My immediate impression upon an initial read was how systematic each poet's approach seemed. Literally, the poems of each contained either markings, language or syntax which implied systems akin to mathematics, datebooks, maps or manuals.
I have reread Chad Lietz's poem often. It demonstrates (or allows for a demonstration) of systematization through sound, utilizing a preface of instructions, a pronunciation key (wherein pronouncements are often more akin to definitions, revealing the thin line between making something mental audible, and making something mental mean something/ communicate), and finally his own brand of sheet music. Any further description, though exciting to attempt, would probably be more confusing than is worth the effort. It is a work which must be seen (or heard), which raises a kind of contradiction: a poem with double lives: visually instructive text and potential aural effect(s). In any case, Lietz's has created a kind of contemporary ZAUM ZAUM! [Linguistic experiments in sound symbolism & language creation, courtesy of Futurism.] His hand-drawn marks above the coded characters suggest to the reader the possibility of abstractly equating shape, length of line, and 'movement' with various expressive vocalizations.
My only thought now is to attempt to perform the piece aloud. I lent Chad a variety of sampling, filtering and recording equipment before I left Oakland. I wonder if the technology (& phenomenology involved in interacting with it) have influenced him, helping to manifest this new ZAUM.
Chad Lietz co-edits Cricket Online Review.
Contact David Horton to obtain a copy of WORK no 4.