Ê Ê Ê
Side A: International Language Experiments of the 50/60ies
Side B: Tendentious Neo-Semantics [in English] (1970)
In 1964 she was back in Paris for a second time, but this time she was working as a visual artist specialising in optical art. She was soon directly involved in group shows with the 'Groupe de Recherche d'Art Visuel'. For the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. Once in London she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking. The term 'lingual music' that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. Her most well known composition in this style is 'Relativity', which was made in 1974 in collaboration with the Radiophonic Workshop at the BBC. She also worked with quite a few musicians, both via the early LMC network in London, but also on an international scene. A list of musicians she worked with includes John Tchicai, Wolfgang Dauner, Bob Downes, Barry Guy, Hugh Davies, Max Eastley and Peter Cusack. The recordings date from between 1968 and 1984.