Michael Basinski
The Sound Pome Today Must Come to Bum Impoemivsational

Improvisational phoneticism and a constellation of improvisational techniques that utilizes all forms of sound equals an improvisational poetry or expressionistic poetry where all forms and multi-forms of poetic music can become part of a random aural poem spewing from the open door of the poet’s imagination.

Gone are the days, my overly scholarly, politically narrow minded, and economically endowed poet friends, when long hours of nightly masturbation and the freezing of words only on the helpless leaf will suffice.

Our form now shall be all spontaneous vocalization above and below speech and speaking, seeking and beseeching voice and the humdrum of the voice reading dictionary words. And also included will be all aspects of possible human manufactured sound, which could and will include eating, drinking, tapping the foot, slapping and clapping the hands, slapping the face, spanking and speaking, and noise and various noise abstraction. Singing and sing song, yes. A measure by breath only, no. But that can be an instrument also. This open syndicate places instantaneous, spontaneous music, expressive and experimental creatively back in the text without locking the text, like other toy trains, locked onto preordained dull shaped track patterns.

And relies upon aural presentation of literary score(what the ancient called a poem AKA antique text) and the delivery is accomplished by an individual performer in performance using ALL performance possibilities.

Poetry might even become popular if the trash collector's can banging becomes poetry. After all any imbecile may make noise.

How arrogant of those late night, over stuffed, too well read, bitter lettuce eaters to claim the word poem to mean what they write WHAT ARE void of expressionistic sound. It AINT correct to write the word SOUND and next to it the word POEM. It is an act consolatory. A defiant mood of poetry seize the word poem redefine its operative meaning and condemn the antique poem to the dust bin of literary history.

Antinue poems are restrictive in their reading rather than expressive. For all the talk of music, little music is made, simply because music, which is sound is absent. Most antinuqe poetry prefer soundless poetry.

The era and realm of the audio nature of words, letters, consonants and constellations of some, all or any of these and where pitch and noise becomes the prominent technique of the poem is most welcome. Our poem

shifts focus from the (dictionary) meaning centered (narartiave or non narrative) poem to a poem centered on the audio nature of words, letters.

Reading poems isn't any longer reading but allowing,opening the body imangination to become an instrument of poetry. All persons are poets. The conversation is poetry. Live performance as in instaneous interpretation of un-maped poetic terrain is the only Live perfoance of improvisation poetry or the Impoemivsational entity.

Some proposals:

The Impoemivsational is the SUPERNATURAL LEFT OF POETRY.

Perform the poetic imagination with the tool of: THE ANTILOGICAL PROPOSITION. The antilogical proposition. The poem acts as a pathway — a map to a devine instance.


That is how inspired is the poetry not how perfect is frozen on the page.

It is not only what the text said that counted but how the text is presented —he poem is said the own phonetically — but where and what is said — the state of the poet or the poet in the state of the her imagination

The increased speed of improvisation leads to apocalyptic reform/perform dance. Here the word poems equal sound sensation. Calling into time it's own style and judgement and oral tradition.


Phonetism of symbols livbe, shapes , talking sings. - composed of expressive script — all possible numance at anbyt - improvisational minutes. — multi-lingual state = leap into the impossiiblities

Language tricks to the dedreee the poet merges with the devine the peot eners the imaginatiionand the act of that becomes the peotry.


as many different forms of sound that can be uttered becomes the poetry. The range of the poet's ability to deliver aurally, not the frozen

can occur and should because it is the range of the poet, not the technique. or deep philosophical understanding that governs the poem.


It is the performance and it is the personality of that performance that is the poem. It is the amount of duende and the number of duende within the poet that is the measure of the poem.

Reading rate increases accelerates so the sound poems translate it as you the reader falls into the score — the poem translates itself. And that translation is also part of the poem.

The axiom that the writing reflected spoken language and thus words order could used to determine the word even when you could not red it therefore make an improvised meaning not to read but to red is to sound. Meant and meaning — again are left with books — a good, safe and suburban place for them.

Sound poems has a sacred proposition that has the capability to capture the order (the ordered chaos) of the cosmos and to inform dictionary history to give form to poetry ritual (reading the poem as exposing the immigration of the poet) and to transform the profane material of the dictionary in the supernatural.


WRITING IT - Improvisational guidelines:

The contents of a word contain emotional, cultural, political and sociological history, and any number of icals not here mentioned. As is, these Tupperware words - tupperwords - are the stuff of most poetry. The dictionary is a burial crypt larger then all of Egypt. Inside tupperwords is the moldy stuff you should have had for lunch 10 days ago.

The question is how to you spell YOUR words

The convention of text as the crysalis of poetry changes directly to the poet as vessel of poetry.

Improvisationcal poetry mixes systems utilized fully composed words, words signs combined with signs representing word signs, combinations with signs representing sounds of syllables.

Sound poetry is spells words were signs representing individual sounds as well as signs representing whole words

A phonetic complement, a possible paratactic on a single word all consonants are utilities or possible

Spell the word using only phonetic signs strings or scapes of images or a combination of both - composed of a consonant-vowel consonant string

Semantic determinative — the word that should be read. The word becomes an image of a word an intermediary between sound and text a thing that exists is performance only.

Writing in cuneiform without breaks, and cue also strengthens.

Improvisation I poetry maenad the written poem is simply a sound map or guide and it used only a May pole or poet around which to move.