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VOICEVocal Aesthetics in Digital Arts and Media$
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Norie Neumark, Ross Gibson, and Theo van Leeuwen

Print publication date: 2010

Print ISBN-13: 9780262013901

Published to MIT Press Scholarship Online: August 2013

DOI: 10.7551/mitpress/9780262013901.001.0001

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Raw Orality: Sound Poetry and Live Bodies

Raw Orality: Sound Poetry and Live Bodies

Chapter:
(p.146) (p.147) 8 Raw Orality: Sound Poetry and Live Bodies
Source:
VOICE
Author(s):

Brandon LaBelle

Publisher:
The MIT Press
DOI:10.7551/mitpress/9780262013901.003.0008

This chapter examines sound poetry, a speculative form that presaged the digital, and the reduction of sound to phonetic material characterized by modularity and “cut-upability.” Focusing on several writers and artists, from 1920s sound poets such as Hugo Ball and Kurt Schwitters to Henri Chopin, Brion Gysin, and William Burroughs, it illustrates the double movement of the voice in contemporary sound poetry and art. This double movement seeks to make the body enter language again while also playing with the way technology allows the voice to be radically separated from the body.

Keywords:   Hugo Ball, Kurt Schwitters, Henri Chopin, Brion Gysin, William Burroughs, sound poetry, voice, art, modularity, cut-upability

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