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Excerpt from “Characteristics of the New Amplic Phase in Poetry” – the Letterist Manifesto

“By emphasizing again the sound value of poetry, words in their printed form will not have any meaning that people need to labor over deciphering. Consonants will become empty, purely auditory, simple lines having physical meaning only in the listener’s ears. By placing value on effects beyond their usual meaning (in words), poetry will create a new sensitivity. In the place of the cerebral beauty that was created in the chiseling style of poetry, one responds simply with direct auditory understanding. It is then a matter of discovering the unknown abundance of purely oral constructions; of untangling the intangible accents in vocabulary. Poetry is thus liberated from all prose (reading for meaning without regard for tones), to become an instrument of lyrical communication. Poetry realizes its mission which is precisely to broadcast local imperceptibilities and applied suggestions, because poetry was created by individuals who wanted to understand each other, sensing the linguistic vibrations against their palates. Verse is the result of a need to consider the phonetic effects produced in other people’s imaginations. Letterism intends to introduce this beauty, which is limited in the present system of oral communication by lack of rules and even of letters. This is why it is necessary to regulate the stability of auditory frequencies by constructing elements specially designed for the purpose. It is a matter of enriching the possibilities for denoting the changes that occur between sound values. These particles of language, still inferior and unexpressed, must acquire proper signs so that they can develop in their own category, the auditory.”

Isidore Isou

Film still from “Venon and Eternity” – Isidore Isou, 1951

Isidore Isou - Venom and Eternity 1

“Our moods, our thoughts, our emotions, our feelings can bring about change here. And we are in no condition to comprehend them. Old traps vanish, new ones take their place; the old safe places become impassable, and the route can be either plain or easy, or impossibly confusing. That’s how the Zone is. It may even seem capricious. But in fact, at any moment it is exactly as we devise it, in our consciousness…” Andrei Tarkovsky, Stalker (1979)

Billie Whitelaw’s Mouth in the 1973 performance of Samuel Beckett’s “Not I”

Not I - RCA

Billie Whitelaw’s mouth in in 1973 performance of Samuel Beckett’s “Not I”.

A Trip to the Moon – Georges Melies, 1902

Trip to the Moon Trip to the Moon

“The future is already here – it’s just not evenly distributed” – William Gibson

“The best way of predicting the future is to invent it” – Alan Key

Super-Bird-Song by Kurt Schwitters



Image taken at the Signals exhibition at England & Co gallery.

Beatboxing Brain Scans



Image of MRI brain scans of an experienced beatboxer (left) and a novice beatboxer (right). The photo was taken at the Vocal Discords symposium at the RCA in March 2014 during Sophie Scott’s presentation of her research investigating language acquisition.

Automatic Art at GV Art: human and machine processes that make art


Automatic Art is the latest show at GV Art. The exhibition presents 50 years of British art that is generated from strict procedures. The artists make their work by following rules or by writing computer programs. They range from system-based paintings and drawings to evolving computer generated images.

Private View: Thursday 3 July 2014, 6-9pm

Exhibition runs from Friday 4 July and ends Saturday 26 July 2014.

GV Art gallery, London, 49 Chiltern Street, Marylebone, London W1U 6LY 

The image is a piece by Kenneth Martin called Chance, Order, Change 21…Divergences 1, 1982, oil on canvas, 91.4 x 91.4 © The Estate of the Artist, courtesy Annely Juda Fine Art, London.

The full press release from GV Art is below.

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Untitled Anthropometry (ANT, 123) – Yves Klein