Editing Cut-up technique (section)

===In literature===
A precedent of the technique occurred during a Dadaist rally in the 1920s in which [[Tristan Tzara]] offered to create a poem on the spot by pulling words at [[random]] from a hat. [[Collage]], which was popularized roughly contemporaneously with the Surrealist movement, sometimes incorporated texts such as newspapers or brochures. Prior to this event, the technique had been published in an issue of 391 in the poem by Tzara, ''dada manifesto on feeble love and bitter love'' under the sub-title, ''TO MAKE A DADAIST POEM''.<ref>{{cite web|url=http://www.in-vacua.com/tzara.shtml|title=Tzara Combinations|website=www.in-vacua.com|access-date=9 April 2018}}</ref><ref name="autogenerated1920"/>

In the 1950s, painter and writer [[Brion Gysin]] more fully developed the cut-up method after accidentally rediscovering it. He had placed layers of newspapers as a mat to protect a tabletop from being scratched while he cut papers with a [[razor blade]]. Upon cutting through the newspapers, Gysin noticed that the sliced layers offered interesting juxtapositions of text and image. He began deliberately cutting newspaper articles into sections, which he randomly rearranged. The book ''Minutes to Go'' resulted from his initial cut-up experiment: unedited and unchanged cut-ups which emerged as coherent and meaningful prose. South African poet [[Sinclair Beiles]] also used this technique and co-authored ''Minutes To Go''.

Argentine writer [[Julio Cortázar]] used cut ups in his 1963 novel ''[[Hopscotch (Julio Cortázar novel)|Hopscotch]]''.

In 1969, poets [[Howard W. Bergerson]] and [[J. A. Lindon]] developed a cut-up technique known as [[vocabularyclept poetry]], in which a poem is formed by taking all the words of an existing poem and rearranging them, often preserving the metre and stanza lengths.<ref name="rogers">{{cite journal |last=Rogers |first=Ben |author-link=Howard Bergerson |date=February 1969 |title=Some Neglected Ways of Words |url=http://digitalcommons.butler.edu/wordways/vol2/iss1/4/ |journal=[[Word Ways: The Journal of Recreational Linguistics]] |publisher=[[Greenwood Periodicals]] |volume=2 |issue=1 |pages=14–19 }}</ref><!-- "Ben Rogers" is an anagrammatic pseudonym of "Bergerson" --><ref name="lindon1">{{cite journal |last=Lindon |first=J. A. |author-link=J. A. Lindon |date=May 1969 |title=The Vocabularyclept Poem, № 1 |url=http://digitalcommons.butler.edu/wordways/vol2/iss2/8/ |journal=[[Word Ways: The Journal of Recreational Linguistics]] |publisher=[[Greenwood Periodicals]] |volume=2 |issue=2 |pages=85–89 }}</ref><ref name="bishop">{{cite book |last1=Bishop |first1=Yvonne M.|author1-link= Yvonne Bishop |last2=Fienberg |first2=Stephen E. |last3=Holland |first3=Paul W. |date=2007 |title=Discrete Multivariate Analysis: Theory and Applications |url=https://archive.org/details/discretemultivar00bish_667|url-access=limited |publisher=Springer |pages=[https://archive.org/details/discretemultivar00bish_667/page/n344 340]–342 |isbn=978-0-387-72805-6 }}</ref>

A drama scripted for five voices by performance poet [[Hedwig Gorski]] in 1977 originated the idea of creating poetry only for performance instead of for print publication. The "neo-verse drama" titled ''Booby, Mama!'' written for "guerilla theater" performances in public places used a combination of newspaper cut-ups that were edited and choreographed for a troupe of non-professional street actors.<ref>Intoxication: Heathcliff on Powell Street, Slough Press, 2009, {{ISBN|978-0615271033}}</ref><ref>[https://www.amazon.com/Booby-Mama-Surreal-Cut-Up-Spoken/dp/1507829159 Booby Mama! Cut-Up Spoken Word, 1977]</ref>

[[Kathy Acker]], a literary and intermedia artist, sampled external sources and reconfigured them into the creation of shifting versions of her own constructed identity. In her late 1970s novel ''[[Blood and Guts in High School]]'', Acker explored literary cut-up and appropriation as an integral part of her method.<ref>[https://www.theguardian.com/books/booksblog/2007/dec/28/lookingbackatkathyacker Looking back at Kathy Acker|Fiction|The Guardian]</ref>