Search

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.

In this paper I investigate the compositional use of loops and audio technologies in contemporary sound poetry. I suggest a definition of 'loop´ in this context and provide an overview of theory concerning repetition and loops in literary studies. Exploring the aesthetics of loops through a survey of contemporary sound-poetic practices, I show how loops influence sound and musicality as well as the textual level and semantics. Loops not least associate a work with various aspects of meaning, up to tautological accordance of form and content. They therefore qualify as a self-evident, independent compositional feature that can make words 'dance'. [ABSTRACT FROM AUTHOR]

The article, reviews the exhibition "Letterism and Hypergraphics: The Unknown Avant-Garde, 1945–1985," introducing Lettrism, a post–World War II French avant-garde movement. Topics include Lettrists' provocations, exploration of sound poetry and music, establishment of "discrepant cinema," and their impact on postwar French avant-garde legacies.

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 uses in-depth performance descriptions to engage in a form of writing as documentation of live performance. I frame my practice-led research in performance art by scoring and writing through four selected performances: Nape (2013), Scaw (2014), Mean (2016) and Faults (2019). These performance descriptions are presented as performance documentation providing insight to an established practice in performance art that is language-oriented. This writing is both descriptive and autobiographical and explore methods and tasks that use the vocal-body as 'writing with the voice' and 'live writing' over extended duration. These texts position the creation of language-oriented performance art from within, expanding and reframing my own performances that bring new understandings on how we read, witness and experience experimental writing practice in performance. [ABSTRACT FROM AUTHOR]

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.

María Salgado's Hacía un ruido: frases para un film político (2016) was advertised as being linked to the global protests triggered by the early twenty-first-century financial and socio-political crisis. Critics read it as being endowed with referential and representational clarity, as well as an identifiable sense of political dissent. Yet references to politics in this poetry book are obfuscated by a translation that points to a textual limit to political representation. Hacía un ruido can be read as being informed by a poetics of translation that invites long-standing questions about the location of poetry vis-à-vis the language of the polis. [ABSTRACT FROM AUTHOR]

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).

The present article is a reworking of a lecture that was performed live and with visual and sound examples at the CoFestival. In selected examples, the author tries to articulate various vocal practices through contemporary and experimental music, performative practices and sound poetry, in which the voice escapes gender, meaning, turns into noise, and emerges through the utterances of silence. [ABSTRACT FROM AUTHOR]

The most important characteristic that can be distinguished in Mufdi Zakaria's patriotic resistance poetry is the struggle with sound and dazzling with rhythm, believing in the effect on the recipient through the beautiful voice and the jingling rhythm, and its purpose is to convince the recipient with the beautiful voice that charges it with the elegant verbal features, making it equivalent to a gunshot, a shell sting, and a scream Anger, and Qajaj echoed in the depths of the rugged valleys from which the revolutionaries were departing. On this basis, we pose the following problem: What has the resistance national poetry achieved in the field of artistic creativity in general for Mufdi Zakaria, and in the poem of the rising sacrifice in particular? In order to answer this question, we will see how Mufdi Zakaria deals with the artistic rhythm in his patriotic poetry, and we will give an example - about that - by studying the poem "The Rising Sacrifice". Hence, this research paper, entitled "The Aesthetics of Struggle with Voice and Dazzling with Rhythm in the Poetry of Mufdi Zakaria's National Resistance", aims to highlight the aesthetics of external rhythm, and internal rhythm, highlighting the characteristics of each of them in the poem "The Rising Sacrifice". [ABSTRACT FROM AUTHOR]

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.

There exist no well-established methods for discussing sound poetry. Sound poetry can be associated with music through a specific relationship between text and performance. According to modern understanding, in music, performance is seen not only as a realization of the structure of a work, i.e. of its content, but also as its essential component, and this can also be said about sound poetry. At the same time, sound poetry contains a semantic aspect, due to which it, unlike music, also operates with specific meanings. Consequently, the form of a work of sound poetry is formed on the basis of both music and language (literature), but neither of them has an absolute predominance in the formation of the structure of such a work. This article examines, on the basis of Jaan Malin's sound poem Eesti (Estonia, 2016), what are the connections between text and performance and how their combination creates an artistic output. [ABSTRACT FROM AUTHOR]

This article analyzes Ian Hatcher's online and kinetic poem "...(Total Runout)" (2015) from a point of view of a critique of corporate and governmental black boxing, at the level of its code, text, visual output, sound, and live performance. The multimodal poem is part of the Drone Pilot suite, and it is presented in different versions: as a web-based work, sound piece, and performance. It remixes appropriated text from a WikiLeaked manual by the UK Ministry of Defence, essays on artificial intelligence, and Hatcher's own text. The overall versions of the work, understood as variable events, boldly problematize communication and cognitive processes in networks--whether they are implemented in computer systems by secret agencies or corporations. Hatcher's critique of black boxes entails re-creating issues of security, control and surveillance, as digital systems are increasingly paving the way for less privacy and less knowledge about their inner workings. As a result, the poem questions the essence of privacy, redaction, and systemic violence, when access is a privileged asset of agents with security clearances or those with a deep knowledge of programming. This article presents "...(Total Runout)" in the scope of the poet's aesthetic program. Then, it analyzes its Web version's interface and source code. The kinetic poem's spatial and temporal dimensions are discussed via experiments that modify the source code. The methods here presented deform the poem's temporal display, by means of modifications, or what are called in the article lit mods. Thus, the article proposes an approach for a more informed reading and understanding of digital kinetic poems, since they are ever-changing events. Finally, it locates the work's aural and performative versions in a cultural and political context. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including physical sound in literature, resonant listening, and contemporary Scandinavian multilingual sound poetry.

The article analyzes the implications of multilingual Scandinavian sound poetry performances in the work "Scandinavian Series," created by Icelandic author, poet and performance artist EirÍkur Örn Nor∂dahl. Topics discussed include the career background of the writer, the emphasis of Icelandic author and poet on the connection of language to ideas of ethnicity, nationality, geography and power in his works, and distortions in the language mixing in the series.

This article examines Julia Kristeva's (1984) ideas of significance and negativity as facets of the meaning-making process, 'productive violence' and revolutionary practice of art that employs what she describes as 'creative textual practice'. It describes the use of text, language and text-based practices in contemporary works by the author and other artists including Annette Schmucki, Amanda Stewart and Annette Iggulden. These practices embrace the familiar, unfamiliar and uncanny by intertwining the symbolic and semiotic aspects of written and spoken textual communication through concrete poetry, sound poetry and textual processes that originate from the Oulipo movement. In particular, the employment of dialect, 'dead' languages and layers of intelligibility is explored alongside what Estelle Barrett—in her reading of Kristeva—describes as the 'hyper-differentiated realm of latent and possible values and meanings' in the work [Barrett 2011. Kristeva Reframed. London: I. B. Tauris, 19]. This reading considers the way that creative textual practices themselves highlight the performative properties of text and considers the material process of language within feminist creative practice and discourse. As a result, I argue for a materialism in which text, speech or language are valued for their shape, appearance or sound, rather than their meaning or role in communication. [ABSTRACT FROM AUTHOR]

This article explores similarities between the permutational processes in sound poetry and process music, suggesting models for new music which supports audience comprehension of processual language. The use of textual materials within the poetry is examined, with reference to the analytic nature of the English language and how different sentence types arise in performance from the results of the processes employed. The article then translates this analysis onto music made from numerical processes, focussing in particular on the work of American composer Tom Johnson. By viewing the material of process music through a morpho-syntactic linguistic frame, this discussion suggests compositional methods and performance approaches which help to facilitate an audience's understanding of the grammatical structure within a piece of process music. [ABSTRACT FROM AUTHOR]

This article explores the phenomenon of spoken music in the field of contemporary Spanish experimental music. Spoken music is a hybrid form of artistic expression which draws on several disciplines such as sound poetry, performance art and experimental music relating to the development of the spoken voice. In Spain, spoken music does not appear in the field of avant-garde music—as it is still anchored in the expressionist tradition of the spoken voice—nor in the field of poetry, which is more concerned with the visual than the sonic, but rather in interdisciplinary spaces close to the thinking of John Cage and the artistic universe of Fluxus. In 1966, in the setting of the group Zaj, Ramón Barce (1928–2008) created one of the paradigmatic pieces of spoken music: Coral hablado ('Spoken choral'). Subsequently, various groups emerged, dedicated to creating and performing works of this nature. Flatus Vocis Trio is especially noteworthy among these groups as it is probably the most important group in the area of spoken music in Spain. Using the work of this group, this study reflects on various aspects of its artistic essence, such as the aesthetic and communicative dimension of the spoken voice, its difficult relationship with the semantic function and its distance from the principal trends in sound poetry, among others. [ABSTRACT FROM AUTHOR]

This article defines the concept of auditivity in literary texts, both in the narrower sense of the term (the physically audible properties of a text) and in its wider sense (the potential ability of a text to create an auditive image in the mind of the recipient, thus conveying information in an aesthetic form, or contributing to this process). The article also investigates the possibilities of an intermedia typology of auditivity incorporating music and literature. This idea is built on the fact that both literature and music work with sound; they thus function as art forms which are close to their base material (Novák 2005: 26–34). I draw on a typology of literary/musical intermediality developed by Wolf (2011: 62–85), and I reach the conclusion that auditivity is a complex and complicated intermedia phenomenon which incorporates several intermedia types. The most explicit manifestation of the auditive properties of a text is on the level of structural plurimediality (sound poetry). Sound is also manifested implicitly in literary texts via intermedia imitations of acoustic structures (intermedia references in the form of imitations), which are very frequently accompanied by intermedia thematization. Auditivity in the process of literary communication has been investigated in the phases of auditivization (the deliberate creation of auditory properties in a literary work), reproduction and reception of literary texts. It has been determined that writers not only use traditional elements of poetic phonetics and phonology, but also engage in pure sonic experimentation. I reach the conclusion that the process of auditory emancipation of language is directly proportional to the loss of semantic properties by a text; literature thus comes close to the universality of musical communication. [ABSTRACT FROM AUTHOR]

Alexander Pope's famous dictum that "The Sound must seem an Eccho to the Sense " usually is taken to advocate straightforwardly that poetic sound can and should imitate meaning, in a kind of onomatopoeia writ large. This essay contends, however, that the real complexity of the line has not been recognized. Pope conjures a "seem"-ingly stable relation between " Sound " and " Sense " only to destabilize both terms and to raise fundamental questions about the material stuff of language. Indeed, reading Pope's " Eccho " alongside Enlightenment philosophy of language, this essay explores some sophisticated ways that poetry can participate in philosophy. [ABSTRACT FROM AUTHOR]

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.

We often think of art as structured in art worlds. But what lies between art worlds? Do we find spaces of undefined practices, or are interstitial practices also clearly defined? For this text, we interviewed 11 French artists with sound-based practices who situate themselves in the spaces where music overlaps with the visual arts, instrument building, performance art, and poetry. How do these artists define themselves, given that the available labels do not satisfy them? How do they actually use established categories when they do not want to make their artistic practice conform to them? Three positioning strategies came up recurrently in our interviews: so-called negative, additive, and generic definitional strategies. We show here that each of these definitional strategies implies related artistic choices, which make it possible for these artists to both legitimize their sense of belonging to an interstitial space and to use this belonging as a powerful means to develop a unique identity. Beyond a simple, sometimes superficial, refusal to be labeled, the strategies we identify appear to be the true markers of "interstitial" artists and their careers within and around art worlds. [ABSTRACT FROM AUTHOR]

Audionarratology posits, among other things, that sound (including voices, noise and silence) contributes significantly to narrative world-making. This point is explored in this article by looking at three oral performances of a Dada sound poem: Hugo Ball's 'Karawane' (1916). While the actual verbal material is nonsensical in that the 'words' used do not exist in any language, the performances trigger associations of storyworlds purely by means of the sonic qualities given to the text. This suggests that, even though sound alone may not be enough to create narrative worlds that can easily be accessed without further explanation, they at least have the potential to facilitate narrativisation in listeners' minds. Human voices are shown to play a special role therein. [ABSTRACT FROM AUTHOR]

Copyright of Digital Studies / Champ Numérique is the property of Open Library of Humanities 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.)

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]

This study intends to compare the onomatopoeia used in mainstream contemporary American comics in the superhero and fantasy genres and the ones used in mainstream contemporary Japanese manga in its two most popular segments: shōnen manga (manga for boys) and shōjo manga (manga for girls). It will focus on the manner in which the two languages try to reproduce sounds visually and their similarities and differences. It will also approach the many shapes and sizes they use to approximate the written word to the intended sound on a comic page. The great number of onomatopoeia in each language and their classification according to types of sound will also be commented, including mimetic words, since they are abundantly used in mainstream manga. The comparison should extend to the differences between the use of onomatopoeia in each culture, such as the alphabet, the writing, and the perception each of the two cultures has of the same type of sound and how they translate that into image. [ABSTRACT FROM AUTHOR]

Copyright of Revista Laboratorio is the property of Universidad Diego Portales 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.)