the album "[ampf]" (2000) is more radical than "30 rufe", as the semantic meaning is eliminated almost totally. it is a matter of course: “"meaning" within a literal culture is mostly seen as "literal meaning", meaning that derives from standardized grammar, syntax and semantics within a written context. sound - especially spoken sound, verbal sound, language-related body sound - creates or represents meaning by itself, a "meaning" that sometimes even contradicts the "meaning" of its literal translation”. it includes 76 pieces structured into the following categories: intro, 1voicepoems, vocal notes, dialogues & loops, duets &trios, class works, coda. ide signs the “lyrics & music, graphems & phonems”. the “intro” shows two examples from each of the above mentioned categories.
the whole album is a dialogue between ide, as an author (of "1voicepoems" and "dialogues & loops") and “the voice” as an author (of "vocal notes" and "duets & trios"). the class works and the "coda" have more than these two authors - the former section includes the results of some workshops in which ide taught sound poetry, while the latter is a song made with his baby son, who was only some months old.
ide (...) is not necessarily concerned with what comes “after” the newly-created language has been uttered; the complexity and the beauty of language sounds is so great, that it can equal a vision in itself…
what he does here, in "[ampf]", is to create a show of the multiple dimensions of the human voice and, consequently, the show of a new language and a new poetry. whether intended or not, sometimes, the pieces he plainly admits to have particularly conceived for the beauty of the sounds, acquire meaning in themselves. it is as if they were taking control upon their own lives, once they have been given birth. “there’s always an idea or a message, so to say, but not something you can verbalize, i guess, and this is the great chance that you have, with this kind of poetry. (…) you have to open up, you have to see or feel that there is something within your body that understands it”. what ide aims at is the poetry to be perceived not only with the brain, but also with the whole body; the sensorial poetry, capable of achieving the "communication monopoly” he had long pined for.
(denisa mirena piscu, literary theorist, master thesis on "sound poetry", written in english language. university of bucarest, rumania, february 2009)
the album "[ampf]" (2000) is more radical than "30 rufe", as the semantic meaning is eliminated almost totally. it is a matter of course: “"meaning" within a literal culture is mostly seen as "literal meaning", meaning that derives from standardized grammar, syntax and semantics within a written context. sound - especially spoken sound, verbal sound, language-related body sound - creates or represents meaning by itself, a "meaning" that sometimes even contradicts the "meaning" of its literal translation”. it includes 76 pieces structured into the following categories: intro, 1voicepoems, vocal notes, dialogues & loops, duets &trios, class works, coda. ide signs the “lyrics & music, graphems & phonems”. the “intro” shows two examples from each of the above mentioned categories.
the whole album is a dialogue between ide, as an author (of "1voicepoems" and "dialogues & loops") and “the voice” as an author (of "vocal notes" and "duets & trios"). the class works and the "coda" have more than these two authors - the former section includes the results of some workshops in which ide taught sound poetry, while the latter is a song made with his baby son, who was only some months old.
ide (...) is not necessarily concerned with what comes “after” the newly-created language has been uttered; the complexity and the beauty of language sounds is so great, that it can equal a vision in itself…
what he does here, in "[ampf]", is to create a show of the multiple dimensions of the human voice and, consequently, the show of a new language and a new poetry. whether intended or not, sometimes, the pieces he plainly admits to have particularly conceived for the beauty of the sounds, acquire meaning in themselves. it is as if they were taking control upon their own lives, once they have been given birth. “there’s always an idea or a message, so to say, but not something you can verbalize, i guess, and this is the great chance that you have, with this kind of poetry. (…) you have to open up, you have to see or feel that there is something within your body that understands it”. what ide aims at is the poetry to be perceived not only with the brain, but also with the whole body; the sensorial poetry, capable of achieving the "communication monopoly” he had long pined for.
(denisa mirena piscu, literary theorist, master thesis on "sound poetry", written in english language. university of bucarest, rumania, february 2009)