Today calmaplombprombombbalm.com and not enough data announce the release of three mp3s from three Bay Area poets.
Each of the published tracks manipulates text written for the page, utilizing recording and editing techniques to create sound poems, or speech-texts, that offer reading experiences unique to listening. The audio can be found in the below links and in the mp3 section of calmaplombprombombbalm.com.
Totality Canto 22 (Brendan Dreaper Pagan Time Remix) by Brian Ang
While writing his 55,000-word The Totality Cantos: An Investigation of Epistemological Totality, Brian Ang has worked with a handful of media artists to expand upon the text written for the page. Recently drummer and multimedia artist Brendan Dreaper recorded Ang reading his “Totality Canto 22” and developed the remix “Totality Canto 22 (Brendan Dreaper Pagan Time Remix)”. Here Ang’s voice and text are treated with a variety of layerings, amplitudes, and other sound processings. These treatments shift the varied intensities and displacements of Ang’s encyclopedic diction and ruptured, nodal syntax to the forefront of the listening experience. As remixed speech, Ang’s highly structured phrase-clusters exhibit a wide range of styles, evoking news media, lexicon, and lecture. Whereas the following tracks engage head-on with the physical space of writing and recording, here we find an investigation into the thought-space of listening.
The Reasons The Waves by Amy Berkowitz
For this iteration of “Reasons Why I’m Not Your Girlfriend”, Amy Berkowitz went to Land’s End in San Francisco and recited her poem in collaboration with the hissing, crashing, receding waves of the Pacific. Like the above audio, “The Reasons The Waves” treats her text with technical manipulation — here the simple framing of the microphone’s findings between REC and STOP. Unique to this piece are the narrative and listening possibilities offered by staging and recording the poem in this particular site. The listener travels to Lands End with the poet, gazing into the speaker’s pasts and the present of recitation. Admittedly removed from the physical site, the listener’s gaze moves with the poet, across the water to an, at this distance, imaginary Marin Headlands and the coast beyond. The waves act as a geographical locator as well as a percussive accompaniment to the repetition of Berkowitz’s list poem. In effect, site of this recording adds a kind of cinematic narrative to those narratives already present in the text.
Whereas Berkowitz’s audio collaborates with “live” space, e. spero’s recording of “An attempt to get exhausted…” constricts and expands upon the textually documented phenomena spero encountered in the space of one evening hour in Oscar Grant Plaza, Oakland. The text was written by taking the prompt of textual/perceptual/geographical exhaustion from Georges Perec’s Tentative d’épuisement d’un lieu parisien (An Attempt at Exhausting a Place in Paris) in which the novelist attempts to document everything passing through his field of vision at Place Saint-Sulpice, Paris in three sittings. spero accompanied David Buuck for his third attempted exhaustion of Oscar Grant Plaza, producing a chapbook-length text. This recording gives voice to the text and constricts that voice by removing spaces, breaths, and breaks between the words. The rolling, nearly-asphyxiated enunciation coupled with the anaphoric repetitions of “Violence is…” and “is” produce a speech-text in which every observation acts both as utterance and rhythmic punctuation.