The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S.
Lindon developed a cut-up technique known as vocabularyclept poetry, in which a poem is formed by taking all the words of an existing poem and rearranging them, often preserving the metre and stanza lengths. A precedent of the technique occurred during a Dadaist rally in the 1920s in which Tristan Tzara offered to create a poem on the spot by pulling words at random from a hat.
Eliot's 1922 poem, The Waste Land, and John Dos Passos' U.S.A.
The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S.
Wolman developed cut-up techniques as part of his lettrist practice in the early 1950s. Also in the 1950s, painter and writer Brion Gysin more fully developed the cut-up method after accidentally re-discovering it.
The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S.
This was part of an abandoned project called Guerrilla Conditions meant as a documentary on Burroughs and filmed throughout 1961–1965.
In her late 1970s novel Blood and Guts in High School, Acker explored literary cut-up and appropriation as an integral part of her method. ==History in film== Antony Balch and Burroughs created a collaboration film, The Cut-Ups that opened in London in 1967.
In her late 1970s novel Blood and Guts in High School, Acker explored literary cut-up and appropriation as an integral part of her method. ==History in film== Antony Balch and Burroughs created a collaboration film, The Cut-Ups that opened in London in 1967.
Other cut-up films include Ghost at n°9 (Paris) (1963–72), a posthumously released short film compiled from reels found at Balch's office after his death, and William Buys a Parrott (1982), Bill and Tony (1972), Towers Open Fire (1963) and The Junky's Christmas (1966). ==Influence in music== From the early 1970s, David Bowie used cut-ups to create some of his lyrics.
In 1977, Burroughs and Gysin published The Third Mind, a collection of cut-up writings and essays on the form.
Prior to this event, the technique had been published in an issue of 391 in the poem by Tzara, dada manifesto on feeble love and bitter love under the sub-title, TO MAKE A DADAIST POEM. A drama scripted for five voices by performance poet Hedwig Gorski in 1977 originated the idea of creating poetry only for performance instead of for print publication.
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