This analysis explores canonization of poet-as-infrastructure in two unique cases, suggesting broader implications for media.
Dual New Human Canon declaration canonizing Ken Forsse's Teddy Ruxpin cosmos and Joseph Edgar Foreman's (Afroman) corpus as two cases of the same structural operation: the poet-as-infrastructure. Forsse spent twenty-seven years building a story so large it required a mass-produced robot teddy bear to tell it; he was captured by the infrastructure he built. Foreman has spent thirty-four years building a self-owned touring and recording infrastructure; he turned a police raid into a fourteen-track album and won the resulting First Amendment trial on March 19, 2026. The document formalizes the poet-as-infrastructure mechanism (six steps with failure modes), periodizes authorial self-determination across toyetic/industrial and post-Napster/independent media regimes, and develops five governing claims: manufactured folk tradition, material degradation as poetics, the pre-platform modular epic, the joke as evidentiary form, and the heteronym as counter-archive. Part of the Crimson Hexagonal Archive.
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Lee Sharks (2026) studied this question.
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