the third title in the heidsieck “singles” series, released in april 2005 & consisting of a single piece from 1967/1968. of the three “singles” mixing found-sound-effects against a high edit-per-second ratio of heidseick’s ululations...
a part impossible to circumvent of bernard heidsieck in a book which in offer also lcoute via cd. uvre proclamation made up in 1968, couper is not to play proposed the theoretical bases and the practical application of writings of assembly using the practices dinserts, cut-up, sample. a stage of reading and dcoute which gives another thickness to poetry and the literature...
to cut nest not to play is a joining, or rather the "sample" dun theoretical text on the poetry action entitled convergent notes ("poetry-action and tape recorder"), and denregistrements directly taken in political actuality: discusses with the house of commons, slogans, crowd and cry of demonstrations. this sound part, dune lasted 55 minutes, is an essential gesture in luvre of bernard heidsieck, and lhistoire of sound poetry; because if linvention of the cut-up (by brion gysin) goes up at 1959, the technique is developed by it and here used systematically for the first time, in a will affirmation dune semantic poetry. conceived in 1968, this part reflects lextrme bond which exists between artistic experimentation, social debate and political thought. the text which is used as frame with this sound poem offers lexemple rare dun text where theoretical writing and poetic writing sintriquent or not ntre quune: haletante, syncopated, multiple, this writing is the result dun erudite assembly mixing reflexion on the poetry-action and fragments dun daily taken in time even with the drafting, which gives to this text a force as well poetic as theoretical. the text is completed by a short manual extract dun of reading for children, whose last sentence is: "lives the unpaved street". this part sound, at the same time erudite and alive, theoretical and physical, punctuated of cries and songs, noises of crowd and old stories, recalls thus that, " to read" a uvre, it is necessary to take the risk of dsapprendre