In "Blowing Up Just to Say Something to Us", Tony proposes that Flarf should be situated
in the tradition of other modernist poetics made possible by technology, with Google playing a role somewhere between Personism's telephone and Projective Verse's typewriter: a new instrument for both gathering information and for re-imagining the construction of a poem. (p. 5)
I think that's correct. Modernist poetics are best understood as driven by technical advances in the physical properties of the medium of poetry (e.g., the printed word).
Where I disagree with Tony is when he says that "the re-imagining of source, and the reader's knowledge of the source of Mohammad's language, is perhaps the great realization of these poems." (p. 2) Here it will be best to look directly at an example.
you are an anus mouth , are you retarted
this has damage bonus fruitcake
fuck up u are obviously have some kind of obsesion wit me
it's a wonder why your husband left you and you're all alone
you venture into my valley and you then ask for your life??
you will not leave this valley alive little dwarf
(From K. Silem Mohammad's "The Led Zeppelin Experience", quoted on p. 1)
As Tony reads them, what these three strophes do is to juxtapose the "general state of some type of obliviousness" of the first with the "full and sinister awareness" of the second. What he may mean is that as he "re-imagines the sources" of these lines, the first is taken as throwaway invective and the second as mean-spirited jab from someone who knows the addressee.
In fact, however, the third strophe, which may be imagined as a part of a Dungeons & Dragons scenario, reveals that this re-imagining gets us literally nowhere. The real power of this poem is the stability of the speakers voice and the stability of the addressee's attention.
YOU are an anus-mouth
YOU're all alone
YOU ventured into my valley
It is in the possible world where this situation arises that the poem exists. If we re-imagine a real juvenile (who knows no married people) and a fictional D&D valley (where they would not call each other anus-mouths) then we have missed the point of the poem by trying to connect it to its sources.
T. S. Eliot agreed to pretend that the sources of The Waste Land were important by adding his endnotes. Google has undermined the sacredness of the Outside as a holy source of high poetic sentiment, that is all. Our awareness of the sources annihilates the importance of the sources. And therein lies the damage bonus fruitcake, friends.