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Beat3 Copie3 1943 1945 1947 1951 1953 1955 1957 1959 1960 1960 1960 1961 1962 1965 1966 1967 1969 1944 1948 1952 1956 1958 septembre printemps été automne hiver-printemps technique d’organisation et de classement : le « beat hotel » gysin trouve dans les portes de la perception devant le désordre des pages de textes éparpillées 9, rue gît-le-cœur, paris d’aldoux huxley l’énoncé « i am that i am » laissées par burroughs dans sa chambre, gysin achète des casiers de rangement métalliques à accrocher chambre 25 mise en place par burroughs d’un système d’index au-dessus de son bureau pour éviter que tout ne se perde. de classement, après avoir acheté des armoires à chiers, en 1966, lorsque ian sommerville emménage dans l’appartement de pour que « grâce aux cut-ups, les textes travaillent tout seuls » burroughs à londres, il trouve 5 dossiers explicitement titrés, et 17 autres inuence du cut-up sur des magazines : fruit cup, rhinozeros, brion gysin étiquetés « divers » insect trust gazette, bulletin from zero, avec claude pélieu, philips invente le magnétophone à cassette une lame stanley découpe mary beach, je nuttall, harold norse, jürgen ploog, un passe-partout pour un dessin carl weissner, udo breger, jörg fauser, etc. minutes to go dans une pile de magazines life time invention du cut-up de brion gysin, brion gysin william burroughs, gregory corso lecture de minutes to go par george mac beth, et sinclair beiles, poète et producteur du « 3e programme » de la bbc. forte opposition de the dada painters and poets publié par two cities invite gysin à lire un de ses textes à la radio gregory corso et sinclair édité par robert motherwell à 1000 exemplaires. beiles à la technique du cut-up qui, selon eux, tue édité par jean fanchette retour de burroughs après quelques semaines à londres. et gaït frogé gysin lui montre sa découverte. la vraie poésie. participent néanmoins à l’expérimentation. maquetté depuis le magazine giorno poetry system (collectif d’artistes, label premiers cut-ups de burroughs two cities (premier numéro en avril 1959) douglas clevedon, metteur en son de la pièce radiophonique et non-prot organisation) de under milk wood de dylan thomas tanger george whitman, propriétaire de la studio « footsteps » où la bbc produit tous les sons de maisons hantées, allen ginsberg et brion gysin librairie le mistral, qui ré-ouvrira plus rassemblent des feuilles (non paginées) et les organisent même principe pour les deux ouvrages suivants avec ce système, multiplication des textes à l’inni. de vents, d’oiseaux, de vagues et de portes qui craquent, tard en shakespeare & co. en un volume publié sous le titre de the soft machine de la trilogie, the ticket that exploded et brion gysin utilise un (à la diérence des instructions de tristan « toute écriture est en fait un cut-up » l’écriture devient un travail de découpe, de sélection pour ses ctions et documentaires enregistreur 16 pistes (william burroughs), par girodias (olympia press, 1961). nova express. vieil enregistreur à bandes revere, tzara pour faire un « poème dada », choix de la et d’assemblage réparé par ian sommerville source à traiter et choix des passages à juxtaposer) i am out (livre de cut-ups) de brion gysin gysin illustre la couverture, ginsberg écrit anonymement burroughs : genèse de naked lunch refusé par l’éditeur maurice girodias. le blurb en 4 de couverture. sous forme de textes et de lettres épars. kerouac : enregistrement sur vinyle. lecture accompagnée énorme usage du papier carbone bernard heidsieck ne sera jamais publié. ginsberg se chargera d’assembler le tout. du piano de steve allen pour produire des copies d’un texte poème-partition d2 brion gysin principe des permutations de gysin rencontre giorno - gysin les textes qui n’entrent pas dans la valise de burroughs arme contre tout contrôle sur 11peintures de degottex appliqué aux têtes de chapitre de poetry for the beat generation (hanover record) linguistique autoritaire ré-utilisé dans plusieurs cut-ups. « poèmes-permutation » sont abandonnés par ce dernier lors de ses incessants (émergence de voix, inaudibles avant le cut. the ticket that exploded. nette amélioration par rapport aux techniques (autonomisation déménagements. (gysin enregistre le son médiumniques) « the permutated poems », programme de 23min, sur la bbc (textes trouvés) des mots) suite à une conversation téléphonique d’un canon) enregistrement sur vinyle de blues and haikus (hanover record). - « pistol poem » (enregistrements d’un tir de revolver à 1 m du micro, puis tanger subway sounds avec william burroughs, john giorno lecture accompagnée d’improvisation au saxophone poésie sonore « je comprends la poésie comme étant ce qui est appelé en france ‹ poésie sonore ›, que je préfère appeler ‹ poésie-machine ›... en lui faisant subir à 2 m, 3 m, 4 m, 5 m, diusés puis permutés, passés à l’envers, et superposés). burroughs : (biennale de paris, 1965) invente le dispositif dial-a-poem, de zoot sims et al cohn tous les traitements qu’on peut appliquer avec un enregistreur, et toute la technologie, collages de photos de collages de photos de collages. « burroughs bousillait une machine à écrire (les têtes de lecture sont parfois accélérées ou ralenties au doigt birds of america première hotline diusant des fondation ford (enregistre des heures de musique ou plutôt la plus basique et minimale des technologies qu’on a sous la main par douglas clevedon pour gagner en précision) recherche, dans les grains du papier photo, fantômes, (enregistrements d’oiseaux, d’avions poèmes, des discours politiques, lew hill escapade tous les 15 jours et nous nous retrouvions avec ces dernières années » (brion gysin) dans son restaurant les 1001 nuits) publie dans le magazine production de masse « la vie commence avec deux magnétophones, - « i am that i am » émergence de formes et pareidolies. et textes tirés d’un traité d’ornithologie) de la musique minimaliste ou des poète, objecteur de « the beginning of bop » des kilos de manuscrits » (brion gysin). parce qu’avec deux, on peut faire des copies. neal cassady conduit le bus des merry pranksters, programme - « junk is no good baby » american eagle recettes pour cocktail molotov conscience, fondateur lors d’une traversée des états-unis. de kpfa de poésie l’expérimentation commence avec trois magnétophones, - « kick that habit man » (bruits de la ville de new york et gros titres le bus, surnommé further, est équipé de micros sur radio kpfa car on peut accélérer et rembobiner, et à (diusion août 1961, pire audience de la bbc jamais enregistrée, sur la guerre du vietnam) première radio sponsorisée le toit pour enregistrer les sons de l’extérieur et les rexroth compose cette époque, nous en avions trois, après celle du programme consacrée au poète britannique w.h. auden) par ses auditeurs, berkeley rencontre burroughs - ian sommerville jusqu’à ce que quelqu’un vole diuser dans le car, ampliés. (créée en 1949) an autobiographical novel qui travaille à la libraire le mistral celui de ian, je crains, hors de cette chambre » (gysin) paul blackburn, jerome rothenberg, à l’aide d’un dictaphone où viennent lire ginsberg et gysin. jonathan williams, denise levertov, tanger : ginsberg apporte ginsberg et kerouac technique visuelle de sélection des pages : gilbert sorrentino et allen ginsberg conversation entre ginsberg et carl solomon les lettres ayant servi à la retranscrivent collées sur un mur, puis ré-ordonnées enregistrée au magnétophone et publiée par composition de le texte à la machine. jusqu’à trouver un ordre satisfaisant jean-jacques lebel organise une rencontre entre retour de ian sommerville de cambridge « klinker is dead » (burroughs) : solomon sous le titre de more mishaps (1968) naked lunch. les surréalistes français et les beats, chez ses parents à paris avec son propre enregistreur, de très enregistreur 1 : musique traditionnelle inuence sur daevid allen, fondateur des groupes de rock soft machine et gong au 14 avenue du président wilson, à paris. bonne qualité de jajouka mêlée à une version au banjo de 7 octobre 1955, lectures-performances marcel duchamp et sa femme, man ray et sa femme, « brother can you spare a dime ? » (new orleans) kenneth rexroth à la six gallery (3119 llmore st., san francisco), soirée paul bowles, au maroc, enregistre des bob dylan donne 600 $ à ginsberg pour qu’il s’achète un octavio paz, benjamin peret, élisa breton et andré enregistreur 2 : voix diusées à des vitesses diérentes organisée par kenneth rexroth. avec : musiciens traditionnels avec un lourd magnétophone uher (10 h d’autonomie). il ore également pieyre de mandiargues. « exterminator ! (1975) n’est qu’un des innombrables avatars devant le micro principal rexroth, peter orlovsky, gary snyder, ampex 601. de naked lunch » (brion gysin) un ampli à peter orlovsky et une cithare américaine (autoharp) the objectivist anthology corso vomit dès les escaliers, puis coupe la cravate l’installation électrique de l’hôtel, de 40w, michael mcclure, philip lamantia, philip whalen pour obtenir l’électricité nécessaire, à michael mcclure de duchamp, ginsberg, ivre, se jette aux genoux de ne permet pas l’utilisation simultanée de présence de la monte young. l’enregistrement de music of morocco louis zukofsky le lendemain, ferlinghetti écrit à ginsberg duchamp pour les lui embrasser plusieurs enregistreurs dans une seule chambre. lecture par ginsberg de howl pour lui proposer de publier howl se fait en ville. système de rallonges électriques passant par les burroughs, ginsberg et corso s’entre-interviewent. poètes de la baie de san francisco ginsberg : publication co-existence bagel shop fenêtres des diérentes chambres la conversation enregistrée est retranscrite dans le après cette lecture, ginsberg renonce à retravailler de howl (north beach) journal for the protection of all beings (city lights, robert duncan jack spicer howl. (san francisco, city lights) 1961). ginsberg à los angeles chez wallace berman pour noël william carlos williams robin blaser (scansion jazz.
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