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from "il gioco delle voci" Giovanni Fontana s’intéresse depuis trente ans aux langages à plusieurs codes, aux techniques intermédias et aux synesthésies. Il étudie les rapports parmi les arts, il parcourt des chemins poétiques qui se trouvent aux frontières des langages, il produit des contaminations à partir des sources poétiques phono-visuelles. Par cette méthode, il conçoit une nouvelle idée du texte : un texte intégré, un polytexte, un hypertexte multipoétique, un ultra-texte transversal qui annonce la texture dynamique qui s’accomplit au delà de la page, dans une dimension spatio-temporelle. Ses ouvrages verbo-visuels sont de vraies partitions, des prétextes, des avant-textes, par lesquels Fontana aboutit à la performance de ses sound poems. Il a donné ses ouvrages verbo-visuels à plus de cinq cents expositions dans le monde entier, il a proposé des performances et des installations pour des centaines de festivals de nouvelle poésie et d’arts éléctroniques. Il a fondé la revue de poétiques intermédias "La Taverna di Auerbach" et la revue de poésie sonore "Momo". Il fait partie de la rédaction de "Baobab". Il est responsable de la direction de "Territori", revue d’architecture et d’autres langages. ELECTRONIC AND SOUND MASK Poetry is with the voice, into the voice, behind the voice. The voice is mistress of singing. It is mistress of sighs, puffs, stutterings, mumblings, whisperings, whistles, laughs, smacks, pantings, gasps and shots. The voice is signal of unexpressed. It goes beyond saying. It tells the unsaid before creating words. The voice is "corpus" and "spiritus", androgynous flatus, primordial conscience of existence (first shout) and extreme consciousness of death (last shout). Poet's must be able to sound in the deep : into the brain folds as into the most obscure mazes of the body ; into the memory as in the unconscious, in the ability as in the intentions. The phonic stream will evoke its own double. It will remind of the voice of the unexisting. It will come back to the origins setting itself to the game of amplifications, scanning, dissolution, reappearance. Poetry dies and lives again into the voice : voice dies and lives again into the sound. To find new acoustic spaces, poet will work on : combinations, frictions, contrasts, equal lines, outcrops, stream, pointillism, magma, concentrations, cuts; he will use fading, crescendo & decrescendo, upsets, back actions, erasures, glissandi, selections, colour energies, melting, aggregations, analysis, cuttings, overlaps, accelerations, slows, echoes, reverberations; he will exploit timbres, tunes and registers. The acoustic size of the unusual must be supported by electronic technology, by which the poet will always be able to build up own sound mask. Behind it he won't do music, but sound as one of the main aspects of language. Giovanni Fontana |
