Bogomir Doringer has been able to develop another view in the modern sense of media technology: he hangs cameras from the ceilings of clubs and festival tents, in order to look at the dance floor from a bird’s-eye-view. He observes dancers as if through a microscope aimed at a petri dish—and suddenly the vocabulary of cell biologists is most relevant for describing what occurs on these dance floors. Here, a new way of seeing turns into language—just like a new way of hearing sounds can fuel new writing. Thanks to the mineral sounds of producer Lechuga Zafiro and composer Catherine Christer Hendrix, Alexander Iadorola succeeds in developing a linguistic-associative review of their works—and a review that seems poetic.
Poetry and language’s possibilities of becoming poetic are also of interest to New York musician Eartheater, as she notes in an interview for this issue. Similarly, Simian Keiser, who is continually looking for new connections between sound and word for us in his poetry column “Soundtexte,” guides us on this search. Dagmara Kraus, presented in this issue’s column, is a prime example of how language and its sound can occupy space and allow new approaches, new listening and understanding.
Co-published with Motto Books.