Italian poet and visual artist Enzo Minarelli (1951) coined a new genre
by turning poetry into an art of installations.
Some of his "polypoems" from the 1980s and 1990s were collected on
The Sound Side Of Poetry (1991) and
Fame (Pogus, 2012) manipulates the human voice with software and then
adds sound effects. Unlike the previous recordings, these polypoems are very
brief. There are no lyrics, just streams of vocal sounds.
Many of them suffer from a lack of "musical" development. The Freudian
whirlwind of Third Polypoem For A Great Man,
the horribly deformed sounds of nature of
The Flavour Is The Presence Of Each Person,
the aquatic documentary of The Weak Suits,
the cyclical "om" of Those Who Fear The Pain
capture your attention for a couple of minutes but too many of these
aphorisms sound like trivial application of old-school electronica.
And, being so brief, none of them achieves enough critical mass to
stand on its own.
In the hands of a more creative soundscape artist, This Poem Expresses By Means Of Sound What The Word Cannot Express, To Caspar David Friedrich could become a brilliant syncopated industrial blues, but here it languishes in an uninspired loop.
This is too amateurish to do justice to the idea of "polypoetry".
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