noční pták na noční pták
in 1964 i read Naked Lunch by William S. Burroughs for the first time
in 1969 at California Institute of the Arts i met concrete poet/fluxus artist Emmett Williams
which meeting transformed me as an artist.
on entering C.I.A. i was a drummer who wrote poetry and produced occasional 2 or 3D art pieces
one year later i left, a budding concrete poet specializing in sound and visual poetries
and who, by the way, also no longer considered themselves a drummer
in 1974, when i first began producing large scale vistual poetries
i referred to them as HAGIOGRAMMZ,
a constructed word with a meaning of 'revealed communications'.
revealed then alluding to the visual nature of the written communique.
these visual poems were produced using an extension of the cut-up method,
which was introduced into the cultural sphere by DADAist Tristan Tzara c. 1920
while i eventually became aware of Tzara,
my introduction to the technique was through the work of William S. Burroughs
and his referring to the technique as a means to 'rub out the word'
eventually i discovered that it was the polymath/artist Brion Gysin
who introduced Burroughs to the cut-up concept in 1958
and it was Gysin who was and continues to be a major influence
so while the cut-up technique is defined as:
an aleatory literary technique in which a text is cut up and rearranged to create a new text
i took it one step further, to a cutting up and re-ordering of individual words themselves
bascially because i was producing visual poetries,
so my intention was:
by cutting-up and overlaying multiple renderings of one word
to articulate the visual space within and between its' letters
in 1976 i was working on a process poem to be a score for a performance --
and the process was that i was translating the original words of the poem
into some words from their definitions in the oxford english dictionary --
for example> original word = extra -- replaced by definition = on the outside
and so i looked up context
and BAM! there it was defined as > the weaving together of language
so i immediately stopped working on that piece and made the first CONTEXT
and so rather than overlaying the strips of the pages i had cut up
i began to weave them on both the horizontal and vertical planes
noční pták na noční pták was produced feb 21& 22 2015 at Školská 28
it was produced by the a/v poet S.Weisser
it primarily uses overlaying with a bit of the weaving technique
the source words were taken from emails written by veronika and z'ev
and sent and received in december 2014
25 feb 2015 paris
