Digital Poetics: The Making of E-Poetries

by Loss Pequeño Glazier

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Appendix I. GREP Works

Exhibit I.

A Grep of "Methods for Reading and Performing Asymmetries"

For Jackson Mac Low

Methods for Reading and Performing Asymmetries
(1960-61) were generated by an "acrostic-chance" method. This involved
The method was complicated by the fact that different acrostic chance-
method variations were sometimes based on previous mistakes.
Method or one of nine other performance methods, while realizing succes-
the methods followed. All individuals perform simultaneously.

Basic Method

Method 1: Words and Silences
This method underlies the others and is the one to be followed when all or
longer: see "What to Keep in Mind..." at the end of this "Methods" essay.)

Other Methods

Method 2: Words Only
The words are read as in the Basic Method as regards loudness, pitch

Method 3: Silence Only
Asymmetry aloud by the Basic Method, including blank-space silences, at a
chosen speed. This amounts to a silent performance by the Basic Method. No
method than the performer would choose and be able to read it aloud.

Method 4: Words, Tones, and Silences
the Basic Method. Right indentations are interpreted, not as silences, but as
Margin-to-margin blank spaces, interpreted in the Basic Method as "lines

Method 5: One Tone Only
rapidly reiterated) tone, determined in pitch as in Method 4 by any letter in
poem aloud by the Basic Method, extending the tone whenever necessary by

Method 6: Tones and Silences
determined in pitch as in Method 4 by any letter in the words preceding the

Method 7: Words and Tones
Method, but plays continuous (or rapidly reiterated) tones, determined in
pitch, and extended when necessary, as in Method 4, for all durations repre-
sented by blank spaces and interpreted as silences in the Basic Method. (Thus
as possible in performances following this method, with words and tones

Method 8: Spoken and Whispered Words
Method. However, rather than observing silence in durations corresponding
methods.) Where there would be two or more lines of silence, there will be
two or more whispered lines, and every performance by this method begins
following this method.

Method 9: Phonic Prolongations and Repetitions
This is a method for introducing phonic prolongations and repetitions into
This method may be "superimposed" on either the Basic Method (Method
1) or on either of the two methods involving both words and tones (Methods
rapidly reiterated tones, as in Methods 1, 4, or 7.

Method 10: Words and indeterminate Silences
This is a useful variant of the Basic Method. The performer reads all the
words as in that method, but for each blank space observes a silence of any
when that space in the text is reached. This method is especially appropriate

Methods for Reading and Performing Asymmetries
drawing words, word strings, and in one case, syllables from current reading
by reading along in the text (or by careful perception of the environment).
of the poems. The individual performers decide their own reading speeds and
lasts at least as long as it would take the individual to read aloud any words or
silence lasting at least as long as it would take to read aloud words (and parts of
straight and wavy underlining--are to be read loudly; initially capitalized
marks, parentheses, or brackets, are to be read softly or whispered. Other
words are to be read moderately loudly.
to this pattern. However, when reading words followed by ambiguous
marks, readers must choose between the several pitch patterns that might be
each specific case, some readers may at times be helped by imagining con-
Unpunctuated words should be read at an even pitch that simply stops at
of prose read aloud normally, at the required loudness.
Speed of reading and voice timbres are free but should seldom give the
which any particular Asymmetry is read.
The words are read as in the Basic Method as regards loudness, pitch
change, etc., but the reader makes only breath pauses (no long silences) at line
endings, varied only as appropriate to punctuation, if any. Readers have the
The performer remains silent as long as it would take to read the particular
Asymmetry should be silently read more quickly or more slowly by this
method than the performer would choose and be able to read it aloud.
All words are read, and all left indentations are interpreted as silences , as in
any single Asymmetry should be "read" as tones. If a performer chooses to
Reading an Asymmetry silently, the performer plays one continuous (or
the Asymmetry, for as long as it would take that individual to read the whole
Reading an Asymmetry silently, the performer plays, for each duration
The performer reads all the words in an Asymmetry as in the Basic
The performer reads all the words in an Asymmetry as in the Basic
the reading and performance of Asymmetries of which the texts do not
repeated, if it cannot be prolonged, for at least as long as the individual reader
"chorus," d,g as in "god," k,p,q,t,u after q,w, and y as in "yet." Readers who
This is a useful variant of the Basic Method. The performer reads all the
ries they are reading.
which the reader must supply words--different at each performance--by fol-

Methods for Reading and Performing Asymmetries
Asymmetries may be performed either by a single person or by a group
including any number of people. Each performer follows either a Basic
Method or one of nine other performance methods, while realizing succes-
of the poems. The individual performers decide their own reading speeds and
other performance parameters not specifically (or only partially) regulated by
the methods followed. All individuals perform simultaneously.
Performers must become acutely conscious of both the sounds they them-
selves are producing and those arising from other performers, the audience,
all performers choose as many aspects and details as possible of their indi-
aural situation at each moment as performance circumstances allow. In many
circumstances--as when performers are dispersed within the space (e.g.,
around or in the midst of an audience or when performers and audience are
identical), a procedure often followed in performances I've directed--each
performer's impression of the total aural situation will necessarily differ from
inmost is that of the individual performer; next, that of the whole perform-
performers; next, that of the performance space, including room acoustics,
electronics, etc.; and finally, the larger spaces within which the performance
most of the others are ruled out by performance circumstances. Blank spaces
metry in a series performed.
determined spontaneously by individual performers within the aural con-
texts of specific performance moments. In public performances softer words
and whispers should be loud enough to be heard throughout the performance
ble, each performer should have an individual microphone, amplifier chan-
speakers are indicated by the context, performers may carefully assume
The performer remains silent as long as it would take to read the particular
chosen speed. This amounts to a silent performance by the Basic Method. No
method than the performer would choose and be able to read it aloud.
The pitch of each tone is determined by the performer's freely choosing any
any single Asymmetry should be "read" as tones. If a performer chooses to
Reading an Asymmetry silently, the performer plays one continuous (or
Reading an Asymmetry silently, the performer plays, for each duration
The performer reads all the words in an Asymmetry as in the Basic
the performance must begin with a long tone.) There should be as little silence
as possible in performances following this method, with words and tones
The performer reads all the words in an Asymmetry as in the Basic
clear from the example that follows these descriptions of performance
two or more whispered lines, and every performance by this method begins
and ends with a whispered line. Amplification is imperative for performers
the reading and performance of Asymmetries of which the texts do not
This is a useful variant of the Basic Method. The performer reads all the
duration whatsoever that seems desirable at the moment in the performance
for performances of Asymmetries accompanied by sound continua other
than Asymmetries, since performers following it can wait for silences or
Asymmetries may be performed in this way with live or recorded sounds
Performances Including All Ten Methods
performances that include all ten methods. (In such performances speaker-
To present such performances, each participant must have a way to deter-
midst of the performance, just before realizing each Asymmetry, rather than
before the performance.
Similarly, an operation used to determine the method for performing an
Asymmetry will be optimally connected with that performance if the opera-
tion is carried out just before the performance of that Asymmetry. The
upon the performance as a whole.
In the method recommended in the earlier (1961) version of these perform-
ance directions, two dice were to be thrown just before performing each
However, throwing dice during a performance is awkward, cumbersome,
performance situation, and in many physical circumstances it is extremely
In addition, the probability of each performance method's being followed
performance.
(1) Sometime before a performance, each performer assigns a random
garded--this digit is not assigned to any other method. Performers may
(2) The number and descriptive name of each performance method is
(3) just before the performance, this pack of "Method Cards" is thor-
oughly shuffled by the performer and placed next to a randomly selected or
the table or telephone directory, the performer writes down successive trip-
duration of the performance, e.g., if the planned duration is 20 minutes, each
performer's list must consist of 20 triplets smaller than 261. Each Asymmetry
appears on the list. (Each performer's set may include any number of dupli-
provide each performer with more than enough Asymmetries for the
planned performance duration. A similar method may be applied to any
sentative Works, the performer may: (1) Write the numbers 18, 89, 158, 193
minutes in the planned performance. (4) Perform the corresponding Asym-
dice as many times as minutes in the projected performance: the successive
throws' pip sums will assign the series of Asymmetries to be performed and
the order in which they are to be performed.]
(5) The performance method designated by the topmost card is used while
performing the first Asymmetry in the set, and subsequent Asymmetries are
performed in accordance with subsequent cards. It is, of course, unnecessary
to use all the cards or to perform all the texts in the set: when an ending signal
is given or a previously agreed-upon time is reached, all the performers

Methods for Reading and Performing Asymmetries
Asymmetries are poems of which the words, punctuation, typography,
chance operations. With a few exceptions, the 501 numbered Asymmetries
Asymmetries may be performed either by a single person or by a group
and/or the environment. It is essential to the realization of Asymmetries that
and before and after whole Asymmetries are rendered as silences. Each silence
in the book Asymmetries 1-260 (New York: Printed Editions, 1980) by
the reading and performance of Asymmetries of which the texts do not
for performances of Asymmetries accompanied by sound continua other
than Asymmetries, since performers following it can wait for silences or
Asymmetries may be performed in this way with live or recorded sounds
version, as published in Asymmetries 1-260.
personally chosen group of Asymmetries copied on separate sheets of paper.
(4) A random set of Asymmetries may be obtained from the book Asym-
e.g., 001 and 010 designate Asymmetries 1 and 10. This process ought to
provide each performer with more than enough Asymmetries for the
published group of Asymmetries.
[To obtain a random set of Asymmetries, without duplicates, from Repre-
throws' pip sums will assign the series of Asymmetries to be performed and
performing the first Asymmetry in the set, and subsequent Asymmetries are
audience. When they fall silent before, within, or between Asymmetries,
ing them may vary. The later portion of the numbered Asymmetries, begin-
ning with Asymmetry 379, includes 62 "indeterminate" Asymmetries for
This description of methods for realizing the numbered Asymmetries
Asymmetries must follow the methods described here.

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University of Alabama Press