kagel in Goldsmith 2011

. Sound poetry opened up a whole new terrain: certain of [John Cage’s
readings](http://www.ubu.com/sound/cage.html) of his mesostic texts could be
termed “sound poetry,” hence we included them. As often, though, Cage combined
his readings with an orchestral piece; we included those as well. But soon, we
found ourselves unable to distinguish the difference between “sound poetry”
and “music.” We encountered this dilemma time and again whether it was with
the compositions of [Maurico Kagel](http://www.ubu.com/sound/kagel.html),
[Joan La Barbara](http://www.ubu.com/sound/lab.html), or [Henri
Chopin](http://www.ubu.com/sound/chopin.html), all of whom are as well-known
as composers as they are sound artists. After a while, we gave up trying to
name things; we dropped the term “sound poetry” and referred to it thenceforth
simply as “[Sound](http://www.ubu.com/sound/index.html).”

When we began posting [found street
poems](http://www.ubu.com/outsiders/ass.html) that used letter

a number of films
about avant-garde music, most notably [Robert
Ashley](http://www.ubu.com/sound/ashley.html)’s epic 14-hour [Music with Roots
in the Aether](http://www.ubu.com/film/aether.html), a series of composer
portraits made in the mid-70s featuring artists such as [Pauline
Oliveros](http://www.ubu.com/film/oliveros.html), [Philip
Glass](http://www.ubu.com/film/glass_aether.html), and [Alvin
Lucier](http://www.ubu.com/film/aether.html). A dozen of the rarely screened
films by [Mauricio Kagel](http://www.ubu.com/film/kagel.html) can be viewed as
can [Her Noise](http://www.ubu.com/film/her_noise.html), a documentary about
women and experimental music from 2005. There are also hours of performance
documentation, notably the entire [Cinema of
Transgression](http://www.ubu.com/film/transgression.html) series with films
by [Beth B](http://www.ubu.com/film/b.html) and [Richard
Kern](http://www.ubu.com/film/kern.html), a lecture by [Chris
Burden](http://www.ubu.com/film/burden.html), a boot


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