Friedlander, Benjamin.  "Marianne Moore Today."  Critics and Poets on Marianne Moore: "A Right Good
        Salvo of Barks."  Ed. Leavell, Linda, Miller, Cristanne, and Robin G. Schulze.  Bucknell, PA: Bucknell UP, 2005.
        222-39.

        Friedlander solicited commentaries on the significance of Marianne Moore from contemporary avant-garde poets, with the intention of gauging exposure and tracing lines of influence.  Interspersed are his comments on the vagaries of Moore's reception, and an inchoate argument that Moore's poetry should be a lot more important to contemporary poets than it is.  Rachel Blau Duplessis calls her "a precursor without acknowledged followers," and then claims a mild affinity for the "collage textures of poetry and discursive slides" that also appear in Pound, Eliot, and Williams, but which Moore employed to feminist ends.  Jena Osman looks behind the texture of the poetry to Moore's compositional practice, admiring "her use of footnotes/citations, her delight in and recycling of newspaper items, and her ‘research-based' writing strategies," and most of all Moore's practice of inserting clippings into books dialogically, which Osman calls "material hypertext." 

        Friedlander ultimately suggests two conclusions: first, an unfair prejudice against Moore results from the popular, genteel persona she cultivated in her later years, the period when most contemporary poets came of age; second, the texture of contemporary poetry and its practice of laying bare the mediation of truth comport with Moore aesthetically and philosophically to a greater degree than with her peers.  The significance of this discussion for my project is that contemporary poets who admire Moore admire the way she samples from non-literary texts.  Arguably, then, one of the most productive aspects of Moore's poetry in the present moment intersects with one of the most discussed concepts in intellectual property law, sampling. 

Abstract
At the digital poetry conference in 2002 at the University of Iowa, Kenneth Goldsmith presented the aforementioned paper regarding the vision and history of UBUWeb to the present date. He also talked about the process and adventure these avant-garde files and work proceed once they have been digitized, stripped bare, and copied or reworked in new fashions. He even mentions the avant-garde’s fortunate journey into popular culture with rock band Sonic Youth’s 1999 release Goodbye to the Twentieth Century.  Goldsmith begins his talk sharing his favorite email from Meredith who wrote: : “i really enjoyed your site. it made me think about different cultures other than the ones i experience daily living in a small Texas town”. Goldsmith then went to ruminate on the rich fulfillment he received by noting that Meredith’s note,

succinctly summed up everything that I had wished to achieve with UbuWeb: that of a distribution point for out of print, hard-to-find, small run, obscure materials, available at no cost from any point on the globe. Although the technologies of the web are continually developing in terms of sophistication, UbuWeb embraces the distributive possibilities inherent in the web's original technologies: call it radical forms of distribution.

This radical form of distribution is UBU web’s calling card. UbUWeb was launched in November of 1996, and quickly has become a “clearing house of the avant-garde art on the web”. UBUWeb is comprised of the most comprehensive archive of sound and concrete poetry on the web, but also offers an extensive amount of avant-garde film, and recordings from a plethora of avant-garde artists from Samuel Beckett to Marcel Duchamp. It’s humble beginnings began with Kenneth’s own impressive collection of sound and concrete poetry, and from day one he has desired to stay committed to making these resources “available and free” to all. UBUWeb is in existence to keep the avant-garde contemporary with culture with its accessibility on the web.

Relevance
I first came across UBUWeb about two years ago, and since I have had to limit my time spent on the site if I desire to be any kind of productive student/ human being outside of my poetic and artistic interests. It is easy to become lost, like a toddler in Toys ‘R’ US, on UBUWeb. Its clean, and manageable interface gets deeper and deeper in the plethora of seemingly endless works. It is true that many of the works posted on UBUWeb cannot be found in your local library (even University library), and its accessibility is something to fight for and cherish. The ability to preserve and offer such a vast and free library is what excites me most about the web. This “radical form of distribution” is not only fascinating to me, but something I have come to believe is necessary for the education and preservation of culture. Many of the works found on the site are frozen due to the CTEA (Copyright Term Extension Act), meaning they are not scheduled to enter the public domain at the earliest until 2019. Kenneth’s defiance in his conduct of posting the content and eschewing the normal means of being granted permission for most works, is of interest to my research of copyright law, and how UBUWeb is an example of artistic culture  that can be preserved for the good of the general public without harmful exploitation to the copyright holder. The “utopoian-cyber landscape” of UbuWeb is of particular interest, because I argue it is a beacon of the good that comes from media archiving and any laws that could hinder or impede upon this construction are detrimental to the public good.

Bernstein, Matthew. "Perfecting the New Gangster: Writing Bonnie and Clyde."
Film Quarterly 53.4 (2000). JSTOR . 26 Mar. 2008

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Bernstein’s article analyzes the continual script revision of Bonnie and Clyde to demonstrate how the film integrated characteristics of French New Wave cinema with conventions of Hollywood. Screenwriters David Newman and Robert Benton were great admirers of French New Wave Cinema. In fact, Francois Truffaut even helped edit their script after turning down the position as director. According to Bernstein’s analysis of the script, the French New Wave influenced the original concept, storyline, narrative structure, and character development. Newman and Benton were focused on developing Bonnie and Clyde as endearing bad guys. Similarly, the writers tried to create a mixture of tones through juxtaposition of opposites, such as the combination of comic relief with gory violence. The original script was actually even more European in style, but revisions create a more coherent and Hollywood style by making Bonnie and Clyde more conventionally romantic and strengthening the linear narrative by focusing mainly on Bonnie and Clyde’s perspective. This article also demonstrates how Arthur Penn and his team broke tradition and started a new era in Hollywood. For example, despite offending studio-head Jack Warner, Newman, Benton, and Penn were determined to include gory action sequences and charged language.
This article demonstrates how Newman and Benton used the stylization of French New Wave to create a new American gangster, mainly through a mixture of tones and juxtaposition of opposites (such as love and crime, or comedy and violence). Additionally, the writers knowingly and purposefully broke social conventions of Hollywood. For the first time, brutal criminals were likable, and horrific scenes were integrated with comic undertones. As a result of Bonnie and Clyde, directors earned more power and took greater stylistic risks. Films, therefore, were developed according to new institutional standards with significantly less studio influence.

As the title indicates, this book refers to a very particular portion of the publishing world.  Compton claims 1917-1934 "comprise the greatest inventiveness in book design," and goes on to explain they "they are also years when creation in all fields, including the arts, enshrined the hope for a better life in a country which, compared to the United States and Western Europe, remained backward in spite of modernization at the beginning of the century" (9). Avant-garde artists (writers, visual artists, architects) were leaders of the Utopian movement, and were part of the national movement striving for high literacy.  The texts and their covers both strove to embrace a newfound freedom and compel others to action.  The variety of techniques for designing book covers was broad - lithography, rubber stamps, wall-paper, hand-colouring - and reflected the freedom artists were experiencing for the first time.  Though the aesthetic varied among books, one thing remained the same: virtually all covers were politically charged and influenced.