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Track 4 from the LP Fylkingen Sound Text Festival: 10 Years (Fylkingen Records, Sweden)
Arrigo Lora-Totino has created sound poetry works from 1965 onwards. His first interest was concrete poetry, which he still produces, and with regard to which he introduced the neologism "Perbotettura" (verbotecture) in order to make clear that the purpose was to exploit semiotic values within structures that retained for the word - seemingly condemned by the glossolalias of abstract poetry and the ultralettriste noises - .that value which is typical of it, that of transmission of concepts. In this way the word comes to amplify its semantic possibilities, because the typographical construction (verbal architecture) in which it is integrated, orchestrates the various possibilities of signification that it possesses. An analogous phonic operation can be carried out by organizing the verbal material in "Audiotettures " such as "Clessidrogramma" (1970, Stockholm), where the score is rigorously structured by means of pauses, establishing a sonic equivalent of silence/words symmetrical to that of blank spaces and printed words. Also in 1965 Lora-Totino embarked on a study of "Phoneims" at the electronic music laboratory. in Turin, founded by Enore Zaffiri. This was an investigation of the ambiguous differences existing between the minimal vocal vibrations which are not yet interpretable and the articulations which are already significant. Lora-Totino segmented the spoken event, previously recorded on tape, into more or less brief fragments by means of electronic filters. The language was almost completely destroyed, only here and there emerged shattered significant moments, as in "Fonemi 1965". In 1972 Lora-Totino started a third research, on intonation, that is, on the tone of diction. Different intonations create contrasting meanings even if the text is identical. This is the case of the two works presented: "Intonazione: to stato sono io" (1974) and "Ititonazione Cromatica".
Arrigo Lora-Totino born in Turin in 1928, founder and editor of the experimental literature magazine "antipiugiù" (4 numbers from 1960 to 1966). In Turin in 1967, with the musician Enore Zaffiri and the plastic operator Sandro De Alexandris, he founded the "Studio di Informazione Estetica" for research on the interrelationships between visual and phonic poetry, plastic and electronic music.
He poems have been broadcast worldwide and is the author of several books of visual poetry and is the editor of Futura Poesia Sonora (Cramps Records, Milan).