I repeat that the group compositions are the major compositions. Obviously they are formed by four individual voices but it is that moment of group identity that we have striven for. In an historical sense then this collection runs the risk of falsifying our history, but then print is an inadequate medium for our ultimate goal. Even phonograph recordings and tapes run this risk, as they remove the living performers from the audience's presence, and freeze what should be an ongoing process. This is part of why we insist that the texts are simply scores, simply the tracking of an oral intention, not, in their intention or most basic form, visual poems.
Composer is an inadequate term for sound poetry.
What you do is set up an intentional framework, a scheme of opportunities. And that is why tho we have listed the authors of particular pieces in the index, this list should not be taken as measure of any one person's contribution to the group. No one is more or less important. We have been and remain four idiosyncratic presences and only the four of us make up the Four Horsemen. A great deal of contemporary concrete poetry has been created primarily for the eye, but readers have found ways to vocalize it, converting into sound what was originally intended as image.