jenny holzer

oral tradition great sound

There are some beautiful sound pieces on Oral Tradition
voices that sigh/sign and play with the gaps outside.

Jenny Holzer projected poems

“Projections,” with its illuminated lines of poetry, features Jenny Holzer’s first indoor light projection piece in the United States.

NORTH ADAMS, Mass. — Jenny Holzer has delivered a knockout one-two punch at the Massachusetts Museum of Contemporary Art. Titled “Projections,” her two-part exhibition starts with a spectacular light show of projected poems and follows with a politically incendiary installation of paintings related to the invasion of Iraq. Read more in the New York Times

We are full of voices, like all islands.
Helene Cixous


staging sound

Cage and Michel Serres - the granular space of language

“At the extreme limits of empiricism, meaning is totally plunged into noise, the space of communication is granular, dialogue is condemned to cacophony, the transmission of communication is chronic transformation. Thus, the empirical is strictly essential and accidental noise. . . Consequently, in order for dialogue to be possible one must close one's eyes and cover one's ears to the song and beauty of the sirens”. Michel Serres, Platonic Dialogue

Another prophetic texts, in this regard, is John Cage's "Experimental Music" (1957), reprinted in Silence (1962). As early as 1937, in "The Future of Music: Credo," Cage had declared:

Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating….”

And in Experimental Music, he expanded on this point in a now famous statement:

“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence we cannot. For certain engineering purposes it is desirable to have as silent a situation as possible. Such a room is called an anechoic chamber, its six walls made of special material, a room without echoes. I entered one at Harvard University several years ago and heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation. Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music.”


Cage and Johns on the sound of not saying

Unless we go to extremes we won’t get anywhere

- John Cage

We say one thing is not another thing

Or sometimes we say it is

Or we say “they are the same.”

- Jasper Johns (Sketchbook Notes)

(T)here is something which is, so to speak, nothing;

and moreover, a nothing which has nothing in it.

That’s what the nothing in between is.

- John Cage (for the Birds)

Kathy Acker speaking words that sing

Great site with Kathy's voice...

the continental review - poetry on video on poetry

I predict the era of video poetics is imminent-
Ezra Pound, 1952

quote...The Continental Review aims to be:
(1) A forum for video readings of new poetry (2) A forum for video reviews of new poetry
(3) A forum for video interviews on poetics.

It's early days, but the vision is to provide a haven for original video readings, coupled with a number of regular video-reviewers giving their opinions, in (re)embodied real-time, on recent books and issues relating to contemporary fiction, theory, poetry and poetics. The Continental Review thus aims to become the primary stop for video content related to contemporary poetics on the web.

Poetry hasn't missed or resisted the New Media boat, so why should poetry journals? The Continental Review is debuting from its Paris base with the help of a video editor, a webmaster, and a number of extraordinary poets. There will be no monthly or quarterly issues: the site will be continuously updated, on a rolling basis, with new video reviews, readings and interviews. This is an evolving project. Evolution needs your support...end of website quote

This is a great site and idea...possibilities for sounded language open up through digital media...Cole Swenson interview is good...the image is by me


a muffled jaw- steps towards a conceptual biography

muffled jaw called blood red molasses by me.

Writing started with a voice in my throat talking about the rub of purls, curly girl, again the face whilst sitting in its lap. It began to be felt whilst launching into the gap of writing about the shape of light inside the body, the shape and sound of it. Gathering the threads of testimony from 500AD to 1400. There were spills of opening happening whilst sitting very very still.

The first shape was closed it was the formal with argument it was just so long and it was either ok or it was not, and nobody could hear it. It did not lie still. It did not lie still. It did not lie still. The train was set to go out of the station. Jill, Jill, Jill wrote of the musculature and saw it, being written as not able to be fit-fitted.

A small piece was shaped on making…instead in stead.

‘six grappled steps in the making

ahhmm,…the making of a move is…

the making of something

“… she had tried… really tried for quite a while now too… to do it, but the animal would not go into the blasted thing. This time she was able to pause though, if only momentarily and acknowledge the ridiculousness of the situation - before she stuffed it down the front of her blouse. And she did feel she didn’t care, didn’t care a hoot if anyone saw, if anyone was looking,…which was something...” ‘

balled tongue. by me

balled tongue by me

stein stein there is no repitition repitition

"Why is there that sensible silence...
Does silence choke speech or does it not..."
Tender Buttons p503

...my answer, the answer is doubled twice.

the skirt as a tree

Reading John Cage For The Birds and Kristin Linklater, Freeing the Voice at the same time... one and then the other, opening my throat and listening to Bessie Smith cracking sound open... a man has just been crushed to death by an elephant in northern New South Wales. There are too many things to fit into words. writing starts from that place at the top of the throat...there are birds in trees.


gossip by Ana Maria Uribe on VISPO


from VISPO

Ana Maria at arteonline.arq.br (Brazil)

Ana Maria at Ubu.com (USA)

Ana Maria at Iowa Review (USA)

Ana Maria at BeeHive (USA)

Ana Maria at Inflect (Australia)

An interview of Ana Maria by Jorge Luiz Antonio

A tribute to her work published on the -empyre-
list. Browse the month of March 2004 in the
-empyre- archives for other posts concerning
Ana Maria.

Ana Maria did all the translations
into Spanish of all the work at

David Daniels has done a visual
poem about Ana Maria at

Rachael Blau DuPlessis 'Drafts' online

at logopoeia


Emptiness, as something present yet unpronounceable...

The ‘unsaid’ is a shifting boundary
resisting even itself.
Something, the half-sayable,
gone speechless. Or it can’t

and Inbetween

what is, and
that it is,
is Inside

...... an offhand
sound, a howe or swallowed
shallow. Sayable sign
of the un-.
(‘Draft 11: Schwa’)

The Unsaid as the inside of speech comes forward as the inarticulate sign of the messianic, of the effort of the poem to enunciate the impossible, ‘the very word’ itself, which is like a bell to toll, as DuPlessis, cleverly eliding the word ‘forlorn’ from Keats’s line, has it in her first epigraph. But what sort of toll is it?
In the remarkable ‘Draft 33: Deixis,’ DuPlessis takes up the problem of language’s ability to point toward a referent, to confer meaning at all by way of spatial tropes.

call this the matrix of the unallowable, or, perhaps indifferently, say

call this the problem of the dead

call it the toll

It is the space of poetry.


artists who use voice text tracy emin

artist- who use voice sue williams


Sam Taylor Wood Hysteria

Hysteria, a laser disc projection that lasts eight minutes

Lia Anna Henning: Eat Me

VIDEONALE 11 - Festival of Contemporary Video Art
Lia Anna Henning: Eat Me, 2006

Exhibition in the Kunstmuseum Bonn from 15 March to 15 April 2007. Red, erotic, carnal, halfway between glamour and cannibalism: this is how the mouth with its impeccable white teeth filling the screen of the monitor shows itself. This work by video artist Lia Anna Hennig is one of the 48 exhibits presented at the VIDEONALE in the Kunstmuseum Bonn.

after the Manifesting Literary Feminisms: Drafts, Grafts, Nexus, and Faultlines Conference

Just got the shape of things back again after being in Melbourne for a week for the Manifesting Literary Feminisms: Drafts, Grafts, Nexus, and Faultlines Conference, where Rachel Blau DuPlessis and Susan Sheridan were the key note speakers. Rachel talked about "...Manifesting Literary Feminisms: Thinking into Future Work." Discussions circled round impossible pressures of the uni structures for academics trying to keep their research/creative life flowing, rich and together, lack of publishing opportunities for experimental work, and feminist critical theory...whats the shape of it, and what does feminist criticism mean now? Good questions.

Key note papers great Rachel wrote about key points to consider re the frame of feminist theory. Some wonderful papers too by Rachel Morley on Biography and Eleni Pavlides re Dialogue's of Dora... (possibilities of future collaborations have been discussed).

I left interested in starting a new lit-journal, online at first for distributing theory informed creative/xxperimental texts. If the poetic is to ever be read as theory we gotta get it out there to be read.
Anyway I'm looking into setting one up...more to follow. being at the edge of the academy gives me more room to explore this possibility , bit removed from the strains of that frame. For papers I gave look at essays in LABELS


A variety of new material is available from Glossolalia. It includes the

BALLET, new video and audio featuring CAConrad reading from Deviant Propulsion. BALLET is Glossolalia's first 100% pretty, 0% scary creation.

HEDGE MAZE, an audio track featuring the voices of Allyssa Wolf and Jon Leon. HEDGE MAZE originally appeared in Spaltung #2, a multimedia publication of the APG.

A video for SUDDEN SPIDER, featuring Rod Smith reading from The Spider Poems.

A video for ELLA FINDS HER VOICE, featuring Ella Vowell.

As always, Glossolalia is thankful to people who entrusted it with their voices.

As always, this material is available for no cost and little effort at



essay -gertrude stein and the sounded jouissant

Lifting Belly is often considered the central erotic work of Gertrude Stein's middle period...this love poem, associative in structure, consists of alternately cryptic and conversational fragments detailing elements of sounded spaces from within a domestic sphere. The language is jouissant. But the language of jouissance in Stein’s Belly works as a vocabulary of ecstasy that is far beyond the stable and mere pleasure of the body or the text. This ‘unform of language’, functions as ecstasy through sounded sound...

essay (work in progress) click here

essay- a little glossary of big whoppers

Language as stuff is pretty weird… it’s full of tropes, loops, gaps and double distenders (think garters). It makes up stories, does impromptu stand-ins and ‘performs’ for (other) objects… ha! a type of textural drive-by/asylum/squirm comedy when seen under the spotlight, it plies itself as culture in our bodies much like the ‘other’s other’ and goes marching on in the abstract, full of mis-meanings perversely masquerading as the true blue blue truth. Given that it lies along side it also lies, damn it, inside itself. Language, is busy displacing, disrupting and cutting off the depths and heights of how far a human and especially a woman can say or be said to go… show… say and perhaps, yes o dear… be. Its nothing personal its been said, but those limits are whoppers that stifle the Whopa’s of a gals oversized, abnormally normal, paroxysms of excitement and pleasurably pleasured ec-stas-y.

click here...


pulsations and Elaine Showalter's A Literature of Their Own


'The French feminists of the day discussed this Mother Tongue, calling it l'écriture feminine. Accessible to men and women alike, but representing "female sexual morphology," l'écriture feminine sought a way of writing which literally embodied the female, thereby fighting the "subordinating, linear style of classification or distinction." Showalter finds that whether this

clitoral, vulval, vaginal, or uterine; whether centered on semiotic pulsions, childbearing, or jouissance, the feminist theorization of female sexuality/textuality, and its funky audacity in violating patriarchal taboos by unveiling the Medusa, is an exhilarating challenge to phallic discourse.'

danielle gustafson-sundell at kavi-gupta gallery



'Some things become so familiar that they seem blank...' Ruth Salvaggio Sounds of Feminist Theory (8)

my image

Speech is the principle liquid of the body…

Stein was an eater of words…they were chewed slowly in the mouth.

The French playwright Valere Vygotsky a maker of sounded words says ‘A word without meaning is an empty sound’

‘Nothing ever comes but from within...Objects have mouths to speak...They speak with their inner muscles’

They ventroquize themselves

Stein was Madam mouth

Her tongue propels her very erotic tongue to clit

Those who dominate make the body disappear Stein reinserts it wetly into literature.

‘Thoughts do not occur to us out of heaven but out of the teeth and mouth and the tongue...'


Letter to the Actors Valere Vygotsky, translated by Weiss


What is the name of ecstasy?

For Stein embodiment is 'to be' in relationship, in the space articulated by the curl, and this approach verses and “sounds” the silence echoing from the self as shell, as the noun, as a container. As shell, the body remains a fixed metaphor for self, a position Stein continually was in the state of undoing. Light on the body as diagrammed is a metaphor for “the other”. The body as shell sealed in linear space, except in instances of unusual eruption, is a body of darkness. Writing from the middle of that space in a vocabulary of thinking, Stein details brightness:

... and in the bright when they are there it is not only very much to do so which willing and they can it is more meant and if coming having it to do it is without it remarkably in no time which is very well shown yesterday as to be willing need it be whatever they can be without a doubt of whatever it is just made to be not only where they went it is as if not coming to be without that they could as wherever now and then called is more than…. (How to Write 335)

As open, the body as bright is situated nowhere. It is a body un-dark because it has no edge to it. It is between the inside and an outside. It does not begin in time or space, it is a continuum, and as such is unfixable. For Stein, the body is beyond visible and invisible. Unlike the eye that could not see itself, this new body as all bodies is covered in senses that include the sense of speech, “a speak” well beyond the frame.

kristen oppenheim off ubuweb

just beautiful...odd...'she was long gone' sweet

Kristin Oppenheim (b. 1959)
Selected Works 1994-1997

1. Sail On Sailor, 1994 (2:23)

2. She Was Long Gone, 1995, (2:32)

3. Tap Your Shoes, 1996, (2:37)

4. Hey Joe, 1996, (2:16)

5. Tickle, 1997, (2:30)

6. A Woman Left Lonely, 1997, (2:33)

Mouths and Lips by Abigail Bramnick

The singing Tree

Primiti Too Taa (1988 Animation)


Purify Poetry (Pt.6)

Why my left leg is HOT!

American Poetry Series- The sound of the trees by Robert Fro

'Choking' by Ginger


Blogging Feminism

Blogging Feminism websites of resistance

my image (on the TV)

Feminist Collections

Women's Studies Quarterly

Feminist / Women's Studies Journals
Feminist Studies
Third Space

Feminist Magazines / Online Publications
Altar Magazine
Clamor Magazine
Empowerment 4 Women
Fierce Magazine
Nervy Girl Zine
Said It
Women's eNews
World Feminism

Barthe and words that glisten extravagantly

I have to write out this quote by Roland Barthe
"In short, the words can be erotic on two opposing conditions, both excessive: if it is extravagantly repeated, or on the contrary, if it is unexpected, succulent in its newness (in certain texts, words glisten, they are distracting, incongruous apparitions...) " The Pleasure of the Text (42)

image by me

fabulous wordsalad radio show

Just discovered Paul Alan's radio show wordsalad

full full full of juicy stuff...a great way to hear word sounded by its writers

“From Stein to Scalapino to Slam”

Wordsalad is a weekly radio program on WSUM featuring recordings of contemporary authors reading from their own works.

Imagine you’re a commuter in a station of the Metro, hearing bits and snatches of conversation as you pass by Modernist, experimental, performance poets, and Language writers.

Wordsalad streams live on Thursdays from 1 to 2 pm Central (American Time) at www.wsum.org and airs at 91.7 FM in Madison, Wisconsin.

Can our slow old broadband in Australia get it? ...

Not to worry, podcasts of past shows available here...


Thankyou Paul Alan


the scream the scream the scream

The Wilhelm Scream was a recorded 'scream' that was used over and over and over again in Hollywood films...same recording, over and over again...
list of films featuring the wilhelm scream

lifting bellies, filling petunias Susan Holbrook

Just got hold of Holbrook's essay on Stein Lifting Bellies, Filling Petunias and Making Meanings through The trans-Poetic... lots of wonderful references to sound. though Muse

'Steins attention is to the aural...


steins work exemplified in the ballad...will get back to this busy writing that essay for the conference

good egg a review by A Rawlings from Namados Publishing on Susan Holbrook

namados publishers...

People think poetry is lined verse or they love a good experiment.

You’ve read Good Egg Bad Seed by Susan Holbrook or you will.

You read this book like you’re taking a quiz in Chatelaine or you write a review of Good Egg Bad Seed emulating Holbrook’s book. Or both.

You want to talk to Holbrook about her Gertrude Stein references or you wonder if she’s read Carole Maso essays.

You prefer the poetry (“Smashing through the guardrail and plummeting to your deaths you shout I love you”) or the comedy (“or you shout Fuck.”) or you wish the reviewer wouldn’t split up a wicked quote.

Canada’s micropress publishing scene, with its limited print runs and handmade chapbooks, is news to you or you can’t wait to have this rare and coveted Holbrook by your bed because you saw her at Lexiconjury last year and she was brilliant, absolutely fucking brilliant, when she won the audience over with a reading of her as-yet unpublished chapbook.

You are Susan Holbrook and you’ve written a stellar chapbook called Good Egg Bad Seed with an either/or premise that there are two kinds of people and you’re one or the other (or maybe both) because as you, being Susan Holbrook, have allowed for a binary or a multiplicity with “You are a binary thinker or you are and you aren’t” or you’re not Susan Holbrook but you wish you’d had the idea first to write a poem about two kinds of people.

You will order Holbrook’s Good Egg Bad Seed from nomadosnomados@yahoo.com or you will check out her publisher Nomados online.

the news by gertrude stein and lynn hejinian

" . . . so everything in the newspaper begins with its not being so and that like everything complicates and makes difficult telling and listening, it may complicate and the newspaper does by making it too easy, so much do they have to deceive the reader into feeling that yesterday is to-day that they have to make it too easy and in making it too easy they do do something they had not intended to do they make it no longer an exciting thing. . . . I said that once to a reporter and he said you have no idea I am sure how terribly hard we work. Yes I said but after you have done all that hard work you have to write it up as it would be if you had known it all beforehand. . . . There is no discovery there is mostly no discovery in a newspaper or in history, they find out things they never knew before but there is no discovery and finally if all this goes on long enough it is all too easy." Gertrude Stein, Narration

"In real life that is if you like in the newspapers which are not real life but real life with the reality left out, the reality being the inside and the newspapers being the outside and never is the outside inside and never is the inside outside except in the rare and peculiar cases when the outside breaks through to be inside because the outside is so part of some inside that even a description of the outside cannot completely relieve the outside of the inside." Gertrude Stein, Narration

"[T]hen there is the news itself, of course, dismaying in content and raising the question, over and over, of the efficacy (or inefficacy) of poetry in relation to the course of events; to read the news is to be reminded of the seeming imperviousness of the world to such improvements as might be suggested by artistic work and artistic thought. . . .When the term realism is applied to poetry, it is apt to upset our sense of reality. But it is exactly the strangeness that results from a description of the world given in the terms 'there it is,' 'there it is,' 'there it is' that restores realness to things in the world and separates things from ideology." Lyn Hejinian, "Strangeness"


ubuweb sound

? Concrete Poetry
3 ... 2 ... 1 ... ZERO
3ViTrePAIR series
3ViTre dischi di polipoesia
3Vi: Aldino Leoni
3Vi: Bertoni + Serotti
3Vi: Italia-Canada
3Vi: California-Italy
3Vi: Ungheria-Italia
3Vi: Voooxing Poooêtre
Vito Acconci
Tomomi Adachi
Alejandra & Aeron
Pierre Albert-Birot
Art & Language
Andreas Ammer
Charles Amirkhanian
Beth Anderson
Laurie Anderson
David Antin
Georges Aperghis
Guillaume Apollinaire
Louis Aragon
Pierre André Arcand
Art By Telephone
Antonin Artaud
John Ashbery
Robert Ashley
Tellus Audio by Visual Artists
Derek Bailey
John Baldessari
Hugo Ball
Giacomo Balla
Roland Barthes
Michael Basinski
Erik Belgum
Julian Beck
Samuel Beckett
David Behrman
Caroline Bergvall
Bertoni + Serotti
Charles Bernstein
Ted Berrigan
Joesph Beuys
Berliner Dichter Workshop
Julien Blaine
Jaap Blonk
Lars-Gunnar Bodin
Hermann Bohlen
Christian Bök
Jonathan Borofsky
Jean François Bory
Glenn Branca
Andre Breton
Anton Bruhin
Marcel Broodthaers
Dan Graham
Allan Bryant
Camille Bryen
William S. Burroughs
Christopher Butterfield
John Cage
John Cale
Cornelius Cardew
Francesco Cangiullo
Augusto de Campos
Capilano Review (Canadian Sound Poetry)
Louis-Ferdinand Céline
chris cheek
Velemir Chlebnikov
Henri Chopin
Concrete Mass
Chinese Experimental Music
Henning Christiansen
Walter Cianciusi
Carlfriedrich Claus
Bob Cobbing
Jean Cocteau
Robert Creeley
ee cummings
Merce Cunningham
Music w/ Roots in Aether
Alvin Curran
Dada for Now
Salvador Dali
Hanne Darboven
Mario Davidovsky
Guy Debord
Francis E. Dec
Augusto de Campos
Walter de Maria
Jacques Derrida
Fortunato Depero
Robert Desnos
Dial-A-Poem Poets Index
-- The Dial-A-Poem Poets
-- Better An Old Demon...
-- Big Ego
-- Biting Off The Tongue...
-- Burroughs / Giorno
-- A Diamond Hidden...
-- Disconnected
-- John Giorno / Anne Waldman
-- The Nova Convention
-- Sugar, Alcohol & Meat
-- Totally Corrupt
-- You're the Guy...
Disintegrating Language
Tod Dockstader
Edward Dorn
Jean Dubuffet
Marcel Duchamp
François Dufrêne
Jas Duke
Paul Dutton
Jane Draycott & Elizabeth James
Nikolaus Einhorn

Ensemble Ordinature
Max Ernst
Barbara Ess
Extended Voices
Öyvind Fahlström
Morton Feldman
Luc Ferrari
FLAT: Art of Truncation
Flatus Vocal Trio
Fluxus 30th Anniversary Box
Fluxus Anthology
Fluxus Anthology 2006
Flux Tellus
Henry Flynt
DJ Food
Richard Foreman
Jarrod Fowler
Terry Fox
Furious Pig
Fylkingen Anthology
Kenneth Gaburo
Gabo + Pevsner
Drew Gardner
Xavier Gautier
Jean Genet
Alberto Giacometti
John Giorno
Giorno Poetry Systems Index
Allen Ginsberg
Philip Glass
Glass / Summers
Jean-Luc Godard
Jack Goldstein
Kenneth Goldsmith & Jonathan Zorn
Glenn Gould
Dan Graham
Lily Greenham
Group Ongaku
David Grubbs
Pierre Guyotat
Brion Gysin
Al Hansen
Sten Hanson
Happy New Ear
Raoul Hausmann
Tim Hawkinson
Tim Hecker
Kevin Hehir
Bernard Heidsieck
Dick Higgins
Åke Hodell
Abbie Hoffman
Bob Holman
Joël Hubaut
Richard Hulsenback
Herbert Huncke
Il concento prosodico
Eugène Ionesco
Isidore Isou
Itchy & Scratchy Orchestra
Mick Jagger
Ernst Jandl
Bengt Emil Johnson
Joe Jones
James Joyce
Mauricio Kagel
Robin Kahn
Vasilij Kamenskij
On Kawara
Mike Kelley
Jack Kerouac
Kipper Kids
Klaus Kinski
Yves Klein
Ferdinand Kriwet
Aleksej Krucenych
Kuemmerling Trio
Joan La Barbara
Ilmar Laaban
Jacques Lacan
Lautpoesie Anthology
Maurice Lemaître
Aldino Leoni
Arrigo Lora-Totino
John Lennon
Sébastien Lespinasse
Lauren Lesko
Lipstick Traces
Live To Air - Artists Soundworks
Anna Lockwoood
Christopher Logue
Gherasim Luca
Alvin Lucier
Jackson Mac Low
Angus MacLise
Vladimir Maïakovski
Hansjorg Mayer
Pejk Malinovski
F.T. Marinetti
Paul McCarthy
George Maciunas
Jennifer & Kevin McCoy
Marshall McLuhan
Taylor Mead
Jelle Meander
Paul D. Miller aka DJ Spooky
Christof Migone
Henry Miller
Enzo Minarelli
MoMA: Writing in Time
Franz Mon
Meredith Monk
Rick Moody
Charlotte Moorman
Christian Morgenstern
Otto Muehl

Gordon Mumma
Murs du Son - Murmures
Music for TAPE/BAND
Music Overheard
Takayuki Nakano
Maurizio Nannucci
Ogden Nash
Pandit Pran Nath
Bruce Nauman
Joseph Nechvatal
Max Neuhaus
R. Henry Nigl
Hermann Nitsch
Eiríkur Örn Nordahl
Ladislav Novák
Frank O'Hara
Yoko Ono
Roman Opalka
Kristin Oppenheim
Oral Complex
John Oswald
Nam June Paik
People Like Us
People Like Us & Ergo Phizmiz
Perfo2: Catalogus Festival 1984
Michael Peppe
Arthur Pétronio
Jane Philbrick
Ergo Phizmiz
Phonetische Poesie
PhonoStatic Cassettes
Piers Plowright
Poèmes Spatialisme
Polish Experimental Radio
Bern Porter
Seth Price
Public Works
Radio Radio
Man Ray
Terry Riley
Robin Rimbaud
Alain Robbe-Grillet
Steve Roden
Jim Roche
Mimmo Rotella
Dieter Roth
Jerome Rothenberg
Rothenberg + Morrow
Gerhard Rühm
Luigi Russolo
Sackner Archive
Aram Saroyan
Erik Satie
Erik Satie: Pianoless Vexations
David Schaefer
Paul Scheerbart
Kurt Schwitters
Ed Schneider
Nicolas Slonimsky
Patti Smith
Michael Snow
Softpalate: Gertude Stein
Philippe Sollers
Sonic Arts Union
Sound Poetry Today
Philippe Soupault
Terry Southern
Adriano Spatola
The Static
W. Mark Sutherland
The Static
Brian Kim Stefans + Alan Licht
Gertrude Stein
Demetrio Stratos
Stoppage (Interruption)
The Tape-beatles
Cecil Taylor
Text-Sound Compositions
10 + 2 = 12 American Text-Sound Pieces
3ViTre Polypoetry
Christopher Tree
Edwin Torres
Tristan Tzara
Lawrence Upton
Edgard Varése
Various Throats, Vol. 1
Nico Vassilakis
Sarenco + Franco Verdi
Patrizia Vicinelli
Stephen Vitiello
Wolf Vostell
Paul de Vree
Unamunos Quorum
The Uproar Tapes (1986)
Yoshi Wada
Lawrence Weiner
Benjamin Weismann
Gregory Whitehead
Robert Whitman
Robert Wilson
Emmett WIlliams
Reese Williams
William Carlos Williams
Trevor Wishart
Adolf Wölfli
Gil Wolman
Arthur Woodbury
Vision #4 - Word of Mouth
La Monte Young
Frank Zappa
Il 'Ja Zdanevic
Bernd Alois Zimmermann
Jonathan Zorn & Kenneth Goldsmith
Jonathan Zorn

connie beckley at ubuweb


Risk and sentimentality, two apparently contradictory aspects, may turn out to be the complementary notions that best define the qualifies of Come Buckley's work. "Everything I do has some element of risk," Beckley says, and the more obvious examples bear her out - for instance, her single-handed construction of a suspension bridge between two 24-toot-high towers at 1985's Paris Biennale. Another one of her works (for which the term "performance art" seems too tepid a description) involved the use of six different versions of "Ebbtide" as accompaniment to Ax fictional love letters. Beckley says that she used the "Ebbtide" records not ironically but "because I love them."

"People have told me that my pieces shouldn't work because I do them so straight," she says. Acknowledging that the style of the IN is to do things tongue-in-cheek, she adds, 'I gut I'm patient with having to not take the risk of doing it straight. I don't like any art that doesn't make you put your feelings on the line. I'm devastated when doesn't work, but I'd rather have it that way"

Beckley's pieces have included "Tip Toe," in which she shared a pair of high heeled shoes with a couple of stereo speakers; "Showdown," "which probably came from having nightmares about being strangled by extension cords," and others which revolve in same way around ha relationship to musical sound. Her work on this record is a tendering of part of a scientific text of Isaac Newton, accompanied by her drawing of Newton along with part of the text.

"I was extremely happy about the fact that Newton was an alchemist, which meant that he had another life than what the scientific world would like us to believe, and that life allowed him to become a great scientist. His excitement, the way he wrote about things, appealed to music" -an attitude which Connie contrasts to her feelings about most current writing on art. And she points out that Newton committed more alchemical writings to paper than he did purely scientific texts.