... there are arguments that Pound misread Fenellosa. He was interested in both Kandinsky and Futurism in the arts and has some words to say about Picasso at the time of the Vorticism essay and all of these currents are coming together for him. Rothenberg pointed out long ago that Pound ignores the seriality that is central to The Chines Character ... Instead he works with super-positions, one image poems etc, compound characters. ... I have always felt that Fenellosa and Eisenstein were very much kindred spirits in so far as an ideogrammic method went and that Dziga Vertov, for instance, offers the approrpriate parallel for Pound's method. Still, I know nothing to suggest that Pound himself was aware of such differences or issues. I'd eagerly pursue any that might be forthcoming from this discussion. How do you align the Disney chatter with his excoriation of the "prose kinema" in Mauberley? Don Wellman