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Translation of an Essay by Derek Beaulieu about the general and restricted economy



to get out of here
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ÓÔ S ô \ ` & T i m e s N e w R o m a n S Ô Ó > 4 Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù!> ÓÔ S ô \ ` & T i m e s N e w R o m a n S Ô < ÿÿ: P a g e N u m b e r < Ç Ç ÿÿ: B o d y T e x t I n Ó Ø ÓÓ 5 + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù!5 ÓÓ (þ ÓÓ ÓÔ X X X ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô Ó ÓÓ 5 + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù!5 ÓÓ ÓÓ ÓÔ ô ô ô ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô 8 & & ÿÿ6 H y p e r l i n k Ô ÔÔ Ôò òÔ ÿ Ôó óÔ ÔÔ ÔÔ Ô 8 z z ÿÿ6 B o d y T e x t Ó ÓÔ X X X ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô Ó ÓÔ ô ô ô ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô : ³ ¹ ÿÿ8 B l o c k T e x t Ó Ø ÓÓ ' ÓÓ / % ² ² 1 ‰ á 9 ' é A ™ ñ I / ÓÔ X X X ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô Ó ÓÓ ÓÓ 5 + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù!5 ÓÔ ô ô ô ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô & † † ÿÿ$ 1 Ó X ÓÓ ÓÔ X X X ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô Ó ÓÓ ÓÔ ô ô ô ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ô < S S ÿÿ: F o o t n o t e T e x Ô S ô \ ` & T i m e s N e w R o m a n S Ô Ô S ô \ ` & T i m e s N e w R o m a n S Ô < ÿÿ: F o o t n o t e R e f ò òó ó < } } ÿÿ: B o d y T e x t 2 Ó ÓÔ X X X ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ôò ò Ó ÓÔ ô ô ô ÔÔ S ô \ ` & T i m e s N e w R o m a n S Ôó ó ' 0 . m Ý ƒ œ>) ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÝ ‚ ÿÿÿ ÝÓ ! Ù Ù é ù! ° œX ! ÓÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿ' ÝÝ ÝÓ ÓÝ ‚ ÿÿÿ ÝÝ ÝÚ Ú1Ú ÚÝ ‚ ÿÿÿ ƒ ÝÝ Ý ( 2œ>$ © © Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ Ý ( ÿÿ$ ò òÚ ÚÚ Úó ó y Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÐ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú1Ú Úó…óó óÝ ‚ ÿ) ƒ $ ÝÝ Ý And like the general economic eruptions in a restricted economic text, the footnotes in this te xt openÐ ° Ðdiscussions and ruptures in the restricted field of the paper by suggesting further texts and av enues ofÏdiscussion. U Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÐ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú2Ú Úó…óó óÝ ‚ ÿ) ƒ $ ÝÝ Ý A section of Ô_ ÔJarryÔ_ Ôð ðs writing on ð ðÔ_ ÔPataphysicsÔ_ Ô is online, as of Mar 17, 2002 at:Ð ° ÐÔ_ ÔhttpÔ_ Ô://Ô_ Ôwww.alienated.netÔ_ Ô/Ô_ Ômodules.php?opÔ_ Ô=Ô_ ÔmodloadÔ_ Ô&name=Sections&file=index&req=Ô_ ÔviewarticleÔ_ Ô&Ô_ ÔartidÔ_ Ô=1¼3 Ü Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú3Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý We could perhaps place Riddellð ðs use of the business machine within the tradition of the ð ðmimeographÐ ° Ðrevolutionð ð in small press production as well as the work of Bob Cobbing the English concrete and soundÏpoe t who has been manipulating business machines for the production of textual and artistic objects sinceÏthe 1950ð ðs. Ü Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú4Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý See also John Riddellð ðs ð ðplacid/specialð ð in ò òa/z does itó ó (nightwood editions, 1988). ; Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú5Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý Further to this argument is a discussion of Christian B kð ðs essay ð ðThe piecemeal bard is deconstructed:Ð ° Ðnotes towards a potential robopoeticsð ð and Darren Wershler„Henry and Bill Kennedyð ðs ð ðApostrophe:ÏWorking Notes V.3 October 2001ð ð both in ò òò òObjectó ó 10 : Cyber Poeticsó ó as discussions of the role of on„lineÐ @ Ðprograms as poetry generators with minimal human / programmer involvement. ã Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú6Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý This differs from a text like Paul Duttonð ðs ò òThe Plastic Typewriteró ó where a direct swerve in the usage of aÐ ° Ðbusiness machine (and in Duttonð ðs case the destruction of the same) to create a concrete text of generalÏeconomic writing. [ Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú7Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý see the Toronto Research Groupð ðs ð ðReport 1: Translationð ð, particularly their ideas on homolinguisticÐ ° Ðtranslation as well as Peter Jaegerð ðs discussion of the TRG in his ò òABC of Reading TRGó ó. å Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú8Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý ð ðthe worldð ðs most expensive colouring bookð ð ð! ð Darren Wershler„Henry, ò òfilling Stationó ó #18. & Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú9Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý Both ò òNicholodeonó ó and ò òCarnivaló ó are unpaginated and all further references will refer to the title without anyÐ ° Ðfurther mention of page number. þ Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú10Ú Úó…óó óÝ ‚ ÿÀ ƒ $ ÝÝ Ý ð ðGo ahead. Display your casual contempt for commodity fetishism and your commitment to a generalÐ ° Ðeconomy by destroying this book (online readers; smash your computers. That'll help too). To par aphraseÏNietzsche, that which does not kill us must have missed us.ð ð ð! ð Darren Wershler Henry, ð ðSurplusÏExplanationsð ð in ò òNicholodeonó ó.Ð X ÐÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿ¥ ÝÝ Ý Ü Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú11Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý see bpNicholð ðs ò òSharp Facts: Selections from TTA 26ó ó and its ð ðgenerational disintegrationsð ð of text asÐ ° Ðrepeated copies are made, whereby the copier itself presents an lower ð ðqualityð ð copy in terms of theÏintended restricted original by inserting an ever increasing amount of gra phic static and ð ðinterferenceð ð ' Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú12Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý see Peter Jaegerð ðs ð ðSteve McCafferyð ðs Visual Erratað ð available online atÐ ° ÐÔ4 ‚ Ý Ù ÔÝ ‚ % ÿÿ ÝÔ ª Ôò òò òÝ ÝÔ5 ÔÝ ‚ ÿÿÿ ÝÔ ÔÔ Ôò òÔ ÿ ª ÔÝ Ýhttp://www.ubu.com/papers_frames.htmlÝ ‚ ÿÿÿ3 ƒ $ Ýó óÔ ª ÿ ÔÔ ÔÔ ÔÝ ÝÔ ª ÔÔ6 ä ÔÝ ‚ % ÿÿ ø ƒ $ Ýó óó óÔ ÔÝ ÝÔ7 Ý P ) Ô for a Lacanian reading of the two panels of ò òCarnivaló ó.h t t p : / / w w w . u b u . c o m / p a p e r s _ f r a m e s . h t m l G Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÀ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú13Ú Úó…óó óÝ ‚ ÿ ƒ $ ÝÝ Ý My copy of the special edition of Wershler„Henryð ðs ò òNicholodeonó ó includes a sticker placed opposite theÐ ° Ðð ðsurplus explanationsð ð stating ð ðDAMAGE BOOKS / DA AR LIBROS.ð ð ˜ Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X õ ô † ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿÐ ÝÝ ÝÓ ÓÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú14Ú Úó…óó óÝ ‚ ÿl ƒ $ ÝÝ ÝÔ ô † õ X X ³} Ô The publishing of each of these texts is a site of economic negotiation as the published forms themselvesÐ ° Ðboth support and question the economy of the book„trade. Each text is published by a nationally distributedÏpress supported by government funding and structure, however none of the books are pr iced forÏconsumption. ò òE Clips Eó ó and ò òÔ_ ÔNicholodeonÔ_ Ôó ó are square„bound, typical looking books though ò òÔ_ ÔNicholodeonÔ_ Ôó óÐ X Ðchallenges the regular expenditure of book production with fold out pages and tipped„in texts ac ting asÏcreative barnacles on the hull of the book proper.Ô X ³} X õ ô † ÔÝ ƒ ÿÿÐ ; ݌Р˜ è ÐŒÓ ÓÔ ô † õ X X ³} ÔÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿ ÝÔ ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿ? ÝÝ Ý ( - 2O--$ ¤ ¤ Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÓ Óò òÚ Ú0Ú Úó ó #| x ( f ú $ ¡ ¡ Ò Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † Ô ( ÿÿ$ -- -- Ô ª Ôòòò òó óóóÔ Ô ˜C a n o n B J C - 3 0 0 0 " ð 3 , , 3 " ð 0 ( Z ‹ 6 T i m e s N e w R o m a n R e g u l a r ' X y Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ + ô † õ X ' X ÔÔ , ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÓ ? + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ° œX ? ÓÝ ‚ ÿÿÿ ÝÔ , ô † õ õ ô † ÔÝ ÝÝ ‚ ÿÿÿÐ ÝÝ ÝÝ ‚ ÿÿÿ Ýò òÝ Ýò…òÚ Ú1Ú Úó…óó óÝ ‚ ÿ) ƒ $ ÝÝ Ý And like the general economic eruptions in a restricted economic text, the footnotes in this te xt openÐ ° Ðdiscussions and ruptures in the restricted field of the paper by suggesting further texts and av enues ofÏdiscussion.( Z ‹ 6 T i m e s N e w R o m a n R e g u l a r ô \ ` & T i m e s N e w R o m a n $¢,‰ E ) ê;š, s\BackuT;… ÿU ‹ÿ ÀÀÀ d Ý ƒ $ ú ! ÝÒ Ù ° ÒÒ Ù ° ÒÓ ÓÔ ' ô † õ X ' X ÔÔ ô † õ õ ' ô † ÔÝ ÝÔ_ ÔÑ ÑÑ X ° ÑÖ ÿÿ ÖÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X õ ô † ÔÔ X ³} X X X ³} Ôò òÝ ÝÝ ‚ ÿÿÿÀ ÝÝ Ýð ðMisshapen Chaos of well„seeming formsð ð: Restricted and general economies in the Ð ° Ðconcrete poetry of John Ô_ ÔRiddellÔ_ Ô, Darren Ô_ ÔWershlerÔ_ Ô„Henry and Steve McCaffery.Ý ƒ ÿÿÀ . ÝŒÌŒÓ ÓÔ ô † õ X X ³} ÔÔ ô † õ õ ô † Ôó óÝ ÝÔ X ³} X õ ô † ÔÔ_ ÔderekÔ_ Ô Ô_ ÔbeaulieuÔ_ ÔÐ p À ÐÌÝ ‚ ÿÿÿ ÝÓ X ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ? ÝÝ ÝIn ð ðWriting as a General Economyð ð Steve McCaffery approaches language as ð ðanÐ D " Ðeconomy rather than a structureð ð (201) allowing the examination of Ý ƒ ÿÿ? ¸ ÝŒÌŒÓ X ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÓ N ÓÓ : ÓÓ ÓÓ 9 % ( ( 1 ‰ á 9 ' é A ™ ñ I ° œX 9 ÓÓ Óthe distribution and circulation of the numerous forces and intensities thatÐ ì < Ðsaturate a text [ð8 ð] Ô_ Ôconcern[ingÔ_ Ô] itself not with the order of forms and sitesÏbut with the order„disorder of circulations and distributions. (201)ÌÓ ÓÝ ‚ ÿÿÿ ÝÓ X ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÝ ÝÓ N ÓÓ : ÓÓ ÓÝ ƒ ÿÿ ݌Рª ú ÐŒÓ X ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝThese ð ðnumerous forces and intensitiesð ð (201) shift the poem from a finely crafted objectÐ ~ Î Ðwith single monolithic intended value, to a text where the act of writing and reading poolÏaroun d semantic and non„semantic devices. The two systems that McCaffery presents areÏthe ò òrestrictedó ó economy and the ò ògeneraló ó economyÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿU ƒ $ Ýó óÝ ÝÑ È Ññ ñ× ƒ ×ñ ññ ñ× ƒ * ×ñ ñÝ ƒ ÿÿ Ýò òÚ Ú1Ú Úó óÝ Ý× ×. The restricted economy foregroundsÐ < Œ Ðmeaning, logic, order and structure as a means of exchange ð ðbased upon valorized notionsÏof restraint, conservation, investment, profit, accumulation and ca utious Ô_ ÔproceduralitiesÔ_ Ô inÏrisk takingð ð (203). In a general economy ð ðnetworks of significance not accessible throughÏconventional reading habitsð ð (207) are exposed through disruptions of the ð ðnotion of anÏideal, unitary meaningð ð (207). ÌÓ X ÓLike the ò òÔ_ ÔparagramÔ_ Ôó ó and ò òmetaphoró ó discussed in ð ðWriting as a General Economy,ð ðÐ ¾ Ðthe ò òÔ_ ÔclinamenÔ_ Ôó ó and ò òsyzygyó ó challenge the ð ðÔ_ ÔreaderlyÔ_ Ô production of meaningð ð (202). AlfredÐ ® þ ÐÔ_ ÔJarryÔ_ Ôð ðs ð ðÔ_ ÔPataphysicalÔ_ Ô conceptsÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿÒ ƒ $ Ýó óÝ ÝÔ_ Ô× ƒ è ×Ý ƒ ÿÿ Ýò òÚ Ú2Ú Úó óÝ Ý× ×Ô_ Ô of the Ô_ ÔclinamenÔ_ Ôð" ðthe ð ðminimal swerveð ð of atomisticÐ î Ðparticles; and the syzygy ð! ðan astronomical term for ð ðtemporary planetary conjunction orÏoppositionð ð (ð ðÔ_ ÔZarathustrianÔ_ Ôð ð 17) enable a reading of the ð ðdisappearance of stabilitiesð ð (18).ÏThe Ô_ ÔclinamenÔ_ Ô and syzygy disrupt Ô_ ÔreaderlyÔ_ Ô expectation by foregrounding what HaroldÏBloom refers to as ð ðò òaó ó ò òwilling erroró ó, a turn from literal meaning in which a word or phraseÐ F - Ðis used in an improper sense wandering from its rightful placeð ð (Ô_ ÔqtdÔ_ Ô in. ð ðÔ_ ÔZarathustrianÔ_ Ôð ð 18).ÏIn his discussion of poetics, Bernstein suggests that this wandering error is a ð ðquestion ofÏÔ_ ÔhumourÔ_ Ôð ð (154) where much like the eruptions of the Ô_ ÔclinamenÔ_ Ô in a restricted text, theÏlibidinal emotional excess of Ô_ ÔhumourÔ_ Ô is allowed to rupture through the expected tone of theÏthesis; ÌÓ N ÓÓ : ÓÓ ÓÓ < % ( ( 1 ‰ á 9 ' é A ™ ñ I ( ( 1 ‰X < ÓÓ X ÓError in the sense of wandering, errantry, but also error in the sense ofÏmistake, Ô_ ÔmisperceptionÔ_ Ô, incorrectness, contradiction. Error as projectionÏ[ð8 ð] as slips, slidesð8 ð (154).Ð œ'ì"& ÐÔ_ ÔÓ ÓÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ" ÝÝ ÝÓ N ÓÓ : ÓÓ ÓÝ ƒ ÿÿ" ÿ ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ» ÝÝ ÝWhen applied in a literary model, the Ô_ ÔclinamenÔ_ Ô and syzygy focus attention on the economicÐ „ Ô Ðterms of the ð ðsuñ ñrñ ñpñ ñpñ ñressed or ignored presence within the scene of writingð ð troubling theÏlinguistic controls which ð ðprivilege meaning as a necessary production and evaluatedÏdestinationð ð (ð ðGeneralð ð 203).Ý ƒ ÿÿ» & ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ9 ÝÝ Ýà â àGeneral economic writing ð ðtransgresses the prohibition of semantic operation and risks theÐ Ô $ Ðloss of meaningð ð (214) ð! ð meaning written in the terms of a restricted economy. In concreteÏpoetry excesses and eruptions of a general economy are prioritized as ð ða return to theÏmaterial base of language [ð8 ð] as a method of losing meaning, holding on to Ô_ ÔgraphicismÔ_ Ôð ðÏ(214). The ð ðpresupposed Ô_ ÔstatisÔ_ Ôð ð (201) of the restricted economy is troubled Ý ƒ ÿÿ9 ¤ ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ` ÝÝ Ýthrough ongoing general economic eruptionsð" ðmuch like the spread of acne on previouslyÐ ø H Ðsmooth faced pubescent. In concrete poetry the restricted economic meaningÏð ðÔ_ Ôcomplicate[dÔ_ Ô] and Ô_ Ôunsettle[dÔ_ Ô]ð ð (209) by libidinal eruptions spreads both micro„ andÏmacro„Ô_ ÔscopicallyÔ_ Ô to include systems of exchange from the graphic symbols of languageÏ(letters, punctuation, etc) through to the containers of this communication (the page, book,Ïetc.). The matter of the restri cted economy shifts from an investment in communication toÏan investment in the mark, the graphem e and the container of communication. TheÏrelationship of restricted to general is one of flux;Ý ƒ ÿÿ` Ë ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿc ÝÝ ÝÓ X ÓÓ > ÓÓ 9 " 1 1 ‰ á 9 ' é A ™ ñ I ( ( 1 ‰X 9 ÓÓ Óoften we will detect a rupture made and instantly appropriated by theÐ ˜%è $ Ðrestrictive. the meaningless, for example, will be ascribed a meaning; lossÏwill be rendered pro fitable by its being assigned a value (ð ðGeneralð ð 203).Ý ƒ ÿÿc Î ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ¿! ÝÝ ÝÓ X ÓÓ > ÓÓ ÓÝ ƒ ÿÿ¿! *" ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿì" ÝÝ ÝÓ X ÓThe shifting distinction between general and restrictive economies in John Ô_ ÔRiddellÔ_ Ôð ðsÐ @) $( Ðò òE Clips Eó ó, revolves not only around the role of textual meaning, but also the categorizationÐ +d&* Ðof text , the role of writer and machine in book production and consumption. Ô_ ÔRiddellÔ_ Ôð ðsÏð ðPlayð ð and ð ðA Shredded Textð ð implicate business machines into textual production. TheseÐ ¼. *. ÐÔ_ Ôtexts are photocopies (documentation) of the ò òwasteó ó produced through the use of businessÐ ° ÐmachinesÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ & ƒ $ Ýó óÝ Ý× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú3Ú Úó óÝ Ý× × „„ in this case a 3„hole punch and a paper shredder respectively. These machinesÐ à Ðwere designed for use in an environment of economic production. The 3„hole punch allowsÏdocument s to be effectively filed and transported while the paper shredder permits theÏdestruction of doc uments to further confidentiality in the workplace. By swerving the useÏof the machines away from their intended purpose, Riddell proposes an eruption of ð ðnon„¼meaningð ð in the creation of ð ðmeaningfulð ð (business oriented) documents. Riddellð ðs generalÏeconomic use of a machine created to be used in a restricted economy troubles not only theÏð ðuse„valueð ð of the machines but also that of the writer. ò òE Clips Eó óð ðs ð ðin take,ð ð ð ðplay,ð ð ð ðaÐ \ ¬ Ðshredded text,ð ð ð ðillustrated poems,ð ð ð ðrush,ð ð ð ðwatching,ð ð ð ðcritique,ð ð and ð ðuntitledð ð allÏdirectly engage 3„hole punches, shredders and photocopies in the production of textÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ~* ƒ $ Ýó óÝ Ý× ƒ ° ×Ý ƒ ÿÿ Ýò òÚ Ú4Ú Úó óÝ Ý× ×. ByÐ T Ðengaging the machine so directly in the production of text, Riddell is more the ò òeditoró ó thanÐ Ø ( Ðthe writer of ò òE Clips EÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ¾+ ƒ $ Ýó óÝ Ýó ó× ƒ x ×Ý ƒ ÿÿ Ýò òÚ Ú5Ú Úó óÝ Ý× ×. Riddell fed sheets of paper through machines (3„hole punch,Ð ¸ Ðshredder) and has used another (a photocopier) to document the result. What RiddellÏpresents to the reader is a record of the ò òwasteó ó produced by the consumption (reading) of aÐ ` ° Ðtext by machine. Riddell provides a source text to the machine who then ð ðreadsð ð the textÏand excretes the waste material of that consumption; ð ða tangle of page strips excreted fromÏthe nether end of a paper shredderð ð (ð ðConcatenationð ð 124). Riddell, as author becomesÏimplicit in a restricted economy acting as editor to restrict the amount of waste thatÐ ¼% !$ Ðpermitted to enter the manuscript of book. General and restricted economies shift as theÏnormall y restrictive site of creation (the machine) becomes creator of excess and non„¼meaning based wri ting. The author has become the voice of restraint and reason attemptingÏto limit the presentatio n of continuous waste production as writing. The ð ðcautiousÏproceduralitiesð ð (ð ðGeneralð ð 203) of structural poetics are discarded in favour of theÏdocumentation of a reading machineð ðs waste as textual productionÝ ‚ ÿÿÿ Ýò òÝ Ýò òÝ ‚ ÿÿÿý0 ƒ $ Ýó óÝ Ýó ó× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú6Ú Úó óÝ Ý× ×. The paper shredderÐ Ô $ Ðfractures the text through a ð ðwilling errorð ð from a single united field of meaning withÏaccepted social value to a series of pieces increasi ng ð ðthe rate and momentum ofÏ[ð8 ð]disposalð ð (ð ðGeneralð ð 220) spreading value across a larger field. Ý ƒ ÿÿì" W# ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ X Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿR3 ÝÝ Ýñ ñÓ X Ý Óñ ñBoth the clinamen and the syzygy rely on the terminology of extra„literary fields forÐ $ t Ðtheir definitions. The clinamen refers originally to the flow of atoms observed through aÏmicros cope, the syzygy refers to the movement of planets as observed through telescopes.ÏThe importing of terms based on micro„ and macro„ sized objects as a means of describingÏthe economic eruptions of texts is ð ðpataphysically swerved in the use of a photocopier in ò òEÐ t Ä Ðclips Eó ó. Engaging the clinamen microscopically, the photocopier is used to magnify theÐ H ˜ Ðsmallest parts, the fragments of portions of ò òE clips Eó ó; the typewritten mark of ð ðin takeð ð andÐ l Ðfragments of ð ðfoldoutsð ð in ð ðuntitledð ðð" ðð ðthe whole exists to generate its partsð ð (ð ðGeneralð ðÏ220).Ý ƒ ÿÿR3 ½3 ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ X Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿÓ7 ÝÝ ÝÓ N X ÓTranslationÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿv8 Ýó óÝ Ý× ƒ è ×Ý ƒ ÿÿ Ýò òÚ Ú7Ú Úó óÝ Ý× ×, concrete poetry and the role of machine in the production of poetryÐ ˜%è $ Ðare all actively engaged in ò òNicholodeon: a book of lowerglyphsÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ¨9 Ýó óÝ Ýó ó× ƒ x ×Ý ƒ ÿÿ Ýò òÚ Ú8Ú Úó óÝ Ý× × where the ð ðjob of [the]Ð l'¼"& Ðpoems is to produce a vague sense of anxiety in the reader, fueled by the mistaken beliefÏthat t hey house some kernel of meaning that they desperately wish to communicate, despiteÏnearly imposs ible oddsð ð (ò òNicholodeonó ó)Ý ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿT; Ýó óÝ Ý× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú9Ú Úó óÝ Ý× ×. Like Riddellð ðs texts, technology is complicit inÐ X ¨ Ðwritingð" ðthe restricted economy of translation is infested with ð ðpolypsð ð and barnacles ofÏgeneral economic eruption. On the back cover of ò òNicholodeonó ó is a swerved image of anÐ P ÐUPC (Universal Price Code) or ð ðbar codeð ð ð! ð where the lines usually used to scan the priceÏof the book and thereby making the book complici t within an economic structure ofÏcommodity exchangeÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿÍ= Ýó óÝ Ý× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú10Ú Úó óÝ Ý× × identified as a priced purchasable object uniquely coded 9„781551„Ð | Ì Ð450000 swirl out of the boundaries of the scanable image. The image works both withinÏthe restri cted economy of the UPC as ð ðmeaningfulð ð consumable image ð ðsplinter[ed] intoÏmoving fields of plurality, establishing differentials able to resist a totali zation intoÏrecoverable integrations that would lead to a summatable ð ðmeaningð ðð ð (ð ðGeneralð ð 220). Ý ƒ ÿÿÓ7 >8 ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ¾@ ÝÝ Ýñ ñÓ N Óñ ñHomolinguistic translationð" ðas typified by Louis Zukofskyð ðs ò òCatullusó ó andÐ ð ÐbpNicholð ðs ò òCatullusó ó and ò òApollinaireó ó translations „„ is the translation of a piece of writingÐ Ð Ðfrom one language into the same language based on sound, shape, or other non„restrictiveÏforms. Homolinguistic translation is typically executed not by meaning but rather by soundÏ(as Zukofsky ð ðs translations are based), Nichol moved translation into non„lexical issuesÏsuch as shape, reade r recall and manipulative techniques such as alphabetization (at theÏlevel of line, word and lett er). This type of translation foregrounds general economic issuesÏof ò òmaterieló ó and ò òplayó ó where the restricted economy becomes the ð ðsurpressed or ignoredÐ „'Ô"& Ðpresence within the scene of writingð ð (ð ðGeneralð ð 203). In homolinguistic translation theÏgeneral and restricted economies switch positions of me aning and production ð ðtheÏmeaningless, for example, will be ascribed a meaning: loss will be rendered profitable by it sÏbeing assigned a valueð ð (ð ðGeneralð ð 203). Concrete poetry, like homolinguistic translation,Ïis based on the treatment of the materi al of communication from the level of the graphemeÏthrough to that of the paragraph and beyond. T he exchange between general and restrictedÏeconomies in concrete poetry is one of continuous nego tiation of normative and excessive.Ý ƒ ÿÿ¾@ )A ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿšG ÝÝ Ýñ ñÓ N Óñ ñLike Riddellð ðs use of the machine as composer of poetry, Wershler„Henry'sÐ | Ì Ðð ðTranslatingò ònó ó Apollinaire 15: Deskjetsamð ð is the documentation of the waste ofÐ P Ðconsumption by a mechanical reader. The text is produced through the rejection by aÏHewlett Pack ard printer of a print request due to lack of paper. In economic terms, theÏprinter produced this poem when it was left without the raw material needed for theÏproduction of a restricted economy textð" ðtext created and printed in line with theÏeconomically expected use of the Hewlett Packard. Tra ditional translation, due to theÏmovement from one linguistic and cultural lexicon to another, is a natural site for theÏclinamen, but art in the age of mechanical reproduction posits another l exiconð" ðthe shiftÏfrom one technology to anotherÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ‹K Ýó óÝ Ý× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú11Ú Úó óÝ Ý× ×, an intra„technological translation. Like the restrictedÐ ð!@ Ðeconomy, computer manipulation of writing gives us ð ðthe illusion that everything isÏpotentially controllableð ð (ò òNicholodeonó ó). This illusion is shattered by the ð ðknobby andÐ ˜%è $ Ðâ âirreducibleð ð (ò òNicholodeonó ó) quality of reproduction. The limits of the technology presents aÐ l'¼"& Ðshift in forms from ð ðcleanð ð to ð ðdirtyð ð concrete ð! ð between the ð ðð ðutopianð ð phase of concreteÏpoetry and its later more iconoclastic version [ð8 ð] ð ðdirtyð ð concreteð ð (Perloff, 114).Ý ƒ ÿÿšG H ÝŒÌâ âŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ-O ÝÝ Ýñ ñÓ N Óñ ñThe book as consumable object is troubled in Steve McCafferyð ðs ò òCarnival: the firstÐ X ¨ Ðpanel 1967„1970ó ó and ò òCarnival: the second panel 1970„1975Ý ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ|P Ýó óÝ Ýó ó× ƒ ×Ý ƒ ÿÿ Ýò òÚ Ú12Ú Úó óÝ Ý× ×. Each of the two panelsÐ , | Ðwere originally published in flip book form with specific instructions to the reader printedÏon a postcard inserted in each copy of ò òCARNIVAL: the first panel: 1967„1970ó ó:Ý ƒ ÿÿ-O ˜O ÝŒÐ Ô $ ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ"R ÝÝ Ýñ ñÓ N Óñ ñÓ ÓINSTRUCTIONSÝ ƒ ÿÿ"R ÿR ݌Р¨ ø ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿõS ÝÝ Ýñ ñÓ N Óñ ñÓ ÓIn order to destroy this bookÝ ƒ ÿÿõS `T ݌Р' â ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿgU ÝÝ Ýñ ñÓ N Óñ ñÓ Óplease tear each page carefullyÝ ƒ ÿÿgU ÒU ݌Р| Ì ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿÛV ÝÝ Ýñ ñÓ N Óñ ñÓ Óalong the perforation. TheÝ ƒ ÿÿÛV FW ݌Рf ¶ ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿJX ÝÝ Ýñ ñÓ N Óñ ñÓ Ópanel is assembled by laying outÝ ƒ ÿÿJX µX ݌РP ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ¿Y ÝÝ Ýñ ñÓ N Óñ ñÓ Ópages in a square of four.Ý ƒ ÿÿ¿Y *Z ݌Р: Š ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ N Óñ ñÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ.[ ÝÝ Ýñ ñÓ N Óñ ñÓ ÓÝ ƒ ÿÿ.[ ™[ ݌Р$ t ÐŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÓ N ÓÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿy\ ÝÝ ÝThere is no specific mention of ò òreadingó ó the text as such but rather paradoxicallyÐ ^ Ðð ðdestroyingð ð the bookÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿŠ] Ýó óÝ Ý× ƒ ' ×Ý ƒ ÿÿ Ýò òÚ Ú13Ú Úó óÝ Ý× × ð ðcarefully along the perforation.ð ð By regulating the destruction ofÐ î > Ðthe book, the restricted economy asserts itself over the general economic idea of waste.ÏThe rea der is told to ð ðdestroyð ð the book, rendering it useless in continued economicÏexchange, but only within the restrictions of the authorð ðs intention; ð ðcarefully along theÏperforation.ð ð The incongruent, misleading instructions purport to result in ð ða square ofÏfour,ð ð even through the resultant product is far from square. The consumption ofÏò òCARNIVAL: the First Panel: 1967„1970ó ó, as potlatch, results in the destruction of theÐ æ"6 ! Ðbook as object as a means of ð ðstress[ing] the infinite play of parts within the significatoryÏwholeð ð (ð ðGeneralð ð 221). The instructions for ò òCarnival: the Second Panel 1970„1975 ó ódifferÐ &Þ!% Ðin one major way from that of ò òPanel 1ó ó, as they begin with ð ðBuy two copies. Keep one onÐ b(²#' Ðyour bookshelf. Take the other & tear each of the 16 text pages carefully along theÏperforation. ð ð (qtd. in ð ðWallsð ð 39). Although the destruction of the book is necessary andÏpromoted in both cases ð ðthe impetus in the later case is clearly on the side of profit andÏaccumulation rather than that of destruction, waste and circulation.ð ð (ð ðWallsð ð 39). TheÏassembled text enlarges the traditional page four fold to 34ð ð x 44ð ð to be read ð ðspatiallyÏrather than temporallyð ð (Perloff 111) challenging the ð ðsequentiality of the normal bookð ðÏ(Perloff 111), treating the page in terms of painted composition, or Perloffð ðs ð ðBillboardÏFieldð ð (93). ò òCarnival: The First Paneló ó engages solely the typewriter and its inheritÐ | Ì Ðcompositional grid and ð ðthere is a tacit acceptance of the technological limits encoded inÏò òPanel 1ó ó, because it never strays beyond the use of the typewriter into other forms ofÐ $ t Ðinscriptionð ð (ð ðWallsð ð 34); ò òPanel 2 ó óhowever ð ðplaces the typed mode in agonistic relationÐ ø H Ðwith other forms of scription: xerography, xerography within xerography (i.eÏmetaxerography and distinctive seriality), electrostasis, rubber„stamp, tissue texts, handÏlettering and stencilð ð (ð ðIntroductionð ð ò òCarnival: the second paneló ó). Another paradox isÐ t Ä Ðcreated within each panel of ò òCarnivaló ó. ò òPanel 1ó óð ðs reading instructions revolt against theÐ H ˜ Ðhegemony of the book structure by suggesting its destruction though accepts the limits ofÏthe ty pewriter as compositional tool. ò òPanel 2ó ó supports a restrained consumer economy byÐ ð!@ Ðsuggesting the purchase of multiple copies but employs a more ð ðexplicitly agonistic textualÏlandscapeð ð (ð ðWallsð ð 35).Ý ƒ ÿÿy\ ä\ ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ ÝÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿÂi ÝÝ ÝÓ X ÓRiddell, Wershler„Henry and McCaffery each employ a general economy to troubleÐ l'¼"& Ðthe ð ðcautious proceduralitiesð ð (ð ðGeneralð ð 201) of business machines and their productionÏof normative, ð ðreadableð ð texts. The clinamen in ò òE clips Eó ó suggests the microscoping use ofÐ +d&* Ðthe photocopier as textual composer while the shredder and 3„hole punch become implicitÏin the a ct of composition. As hommage to the translative methods of bpNichol the Ô_ ÔmachineÐ ¼. *. Ðis a means of intra„technological Ô_ ÔhomolinguisticÔ_ Ô translation in ò òÔ_ ÔNicholodeonÔ_ Ôó ó. ConcreteÐ ° Ðpoetry has the tendency to move in ð ðthe direction of industrial design and the making ofÏlovely objects [ð8 ð] for personal and social useð ð (Ô_ ÔPerloffÔ_ Ô 119) that are ð ðas easily understoodÏas signs in airports and traffic signsð ð (Eugene Ô_ ÔGomringerÔ_ Ô Ô_ ÔqtdÔ_ Ô in Ô_ ÔPerloffÔ_ Ô 120). Without aÏcritique of the forms of creation and exchange as demonstrated hereð" ðthe author function,Ïthe page and the book as containerÝ ‚ ÿÿÿ Ýò òÝ ÝÝ ‚ ÿÿÿ>o Ýó óÝ ÝÔ_ Ô× ƒ ! ×Ý ƒ ÿÿ Ýò òÚ Ú14Ú Úó óÝ Ý× ×Ô_ Ô, concrete easily lapses into merely ð ðcharming andÐ Ô $ Ðwittyð ð (Ô_ ÔPerloffÔ_ Ô 116). Ý ƒ ÿÿÂi -j ÝŒÌŒÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÓ X ÓÐ | Ì ÐÓ Óñ ñÔ X > ÓÓ ÔÔ > ÓÓ Ôñ ñWorks CitedÌÓ Ø ÓÓ ÓÓ ? + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! 1 1 ‰X ? ÓÓ (þ ÓÔ_ ÔBeaulieuÔ_ Ô, Derek. ð ðð ða new medium immediatelyð ð: ò òfilling Stationó ó talks with Darren Ô_ ÔWershlerÔ_ Ô„Ð š ê ÐHenry.ð ð ò òfilling Stationó ó #18. 10„12Ð Š Ú Ðñ ñÓ (þ ÓÓ (þ Óñ ñBernstein, Charles. ð ðOptimism and Critical Excess (process)ð ð ò òA Poeticsó ó. Cambridge:Ð t Ä ÐHarvard UP, 1992. 150„178.Ìñ ñÓ (þ ÓÓ (þ Óñ ñÔ_ ÔB kÔ_ Ô, Christian. ð ðThe piecemeal bard is Ô_ ÔdeconstructedÔ_ Ô: notes toward a potential Ô_ ÔroboÔ_ Ô„¼poeticsð ð ò òObjectó ó 10. 10„18Ð 2 ‚ Ðñ ñÓ (þ ÓÓ (þ Óñ ñ„„„„„ and Darren Ô_ ÔWershlerÔ_ Ô„Henry. ð ðWalls that are cracked: A Ô_ ÔParalogueÔ_ Ô on Panels 1 & 2 ofÏSteve McCafferyð ðs Carnivalð ð ò òOpen Letteró ó. Ser. 10 No. 6, Summer 1999. 24„40Ð V ÐÓ (þ ÓÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿÙu ÝÝ ÝDutton, Paul. ò òThe Plastic Typewriteró ó. London / Toronto: Writerð ðs Forum / Ô_ ÔUnderwhichÔ_ ÔÐ ð @ ÐEditions, 1993.Ý ƒ ÿÿÙu ¢v ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ.x ÝÝ ÝÔ_ ÔJaegerÔ_ Ô, Peter. ò òABC of Reading Ô_ ÔTRGÔ_ Ôó ó. Vancouver: Ô_ ÔTalonbooksÔ_ Ô, 1999.Ý ƒ ÿÿ.x ÷x ݌Р˜ è ÐŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿœz ÝÝ ÝMcCaffery, Steve. ò òCarnival: The First Panel 1967„1970ó ó. Toronto: Coach House, 1973.Ð l ¼ Ðonline at: http://www.chbooks.com/online/carnival/index.html (Mar. 2002)Ý ƒ ÿÿœz e{ ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ } ÝÝ Ý„„„„„. ò òCarnival: The Second Panel 1970„1975ó ó. Toronto: Coach House, 1977. online at:Ð d Ðhttp://www.chbooks.com/online/carnival/index.html (Mar. 2002)Ý ƒ ÿÿ } Ï} ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿgã ÝÝ Ý„„„„„. ð ðWriting as a General Economyð ð ò òNorth of Intention: Critical Writings 1973„1986ó ó.Ð ¼ ÐToronto / New York: Ô_ ÔNightwoodÔ_ Ô / Roof, 1986. 201„221.Ý ƒ ÿÿgã 0 ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿè ÝÝ Ý„„„„„. ð ðÔ_ ÔZarathustianÔ_ Ô ð ðÔ_ ÔPataphysicsÔ_ Ôð ð ò òPrior to Meaning: The Ô_ ÔProtosemanticÔ_ Ô and Poeticsó ó.Ð d ´ ÐEvanston: Northwestern UP, 2001. 15„30.Ý ƒ ÿÿè ±‚ ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÝ ‚ ÿÿÿ ÝÓ Ø Ø ÓÓ B + ² ² 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ ÝÝ ‚ ÿÿÿ›„ ÝÝ Ý„„„„„ and Ô_ ÔbpNicholÔ_ Ô. ò òRational Geomancy: The Kids of the Book Machine. The CollectedÐ !\ ÐResearch Reports of the Toronto Research Group 1973„1982ó ó. Vancouver:Ð à"0 ! ÐÔ_ ÔTalonbooksÔ_ Ô, 1992.Ý ƒ ÿÿ›„ d… ÝŒÌŒÓ Ø Ø ÓÓ $ ² ² 1 ‹X ² ² 1 ‹X $ ÓÓ (þ ÓÓ ÓÔ X ³} X X X ³} ÔÔ X ³} X X X ³} ÔÝ Ýñ ñÓ ta Óñ ñÓ (þ ÓNichol, bp. ò òSharp Facts: Selections from Ô_ ÔTTAÔ_ Ô 26ó ó. Milwaukee: Membrane Press, 1980.Ð ˆ&Ø!% Ðñ ñÓ (þ ÓÓ (þta Óñ ñÔ_ ÔPerloffÔ_ Ô, Marjorie. ð ðSigns are taken for Wonders: The Ô_ ÔBilboardÔ_ Ô Field as Poetic Spaceð ðÏò òRadical Artifice: Writing in the Age of Mediaó ó. Chicago: University of Chicago Press,Ð \(¬#' Ð1991. 93„133.Ìñ ñÓ (þ ÓÓ (þta Óñ ñÔ_ ÔRiddellÔ_ Ô, John. ò òa/z does itó ó. London: Ô_ ÔNightwoodÔ_ Ô Editions, 1988.Ð 0* %) Ðñ ñÓ (þ ÓÓ (þta Óñ ñ„„„„„. ò òE Clips Eó ó. Toronto: Ô_ ÔUnderwhichÔ_ Ô Editions, 1989.Ð +j&* Ðñ ñÓ (þ ÓÓ (þta Óñ ñÔ_ ÔWershlerÔ_ Ô„Henry, Darren. ð ð[Concatenation ò òHó óemorrò òhó óaging [Framing [John Ô_ ÔRiddellÔ_ Ô]]ð ð ò òOpenÐ ,T'+ Ðâ âLetteró ó Ser. 8 No. 8; Winter 1994. 117„127.Ð î,>(, Ðñ ñÓ (þ ÓÓ (þta Óñ ñ„„„„„. ò òÔ_ ÔNicholodeonÔ_ Ô: a book of Ô_ ÔlowerglyphsÔ_ Ôó ó. Toronto: Coach House Book, 1997. online at:Ð ° Ðâ âhttp://www.chbooks.com/online/nicholodeon/index.html (Mar. 2002).Ìñ ñÓ (þ ÓÓ (þta Óñ ñ„„„„„ and Bill Kennedy. ð ðApostrophe: working notes, v.3 October 2001ð ð ò òObjectó ó 10. 49„60.Ð „ Ô ÐÓ (þ ÓÓ Ø ÓÓ B + Ù Ù 1 ‰ á 9 ' é A ™ ñ I ¡ ù! ² ² 1 ‹X B Ó