“Sound Poetry” (Used 17 times)
Juan_Angel_Italiano on 04/26/2013 at 11:07PM
"En la cuna de la palabra" es un proyecto que trabaja sobre la expresión primigenia del sonido, a través de la glosolalia, la poesía fonética y la percusión. Unretorno a los orígenes desde una perspectiva actual. Una mirada no antropológica, una mirada experimental y lúdica sobre el trabajo de dos poetas: John M. Bennett y Juan Cunha.
"In the cradle of the word" is a project that works on the primal expression of sound, through glossolalia, phonetic poetry and percussion. A return to the origins from a current perspective. A look not anthropological, experimental and ludic look on the work of two poets: John M. Bennett and Juan Cunha.
scriptavolant on 05/16/2012 at 02:21PM
vago tra cantieri di ruderi futuri - wandering around the prescient ruins yard
che nel breve tornare di giorni - in these days that wander back
bramano condomìni ovunque - far and near ankering after
come inganni - condominiums like deceits
divellere continuo e scavare scavare
per ergere tremuli tramezzi e per dividere
il perenne movimento passo dopo passo
interminabile ribollire del fluire umano
prima che si riversi nel bacino di luci.
pietra su pietra nel domenicale riposo
muore la vita e i gatti a prendere il sole
tra nugoli di lamiere colorate giacciono
ignari nella cattedrale del tempo inutile
che resta alle bande roventi di ruggine
TAGGED AS:sound poetry
natewooley on 08/19/2011 at 04:39PM
We're in a golden age of listening right now. Of course, the dissemination of new music has been greatly broadened due to the ubiquity of the internet and things like Sound Cloud and Band Camp. That's one level of the new model of making music, and it has it's beauty. For some reason, whenever I run across a sound cloud track of weird prog rock from Italy or yet another dub remix of the Imperial March from Star Wars, I wonder if this is what someone like Cornelius Cardew or Hans Werner Henze (during his "music for the people" phase) had in mind when trying to connect with the masses through new music. Something tells me that it isn't, but that they would appreciate it on a certain level anyway.
The next level is the proliferation of apartment sized record labels. This is a commitment. This is about serious people being serious about serious music. It doesn't matter if it's grime or dubstep or lower case or ultra-minimalism. These are the believers, the proselytizers and the people that we need to bake cookies for and buy a beer the next time we see them at the local bar. They are sleeping on boxes of CDs and LPs. They are desperately trying to get someone else's music noticed by the press and the listening public because they believe in it and think you should too. If there is anything that even begins to make up for the amount of my time the internet has wasted, the fact that it is easier for these people to exist has more than made up for it.
But, this post is about the OGs...the original proselytizers and educators, some who have stuck in there for years, bringing those that find their way to them a little joy and something new to think about...these are labels like Pogus, Mode, XI, Lovely Music, CRI, New World, Aum Fidelity, Tzadik, Intransitive, Broken Research, and the list goes on and on. Some have sadly fallen to the dust, but others are going strong. All of them existed before owning a label was easy and cool.
The Open Space is one such label. Run alongside a publishing concern of the same name, Open Space has consistently had the good faith, courage, and audacity to produce music 99.9% of even the experimental labels active even now would most likely deem "marginal". Note that "marginal" does not mean "unimportant". When I began at DRAM, this label was a complete mystery to me. The covers were very plain: white background, black lettering with the names of the composers and compositions on the cover. I was attracted to them in the same way I was originally attracted to the simplicity of old Jandek LP covers. I started diving in and listening to the pieces. I didn't like them all. That's easy to admit for any label. However, there was an excitement of knowing you were going to get something new and fresh, something to think about and argue with your friends over in our cubicles. That excites me. That's what music should do, right? Well, the Open Space is doing it.
I was lucky enough to speak with Benjamin Boretz, who runs the label and whose music is featured prominently (as is J.K. Randall among others). He was able to give me a very succinct philosophical synopsis of the way the Open Space works, and I think it makes more sense to leave you with that and a very generous playlist of some of my favorite pieces from the label, then to add any more of my memory and coloring to the proceeding. I will say this though;
Open Space and labels like it....new and old....deserve your respect and attention. They have a lot to offer. I know FMA is the digital choir loft that I'm preaching too, but even us heavily enlightened types can forget to say thank you to the people that fill our ears with wonder sometimes.
OPEN SPACE Publications, and THE OPEN SPACE Magazine, are output from a community for people who need to explore or expand the limits of their expressive worlds, to extend or dissolve the boundaries among their expressive-language practices, to experiment with the forms or subjects of thinking or making or performing in the context of creative phenomena.
We want to create a hospitable space for texts which, in one way or another, might feel somewhat marginal — or too 'under construction' — for other, kindred publications.
The people who populate our contributing/editing/reading/listening community are composers (in whatever medium), performers, historians, ethnologists, theorists, critics, philosophers, scholars and seekers of any kind who feel drawn to participate with us in scouting expressive frontiers. We hope you'll want to join this exchange.
Marco_Raaphorst on 10/01/2010 at 06:14AM
I like those blackout poems. They are a great way to remix newspapers and other printed stuff. It's Recycle Art and Minimalistic. Anyone can do one. It's easy.
In Holland and Belgium we call them Stiftgedichten.
I did a few myself. And liked it. But somehow last sunday I started thinking about making them differently. Then I thought about adding the things I love: spoken word & music. So *bang* that idea hit me straight away: blackout poems with the text as spoken words by someone and my music to go along with it.
On monday I did one with my daughter's voice. Her name is Puck Raaphorst. I love it. It's also easy to combine both things in a video, see my vimeo.
andrewcsmith on 06/21/2010 at 09:00AM
Kenneth Gaburo looked at language and music and saw enough commonalities and crosstalk to render the distinction inadequate. The two categories of communication and expression are indistinguishable in their root—the voice—and so why bother with reinforcing the divergence?
The two artists added to the FMA this morning—Larry Polansky, a composer/programmer/performer/theorist, and Chris Mann, a composer/poet/performer/linguist—both took different (but clearly related) concepts from Gaburo. Polansky often works on the level of musical systems and probabilities; the example below, "Simple Actions/Rules of Compossibility," is for a performer and computer, but the person controlling the computer has very little involvement in specific events. It is rather the systems that are being controlled, so that the changes are not to the details but rather they are on a higher level. Of course, the changes manifest themselves on the lower level—this is language—and it is these changes that are heard in the recording below. I'm leaving out an absurd amount of information here, but luckily Larry's kind enough to just put many of his recordings up on his site. He also often works with harmonic series-derived tunings, gamelan, and rode the Amiga wave the first time around.
"Simple Actions/Rules of Compossibility" is presented here in a recording by Larry Polansky and Chris Mann, who reads a part of his long text Tuesday called "Rules of Compossibility." In this, the Amiga is essentially a responsive instrument to the sounds that it takes as input, so Mann's text is treated by the computer as sound. Yet, rather than just sound poetry, concerned with sound as its object (and stripping away a large degree of referential meaning from the text), Mann uses language as the "mechanism whereby you understand what I'm thinking better than I do (where I is defined by those changes for which I is required)." In other words (if it is possible to say the same thing in other words) language does not communicate; language reveals. Mann's text "notes (on the user as software)" is just one of the many hours of recordings he has available on his site. I've featured the first part here, but the whole thing works out to about a half hour.
Larry Polansky and Chris Mann will both be at ISSUE on Tuesday evening to talk about the work of Kenneth Gaburo, and to give performances, along with the composer and theorist David Dunn (who played last night). Facilitating the conversation will be the trumpeter Nate Wooley, so just for fun I've added some of his music to the playlist below.