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g"ITA MONA(;H §fAf~M~Nf§i dat@d Uu~ 1 et~ §f JYIV 1 ~=;~ Familiarity with music from an early age led me to think in terms of abstract art. Given the fact that, after music, the visual arts also emancipated from the figurative into the abstract, it seems a matter of course to me to follow this example in poetry. When I try to compose speech units into 'poems', neither the selection of these units nor the composition is influenced by any possible 'meaning' (semantic value) of the units or their composites. 1 believe that the real 'semantics' in poetry are: sound and shape of the poem. In 'sound poetry', the shape of the poem may be unimportant in the aesthetic-visual sense. The written form has then the function of a score: it must give clear indications concerning the performance. Finding the adequate notation for the work one is creating is an essential part of the composition. The element of randomness, when present, does not set the artist at liberty in this sense; on the contrary, it often makes higher demands on his notational ability. I think that notation (of any form of thinking) is the supreme cultural effort of human beings. I have made use of a computer on certain compositional levels. I certainly want to continue in this direction, as soon as an opportunity arises; I have no plans, however, to use a computer as a direct producer of sound. The importance of computer sound synthesis is more evident in musical than in poetical composition. Speech synthesis, as far as it has been developed, is just a poor imitation of the human voice. To be of any use to the poet, it would have to result in sounds, which would be 'recognised' as speech sounds, while they should be humanly unutterable. twentytwotwentytwotwentytwotwentytwotwentytwotwentytwotwentytwotwentyt twentyth reetwentyth reetwentythreetwentyth reetwentyth reetwentyth reetwentythreet
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Page 1: A CATALOGUE edited by Steve McCaffe
Page 4 and 5: A CATALOGUE for the Eleventh Intern
Page 6 and 7: §f~V~ MCCA''~RV §§UN~ ~§~ft\Vl
Page 8 and 9: The Current Decades Sound poetry pr
Page 10 and 11: unfamiliar response. Michael Gibbs
Page 12 and 13: §fiVI MeeA,,I~V f~E INfe~NAfi§NAb
Page 16 and 17: CHARbll MORROW AV§I~~ IN fJ=t~ Wl6
Page 18 and 19: JAeiC§ON MAebOW t;H:HUJ={HJ JUJ gA
Page 20 and 21: We structure our pieces very much a
Page 22 and 23: ITIVI MCCA,,I~V §ttJdy ffiF aR l:J
Page 24 and 25: III"NA"f) Hllf)§IICIC ~~~f~V I§ ~
Page 26 and 27: lfiN HANlON Some of my work best yi
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Page 30 and 31: MleHA~b CUI II ~UI\RENf N©fE§ MI~
Page 32 and 33: It is my belief that sound poetry a
Page 34 and 35: IAI\biiiii\NIV ~RI~F N~f~ bAWI\IN~I
Page 36 and 37: i~AN O'I=IYiaiN §lAl~M~Nl IIAN O'H
Page 38 and 39: Movement. Such 'inbetween' events h
Page 40 and 41: §f~V~ MeeA~~~,_V i bpNieHOb di§
Page 42 and 43: OU I Cinquieme Saison; ed. Henri Ch
Page 44 and 45: §fiVI AUJtftiNfHAb I(AI(A§=f3§~f
Page 46 and 47: if~N I=IANiON bA ~~§ffUJ~fi~N ~~ V
Page 48 and 49: AICII=IOI)Ibb fmm ORFI~ R~V~6AfltJN
Page 50 and 51: CO-ACCIDENT is a multi-eventist, mu
Page 52 and 53: DICK HIGGINS Born March 15th 1938 a
Page 54 and 55: Wilhelmsbad (Frankfurt) Concrete Po
Page 56 and 57: GRETA MONACH Autobiography: dated t
Page 58 and 59: R. MURRAY SCHAFER Born Sarnia, Onta

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