We’ll see if we can pick them up copy thatģ.935 they’re going to be a bit disturbed when they hear you but We will pay attention to that i suggest you hang around for a little while Ok Douglas let me rebroadcast just in case anybody does anybody listening from the administration hospitalĪnyone hear that call in the last hour or so Douglas i’m not getting a response so Ok you can get the equipment back up and ruining I had no problem the only information said, call this radio stationĬan you give me some names some information I’m getting some calls from some folks picking something up from wtzx a ham radioĪrraawaaawaawaawaa i don’t know the detail i couldn’t get the time Names of people that are ready to go as soon as they can go His name’s David they were in that area and i believe they’ve got a list of We’re doing everything we can you guys are doing a great jobĮarlier today we had a problem Louisiana state Charlie Charlie 2 alpha oh hell I’ll be working on that tonight tomorrow tonight but They’re well organised they’re doing a good job butīiggest problem is Mississippi at the moment Papa i’ll make sure the proper people get it One of the things you can do is talk through me w5julietbravo
Roger roger eye ball reflector i’ve already put that out ok i’ll tell rayĭo you have any other radios or helicopters? ok It begins with the sound of the wind.īBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB The following script is a file compression. The text was then transcribed from the recording of my recital. The texts were composed by listening to the audio of the documentaries (with headphones) and reciting the heard speech into a voice recorder. The documentaries featured extracted recordings of conversations between people trapped in flooded areas and HAMs in outposts around Louisiana. This left large groups of essentially volunteer radio operators fielding and assisting distress calls. During the storm all official emergency communication networks failed and only HAM radios were operational. HAM radios are amateur, licensed radio network operators. Process: the speech was taken from online minidocumentaries about the role HAM radio operators played during the Hurricane Katrina crisis in New Orleans. And I’d add Susan Howe, and her inspirational model for playing the deviant in the archive.
And I felt, once I’d found it (!) that I’d been following the thread of Code Poems for a long time in my thinking. On a more intuitive level I have been long drawn to Hannah Weiner’s edgy, willful, experimental texts.
I also have a lot of respect for the sci-fi exploits of Christian Bök. My work particularly grew through engaging with McCaffery’s work and wonderful critical writing on sound poetry as a dimension of literature, and poetry as a performance event.
Goldsmith’s “uncreative writing” into my work, bpNichol, and Steve McCaffery, and all Canadian Sound Poetry. His direction and work outlined a “sky’s the limit” approach to conceptualizing and composing a text, with such enthusiasm for experimentation, filtering K. I should start with Peter Jaeger, with a direct hand on my practice (is this cheating?) as my tutor, but also as a model for how-to poetry. On the other hand the formal aspects of my work and my approach to poetic practice are an utter tribute to North American influences. On one hand I see my work as tragically British - born out of British surreal comedy and performance, artful failure, nonsense rhyme, and folk verse. Other than that, pulsars, scrimshaw, sea shanties, and space travel. Lately, I’ve been interested in noise and interference in sound media and the parasitic quality of sound poetry. Every text is written to an aural/audio shape, picking up themes of linguistic algorithms and error, everyday speech and humor. My speech-based compositions mostly exist through performance and audio works.