Bernstein, listing "antiabsorptive traditions within twentieth-/century poetry"
Stein ("the denser sections of Tender Buttons & the word-/to-word halting in How To Write are / great achivements of antiabsorptive writing," 56)
Pound's Cantos ("the use of collage & / fragmentation, graphic material, the inclusion of / printer's and other errors, the disruptive presence / of a legion of references outside the poem")
Zukofsky's "Poem Beginning 'The'" ("with its numbered citations / of different quotations, & / assorted other found material")
Joyce's Finnegans Wake
Duchamp's "prose levy's en Angalis"
"Dadaism in North America"
ee cummings
"Lettrism & other visual poetries, from Apollinaire's Calligrammes to De Campos & / Gomringer to Ian Hamilton Finlay"
More modern examples:
Johanna Drucker's "letterpress bookwork"
Tina Darragh (who has "consistently worked with complex visual arrangements, elaborate punning, puzzles & procedures in an effort to interrogate (in a buoyantly funny way) the structures of language")
David Melnick's Pcoet and Men in Aida ("a homophonic translation of the Iliad")
Frank Kuenstler's "densely mosaicked Lenz [which] proceeds, for the most part, by splicing two words together with a period and placing these pairs in paragraph sequences"
Michael Gottlieb's "Phlogiston" (in Roof 6)
Clark Coolidge's early works: Suite V (in which "two words are juxtaposted at the top & bottom of each page [...] leaving the page mostly blank"); Ing (which consists of "configurations of word parts, numbers, articles, and isloated words & phrases")