miss heard playing 'slips of the ear' (echo notes 3)

I've been thinking... this interest in sound I have running is a paddock (think field) much wider than language, grammar and word...and sound. Its borders on music and sound performance, yesssirey, but its in some other county, its its total unworded-ness that interests me. Phrases for the definition of it are as shifty as the word for sqeeze-box (what is that thing!)... but each frame be it plosives or frictatives (they're parts of sound in speech-just showing off- nice sounding words though) and other more common frames like pitch, loudness, quality and the time/duration frame, are all waiting , sitting in speech itself all lined up like ducks , just waiting for some one to unhinge them from their fragile common sense. Some ripping needs to happen. A shake up, a reshape. The rhythms of this english (full of itself and scraps of the others) the stresses on words and phrases, the whole melody of it, pitches, transitions and contours are when shewed... for me, the first step OUT.

The contexts, theories and the fabuloso tecno-texts that are blossoming around new media poetics are mainly defined to mash-ups, sound clashes and bootleg remixes of music...which is just brilliant and excites me to my eye teeth, but the remixing of text and voice and thats where my interest lies at the moment, are virtually untouched, if you think relatively. If you don't thats OK.

Gertrude Stein liked 'Ford cars, bill boards, filmstrips and the view from planes'... this sounds like the web in an earlier reincarnation to me, not literally but ideas wise, breadth of scope wise, speed, perspective wise. She cut up so much common sense that it made it real again and the cardboard of language started singing.

'There is singularly nothing that makes a difference a difference in beginning and in the
middle and in the ending except that each generation has something different at which they
are all looking- Miss Stein "Composition as Explanation"

I'm very keen to see what my 'looking' is seeing, in this generation, now...and it's ALOT of text and a voice in echo that is dry dry dry dry.

'Print is similar to the lecture' Dianna Laurillard "Rethinking University Teaching"

I'm with Creely...
'Anyhow I know where you can get a lot of words for potentially nothing, though you'll have to figure a way to get them home.' Robert Creely "Day Book of a virtual Poet" - referring to the web.

The re-contextualizing and remixing of text and media appropriated from existing film etc into performances, installations and web projects, is what I am doing and extending into an ongoing examination of possibilities for a new media poetics... of voice.

Ibitsu (click HERE), left me a comment on my post "Luigi Russolo, experiments with music, sound, noi...":

Great post. I am using Russolo as somewhat of a starting point for my thesis on noise music, as it is one of the first recorded attempts at bringing noise into music.

I am curious though, do you think we even need to delineate the categories of noise at all? In
breaking them into such sections it seems perhaps in a Deleuzian sense we are striating noise, restricting it in some way.

Should we not though allow noise to refer to the nomadic, to that which can never be caught; thus signaling a paradigmatic example of how noise can explode categories?

There is a bit in the manifesto where I think Russolo calls for us to destroy the piano (if I
remember correctly). But I feel nothing should be excluded from the musical composition;
rather than shut down one element to open another should we not let the piano resonate next
to Intonarumori?

What do you think Majena?

And I think... oh yes, I agree oh yes, Deleuze's voice (ideas) make a librato out of cardboard. Love that mind. Me though as an explorer, more like a cow girl really, setting of from the shore of my 'known' , well I have no instruments bar these pithy words to steer out and AWAY (but probably through) from. Cause theres got to be a gate in here somewhere. In my text-work I break (with delight) common sense, grammar, dictionary definitions, spelling, BUT the breaking of voice is so sooooo conditioned even more than written text, it started earlier- the frames laid down in our first interactions with the world, the naming of things. (think Lacan's symbolic)... so I'm applying like a grip the same strategy to undo it. I don't know if its even possible but I'm on my horse and I'm riding out onto the prairie... and I have a few maps in my pack and they are all stuck together over the top of one another... (there are corrugations between them though)... I know not where I will end up. Thank you for your questions. I'm hoping we can continue them fuuurrrthur.