouges extended the term to incorporate the disciplinary apparatus of Kafka's The Penal Colony (in turn adapted by Deleuze and Guattari in Anti-Oedipus) & also to Roussel's Impressions of Africa. As a term for poetic constructions, "bachelor machine" suggests nonproductive, nonprocreative, onanistic processes, vicious (or self-enclosing/collapsing) circles, an apparatus that is unable to get outside itself. There is a connection, in my use, to délire (delirium, with special reference to Jean-Jacques LeCercle) — that which goes astray, deviates from the rational, errs, raves.