Krachwald #3: We Are The Machine – The Concept Of Polypoetry
3 June 2020
Only the development of new technologies will mark the progress of sound poetry, states the first out of six paragraphs from Enzo Minarelli’s manifesto on Polipoesia, proclaimed in 1987. It subsumes his experiences with poetry from the past decades. Four years earlier, the poet and curator coined the term when starting to release a series of 7″ singles with such poetry.
On the basis of 11 sound poems, Minarelli talks about his concept of Polipoesia, the difference between poetry and music, folklore as an inspiration for poetry, the connection between society and poetry, and how it all begun.
Richard Martel – Capitaly (1986)
Henri Chopin – Chercher (1974)
Enzo Minarelli – Poema (1977-1985)
Demetrio Stratos – Le Sirene
Augusto De Campos – Tensão (written 1956, recorded 1992)
Paul de Vree – Veronika (1953) (adaptation: Jan Bruyndonckx, voice: Julien Schoenaerts, 1962)
Enzo Minarelli – The Grandeur Of Genghis Khan (2012)
Harry Polkinhorn – Change (1990)
Marina La Palma – Ridi Ridi (1985)
Filippo Tommaso Marinetti Dune (1914, rec. 1935)
Fortunato Depero – Subway (1932, read by Enzo Minarelli, 2020)
Robert Ashley – In Sara, Mencken, Christ and Beethoven There Were Men and Women (1973)