Gil J. Wolman

Ion also included the text]of Guy Debord's film Howls for Sade, which was dedicated to Wolman and featured his voice in its own soundtrack.

In June 1952, Wolman and Debord formed the Letterist International, which, with Jean-Louis Brau and Serge Berna, would officially split from the main group that December.

He was officially excluded from the Letterist International on 13 January 1957, just six months before the creation of the new group, the exclusion being announced in obituary format in Potlatch no.

[2] Jean-Michel Mension, an early member of the Letterist International, recalls that "Gil was reticent, sweet—an incredibly sweet guy.

[4] Ralph Rumney, an early member of the Situationist International, speculated that the real reason behind the exclusion was that Wolman and his wife, Violette, had just had a child: "Guy, and Michèle for that matter, had an absolute horror of domesticity and babies in particular.

He devised Scotch Art in 1963, a process which consists in tearing off bands of printed matter and using adhesive tape to reposition them on fabrics or wood.

In 1964, however, he split again from Isou's group, to establish the short-lived Second Letterist International with Jean-Louis Brau and François Dufrêne; thereafter, Wolman worked largely in isolation.

Three years after his death, the magazine "Poézi Prolétèr" (No.2), directed by Katalin Molnar and Christophe Tarkos, published in 1998 an article on Wolman including several of his texts gathered under the title "Introduction of the word".

Several of Wolman's audio recordings were published through Henri Chopin's journal, OU; and an l.p., L'Anticoncept, was issued in 1999 by Alga Marghen, which gathered together various sound works from 1951 to 1972.