___________ 
		           |           | 
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		           |   E L e   | 
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		           |   CtR     | 
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		           |   Onic    | 
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		           |   P R O   | 
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		           |   JecT    | 
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		           |   I O N   | 
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		           |   Po-     | 
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		           |   et      | 
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		           |   RieS    | 
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		           |___________| 
		      
	

 	           Electronic Projection Poetries

                            [GLAZ05.01]




__________________________________________________________________
GLAZ05.01 and RIFT05.01 copyright (c) 1995.  See below for full notice.

__________________________________________________________________

 
  
 		        Loss Pequeño Glazier 
	 
	 
	 
		    RIF/T 05 Chapbook Extension 
		for The Recovery of the Public World 
		 Vancouver, BC, Canada - June, 1995 
	
	 
This Chapbook Extension of Rif/t 05 was first published as a special, 
paper-text edition of 150 bound with with _Hard Return_ by Kenneth Sherwood. 
 
_______________________________________________________________________
 





     THAT  THIS  ELECTRONIC  TRANSmission --
and  making  it  available  this  way -- is
related  to  writing.  The  actual  language 
(HTML) and scripts you're writing to make it
happen--IS writing--and the way you're causing it
to display is really an *activity* of writing.
Here I refer to Alberto Morea's "Can we define a
task of thinking that would refuse to believe in
itself above and beyond T E C H N I Q U E ?" and
Donna Haraway's "A cyborg world might be about
lived social and bodily realities in which people
are not afraid of their joint kinship with animals
and machines, not afraid of permanently partial
identities and contradictory standpoints." Last
century, *computer* meant a *person* hired to
perform computations. Later, this meaning was
superseded by: a machine that "substitutes
mechanical performance for an intellectual
process." We write at this point.

     The question then becomes, how does writing
intersect with its materials? That is, what is the
difference between a paper poetry and an E L E C T
R O N I C one? There are many who can argue one
angle of this--all it takes is looking at what may
be called "fine press" (letter *press*) in
distinction to what I would call "small press."
Those who work in fine printing can speak of
sensuous relations between text and materials. I
would argue that "small press" has more to do with
transmission than the former's sense of literal
"impression." (In this context it's a little
perverse to consider "the mimeo" sensuous.) Here
also an event that occurred just this morning. As
I drove, I nearly hit a wren; its arc of flight
had been displaced almost to the road's surface by
the weight of an inordinately large sprig it
carried, presumably for a nest. This is probably a
very specific species of plant (even if the bird
can't express it in Latin); that is, the effort
and danger in using precise material has its
effect on the actual path of flight.

     Then of Ron Silliman in his introduction to
_In the American Tree_, that "Projective Verse is
*Pieces* On" which has resonance in new terrain,
that Project E=Verse is pieces O N L I N E .
Thinking of Creeley's "form is never more than an
extension of content" then what avenues of content
have been opened by such vastly different avenues
of "form"? The medium as technique/the poem as
"making," hence *technepoetries*, words mutable
and conscious of transmission. Charles
Bernstein's:

     For W O R D S are no more labels of things
     than the sky is a styrofoam wrap of some
     Divine carryout shop. And letters are no
     more tied to words or words to sentences
     than a mule is tied to its burden. Letters
     in liberty. Words freed from the tyranny..."

moving, as I read this chart, into charged space;
words themselves begin to reach beyond
sequentiality. From context to *dis*text: pieces
or fragments of text outside the line.

     Thus we find online hypertext. (Generic and
intersystemic in qualities; as opposed to
proprietary "closed" hypertext systems.) First
that our poetics are not tied to the linearity of
the page; even if not the end of linearity but an
emergence of multiple linearities, there is
flight. Most importantly, there is the L I N K . A
signal word or conjunction of letters, the mule
unharnassed, free to jump into a lateral or
completely irreverent context--or medium (visual,
sound, video).

     What comes to the front is that this is
*post- typographic*. The argument that "Pound's
significance lies in his having anticipated the
end of 'the Gutenberg era,' the age of print" and
following World War II, the examination of system
in Olson, Duncan and Blaser's serial works,
Creeley's numeric determinations, Bernstein,
Silliman, Grenier, Howe's radical typographies,
and the alleatories of Mac Low and Cage.

     What are links but F A U L T S in typography?
Freud has written about parapraxis, faults in
reading, writing, and speaking, "slips of the
tongue," as more possible when the mind shifts
into an associative disposition. (For example, at
a recent videodisk viewing of cave paintings of
Lascaux, I was struck by an enlarged detail as
identical to open-heart surgery as portrayed on
"ER.") Though Freud would, in his fashion, like to
suggest parapraxis as readable, I part ways with
his drive to draw conclusions in deference to
occlusion, or an aberration of the eye, literally
and homophonously. (This is a calculating machine;
as such to engage its error.) Where the minor
matters--major passages blocked--peripheral vision
may again resume activity.

     Thereby saying, *follows the eye*. And with
the keyboard, literal manipulation is engaged with
fingers determining different referentialities of
the text; a sight more active than repetitious
page turning.  A plethora of directions viz.
Duncan's "When poets were really J U G G L E R
S , they got everything in the air and bouncing
around. In that period they wanted that out of
poetry, they wanted an amazing assortment of
things." And Stein's "a spectacle and nothing
strange a single hurt color and an arrangement in
a system to pointing."

     The  acute  (hence  "hyper")  activity  of
movement and transmission, Bernstein's Poetics
list, _RIF/T_'s thousand subscribers or the 8,000
transactions a month at the Electronic Poetry
Center witness the merging of writing and T R A N
S M I S S I O N . When oral, the voice projects
across the room; the electronic text is a public
word, projected across a public world, across
systems, itself as system.


_______________________________________________



     M E N D U M



               italicized--"faulty text"
               _see_ ambient transmission...



Implacable pressure individual word

nor factor of its essay's plangent

technological writing finds its

shortened by speed's excess

prescribes the next case sensitive

frame interval back to LIT so that's

science vita as temporal release



Presumed oneself lost as at

anagram of lexis should not

moebius strip chain of linked

emend hot links simmer on grill

have turned set spills into

routing so trajectory across



the Atlantic call it bullish poets

television effect figurations desert

have gotten lost (this is the disk)

both netted and offline turn on its

immunely dancing platforms

last year previously asymptotic



in olive phone calls ring your Iberia

pre-Raphaelite relation to decadence

in anthology. Never thought to find

in effect "you get what you ascii for"

to French trends and illustration

another nine Dutch poets revisiting



then in its custom prescribes that

swoop across the road as continents

transmit say a gathering to honor

Pacific write against this point

cross-current, visible vs. physical

extended serial sequences, beyond text



and voila`! hence antho-, ana-, autho-

got faults *mendum* gears affix

for public consumption into Veracruz

Anatolia's dry sting of books then

radio drift, deep inflected tones fit
   
forget to send even-rendered domain.