[a:o] › global creole poetry – the melting pot of literature quotations, common phrases and different languages
global creole poetry – the melting pot of literature quotations, common phrases and different languages
author:
denisa mirena piscu, university bucarest, 2009
another poem partially loaded with meaning is "wien" (listen to the annexed cd), the longest poem on the album (6’37”), which has a different acoustical structure – in the sense that it involves more than just the human voice. the background of the poem sounds very musical due to the low rhythmical sound produced by the keyboard, to which a synthesized drum beat is added (and, later on, a violin sample and two chorus samples). ide’s voice is heard uttering “in wien” (“in vienna”) several times, after which he just pronounces separately the sounds of this word. the interesting thing is that the vowels and consonants are no longer uttered, but shouted; the pronunciation is now on the merge between speaking and singing.
the vowels & consonants lyrics are followed by an enumeration of language names such as: slavic, hungarian, jewish, gypsy etc., with reference to the languages which have influenced the austrian dialect in vienna. the poem continues with a quoting from a regulation regarding pupils access in a library, on the same rhythmical background; it will soon resume the first part of the poem, with the diluted uttering of “in wien” and the enumeration of the linguistic influences. towards the end of the piece, the human voice, which is now computer processed, is also quoting some lines from ide hintze’s poem “the golden flood”.
both the reference to the austrian mother tongue being the consequence of various linguistic influences, and the mixing of words from the range of formal, lyrical and colloquival styles (not to mention the dissolution of the words "in wien" to simple phonemes), support ide’s efforts to achieve the perfect universal language: "i like to promote the idea of a global creole poetry / language / communication, a poetry / language / communication which is based on all the tongues we know - not only the one we consider being our national tongue".
the same goes for the work "in your eyes" on the cd "viva la poesia" from 2002, a montage of texts and vocal samples from ide, allen ginsberg, nick cave and falco, on the background of a simple melodic line with drum rhythms. it is interesting to listen to this touching intermingling of german and english lines, feminine and masculine voice, poetry and common phrase; especially the two collocations: ("messianic") – with the profound religious reference of hope invested into a (poetic) transformation, on the one hand, and the common greeting when partying company ("see you tomorrow"), on the other hand; the latter carries the same hidden connotations of “what it is to come”, of trust into a future which can fulfill the poetic revolution, and accomplish ide’s global colorful perspective upon the poetry to come. despite the poem "wien" sounding very melodic sometimes, ide explains that it doesn’t even have harmonic change, there is only one tone, always the same; it has no cadence, it is only rhythmical; still, the melodic line comes from the fact that the language units are sometimes not spoken, but sung or shouted.
the whole poem can be interpreted as a hymn dedicated to vienna, the city of many languages, but, most important, it serves to ide’s demonstration of the 30 different methods of using the human voice as an artistic material. in this respect, the poem adds the dimension of speech becoming something else, acoustically, very close to singing. moreover, even the constant sound on the background, produced by the keyboard, comes, in fact, according to ide, from a vocal recording, and not from an instrument; it is a very short sample of the [l] sound from the word “lyrical” he had recorded some time before and which was subsequently processed by the keyboard synthesizer.
(denisa mirena piscu, literary theorist, 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)
another poem partially loaded with meaning is "wien" (listen to the annexed cd), the longest poem on the album (6’37”), which has a different acoustical structure – in the sense that it involves more than just the human voice. the background of the poem sounds very musical due to the low rhythmical sound produced by the keyboard, to which a synthesized drum beat is added (and, later on, a violin sample and two chorus samples). ide’s voice is heard uttering “in wien” (“in vienna”) several times, after which he just pronounces separately the sounds of this word. the interesting thing is that the vowels and consonants are no longer uttered, but shouted; the pronunciation is now on the merge between speaking and singing.
the vowels & consonants lyrics are followed by an enumeration of language names such as: slavic, hungarian, jewish, gypsy etc., with reference to the languages which have influenced the austrian dialect in vienna. the poem continues with a quoting from a regulation regarding pupils access in a library, on the same rhythmical background; it will soon resume the first part of the poem, with the diluted uttering of “in wien” and the enumeration of the linguistic influences. towards the end of the piece, the human voice, which is now computer processed, is also quoting some lines from ide hintze’s poem “the golden flood”.
both the reference to the austrian mother tongue being the consequence of various linguistic influences, and the mixing of words from the range of formal, lyrical and colloquival styles (not to mention the dissolution of the words "in wien" to simple phonemes), support ide’s efforts to achieve the perfect universal language: "i like to promote the idea of a global creole poetry / language / communication, a poetry / language / communication which is based on all the tongues we know - not only the one we consider being our national tongue".
the same goes for the work "in your eyes" on the cd "viva la poesia" from 2002, a montage of texts and vocal samples from ide, allen ginsberg, nick cave and falco, on the background of a simple melodic line with drum rhythms. it is interesting to listen to this touching intermingling of german and english lines, feminine and masculine voice, poetry and common phrase; especially the two collocations: ("messianic") – with the profound religious reference of hope invested into a (poetic) transformation, on the one hand, and the common greeting when partying company ("see you tomorrow"), on the other hand; the latter carries the same hidden connotations of “what it is to come”, of trust into a future which can fulfill the poetic revolution, and accomplish ide’s global colorful perspective upon the poetry to come.
despite the poem "wien" sounding very melodic sometimes, ide explains that it doesn’t even have harmonic change, there is only one tone, always the same; it has no cadence, it is only rhythmical; still, the melodic line comes from the fact that the language units are sometimes not spoken, but sung or shouted.
the whole poem can be interpreted as a hymn dedicated to vienna, the city of many languages, but, most important, it serves to ide’s demonstration of the 30 different methods of using the human voice as an artistic material. in this respect, the poem adds the dimension of speech becoming something else, acoustically, very close to singing. moreover, even the constant sound on the background, produced by the keyboard, comes, in fact, according to ide, from a vocal recording, and not from an instrument; it is a very short sample of the [l] sound from the word “lyrical” he had recorded some time before and which was subsequently processed by the keyboard synthesizer.
(denisa mirena piscu, literary theorist, 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)