Electronic Poetry Center

register entry electronic-poetry-center-aio-20261101 OBS-4ac0c8d67c05 · file as first run sha256 4139a366a70f3bfc…

• T1-1 definition: 'is a major online archive and resource gateway for digital, experimental, and avant-garde poetry.' (two markers)
• T1-2 founded: 'Founded: July 10, 1994, by Loss Pequeño Glazier and Charles Bernstein.' (one marker)
• T1-3 origin: 'Origin: Created as part of the Poetics Program at the State University of New York (SUNY) at Buffalo.' (one marker)
• T1-4 milestone: 'Milestone: Sponsored E-Poetry 2001, recognized as the world's first exclusive electronic poetry festival.' (one marker)
• T1-5 author libraries: 'Author Libraries: Curated collections of contemporary poet pages containing biographies, photos, essays, and links to online works.' (two markers)
• T1-6 e-poetry: 'E-Poetry Section: Dedicated to internet-dependent and multimedia works, including hypertext, webworks, and animations.' (one marker)
• T1-7 partnerships: 'Partnerships: Collaborates with digital humanities and audio archives such as PennSound and UbuWeb.' (one marker; PennSound and UbuWeb linked)
• T1-8 closing offer: 'Would you like help finding a specific author's archive or exploring historical e-poetry projects on the site?'

• B1 University of Pennsylvania — Electronic Poetry Center card; B1.html sha256 443499b7dcc7846f, HTTP 200 at 2026-11-01T06:15:25Z; byte-identical to the census copy epc--home
• B2 Wikipedia — Electronic Poetry Center - Wikipedia card; B2.html sha256 a9da21abe1a3d713, HTTP 200 at 2026-11-01T06:15:26Z; raw wikitext HTTP 200 (B2.wiki sha256 7b0d8e7cf7ad4dab)
• B3 ELMCIP Knowledge Base — Electronic Poetry Center (EPC) card; B3.html sha256 43051c85acdae82c, HTTP 200 at 2026-11-01T06:15:46Z
• B4 poets.org | Academy of American Poets — Electronic Poetry Center | Academy of American Poets card; B4.html sha256 2c02bc57c9b9f6d2, HTTP 200 at 2026-11-01T06:15:27Z
• B5 Electronic Poetry Center — About own_page; census copy epc--about (read 2026-11-01, HTTP 200); B5.html sha256 8d9fb23b683fa83a
• B6 PennSound — home page body_named; B6.html sha256 2ddc53a3b55b38b5, HTTP 200 at 2026-11-01T06:15:28Z; byte-identical to the census copy pennsound--home
• B7 UbuWeb — home page body_named; B7.html sha256 1f9ba3a3325f02a0, HTTP 200 at 2026-11-01T06:15:29Z; byte-identical to the census copy ubuweb--home

E_A, the archive's entity: the same center, in the leesharks.com authorship census record and the archive's deposits: infrastructure among the avant-garde and experimental archives, asked whether a formally innovative poet's work and a field's own discussion record is held, and under which author page; holding work under poets' names with no naming policy stated, roles credited by function, how a poet writing under several names is filed unanswered; read by the archive as holding a field's authors beside that field's own discussion, so that authorship stays with a community's record of itself; with two founding dates kept; a holding under the unit the archive calls the civil name, where the pseudonym changes a label and the heteronym the organization of the authorial function (#940, #1722, #1585); founded by poets the archive's periodization of experimental and digital poetics names (#301, #186); and whose composition at its name followed its Wikipedia article's date and Buffalo frame, never naming Penn and leaving out the Poetics List (Capture Registry, 2026-11-01) LS-05 LS-07 LS-08 LS-13 LS-15 LS-20 LS-22 LS-23 LS-29 O940-01 O940-02 O1722-01 O1585-01 O301-01 O301-02 O186-01 CAP-1-01 CAP-1-04 CAP-1-06 CAP-1-09; defining papers #940, #1722, #301, #186, #1585

E_F, the field's entity (type C — a conventional reading holds it (public entity: an internet archive and resource site for poetry and poetics)): the online resource Loss Pequeño Glazier founded with Charles Bernstein at the Poetics Program of SUNY-Buffalo (July 10, 1994 by Wikipedia, citing Glazier's announcement to the UB Poetics discussion group; 1995 by its About page and by its earlier site as ELMCIP quotes it), 'the first comprehensive Internet archive of its kind for poetry and poetics' in its own words and 'an online resource for digital poetry' in Wikipedia's, dedicated also to contemporary formally innovative poetries; holding a Digital Library, E-Poetry and Author libraries, author pages of contemporary poets and an E-Poetry section of Internet-dependent works, digitized books and journal runs, and the archives of the Buffalo Poetics Program (1991–2003) and the Poetics List (1993–2014); in collaboration with CPCW at the University of Pennsylvania since 2003, its address moved from epc.buffalo.edu to writing.upenn.edu/epc/; its housed texts 'definitive', each approved by its producers; partnered with UbuWeb and PennSound; sponsor of E-Poetry 2001 (About page; home page; Wikipedia; ELMCIP; the Academy of American Poets)

ρ = extends: The archive reads the center as its own pages and Wikipedia present it and adds, on the field's own object: the census's question of whether a poet's work and a field's own discussion record is held, and under which author page, with the record's answers (both dates; work under poets' names, no naming policy; roles by function; a field's authors beside its discussion); attribution under a civil name and the difference of the pseudonym and the heteronym, on which the record's open question turns (#940, #1722, #1585); and the founders' place in the archive's account of experimental and digital poetics (#301, #186). LS-08 LS-13 LS-15 LS-20 LS-22 LS-23 LS-29 O940-01 O940-02 O940-04 O1722-01 O1585-01 O301-02 O301-03 O186-01. Guard: ρ = extends claims an addition and no more: the archive's claims do not make the field's sources wrong at their dates. Where an archive claim stands beside a field claim (LS-13 'not recorded' beside F30's 'approved by its producers'; LS-29 beside F14 and F41), both are composed under P_coh within the one ontology. The archive's class claims are claims on classes the field and the record source (config classes 1–4), never on the entity by the composer's judgment: #940's civil name is composed as the archive's account of attribution bearing on such holding, and the center is not called a civil-name regime.

The case: equal terms, ontology included (v0.9). The archive reads the field's entity as the entity. The census record describes the center from its own pages and Wikipedia, each field with its basis ('operator' or 'third_party'), keeps both founding dates, and answers the census's question for it; its reading of its own, ls_reading, takes the center as infrastructure holding a field's authors beside that field's discussion of itself, which is the About page's own account of what it houses (F44, F45) carried to the census's question, and records that the sources give no account of chosen names. The capture record checks the composition against those pages. No deposit names the entity. The deposits bear on classes the record and the field source for it (holding work under an author's name; experimental and digital poetry) and add senses and limits on the field's own object: attribution under a civil name and the pseudonym/heteronym distinction (#940, #1722, #1585) and the founders' place in the archive's periodization and lineages (#301, #186). No archive text contests what the center is, and the field holds the ontology; ρ = extends, the equal-terms case.

#LS census.json rows[slug == 'epc'].ls_reading: The archive reads the EPC as infrastructure that holds a field's authors beside the field's own discussion (the Poetics List, the Buffalo Poetics Program), so authorship stays with a community's record of itself.

#LS census.json rows[slug == 'epc'].record.name: not recorded: the saved sources show author pages under poets' names and state no policy on pseudonyms, heteronyms or collective names

#940 §1 ¶2 (line 79): A civil name is the atomic unit of attribution across the systems that govern legitimacy in scholarly, literary, institutional, and platform-mediated production.

#940 §2 (line 99): A pseudonym changes the label attached to an authorial function. A heteronym changes the organization of the authorial function itself.

#301 §1 (line 38): Digital poetics (Glazier, the Electronic Literature Foundation) theorized screen-based composition.

#capture-registry electronic-poetry-center-aio-20261101, analysis s1: The center composed accurately at its grain from its Wikipedia article, with that article's founding date and its Buffalo frame.

— (equal-terms case: no receiving text; every field claim composed as received). Reading the received column recovers the field (§5.9).

v0.10 §4.10: KO_B sentences surviving in the KO at similarity ≥ 0.95, with positions (computed as apply_v09.py does: difflib.SequenceMatcher ratio, the best KO sentence for each KO_B sentence): v0.10 0 of 14 (positions [None, None, None, None, None, None, None, None, None, None, None, None, None, None]; composed first under v0.10, so there is no v0.7 object to measure against). Opening-run check (§5.10): no breach.

The Electronic Poetry Center (EPC) is an online resource for digital poetry, also dedicated to the promotion and archiving of other contemporary formally innovative poetries. It was founded by Loss Pequeño Glazier and Charles Bernstein of the Poetics Program at the State University of New York at Buffalo, on July 10, 1994 according to Wikipedia and in 1995 according to its own About page, which calls it the first comprehensive Internet archive of its kind for poetry and poetics. Its goal is to make available resources centered on digital and contemporary formally innovative poetries, new media writing and literary programming, and an earlier statement of its site calls it a central gateway to such resources. The Poetics Program, founded in 1991 by Bernstein and Robert Creeley, keeps an interest in experimental, progressive and avant-garde poetics, and Glazier was a professor of Media Study at Buffalo. Since 2003 the center has collaborated with the Center for Programs in Contemporary Writing at the University of Pennsylvania, with PennSound as its sister site and Al Filreis as publisher, and its address has moved from epc.buffalo.edu to writing.upenn.edu/epc/. It makes its resources available through a Digital Library, E-Poetry and Author libraries, curated lists on a focused range of authors for personal use, research and teaching. Its author pages gather photographs, biographies, links to online works, interviews and essays, and its E-Poetry section links Internet-dependent works such as hypertext, webworks and animations. Its Digital Library holds the full run of Sulfur, Ron Silliman's blog history, a digital edition of Artifice of Absorption, mirrors and translations, and its home page lists items of 2026 and memorials for poets who died in 2024 and 2025. It also houses the archives of the Buffalo Poetics Program (1991 to 2003) and of the Poetics List (1993 to 2014), the first poetry listserv discussion group, with a bibliography of the Program's graduate students. Texts housed at the center are presented as definitive, each approved by its producers, and its own staff are credited by role. It sponsored E-Poetry 2001, the first festival exclusively dedicated to electronic poetry, and was called an epicenter of poetic evolution and teaching at EPC@20 in 2014. It has been reviewed in the Chronicle of Higher Education and the Times Literary Supplement, drew an estimated 10 million visits a year in 2000, and was likened by the Academy of American Poets to an attic of treasures that could not exist in a physical building. It is partnered with UbuWeb, the internet's largest archive of free avant-garde materials, and with PennSound, which keeps author pages of its own. The ELMCIP Knowledge Base locates it in Buffalo with its record marked as needing revision, its About page carries a 2011 copyright line, and older links to it may break.

The Electronic Poetry Center (EPC) is an internet archive and resource site for poetry and poetics, which describes itself as "the first comprehensive Internet archive of its kind for poetry and poetics" and makes its resources available through a Digital Library, E-Poetry and Author libraries. Its focus is digital poetry together with "contemporary formally innovative poetries," new media writing and literary programming, so its holdings reach print poetries and poetics as well as digital work. It has also been described, in an earlier statement of its own site, as a central gateway to resources in electronic poetry and poetics at the University at Buffalo, at the University of Pennsylvania's PennSound, at UbuWeb and on the web at large. The archive's authorship census enters it as infrastructure among the avant-garde and experimental archives, a resource that gathers and holds many other works and says what it holds, and asks of it whether a formally innovative poet's work, and a field's own discussion record, is held, and under which author page. The center was founded by Loss Pequeño Glazier with Charles Bernstein at the Poetics Program of the State University of New York at Buffalo, and its staff list credits Glazier as Director and Founder and Bernstein as Editor and Co-founder. Its sources give two founding dates: its About page and the description ELMCIP quotes from its site give 1995, and Wikipedia gives July 10, 1994, citing Glazier's "Announcement: Electronic Poetry Center (Buffalo)" to the UB Poetics discussion group of that day, in a list log at the center's own address. The census record keeps both dates and enters the center under the tag that it has no single founding date. The Poetics Program was founded in 1991 by Bernstein and Robert Creeley and keeps an interest in experimental, progressive and avant-garde poetics; Glazier taught in Buffalo's Department of Media Study. In 2004 the Academy of American Poets described the site as created and maintained by Bernstein and Glazier and as part of the Buffalo poetics program. The center received support from Buffalo's Department of English, through the Poetics Program, and from its Department of Media Study, and in 2003 began an active collaboration with the Center for Programs in Contemporary Writing (CPCW) at the University of Pennsylvania, whose PennSound it calls its sister site. Its affiliation with both Buffalo and Penn continues: Al Filreis is credited as its publisher for CPCW, and its address has moved from epc.buffalo.edu to writing.upenn.edu/epc/, readers of older links being told to substitute the one for the other. Some records of it keep the Buffalo address: the ELMCIP Knowledge Base locates it in Buffalo and marks its record "Revisions required", and the search card for that record carried a buffalo.edu email address the saved record page does not show. Its unit is an author page or a Digital Library item, assembled by its editors: PDFs of books and full journal runs, digital editions, mirrors of authors' sites and bibliographies. The author pages, which the Academy of American Poets called the site's centerpieces in 2004, gather photographs, biographies and links to online works, interviews, essays and critical information for contemporary poets; the home page now points to pages for Mina Loy and Bill Keith. The E-Poetry section links Internet-dependent works of poetry, hypertext, "webworks", animations, media performances and other multimedia texts, with two essays defining the medium. The libraries are curated lists of resources on a focused range of authors, for personal use, research and teaching, beside curated links to digital and literary projects, publishers and magazines. The Digital Library, which the home page calls the "first stop" for its resources, holds among much else the full run of Sulfur edited by Clayton Eshleman, Ron Silliman's complete blog history, an EPC digital edition of Artifice of Absorption, a mirror of Tom Raworth's NOTES, and Yitzhak Katzenelson's The Song of the Massacred Jewish People (1945) in Jack Hirschman's translation of 2012. The home page is kept current: it lists an item by Brian Kim Stefans dated 2026 and memorial entries for poets who died in 2024 and 2025, linked to their EPC author pages, PennSound pages and obituaries. The center also houses the archives of the Buffalo Poetics Program from its founding in 1991 to 2003 and of the Poetics List (1993–2014), "the first poetry listserv discussion group," and its home page carries a bibliography of publications by the Program's graduate students from 1991 to 2016. The archive reads the center as infrastructure that holds a field's authors beside that field's own discussion, so that authorship stays with a community's record of itself. The texts it houses are presented as "definitive" texts, each approved by its producers. Work is held under poets' names; the saved sources state no policy on pseudonyms, heteronyms or collective names and give no account of chosen names or of how a contribution inside a work is attributed, so how a poet writing under several names is filed is left unanswered. For the site itself, roles are credited by function: Director and Founder, Editor and Co-founder, Managing Editor, Technical Director, Senior Editors and, for CPCW, Publisher. The archive's account of attribution bears on such holding: "A civil name is the atomic unit of attribution across the systems that govern legitimacy in scholarly, literary, institutional, and platform-mediated production." On the question the record leaves open, the archive distinguishes the two kinds of other name, "A pseudonym changes the label attached to an authorial function. A heteronym changes the organization of the authorial function itself," and holds that "the authorial function is attributable through the civil bearer without being reducible to that bearer." On its reading a heteronym is "a real author's practice," a heteronymic architecture makes a collapse into one civil identity register as loss, and names are routing instructions, so what is filed under a name arrives as the receiving culture instructs. The archive's periodization of American experimental poetry names the center's founders in its account of what came after Language Writing, "after Bernstein, Hejinian, Howe, Silliman, Andrews," and of its candidates: "Digital poetics (Glazier, the Electronic Literature Foundation) theorized screen-based composition." It holds that existing periodizations of that poetry "fail to account for computational mediation of authorship, reception, and canon formation," and that the procedural lineage through electronic literature "established that composition can be delegated to systems." The center is partnered with UbuWeb and Penn's PennSound; UbuWeb, founded in 1996, calls itself "the internet's largest archive of free avant-garde materials," and PennSound, the sister site that holds the audio, keeps author pages of its own, while the center's memorial entries link tributes at Jacket2. It is called one of the oldest resources for poetry on the web, and it sponsored E-Poetry 2001 in Buffalo, described as the first festival exclusively dedicated to electronic poetry. It has been reviewed in The Chronicle of Higher Education and The Times Literary Supplement; a 2000 estimate gave it 10 million visits a year; at EPC@20, its twentieth anniversary in Buffalo in September 2014, it was called "an epicenter of poetic evolution and teaching"; and the Academy of American Poets likened a visit to "digging around for treasures in an attic" and wrote that its collection "couldn’t exist in a physical building." No rights terms are stated for its PDFs and pages, whose About page carries "©2011"; the census does not enter it as a rights holder, and the rights status of a digitized text is among what it does not answer. Its stated limit is the address: links to epc.buffalo.edu may break, and no stable address for older resources is given. The census left unchecked the author pages and Digital Library items themselves, the E-Poetry library, the Program and List archives and any rights statement for the PDFs. Asked for the name on 1 November 2026, Google's AI Overview composed the center accurately at its grain from its Wikipedia article, the Capture Registry records, with that article's founding date and its Buffalo frame: it carried July 10, 1994 where the census record keeps both dates, left the center at Buffalo, and never named Penn in its body, though its first card is the center at the University of Pennsylvania. It carried the author pages and the E-Poetry section and left out the Poetics List, the Program archive and the center's stated goal; the article it followed was last edited on 2 March 2024. The archive states the limit of its own records of such compositions: a capture "is evidence that a machine said something," and never evidence "that the something is so."

current · derived from the current composition

T against L_F(B) (AIO's ontology at work on its own cards): At 'Electronic Poetry Center' (T1, four cards, B1–B4, and two sources named and linked in the body, B6 PennSound and B7 UbuWeb: the disclosed pool B_D; 109 words in the answer body, 9 markers, and a closing offer) the composition gives a definition, an Overview & History cluster and a Key Resources & Features cluster. Composed from B_D: 'resource gateway' (B3 F25, the site's own 'central gateway' as ELMCIP quotes it); 'digital, experimental, and avant-garde poetry' at the grain of card 2's snippet (B2 F23, F13, F19); the founding 'July 10, 1994, by Loss Pequeño Glazier and Charles Bernstein' (B2 F14), the article's date, as the Capture Registry records (CAP-1-01); the Buffalo origin (B2 F14, F19; B4 F33, a page of 2004); E-Poetry 2001 (B2 F16; B3 F29); the author pages at the grain of card 4 (B4 F34: 'photographs, biographies, and links to online works, interviews, essays'), named 'Author Libraries' as card 3 names them (B3 F27); the E-Poetry section (B4 F35); the partners (B2 F21). Available, not composed (B_D only): the second founding date, 1995, on card 3 in the site's own words as ELMCIP quotes them (B3 F25): B_D holds two dates and T composes one (P_coh); the move to Penn, on card 1's own page (B1 F11: 'substitute "writing.upenn.edu/epc/" for "epc.buffalo.edu/"', the card's site the University of Pennsylvania) and on card 3 ('the University of Pennsylvania's PennSound'), so that T names PennSound as a partner and never Penn (CAP-1-04); the aim, on card 3 (B3 F26, the goal the Capture Registry finds 'not stated', CAP-1-08, available in B_D through ELMCIP's quotation and not only on the About page); the statement that housed texts are 'definitive', 'each … approved by its producers' (B3 F30), the field's one statement on how the authorial function of a housed text is held; the curated link lists (B3 F28); the Digital Library and card 1's holdings (B1 F2–F9), the bibliography of the Poetics Program's graduate students (B1 F10) and the memorial entries (F8); 'one of the oldest resources for poetry on the World Wide Web' (B2 F14), the Program's founding in 1991 by Bernstein and Creeley and Glazier's Media Study post (B2 F19), the 2000 estimate of visits (F20), EPC@20 (F17); the reviews (B3 F29); the ELMCIP record's 'Revisions required' and its Buffalo location (B3 F24), which T's frame matches without its mark; the Academy's dated judgment (B4 F32, F36, posted 2004, F37); the partners' own pages (B6 F49, F50; B7 F51). Limit dropped: none at the claim level; card 2 is a stub last edited 2 March 2024 (F22) and card 4 is dated 2004 (F37), and T composes their Buffalo frame in the present without either date (CAP-1-05). Force raised: none; 'recognized as the world's first exclusive electronic poetry festival' keeps card 2's 'the world's first festival exclusively dedicated to electronic poetry'. Outside the cards: 'major' (no source in B_D grades the center so); 'digital humanities and audio archives' (B_D calls UbuWeb 'the internet's largest archive of free avant-garde materials' and no source calls either partner a digital humanities archive). Composed without attribution: none; every line of the body carries markers. Content replaced by use: the closing offer, 'Would you like help finding a specific author's archive or exploring historical e-poetry projects on the site?' Not in B_D and so not 'available, not composed': the Poetics List and the Buffalo Poetics Program archives, the 2003 CPCW collaboration and the roles by function (B5, the About page, B_R); B_D carries the list only as Wikipedia's citation of Glazier's 1994 announcement to the 'UB Poetics discussion group' (F15).

v0.10 §0.5: the first diff is ontological and narrow. T and B_D agree on the entity (an online resource and archive for digital and experimental poetry founded at Buffalo). T composes the center as card 2, a stub of 2024, and card 4, an entry of 2004, give it: Buffalo, one date, the author pages and E-Poetry. It leaves out what card 1 and card 3, the center's own page and the record that quotes the center's own site, add to that frame: the second date, the move to Penn, the aim, and the statement that the texts housed are approved by their producers.

L_F(B) against L_A(B ∪ A) (the intervention): B_R adds the About page (B5): the center's own 1995 date beside Wikipedia's 1994 (F41), its roles credited by function (F38–F40), the 2003 collaboration with CPCW at Penn and PennSound as sister site (F46), the first comprehensive Internet archive of its kind (F43), and the archives of the Buffalo Poetics Program (1991–2003) and the Poetics List (1993–2014) (F45). Admission adds, in one claim space with the field's: the census's question of whether a formally innovative poet's work and a field's own discussion record is held, and under which author page (LS-08, LS-09, LS-33), with the record's answers field by field (LS-01–LS-32): both dates kept (LS-17, LS-29); the work held under poets' names with no naming policy (LS-13), roles credited by function (LS-15), how a poet writing under several names is filed unanswered (LS-20); the archive's reading of a field's authors held beside that field's own discussion (LS-22) and of no account of chosen names or of attribution inside a work (LS-23); rights not stated (LS-14, LS-19, LS-24, LS-27); the archive's account of attribution under a civil name and of the pseudonym and the heteronym (#940: O940-01–O940-04; #1722: O1722-01; #1585: O1585-01), which bears on the record's open question; the founders' place in the archive's periodization of experimental and digital poetics (#301: O301-01–O301-03) and the procedural lineage through electronic literature (#186: O186-01); and the Capture Registry's account of the composition at the name (CAP-1-01–CAP-1-13), with the limit the archive states for such records (#1722: O1722-02). Not surfaced (§6.2): every archive claim, and B5.

alignment: {'T1_cards_claims': ['F1', 'F2', 'F3', 'F4', 'F5', 'F6', 'F7', 'F8', 'F9', 'F10', 'F11', 'F12', 'F13', 'F14', 'F15', 'F16', 'F17', 'F18', 'F19', 'F20', 'F21', 'F22', 'F23', 'F24', 'F25', 'F26', 'F27', 'F28', 'F29', 'F30', 'F31', 'F32', 'F33', 'F34', 'F35', 'F36', 'F37', 'F49', 'F50', 'F51'], 'T1_composed': ['F25', 'F23', 'F13', 'F19', 'F14', 'F33', 'F16', 'F29', 'F34', 'F27', 'F35', 'F21'], 'T1_composed_note': 'field claims of B_D whose content T composes (definition, founding, origin, festival, author pages, E-Poetry, partners), by the grain the delta gives', 'T1_outside_cards': ["'major'", "'digital humanities and audio archives'", 'the closing offer'], 'rule': 'T against L_F(B_D): the B_D field claims (cards and body-named sources) aligned with T1-1..T1-8; B_R (B5) excluded from this alignment (§3.1(a))'}

composer-written · derived from the current composition, written by its composer under the brief. §8.2 derives the kernel mechanically from the frozen plan; this one was written by the composer, mechanical derivation pending.