eduard escoffet voices on paper / stimmen auf papier. scores.

lecture
	some notes... a) ...against scores: richard kostelanetz stated that sound poetry coheres with matters of sound rather than with matters of syntax or semantics. schwitters had already sensed that, when he wrote in 1923 that "the only logic sound poetry is the one that cannot be written". further more, henri chopin, talking about his creative process, said the following: " it is now thirty years that i do not write any scores before assembling an audio-poem. it is just by heart and using only my memory that i conceive the expressions of my body, basically through my mouth with its breading etc., which become my only solid score" (1994). b) ...on the use of scores: although there are these arguments against sound poetry scores, the majority of sound poets and performers do actually use scores to perform. a score may be just a text that helps the poet to understand the general development of the poem; or it may be a complete score – an exact transcription of the sound produced by the poet. of course, the goal of this exercise is a score of the second type. such a score may also contain notes on movement, technical requirements and so on and not only on the sound. c) ...on scores as a piece of art: as poets such as jaap blonk and llorenç barber have demonstrated, the score can become a piece of art in itself. it can be said, that the poem has two dimensions: an acoustic one as well as a written one. both are equally valid. d) ...on looking backwards: notice that sound poetry has developed out henri chopin and bernard heidsieck experiments onwards. that means that futurist and dadaist poems cannot be considered as sound poems in a strict sense of the word. nevertheless, it is very interesting to look at proposals such as the futurist "tavola parolibera", which is probably closer to sound than the ursonate score.