Chapter

Raw Orality: Sound Poetry and Live Bodies

Brandon LaBelle

in VOICE

Published by The MIT Press

Published in print August 2010 | ISBN: 9780262013901
Published online August 2013 | e-ISBN: 9780262289696 | DOI: http://dx.doi.org/10.7551/mitpress/9780262013901.003.0008
Raw Orality: Sound Poetry and Live Bodies

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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

Chapter.  10210 words. 

Subjects: Media Studies

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