Hazel Smith is an experimental and performance poet, electronic literature writer, a multimedia artist, musician and academic. In addition to her artistic career, she is known for her scholarship on practice-based research. She has published nine poetry collections, over 40 sound and multimedia works and five academic books. She is an Emeritus Professor in the Writing and Society Research Centre at Western Sydney University, and an elected Fellow of the Royal Society of New South Wales.[1]
Smith was born in Leeds in the United Kingdom in 1950. Smith's mother, Eta Cohen, was a violin teacher.[2] and Smith followed in footsteps as a violinist and violin teacher in the 1970s and early 1980s.[3] In London she was a member of the experimental music group Lysis where she played violin, sometimes using a ring modulator to electronically alter the sound.[4] After completing a PhD in American literature, Smith moved to Australia, where LYSIS was renamed austraLYSIS. Smith started writing experimental poetry and became a contributor in Australia to sound poetry and poetry/music collaborations. Subsequently, she became active in electronic literature and multimedia work.
After she completed her PhD on Frank O'Hara in 1988, Smith spent 28 years in academia (at the Universities of New South Wales, Canberra and Western Sydney). After retiring in 2017 she has been an Emeritus Professor in the Writing and Society Research Centre, Western Sydney University.
Before becoming a poet and academic, Smith was a violinist, leading and recording with the chamber ensembles LYSIS and Sonant,[5] becoming a member of the Philharmonia Orchestra, and working with notable classical and new music ensembles such as the London Sinfonietta[citation needed]
Poetry
Smith's early poetry in the 80s and 90s was centered on formal and linguistic experimentation which was aligned with British "linguistically innovative poetry"[6] and American 'language poetry' as well as other modernist, postmodernist and lyric poetry traditions. This emphasis on formal experimentation has continued into in her later work but is accompanied by a stronger emphasis on social, political and psychological themes.[7] In her review of Hazel Smith's "In the game I make of sense," Joy Wallace explains that Hazel Smith's poetry uses "text sounds" to interact with technology.[8] Chris Arnold terms her work "relentlessly experimental."[9]
Smith's poetry volumes (listed below) have received academic and critical attention. Broad discussion of her work has appeared in many books and journals.[10] Major critical review books refer to her 'consistently experimental work' in poetry.[11]
Her books of poetry include:
Keys Round Her Tongue (2000). This collection of short prose, poems, and performance texts experiments with language and was inspired by "Casuarina Woman" by Sieglinde Karl-Spence (a woman made of needles).[12]
The Erotics of Geography (2008). This work includes audio and audio visual pieces "to turn this moonlit map upside down."[13]
Word Migrants (2016). This poetry uses "mix-up" texts of quotes and phrases from the internet.[14] Joy Wallace further notes that Smith's fourth volume of poetry is divided into thematic sections that cover Jewish history, ethical art, language, and loss and grief.[15] Ann Vickery analyzes poems in this work in the context of dementia, which considers connections between fluency and language difficulties.[16] Andy Jackson closely reads another poem in this collection, "The Poetics of Discomfort" to examine how disabilities and difficulties with language intersect.[17]
Ecliptical (Spineless Wonders, 2022) This work covers poetry creation, social and political concerns, human connections, identities and cultural differences, the female body, and time and perspective.[18] Wallace characterizes the project's aims "to propel earthly dwellers on paths we cannot immediately discern but must help to carve out.[19]
Heimlich Unheimlich: A poetry and art collaboration with Sieglinde Karl-Spence (2024). This work interweaves women's stories, which are named after different types of cloth (Muslin and Hessian).[20]
Electronic literature, performance poetry, and multimedia work
Smith was also active in Australia in sound and performance poetry, as represented in her earlier volumes, and on her CDs and CD-Rom (see below). Subsequently, in electronic literature and multimedia, she has published and exhibited numerous collaborative works, involving her text and text performance alongside image and sound and has been described as "a foremost electronic poet".[21] She has performed and broadcast her work in Europe, Asia, North America and Australasia and is a founding member of the sound and multimedia creative ensemble austraLYSIS.[22] There are several academic studies on her multimedia works.[23][24][25]
Her electronic literature works include:
Mid-Air Conversations (2007) is a moving and spatial algorithmic speech piece (a generative piece) from MAX/MSP patches that move between fragments of text.[26]
novelling (2020) with Will Luers (image) and Roger Dean (sound) remixes novels as a generative work, using text, video, and sound was first published in Electronic Literature Organization's (ELO) Electronic Literature Collection 4.[29]Alessandra Di Tella[d] contrasts this work with Tristano, a hyper-novel by Nanni Balestrini.[30] Fragments of text, video, and sound are presented in 6 minute cycles, with a change in interface every 30 seconds or at the reader's choice.[31] This work was shown in libraries in Norway, Denmark, and Romania.[32]
Academic research
Smith's academic research has focused on the areas of experimental writing, contemporary poetry, relationships between literature and music, electronic literature and creative writing process and pedagogy.[33] Sarah Law explains that Hazel Smith's academic criticism informs her poetry.[13] She has contributed five major academic books, and numerous research articles. For example, she co-edited Practice-led Research, Research-led Practice in the Creative Arts, Edinburgh University Press, 2009, which has >1350 citations.[34] Her volume The Writing Experiment: strategies for innovative creative writing, was designed for higher education creative writing courses and used internationally.[35] She is also a co-editor of the creative arts journal of online sound, text and image, soundsRite[36] and created its antecedent, Inflect, archived at the soundsRite site.
Awards
The Australian Broadcasting Corporation nominated Poet Without Language nominated to represent Australia for the Prix Italia Prize in 1992.[37]
In 2005, The Writing Experiment: strategies for innovative creative writing was shortlisted for the peer-reviewed Australian Publishing Association Awards for Excellence in Educational Publishing in the tertiary single-title category.[citation needed]
novelling was shortlisted for the international Turn on Literature Prize in 2017.[citation needed]
In 2018, together with Luers and Dean, she was awarded first place in ELO's international Robert Coover prize for their collaboration, novelling.[38][39]In 2023, another collaboration with Luers and Dean, Dolphins in the Reservoir, was shortlisted for the international New Media Writing Prize run by Bournemouth University, UK.
↑ austraLYSIS (Musical group); Xenakis, Iannis; Bright, Colin; Dean, R. T.; Smith, Hazel; Cresswell, Lyell; Rue, Rik (1994), Windows in Time, Glebe, NSW [Australia]: Tall Poppies, OCLC36044924Windows in Time on iTunes
↑ Wallace, Joy (2014). "Flagging down the flâneuse in Hazel Smith's City Poems". In Conti, Christopher; Gourley, James (eds.). Literature as Translation/Translation as Literature. Newcastle upon Tyne: Cambridge Scholars Publishing. pp.67–80. ISBN978-1-4438-5768-0. OCLC875097340.
↑ Taylor, Michelle (1972). "Myth, Parodic, Erotic". LINQ (Literature in North Queensland). 28 (2). Townsville: James Cook University of North Queensland English Department: 76–77. ISSN0817-458X. OCLC925154515.
↑ Carruthers, A. J. (2024). Vickery, Ann (ed.). The Cambridge companion to Australian poetry. Cambridge, United Kingdom: Cambridge University press. p.348. ISBN978-1-009-47018-6. OCLC1423504412.
↑ Mycak, Sonia (1997). "Nuraghic Echoes: Echoes of the Self". Australian Women's Book Review. 9 (1). Melbourne: Victoria University of Technology: 30–31. ISSN1033-9434. OCLC1064423390.
↑ Skoulding, Zoë (2013). "Performance and Absence in the Heterotopian City". Contemporary Women's Poetry and Urban Space: Experimental Cities. New York: Palgrave Macmillan. pp.202–205. ISBN978-1-137-36804-1. OCLC860766255.
↑ "PennSound: Hazel Smith and Roger Dean". CPCW: The Center for Programs in Contemporary Writing. Philadelphia: University of Pennsylvania. Archived from the original on 27 March 2025. Retrieved 25 June 2025.
↑ Di Tella, Alessandra (2020). "Da Tristano a Novelling e viceversa: appunti per un'analisi mediale comparata" [From Tristano to Novelling and vice versa: Notes for a Comparative Medium-Oriented Analysis]. Studi culturali (in Italian) (2): 205–220. doi:10.1405/97978. ISSN1824-369X. OCLC1366422925.
↑ "Hazel Smith". Poetry and Poetics. Retrieved 25 June 2025.
↑ Mebuke, Taman (2024). "On Defining Electronic Literature within the Realm of Digital Art". Journal of English Linguistics and Literature Review. 1 (2). Los Angeles, CA: STSL Press: 1–15. ISSN3065-6095.
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