<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Knowledge Commons | Zane Koss | Activity</title>
	<link>https://hcommons.org/members/zanekoss/activity/</link>
	<atom:link href="https://hcommons.org/members/zanekoss/activity/feed/" rel="self" type="application/rss+xml" />
	<description>Activity feed for Zane Koss.</description>
	<lastBuildDate>Sat, 04 Apr 2026 09:07:46 -0400</lastBuildDate>
	<generator>https://buddypress.org/?v=10.6.0</generator>
	<language>en-US</language>
	<ttl>30</ttl>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>2</sy:updateFrequency>
	
						<item>
				<guid isPermaLink="false">66b29f98849869f836d5d62503b49501</guid>
				<title>Zane Koss deposited Prehistoric Canadian Networks: Louis Dudek, Marshall McLuhan and the Post in the group LLC Canadian</title>
				<link>https://mla.hcommons.org/activity/p/1615154/</link>
				<pubDate>Fri, 10 Aug 2018 15:54:58 -0400</pubDate>

									<content:encoded><![CDATA[<p>In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN&hellip;<span class="activity-read-more" id="activity-read-more-1615154"><a href="https://mla.hcommons.org/activity/p/1615154/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">f3e1a12bbfa7782e67b8846eaeb28de3</guid>
				<title>Zane Koss deposited Prehistoric Canadian Networks: Louis Dudek, Marshall McLuhan and the Post in the group GS Poetry and Poetics</title>
				<link>https://mla.hcommons.org/activity/p/1615153/</link>
				<pubDate>Fri, 10 Aug 2018 15:49:18 -0400</pubDate>

									<content:encoded><![CDATA[<p>In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN&hellip;<span class="activity-read-more" id="activity-read-more-1615153"><a href="https://mla.hcommons.org/activity/p/1615153/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">4beed93266d5f665630bead2a6b94656</guid>
				<title>Zane Koss deposited Prehistoric Canadian Networks: Louis Dudek, Marshall McLuhan and the Post in the group CLCS 20th- and 21st-Century</title>
				<link>https://mla.hcommons.org/activity/p/1615152/</link>
				<pubDate>Fri, 10 Aug 2018 15:41:10 -0400</pubDate>

									<content:encoded><![CDATA[<p>In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN&hellip;<span class="activity-read-more" id="activity-read-more-1615152"><a href="https://mla.hcommons.org/activity/p/1615152/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">5ebf3b78627fd3a7d172cd02b0a01bca</guid>
				<title>Zane Koss deposited Prehistoric Canadian Networks: Louis Dudek, Marshall McLuhan and the Post</title>
				<link>https://hcommons.org/activity/p/1613241/</link>
				<pubDate>Mon, 16 Jul 2018 18:08:43 -0400</pubDate>

									<content:encoded><![CDATA[<p>In 1949, Montreal poet Louis Dudek circulated a package of poetry manuscripts through a decentralized network of writers working in the U.S. and Canada that he called the “Poetry Grapevine.” In the manifesto-like instructions for the project, Dudek declares that “THERE IS A LOT MORE HAPPENING IN OUR DAILY LIVING CONSCIOUSNESS (NOT TO SPEAK OF UN&hellip;<span class="activity-read-more" id="activity-read-more-1613241"><a href="https://hcommons.org/activity/p/1613241/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">ee21e20589a476d2c119df91dac5d959</guid>
				<title>Zane Koss&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1613240/</link>
				<pubDate>Mon, 16 Jul 2018 17:59:21 -0400</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">4af7692c19a6c31f991e5b414b9a1ad9</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas in the group LLC Mexican</title>
				<link>https://mla.hcommons.org/activity/p/1607169/</link>
				<pubDate>Thu, 26 Apr 2018 04:26:25 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607169"><a href="https://mla.hcommons.org/activity/p/1607169/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">1e75cf6dc9afb325749370a7251d6cc4</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas in the group LLC Canadian</title>
				<link>https://mla.hcommons.org/activity/p/1607168/</link>
				<pubDate>Thu, 26 Apr 2018 04:25:01 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607168"><a href="https://mla.hcommons.org/activity/p/1607168/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">357cab9e8d1ea99a981cafec955559f1</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas in the group LLC 20th- and 21st-Century Latin American</title>
				<link>https://mla.hcommons.org/activity/p/1607167/</link>
				<pubDate>Thu, 26 Apr 2018 04:20:12 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607167"><a href="https://mla.hcommons.org/activity/p/1607167/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">5e8c5f2161f2f769cf893b3cf7321c42</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas in the group GS Poetry and Poetics</title>
				<link>https://mla.hcommons.org/activity/p/1607166/</link>
				<pubDate>Thu, 26 Apr 2018 04:13:23 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607166"><a href="https://mla.hcommons.org/activity/p/1607166/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">9f878bdc2c22f5024bac7f566991f339</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas in the group CLCS Hemispheric American</title>
				<link>https://mla.hcommons.org/activity/p/1607165/</link>
				<pubDate>Thu, 26 Apr 2018 04:12:33 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607165"><a href="https://mla.hcommons.org/activity/p/1607165/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">8319a95aa73ffef4efe1655e2ba4e5e2</guid>
				<title>Zane Koss&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1607132/</link>
				<pubDate>Wed, 25 Apr 2018 21:15:42 -0400</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">0a8cfcbd7d6a272b2ec9848117873498</guid>
				<title>Zane Koss deposited Coastal Flows: Situating Vancouver Poetry in the Americas</title>
				<link>https://hcommons.org/activity/p/1607131/</link>
				<pubDate>Wed, 25 Apr 2018 21:14:52 -0400</pubDate>

									<content:encoded><![CDATA[<p>In a 1972 poem about Vancouver Island, Mexican writer José Emilio Pacheco wonders, “Acaso fue el Aztlán de las mexicas / De allí partieron siete tribus.” Though Pacheco spent several years living in Vancouver during the late 1960s and early 1970s—and was published in a 1971 anthology of poetry “From Canada’s Unofficial Languages”—h&hellip;<span class="activity-read-more" id="activity-read-more-1607131"><a href="https://hcommons.org/activity/p/1607131/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">a680512377abc76f8017464778c9edd3</guid>
				<title>Zane Koss deposited ‘While the triangle-roofed Farmer's Grain Elevator / sat quietly by the side of the road’: Site and Simultaneity in Allen Ginsberg’s ‘Wichita Vortex Sutra’ in the group LLC 20th- and 21st-Century American</title>
				<link>https://hcommons.org/activity/p/1600064/</link>
				<pubDate>Thu, 08 Feb 2018 04:29:19 -0500</pubDate>

									<content:encoded><![CDATA[<p>Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim&hellip;<span class="activity-read-more" id="activity-read-more-1600064"><a href="https://hcommons.org/activity/p/1600064/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">a40e4fdefb02a0de7e41d691274bcef0</guid>
				<title>Zane Koss deposited ‘While the triangle-roofed Farmer's Grain Elevator / sat quietly by the side of the road’: Site and Simultaneity in Allen Ginsberg’s ‘Wichita Vortex Sutra’ in the group GS Poetry and Poetics</title>
				<link>https://mla.hcommons.org/activity/p/1600063/</link>
				<pubDate>Thu, 08 Feb 2018 04:22:50 -0500</pubDate>

									<content:encoded><![CDATA[<p>Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim&hellip;<span class="activity-read-more" id="activity-read-more-1600063"><a href="https://mla.hcommons.org/activity/p/1600063/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">17b0f6811e3aa533026d845bc2233248</guid>
				<title>Zane Koss deposited ‘While the triangle-roofed Farmer's Grain Elevator / sat quietly by the side of the road’: Site and Simultaneity in Allen Ginsberg’s ‘Wichita Vortex Sutra’ in the group CLCS 20th- and 21st-Century</title>
				<link>https://mla.hcommons.org/activity/p/1600061/</link>
				<pubDate>Thu, 08 Feb 2018 04:13:57 -0500</pubDate>

									<content:encoded><![CDATA[<p>Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim&hellip;<span class="activity-read-more" id="activity-read-more-1600061"><a href="https://mla.hcommons.org/activity/p/1600061/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">d72491d57131cae0954ebcbf58757363</guid>
				<title>Zane Koss deposited ‘While the triangle-roofed Farmer's Grain Elevator / sat quietly by the side of the road’: Site and Simultaneity in Allen Ginsberg’s ‘Wichita Vortex Sutra’</title>
				<link>https://hcommons.org/activity/p/1600028/</link>
				<pubDate>Thu, 08 Feb 2018 01:09:30 -0500</pubDate>

									<content:encoded><![CDATA[<p>Recent scholarship has focused on the flowering of poetry that engaged with geographic and spatial logics in the United States in the years following the Second World War, notably in Lytle Shaw’s 2013 study Fieldworks: From Place to Site in Postwar Poetics. Alongside such works as William Carlos Williams’s Paterson and Charles Olson’s Maxim&hellip;<span class="activity-read-more" id="activity-read-more-1600028"><a href="https://hcommons.org/activity/p/1600028/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">865b77d6eff53d1e3b89caa7edea724b</guid>
				<title>Zane Koss&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1599838/</link>
				<pubDate>Tue, 06 Feb 2018 20:25:22 -0500</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
		
	</channel>
</rss>