Term definition review

Accidental Poetry• Tristan Tzara• Instructions on how to do this are in his

“Manifesto of Feeble and Bitter Love” (1920)• Shows how chance is used to produce a text-

you’re not creating conciously/sub-conciously• The use of nonsense; artist as creator is an

obsolete idea, re-definition of what is art, rational, enlightened world that created a world can only be countered by the noise and chaos of dada

• More death of the author/artist as creative genius

Optophonetical poetry

Optophonetical poetry

• Haussmann’s invention• poetry that presented random sequences

of letters as phonetic sounds • Graphically it’s like a musical score-the

fonts and sizes chosen randomly though by an outside typesetter-death of authorship

• First ready-made poems for the above reason

“The Art of Noises”

• Written in 1913 by Luigi Russolo

• Is a Futurist manifesto

• Six Categories of noise-sound: • 1) Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms

• 2) Whistling, Hissing, Puffing • 3) Whispers, Murmurs, Mumbling, Muttering, Gurgling • 4) Screeching, Creaking, Rustling, Buzzing, Crackling, Scraping • 5) Noises obtained by beating on metals, woods, skins, stones, pottery, etc.

• 6) Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs

• Sought to change music to reflect the reality of the machine age-something that the Futurists totally

supported

Musique Concrete

• Sound being manipulated-looping, sampling, slowing down, sound collage

• Musique concrete begins with the concrete-the raw sound material, and uses the above techniques, and turned into a composition

• Not using traditional instruments, following traditional rules for music

• Acousmatic situation: listen to something without the knowledge of where it’s coming from, or what produced it (instruments/perfomers)

• “Pure acoustic world”-beyond our habits and conventions

“I am sitting in a room”

• Alvin Lucier, 1970• Opens up the domain of conceptual art

(where the idea is more important than the end product)

• The room is playing the role of an instrument; the architecture of the room is a type of technology

• Interaction of the words he’s saying (text) and the room (space)

Psychoacoustics: or what is sound if no one hears it?

• The listener’s body completes the work

• We have a subjective response to everything that we hear; what we hear depends on how it’s presented to us

• What is the relationship between what we hear (sound), what our brain does with what we hear and how we psychologically deal with what we hear

Plunderphonics

• John Oswald• Hyper-sampling• Culture-jamming• Appropriate not only sounds but their

contexts-so he’s playing with everything you’ll remember when you hear a particular song, using those memories as artistic media

Paranoic-critical method• Dali’s own words for his own technique• A concrete image of a completely irrational

reality; painting with precision (as if it were real…) something that you actually dreamed

• Materializing concrete irrationality

• Subconcious appears just like the exterior (normal) world does

• Make the subconcious world just as real/valuable/important as the rest of the world