Heidsieck died on November 22, 2014.Internet: This book reproduces all of Heidsiecks typewritings of sound poems from 1955-1995. It consists of 120 "scores" reproduced in facsimile, revealing for the first time writing in its visual and graphic dimension that precedes and determines the public reading.This publication brings together typescripts of poems, music, and biopsies of Passe-Partout, texts designed mostly to be played and "charge for the year" in public, all scanned one by one in order to restore the most literal way possible. This plentiful material emerges a whole long life readings and performances, festivals and meetings, a life to imagine and build a modern, vibrant poetry that continues to mark an entire generation of young artists. "What I always want is to offer the opportunity to the listener / viewer to find a focal point and visual fixation. This seems to me essential. Without going so far away from happening, I always include a minimum of action so that the text is as lively and immediate thing and take an almost physical texture. It is therefore not reading per se, but to give to see the text heard. " Bernard HeidsieckPublished following the Bernard Heidsieck exhibition- Poetry Share at the Villa Arson , Nice, in 2011.In the mid 1950s Bernard Heidsieck (born in 1928 in Paris) decided to break with written poetry, to take it off the book. In a passive poetry, he opposes an active poetry, "standing" in his own words. It is one of the founders, in 1955, the Sound Poetry and in 1962, Action Poetry. It uses the tape in 1959 as a means of writing and further forward, opening its research to new fields of experimentation. While remaining attached to the semantics, he gradually emancipated from the constraints of language. He explores all the formal dimensions either by the spatial text, he writes in the score, or the presence of his body in space. The sound takes with him a plastic dimension, thanks to its exceptional diction based as much on the breath as a perfect articulation or inflections constantly renewed his voice. Over the years, his style has been reinvented with better reflect our daily lives, our, social political and economic world, through its major events, such as extreme banality. He developed his first poems in 1955-Scores. Then he continues to work in series with biopsies between 1966 and 1969 (13 in number). From 1969 to 1980, it is the 29 Passe-Partout. From 1978 to 1986, he wrote Dervish / The Robert composed of 26 sound poems. Then from 1988 breaths and brief encounters (60 poems produced from archival recordings of sounds poets). Alongside his own business, he organized in Paris in 1976 the first International Festival of Sound Poetry Workshop at Annick Le Moine, and in association with Michele Metail, Les Rencontres Internationales de Sound Poetry in Rennes, Le Havre and Paris Centre Georges Pompidou. He participated for many years in the organization of which he is Polyphonix festival some time president. It generates over 540 public readings of his texts in twenty countries. -- Source of annotation: Marvin or Ruth Sackner.