Olson's essay ["Projective Verse"] begins with this diagram:

      (projectile       (percussive     (prospective
                     vs.
              The NON-Projective

To Creeley, this terminology and mode of presentation was enormously exciting, a way of breaking out of the "closed system," of "poems patterned upon exterior and traditionally accepted models."… [This vocabulary] occurs in Pound's Antheil and the Treatise on Harmony. In this essay, Pound praises the composer-theorist Antheil for his understanding that "music exists in time-space; and is therefore very different from any kind of plastic art which exists all at once."… The "monolinear," "lateral," and "horizontal" action of … "musical mechanisms" is, in Pound's words, "like a projectile carrying a wire and cutting, defining the three dimensions of space."… The projective element in music—its locomotive quality—is defined as the fourth dimension.

The notion of the poem as projectile, a mechanism or force projected through time-space, is thus not as revolutionary as Olson's...