Henri Chopin (18 June 1922 – 3 January 2008) was an avant-garde poet and musician.
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Henri Chopin was a French practitioner of concrete and sound poet, well-known throughout the second half of the 20th century. His work, though iconoclastic, remained well within the historical spectrum of poetry as it moved from a spoken tradition to the printed word and now back to the spoken word again (Wendt 1996, 112). He created a large body of pioneering recordings using early tape recorders, studio technologies and the sounds of the manipulated human voice. His emphasis on sound is a reminder that language stems as much from oral traditions as from classic literature, of the relationship of balance between order and chaos.
Chopin is significant above all for his diverse spread of creative achievement, as well as for his position as a focal point of contact for the international arts. As poet, painter, graphic artist and designer, typographer, independent publisher, film-maker, broadcaster and arts promoter, Chopin's work is a barometer of the shifts in European media between the 1950s and the 1970s.
His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as Raoul Hausmann and Marcel Janco to a fresh audience.
Chopin's poesie sonore aesthetics included a deliberate cultivation of a barbarian approach in production, using raw or crude sound manipulations to explore the area between distortion and intelligibility. He avoided high-quality, professional recording machines, preferring to use very basic equipment and bricolage methods, such as sticking matchsticks in the erase heads of a second-hand tape recorder, or manually interfering with the tape path (Wendt 1985, 16–17).