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Hi > And then there are the various ways you might find to read the actual > words there. Yes, the learning to be sure one knows it does tend to fix the performance > Ive seen/heard performers who have seemed to me to be pretty good > stand-up comics; Ive seen/heard some who make interesting cultural.social > comments, but lacking the precision/concision I seek in poetry. > amen > Of course, when we get to that sounding thing (what I called Sound > Poetry, & I recall Richard Kostelanitz calling Text-Sound Text, & > Lawrence you were calling something else I cant find right now) ? I use the term text-sound composition. That's a borrowing from Lars Gunnar Bodin's and Bengt Emil Johnson's text-ljud komposition" which translates as text-sound composition It was meant as a catch all term for what they were doing I was told with deep seriousness in the 70s by someone from N America (can't remember who) that "the Swedes don't do real text-composition" [Also I used to have a letter from someone in Paris declining work submitted because "you do not follow the rules of mail art"] The line I have taken in what I do in that regard and with Cobbing and now with others as well as solo has a high degree of improv; so that, far from learning my lines, I am trying to forget my scores so that they take me by surprise > Well, definitions define, & limit perhaps, so . . . Yes. I can't help thinking that I at least have guessed at what we are talking about. I hope to be enlightened L