Cut up the DADA cutter's

I’m here to tell you that this destruction of linear literature form inspires me to consume random magazines, commercials, adverts with my crafty scissors and magnifying glasses sitting naked on the floor piecing together some of the most confabulated, magical, obtuse, vacuous, intelligent prose/poetry.

I experimented with this early this a.m. and was shocked at the results, not only was the message coherent but it was powerful, boundless and shattering, shattering perceived notions of poetry and its craft, of poetry and your normal tenure when writing, I even created a pseudonym for myself to transport outside of my body/brain, that in itself was liberating and chaotic. So I implore you to lay down your pens, burn the paper, and wield your weapon gathering all of the reading material in your house and proceed to shred holes into the vessel. Here is some info from wiki: and also a poem by Tristan Tzara on how to CUT and one by me and christie marie—-john c sweet (Wilfrid Wynndham)

To Make A Dadist Poem

Take a newspaper.
Take some scissors.
Choose from this paper an article the length you want to make your poem.
Cut out the article.
Next carefully cut out each of the words that make up this article and put them all in a bag.
Shake gently.
Next take out each cutting one after the other.
Copy conscientiously in the order in which they left the bag.
The poem will resemble you.
And there you are–an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.

Tristan Tzara

We are Up
by Wilfrid Wynndham

Part hearts signals it pulses electrical
Cerebral bodily beat those transmit at all
With scalp attached electrodes where the system
Each the neurons junctions which and by tiny
These and the electrical starts make blink electrical
Consciousness central synapses our nervous our meet
they time light cell small bright firing of our that lives
Continually pick symphony brains information slimy up
Produced billions
we are up



by christie marie
light light car and then there’s germ

There’s flooring more to the clean than halo meets germs
One halo eye carpets more and millions
while beautiful normally
many the family’s lot
halo action floors
how many vacuum
healthier exposed clean been
call simply
you that e.
coli mold powerfully
you and floors
your germ you live
your powerful kills even
do or all truth mold the looking carries
and eye cleaning know of mite
let as tradition and kill of dust
do eggs have course?
Up vacuum
Than the the to the to of is and the the clean germs
To the in our clean dust really killing
Light light car and there’s germ

Technique

The cut-up and the closely associated fold-in techniques are literary writing styles that try to break the linearity of common literature. They are designed to be used with common typewriters.

* Cut-up is performed by taking a finished and fully linear text (printed on paper) and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text. The rearranging of work often results in surprisingly innovative new phrases. A common way is to cut a sheet in four rectangular sections, rearranging them and then typing down the mingled prose while compensating for the haphazard word breaks by improvising and innovating along the way.


* Fold-in is the technique of taking two different sheets of linear text (with the same linespacing), cutting each sheet in half and combining with the other, then reading across the resulting page. The resulting text is often a blend of the two themes, somewhat hard to read.


* Four Pieces is performed by a full page of completed text, and folding it down the middle horizontally then vertically and cutting it up into four pieces and rearranging then so now a new text is formed.

History

A precedent of the technique occurred during a Surrealist rally in the 1920s: Tristan Tzara offered to create a poem on the spot by pulling words at random from a hat. A riot ensued and André Breton expelled Tzara from the movement.

Gil J. Wolman developed cut-up techniques as part of his lettrist practice. Also in the 1950s painter and writer Brion Gysin more fully developed the cut-up method after accidentally discovering it. He had placed layers of newspapers as a mat to protect a tabletop from being scratched while he cut papers with a razor blade. Upon cutting through the newspapers, Gysin noticed that the sliced layers offered interesting juxtapositions. He began deliberately cutting newspaper articles into sections, which he randomly rearranged. Minutes to Go resulted from his initial cut-up experiment: unedited and unchanged cut-ups which emerged as coherent and meaningful prose. South African poet Sinclair Beiles also used this technique and co-authored Minutes To Go. Argentine writer Julio Cortázar often used this technique in his book Hopscotch. Indian Hungry generation poet Malay Roy Choudhury and novelist Subimal Basak adopted the cut up technique during the sixties.[citation needed]

Gysin introduced writer William S. Burroughs to the technique at the Beat Hotel. The pair later applied the technique to printed media and audio recordings in an effort to decode the material’s implicit content, hypothesizing that such a technique could be used to discover the true meaning of a given text. Burroughs also suggested cut-ups may be effective as a form of divination saying, “When you cut into the present the future leaks out.”[1] Burroughs also further developed the “fold-in” technique.

Burroughs has cited earlier works as proto-cut-ups: T. S. Eliot’s long poem, The Waste Land, and portions of John Dos Passos’ works. In 1977, Burroughs and Gysin published The Third Mind, a collection of cut-up writings and essays on the form.

Musical influence and similarities

From at least the early 1970s, David Bowie has used cut-ups to create some of his lyrics. It is a technique which came to influence Kurt Cobain’s songwriting.[citation needed]

Jeff Noon uses a similar remixing technique in his writing based on the practices prevalent in Dub music. He expanded upon his remixing with his Cobralingus system, which breaks down a piece of writing, going as far as turning individual words into anagrams, then melding the results into a narrative.

And to return to Tzara’s Dadaist example, Thom Yorke applied a similar method in Radiohead’s Kid A (2000) album, writing single lines, putting them into a hat, and drawing them out at random while the band rehearsed the songs.

In the film Downtown 81, the band Tuxedomoon can be seen performing using a similar method of reading phrases from cut-up papers.

An online subculture of bastard pop resembles the fold-in technique by for example taking instrumentals from one artist and combining it with the vocals of another artist.

Burroughs taught cut-up technique to Genesis P-Orridge in 1971 as a method for “altering reality”. Burroughs’ explanation was that everything is recorded, and if it is recorded, then it can be edited (P-Orridge, 2003). P-Orridge has long employed cut-ups as an applied philosophy, a way of creating art and music, and of conducting one’s life.

**http://en.wikipedia.org/wiki/Cut-up_technique