Relevant bibliographies by topics / Defence of poetry

Academic literature on the topic 'Defence of poetry'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Defence of poetry"

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Bussanich, John. "Plato’s Defence of Poetry." Ancient Philosophy 6 (1986): 210–13. http://dx.doi.org/10.5840/ancientphil1986619.

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Waugh, Joanne Beil, and Julius A. Elias. "Plato's Defence of Poetry." Journal of Aesthetics and Art Criticism 45, no. 1 (1986): 99. http://dx.doi.org/10.2307/430475.

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McKim, Richard, and Julius A. Elias. "Plato's Defence of Poetry." Classical World 79, no. 3 (1986): 208. http://dx.doi.org/10.2307/4349865.

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Kraut, Richard, and Julius A. Elias. "Plato's Defence of Poetry." Noûs 21, no. 1 (March 1987): 66. http://dx.doi.org/10.2307/2215067.

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Anton, John P. "Plato’s Defence of Poetry." Idealistic Studies 17, no. 1 (1987): 89–90. http://dx.doi.org/10.5840/idstudies198717113.

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FALCK, COLIN. "A Defence of Poetry." Journal of Aesthetics and Art Criticism 44, no. 4 (June 1, 1986): 393–404. http://dx.doi.org/10.1111/1540_6245.jaac44.4.0393.

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Falck, Colin. "A Defence of Poetry." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 393. http://dx.doi.org/10.2307/429790.

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Craven, W. G. "Coluccio Salutati's defence of Poetry." Renaissance Studies 10, no. 1 (March 1996): 1–30. http://dx.doi.org/10.1111/j.1477-4658.1996.tb00001.x.

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Craven, W. G. "Coluccio Salutati's Defence of Poetry." Renaissance Studies 10, no. 1 (March 1996): 1–30. http://dx.doi.org/10.1111/1477-4658.00194.

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WAUGH, JOANNE BEIL. "Julius Elias, Plato's Defence of Poetry." Journal of Aesthetics and Art Criticism 45, no. 1 (September 1, 1986): 99–102. http://dx.doi.org/10.1111/1540_6245.jaac45.1.0099.

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Dissertations / Theses on the topic "Defence of poetry"

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Rowan, Sarah. "The efficacy of song itself : Seamus Heaney's defence of poetry." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8235.

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The defence of poetry dates back, in English literature, to Sidney's 'An Apology for Poetry' (1595), and the twentieth and twenty-first centuries have seen an increasing number of writers advancing arguments in support of an art form that seems, more than ever, to be under threat. In this thesis, Seamus Heaney's essays on the purpose of poetry are considered as they constitute a defence of the art form. While Heaney's poetry and prose have, as a result of his popularity and standing as a poet, generated an almost unprecedented body of critical work, his defence of poetry has not been recognised as such, nor has it come under sufficient critical scrutiny. Essentially a defence of a defence, this thesis redresses that omission by examining Heaney's apology as it takes shape in his essays, and in its application to a selection of his own poems.
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Lethbridge, Stefanie. "James Thomson's defence of poetry intertextual allusion in The Seasons /." Tübingen : Max Niemeyer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39081893j.

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Malec, Jennifer. "A 'long defence against the non-existent' : Englishness in the poetry of Phillip Larkin." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/11599.

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Larkin's place in the genealogy of English poetry is significant since, unlike many of his predecessors, his work lacks the hope or possibility of redemption offered by faith. Larkin countered the void created by his agnosticism by appealing to the power both of ritual and of the English landscape, and yet ultimately these attempts - although not wholly unsuccessful poetically - appear fruitless philosophically. Larkin's awareness of English society is not explicit, and yet his preoccupation with death and nothingness is inexorably linked to the political despair and religious questioning of post-war England. Through the use of the many' Englishes' of his time Larkin manages to construct a passable means by which to fill the lacuna left by godlessness. A thorough review of the critical opinion of Larkin is undertaken here, in order to sketch out the landscape of English letters and Larkin's place within, or in relation to, English poetry. His interrogation of the dominant societal structures is rigorous, and while his habit of constantly contradicting himself and his insistent ambiguity may seem to undermine his efforts, on closer inspection this lack of clarity complements his aims precisely. This dissertation will demonstrate how Larkin's use of cliche epitomises this struggle, and that in his poetry the often-assumed emptiness of such language is turned on its head. Larkin, it will be argued, deploys common English expressions as a modem substitute for the social links provided to earlier poets by means of reference to classical mythology.
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Kiernan, Pauline Fredrica. "Shakespeare's 'defence of drama' : the challenge to poetry and history with special reference to Antony and Cleopatra." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315869.

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Bunni, Adam. "Springtime for Caesar : Vergil's Georgics and the defence of Octavian." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/998.

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Vergil’s Georgics was published in 29 BCE, at a critical point in the political life of Octavian-Augustus. Although his position at the head of state had been confirmed by victory at Actium in 31, his longevity was threatened by his reputation for causing bloodshed during the civil wars. This thesis argues that Vergil, in the Georgics, presents a defence of Octavian against criticism of his past, in order to safeguard his future, and the future of Rome. Through a complex of metaphor and allusion, Vergil engages with the weaknesses in Octavian’s public image in order to diminish their damaging impact. Chapter One examines the way in which the poet invokes and complements the literary tradition of portraying young men as destructive, amorous creatures, through his depiction of iuvenes in the Georgics, in order to emphasise the inevitability of youthful misbehaviour. Since Octavian is still explicitly a iuvenis, he cannot be held accountable for his actions up to this point, including his role in the civil wars. The focus of Chapters Two and Three of this thesis is Vergil’s presentation of the spring season in the Georgics. Vergil’s preoccupation with spring is unorthodox in the context of agricultural didactic; under the influence of the Lucretian figure of Venus, Vergil moulds spring into a symbol of universal creation in nature, a metaphor for a projected revival of Roman affairs under Octavian’s leadership which would subsequently dominate the visual art of the Augustan period. Vergil’s spring is as concerned with the past as it is the future. Vergil stresses the fact that destructive activity can take place in spring, in the form of storms and animal violence; the farmer’s spring labor is characterised as a war against nature, which culminates in the horrific slaughter of oxen demanded by bugonia. In each case destruction is revealed as a necessary prerequisite for some form of creation: animal reproduction, increased crop yield, a renewed population of bees. Thus, the spring creation of a new Rome under Octavian will come as a direct result of the bloodshed of the civil wars, a cataclysm whose horrors are not denied, but whose outcome will ultimately be positive. Octavian is assimilated to Jupiter in his Stoic guise: a providential figure who sends fire and flood to Earth in order to improve mankind.
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Hanafi, Monia. "The Defense of Passivity in Louise Glück’s The Wild Iris." Thesis, Stockholms universitet, Engelska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-28524.

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In her poetry collection, The Wild Iris, Louise Glück constructs her own version of the divine garden of Eden with its own modern issues. The essay explores how passivity is portrayed and defended in the collection, both through her female speaker and in the way the garden has been constructed. The speaker latches on to different forms of passivity, such as devotion, perseverance and prayer, and refuses to adapt to her surroundings and contribute to the garden. The speaker distances herself from her physical surroundings, building walls as opposed to accommodating to her environment as she is encouraged to from her god and family; in this way she avoids visible progress and development. This isolation and refusal to adapt is a choice and an exhibition of the speaker's power; there is self-awareness present in the reader's refusal to adapt as she attempts to maintain the status quo. As a result, the speaker’s passivity allows her to elevate herself above the other humans in the collection; embracing passivity allows her to transcend progress. Other ways in which progress is avoided are also explored; Glück presents many voices in the collection that all seek contact and fail to achieve it. The reader is also involved, becoming yet another character that fails to interfere and communicate.
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Mills, Rebecca May. "'Thanks for that elegant defense' : polemical prose and poetry by women in the early eighteenth century." Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:d98a502d-97b4-4dd2-b5e6-1f8c432b5cb7.

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The end of the seventeenth century and the beginning of the eighteenth saw many women writers from numerous social ranks, political affiliations and religious denominations reading, writing, circulating and publishing polemical prose and poetry in defence of their sex. During this surge of protofeminist activity, many of these women decried 'Customs Tyranny' by advocating a more egalitarian status for themselves, especially in regard to marriage, education and religion. This thesis, then, is a socio-historic study of the lives and writings of several polemical women writers, namely, Mary Astell (1666-1731), Mary, Lady Chudleigh (1656-1710) and Elizabeth Thomas (1675-1731). It also considers how and why protofeminism evolved in the late seventeenth century and reached a climax between 1694, when Astell published A Serious Proposal to the Ladies, and 1710, when Chudleigh published Essays upon Several Subjects. Until now, scholars of early women writers have labelled Astell the foremost English feminist of her day. Consequently, many of her contemporary protofeminist writers have been neglected. By contextualizing their lives and texts within the political and literary activity at the turn of the eighteenth century, this thesis ultimately argues that women polemicists, such as Chudleigh and Thomas, who followed Astell into print, were not merely echoes and disciples. Rather, they furthered the evolution and secularization of a genre that anticipates feminism proper, which began to develop in the late eighteenth and early nineteenth centuries. In order to uncover and rediscover the personal and professional details of these women's lives their class, education, friendships and patronage relationships this thesis relied heavily upon material evidence such as letters, parish records, legal records, prison records and wills. As a result, it combines feminist, materialist inclinations with traditional methodology, such as historical and archival research.
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Nichols, Alicia. "From The Defense of Poesy to Astrophil and Stella: Sidney's Philosophical Ascent to Virtue." University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1418935594.

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Pénot, Alexandra. "Étude et projet d'édition du recueil de l'origine de la langue et poésie française, ryme et romans de Claude Fauchet." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3062.

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Ce projet d’édition et d’étude du Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC. de Claude Fauchet est accompagné d’un commentaire du livre I. Publié en 1581, le Recueil de Claude Fauchet se donne pour mission de retracer l’origine de la poésie, de la langue française, de la rime et du roman ; un objectif précisé dès son titre et auquel répond le livre I. C. Fauchet entreprend de retracer ces genèses multiples sous un angle nationaliste. La haute estime qu’il a vis-à-vis de son pays transparaît à de nombreuses reprises, notamment lorsqu’il développe l’exportation internationale de la culture française, l’influence des poètes français sur leurs condisciples européens, la précocité littéraire de la langue vernaculaire française, etc. Toutes ces informations sont données selon une progression diachronique : sont d’abord précisées l’origine de la parole, puis celle du langage et de la langue, vient ensuite la diversification de celle-ci en idiomes divers et enfin les causes expliquant les mutations dont ils sont l’objet. Sont également développées dans le Recueil l’émergence et l’évolution de la poésie : sa naissance est dite grecque grâce à l’excellence des productions helléniques qui ont servi de modèles aux Romains. C. Fauchet distingue ensuite deux types de poésie : celle de langue latine et celle de langue vernaculaire. Alors que la première répond à un impératif de mesure et de quantité ; la seconde nécessite quant à elle de la mesure et du son. Pour cette raison, c’est à la poésie vernaculaire que revient l’émergence de la rime. L’ensemble des réflexions qui constituent le Recueil sont par ailleurs traitées de manière scientifique : C. Fauchet prouve sans cesse ce qu’il affirme par la caution d’auteurs et de textes variés manifestant l’étendue de son érudition ; il s’oppose également à tout ce qui relève du mythe et de l’invraisemblance, préférant aux discours fabuleux des explications rationnelles. En tant qu’humaniste, C. Fauchet tient à diffuser largement ses savoirs, c’est pour cette raison qu’il traduit presque systématiquement les citations qu’il emprunte, que celles-ci soient grecques, latines ou en vieux-haut-allemand. En aucun cas, le Recueil ne se veut polémique : chacune des positions est subtilement exposée et les réprobations deC. Fauchet sont toujours exprimées avec modération. Le Recueil est donc une œuvre riche, traitant de thèmes variés, et engagée dans la défense de la langue française. C’est d’ailleurs afin d’en conserver les premiers monuments littéraires que le livre II trouve sa raison d’être : afin de les préserver, C. Fauchet a recopié de nombreux extraits de textes de trouvères antérieurs à 1300 ; c’est uniquement grâce à lui que certains ont été conservés
This project of an edition of the Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC by Claude Fauchet comes with a commentary of the first book. Published in 1581, le Recueil, is expected to trace the origin of poetry, of the French language, rhyme, and novel : an objective which is clearly set in its title and accomplished in the first book.C. Fauchet undertakes this multiple genesis under a nationalist point of view : all of his work is tinged with patriotism. The high esteem he has for his country shows on numerous occasions, especially when he explains the international export of French culture, the influence of French poets on their European peers, the literary precocity of its vernacular language, etc. All these elements are unfolded in a diachronic progression : first the origin of the word and that of language ; then comes its diversification in various idioms ; and, finally, the causes for these variations. Also developed in the Recueil, is the emergence and evolution of poetry, said to be of Greek origins thanks to the excellence of Greek productions, which have served as models to the Romans. C. Fauchet makes a distinction between two types of poetry: Latin and vernacular. While the first addresses the need for measure and quantity, the latter requires measure and sound. For this reason, rhyme blooms in vernacular poetry. Besides, the sum of reflections which make up the Recueil are treated scientifically :C. Fauchet constantly proves what he says by the authority of authors and various texts demonstrating the extent of his erudition ; he also opposes anything mythical or implausible, preferring rational explanations to fables. As a humanist, C. Fauchet wishes to widely disseminate his knowledge ; this is why he almost invariably translates his quotes from Greek, Latin or Old High German. In no case is the Recueil meant to be controversial : each position is subtly exposed and C. Fauchet’s disapproval is always expressed with moderation. Therefore, the Recueil is a rich work, covering various themes, and is committed to the defence of the French language. It is also in the preservation of the first literary monuments that the second book finds its reason for being : to preserve them, C. Fauchet has copied many extracts from texts written by trouvères prior to 1300 ; it is exclusively thanks to him that some are preserved
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Rizzoni, Nathalie. "Defense et illustration du "petit" : la vie et l'oeuvre de charles-francois pannard auteur dramatique et poete (1689-1765)." Paris 3, 1996. http://www.theses.fr/1996PA030065.

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Charles-francois pannard fut un auteur des plus celebres en son temps. Poete philosophe, observateur aigu et denonciateur perspicace des travers de son siecle, pannard a pose les conditions d'un art du bonheur dans l'ensemble de ses ecrits poetiques et dramatiques. Son ethique jouxte celle des epicuriens, n'est pas sans faire echo a montaigne ou a pascal et devance parfois la pensee de rousseau. Les valeurs esthetiques pronees par pannard s'affirment avec force a travers la defense et l'ullustration du "petit" et, par ricochet, du "simple", du "naturel" et du "vrai". Si la parodie dramatique est, chez lui, le vehicule le plus manifeste de la satire, on remarque que presque tout son repertoire comporte cette dimension critique : en mettant le theatre sur le theatre, en faisant du theatre le sujet meme de ses peices, il demonte la machine theatrale, denonce l'illusion dramatique, en appelle a la conscience critique du spectateur. Pannard a prefere le principe de plaisir et la liberte de creation a l'integration sociale et au souci de la posterite ; il a prefere la foire aux theatres privilegies, la liberte de l'ecriture et l'invention debridee, aux regles classiques. Par les choix esthetiques et litteraires qui la fondent, son oeuvre s'ancre dans la periode rococo qui, en france, couvre la premiere moitie du 18e siecle et comprend, dans le domaine pictural, les noms aussi bien de boucher que de chardin. Etudier le processus d'oubli dont cette oeuvre a ete frappee, revient plus largement a reevaluer des valeurs rejetees par la seconde moitie du 18e siecle neoclassicisant, et a poser la question de la place que pannard pourrait de nouveau occuper dans l'esthetique, la pensee morale et l'histoire des genres de la meme epoque. C'est surtout poser la question de la perennite de son oeuvre et de sa resonance possible aujourd'hui
Charles-francois pannard was one of the most famous authors of his time. As a poet-philosopher, as a sharp observer and a shrewd denouncer of his century's failings, pannard set out an art of happiness in all his poetic and dramatic writings. His ethics is close to that of the epicureans, echoes montaigne or pascal, and at times anticipates rousseau's ideas. Pannard's esthetic values forcefully assert themselves through the defense and illustration of "smallness" and by rebound, of what is "simple", "natural" and "true". Granted that dramatic parody is the most evident vehicule for satire in his work, one notes that a critical dimension can be found in almost his entire repertory : by putting theatre on the theatre, by choosing the theatre itself as the subject of his plays, he dismantles the theatrical machine, breaks down dramatic illusion, and calls upon the critical conscience of the spectator. Pannad preferred the principle of pleasure and the freedom of creation to social integration and to recognition by posterity. He preferred the "foire" to the privileged theatres. He preferred liberty of writing and unbridled creativity to classical rules. The esthetic and literary choices made by pannard anchor his work in the rococo period which, in france, covers the first half of the 18th century and embraces such figures as boucher and chardin. Studying the process which has led his work to fall into oblivion amounts to reassessing values rejected by the neoclassic second half of the 18th century, and opens on to the question of the place pannard might once again occupy in the esthetics, the ethics and the history of "genres" in the same period. It leads one to raise the question of the perennity of his work and its possible resonance today
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Books on the topic "Defence of poetry"

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Winter, Joe. In defence of poetry. Calcutta: Writers Workshop, 1999.

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Orchis, Courtesy. Offence 8 defence. [England]: Nine Hearts Publishing, 2000.

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The Pangborn defence: Poems. Emeryville, Canada: Biblioasis, 2008.

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lo, Liyong Taban, ed. The defence of Lawino. Kampala, Uganda: Fountain Publishers, 2001.

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Kuisma, Oiva. Proclus' defence of Homer. Helsinki: Societas Scientiarum Fennica, 1996.

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1918-1982, Shepherd Geoffrey, and Maslen R. W, eds. An apology for poetry, or, The defence of poesy. 3rd ed. Manchester: Manchester University Press, 2002.

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James Thomson's defence of poetry: Intertextual allusion in The Seasons. Tübingen: Max Niemeyer, 2003.

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Literature against philosophy, Plato to Derrida: A defence of poetry. Cambridge: Cambridge University Press, 1995.

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Foote, LeRoy. A defence and exposition of truth: A book for this time. Ottawa: [s.n.], 1987.

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Shelley, Percy Bysshe. The Defence of poetry fair copies: A facsimile of Bodleian MSS. Shelley e.6 and adds. d.8 : including A defence of poetry ... Bodleian MS. Shelley e.6, and, A defence of poetry, The Banquet translated from Plato, Essay on love ... Bodleian MS. Shelley adds. d.8. New York: Garland Pub., 1994.

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Book chapters on the topic "Defence of poetry"

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Bone, J. Drummond. "Organicism and Shelley’s a Defence of Poetry." In Approaches to Organic Form, 195–210. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3917-2_7.

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Kilgour, Maggie. "Vampiric Arts: Bram Stoker’s Defence of Poetry." In Bram Stoker, 47–61. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1007/978-1-349-26838-2_4.

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Humphrey, Richard. "Shelley, Percy Bysshe: A Defence of Poetry." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17078-1.

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Leggo, Carl. "In Defence of the Quotidian: Poetry and Life Writing." In Phenomenologies of Grace, 219–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40623-3_12.

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Williams, Todd O. "Integrating Experience: Morris’s The Defence of Guenevere and Other Poems." In A Therapeutic Approach to Teaching Poetry, 123–36. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137102034_8.

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Weiner, Stephanie Kuduk. "Two Defence[s] of Poetry: Shelley and the Newgate Magazine." In Republican Politics and English Poetry, 1789–1874, 35–65. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230599680_3.

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Endress, Gerhard. "1. Philosophy as Literature. Appraisal, Defence, and Satire of Rational Thought in Classical Arabic Poetry and Prose." In The Popularization of Philosophy in Medieval Islam, Judaism, and Christianity, 37–60. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.patma-eb.5.124228.

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Bleakley, Alan, and Shane Neilson. "In difference (and not deference) to narrative medicine." In Poetry in the Clinic, 3–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003194408-2.

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Williams, Todd O. "Gaining Awareness and Overcoming Defenses." In A Therapeutic Approach to Teaching Poetry, 1–15. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137102034_1.

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Farmer, Gareth. "Poetic Artifice and the Defence of Form." In Veronica Forrest-Thomson, 95–128. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62722-9_4.

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Conference papers on the topic "Defence of poetry"

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Chen, Huimin, Xiaoyuan Yi, Maosong Sun, Wenhao Li, Cheng Yang, and Zhipeng Guo. "Sentiment-Controllable Chinese Poetry Generation." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/684.

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Expressing diverse sentiments is one of the main purposes of human poetry creation. Existing Chinese poetry generation models have made great progress in poetry quality, but they all neglected to endow generated poems with specific sentiments. Such defect leads to strong sentiment collapse or bias and thus hurts the diversity and semantics of generated poems. Meanwhile, there are few sentimental Chinese poetry resources for studying. To address this problem, we first collect a manually-labelled sentimental poetry corpus with fine-grained sentiment labels. Then we propose a novel semi-supervised conditional Variational Auto-Encoder model for sentiment-controllable poetry generation. Besides, since poetry is discourse-level text where the polarity and intensity of sentiment could transfer among lines, we incorporate a temporal module to capture sentiment transition patterns among different lines. Experimental results show our model can control the sentiment of not only a whole poem but also each line, and improve the poetry diversity against the state-of-the-art models without losing quality.
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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.

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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
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