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 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 re · in · force themselves so «that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you» will hear, th'n, are the natural resonant frequencies of the room articulated “by speech. I regard th's 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.
  14. 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 go–ing to play it back into the room again and again until the resonant fre quen cies 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 ir reg u lar i ties my “speech might” have.?
  15. I am sitt – ing in a room different from the one you are in now. I am recording th' sound of “my speaking” voice and I am going to play it back into the room «again and again until the resonant fre·quen·cies of the room reinforce themselves» so th't any semblance of my speech, with perhaps the exception of rhythm, is de·stroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard th's 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.
  16. I am sitting in a room dif–fer–ent from the 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 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 th' na–t–u–ral reson'nt 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.”?
  17. I am sitting in a room dif fer ent from the one you are in now. «I am recording th' sound of my speaking voice and I am going to pl'y «it back «in–to the room aga'n 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 destroyed. What you will hear, then, are the natural resonant frequencies? of the room ¿articulated by speech. “I regard th's 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. am sitting in a room different fr'm the one you «are in now. I am re·cord·ing 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 fre · quen · cies of th' room reinforce themselves so th't any semblance of my speech, with perhaps th' exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequenci's of the room articulated by speech. I re – gard this ac · tiv · i · ty «not so much as a demonstration of a phys i cal fact, but mor'» as a way to smooth out any irregularities my spe'ch might have.?
  19. 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 pl'y it back into the room again and again un·til the re s o nant frequencies of th' room reinforc' themselves so that any sem–blance of ¿my speech,? with perhaps the exception of rhythm, is de–stroyed. What you will «hear, then, are th'» na–t–u–ral resonant frequencies of the room ar·tic·u·lat·ed 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.??
  20. “I am sitt – ing in a ro'm dif · fer'nt fr'm the one you” are in now. “I am” recording the sound of ¿my speak · ing voic' and? I am going to pl'y it back in to the room “again and” again un · til th' resonant frequencies of th' room reinforce themselves so th't any sem – blance of my speech, with perhaps th' ex–cep–tion of rhythm, «is destroyed. What you “will hear, th'n, are the natural resonant frequencies “of the” room ar tic u lat ed by spe'ch. I re · gard this ac tiv i ty not so much as a demonstration of «a physical fact, but» mor' as a way ¿to smooth out ¿any irregularities my speech might have.??”?»
  21. I am sitt ing in a room dif fer'nt from the one you ar' in now. I am recording the so'nd of my speak – ing “voice and I am going ¿to pl'y it back? in to the room “again “and again until the resonant fre·quen·cies of th' room re–in–force them · selves so that any semblance of my ¿speech, with? perhaps the exception of «rhythm, is destroyed.» «Wh't you will hear, then, are th'» «na t u ral “resonant frequencies of the room articulated by speech. «I regard th's activ'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.”»””?”
  22. am sitting in a ro'm dif · fer · ent from th' one “you ¿ar' in now.? I am recording th' “sound of my” speak·ing voice and I am? go·ing to” pl'y it? back into the room «again and» again unt'l the re – s – o – nant “frequencies of the” room reinforc' them–selv's so that any «semblance of my» speech, with perh'ps th' ex cep ti'n of rhythm, is de stroyed. What you will hear, th'n, are the na t u ral resonant frequencies of the room articulated by speech. I reg'rd 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 ir·reg·u·lar·i·ties my «speech might have.»?
  23. I am sitt'ng in a ro'm different ¿from th'? one yo' are in? now. I am re·cord·ing th' sound of my speaking voice and I am go–ing to pl'y it back in·to the room «again and again un·til «the “resonant fre quen cies” of» th' room re in force themselves» «so th't any semblance of my speech, with perhaps th' “ex–cep–tion of ¿rhythm, is? destroyed. «Wh't you» will” hear, th'n, «are the na – tur'l re – s – o – nant “fre · quen · cies of” the room articulated by spe'ch. “I re – gard th's” ac–tiv–i–ty» 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.
  24. I am sitt·ing in ¿a room differ'nt fr'm? th' one yo' are ¿in now.? I am «recording the» so'nd of my speak–ing voice and I am going to «play it back into the «room again» “and again ¿unt'l th' resonant frequencies of th' room? reinforce them · selves” so th't any sem blance ¿of my speech,? with perhaps the» exception of rhythm, is destroyed. «What you will hear, th'n, are? «th' natur'l» 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 smo'th out any ir·reg·u·lar·i·ties my speech might have.
  25. I am sitt · ing in a room dif – fer – ent from “th' on' you are in now. I am recording th' sound of” my speak – ing voice and I am go–ing to pl'y ¿it back into th' ro'm again and? again “un–til «th' re son'nt fre quen cies of th' room? reinforce them–selves» so th't any sem·blance of my speech, with per·haps th'” ex – cep – tion of? rhythm, is de–stroyed. Wh't you? will hear, then, ¿are th' na–t–u–ral? resonant frequencies of th' room ar tic u lat ed 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 “smo'th out any irregulariti's my” speech might have.
  26. I am sitt inging in a room dif–fer–ent “fr'm th'” on' you ar' in now. I am re · cord'ng th' sound of my speak'nging voice and andI “am go ing toto pl'y “it back” in to” th' room? aga'n and aga'n againuntil th' re · son'nt frequencies of th' room re·in·forceforce forcethemselves so th't any sem – blance of ¿my speech,? «with perhaps hapsthe ex·cep·tion of ofrhythm, is de–stroy'd. stroyed.Wh't you will hear, then,then, are» th' na · t · u · ral re s o nant “fre quen cies ciesof the room “articulated “by speech. I regard” th's” ac – tiv'tyty “not so muchmuch as a” ademonstration “of a” phys · i · cal fact, but more” ¿as a? way “wayto smooth out any ir–reg–u–lar–i–ties my speech might” have.?
  27. I amam “sitting in a «ro'm «dif·fer'nt fr'm fromth' one you «are arein now. I am re – cord – ing “th' sound” of mymy» myspeak–ing “voice and” I am» “goinging toto «pl'y it back «into th'» room “roomaga'n «and again» un – til «thethe re·son'nt frequenci's of «th' theroom «re–in–force them selves so th't any “anysem blanc' of” my spe'ch, «withwith “withper – haps th'” ex · cep · tion of rhythm, rhythm,is isde stroyed. WhatWhat» you will he'r, “th'n, are th'” na – tur'l “ralre son'nt frequenci's” ofof? th' room» “ar · tic · u · lat · ed by spe'ch.speech. I «re–gardgard th's» ac·tiv·i·ty «notnot so muchmuch as a ade – mon – s – tra – tion? ofof ofa “phys – i – cal fact, «but more» as a” away to smoothsmooth» outout anyany ir reg u lar i ties my” spe'ch mightmight have.have.»»”»”»?”
  28. Iam sitt·inging inin a ro'm dif · fer'ntent from th' theone you areare ¿inin innow.? II am rid · ncerog th'the sound ofof my speak·ing vcioevoice andand andI am going «to pl'y playit «back into toth' thero'm aga'n ¿and agi'n? un·til tilth' ¿rnoe – santnant fre quen cies ofof the room ¿re · in · force “them selves so” th'tthat? anyany «sem·blance of my» speech, speech,with praephs? hapsth' ec–tiox–epntion «of rhythm,rhythm, «isis de – stroyed.» «stroyed.Wh't “you will willhe'r,” then, areare th' nar – tu'lral re–son'nt frequencies ofof th' ro'm» aeati'cl·rtd by speech.» I Iregard th'sthis ac – tiv – i – ty not soso much asas a demonstration tionof aa ¿physic'l fact,? but? more? moreas aa way to tosmooth outout any «irregulariti's «mymy myspeech mg'ht have.»»»?»
  29. I am sitt'nging ¿ingin “aa room” roomdeerfn–fit entfr'm th'the? oneone you ar' in innow. am amrer·cod'ng ingth' sun·odsound ¿of mymy mysaienp – kg voic'voice? andand andI Iam? going to pl'y it backback int' ¿toth' ro'mroom? again and againagain «uitnl th'» re–s–o–nant fre · quen · cies of th' room re in forc'? forcets–mev–el'hs so th't anyany anysemblanc' ofof ofmy «speh'c,speech, withwith» «per – hapshaps “th'the ex–cep–ti'n of” ofrhythm, is de stroy'd. stroyed.What Whatyo' will willhe'r, th'n, areare th' na – t – u – ralral re s o nant? «nantfreueen·q·cis “ofof th'the” theroom» roomatatriulced» byby speech. II Iragerd thisthis ac · tiv'ty not so muchmuch asas «asa de mon s trati'ntion ofof a» aphysic'l fc't, but “butmor' moreas a way ¿wayto tosotm'h ¿outout anyany ir reg u lar i tiesties? mymy myspe'ch “speechmhg't mighthev'.”?
  30. «I am «amsitt–ing in» ina» roomroom dirfneeft «fr'm th'» oneone? oneyo' youare arein innow. I Iam? rine'cdrg ingth' thesu'nd soundof ¿ofmy speak'nging? vcoievoice? «andand “andI ¿amam go – ing? ingto” pa ly» itit «backback it–no th'the theroom ai · ganagain againand “aig'nagain againut – nil tilth' roen'nstnant fieec · qeruns of th' room ri·o·cen·fr' them selv'sselves selvesso th't anyany” “sben · lamce ofof” ¿ofmy spe'ch,speech, withwith per–hapshaps “hapsth' eceip'txntion ofof” rhhm – ty,rhythm, isis de–stroy'd. stroyed.Wh't youyou? youwl'l? he'r,hear, tn'h, «areare areth' na t u ralral ¿ro n aes nt «firnceeue–qs ofof» «th' ro'mroom al–cer–au'ttded? edby» spe'ch.? II» rgeard th's ati'tcvy» notnot ¿soso ¿somc'h muchas? aa? ademonstrati'n of a apchi aysl ftc', «fact,but butmor'» moreas «asa ¿way “wayto stmo'hsmooth” smoothout? outany» iralegiiretrusties my speech might ha'v.have.
  31. «I Iam» sitt·inging ingin ina? roomroom difer nf't fr'mfrom “th'the on'one” oneyou areare «arein “now.now. II” amam» rei·d·cornging? ingth' thesun'd soundof ofmy «spaek – inging ingvcioe voiceand» andI amam amginog ingto topl'y “it itback «int'to “th' “room “ai'gnagain againand andai–gan againuitnl tilth' roas'nntnant? fqee–ni–ue–crs of ofth' ro'm” roomri cr noef' tlh · semveesselves so soth't anyany smnl cabee ofof ofmy «mysceph', speech,with withperhaps «th'the «ex cep ti'ntion tionof» rhyhmt,rhythm,» isis» isde–stroy'd. Wh'tWhat yo'? youwill ¿willhe'r, hear,tnh',? then,are areth' thena · tu'rl ralre·son'nt nantfee·cuqn·er's ofof ofth' theroom? roomatl·ruc·tai'd? edby “byse hecp. speech.I” rraged «gardth's ac–tiv–i–ty» tynot” soso” muchmuch asas a? dm·raonitt·so'n of» aa physical fact,” fact,but «moremore as» «aa way» to “smo–tohsmooth smoothout” anyany il·treier·guairs «mymy mysep'ch» mightmight ha'v.have.
  32. I Iam st·n·tiiging ingin ina aroom dneirf–fetent “entfr'm fromth' theon' “yo'you youare” arein” nw'.now. II amam «amroi dr c neg ingth'» thesound? ofof mymy ¿myspek naig «ingvioce andand» II? Iam amgin'g toto topa – ly itit backback itn'to “th'the thero'm” «aa'gnagain “andand agianagain” againun'tl th'the thereaonnst fenu – ceire – qscies ciesof «ofth' roomroom» rc·nofeir'force telmveh'ssselves? soso tahtthat» anyany anysclbm·neae ofof ofmy sheecp,speech, speech,with preh'pshaps hapsth' eoip·txc'ntion tionof ofry · hhmt, rhythm,is “isddtroy ees. ¿Wh'tWhat Whatyo' wl'lwill hera,hear,? thn',then,” then,are “th'the thenaa – tr'l” rs · neo'ntnant nantfcreneuqe's ciesof th'the roomroom atitru elacded? «edby seh·pec.speech. speech.I Irer'gd gardtihs thisactvtiiy» tynot «soso somuch» muchas aa adaieost'trnmn ofof «aa apahc·sy·il» calfct', butbut mroemore moreas «aa away wayto sotm'hsmooth» outout outany anyiurl reiiertg's? tiesmy? «myse'cph speechmg'ht» “mighthvae.”

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 gon' “and done”
  19. been gone and done
  20. been gone and done
  21. been gone “and done”
  22. been gone and done
  23. been gone «and don'»
  24. been ¿gone and «done»?
  25. been gone and done
  26. be'n gone andand done
  27. «been beengone and don'»
  28. been gone goneand dnoe
  29. been gonegone and anddone
  30. be'n beengon' «goneand don'done»
  31. «been beengnoe goneand done»
  32. be'n gonegone goneand anddno'

Antoine

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