ELECTRONIC AND SOUND MASK
Poetry is with the voice, into the voice, behind the voice.
The voice is mistress of singing. It is mistress of sighs, puffs, stutterings, mumblings, whisperings, whistles, laughs, smacks, pantings, gasps and shots. The voice is signal of unexpressed. It goes beyond saying. It tells the unsaid before creating words.
The voice is “corpus” and “spiritus”, androgynous flatus, primordial conscience of existence (first shout) and extreme consciousness of death (last shout).
Poet's must be able to sound in the deep: into the brain folds as into the most obscure mazes of the body; into the memory as in the unconscious, in the ability as in the intentions.
The phonic stream will evoke its own double. It will remind of the voice of the unexisting. It will come back to the origins setting itself to the game of amplifications, scanning, dissolution, reappearance.
Poetry dies and lives again into the voice: voice dies and lives again into the sound.
To find new acoustic spaces, poet will work on: combinations, frictions, contrasts, equal lines, outcrops, stream, pointillism, magma, concentrations, cuts; he will use fading, crescendo & decrescendo, upsets, back actions, erasures, glissandi, selections, colour energies, melting, aggregations, analysis, cuttings, overlaps, accelerations, slows, echoes, reverberations; he will exploit timbres, tunes and registers.
The acoustic size of the unusual must be supported by electronic technology, by which the poet will always be able to build up own sound mask. Behind it he won't do music, but sound as one of the main aspects of language.
Giovanni Fontana
born 1946
lives in Alatri, Italy
Giovanni Fontana was born in Frosinone (Latium), Italy. He has been dealing for 35 years with multicode languages, intermedia techniques and synaestesiae. Interested in the relationships between arts, he carries on his exploration crossing many bounds and activating contaminations, starting from "phono-visual" poetical matrices. In this way he attaines a new conception of the text: an integrated text, a politext, a multi-po(i)etic hypertext, a cross ultratext, introducing the dynamic texture taking place beyond the written pages, in a time-space dimension. His visual compositions, thus, present themselves as real scores, as pre-texts through which to attain a performance dimension, in which his "sound poems" can be situated, particularly appreciated in the context of the international artistic experimentation.
He has taken a University degree in Architecture and has carried on his studies in the artistic, scientific and musical fields. With regard to the dramatic field he has been active as a playwriter and occasionally as a director; he is interested in electronic arts and audiovisuals and has particularly paid attention to the different aspects and ways of cultural communication, especially taking into account the problems concerning the technological field. He has published books and records.
Poetry is with the voice, into the voice, behind the voice.
The voice is mistress of singing. It is mistress of sighs, puffs, stutterings, mumblings, whisperings, whistles, laughs, smacks, pantings, gasps and shots. The voice is signal of unexpressed. It goes beyond saying. It tells the unsaid before creating words.
The voice is “corpus” and “spiritus”, androgynous flatus, primordial conscience of existence (first shout) and extreme consciousness of death (last shout).
Poet's must be able to sound in the deep: into the brain folds as into the most obscure mazes of the body; into the memory as in the unconscious, in the ability as in the intentions.
The phonic stream will evoke its own double. It will remind of the voice of the unexisting. It will come back to the origins setting itself to the game of amplifications, scanning, dissolution, reappearance.
Poetry dies and lives again into the voice: voice dies and lives again into the sound.
To find new acoustic spaces, poet will work on: combinations, frictions, contrasts, equal lines, outcrops, stream, pointillism, magma, concentrations, cuts; he will use fading, crescendo & decrescendo, upsets, back actions, erasures, glissandi, selections, colour energies, melting, aggregations, analysis, cuttings, overlaps, accelerations, slows, echoes, reverberations; he will exploit timbres, tunes and registers.
The acoustic size of the unusual must be supported by electronic technology, by which the poet will always be able to build up own sound mask. Behind it he won't do music, but sound as one of the main aspects of language.
Giovanni Fontana
born 1946
lives in Alatri, Italy
Giovanni Fontana was born in Frosinone (Latium), Italy. He has been dealing for 35 years with multicode languages, intermedia techniques and synaestesiae. Interested in the relationships between arts, he carries on his exploration crossing many bounds and activating contaminations, starting from "phono-visual" poetical matrices. In this way he attaines a new conception of the text: an integrated text, a politext, a multi-po(i)etic hypertext, a cross ultratext, introducing the dynamic texture taking place beyond the written pages, in a time-space dimension. His visual compositions, thus, present themselves as real scores, as pre-texts through which to attain a performance dimension, in which his "sound poems" can be situated, particularly appreciated in the context of the international artistic experimentation.
He has taken a University degree in Architecture and has carried on his studies in the artistic, scientific and musical fields. With regard to the dramatic field he has been active as a playwriter and occasionally as a director; he is interested in electronic arts and audiovisuals and has particularly paid attention to the different aspects and ways of cultural communication, especially taking into account the problems concerning the technological field. He has published books and records.
