Thursday, 19 May 2016

para·text Launch

This beautiful collection of works arrived in my mailbox a week ago.
May 17th the publication was launched at IKLECTIK art lab in London.

I want to thank Laura Elliot and Angus Sinclair of para·text for the invitation and for a very successful collaboration.
para·text issue 2 is now available for purchase from
ndex online at

Derek Beaulieu's The Duchamp opening

My contribution for the second issue of para·text is a continuation of The Dada Manifesto sound pieces published November 2015. 
Only this time I've put the original scroll, both the vertical and the horizontal version, of Hugo Ball's Dada Manifesto (1916), that I later recorded, back to it's starting format, the A4-page, and scanned it as it is.

On the paratext website here.

Thursday, 28 April 2016

Torpedo Seminar/Marking The Dispossessed

Torpedo arranged last week a seminar celebrating their 10th anniversary. How To Raise A Teenager was held at Kunstnernes Hus April 22.-23.
Corinne Gerber (Cologne/Montréal) from Passenger Books presented one of their resent publications Marking The Dispossessed by Danielle Aubert.
In this fascinating book Aubert has compiled hundreds of isolated reader's marks found in a collection of used copies of Ursula K. Le Guin's 1974 anarchist science fiction novel, The Dispossessed. Erasing the text, only leaving the marks behind. It also has the potential of being a score; it has been performed as polyphonic group readings, (where each reader is reading from a different copy), and as an instrumental interpretation of the markings, composed by Jason Treuting of So Percussion and Mobius Percussion. The various readers' marks has also been compiled into a book.
Order it here.


Documentation from the visual-, digital- and transmedial poetry festival Räume für notizen 2014 and 2016 in Vienna, has arrived! 
I participated in 2014 exhibiting work at galerie wechselstrom, and a performance at Alte Schmiede together with Stine Janvin Motland and Maximilian Ölz.

Read more about it here.

Friday, 1 April 2016


January this LP appeared in my mailbox.
Late 2015 I was engaged in a collaborative project initiated by Kommissar Hjuler und Frau based in Flensburg, Germany. We were to respond to a CD track with german spoken words, parts reading, parts discussing George Mead's sociological theory of The Generalized Other, a concept used in the field of symbolic interactionism.

My response is a short piece for a music box, based upon the words Die Verallgemeinerte Anderen (The Generalized Other).
This was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The melody was then played with a PRIRI-technique.
P-R-I-RI indicates the many ways a musical piece can be played. P stands for Prime (the original version of the melody), R is Retrograde (backwards), I is inversion (melody is flipped around the first note in the melody) and RI is Retrograde Inversion (being the flipped version played backwards).
All of which is easy and possible to do on a music box.
In this case the first 13 notes (D-E-E-A-G-E-E-E-E-A-D-E-E) are Prime, then starts retrograde, and so on.

The LP has an exclusive edition of 100.

The project explained by the initiators:
Kommissar Hjuler and Mama Baer run a project called (SHMF-019+…) for which any artists are allowed to create versions of the reading DIE ANTIZIPATION DES GENERALIZED OTHER. A tape, several CD-Rs and some LPs still have become released in this series on Der Schoene-Hjuler-Memorial-Fond.
The Generalized Other refers to George Herbert Mead's psychological explanation for the origin of social self-consciousness. Within Mead's theory, is the act of 'role-taking' in which individuals react to social gestures, and adjust to common attitudes. Through 'role-taking', people adapt to social exchanges based on gesture-response action sequences. Self-consciousness is then developed through these social actions and completed upon personal reflection. (..) It is a stumbling dialogue with reading parts and conversation parts and in the result we do by far not justice to the grandilocant or intellectual theme.
Mainly artists and musicians from experimental music scene have contributed, but not at least, this project is to create a mix of most different music styles, one of the stranges contributions was by the Afro-French Urban-Rap- and Dub-musician LO daam, who normally creates music far from any experimental scene, and the crazy version by the dark metal band HELLMOUTH from Rotterdam.

Thursday, 31 March 2016

Dada Manifesto to para·text

Curated and created by Laura Elliot and Angus Sinclair in London, para·text is a poetry publishing experiment. para·text is published twice a year as a loose-leaf A5 printed edition with an online index.

Monday, 30 November 2015


After a week of daily publishing sound works online, I'd like to thank you all for viewing, listening, likes, retweets, hearts, commments and e-mails.

Listen to all the Dada Manifesto soundpieces at my Soundcloud page: 

Sunday, 29 November 2015

DADA WEEK/SUNDAY: Dada Excites Everything by Tristan Tzara and others (1921)


DADA knows everything. DADA spits everything out.

about Italy
about accordions
about women's pants
about the fatherland
about sardines
about Fiume
about Art (you exaggerate my friend)
about gentleness
about D'Annunzio
what a horror
about heroism
about moustaches
about lewdness
about sleeping with Verlaine
about the ideal (it's nice)
about Massachusetts
about the past
about odours
about salads
about genius, about genius, about genius
abouth the eight-hour day
about the Parma violets

NEVER           NEVER        NEVER 

DADA doesn't speak. DADA has no fixed idea. DADA doesn't catch flies."

November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.

The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.

Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.


Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)

Nov. 24th:  
First German Dada Manifesto by Richard Huelsenbeck (1918)

Nov. 25th:  
What is Dadaism and what does it want in Germany? 
 by Richard Huelsenbeck and Raoul Hausmann (1919)

Nov 26th:  
Dada Manifesto by Francis Picabia (1920)

Nov. 27th:  
Dada Cannibalistic Manifesto by Francis Picabia (1920)

Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)


The Whole Dada Manifesto (1918-1921) Playlist here.