it is interesting to notice the difference between a poem such as no. 43, "poetik revolu:son" "from a dialogue with allen ginsberg" (listen to the annexed cd), and no. 44, “pu:r o pup u" "from a dialogue with herni chopin”. the former one starts with ide’s voice, in a loop, uttering fragments of a phrase which is finally re-composed as “i had always this feeling that i should talk to you, but i never knew what about or how to start”. ginsberg’s answer comes promptly: “well, one subject between us is this sense of messianic poetic revolution”. ide: “we were talking about that ten years…”. ginsberg resumes the conversation: “we both have ideas about it, but i think your ideas and my ideas are different. but one thing i would advise is… since you seem to think about accomplishing something, and if you listen to what i say about it, instead… i got some practical tips on it”. the dialogue continues: “you got?” “yeah!” “i would like… because ten years ago you rejected the idea completely…” “no, because… it’s so heavy-handed that it was just a…”.
the reason why i quoted the entire dialogue here is that it is so substantial as compared to the other pieces: it seems that ide’s aim was rather to present the content of this conversation; he is no longer interested so much in what it sounds like, but in what it speaks about. the recording is not as “jammed” as the others, the dialogue is not so much broken up, the focus is no longer on voice, speech, language, intonation or accent, but in the historical exchange of views that took place. information prevails over sound and the poem is thus semantically loaded. (it’s interesting to notice that there is another “dialogue & loop” with allen ginsberg on the same album, which approaches small topics such as sleeping with women and a massage device).
"pu:r o pup u" "from a dialogue with herni chopin" (listen to the annexed cd), on the other hand, despite being almost twice as long, doesn’t really say anything about either the content of the conversation, or the context in which it occurred; its eloquence comes from the sound structure: the constant pulsating rhythm created by the “pu:r” loop; the suggestive accent of henri chopin, speaking in french, as opposed to ide’s voice, addressing him in english; the overlapping of two fragments of conversation, in some parts of the poem, with the background voice of chopin objecting to something with an emphasized “no, no, no, no, no…”. in this respect, ide makes a perfect correspondence of each of these poems to the art created by the personality on which it is focused: a "beat" poem vs. a "poem sonor".
(denisa mirena piscu, literary theorist, on ide's poems "poe.tik revoluson" & "pu:r o pup u" from the album "[ampf]", cd 2000. master thesis on "sound poetry - three sound poets trying to escape the abusive domination of word: henri chopin, sainkho namtchylak, christian ide hintze", written in english language. university of bucarest, rumania, february 2009)
it is interesting to notice the difference between a poem such as no. 43, "poetik revolu:son" "from a dialogue with allen ginsberg" (listen to the annexed cd), and no. 44, “pu:r o pup u" "from a dialogue with herni chopin”. the former one starts with ide’s voice, in a loop, uttering fragments of a phrase which is finally re-composed as “i had always this feeling that i should talk to you, but i never knew what about or how to start”. ginsberg’s answer comes promptly: “well, one subject between us is this sense of messianic poetic revolution”. ide: “we were talking about that ten years…”. ginsberg resumes the conversation: “we both have ideas about it, but i think your ideas and my ideas are different. but one thing i would advise is… since you seem to think about accomplishing something, and if you listen to what i say about it, instead… i got some practical tips on it”. the dialogue continues: “you got?” “yeah!” “i would like… because ten years ago you rejected the idea completely…” “no, because… it’s so heavy-handed that it was just a…”.
the reason why i quoted the entire dialogue here is that it is so substantial as compared to the other pieces: it seems that ide’s aim was rather to present the content of this conversation; he is no longer interested so much in what it sounds like, but in what it speaks about. the recording is not as “jammed” as the others, the dialogue is not so much broken up, the focus is no longer on voice, speech, language, intonation or accent, but in the historical exchange of views that took place. information prevails over sound and the poem is thus semantically loaded. (it’s interesting to notice that there is another “dialogue & loop” with allen ginsberg on the same album, which approaches small topics such as sleeping with women and a massage device).
"pu:r o pup u" "from a dialogue with herni chopin" (listen to the annexed cd), on the other hand, despite being almost twice as long, doesn’t really say anything about either the content of the conversation, or the context in which it occurred; its eloquence comes from the sound structure: the constant pulsating rhythm created by the “pu:r” loop; the suggestive accent of henri chopin, speaking in french, as opposed to ide’s voice, addressing him in english; the overlapping of two fragments of conversation, in some parts of the poem, with the background voice of chopin objecting to something with an emphasized “no, no, no, no, no…”. in this respect, ide makes a perfect correspondence of each of these poems to the art created by the personality on which it is focused: a "beat" poem vs. a "poem sonor".
(denisa mirena piscu, literary theorist, on ide's poems "poe.tik revoluson" & "pu:r o pup u" from the album "[ampf]", cd 2000. master thesis on "sound poetry - three sound poets trying to escape the abusive domination of word: henri chopin, sainkho namtchylak, christian ide hintze", written in english language. university of bucarest, rumania, february 2009)