In ABC of Reading, in the section on phanopoeia, Pound discusses the
relation-creating aspect of the Chinese written character. In the Chinese
pictograph, the superimposition of one form upon another, or the setting of
one form above or beside another, creates the meaning.  The meaning is to be
found in the RELATION.  The Chinese written character, writes Pound, is

                ...the picture of a thing; of a thing in a given position or
relation,
            or of a combination of things. It means the thing or the action
or situation,
            or quality germane to the several things that it pictures.

In the Cantos, images, lines, strophes, entire sections are juxtaposed, as
if they were the constituent elements of an ideogram.  Their meaning resides
in the RELATION.  In Pound's poetry, the simplest and clearest expression of
this principle is to be found in this famous poem:

            The appartion of these faces in the crowd--
            petals on a wet black bow.

The challenge I have for Billy is this: can you tell us where in an
Eisenstein film such JUXTAPOSITIONS occur with that kind of high-definition?
Your mission, Mr Stoneking, should you decide to accept it, is to
demonstrate the clarity and definition of the relation, since every image or
scene that comes before or after another one in a film is, by default,  "in
relation". Without definition, we have blur.  I do not know his films well
at all, but if they do operate on this juxtapositional/relational principle,
I will find time for them.

Tim Romano