Only the development of new technologies will mark the progress of sound poetry, states the first out of six paragraphs from Enzo Minarelli’s manifesto on Polipoesia, proclaimed in 1987. The short list subsumes his experiences with poetry from the past decades. Four years earlier, the poet and curator coined the term when starting to release a series of 7″ singles with such poetry.
On the basis of 11 sound poems, Minarelli talks about his concept of polipoesia, the difference between poetry and music, folklore as an inspiration for poetry, the connection between society and poetry, and how it all begun.
Featured image: Il Poema Spettacolo, Il Teatro del Guerriero, May 1979, Bologna
Richard Martel – Capitaly (1986)
+ EM about the necessity for defining Polipoesia
Henri Chopin – Chercher (1975)
+ EM about Henri Chopin
Enzo Minarelli – Poema (1977-1985)
+ EM about the difference between poetry and music
Demetrio Stratos – Le Sirene (1978)
+ EM about scores in sound poetry
Augusto De Campos – Tensão (1956, recorded 1992)
+ EM about the connection between poetry and society
Paul de Vree – Veronika (1953, recorded 1962)
+ EM about the importance of technology for poetry
Enzo Minarelli – The Grandeur Of Genghis Khan (2012)
+ EM about the series 3ViTrePAIR
Harry Polkinhorn – Change (1990)
+ EM introducing Ridi Ridi
Marina La Palma – Ridi Ridi (1985)
+ EM about folklore and Classical music as inspiration for poetry
Filippo Tommaso Marinetti – Dune (1914, recorded 1935)
+ EM about predecessors of Polipoesia
Fortunato Depero – Subway (1932, recorded 2020)
+ EM about Depero and the difference between Text-Sound and Polipoesia
Robert Ashley – In Sara, Mencken, Christ and Beethoven There Were Men and Women (1973)