Craig Dongoski
Brian Howe

Maja Jantar
e k rzekpa
Larissa Shmailo
Mathew Timmons
Adachi Tomomi
Atlanta Poets Group
Gary Barwin
Gary Barwin &
  Gregory Betts

Michael Basinski
David Braden


Seepferdchen und Flugfische  (1:37)      

Mathew Timmons

An Overheard Conversation   (12:46)

David Braden
Maja Jantar 
"For 'Bizar' I collaborated with Vincent Tholomé:

Born in
Belgium during the golden sixties. But he's not a golden boy, with golden hands and eyes. Just someone who sometimes writes something. Things like The John Cage Experiences (Le Clou dans le Fer, 2007). Likes to perform in groups, bands, duets. By the way, he did a lot of things in groups, bands, duets. Now, he sometimes performs with Maja Jantar. She's a girl. She sometimes sings like Yma Sumac. They want to do a CD together. They want to go on tour together. If it happens, he's sure that he will be this golden boy that his mother wanted that he would be. By the way, his mother tongue is French. That's why he used three that in a sentence. That's why he writes like that. The French language is a language where you can use three thats (or more) in a sentence. Works on two books: Kirkjubaejarklaustur and Accès interdit. You can translate this last title in something like No entry. That's why lala that that and go.

Maja Jantar is a voice artist working in the fields of performance, music theatre, poetry and visual arts. She studied Art Sciences and has been giving performances since 1995 (
Gent, Antwerp, Vienna, London, Chemnitz, Genêve, Madrid, Brussels, …). Next to this she also created many pieces as a voice artist and is an active member of the group Krikri. She directed a couple of operas, wrote some texts (sometimes nonsensical), painted some pictures and travels the world making strange sounds. She loves to collaborate with other artists, and has been working for some while now with Vincent Tholomé. In the near future she will perform with the multimedia theatre group Crew in lots of nice places in Europe and create some new stuff to perform in various gigs this autumn."

Heroic Couplets (3:06)

Italian Sonnet

Bizar (with Vincent Tholomé)  ( 3:40)

portal to gates   (3:51) 

Sounds for a Day   (3:01)

Love Song No. 22

Song No. 144   (0:22)

Song No. 147   (1:28)

Song No. 97   (1:47)

No. 6   (2:24)

"'Sounds for a Day' is a poem by Michael Basinski arranged and performed by the APG. The text can be found here. Thanks to Michael Basinski for his permission to perform the piece and make it available here.

The remaining pieces are performances of poems by Bruce Andrews found in his book Love Songs. Thanks to Bruce Andrews for his permission to perform them and make them available. A few notes on the performances of Love Songs :
     For 'Love Song No. 22' the following substitutions were made: whisk for eggbeater, serving spoon for demitasse spoon.
     'Song No. 147' is a double performance: text to speech to text then text to speech.
     Other than those two, all recordings were made at weekly meetings of the APG at Adair St. (which is actually in Decatur)."

"Both of these pieces are early and rather crude attempts toward using poetic forms to arrange sonic material rather than linguistic material. Each of them represents but one of the literally numberless transactions that are theoretically possible. Consider, for instance, the number of possibilities for sonically interpreting the concept of "rhyme" alone. Would it be more faithful to the concept of rhyme to pair two identical sounds with different digital effects, or to pair two different sounds that evoke each other in some way? Can properties of duration, intensity, timbre, or tone make two disparate sounds rhyme? Or can the operation be even more esoteric: can the sound of a bell be said to rhyme with the sound of a car horn? What about the sound of a bird with the sound of a dog? In these pieces, I'm more interested in experimenting with all these possibilities than arriving at any definitive solution to the problem. ITALIAN SONNET is mostly concerned with formal structure: arranging ten second "lines" of sound according to the familiar form, I've chosen to interpret rhyme as mere repetition. HEROIC COUPLETS goes a bit further: again, rhyme is interpreted as repetition, but here the use of digital effects attempts to create sound-pairs ("lines") that are similar yet distinct, and thus arguably closer to true rhyme. HEROIC COUPLETS also attempts to mimic the rhythm of the iambic line. Both of these pieces are starting points that represent the merest edge of the possibilities in the verse-to-sound transaction; I hope they'll be starting points from which I can develop more cunning solutions in the future. Oh, and for the curious: the voices on HEROIC COUPLETS belong to Edna St. Vincent Millay and the Dalai Lama."

"Seepferdchen und Flugfische for A Reading in Four Dimensions, February  8, 2008 at Center for the Arts, Eagle Rock in Los Angeles, CA.

I began performing Seepferdchen und Flugfische by Hugo Ball a few  years ago. Every time I perform it, I sense that despite the apparent  simplicity of Ball’s composition, there are in fact explicit  performance cues embedded into the score. Obviously, a performer can  take the piece in any direction s/he wants, but for me, various sonic  substitutions throughout the piece provide strict direction to the  performer: flusch to prusch; bessli to betzli; kata to kitti; and zack  to zick. And so, as I continued to perform this piece it guided me  towards a fairly specific range of recitations, which I eventually  wanted to break with. For the performance recorded here, I had been  working on approaching the score with a granular sensibility,  segmenting out and over emphasizing leading sounds while allowing  gaps, glitches or verbal tics to provide moments of silence that are  often swept away in performances of Ball’s work."


"It's a sound text piece using environmental recordings of a restaurant and a rusty swing set in rural Indiana."

Catawissa Road   (1:02)

"Catawissa Road is a poem of two voices; these Siamese twins look like this:

Catawissa Road

I have waited for him.  For want of a loom, I smashed furniture, slashed beds,

He's nuts: five AA meetings and he’s ready to breed, hollering waiting, a poor

My pa is dead: I got the sperm and the house housekeeper, his assessor and judge. 

let’s go. Here’s some perfume and a novel for scolding his journeys. Here in my

ya gal: My father’s dead; I watched termagant arms I ask him: why can’t he leave these

these five months as he died Trojans alone? I know he never wanted to go.

ripped the diapers off his ass at the end. Loneliness gone, something of

That’s death for you and creation comes after hospitals, sirens, and

I love you very much. one-eyed worms. Of the shards, cobbled,

dirty, we will build a tree as best we can for a bed.

I set my producer and musical director Bobby Perfect with the task of translating this visual poem to sound. We recorded the piece line by half line in two distinct yet related voices to reflect the structure of the poem on the page. The result of our collaboration is the sound file presented here."

Larissa Shmailo
Adachi Tomomi

from The Obvious Flap   (3:21)

Gary Barwin & Gregory Betts

"This is the first page from the first section of a new collaborative project by the two of us that systematically explores the nuanced veil of sonic frequencies, musical motifs, and choral/choiral environments beneath language. The whole work slips through words, falls, and oompalahs in circles until it returns with ancient grains in its earlobes and the dust of tomorrow sputtering from its open maw. This particular track is a plunderverse mix-and-mash text that we've overlaid through a technique that could be described as a literary version of John Oswald's plunderphonics. Two voices heard many ways, one sax player, and a hard slew of software. No maraschino cherries were worn in the making of this archive. I was going to go to college but I found that I already went."

The Squirrel of Love   (1:55)

Gary Barwin

"A voice synthesizer, some vaguely South Pacific computer processing, and a text created directly from the rough hewn stone of language itself renders this aural evocation of a sweaty robotic squirrel soul in the reverberant temple of love, or at least, the alphabet, the authentic pharyngeal post-Nostradamus prediction of the twenty-first century’s consonantal vowel shift."


yumiko (1:55)


Ed. note: A video for "yumiko" can be found here.


e k rzepka


"the lie and the reconstruction of sound belies the retrograded call of what is most immaterial.  material - inevitably - that the photoreproductive cues of the linguistic construct a soundscape that predicts what's known, already told.  the telling, in words that make no sense, signifies the vacuous, the obnoxious, the foreign.  insofar as a non-indicative, or paraleptical makes speeches, politics and reform is oblivious - the crystallization of its opposite brings interference and distraction.  the object (thing) bearing what little mind it manages in aleatoria, sutures."


Str2   (0:30)

Xee.n  (1:20)


Michael Basinski


Line   (pdf)

Sounds for a Day   (pdf)

Remembering a Face in 5 Breaths   (2:03)

Alphabetized Numbers 1-12  (1:10)

Sunfish  (jpeg)

"Sunfish is an opem, a performable poem of variable performance time, with multiple entry points. The reader orchestrates. Damn the sensitive arrogance of the tender crafty poet."

Ed. note: a performance of "Sounds for a Day" by the Atlanta Poets Group can be found here.

Craig Dongoski

China (16:00)

CHINA:  Found Tape

This project was borne out of a several year-long collection of discarded cassette tape retrieved from sides of roads.  The current installment are numerous strands retrieved in Beijing, China in the summer of 2008.  No strand is longer than 2ft.  The content of the tape is unknown until they are all spliced together and  and captured digitally via a cassette player.  In other words, all collected tapes were liberated from their casings.  The artist is interested in collecting this increasingly rare artifact and sees [hears] it as a hidden trace of the culture/environment from which he finds it. 

Technical Notes:  Some Digital Signal Processing [DSP] was employed to add richness toward creating an ambient piece for a broader audience.  However, most of the manipulated sounds occur from the weathered-state that the tapes were found in.”