” … there is a fundamental requirement which the various kinds of concrete poetry meet: concentration upon the physical material from which the poem or text is made. Emotions and ideas are not the physical materials of poetry. … Generally speaking the material of the concrete poem is language …” (Concrete Poetry — A World View. 1968.)
” Flarf was first applied in reference to poems and other creative texts produced by the Flarflist Collective, a group of writers including Maria Damon, Jordan Davis, Katie Degentesh, Drew Gardner, Nada Gordon, Rodney Koeneke, Michael Magee, Sharon Mesmer, K. Silem Mohammad, and Gary Sullivan. The term was coined by Sullivan in late 2000, when he submitted deliberately bad poems to Poetry.com’s poetry “contest” (actually a marketing scheme) as a way of testing Poetry.com’s supposed standards for excellence. (It should be noted that the practice of Poetry.com-baiting predates flarf itself; many other individuals, including North Carolina poet Patrick Herron and syndicated humorist Dave Barry, have engaged in similar pranks.)”
Poetry interests me above all as a kind of resistence. In the first place because its economy is absolutely aberrant to contemporary logic: an enormous investment (in terms of time and energy), quasi-nil effect and zero profitability. So it’s an act that could only be directed by internal necessity…
Scholars are men.
These are the men that must step out
From the visionary landscape.
Robertson, Lisa. (2006). The Men: A Lyric Book. Toronto: BookThug. p.41
As I was coming home tonight, at 319 Main St, Vancouver, a window was being projected on from inside and it was playing excerpts from:
the 1995 PBS series United States of Poetry 
What is this place on main st? I like it but the doors were locked.
Billy Collins reads his poem “The Dead”
with animation by Juan Delcan of Spontaneous.
Piet Zwart Institute – Words Made Flesh
WORDS MADE FLESH
Code, Culture, Imagination
Florian Cramer
A b s t r a c t: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and experimental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that encompasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persistence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh.
No text is sacred. Nothing is ever for real. The earth shifts beneath our feet. We are walking in circles looking again and again at the same thing.