Kenneth Goldsmith, founder and curator ‘of UbuWeb, argues that for this classic, “heroic,” period of Concrete poetry “readability was the key: like a logo, a Poem should be instantly recogniza- ble” as poets en- deavored to render all language into poetic icons, similar to the way that eve- Fyone can under- stand the meaning of a folder icon on the computer screen. For Gold- ‘smith, Concrete po- etry presaged the language and for- mulation of the graphic Interfaces of the contemporary Internet and the shift “from com- mand line to graph- ic icon”. Marjorie Perloff, in “Signs are Taken as Won- ders: The Billboard Field as Pootic Space”, levels a withering eritique of the “utopian” Con- crete poetry of the 1950s and 0s, de- claring that it is @ question “whether such poems, charming and wit. ty as they are, es- pecially the first time we readisee them, can continue to hold our atten- tion.” In her intro- duction to Con- crete Poetry: A World View, Soit pre-empts Perloft’s, charges by declar- ing thet to ep- proach Concrete poetry with tradi- tionally poetic ex- pectations is a fal- lacy for “the Con- crete poet is con- cored with mak- ing an object to be perceived rather than read” and “the content of the Conerete poem is norvliterary” . itis precisely this non- literary content that makes the “Clean” Conerete poem ideal for 2 2ist Century audi- ence. In “Signs are Taken as Wonders: The Billboard Field as Poetic Space” Perloff expresses concer that “the question remains, however, whether the conflation of Concrete poet and advertisin isn'ta kind of ea end for the former such texts as Cédi- go, after all, func- tion primarily as recognition sym- bois: as soon as we see them, we know a particular object [..] is in question because only that particu- lar object has just this (and no other) emblem |...) In- deed, it seems the call for what Eu- gen Gomringer has. characterized as “reduced lan. guage,” for “poems ... as ea ly understood as signs in airports and traffic signs,” runs the risk of producing “poems” that are airport and traffic signs. By placing quotation marks around “poem,” Perloff further un- derlines her doubt that these objects have any right to claim the title of poetry. Perloff seems concerned that Conerete “poems” would end up not only resembling, or being inspired, by “airport and traffic signs” but being replaced by them. | couldn't disagree more. The poem, under the theories of Gomringer and Solt, Is the result of a tration he physical 1 upon he poem or of poetry” and compliments Har- aldo de Campos's “notion of litera- ture not as crafts- manship but [..] a5 an industrial pro- cess” where the poem isa “prototype” rather than the “typical handiwork of artis- tic artistry”. Perloff reappraises her position on Gom- ringer and the Noigandres Group in "From Avant- Garde to Digital: The Legacy of Bra- zilian Concrete Po- etry’. No. longer considering the embrace of way- finding signage and traffic signs as a potential “dead end” for poetry, Perloff instead ar- gues that these Poems are more indicative of read- ing after the Inter- net. Max Bense argues that Con- crete poetry “serves less an understanding of meaning than an understanding of arrangements”, In his estimation, Concrete poetry should focus on the arrangement of letters and material where headlines, slogans, groups of sounds and letters give rise to forms which could be models for a new poetry just waiting to be taken up for meaningful use. That meaningful use, Goldsmith and Perloff argue, has now arrived Solt believes that if the visual poom is a new product in a world flooded with new prod- ucts, then it must partake of the na- ture of the world that created it. To be perfectly fair to Augusto de Cam- pos and Cédigo, the poem was written to operate both as a poetic ‘object and as the logo for the Bra- zilian poetry mag- azine —_Cédigo. That dual purpose doesn’t — seem problematic to me at all. Gold- smith and Perloff build upon this arguing that the Concrete poem is ideally suited for a digital milieu. Goldsmith ex- tends Gom- ringer’s claims, arguing that “Concrete poet- 1's [-.] claim was that poetry, in order to remain relevant, needed to move from the verse and stanza to the condensed forms of the con- stellation, cluster, ideogram, and icon” as a means of aligning Con- crete poctry with the iconography between the Con. crete poet's attrac- tion to cool, rational typefaces such as Futura and Helvet- ica and the contem- porary spread of Arial and Verdana— “cleanliness, reada- bility, and clarity [...] cool words for a cool environment” To Goldsmith, early Concrete poetry was a form in search of its envi ronment, only acti vating once media caught up with Gomringer, Bense and the Noigandres Group's _ prescient ideas about a flatscreen, utilitarian writing. Goldsmith suggests that the reason Concrete poetry of the 1950s and 60s—as typified by Gomringer and the de Campos brothers—has be- come relevant again is that their poems most closely echo the icons used in contemporary com- puting—the filefold- er icon, the floppy disk save icon-not to mention the cool typography of the Mae platform and icon-driven — inter- face of the iPad,While graphic de- in this form of po- ing. Conceptual bility (despite lacks maternal sign, advertising etic discourse. poet Vanessa Place Goldsmith’s, warmth, it lacks and contemporary Beat poet Lew argues that “today claims) towards friendliness.” Both design culture ex- Welch supposedly we are of an age poetic icons. Luis Goldsmith and Per pand to redefine wrote the North that understands Fernando Verissi- off discuss. Con- and rewrite how we American insect corporations remo, in his novel crete poetry _ in understand com- repellant Raid's people too and Borges and the _ terms of readability munication, poetry ubiquitous adver- poetry is the stuff Eternal Goldsmith believes has become rueful- ising slogan of placards. Or vice Orangutans, has that for Gomringer ly ensconced in the “Raid kills bugs versa.” By propos- Jorge Luis Borges, and. the Concrete traditional. The dead” as a copy- ing poems “as eas- a character in the poets of the 1950s McDonald's golden writer at Foote, ily understood as novel, state, “No- and 60s, arches, the Nike Cone and Belding signs in airports one can possibly “readability was the swoosh and the in 1966—and thus and traffic signs,” recognize their key” although “like Apple logo best applied + Imagist_ Eugen Gomringer mother tongue a logo, a poem represent the aims doctrine to the moves poetry when printed in should be instantly of writers working world of advertis- away from reada- Futura typeface. it recognizable". This conflates two differ- gues that the Bra- 9 approaches to zilians rejected all the vast ma- Concrete poetry and forms of jority of the lan its place within a “expressionism”— guage we con- poetic discourse. if lyrical, personal, sume is nom Concrete poetry emotional—in fa- poetic, should po. (and perhaps by vour of a poetic etry not extension all poetry) form which could is to assert ongoing function es an relevance, object in its “readability” cannot own right, continue to be _ betraying “key.” Today the nothing Noigandres Group's about the “thing-word” con- cept is best under- stood as the desk- top icon, the Face tempt to poeti book “like” button cally intervene and the corporate within these non- logo. If poets are au- traditionally poetic beholden to Eliot's thor, spaces? As Caro- “changing face of nothing of subjec- line Bayard posits, common inter-_ tive feelings, or —Gomringer wanted course” then Con- individual identity. the public to use crete poetry's em- Declaring poems poems as daily brace of _— the, “objects” objects, to remove “instantly recog- with aesthetic distance nizable” postic and replace them “thing.word in with @ “utilitarian space-time” relationship.” In reflects today’s order to contextu- common textual alize the logo as intercourse. Johan- “functions” poem within a po. na Drucker, in Figur- does suggest way- etic discourse, | ing the Word ar finding signage suggest that Con- but when’ poets work- ing in response to Gomringer and the Noigandres Group situate their work as corporate logos for oneiric busi- nesses Since 2005, | have con structed Clean Concrete poems entirely by hand using outdated technology. Dry. transfer lettering, ubiquitous in graphic design and advertising — from the early 1960s to early 1990s, has been relegated to use by artists and hobbyists, At one point a specialized tool with an expen- sive price tag, Letraset (the com- mercial name of the largest produc: er of dry-transfer lettering) was used in graphic design and technical draft- ing in order to standardize graphic elements, eliminate the individuality of the artist's hand and speed up the crea- tive process. With the advent of desk- top design and pub- lishing, the produc- tion and use of dry- transfer lettering dropped significant- ly. Dryransfer let- tering has the disad. vantage of being unforgiving. Once a designer, artist. or writer places a letter upon a page or can: vas, that letter is permanently affixed and can not be moved or replaced. I construct my po- ems without the aid of plans or sketches; the work builds ges- turally in response to shapes and pat- terns in the letters themselves. 1 con: struct the poems one letter at a time, each placed by hand, a physical embodiment of Al-toes brine vex genie aurer, wre ones ahd Sagar fr pean phabat vngetse Ae ee tegtod len Ginsberg» aim: editing, “att Thought best daoagh ie teeta sonar colted wah tie teme'oue aieon e corporate sponsors of Jorge Luts Borges's e@ Library of Babel, these poems use the par- tines ot language an foprsabe ana bas Ties GON AI SOOM ION CO BE Businesses ane metphodea, each loge Yes. sir can become—as Drucker describes the po- if . Stier is Neweniee Gane caine, work which is fully autonomous, self 7 the advertising campaigns that support them, promote a poetic dreamscape of al- reach. These imaginary businesses, and tation of other objects, and not as a mimet- ic representation—but as a creation in the fullest sense—original, independant of ref- erence or imitation, meaningful in its own right. These poems, the vast majority of Yes, lam. which | leave untitled, are moments of po- etic nostalgia for the signposts of 2 non: existent past. My Concrete poetry points . back to the poetic concerns of, Gomringer andthe Noigandres Group in or- der to complicate the canon and to refer to the possibilities of a dreamt, noncommer- cial signage. My po- ems are not a matte Exactly how do you mean? of the Poundian “new,” they refold the old, retrieved from a nowhere cultural memory. My concrete poems are fitfully nostalgic for an ethereal, ephemeral moment. In our dreams, the resolution of the landscapes has a limit-much of what our mind estab: lishes as the backdrop for our oneiric antics is only as clear as required. They are the street-signs, the signage, the advertising logos for the shops and corporations which are just beyond reach. They are not islands of meaning-semantic or corporate. Like the de Campos brothers, | believe that Con. crete poems should be as easily under- stood as airport signs, but instead of point- SF eSeeeCO) SS A dgg Seeeg SOULE LE ing the reader to the tollet, the directions they impart are spurious if not completely useless. Concrete poems need to be coghi: cae S e SS pe AE oN ON ae ii)Zant not of readability but of look-ability Aitpott signage is not designed with reada bility as a primary concern. They are de- signed for instant and momentary recogni- tion and comprehension as ultimate goals. Viewers need not read, they only need mo- mentarily stare: “the most representative (and perhaps even the most exciting) art form of our age is the advertising logo Why not create 2 logo advertising modern poetry, modern art?” Clean Conerete po- ems refuse linearity in favour of the mo- mentary. Wayfinding signage is designed to be easily understood in a moment, it operates without the need to read. It only requires consumption. Designed to be smoothly digested and transparently com- Letraset BeNw adadaabd ‘44pt HELVETICA MEDIUM municative, way- finding signage and traffic signs work extra-linguistically. Goldsmith refers to Gomringer's efforts as a “utopian agen- da of [..J transna- tional, panlinguistic [...] writing that any. one—regardiess of where they lived or what their mother tongue was—could understand. Think of it as a graphic Esperanto, taking language and ren- dering it as symbols and icons.” As Goldsmith notes, Gomringer’s utopi an aspirations didn’t pan out, but the idea of a poetic form outside of lan: guage continues to resonate. Instead of Teaving logos and slogans to the world of graphic design, poets are better served to craft work which is responsive to a new reading leu. These po- ems perform a poet-iA wily ie intercession into ly become another "With Content 1.0, ig it must partake of SS to remain relevant. BJ and its ubiquity by Concrete _postry, the language of chemically engi->3 Carl creates a new JRthe nature of the Plastic and vinyl the 19503. coin-\Vespecially Concrete signage and com-, neered experience, +, typeface which re-, world that cries perfectly embody;/ cides with the rise’, poetry made with plicate the need to{/ in which we manu- * places all alphanu- \ it. My letraset po- z 7 4 the poetic possibil-!) of Concrete poetry ', pve dry-transfer let- Spanlinguistically” “facture a complex: merle eharactersSems,” like Carls ' ities for languxige.( trom its Daas be. ering, Concrete’ po- communicate in, polymer by string- * with images of re-=S typeface, render ze As Bok argues, the, ginnings during! etry, like plastic is @ Aithe particles off ‘ recombinant pos-€World War One*“2shaped” ——sub- fercun st os oping Wing togater spies cyasb past the diseoune end Nibies Miswed ot boles. of home 4 langusgs: Nato’ ‘ *S sibilities of plastic through the post- JB stance: whatever its the form of the molecules? The . cleaning products. “Content 1.0," a .S (especially reoy-B World War Tivo gg final state, it keeps @ plastic advertising words of our lexi Every letter and "new content thet sled plastic) arey "rise of global cor- MM flocculent appear logo. Dry-transfer con have become Snumber has been ~. uncannily resem- the ideal metaphor ™ poratism. Plastic is lance, something lettering—and thus so standardized gy replaced by an in- bles the letters we for poetry. John gy not only indicative @@ opaque, creamy anc the poems con that they now re-a¥ significant, incon- ‘already have, but Bevis, in “Vinyl: of rising consum-Scurdled, something structed from it— /semble a limited sequential, — line- form logos which = A material location erism but also of ~ powerless.” consists of a thin // array of connecti-€ drawn image of a promote empty - RK. "5.0 placement,” _ pro-§ the post-consumer sheen of laste.” ble parts [..] and disposable contain- storefronts and” vides a useful his-""4 need for recycling," Paci the cultrel Christian Bok, in his the rules of ure er or lid. This in-Yboarded-up retal- AN “Aa ory of the creation reformatting, reus- oo cne that it one 2002 manifesto /S grammar have be-. complete invento- ors, their signs : Sand refinement of » ing and recasting, “hoi Like plastic “Virtually Nontox-' come so rational-— ry, seduced by the” scrubbed to the # vinyl (Polyvinyl all of which are, ooetry “in the hier le" interogatWvely eed that they now — shapes and forms Z point of ilegibil-ng Chloride or PVC) "Y‘patapnysically © OY Os tne major argues that plastic J tesemble a bound- of plastic packeg- ity. In these one from its creation in— foreshadowed in Sete substances has become the * ed range of recom- ing, reduces lan-¢° ric logos Vv . J 1888 to its com-B Concrote's early FPF tqures os © ais perfect medium for binant modes [....1_ guage toa series of combine, like so ; mercialization by fy manifestos. B6k's ” graced — material. Poetic discourse; We see language products—each of smany pieces of \ Waldo Semen off declaration of the = Complementing “has not language marketed as an which points to an ~ orphaned Lego, to BF Goodrich in poetic implications Be y Solt and Gomringer, itself begun to ab- _ infantile Pena Q manu- form previously 1826. While this 4g of plastic is echoed jolt and Gomringer, Poetry no longer sorb the synthetic ty—a toy suitableAfacturer. Carl's unexpected con- history may seem™ by Roland caries! Sats say that qualities of such @ forkids of all ages, font, while not structions not at p marginal to the “Plastic,” a brief Pet my belongs modern milieu, be- because its plastic strictly Concrete all resembling the history and devel. essay which en- tg tne world of ay ‘coming a fabricat- coating makes it poetry, embraces images on the opment of Con- treats for the artis: eetanoes, not to ed, but disposable, safe to own and Mary Ellen Solt’s packaging. In the crete poetry, it tle potential of that of actual use”, convenience, no easy to use.” Ca- declaration that if age of Twitter, does align with “ubiquity made . less pollutant than nadian sculptor the visual poem is Instagram and contemporary con- visible”. Barthes’ PVC / vinyl is creat- ‘8 Styrofoam con- James Carl's Con- a new product ina Facebook, poetry cers. The com- comments on plas- ed from a combina- tainer? Has not the tent 1.0 tekes this world flooded with must embrace mercialization of tie are germane to _tion of hydrocarbon act of writing simp- idea to its extreme. new products, then _ plasticity in order plastic in the 1920s a discussion of byproducts andChlorine. | have lived in Alberta for over 40 years (mostly Calgary, though now in Banff), having moved here as a young child, and it seems only appropriate that I would choose to poetically investigate a medium produced as a product of oil and gas exploration. Cal- gary’s economy is driven by the problematic revenue of non-renewable resource exploi tation and increasingly by the notorious northem Albertan oil sands. Calgary—with an estimated population of 1.2 million—popularly represents itself through its rural ties, by oil and gas revenue and by rightwing politics. Alberta defines itself not in terms of cul- tural growth but in terms of economic growth. To be an artist or arts worker in Calgary means to engage with the culture and economies of oil and gas exploitation. Conerete poetry created with dry-transfer lettering—PVC suspended on inert backing paper— actively embraces marketability and the technology of waste: “plastics have been seen, notwithstanding developments in recycling technology, as the one-way conversion of natural resources into mountains of waste.” The Noigandres Group embraced advertis. ing and graphic design—the logo-ization of language—as necessary and inevitable in order for poetry to prove its relevance to a contemporary audience. Bevis argues both that plastic “adds quality while reducing skill, enriches and cheapens” but “we couldn't be modern without it”. Concrete poems, like plastic, are "the very spectacle of their end- products”; the spectacle of a logo, operating normally, but promoting an empty product. The material of poetry, here, “is wholly subsumed in the fact of being used” while ignoring the need to be poet. ic. Concrete poetry, like plastic, contains a “reverie [...] at the sight of the proliferating forms of mat- ter” The circulation of poetry is prob- lematized when confronted with the publishing requirements of the majority of literary magazines and journals. Most literary magazines in Canada request that contributors grant “First North American Serial Rights;" an agreement that all work accepted has not appeared elsewhere in the North American market. This request restrits poems to an ephemeral moment of e phanie truth. Requiring poems to ap- pear only once (before potential book publication) limits poetry to unique mis sives from the poet directly to the read- er, conveyed within a temporary frame work these poems were written for you, now. | ignore these requests. Much to some editors’ and colleagues’ cha arin, | actively pursue placing my poetry in recurring and overlapping venues Restricting publication to a single venue limits audience to @ lone, ephemeral space—and does not allow for the pro- liferation of poetry into other discours- es. I have published my Conerete po ems as 1” buttons, tshirts, broadsides chapbooks, through both’ poetry and illustration submissions and projected on the sides of buildings (most notably on the side of Calgary's 181-metre tall concrete spire the Calgary Tower), often at the same time. | believe that poetry— and criticism, including this reflection — should be poured from container to container, using the grains of sand tobuild new castles. This open refutation of publishing norms as- serts that poetry is most affective when it works within another discourse. My poems are designed to be received as logos for empty products. As logos, these poetic emblems are synonymous with, and indistinguishable from, branding and trademarks. de Campos’ Cédigo and my emblematic Concrete poems are de- signed to be as ubiquitous as Nike's swoosh or Starbucks’s twin- tailed mermaid. The swoosh and the mermaid are meant to satu- rate, they move without resistance from billboards and products to print ads and television spots without tension, See, for in- stance, the “Privacy Policy” of Calgary's filling Station magazine: “filling Station reserves First North American Serial Rights. This means we get to publish the work we have received from contrib- utors first in magazine form, and this also extends to our Digital Edition through Zinio / Magazines Canada, this website, and filling Station’s social media presence.” the other hand, due to their very medium, have restrictions placed upon their appearance. 5, it would seem, are the peop s potential cultural inundati an eye for adaptability ar 3cales—from magazines and book’ and handheld devices—without being any other brand. Limiting publication through the as! American Serial Rights” interferes with Coficrete poetry's ability to operate outside of the traditional poetic discourse. Concrete poetry was theorized to work within another space, to abandon the page in favour of emblems, sandwich boards and signposts. It flourishes only when allowed to operate within its intended mi- licu. As | continue my exploration of the glyphic nature of Con- crete poetry, | expanded my dry-transfer lettering pieces from small poetic logos to larger compositional fields. It would be easy to contextualize this work, once again, within an Olsonian field composition but | would rather gaze at these pieces under the ne- on sheen of the Tokyo skyline. No longer bound by the page, Con: crete poetry now fully embraces the plasti cized space of graphics and glyphs, pixels and projections. With Prose of the Trans- Canada | situate Concrete poetry within a history of artists’ books and the avant- garde. Constructed as a response to Blaise Cendrars’ 1913 La Prose du Transsibérien et de la Petite Jehanne de France ("Prose of the Trans-Siberian and of Little Jehanne of France”), Prose of the Trans-Canada seeks to expand the scale of Conerete poet: ry past the manuseript (or magazine) page to the larger concems of the canvas while still working within the discourse. Cen. ,drars’ La Prose du Transsibérien et de la Petite Jehanne de France is a “a sad poem rinted on sunlight” created in collabora- io with Sonia Delaunay-Terk. Each Tech nicolor copy’ af Prose of the Trans-Siberian fold, codex.challenging, “book” unfolded, measures 18" x73 roposed edition of 150 Trans-Siberian’s prodi: ‘sich that every copy id-fofend would equal the height iffe Tower, the symbol of Parisian ity (despite Guy de Maupassant’s "dietary habits). Unsurprisingly for a book “With such a radical design, there were ulti- mately anly approximataly sixty copies of Prose of the Trans-Siberian produced (of which on around thirty survive). Prose of the badisCanada playfully responds. to acy ina 16” x 82" Concrete as 2 scroll instead of an id book, when all 150 copies of a eltion ate placed end-to-end, jItant length is the same as the sym- Calgarian modernity, the Calgary Like Cendrars’ original, while. the inynded ecition of Prose of the Trans: Caniada is 150 copies, it has been published printon-demand and is unlikely to ever feach its intended printrun, Due to the poems size, Toronto smal-press publisher Bookthug (who took on this project when it was rejected by several other publishers for being impractical, if not impossible, to pro- duce) ultimately printed the 52” scroll on matte polypro film, the same plasticized vellum used by architects and oil-field refin- ery designers for blueprints and schemat- ics, Cendrars’ Prose of the Trans-Siberiannotoriously uses 12 different typefaces in its poetic recounting of a troubled journey across the Russian countryside. Highly unusu al for the time, Cendrars’ typefaces temporally align his work with Futurism and Dada’s embrace of commercial design, advertising fonts and display faces in an attempt to embody a corporate land- scape. Like Cendrars’ efforts to graphically present the material forms of his poetic evocation, Prose of the Trans-Canada embrac- es a torrent of typefaces, flooding across an unending field of half formed logos and proto-glyphs that blend in to a single panel of undifferentiated language material. Prose of the Trans-Canada was ultimately projected nightly on the side of the Calgary Tower as part of Wordfest 2011, an international literary festival focusing on emergent and established authors. Phallically erected in the centre of Calgary's downtown core, the Calgary Tower (once known as the Husky Tower, its original name revealing the prima- ry funder of the tower's construction: Husky Oil and Refining Ltd.) has become a symbol of Calgary's reliance op oil and gas and its jwth and expansion (the towek as fired cauldron on its tip as, al Gas and lit in nostalgic Ing of the 1988 Winter Olympics), Cof tering, Prose of the Trans-Canada was vellum and ultimately projected upon the izable sym- bol of Albertan dedication to the exploitation of non-renewable resources. Like James Carl's Content 1.0, Prosé of the Trans- Canada is a celebration of a plasticized poetic; letters are pelletized, melted, poured and reformed from one undifferentiat: ed lump into another. Prose of the Trans-Canada features no identifying words, only the smallest pieces of language repack- aged as a flowing panel of glyphic remnants. The detritus of ad- vertising swept up, flattened and projected on the side of Calga- ry's most iconic building. Not surprisingly, given poetry's—and especially Concrete poetry’s—cultural purview, the projection of Prose of the Trans-Canada on the side of the Calgary Tower was plasticized ‘ WAH 53 ae 3F a i met by complete cultural indifference. No one in the popular or cultural media dis cussed the projection nor the intervention of a poetic object in to commercial space, Despite the Calgary Tower's location at the intersection of two prominent, high-traffic, streets (7th Avenue SW and Centre Street S) and prominence in the Calgarian sky- Tine, the poem, ironically, did exactly what Gomringer expected for Concrete in gen- eral. By projecting Prose of the Trans- Canada on the side of the Calgary Tower, the poem ceased to operate as poetic, it became the object of its own critique- it became an undistinguished logo. | argued earlier that Concrete poetry's formulation 2 nomiterary space made it perfectly jited for a 21st Century audience. Per- loff’s fears that the call for what Eugen Gomringer hap characterized as “reduced 'oems |. as easily under- airports and traffic ‘of producing “poems” raffic signs are not to in the display and pro- fe of ‘the Trans-Canada they pass. But that’s not surprising, Ng has shifted from something that takes place over time (a concentrated in- ‘Vestment occurring privately, ie.: single readers quietly reading single books) to something that takes place instantaneously joment occurring publicly, Le fms scans of logos, headlines and Fition). Moving Prose of the rom a literary space (the ition) to a commercial space if 2 public building) guaranteed ould no longer garner attention iterary circles. It simply washed ders in the same way as any other billhoard, logo or corporate slogan.ANOTHER PIECE OF Comfortable and unnoticed. REASSURING PLASTIC.Another Piece of Reassuring Plastic Derek Beaulieu Ne No Press clo derek beauliew 107 Tunnel Mountain Drive, Box 1020 Banff, Alberta Canada TiL 1H5 derek@housepress.ca,