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Poet and musician with a background in jazz and blues, member of The Four Horsemen and of Michael Snow’s CCMC, and vocal performer for R. Murray Schafer, in his aural work Paul Dutton stages the split, plural linguistic identity of the Canadian subject. In texts for solo performance, he builds his sound poetry in the interstitial space between music, linguistics and the semantisation of the human voice, while locating his probe of the phonatory system in the realm of clicks, diplo- and triplophonies, animal verses, silence.

This article presents an interlinked series of inquiries concerning the material inscription of language. This inscription is explored in its poetic and symptomatic aspects, as well as by way of a “machined” cartography. Sound and concrete poems isolate the acoustic component of oral language and the visual dimension of writing. A figure in the domain of art brut invents alphabets to grasp the being of words. A designer seeks to apply his “onto-cartographic” method beyond an original application to industrial design objects. Integrating these three investigations into the same experimental set, we endeavoured to meta-model the way in which investment in the plastic and sonic values of language expands, and disrupts the field of signification. Our experimental method involves building a machine, based on the upcycling of a video game terminal. We describe its genesis and show how its design reflects, in turn, four “material planes” of a poem by Bernard Heidsieck, and a dual topological series of images by Francis Palanc, pertaining to the possible and impossible relations between signifiers.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article delineates Sean Bonney’s ambivalence towards 20th Century sound poetry and his complex relationship with sound and visual poet Bob Cobbing (1920-2002). To do this the article reads one of Bonney’s early poems ‘For Bob, Cobbing Through the Soundhole, Where Cobbing IS’ – a poem Bonney read at Cobbing’s funeral – alongside Our Death, Bonney’s last book. The way Bonney responded to Cobbing’s life and death may offer a guide to how we respond to Our Death after Bonney’s. In their shared commitment to counter state violence, the article identifies an anti-Thatcherite politics alongside a poetics of vulnerability and hospitality, which they extend to each other, to the interned, the displaced and the dispossessed.

The article is devoted to the study of visual and graphic features of the E. A. Mnatsakanova’s texts in the book “Steps and Sighs” published in Vienna in 1982. The relevance of studying visual poetry is substantiated. A brief review of articles and dissertations, which highlight the work of the poetess, is given. At the same time, a significant gap was revealed in the study of her work - the poorly studied visual aspect in the presence of a layer of works in which the visual-auditory nature of poetry by E. A. Mnatsakanova was noted, which abandoned the traditional grammatical structure in favor of the traditional musical structure. Two types of visual-graphic techniques are considered that are most clearly manifested in the book “Steps and Sighs” - firstly, the location of the text on the page, among which the following techniques are highlighted: continuous writing of text, dividing the text into several vertical streams, fragmentation, indentation, spaces , holophrastic constructions and, secondly, typeface accidents, within which the use of foreign and uppercase fonts is considered. Comprehensive research methods led to the conclusion that the visual-graphic techniques used by Mnatsakanova are due to the visual-auditory nature of her work and the “stereo-scopic-phonic” thinking of the poetess. Also identified are three functions that the visual-graphic techniques considered by the author of the article perform in the text: organizing the sound structure of the poem with the help of indents, spaces, holophrastic constructions, meaning-forming, i.e. creating additional semantic accentuation using font accentuation and the function of holistic perception of the text, providing the possibility of multidirectional reading (writing solid text, dividing text into several vertical streams).

In 2007 I conducted an interview with Lawrence Upton, asking him about his work with and views on Bob Cobbing. Here he provides some insight into the processes involved in the creation of the epic pamphlet series Domestic Ambient Noise, his relationship with Cobbing and the dispute over the control of the Poetry Society in the 1970s.

This article explores the formal characteristics of, and some possible motivations for, what I call ‘non-communication’ in Peter Manson’s 2014 poem-sequence ‘Sourdough Mutation’. Initially, I consider the distinctions between the compositional mode which defines this sequence and those which had characterised Manson’s previous poetry and prose – this distinction resting on a unique attentiveness in ‘Sourdough Mutation’ to the visual and sonic surfaces of language – before enumerating some of the grammatical, visual, and phonetic effects which generate this emphasis. I consider some potential influences on this aspect of the work, turning first to concrete poetry and secondly – and at greater length – to the Symbolist poetry of Stéphane Mallarmé. The main critical contention of this article is that ‘Sourdough Mutation’ partly constitutes a formal homage to the grammatical and phonetic playfulness of Mallarmé’s poetry, an homage which could not have been incorporated into the translations of that poetry which Manson was concurrently producing because of his primary focus as a translator on the work’s semantic dimensions. Defining ‘Sourdough Mutation’ as ‘neo-symbolist’ on this basis, I consider some potential readings of the sequence’s political significance. Like Julia Kristeva’s reading of Mallarmé’s poetry, the non-communicative register of ‘Sourdough Mutation’ might manifest a disturbance in the boundaries of the socially-mediated linguistic subject, with revolutionary implications. However, I acknowledge the tendency of this ‘Kristevan’ reading to lead to repetitive analysis of experimental poetry, and in conclusion offer an alternative, more contextually attentive 'political' reading of ‘Sourdough Mutation’, presenting its processes of formal permutation as analogies for the systems of financial exchange which precipitated the 2007-08 economic crash.

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This poem took shape over several months of travel, it was written under the request of Serge Pey for the week against violence against women held at « La cave poésie » in Toulouse. "The Woman does not exist" evokes a quote from J.Lacan. He emphasizes the fact that there is no definition of Woman as society invents us who will come to say what is the deep being that animates us beyond biological sex. The difficulty and the challenge was to write a poem that goes beyond the binary conflict between man and woman. With a theme as strong as violence against women, the whole question is how the poem is at the service of something that both surpasses and brings us together. From there was born this poem.

Our study focuses on three manifestos, produced between 1961 and 1978 by three central figures in the field, Pierre Garnier, Bernard Heidsieck and Julien Blaine, which appear as milestones for mapping the field and history of experimental poetry in France. We are interested to the critical and programmatic contents as much as to the modes of action of these manifestos: indeed, the manifesto can not be reduced to a literary genre but is “a gesture, an act” “primarily a pragmatics of discourse, a sociological reading, an analysis in terms of intervention strategies in the field of the institution” (Gleize 1980: 12). What about the act of demonstration in experimental poetry and especially in “action poetry”? Our purpose is articulated around three actions: to quit the book, to make a group exist, and to put poetry in action.

Studying the works of two poets from different generations, Bernard Heidsieck and Anne-James Chaton, this article intends to evaluate the debt of contemporary practices to experimental poetry. How did “non-literature” lead to a revision of the literary paradigm?

Within the field of experimental writing, Vincent Tholomé’s work stands out for its simultaneous exploration of both sound poetry and visual poetry. At first sight, one might have the impression that both sides of the experimentation are elaborated in very different ways: Tholomé’s sound poetry makes more room for improvisation, while the author’s play with typography obeys strict constraints. In this article, I will describe this double logic in order to see to what extent it is possible to interpret them as two sides of the same experimental approach rather than stressing their differences.

In recent years, terms from electronic music have been frequently used to describe practices of literary appropriation. One of these concepts is sampling, which has also been generally applied to other artistic disciplines. I’m interested, however, in highlighting specific aspects of sampling as it is understood in the field of electronic music, and particularly the considerations of Mark Katz, who states that this procedure corresponds to a form of “performative” quote. From there I propose an analysis of a series of works of visual poetry and sound poetry that corresponds to this form of appropriation, for they are based on the direct manipulation of the materiality of language and its media. This comparison, in my opinion, allows the arousal of new questions about the status of literature.

This essay explores test cases, "test patterns," using non-vocal yet still generative and combinatory sound(s), to provide, through performance, expressive and material practices that re/trans-mix/create/code perspectives on sound poetry and electronic literature. [ABSTRACT FROM AUTHOR]

Copyright of Maetagused is the property of Estonian Literary Museum, Department of Folkloristics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the appearance and rapid development of a genre that crosses the boundaries between art, music, drama, and literature, and that is being variously called "sound poetry" (聲音詩 shengyin shi). "language art" (語言藝術 yuyan yishu), or "text-sound art" (文本聲音藝術 wenben shengyin yishu). I argue that Taiwan sound poetry develops as an alternative genre to Chinese poetic tradition, forging a disorienting aesthetics that is disruptive of conventional ideas of artistic quality. I conceptualize this phenomenon in its unique history and politics, extrapolating some key features that include: a poetics that strives not for semantic extension or enrichment, but that radically aims at "semantic abjection"; intervention in Taiwan language politics and translingual context, through its contribution to a "culture of the ear"; a shift of attention from textual semantics to performance with audience/users' participation; strategic denial of a genealogy rooted in the Chinese tradition, with sound poets' pronouncements about their poetics as being an entirely Western import; double nature as local, Sinophone, and global. [ABSTRACT FROM AUTHOR]

Language, Voice, and Performance. Notes on Lily Greenham’s Sound Poetry In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational collaboration. The form of the article is conceptual: in order to signal the importance given to poetry as a collabo rative and transnational activity in Greenham’s oeuvre, we have chosen to write the article in six languages and as a collaboration between six scholars with different backgrounds. The form of the article moreover reflects the privilege given to language as material, structure, and activity in Greenham’s works. The purpose of our article is thus twofold: while we seek to initiate an academic reception of Greenham’s works and to highlight these as important contributions to the traditionally male-dominated historiography of sound poetry, we also seek to examine how academic writing can alter its conventional forms in order to address works that are not ideally suited for hermeneutic or exegetic acts of reading.

Copyright of Slavistična Revija is the property of Slavisticno Drustvo Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Within contemporary practices of experimental poetry, particularly in conceptual poetry and sound poetry, it is common to see the appropriation of elements from other works, and the continuous reiteration of phrases or phonemes. These procedures have been particularly strong in recent years, specially due to the possibility to copy, reproduce and alter text, image or sound files offered by digital technologies. In this essay I develop a methodological approach that allows a better analysis of these literary works through a comparison of two procedures belonging to electronic music: sampling and looping. Thus, it will be possible to contextualize and better understand the characteristics of a poetics that proposes a different idea of the artistic creation and its reception expectations. [ABSTRACT FROM AUTHOR]

Dada, an art movement that became well known in the late 1910s and early 1920s, challengeded traditional notions of art and aesthetics. Dada artists, for example, tossed colored scraps of paper into the air to compose chance-based collages, performed sound poems devoid of semantic value, and modeled a headpiece fashioned of sardine cans. To most art historians, Dada remains a culturally contingent expression of World War I trauma, nihilism, political disillusionment, and an aggressive attack on the-moral bankruptcy of Western culture. The author suggests that this negative interpretation originates from art history's methodological blindness to the importance of play, not only to creative and artistic endeavors, but to human identity itself. Dada is characterized by an effervescent love of improvisation, curiosity, novelty and an unselfconscious exploration of the phenomenal world; it emphatically professed to be "anti-art" and "a state-of-mind." When considered from the perspective of play research and positive psychology, Dada emerges as an early and visionary milestone in understanding play as a fundamental expression of humanity almost a century before academia would take adult play seriously. [ABSTRACT FROM AUTHOR]

This essay forms part of a book of comparative literature that I am working at, entitled The Creative Bilingualism, concerned with some writers who accomplished their work, either successively or simultaneously in Romanian and French. The chapter dedicated to Gherasim Luca deals comparatively with his bilingual work taking into consideration an invention of a peculiar Non-Oedip, understood as a negation of the well-known Oedupus complex, and also a specific non-oedipal type of love, linking his surrealist poetry and fiction to the sound poetry cultivated in the French language. [ABSTRACT FROM AUTHOR]

This essay centers on a rare and unknown version of the revolutionary sound poem, the Ursonate, which the German avant-garde artist Kurt Schwitters composed between 1922 and 1932. Schwitters took the poem's first line from the opening of a poster poem by the Dadaist Raoul Hausmann and, over a ten-year period, expanded it and developed different notations. He published his complete phonetic score, with typography by the German graphic designer Jan Tschichold, in the 1932 issue of his innovative magazine, Merz. The essay considers the intriguing implications of the unknown version of Schwitters’ sound poem—recently discovered in the Getty Research Institute's collections and referred to here as the ‘Getty booklet’—for the evolving form, design, and performance concept of the Ursonate. The only existing bibliographic citation of the booklet (Hans Bolliger in Werner Schmalenbach, 1967) attributes it to a W. Jöhl and a group of students working in Zurich in 1953. Since Schwitters’ visual and poetic work fell into a state of neglect during his exile years and following his death in 1948, the 1953 publication date marks a very early recognition of Schwitters as the inventor of a new form of verbo-vocal poetry. A comparison between the sewn, handmade, coloured-paper design of the booklet and the pure black-on-white, sans-serif of the original Merz publication suggests that Jöhl and students recognized central aspects underlying Schwitters’ conception of the Ursonate, such as his interest in variable formats and in a host of performed interpretations. [ABSTRACT FROM PUBLISHER]

The article discusses sound, both of the poetry and the sounds referred to within the poems, in the poetry of John Clare. Devices such as imagery, syntax and focalization are explored. It notes that Clare's poems are rooted in a sense of place, which has sometimes led critics to underestimate his sophistication. Critical strands are cited concerning poetry's direct appeal to the sense of hearing, which has an immediacy not possible for the sense of sight or smell.

The article discusses the instructive use for text-sound poetry in the context of a long standing Composition Studies debate over voice. The author proposes text-sound poetry as a parable for writing instruction itself by virtual definition and rhetorically asks. It presents text-sound recording by Bryon Gysin entitled "Come to Free the Words" and Caroline Bergvall entitled "Ride: After Gysin" and views them through dichotomous social modes of authorizing voices.

The author discusses the work of sound poet, Tracie Morris. Morris developed her style performing in the spoken-word; she won a championship in the National Haiku Slam. There was an emphasis on performance in this work and she has developed an improvisational and autobiographical narrative style with musical influences. The author mentions the themes of cultural and physical abuse in Morris' work.

The author presents a method for creating sound poetry and text/sound music. According to his theory on the musical nature of speech and through the quantification of syllabic stress, the author presents his aesthetics of text/sound music and a detailed description of his original algorithms for manipulating characters representing phonemes. Redefining compositional techniques through his Beyond Babble computer program, The Babble Poet, he synthesizes vocalisms that sound like speech, yet are not, allowing nonsensical words to exist without semantic content and its inherent perceptual baggage. He also explores the applications of his program in composition by composing text/sound études synthesizing well-known texts with his method. [ABSTRACT FROM AUTHOR]

In an exchange with music journalist René van Peer, composer and sound poet Jaap Blonk discusses aspects of his work that hitherto have not been given much attention: his approach to composition, his use of electronic equipment and software, and his thoughts about recordings of his work. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the voice and sound of the Victorian Poetry. The sound of Victorian poetry reflects the auditory culture of Victorian England. The author attended a conference titled "Victorian Soundings," which was sponsored by the Dickens Universe at University of California, Santa Cruz. The conference focused on the mechanical reproduction and physical production of sound, and transformation of noise into speech. Poetry is an important medium to understand the Victorian ideas about voice.

An essay is presented which looks at sound poetry. The author discusses the impulses that led to sound poetry and how these were manifested in the work of poet Antonin Artaud. Sound poets' use of concepts such as onomatopoeia, defamiliarization of ordinary words, and repetition. Other topics covered include language, word meaning, and Artaud's word choice.

Examines one of the major preoccupations of literary theory in the 20th century, which is the attempt to specify some feature that can be said to constitute the distinctiveness of poetic language. Roman Jakobson as the most influential figure in the discussion; Elements of poetic function according to Jakobson; Battle between formalism and realism in the field of poetry; Concept of onomatopoeia present in poetry; Degree to which literary texts live up to traditional claims for onomatopoeia.

The author describes how he has worked since 1967 with alternative ways of structuring language and of ‘publishing’ his literary art. He discusses his visual poetry, visual fiction, numerical art, audiotapes, videotapes, photographic and holographic writing, and book art. In his current work, Epiphanies, the initial text of single-sentence stories has been recomposed and published in ways uniquely appropriate to the media of print, exhibition, audio, video, theater and film. [ABSTRACT FROM AUTHOR]

The author surveys the history of text-sound composition and its relationship to sound poetry. He describes some styles of sound poetry performance and examines the aesthetic and practical features of the technology used in sound poetry. The author also discusses the use of technology in his sound poetry. [ABSTRACT FROM AUTHOR]