It’s hard to imagine what your fully paid-up Dadaist would be doing today, noise-wise. Anyone with a computer or iPad and a MIDI keyboard can access and change the parameters of millions of playable noises, melodic or not, from fingernails on a contrabass to underwater trumpets, from Bartók pizzicato to a burnt piano, from German swear words with variable attack and decay to an orchestra of railway station sounds, both ambient and provoked, playable in major, minor and more exotic scales. I suppose they would be doing something else. Words, phrases or syllables can be whispered, screamed or sung … Persian melodies mixed with Hollywood choirs and monks singing backwards in virtual reverberation setups ranging from outer space to Abbey Road Number 1 Studio or an anechoic chamber … poetry is written on substrates of any and all philosophies and atrocities, but this is hardly revolutionary now. The cultural and...
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August 09 2021
The Poetics of Noise from Dada to Punk
The Poetics of Noise from Dada to Punk. By
New York, NY, U.S.A.:
Brian Reffin Smith
Online Issn: 1530-9282
Print Issn: 0024-094X
Leonardo (2021) 54 (4): 462–464.
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Brian Reffin Smith; The Poetics of Noise from Dada to Punk. Leonardo 2021; 54 (4): 462–464. doi: https://doi.org/10.1162/leon_r_02080
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