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phonetic & poster poems

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  • TEXTS
  • Poster Poem Gruen GRÜN, May 1918
    On the backside of 'Dadaistisches Manifest' (28 x 22 cm)
    [Collection Centre Pompidou, Musée national d'art moderne, Paris].
    Note: illustration in Timothy O. Benson, Raoul Hausmann and Berlin Dada (Ann Arbor 1987) 92.
  • O F F E A H B D C, 1918
    Poster poem, mounted on board (33 x 48 cm)
    [Collection Berlinische Galerie, Berlin].
    Cat. Hausmann (1994) 162.
  • f m s b w t ö z ä u, 1918
    Poster poem, line block (33 x 48 cm)
    [collection Centre Georges Pompidou, Musée national d'art moderne, Paris].
    Cat. Hausmann (1994) 162.
  • L'INCONNU, 1919
    Optophonetical Poem (27 x 20.5 cm.)
    [Collection Musée départemental Rochechouart].
    Cat. Hausmann (1994) 164.
  • KP'ERIOUM, 1918/19
    "Optophonetical Poem, printed on Japanese paper (47.5 x 66 cm.)
    [Private collection]
    Note: exhibited at the Erste International Dada-Messe, Nr. 5; published in Der Dada Nr. 1 (June 1919) 1.
    Cat. Hausmann (1994) 178.
  • SEELEN AUTOMOBIL, 1919
    Sound Poem
    Lost.
    Note: published in Der Dada Nr. 3 (April 1920) 9.
  • SOUND-REL, 1919
    Sound Poem
    Berlin.
    Published on artesonore.
  • D 2818, 1921.
  • b b b b, May 1922
    Sound Poem.
    Lost.
    Note: published in Mécano Nr. 2 (Leiden 1922) Blauw (16 x 12.5 cm.).
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  • RECORDINGS
  • [discography] Diskographie Raoul Hausmann, put on the web by Urs Engeler Editor, Basel.
  • Poèmes phonétiques (Paris 1958). EP, added to Courrier Dada (Le Terrain Vague : Paris 1958).
  • 5 poèmes phonétiques (1918-1946). I. "bbbb" et "Fmsbw" - 1918; II. "K'perioum" - 1918, et "Offeah" - 1919; III. Poèmes sans titres, 1919; IV. Oiseautal, se termine par Obada, 1919; V. Chanson, Vali tali, baste. 1946, in OU nos. 26/27 (Sceaux 1966). LP (22 cm.)
  • Poème phonétique (spoken Raoul Hausmann), recorded on 'Phonetsiche Poesie' by Franz Mon (Luchterhand : Neuwied, Berlin 1971). LP Recording.
  • Raoul Hausmann. Poèmes Phonétiques (Kaon January 1998) CD [number de97]. Co-published by Musée départemental d'art contemporain de Rochechouart. R.L.Q.S. recorded May 25-26th 1966 by Henri Chopin. Phonèmes recorded 1956-57 by Henri Chopin. Interview recorded 1959 by Bureau. Soundreel recorded May 13th 1959 by Bureau.
  • Raoul Hausmann. Poèmes phonétiques complètes (Ohrbuch Verlag : Wien 2000) MC 50 min. More information on the pages of the publisher. Reviewed by Karin Cerny for www.literaturhaus.at (3 December 2002).
    Also on CD (without any identification number) from Musée Départemental d’Art Contemporain de Rochechouart. The first printing is limited to just 1050 copies [online source: UbuWeb].
    • Contents
      1. R.LQ.S. Varie en 3 Cascades; recorded May 25-26, 1966 by Henri Chopin (23:28)
      2. Phonèmes; Recorded in 1956/1957 by Henri Chopin (15:58) [BBBB (1918/1922), FMSBW (1918), K'PERIOUM (1918/19), OFFEAHBDC(1918), OISEAUTAL (1919), CAUCHEMAR (1946), VALI TALI (1946)]
      3. Interview avec les Lettristes, 1947; recorded on 13 May 1959 (7:06)
      4. Sound-Rel, 1919; recorded on 13 May 1959 (4:18) [also on FilesTube]
      5. Poème sans titres (1919)
      6. "b b b b et F m s b w" (1918) (0:50)
      7. "b b b b et F m s b w" (1918) (1'09)
      8. "K' perioum" (1918/19)
      9. Chanson, Vali tali, baste (1946)
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  • PUBLICATIONS
  • Raoul Hausmann
    'Optophonetik', in MA (1922). Reprinted in Raoul Hausmann, La Sensoralité excentrique (Blackmoor Head Press : Cambridge, 1970) 6-10.
  • Raoul Hausmann
    'Poème phonétique', published in Courrier Dada (Le Terrain Vague : Paris 1958). Nouvelle édition augmentée, établie et annotée par Marc Dauchy (Editions Allia : Paris 1992; reprinted 2004) 49-61.
  • Raoul Hausmann
    'Introduction à l'Histoire du Poème Phonétique', in German Life and Letters 19, No. 1 (Oxford 1965) 19.
  • Raoul Hausmann
    'Recherches sur le poème phonétique', in De Tafelronde 14, nr. 3/4 (Antwerpen 1969) 107.
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  • SECONDARY LITERATURE
  • Ina Blom
    'The Touch through Time. Raoul Hausmann, Nam June Paik and the Transmission Technologies of the Avant-Garde', in Leonardo 34, Number 3 (June 2001) 209-215. This essay outlines the historiographic implications of the strange convergence between Berlin Dadaist Raoul Hausmann's Optophon (1920-1936)- a 'synaesthetic' instrument designed to transform sound signals into light signals and vice versa - and Nam June Paik's pioneering 1960s television work. Hausmann articulated a new, 'televisual' form of presence, which also implied a new form of tele-tactility. As his notion of tactility returns in Paik's work, the Optophon might be construed as the historical origin of the genre called 'video art'. Yet, it could be argued that Hausmann's technological reasoning produced an interruption at the very site where such art-historical legacies are constituted. In the late 1960s, Dadaist Raoul Hausmann, formerly of Berlin, took to the TV screen. This was not in a literal way, however: exiled after the Second World War in the French city of Limoges, he did not have access to television technology and he was not one of those artists who were invited to go on talk shows. Instead he wrote a fictitious transcript of a TV talk show.
  • Cornelius Borck
    'Sound work and visionary prosthetics. Artistic experiments in Raoul Hausmann', in Papers of Surrealism Issue 4 (Winter 2005) [online]; available at <http://www.surrealismcentre.ac.uk/papersofsurrealism/journal4/index.htm> [accessed 1 August 2011].
  • Uta Brandes, Michael Erlhoff (Hrsg.)
    Geist im Handumdrehen. Dadasophische Poesie. Kleine Bücherei für Hand und Kopf (Edition Nautilus : Hamburg 1989).
  • Christian W. Denker
    'Raoul Hausmann. Poèmes phonétiques', in Dada / catalogue publié sous la direction de Laurent Bois à l'occasion de l'exposition Dada présentée au Centre Pompidou, Galerie 1, du 5 octobre 2005 au 9 janvier 2006 (Editions du Centre Pompidou : Paris 2005) 476-477.
  • Jacques Donguy
    'L'Optophon de Raoul Hausmann = Hausmann and the optophone', in Art Press n°255 (mars 2000) 56-60 [online]; available at <http://www.costis.org/x/donguy/optophone.htm> [accessed 1 August 2011].
  • Jacques Donguy
    'Machine Head. Raoul Hausmann and the Optophone', in Leonardo 34, Number 3 (June 2001) 217-220. Raoul Hausmann, famous for his photomontages, is perhaps less well known as a pioneer of synaesthetic machines designed to transform sound into form and vice versa--not unlike primitive computers, in fact. The author has located the patent for one such invention, artist Peter Keene's realization of which accompanies this historical account.
  • Michael Erlhoff
    Raoul Hausmann, Dadasoph. Versuch einer Politisierung der Ästhetik (Zweitschrift : Hannover 1982). Includes bibliography (p. 312-332).
  • Walter Fähnders
    'Schrift-Bild und Opto-Phonetik bei Dada', in Inge Münz-Koenen, Justus Fetscher (Hg.), Pictogrammatica. Die visuelle Organisation in den Medienavantagarden (1900-1938) (Bielefeld 2006) 161-177.
  • Guilhem Fabre
    'Un coup de gueule jamais n'abolira le hasard. Raoul Hausmann et la poésie phonètique', in Cahiers du Musée National d'Art Moderne no. 88 (Summer 2004) 80-85. Discusses the sound poetry of Raoul Hausmann, focusing on a comparison between his poems and the work of Kurt Schwitters. The author highlights the introduction on a disk of his work (Musée de Rochechouart, 1997), explains that by entitling the first poem 'FMSBWT', which is the opening of Schwitters' 'Ursonate', Hausmann seeks to highlight his precedence over Schwitters, and cites Hausmann's comments in 'Courrier Dada' on Hugo Ball's innovation of sound poetry. He quotes the sound poet Henri Chopin's analysis of the difference between the work of Hausmann and Schwitters, studies the difference in their approach to language, and cites Schwitter's definition of `Merz'. He quotes Hausmann's belief that poetry is a form of action, considers the sense of confrontation in sound poetry in relation to the Dada movement, and examines Chopin's remarks on Hausmann's 'RLSQ Varié en Trois Cascades'. He concludes by highlighting a link between the poem and Ball's Cabaret Voltaire.
  • Thomas Keith
    Poetische Experimente der deutschen und russischen Avantgarde (1912-1922) – ein Vergleich. Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, Band 90 (Weidler Verlag : Berlin 2005) [More information].
  • Adelheid Koch-Didier
    "La Poésie a pour objet le MOT". Raoul Hausmann, écrivain. Les cahiers Raoul Hausmann 1 (Musée Départemental de Rochechouart : Rochechouart 1997).
  • Steve McCaffery
    'The Fate of the Dada Sound Poem', in The Sound of Poetry / The Poetry of Sound / ed. by Marjorie Perloff and Craig Dworkin (University of Chicago Press : Chicago 2009) 118-128.
  • Christopher Phillips
    'Im Chaos der Mundhöhle', in Der deutsche Spiesser ärgert sich. Raoul Hausmann 1886-1971 (Berlin etc. 1994) 55-67.
  • Raoul Hausmann (18861971) : Werkverzeichnis Biografie Bibliografie / Kurt Bartsch, Ralf Burmeister, Adelheid Koch-Didier, Stefan Schwar (frommann-holzboog Verlag : Stuttgart 2011).
  • Karl Riha
    'Dada visuell : wilde Typographie, optophonetische Poesie, Bildgedichte, etc.', in Bildende Kunst issue 11 (1989) 36-38 (ill.).
  • Anna Katharina Schaffner
    'How the Letters Learnt to Dance. On Language Dissection in Dadaist, Concrete and Digital Poetry', in Dietrich Scheunemann (ed.), Avant-Garde/Neo-Avant-Garde. Avant Garde Critical Studies 17 (Rodopi : Amsterdam 2005) 149-172.
  • Christian Scholz
    'Relations between sound poetry and visual poetry. The path from the optophonetic poem to the multimedia text', in Visible Language (2001) [online].
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  • IMAGE CREDITS
    banner: Raoul Hausmann [photographer anonymus]
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  • UPDATED