Compilation of Dadaist poems and texts declaimed by their own authors and made by Hans Richter in 1957 and premiered in 1961. Participating Jean Arp, Marcel Duchamp, Raoul Haussmann, Richard Huelsenbeck, Marcel Janco, Georges Ribemont-Dessaignes,Walter Mehrig, Hans Richter, Kurt Schwitters (on a 1932 recording), Tristan Tzara, and Wladimir Vogel. About the film that frames the texts, Richter said: "There is no story, there is no psychological implication except what the spectator puts in the images. But it is not purely accidental but rather a poetry of images built with and on associations. In other words, the film takes the liberty of playing on the scale of possibilities of the cinema, freedom for which Dadaism always bet and to which it continues to give medium." In reality, the film is a multilingual collection of Dada poetry, sound poems, and prose, along with Richter's choice of images and sounds typical of the Dada movement (objects and sculpture, especially by Man Ray; paintings, theater, performances and even chess games) to generate a new filmic style that he called "cinematic poetry" and defined as "externalized internal events", pointing out that there are many parallels between the composition of films and poetry, and that the essential element poetic is montage that creates metaphors.
He also states elsewhere: "Dadascope... unfolds like a melody. Every scene in this type of film has its own rhythm, its own kind of movement. The connecting of these movements into sort of sound patterns; the connecting of the colors that what accompanied in a color and sound film, which in Dadascope consists exclusively of poems, that is what I would like to develop". However, despite what he says about the exclusivity of music in the sounds produced by the poems themselves ( a principle of what would later be known as the "text-sound" genre, and inspired by fufurist phonetic poetry), we can see how there is music by Auric (very close to the Dadaist movement) fully accredited for the last poem and also that already from the first editions, preludes and interludes of parodic versions of classics such as Bizet's Carmen were interspersed, in the sound of "Calliope", a strange somewhat out-of-tune fluted pipe organ from the mid-19th century, a risky sound experiment performed by pianist Milton Kaye, on his 1956 vinyl "Nickelodeon and Calliope", the year before the film was made.
The original source of this realization was a curious German DVD from the 90's with no information about the editor, publisher or the place of edition.
The audio and video were remastered (in the ATI-Gabirol Lab.) to serve as work material for the subject "Music for Audiovisuals" by Ortiz Morales,Dr. at the Superior Conservatory of Music of Malaga, in the year 2006-2007. Doubled in size for release to the general public in 2022.
Some videos produced that year and derived from this proposed theme were Ción 1 (Futuristic Onomatopea) https://www.youtube.com/watch?v=Su50rHXe5LM
and Eggeling Diagonal 1 (audiovisual variations on a fragment of the Symphonie Diagonale) https://www.youtube.com/watch?v=LiQ1w-YLBGw
