#Soundobject records series
#Soundobject records mac

#Soundobject records mac

You’re more likely to get a Burroughs or Ginsberg or Cage or John Ashbery poem, and there’s Emmett Williams and Jackson Mac Low, but you never know who you’re going to hear. The telephones will have 256 selections of poems you can listen to, but, like the original Dial-A-Poem, there’s the idea that you can’t choose what you get. Not the actual words themselves, but the use of words in art practice. It will be made up of eight artists who changed the use of words in art. It’s part of a show that will be opening on the tenth of May. Going back all those years, to 1970, to the Dial-A-Poem at the Museum of Modern Art, the MoMA is now preparing a re-installation of the Dial-A-Poem.

Can we talk about some of these poetic atmospheres you’ve created?

Whether it’s the Electronic Sensory Poetry Environments, the Dial-A-Poem, the Giorno Poetry Systems, or your high-energy performances, you have consistently explored the possibility of opening up new places of contact with poetry. It’s interesting to think of the environments that you’ve created, that in exploring new media for poetry that you’ve been able to develop new spaces in which one can experience poetry. And then Burroughs moved into The Bunker in 1975. I’ve been here nearly fifty years! I came in to the top of the building for a party one night and I never left. Michael Nardone: How long have you been here? Then there’s The Bunker, William Burroughs’s former residence, which I look after, where there’s the guest room and shrine. But I also do art pieces, so I have the studio downstairs. There are three lofts, but this room is where I write, so I spend most of my time here. We toured the building, talking of his selected poems, Subduing Demons in America (2008), edited by Marcus Boon, and the wealth of Giorno Poetry Systems recordings that Kenneth Goldsmith has again made available on UbuWeb.

#Soundobject records series

John and I met on a springish morning in late February at his home, a series of loft studios in a former YMCA building on the Bowery. Giorno, in his mid-seventies, is now known for his outstanding, high-energy performances of his own work. These experimentations continued with the Dial-A-Poem installations at the Museum of Modern Art, and with the Giorno Poetry Systems LPs that brought the poet’s voice to record players around the world. Giorno then began to explore the possibilities of recorded sound, establishing entire Electronic Sensory Poetry Environments, in which poems could be listened to and simultaneously experienced by all the senses in multi-media atmospheres. Never settling on a single mode or method, Giorno’s early poems emerged in response to relationships with Andy Warhol, Robert Rauschenberg and Jasper Johns, then later with William Burroughs and Brion Gysin, and explored the use of found images, appropriated language, and collage. Poet, performer, and media provocateur, John Giorno has been one of the most consistently provoking of New York artists since his works first debuted in the early 1960s.