In an essay based on psychoanalytical analysis of language, Patrizio Peterlini defines sound poetry as the territory of the jouissance. This jouissance comes across by little vocalizations or babbling, the dance of lips and the tongue. The poet’s physical presence is essential. The poem is an action amplified by natural and artificial sounds.
Jacques Lacan, L’étourdit, in J. Lacan: “Autres écrits”, Seuil, Paris, 2001.
Jacques Lacan, Lituraterre, in J. Lacan: “Autres écrits”, Seuil, Paris, 2001.
Jacques Lacan, Le Séminaire XIX “Ou pire…”, Seuil, Paris, 2011.
Namely in Paris where they were active artists in the same Lettriste group along with Altagor – creator in 1947 of “Metapoetry” and in the following year, “Absolute Discourse” that ended in 1960 – and Arthur Petronio, inventer of Verbophonie.
Pierre Garnier, “Position 2 du Spatialisme”, Les Lettres. Poésie Nouvelle. Revue du Spatialisme, 9th series n° 33, Editions André Silvaire, Paris, 1964.
Bob Cobbing, “The Shape and Size of Poetry”, in The Wild Came of Sight, Unreal Tiger Series, von Will Parfitt, 1970.
Bernard Heidsieck, “Poésie action, poésie sonore 1955 – 1975”, in FactotumArt 1, Factotum Art Edizioni, Calaone-Baone, 1977.
Arrigo Lora Totino, Previously unpublished text entitled “Dolce Stil Suono”, January 1981. Courtesy Fondazione Bonotto
Henri Chopin, ” Why I am the Author of Free Poetry and Sound Poetry”, in M. E. Solt: Concrete poetry: a world view, Indiana University Press, London, 1968.
Jacques Lacan, Le Séminaire XIX “Ou pire…”, Seuil, Paris, 2011.
Arthur Pétronio, Verbophonie, Les Lettres. Poésie Nouvelle. Revue du Spatialisme, 8me série numéro. 31, Editions André Silvaire, Paris, 1963.
Liberated voice, of course, but from what? Since this is about poetry, the formal constraints of verse and metrics, against which almost all twentieth century poets have intensely struggled, immediately come to mind. In this manner, it would be a stylistic liberation whose goal is to attain a more direct, true and free form of…
