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Higgins, Dick. "A Taxonomy of Sound Poetry ." Ubuweb. N.p., 2 Oct 1980. Web. 6 Oct 2013.
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Jolas, Eugene. "Gertrude Stein | USA/France (1874-1946)." Ubuweb. N.p.. Web. 6 Oct 2013.
Letterklankbeelden
Mécano
"Miss Gertrude Stein's memoirs, published last year under the title of Autobiography of Alice B. Toklas, having brought about a certain amount of controversial comment, Transition has opened its pages to several of those she mentions who, like ourselves, find that the book often lacks accuracy. This fact and the regrettable possibility that many less informed readers might accept Miss Stein's testimony about her contemporaries, make it seem wiser to straighten out those points with which we are familiar before the book has had time to assume the character of historic authenticity. To MM. Henri Matisse, Tristan Tzara, Georges Braque, André Salmon we are happy to give the opportunity to refute those parts of Miss Stein's book which they consider require it.
These documents invalidate the claim of the Toklas-Stein memorial that Miss Stein in any way concerned with the shaping of the epoch she attempts to describe. There is a unanimity of opinion that she had no understanding of what really was happening around her, that the mutation of ideas beneath the surface of the more obvious contacts and clashes of personalities during that period escaped her entirely. Her participation in the genesis and development of such movements as Fauvism, Cubism, Dada, Surrealism, Transition etc. was never ideologically intimate and as M. Matisse states, she has presented the epoch "without taste and without relation to reality."
"...the early collages of Picasso or Braque with their inclusion of newspaper fragments among the forms on the canvas, or the use of photographs by the dadaists and such Bauhaus figures as Moholy-Nagy, or the objets trouvés of Marcel Duchamp."
Le Violin
"This runs somewhat counter to the style of visual poetry envisaged by Apollinaire and represents a radical shift away from making imitative imagist drawings with words and characters and towards a more abstract rendering of visual language."
Powell, Neil. "Concrete Poetry and Conceptual Art: A Spectre at the Feast?" Ubuweb. N.p.. Web. 6 Oct 2013.
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Apollinaire, Guillaume, and S.I. Lockerbie. Poems of Peace and War (1913-1916). Los Angeles: University of California Press , 1980. 520. Print.
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"The Calligrammes took the form of poems whose compositions visually echoed the meaning of the words within them, in examples such as "Il Pleut"(1916), words appear to cascade down the page like raindrops on a window pane. The lyrical richness and graphic flair of Apollinaire's work persuaded the founder members of the 'Noigandres', the de Campos brothers and Decio Pignatari, to consider the possibility of allowing the reader to encounter language in much the same way as one might experience natural phenomenon."
Powell, Neil. "Concrete Poetry and Conceptual Art: A Spectre at the Feast?" Ubuweb. N.p.. Web. 6 Oct 2013.
La Mandoline, l’Oeillet et le Bambou
"Brecht's oeuvre--the objects such as the ones gathered in the show, but also all his scores--is a collection of haiku. He understood the necessity of providing a single "poetic" frame for his entire production, which he began conceiving as a virtual "book" in 1964. Called The Book of the Tumbler on Fire, it has definite chapters (such and such series of events, such and such exhibition, such and such anthology of scores) and even footnotes (all "Chair events")." -- Yve-Alain Bois
George Brecht, Chair Event, 1961
George Brecht, Three Aqueous Events, 1961
Brand, Jan, Nicolette Gast, and Robert-Jan Muller. The Words and the Images; text and image in the art of the twentieth century. Amsterdam: Centraal Museum Utrecht, 1991. 53. Print.
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Born in 1932, Paik studied as a composer but also made assemblages and performance pieces, including his infamous One For Violin Solo, which consisted of slowly raising a violin over his head with intense concentration, then suddenly bringing it down on the table in front of him, smashing it to pieces. His reputation as a ferocious and charismatic performer preceded him to New York, and his presence dominates the middle section of Peter Moore's film. Paik is listed in the cast as "action music," and performed three of his own pieces during Originale - including Simple (1961), in which he covers himself with shaving cream, flour, and rice, and climbs into a tub to wash off, then drinks the water out of his own shoe.
Author Unknown, Karlheinz Stockhausen - The Piece, 1964. http://www.ubu.com/film/stockhausen_originale.html
Hamburg, 2/7/1977
...In 2 weeks I will be 45. It is time for Archeology of Avantgarde. I lived in Korea in the 40's, where only available informations were from Japanese books printed before world War II. Therefore it was great luck that I heard the name of Arnold Schoenberg in 1947 or so. He immediately interested me, because he was written as a devil or the most extreme avantgarde. However there were no record or scores of Schoenberg available in Korea in 1947, except for a pirate edition of his op 33 a piano piece. It took 2 or 3 years of desperate struggle to find only available record, which was released in the pre-war Japan, Verklarte Nacht. I will not forget forever the exitement of holding this fragile 78 RPM record in my hand like a jewel from Egyptian tomb. And I cannot forget the disappointment of this record, which was purely a Wagnerian Quatsch.
Korean war came soon after.
25 years after this experience I found the same record of Schoenberg in a flea market in New York. I played this record 4 times slower (on 16 RPM) in a Merce Cunningham dance event. Merce smiled and said: "You improved Schoenberg".
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We Futurists, who for over two years, scorned by the Lame and Paralyzed, have glorified the love of danger and violence, praised patriotism and war, the hygene of the world, are happy to finally experience this great Futurist hour of Italy, while the foul tribe of pacifists huddles dying in the deep cellars of the ridiculous palace at The Hague.
We have recently had the pleasure of fighting in the streets with the most fervent adversaries of the war, and shouting in their faces our firm beliefs:
All liberties should be given to the individual and the collectivity, save that of being cowardly.
Let it be proclaimed that the word Italy should prevail over the word Freedom.
Let the tiresome memory of Roman greatness be cancelled by an Italian greatness a hundred times greater.
For us today, Italy has the shape and power of a fine Dreadnought battleship with its squadron of torpedo-boat islands. Proud to feel that the marital fervor throughout the Nation is equal to ours, we urge the Italian government, Futurist at last, to magnify all the national ambitions, disdaining the stupid accusations of piracy, and proclaim the birth of Panitalianism.
Futurist poets, painters, sculptors, and musicians of Italy! As long as the war lasts let us set aside our verse, our brushes, scapels, and orchestras! The red holidays of genius have begun! There is nothing for us to admire today but the dreadful symphonies of the shrapnels and the mad sculptures that our inspired artillery molds among the masses of the enemy.
War, the World’s Only Hygiene (1915)
Marinetti, F.T., GEOMETRIC AND MECHANICAL SPLENDOR AND THE NUMERICAL SENSIBILITY
"I create true theorems or lyric equations, introducing numbers chosen intuitively and placed in the very middle of a word, with a certain quantity of + - x =; I give the thickenesses, the relief, the volume of the thing the words should express. The placement + - + - + + x serves to render, for example, the changes and acceleration of an automobile's speed. The placement . . . . . serves to render the clustering of equal sensations."
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March 2, 1970
Drill a hole into the heart of a large tree and insert a microphone. Mount the amplifier and speaker in an empty room and adjust the volume to make audible any sound that might come from the tree.
September, 1969
Drill a hole about a mile into the earth and drop a microphone to within a few feet of the bottom. Mount the amplifier and speaker in a very large empty room and adjust the volume to make audible any sounds that might come from the cavity.
September, 1969
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