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Pierre Garnier: France: Postition I of The International Movement (1963)
Pierre Garnier: France: Postition I of The International Movement (1963)
Men are less and less determined by their nation, their class, their mother tongue, and
more and more by the function which they perform in society and the universe, by
presences, textures, facts, information, impulsions, energies. They have entered space
and already have adapted their movements, soon their thoughts, their inode of living to
this new freedom. Poetry turns from art to action, from recitation to constellation, from
phrase to structure, from song to the center of energy. For years groups or isolated
authors, who most of the time ignored each other and yet were conscious of humanity
called to functional and cosmic life, that is to say to metamorphosis that leads us beyond
existential fear, have made researchers in the direction of a poetry that can be given the
concrete poetry: working with language material creating structures with it, transmitting
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phonetic poetry: based upon the phonemes, sound bodies of language and generally
speaking upon all sounds emitted by the vocal organs of man, worked out on the tape
objective poetry: pictorial, graphic, sculptural and musical arrangement due to the
visual poetry: the word or its elements taken as objects and centers of visual energy;
phonic poetry: the poem composed directly on magnetic tape, words and sentences being
Because they have the following points in common, these diverse tendencies (which by
the way often appear) can be grouped into a movement (which leaves each of their
promoters free):
These kinds of poetry tend to become objective, that is to say to be no longer either the
vehicles of moral or philosophic content or the expression of a social ego that asks itself in
vain "Who am I?", bu the liberation of an energy, the sharing of esthetic information, the
(containing other universes as it is contained in them, from whence its authenticity). All of
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these poets are heading toward that ideal point where the word creates itself, liberating
These attempts complement each other: national languages are becoming more and more
bureaucratic having often lost their power of incantation, the remaining living elements of
languages must be freed (concrete, objective, visual poetry) and structured by renewing
and possibly changing the syntactic and semantic values. It is a matter of abandoning the
robot languages to their sleeping existence and of finding the lightning-signs, the sun
cries, the enormous richness that exists in man's vocal organs which common usage has
These kinds of poetry escape from the old social order and from the storehouse of
available ideas which has remained unchanged for thousands of years, and in which all
revolutions are engulfed and lost. For example: the Indo-European languages which are
based on the same substructure subject-verb-object, in which to our day a way of life has
been arrested.
These kinds of poetry are not content to explore, as did surrealism, with the help of fixed
modify it, upsetting it, liberating thus its profound vitality, they create new structures
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(acoustic as well as visual, syntactic as well as semantic) provoking the appearance of
hitherto unknown situations and putting man into a permanent environment of creation
and freedom.
This being so, these kinds of poetry tend more and more towards destruction of the very
idea of a work of art in favor of the idea of transmitted energy. For example: one branch
conscious, rational, methodical experiences, the "montage" implies total as well as pure
Another example: the sonie is an ensemble of sounds worked out on the tape recorder,
These kinds of poetry in their diversity as well as in their shared tendencies are driving
forces, they are man come back, liberated from a pre-establishcd language imposed from
childhood on with its burden of ideas and moralities, at the root of the forces and working
there aided by the most modern techniques and consciousness, like the cosmonaut in
space -the ethics residing in the audacity of change. Joy in the absence of narrow
certainties , joy in the world open as it is, joy of creation in creation infinitely spacious,
these kinds of poetry are not "fixed," they are constant1v becoming. It is in this sense
that one must understand this text position: we have reached this point on 10 October
1963.
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1. Language must be understood as the totality of functions, relations, radiations,
linguistic concretions, but also as the noises, gestures, silences by means of which
1963
signed by the following: Mario Chamie, Carl-Friedrich Claus, lan Harnilton Finlay, Fugitomi
Yasuo, John Furnival, Ilse Garnier, Pierre Garnier, Eugen Gomringer, Boliumila Grögerová,
Josef Hirsal, Anselm Hollo, Sylvester Houédard, Ernst Jandl, Kitasono, Katué, Frans van
der Linde, E. M. de Melo e Castro, Franz Mon, Edwin Morgan, Ladislav Novák, Herbert
Williams, from the following countries: Germany, Austria, England, Belgium, Brazil,
Ferdinand Kriwet agreed with POSITION I where "objective," "phonetic," and "visual"
poetry were concerned. Henri Chopin's reasons for being unable to sign it are discussed
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REALTED RESOURCES:
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