Only the development of new technologies will mark the progress of sound poetry, according to the first of six paragraphs from Enzo Minarelli’s manifesto on polipoesia, which was announced in 1987. The short list summarises his experiences with poetry over the past decades. Four years earlier, the poet and curator had coined the term when he began releasing a series of 7″ singles featuring such poetry.
Through eleven sound poems, Minarelli discusses his concept of polipoesia, the difference between poetry and music, folklore as inspiration for poetry, the connection between society and poetry, and how it all began.
Playlist
Richard Martel – Capitaly (1986)
+ EM on the need to define polipoesia
Henri Chopin – Chercher (1975)
+ EM on Henri Chopin
Enzo Minarelli – Poema (1977-1985)
+ EM on the difference between poetry and music
Demetrio Stratos – Le Sirene (1978)
+ EM on scores in sound poetry
Augusto De Campos – Tensão (1956, recorded 1992)
+ EM on the connection between poetry and society
Paul de Vree – Veronika (1953, recorded 1962)
+ EM on the significance of technology for poetry
Enzo Minarelli – The Grandeur Of Genghis Khan (2012)
+ EM on the series 3ViTrePAIR
Harry Polkinhorn – Change (1990)
+ EM introducing Ridi Ridi
Marina La Palma – Ridi Ridi (1985)
+ EM on folklore and classical music as inspiration for poetry
Filippo Tommaso Marinetti – Dune (1914, recorded 1935)
+ EM on the predecessors of polipoesia
Fortunato Depero – Subway (1932, recorded 2020)
+ EM on Fortunato Depero and the difference between text-sound and polipoesia
Robert Ashley – In Sara, Mencken, Christ and Beethoven There Were Men and Women (1973)
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