Uploaded July 2019 | Updated September 2026, 2 weeks ago
1. Ceterum auterm (1970)
2. La structure phonetique de la langue tchèque (1970)
3. Descartes' metamorphosis into liquid
Since the Second World War there has been an extraordinary revival of the researches of visual poetry, with which the Italian and Russian Fturists and the dadaists had experimented. The Swiss Eugen Gomringer and, at the same time the "Noigandres" group in San Paolo, Brazil, have developed the theory of concrete poetry. One of the most interesting poets of this type to emerge is the Czechoslovakian Ladislav Novák. Concrete poetry, which can be taken to refer to all poetic works relating to poetic visuality - required the revelation of the semiotic values of the writing, that is to say, the construction of an architecture of the text, a verbotecture, which found a correspondence in advertising slogans. These plastic values tended to contrast with the phonic values and for this very reason a number of authors felt it incumbent on them to carry out parallel researches in the field of pure sound. This was the case of Franz Mon and Ferdinand Kriwet in Germany, Lora-Totino in Italy, Bob Cobbing in England and also of Ladislav Novák. Since 1970, Novák, taking advantage of the technical facilities offered by Swedish Radio and the Fylkingen group, has produced a number of sonic compositions which have earned him a high rank among the verbophonic poets. His first sonic attempts were founded almost entirely on onomatopoeia: "Little bird in the cables of the steel city", "Awake", "Aviators", and thus were related to the futurist experiments. His more recent works, however, reveal the ironic spirit of Czech literature. In "Human life" a sentence in Latin - "festina lente, spero venientibus ossa" - repeated in an obsessive manner with liturgical cadence creates an atmosphere similar to that of "Ceterum Autem", presented here. In "Les Miroires aux Alouettes" (1970) tissues of echoes compose a subtle satire on the social functions of poetry. "La Structure phonétique de la lanc tchèque" is a poem constructed by the technique of permutation: it is pretended that a computer is carrying out a program of research of the phonetic structure the Czech language.
Ladislav Novák was born in 1925 at Turnov (Bohemia). He studied at Prague University. Since 1964 he has published concrete poems in avant-garde Magazines all over the world. He died in 1999.
1. Ceterum auterm (1970)
2. La structure phonetique de la langue tchèque (1970)
3. Descartes' metamorphosis into liquid
Since the Second World War there has been an extraordinary revival of the researches of visual poetry, with which the Italian and Russian Fturists and the dadaists had experimented. The Swiss Eugen Gomringer and, at the same time the "Noigandres" group in San Paolo, Brazil, have developed the theory of concrete poetry. One of the most interesting poets of this type to emerge is the Czechoslovakian Ladislav Novák. Concrete poetry, which can be taken to refer to all poetic works relating to poetic visuality - required the revelation of the semiotic values of the writing, that is to say, the construction of an architecture of the text, a verbotecture, which found a correspondence in advertising slogans. These plastic values tended to contrast with the phonic values and for this very reason a number of authors felt it incumbent on them to carry out parallel researches in the field of pure sound. This was the case of Franz Mon and Ferdinand Kriwet in Germany, Lora-Totino in Italy, Bob Cobbing in England and also of Ladislav Novák. Since 1970, Novák, taking advantage of the technical facilities offered by Swedish Radio and the Fylkingen group, has produced a number of sonic compositions which have earned him a high rank among the verbophonic poets. His first sonic attempts were founded almost entirely on onomatopoeia: "Little bird in the cables of the steel city", "Awake", "Aviators", and thus were related to the futurist experiments. His more recent works, however, reveal the ironic spirit of Czech literature. In "Human life" a sentence in Latin - "festina lente, spero venientibus ossa" - repeated in an obsessive manner with liturgical cadence creates an atmosphere similar to that of "Ceterum Autem", presented here. In "Les Miroires aux Alouettes" (1970) tissues of echoes compose a subtle satire on the social functions of poetry. "La Structure phonétique de la lanc tchèque" is a poem constructed by the technique of permutation: it is pretended that a computer is carrying out a program of research of the phonetic structure the Czech language.
Ladislav Novák was born in 1925 at Turnov (Bohemia). He studied at Prague University. Since 1964 he has published concrete poems in avant-garde Magazines all over the world. He died in 1999.
![Karlheinz STOCKHAUSEN: Kontakte (version Nr. 12½)
Kontakte (Contacts) is a celebrated electronic music work by Karlheinz Stockhausen, realized in 1958–60 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig (Morawska-Büngeler 1988, 109). The score is Nr. 12 in the composers catalogue of works, and is dedicated to Otto Tomek.
The title of the work “refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement” (Stockhausen 1964, 105). The composition exists in two forms: (1) for electronic sounds alone, designated Nr. 12 in the composers catalog of works, and (2) for electronic sounds, piano, and percussion, designated Nr. 12½ (Frisius 2008, 132; Heikinheimo 1972, 115; Stockhausen 19, 104; Stockhausen 1971, 384). A further, theatrical work, Originale (Nr. 12⅔), composed in 1961, incorporates all of the second version of Kontakte (Stockhausen 1964, 107).
The score is divided into sixteen sections with many subsections, numbered I A–F, II, III, IV A–F, V A–F, VI, VII A–F,VIII A–F, IX A–F, X, XI A–F, XII A1BA2, XIII A, Ab, Ad, Ae, Af B–F, XIV, XV A–F, and XVI A–E [and F].
According to the composer, “In the preparatory work for my composition Kontakte, I found, for the first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single control” (Stockhausen 1962, 40), thereby realizing a longstanding goal of total serialism. On the other hand, Kontakte is arguably the last of Stockhausens tape pieces in which serial proportions intervene decisively at anything but the broad formal level (Toop 1981, 189). The most famous moment, at the very center of the work, is a potent illustration of these connections: a high, bright, slowly wavering pitch descends in several waves, becoming louder as it gradually acquires a snarling timbre, and finally passes below the point where it can be heard any longer as a pitch. As it crosses this threshold, it becomes evident that the sound consists of a succession of pulses, which continue to slow until they become a steady beat. With increasing reverberation, the individual pulses become transformed into tones once again (Clarke 1998, 225).
Stockhausen also made advances over his previous electronic composition, Gesang der Jünglinge, in the realm of spatial composition, adding the parameters of spatial location, group type, register, and speed (Toop 2005, 170). Kontakte is composed in four channels, with loudspeakers placed at the corners of a square surrounding the audience. With the aid of a rotation table, consisting of a rotatable loudspeaker surrounded by four microphones, he was able to send sounds through and around the auditorium with unprecedented variety (Maconie 2005, 208–209). Karlheinz STOCKHAUSEN: Kontakte (version Nr. 12½)](https://i.ytimg.com/vi/jf-x2cAAkOM/mqdefault.jpg)
![Krzysztof Penderecki Quartetto per archi
LaSalle-Quartett, 1968
Krzysztof Eugeniusz Penderecki (Polish: [ˈkʂɨʂtɔf ɛuˈɡɛɲuʂ pɛndɛˈrɛt͡skʲi]; born 23 November 1933) is a Polish composer and conductor. According to The Guardian, Penderecki has been called Polands greatest living composer.[1] Among his best known works are his Threnody to the Victims of Hiroshima, St. Luke Passion, Polish Requiem, four operas, eight symphonies and other orchestral pieces, a variety of instrumental concertos, choral settings of mainly religious texts, as well as chamber and instrumental works.
Born in Dębica to a lawyer, Penderecki studied music at Jagiellonian University and the Academy of Music in Kraków. After graduating from the Academy of Music, Penderecki became a teacher at the academy and he began his career as a composer in 1959 during the Warsaw Autumn festival. His Threnody to the Victims of Hiroshima for string orchestra and the choral work St. Luke Passion, have received popular acclaim. His first opera, The Devils of Loudun, was not immediately successful. Beginning in the mid-1970s, Pendereckis composing style changed, with his first violin concerto focusing on the semitone and the tritone. His choral work Polish Requiem was written in the 1980s, with Penderecki expanding it in 1993 and 2005.
During his life, Penderecki has won several prestigious awards, including the Commanders Cross in 1964, the Prix Italia in 1967 and 1968, the Knights Cross of the Order of Polonia Restituta in 1964, three Grammy Awards in 1987, 1998 and 2001, and the Grawemeyer Award for Music Composition in 1992. Krzysztof Penderecki Quartetto per archi](https://i.ytimg.com/vi/k36oD_6D3J8/mqdefault.jpg)

![no pulse only color (vol. I)
Presented and curated by △ thoHk ▽
Gridlines dissolve. Time stops. This is a canvas of pure texture, frequency, and weightless gravity, where traditional rhythm is stripped away to expose the raw, vibrating spectrum of avant-garde sound. Six visionary composers, no pulse only color.
01. Katharina Klement – Vortex (2018/2021) [00:00 - 09:28] (Stereo Acousmatic Version) — Winner of the first prize at the Weimar Spring Days for Contemporary Music (Weimarer Frühjahrstage) in 2023, this purely loudspeaker-intended piece follows the Baroque concept of the elastic fold. Beginning with a narrow, sustained midrange line, it gradually folds into weightless glissandi that accelerate into spirals, turbulence, and dense, magnificent acoustic whirls.
02. Dganit Elyakim – One On 1.1 for metal percussion and electronics (2021) [09:29 - 17:56] (Percussion: Tomer Galili | Mix: Ronald Boersen) — An ongoing musical dialogue designed for a solo acoustic instrument paired with live electronics, where the computer acts as a sonic parasite, mutating Tomer Galili’s metal percussion in real time. The boundary between physical striking and digital resonance blurs entirely, morphing hard metal into fluid soundscapes.
03. Alen Ilijic – sHe knows (2024–2026) [17:57 - 29:01] — Composed and performed by Alen Ilijic, recorded by Sven Pavlović at Sunday Studios, and mixed and mastered by Charlie Beresford. This piece reflects a radical, avant-garde approach that prioritises raw, intuitive expression and uncompromising artistic truth over traditional structures. The work serves as a deeply personal act of remembrance, dedicated by Ilijic in 2026 to the memory of Dina, Evgeny, Eitan, and Aline Kapshetar, a family whose lives were lost to HAMAS terrorists on October 7th, 2023.
04. Dafna Naphtali – Scatternet (2016) [29:02 - 37:55] — Performed by Dafna Naphtali (voice, electronics, live sound processing) and originally released on the album Silver Shift. This track is a masterful study in real-time digital alchemy, using custom electronic patches to fragment and scatter her own voice across the stereo field, turning a human instrument into a complex, shimmering web of pure electronic color.
05. Guy Barash – Proteus: Electric Monologue (2008–2009) [37:56 - 46:19] — A profound musical rendition featuring text by Nick Flynn and the voice of Andrew Struck-Marcell, drawing from Flynn’s memoir “The Ticking Is The Bomb” and his poetry collection “The Captain Asks for a Show of Hands.” Named after the shifting Greek sea-god who changes his shape to evade capture, this piece slips seamlessly through shifting electronic forms, anchoring an elusive future in the raw grit of the spoken word.
06. Arie Shapira – Left-Right (1996/2000) [46:20 - 1:01:03] — A monumental electro-acoustic work from the late Israeli modernist master, originally featured on his retrospective album Electronics Plus and layered with text by poets Meir Wieseltier, Dan Pagis, Aryeh Sivan, Natan Zach, and Raya Harnik. Left-Right serves as a stark, dense sonic commentary on political polarisation, stripping away traditional harmony to expose the clashing, static friction of words, memory, and social structures.
Vol. II is already in the works and coming soon! Stay tuned for the next phase. no pulse only color (vol. I)](https://i.ytimg.com/vi/kHeBmGTQi9c/mqdefault.jpg)






