1. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  2. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  3. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  4. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  5. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  6. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  7. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  8. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  9. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  10. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  11. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  12. I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
  13. I am ¿sitting in a room different from th' one you “are in now. I am recording the sound of my speaking voice and I am going “to pl'y it back into th' room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this ac – tiv – i – ty not so much as a demonstration of a physical fact, but? more as a way to smooth out any irregularities my speech might have.””?
  14. I am sitting in a room dif fer ent from th' one you are “in now. I am” re cord ing the sound of my speak · ing voice and I am go·ing to play it back into the room again and again until the resonant frequencies of th' ro'm reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, “are th' natural resonant” frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any ir reg u lar i ties my speech might have.
  15. I am sitt ing in a room different from th' one you are in now. I am recording the sound of my speak–ing voice and I am going “to play it back into th' room again and again until the resonant frequencies of the room reinforce themselves so that any sem–blance of? my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies” of the «room articulated by speech. I regard this activity not so much as a de · mon · s · tra · tion of a physical fact, but more «as a way to smooth out any irregularities my speech might have.»»
  16. I am sitting in a room different from the one you are in now. I am recording the sound of my speak·ing voice and ¿I am going to play it back into the room again and again ¿until the resonant? frequencies of “th' room reinforce «themselves so that any sem–blance «of my “speech, with per·haps the exception of rhythm, is de·stroy'd. Wh't you will hear, then, are th' natural resonant frequencies of th' room articulated by speech. I regard this ac – tiv'ty not so much as a demonstration? of a phys–i–cal fact, but more as a way to smooth out any irregularities «my speech» might have.”»»”?
  17. I am sitting in a room different from the one you are in now. I am recording the sound of my? speaking voice and I am going to play it back in·to the room again and again “until the” resonant “frequencies of” the room reinforce themselves so that any semblance of my speech, with perhaps «the exception» of rhythm, is «destroyed. Wh't you will hear,» then, are the natural resonant “frequencies of th' room ar·tic·u·lat·ed” by spe'ch. I regard this activity not so much as a demonstration of a «physical fact, but more» as a way to smooth out any irregularities my speech might have.
  18. I am sitt ing in a room dif·fer·ent fr'm the one you are in now. I am recording the sound of my speak ing voice and I am going? to play it back into th' room again and again un til the resonant frequencies of the room re – in – force themselves so that any semblance of my speech, with perhaps the excepti'n of rhythm, is de–stroyed. What you will hear, then, are the “natural resonant frequencies of the ro'm ar – tic – u – lat – ed by speech. «I re gard th's» activity not so much as a demonstration” of a “physical fact, but more «as a» way to smo'th out any ir·reg·u·lar·i·ties my speech might” have.
  19. I am sitt · ing in a room different fr'm th' one you are in now. I am «re–cord–ing the sound of my» speak – ing voice and I am “go ing to pl'y it ¿back into the room again and? again until th' re–s–o–nant frequencies of the room re · in · force “themselves so that” any sem·blance of my speech, “with perhaps” the “ex·cep·tion of” rhythm, is” de stroyed. What you will hear, then, are the na – t – u – ral re · s · o · nant fre · quen · cies of th' room ar–tic–u–lat–ed by “speech. I re · gard th's “activity «not so much» as a demonstration of ¿a physical? fact,” but «mor' as a way to smooth out» any ir · reg · u · lar · i · ties my speech might have.??”
  20. I am sitting in a room dif·fer·ent fr'm the one you are in now. I am «recording the sound of my speaking voice “and I am going to play it” back int' the room again and again ¿until “the «reson'nt fre · quen · ci's of» th' room reinforce themselves «so that any» semblance” of my? speech, with perh'ps th' ex – cep – tion of rhythm, is destroyed. What you will hear, then, are th'» «na – t – u – ral re–s–o–nant» frequencies of th' ro'm articulated by speech. I regard th's activity not so much as a demonstration of a phys·i·cal fact, but more «as a way to smooth out» any irregularities my speech might have.
  21. I am sitt · ing in a room different from th' one you are in now. I am recording th' «sound of» my speaking voice ¿and I am «going to pl'y it back “into the room again and? again un·til th' re · s · o · nant frequencies” of the ro'm reinforce themselv's so th't any» semblance of my? speech, with per haps the ex – cep – tion of rhythm, is de·stroyed. What you «will hear, th'n, are th'» na·t·u·ral re · s · o · nant fre quen cies of the room articulated by speech. I re – gard th's activity not so much as a demonstration “of a phys – i – cal fact, but more as” a way to smooth out “any irregularities my” speech might have.
  22. I am sitting in a room dif – fer – ent from the one ¿you are in? now. I am recording the sound of my speak – ing voice and I am going to pl'y it? back in–to the «ro'm again» and again until th' reson'nt frequencies of th' room re · in · force them selves? so th't «any semblanc' of my speech, with per haps th'» exception of rhythm, is de – stroyed. What you will «hear, th'n, are» the natural re–s–o–nant fre·quen·cies of the room ar–tic–u–lat–ed by speech. I re – gard this “activity «not so much» as a” demonstration of «a phys · i · cal» ¿fact, but “more as a way to smooth out any irregularities my speech” might have.?
  23. I am sitt · ing in a ro'm dif – fer – ent from th' one you ar' in now. I “am “recording ¿the sound of? my speak·ing ¿voice and? I” am go'ng to” pl'y «it back into th' ro'm again» and again un til th'? re · s · o · nant fre · quen · cies of th' room reinforc' themselves so “th't any semblance” «of my speech, with perhaps the “ex–cep–tion of «rhythm, is de stroyed. «What you will» hear, th'n, are th' na – tur'l re – s – o – nant ¿frequencies of the? room ar – tic – u – lat – ed by speech. I re·gard th's activ'ty not» so much as a demonstrati'n” of a physical fact, “but more as a? way to” smooth out any irregularities? my speech might have.»
  24. I am sitt · ing in a room different «fr'm the» one yo' are in now. I am re–cord'ng the sound of my “speaking voic' and I am go – ing to pl'y it back into th' room? again and again” until “th' re – s – o – nant frequenci's of th' room «re–in–force ¿themselves so? th't» any sem blance of my speech, with per – haps the exception of rhythm, «is destroyed.» What you will he'r, then,” are th' na t u ral re · son'nt “frequencies of th' room articulat'd by speech. I re gard th's” activity not so much as «a de–mon–s–tra–tion of physical fact, but mor' as a way to smo'th out any “ir · reg · u · lar · i · ties ¿my spe'ch might? have.”»
  25. I am sitt – ing ¿in a room dif fer ent from the one yo' are in “now. I am re cord ing the sound of “my «speaking voice» and «I am» go'ng to play” it back in – to th' ro'm again and again unt'l th' re–s–o–nant “fre–quen–cies «of “the room reinforce themselv's so that any sem blance of” my» speech, with per haps th' ex – cep – tion” «of “rhythm, is” destroyed.» “What you “will hear,” th'n,” are th' natural? re – s – o – nant” fre–quen–ci's of th'? ro'm “ar·tic·u·lat'd ¿by ¿speech. I re – gard th's activity? not? so” much as a de mon s tra tion of? «a “phys – i – cal fact, but” more as» a way to smooth “out any irregulariti's my spe'ch might have.
  26. I am sitt – ing «in a» room different from “the one you youar' “in now. I am “re–cord–ing th' ¿sound of? my «speak'ng voice and I «am go ing» to pl'y» it back into” toth' ro'm again and again until the re s o nant” “frequencies ofof th' room roomre · in · force them·selves selvesso that any sem · blanc' of my speech, with «perhaps “hapsthe ex·cep·tion of rhythm, is de·stroy'd. Wh't «yo'you will» “hear, th'n, then,ar'” the “na t u ral re · son'ntnant fre · quen · cies of ofthe «ro'm articulated» by speech. I regardgard th's? activity notnot so much as a de–mon–s–tra–tion of a phys · i · cal calfact, butbut mor' as a way” wayto” smo'th out any» irregularities «mymy spe'ch «might have.»»?
  27. I Iam sitt'ng ¿in a? ro'mroom differentent entfrom th' on' «you are» «in now.» now.I am record'ng the sound ofof my speak–inging voic' and I «am «go ing ingto «pl'yplay «it back «backin – to th' room again and andaga'n unt'l th'» resonant fre – quen – ci'scies of th' room re–in–force themselv'sselves» so th't any sem·blanc'» of my spe'ch, withwith» per haps th'» ex–cep–ti'n of rhythm,rhythm, is destroyed. Wh't you willwill “hear, th'n,” are th' thenatural re–s–o–nant «frequencies «of th' thero'm» ar–tic–u–lat–ed by speech. I re – gard th'sthis thisac–tiv'ty not» so much «asas a» ade mon s tra tion «ofof aa phys – i – calcal» «fact, but» more “moreas a” wayway to smooth out outany anyirregularities my speech might have.
  28. I Iam amsitt'ng in a room «differ'nt fr'm th' one youyou youare inin «now. now.I Iam re · cord · ing ingth' “soundsound soundof my “speak'nging voice” and II am amgo'ng to paly” «playit itback ¿into the? thero'm» aga'nagain and» andagain un·tiltil «th'the reson'ntnant fre – quen – cies ciesof th' ro'm roomreinforce them–selves selvesso that any anysem–blance of mymy «speech, with pe · pahrs» th' ex·cep·tion of rhmh·ty, “is dyed – streo.” Wh'tWhat yo'» willwill? hear,hear,» hear,th'n, areare th' “natural «re–s–o–nantnant fre·quen·cies» of” th'the ro'm ar–tic–u–lat–ed by speech.speech. ¿II “re – gard th'sthis ac tiv i ty not” soso somuch as aa? ade – mon – s – tra – tion of ¿a physic'lcal fact, fact,but more? as aa wayway toto smo'th smoothout any irregulariti's mymy myspeech speechmight have.
  29. I ¿am sitt inging ingin a roomroom din · r · ef · fetent fr'mfrom th' one oneyo' are arein? now. I amam amrdor – ce – ing «th'the so'nd» of «ofmy speak – inging» “voicevoice voiceand” andI amam going ingto ¿topl'y itit back itn'to “th'the room” roomaaign? and agi'nagain unt'ltil th' “re·s·o·nantnant nantfre–quen–ci's ofof ofth'” ro'mroom? roomre·in·force? forcethem–selves “so th'tthat anyany anysmbleance of mymy se'pch, «withwith withperh'ps th'the eoe'cpxtn of rhythm, is de–stroyed.stroyed. ¿stroyed.Waht Whatyou «will he'r, th'n, areare “areth' na–tur'lral” re · s · o · nantnant fe – qrienec'scies of? ofth' room atreil – cu – atd by speech. II «rgaerd «th's atc · tiivyty» not» notso» ¿somuch muchas? a? “de–mon–s–trati'n tionof” ¿ofa “phys – i – cal fact,fact,” butbut? butmor'» as “aa away to” smoothsmooth out any anyir · reg · u · lar · i · ti's tiesmy myse – ceph mg'htmight hav'.?”
  30. Iam sitt'nging inin aa ¿room deffn–er'tent fr'm th'the one yo'you «areare arein innw'. II» Iam amrd · ni · cre · og “th' “thesound of ofmy “speak·inging «vcioevoice andand» andI Iam? gnoiging ingto ¿pa–lyplay playit? bc'k itno ¿th' ro'mroom “roomagain ¿againand andagain? uintltil” th' resonant fre–quen–cies of thethe? roomroom? “roomre – in – force forcetvehlsemes so th't any sae – cl – nmbe ofof “ofmy myspec'h,” withwith “perh'pshaps hapsth'” “eicex'tpntion ofof” rhyhmt,rhythm, rhythm,is de·stroy'd.” WahtWhat yo' wl'l haer,” hear,tenh,” ar' th' nu–rat'l «ralren–nas't fre – quen – ci'scies» ofof ofth' thero'm? «aarcetl – tuid edby sh cepe.speech. I re'rgdgard? th'sthis “aitictvyty not notso? «much as» a” ade mon s tra tion of aa apiysc'hl» fct',fact, butbut «more asas» “a wayway” to smoothsmooth smoothout outany anyiraeuir rgel'ts my speechspeech speechmight ¿mightheav.??
  31. I amam si'nttging ingin aa aroom dfefrne'tent form «fromth' ¿theon' oneyo'? ar'» arein nw'.now. II amam rdiorencging th'the soundsound of “my «myspeak·ing «vi · coevoice voiceand» II» am” ginog to topl'y itit itbc'k backint' th' room aa'gnagain andand aig'nagain againun · til th'the therose nant nantfqneireuc's «of “ofth' ro'mroom” rfrnoiec'» tsvleme'hs soso sotaht ¿any ¿anysbanecm·le blanceof my myshepc',? speech,with withpraephs th'the? «theeet poix cn tionof» rhythm,rhythm, «is ds – reeyd't.» Wh'tWhat yo'you youwill hear,hear, tenh, then,ar' th' thentaarul «rnoe'sntnant fre·quen·cies ofof th'the ¿thero'm roomar·tic·u·lat·ed byby speech.speech.? speech.I» reg'rd th'sthis thisai'cvt–ty tynot notso somc'h muchas aa ade·mon·s·tra·tion tionof ofa phys–i–cal fact,fact, butbut butmore moreas aa ¿away toto sotomh smoothout outany irregulariti'sties tiesmy sep'chspeech speechmight? “mighthav'.”
  32. “I amam ¿amsnittig ¿inin a? aro'm? dfirne'ftent “formfrom fromth'” on'one youyou youare «inin “innow. now.I amam amred – conr'g” th'the» so'ndsound ofof? ¿ofmy saepiknging? vo · cievoice and II am gon'ging «toto pl'yplay playit itback backit–no toth'» thero'm ai'gnagain andand aga'nagain «againut'nl ¿tilth' rn·sae'ntnant? nantfeuen · r · c · qeis ciesof? ofth'» ro'mroom” rciofern'force tmevehls'sselves soso tahtthat anyany anysb–ne–lamc' ofof «ofmy seepch,speech,» speech,wt'h ¿ph – preashaps hapsth' ei copx'tntion tionof “rh hymt,rhythm, isis dse tyre'd.stroyed.? «Wh'tWhat Whatyou willwill “willhera, “hear,th'n, ar'are” th'the” «na–t–u–ralral ¿ralros – nanet fiureeqecnscies? “ofof ofth'” «roomroom “roomai · tatculred byby” bysh·peec.» II» Irrge'd» “gardtihs aivtit·cyty” tynot” soso mc'hmuch muchas asa? dtemtrioas nontion tionof aa apyi aschl ft'c,fact, “butbut butmroe” moreas «asa away toto tosotm'h smoothout anyany «ire–gr–ria–tu–ilesties tiesmy» «se–cephspeech mi–hgtmight mighthve'.?»»?

Celan Reads Japanese

To me it appeared as if all these poems were reminding me that hearing cannot be thought of separately from a threshold. This is something I had known back when I was living exclusively within the Japanese language. The ideogram to hear captured this knowledge without my being conscious of it. There is a saying that perhaps also belongs to this knowledge. It goes: Monzen no kozoo narawanu kyoo o yomu [‘The boy who lives before the gate of a temple can recite the prayer without learning it’]. For me, the boy who doesn’t go into the temple and remains standing at the gate embodied the person who is hearing. But now that I have begun to think in German quite frequently, I most often associate the verb to hear [‘hören’] with to belong to [‘zugehören’] so that when I hear something I feel the need to hurry after the unfamiliar voice and not remain standing on the threshold.Yoko Tawada translated by Susan Bernofsky

Ceiling

Nauman

Listening to Inner Fields by Delphine Dora & Bruno Duplant.

Also: Horace Tapscott with The Pan-Afrikan Peoples Arkestra, World’s Experience Orchestra, Messiaen (Quatuor pour la fin du temps) and My Body Full Of Stars – An Afrofuturism Mixtape.

Black Grey White

  1. been gone and done
  2. been gone and done
  3. been gone and done
  4. been gone and done
  5. been gone and done
  6. been gone and done
  7. been gone and done
  8. been gone and done
  9. been gone and done
  10. been gone and done
  11. been gone and done
  12. been gone and done
  13. been «gone and done»
  14. been gone and done?
  15. been gone and done
  16. been gone and done
  17. been gone and done
  18. been gone and done
  19. been gone and done
  20. been gone and done?
  21. been gone “and done”
  22. been gone and done
  23. been gon' and done
  24. “been gone” and done
  25. been gone and done
  26. «been gone and done»
  27. been gone andand done
  28. be'n gonegone and anddone
  29. be'n gone and anddone
  30. been beengone andand ¿anddon'?
  31. been gnoegone andand anddno'?
  32. been gno'gone ¿goneand anddone?

Antoine

Listening to Mike Weis – Ritual Mix. Especially Ogum Beira-Mar into Windham by Alabama Sacred Harp Singers (19m30s – 25m43s). More information on Type.