under construction

• the pages you found here are prototype-like working versions of the VIRTUAL ACADEMY that we are planning to launch in september 1998 (with nick cave, anne waldman, erwin puls, fernando rendon, among others). the time and space structures are organized in such a way as to allow us to keep tabs on current research, experience and other new developments. feel free to drop us a line in our mailbox if you have any suggestions or tips to offer (e.g. related internet poetry projects).
  
  
• the schule fuer dichtung in wien has had success due to its sustained commitment to preserve the freedom of poetic fantasy, improve working conditions for the artist and retain independence from those political, economical and ideological interests that are unsupportive of poetry. only by maintaining this approach can we hope to continue working with some of the great poets of our time.
  
  
• financial or other contributions (photocopiers, computers, air tickets, bicycles, mopeds, delivery vans, inline skates, beverages, books, cd-roms, etc.) are always welcome and make our work easier. here's our office address:
  
  

  schule fuer dichtung in wien
  mariahilfer str. 88a/II/5d
  a-1070 wien

  
  
• donations may also be made directly to our account:
  
  

  684 090 103, bank-austria (blz 20151)

  
  
• for a list of our sponsors, click partner
  
  

Ed Sanders:

One way to
             shake out
 
                        a sequence of
charged lines
 
 
 
is to read through the sequence of FACT
UNITS
 
maybe read through it for hours
 
                        
                                over and over
 
 
 
and then
SING INTO IT
 
(like Yeats sitting in a chair after dinner
beating time on the arm, humming a tune
 
                          
                               and polishing verses)
 
 
SING INTO IT
 
so that
 
             logopoeia makes love
with
 
                                                  melopoeia
 
 
and this "tuning"
 
of the data-clusters
              brings the best you have to the Field.

 

(from: edward sanders: tuning the data. in: edward sanders: creativity and the fully developed bard. woodstock 1992. s 9)