ALL PREDICATION IS AN ASSAULT UPON THE FREEDOM OF MAN. POETRY, AS I CONCEIVE OF IT, IS NO LONGER THE HANDMAIDEN OF PRINCES, PRELATES, POLITICIANS, PARTIES, OR EVEN THE PEOPLE. IT IS AT LAST ITSELF: A PHONETIC PHENOMENON IN ITSELF VOCAL OF PSYCHOPHYSICAL ORIGIN AND OBJECTIVELY STRUCTURED WITH THE HELP OF WORDS, SOUNDS AND MECHANICAL AND GRAPHIC MEANS (RECORDINGS AND SCRIPTS)

THE PURELY VISUAL VERBAL DOES NOT EXIST. IT ROUSES ALWAYS THE SOUND OR NOISE FROM WHENCE IT SPRINGS AND FOR WHICH IT IS THE SIGN. THE POEM IS EITHER AN AUDIBLE EMISSION OF RESPIRATION (AUDITION) OR A SILENT ONE (READING), CREATIVELY ADULATED, PROVOKED BY THE NEED TO SAY SOMETHING, IT REFERS TO NOTHING OTHER THAN THE SENSIBILITY OF BEING (PRESENT AND PLANETARY) THIS IS WHAT I UNDERSTAND AS THE OBJECTIVE INTENTION OF VOCAL SONORITIES: A COMMUNICATION IN CONCERT OF SPONTANEOUSLY CREATIVE VIBRATIONS.

PHONETIC POETRY CANNOT EXIST WITHOUT A REINVENTION OF THE RECITATION, THAT IS TO SAY THE SONORIZATION OR THE MANIPULATION OF SOUND. ACTUALLY ALL DEPENDS UPON THE NEW POSSIBILITIES OF MECHANICAL EXPRESSION FOR REALIZATION OF THE TRANSMISSION OF THE TOTAL SENSIBILITY OF THE POEM, ITSELF AT BOTTOM PART OF THE TOTAL KINETIC SPECTACLE WHICH HENRI CHOPIN PROVIDES THROUGH THE INEVITABLE USE OF THE MACHINE WHICH BREAKS THE VOICE UP INTO WAVES.

THE SOUND WORK IS THE RESULT OF TEAMWORK UNDER THE DIRECTION OF THE POET, AND THE IDEAL REPRODUCTION IS THAT WHICH IS CUT ON HIGH-FIDELITY RECORDS. THERE AGAIN THE MACHINE IS INDISPENSABLE. IT GOES \WITHOUT SAYING THAT THE RECITOR (IF IT IS NOT THE POET) AND THE ENGINEER OF SOUNDS (\WHERE MY RECORDINGS ARE CONCERNED) HAVE CONTRIBUTED PERSONALLY TO THE ORIGINALITY OF THE REALIZATION. THE DAWN OF THE ERA OF ELECTRONIC POETRY IS NO LONGER A FIGMENT OF THE IMAGINATION.