the motors nightingales decide to enter at the zapoteka mexico discoteque machine with voice
Motor Nightingale is an improv sound-poetry duo formed in 2002 by poets Martin Bakero and Andres Anwandter. They have been creating diverse types of poetry together since 1992. As "Motor Nightingale", they have released the mini CD "Aurealidad" in 2003, the CD "Motor Nightingale" in 2011, and have performed in several places in Europe and Latin America. Both in live and studio settings, they use their voices to create soundscapes beyond human vocalization, aiming towards animal, vegetal, mineral or machinery noise. The voice present track belongs to a project called "Bosque mando" (meaning: "woods-command" or "burning voice").
Sound work composed from modified breath samples of Christian Bök, a.rawlings, bpNichol, Verbmotorhead, F.T. Marinetti, and synthesized percussion.
Eric Schmaltz is a language artist, writer, researcher, and curator. Born in Welland, Ontario he now lives and works in Toronto, Ontario. Eric’s work has been featured online and in print across Canada and internationally including Lemon Hound, The Capilano Review, Rampike, CTRL+ALT+DEL, Open Letter, and Poetry is Dead among other places. His visual work has been featured across Canada including Havana Gallery (Vancouver), Rodman Hall (St. Catharines), and the Niagara Artists Centre (St. Catharines).
There are many hidden „words-ghost“ in noise. There are many noises in every word. Sound improvisation : the submerged body in the wor(l)d.
Sébastien Lespinasse, born in 1975, in Marseille. Lives and works in Toulouse, France. Founding member of the group (Branqu\’art: performances and happenings in everyday life. My current interests in sound-poetry are focused on the notion on indetermination. The ‚score-poem\‘ is but the sign of a possible way, of a wandering among sounds and meaning in formation. Trying to uproot the letter in view of a poetry concrete and projective. An exploration seeking the boiling points of language. http://www.dailymotion.com/video/xb1ska_bruits-de-bouche-sebastien-lespinas_creation
||:der Mann die Frau des Manns der Frau die Frau den Mann der Frau der Mann:|| ||:the man the woman of the woman to the man of the man of the woman the woman of the man:|| ||:die Ehefrau dem Ehemann der Ehefrau der Ehemann des Ehemanns die Ehefrau der Ehemann die Ehefrau:|| ||:of the husband to the wife to the husband of the wife the wife the husband of the wife of the husband:|| ||:die Mann dem Frau des Frau the Mann to the Mann den Frau the Frau of the Mann:|| ||: die wife to the Mann of the Ehemann der woman des man the Frau dem husband den Ehefrau:|| ||:die Ehemann of the Ehe wife dem woman Frau the hus Mann to der Ehe band des Frau wife the wo Frau of der Ehe man:|| Ehe the Frau to man dem den des band Ehe wife to Mann woman die of the hus der die to of Ehe the den Frau wife Mann band the the wo of des Mann wife des to Frau dem to Ehe Ehe dem the Mann Frau die der the Ehe the Mann Ehe the Frau Ehe the Ehe
The phonetic decoration text factory onophon has, since 2001, consisted of Rainer Deutner and Werner Nowacek. With their first three programmes they divested themselves of their superfluous language. The two language percussionists delivered vibrating single word membranes, along with overdeveloped speech arabesques, and they immersed themselves in the linguistic sediment of everyday commercial life.
onophon utilizes elements from literature, theatre, music and spoken word performance in a puristically analogue manner. Using dynamic a cappella techniques, onophon adds rhythm to everyday speech particles, creates new associations, improvises these and thereby submits language to pronunciation until it refracts – musically and rhythmically. At most the semantics get out of breath - but not the duo of language artists. And certainly not the humour. Easily digestible decoration texts take form that - casually and totally onophon – also permit a few perceptions from the fermenting cellar of language. http://www.onophon.at
Rushhour: A kind of dream sequence with short overlapping pictures:
restless, driven and aimless.
The piece consists almost entirely of the human voice and is joined towards the end with the sound of an analog synthesizer.
Martina Claussen is a vocal artist, composer and composer- performer. The focal point of her work lies in the interaction of the voice and live electronics.
She studied classical singing and electronic composition at the University of Music and Performing Arts, Vienna. Concert tours in Europe, Asia and in the USA as well as participation at various festivals such as Wien Modern, Steirischer Herbst und Festwochen Wien.
Her compositions have been played at international Festivals such as Festival Futura 2015 (Crest, France) or Soundscapes & Sound Identities 2015 (Italy) and broadcasted by various Radiostations in Europe.
Since 2009 Professor of Classical Singing at the University of Music and Performing Arts, Vienna. http://www.martinaclaussen.at
06 Mickael Berdugo - Attrapez ma peau s'il vous plaîtinfo
This piece is about a funny bee hitting a wall. I want that the listener catch my skin.
Born in Paris in 1989, I like to spend my voice on poetry and joke. Sometimes I draw and I make performance with my body and my voice. https://soundcloud.com/bakurael
ATUTS3 is a voice based piece manipulated with generational recordcutting and playback with several turntables.
Peter Fengler (b. 1964) focuses on the relations between sound, performance and visual arts. He uses record cutting techniques to capture sounds that are produced by “performative” acts that take place in his studio and is especially interested in the optical, physical and acoustical presence of the record. He has exhibited and performed at Van Abbemuseum, Eindhoven; Living Art Museum, Reykjavik; Mousonturm, Frankfurt; Sonic Protest, Paris; Warteck, Basel; MUKHA Antwerp; SMBA Amsterdam amongst others. He is also co-founder and artistic director of DE PLAYER, an interdisciplinary production and presentation platform for art, sound and performative matters in Rotterdam, The Netherlands.
this piece was recorded in the spring of 2010 by Jamison Williams. there was a rough ‚‘score’’, although most of the piece was freely improvised.
AG Davis is a sound poet, author, performance artist and composer from Jacksonville, Florida. His work often delves into the aphotic side of the human psyche, exploring the multifaceted realms of psychosis.
Marcel Duchamp sets the ready-made as a point of no return or many returns in contemporary art. The questioning of the origin of art, judging about art etc. started the discussion about creation and stealing in all genre of art. The effects and seriality of the sampling of his voice rhythmizes this idea. Filtering, arranging, dubbing and sampling sets a point
Swantje Lichtenstein works in the fields of words, sounds, texts and performance. She is doing ssayistic audio and sonic poetry as well as books, talks, lectures. The voice, electronics and literature are her main source. Conceptualism, appropriation and publicity her main theoretic impuls at the moment. She collaberates with different artists and writers, organizing festivals etc. http://www.swantjelichtenstein.de
Unpulled sound art that refracts a glorified spiritual ghost nation who enjoyed scalping en masse, and slow torture of those too weak to win.
SJ Fowler is a poet, artist, martial artist & vanguardist. He works in the modernist and avant garde traditions, across poetry, fiction, sonic art, visual art, installation and performance. He has published six collections of poetry and been commissioned by the Tate, Highlight Arts, Mercy, Penned in the Margins and the London Sinfonietta. He has been translated into 13 languages and performed at venues across the world, from Mexico city to Erbil, Iraq. He is the poetry editor of 3am magazine and is the curator of the Enemies project.
„Költemény“ is a vocal impro poem trying to in- and exhale the blackening sound of a driving-in subway of Budapest (which you can hear as a woven in field recording).
Martyn Schmidt is a poet, spoken word artist, sound worker and sacral musician based in Augsburg, Germany. German radio station WDR2 described him as a „pioneer of sample poetry“. Under the moniker Qôl he’s exploring minimal transient drone music. Martyn Schmidt runs the vocal arts label Atemwerft that also features adventurous breath. http://www.martynschmidt.de
12 Gerald Fiebig - Rolling The Stone Of Demosthenes Up The Fucking Hillinfo
Ancient Greek orator Demosthenes is said to have trained his speaking skills by reciting long texts with little stones in his mouth. This practice is fused here with another mention of stones in the ancient Greek tradition, the mythical stone of Sisyphos which he is condemned to roll up a hill, eternally failing. In my performance, I am representing the issue of failure not only by reciting a quote from Samuel Beckett on the topic, but also by putting bigger and bigger stones into my mouth while reciting it.
Gerald Fiebig (b. 1973) is an audio artist and poet based in Augsburg, Germany. Information about his artistic work can be found on his website http://www.geraldfiebig.net.
Edited extract from a live performance presented as part of ‚Words Work‘ at And Model Gallery, Leeds on 28/04/15. Exploring the cumbrian place-name ‚Stainburn‘ this performance continues a series of phonic action poems that use repetition and single words. Based on a concept of keeping words in the mouth for long periods of time until they shift, mutate and migrate into other words and other sounds.
Nathan Walker is an artist based in York, UK. Primarily making performance art and actions, his work explores expanded concepts of writing, including durational writing and sound poetry. Alongside artist Victoria Gray, Nathan is co-director of Oui Performance. http://www.nathan-walker.co.uk
„Eu ssou assim“ means something like „that’s how I am“, in portuguese. I recorded it speaking ‚missa uoss ue‘ [‚eu sou assim‘ in backwards]. Then it was reversed to try to sound like it had been normally spoken.
Salivaspeech is a part of Kinga Toth’s upcoming project, „The Moonlight Faces’. Moonlight Faces deals with modification of the body; illness as a metamorphosis will be its topic. Here, the illness is the basis of the development, mentally as well as physically. Main questions are: Is this change from the normal then madness? Is survival mutation (i.e. departing from the »normal«), madness or just adjustment? How does illness/a modified body „sound“? My upcoming project is linked more to pain. It should be in between a laugh and a strong cough, when the diaphragm starts to hurt; but it won’t stop there. In Moonlight Faces the circulation of the text will be important: »living textbodies« bounded to technology. In its story, the human is securely fixed to machines. Mechanical functions present his/her organs and monitor their condition. It features colors, textures, sounds, and inner and outer control – text, sound, technology, and the human are linked. On the other hand it is a very sensitive story, my own story about a changed standard of the body, which hopefully is also full of hope.
Kinga Tóth is a philologist and teacher of the German language and literature. She works as »communication specialist« (journalist) and is copy editor of the art
magazine Palócföld. She considers herself a cultural program organizer and (sound-)poet-illustrator. Furthermore, she is the songwriter and front woman of the Tóth Kína
Hegyfalu project as well as a member of the leadership of the József Attila Association for Young Writers and an active member of several other projects and associations.Her publications include magazines like Poetry, Lyrikline, Manuskript, Metamorphosen, Ausser.dem, Colony Magazine, tapin2, Asymptote, hlo.hu, Columbia Granger's World of Poetry, Huellkurven; anthologies like Szép versek (2013), Új Magyarhangok (2013), Verstörténés antológia (2013), Traumaantológia (2013) and Solitude Atlas and Die Welt ist nicht erfunden (Edition Solitude, 2014), as well as her poetry books with illustrations ZSÚR (Prae, 2013) and ALL MACHINE/Allmaschine (Edition Solitude, 2014, Magvető). Her articles have been published in journals and on websites like Élet és Irodalom, Palócföld, Prae.hu, Pluralica, Árgus, Irodalmi Jelen, Irodalmi Szemle, the Word Addict.
Her visual poetry has been published in many journals and websites and was part of many exhibitions in Germany, Bulgaria, Netherlanden, Copenhagen, Austria, Slovakia and also in Hungary.
Besides her Tóth Kína Hegyfalu project Kinga Tóth joined other music projects like 33 astral bodies (lyrics, vocals),Tuning Ballerina (lyrics, vocals), ALL MACHINE (Bratislava, Budapest, Stuttgart, München, Trnava, Ruse, Sofia, Prague, Graz, Vienna, Frankfurt, Novi Sad), ARKON (USA-GER-HUN), PARTY, Havirov (art residency: urban-visual-sound art, literature) http://www.tothkinga.blogspot.com
A simple piece based on (processed) percussive vocal sounds and falsetto tones.
Jaap Blonk (born 1953 in Woerden, Netherlands) is a self-taught composer and sound poet. His unfinished studies in mathematics and musicology mainly created a penchant for activities in a Dada vein, as did several unsuccessful jobs in offices and other well-organized systems.
In the early 1980s he discovered the power and flexibility of his voice.
At present, he has developed into a specialist in the creation and performance of sound poetry, supported by a powerful stage presence. He performs worldwide on a regular basis.
With the use of electronics and visuals the scope and range of his work has acquired a considerable extension.
From his sound poetry scores he developed an independent body of visual work, which has been published and exhibited.
Little composition based on the short poem resulting from the „automatic writing“. Different sound fragments recorded during an improvisation were recomposed with the emphasis on specific consonants of czech language (ř, h).
Jaromír Typlt (www.typlt.cz) was born 1973 in Nová Paka (Czech Republic) and lives in Prague. The poet, prose writer, essayist, art curator and performer. Since the late 1990s, he has explored the form of „mutated author readings,“ involving the use of pre-recorded voices, language rhythm and improvisation. He applies similar methods when making his recordings. Alongside this, since 2009, he has teamed up with leading Czech composer and multifaceted electronic experimenter Michal Rataj in the improvised performance concept „Škrábanice“ (Scribbles), published on CD 2014 (label Polí pět, Prague).
20 Juan Angel Italiano - Trace Derivative 4 + Sand / Trazo Derivado 4 + Arenainfo
The piece, reworked two texts of Amanda Berenguer, of 1978. The different layers of acoustic sounds, intermingle with the voice, the man face loneliness, facing a new soundscape. Juan Angel Italiano: voices, rubbed metal, stone percussive, effects / Gabriel Italiano: slide guitar, wind instruments, rubbed glass / Germán Taveira: electric bass, effects / Christian Grille: percussion, cymbals, effects / Recorded in the studio MT for the CD „Okapi / Okapia Johnstoni“ (2015)
Juan Angel Italiano (Montevideo - 1965) develops his work on the investigation of the various expressive possibilities of poetic language. On this subject he has published several papers and several are part of different anthologies, print and digital media (CD-ROM and DVD) published abroad. He is founder and co-director of the publishing alternative „editionsOFTHEcemetery.“ He has conducted lectures, meetings and exhibitions organized, written articles and participated in national and foreign linked to the experimental poetry events.