broken glass. These sound outbursts are a response to the softness of the singing voice, in the same way as Carole’s keystrokes on the typewriter were a reply to Delphine’s voice.

These works also re-enact the “framing-cutting” gesture, with-in the textual and vocal fabric as well as the image. Catherine Cor-ringer’s “cutting up” mixes Solanas’s words with those of the first French translation, she samples them in a game of echoes that cre-ates distortions (“sperm” is looped, becoming deeper and deeper) and rhyming (“enjoy/destroy”). Such hammering of words sculpts the voice as a sound material that can become noise (with a warn-ing siren effect). There is a similar experiment in Tract for Valerie Solanas by Matmos 10, the electro group, which also relates to con-crete music, with the use of machetes, scissors, knifes, personal alarms and paper as a counterpoint to Barbara Golden’s voice, like Delphine’s voice in canon with Carole’s keystrokes.

Catherine Corringer’s body is also “frame-cut” by the light (some patches placed on a slide projector, mask, for instance, the face or to redefine the frame around the body). In Corringer’s per-formance, the body of flesh is where the montage takes place. It allows her to play with scale and hybridity in the same way as film editing functions to enlarge or shrink bodies and objects. A Barbie (the ultimate “daddy’s girl”) with prominent breasts (“daddy needs to hold on to her tits”), a large swimmer, flanked by a dispropor-tionate erect penis, and a miniature tank which are suspended to snap hooks that are needled to her skin, above and below the chest. The body of the artist bears the text, its' weight, in her flesh. 11