EA-CORPORA-18 seats ten corpora of the modern avant-garde and the sources it read on the archive's originals shelf: 97 works and about 515,000 lines, every one public domain in the United States, in the editions a reader of their time could open. Pound's further volumes come with the Cantos as first printed — Three Cantos in Poetry (1917), whose opening argues with Browning's Sordello — and with his Sonnets and Ballate of Guido Cavalcanti (1912), the Italian on the facing page. Beside them the Italian lyric of the thirteenth and fourteenth centuries is seated in its own language: the Sicilian school, the Siculo-Tuscans, the stilnovisti, Jacopone and Cecco d'Ascoli, with Rossetti's Dante and his Circle. Futurism is seated Italian and Russian — Marinetti's manifestos and Zang Tumb Tuuum, Govoni's visual tables, A Slap in the Face of Public Taste, Mayakovsky, Khlebnikov, Kruchenykh's zaum — with the English Vortex of Blast; Dada as the journal Dada, all eight issues, with Tzara, Picabia, Serner and Ball; Jarry from Ubu Roi to Faustroll; French farce; the nonsense and constraint the Oulipo named its plagiarists by anticipation (Carroll, Lear, Morgenstern, Lautréamont, Roussel); visual poetry from Optatianus to Mallarmé's Un coup de dés and Apollinaire's Calligrammes, the line behind concrete poetry; Gertrude Stein; and Russian Formalism, OPOJAZ's Poetika of 1919 with Shklovsky's 'Art as Device', and Shklovsky, Tynyanov and Eikhenbaum to 1930. Each seat holds the files as fetched, the scans where the page is the text, one text per work, a provenance record whose edition statements were checked against each file's front matter and whose loci were found in the seated text, and a SHA-256 manifest. What remains in copyright — the Oulipo, the concrete poets proper, the Cantos after XXX — is named in each seat's scope and not seated.