The remarkable Craig Saper has created some 21st-century-style "Readies", modeled on the modernist Readies of Bob Brown (1930), about which I have a huge personal interest."The reading machine," Craig writes, "is a toy that will appeal to a handful of modernist and media scholars, Bob Brown's heirs, and a few others. This project includes a few of the iterations; one can appreciate either of the last two iterations as the culmination of the project. The scholars and those interested in the particular writers in the Readies anthology will find iteration 3 particularly useful, but not yet complete. Iteration 4 is more for those seeking a futurist-thrill-poetry-ride-background-noise."
(Apparently at this point the machine only works with Windows/Firefox. It will also work with a Mac running Firefox but not with Safari.)
Craig is Professor of Texts and Technology in the English Department at the University of Central Florida. He is the author of Networked Art (2001) and Artificial Mythologies (1997), both published by the University of Minnesota Press. He taught at Penn and has presented (on Fluxus) at the Writers House.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
