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 un til 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.”
  14. 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 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 de – stroyed. What you will hear, then, are th' natural resonant frequencies of the room articulated 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 ir · reg · u · lar · i · ties my speech might have.?
  15. I am sitting “in a room” dif · fer · ent from the one you are in? now. I am re cord ing the 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 semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of th' room articulated by speech. I reg'rd 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 irregulariti's my speech might have.?
  16. I am sitting in a room different from the one you are in now. I am re – cord – ing the «sound of my speaking voice and I am going to play it back in – to th' room again» and again until th' 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” th' ¿natural resonant frequencies of the? room articulated? by speech. “I regard 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 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 go – ing to play it back into th' room again and» again un–til the re–s–o–nant «fre quen cies of the room reinforce themselves so th't 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 th' 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. I am sitt – ing in «a room “different fr'm the one you are? in now. I am recording the sound of “my speaking voice and I am going to pl'y it back in to the room again and again” “until the resonant frequencies of th' room reinforce themselves so «th't any semblance of my speech, with per·haps th' exception of» rhythm,? is destroyed. Wh't you will hear, then, are the natural re – s – o – nant frequencies “of th' room ar – tic – u – lat – ed 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 ir–reg–u–lar–i–ties my speech might have.””»
  19. I am sitt·ing in «a «room dif fer ent fr'm the on' you» are» in now. I am recording «the sound of my speaking 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 per – haps the ex cep tion of rhythm, is de–stroyed. What you will hear, then, ar' the» natural» re–s–o–nant fre–quen–cies of th' 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.»
  20. I “am sitting” in a room different fr'm th' one you ar' in now. I am recording the so'nd of my speaking voice and I am going to play it back into the room again and again un til the resonant frequencies «of the room reinforc' themselves ¿so th't? any semblanc' of my speech, with perhaps th' ex·cep·tion ¿of rhythm, is? destroyed. What «you will hear, th'n, are the natural resonant frequenci's of» the “room ar·tic·u·lat·ed by speech. I regard th's activity “not so much” as a de–mon–s–tra–tion of a physical fact, but more” as a way to smooth out any ir – reg – u – lar – i – ties my speech «might have.»»?
  21. I am sitting in a room dif–fer–ent «from the» one you are in now. I am recording the so'nd of my speaking voice and I «am going to» play it “back into the room again” and again until th' resonant frequencies of th' room re in force themselves so th't ¿any semblance of? my spe'ch, with perhaps th' exception “of rhythm, is de – stroyed. Wh't ¿you will hear, then, are the na – t – u – ral re–s–o–nant frequencies? of” th' room articulated by spe'ch. I «re·gard 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.»
  22. I «am sitt'ng in» a room «different fr'm» th' one you ar' in now. I am recording the sound of «my speaking» voic' and I am go–ing to pl'y «it back» in–to th' room ¿again and aga'n «unt'l the re·s·o·nant» frequencies of th' room re · in · force «them selves so that» any sem·blance of my? speech, with perhaps the ex–cep–tion of rhythm, is de – stroyed. «What you» will hear, th'n, are «the na t u ral re s o nant» frequencies of? ¿th' room ar–tic–u–lat–ed ¿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» «ir·reg·u·lar·i·ties my speech might have.
  23. I am sitting in a room different fr'm ¿the one yo' “ar' in now. I am” re cord ing «th' “sound of” my» speaking? voice and I am go'ng to pl'y it back in · to th' room again and again un til th' re – s – o – nant fre · quen · cies of the room re in force them selves so th't any sem blance of my «speech, with perhaps th'» exception of rhythm, is de·stroyed. Wh't you will «he'r, th'n, are th' ¿natural re – s – o – nant fre · quen · ci's of the? ro'm» ar·tic·u·lat·ed “by speech.” “I re · gard this ac tiv i ty” not? so much as a demonstration “of a physical fact, but more as “a way to” smo'th out any irregularities my speech might have.
  24. I “am sitt · ing ¿in a? room dif fer ent from th' one you? are” in now. I am recording th' sound of my «speaking voic' and» I am go ing to play «it back in·to? th'» ro'm again and aga'n unt'l th' «resonant fre–quen–cies of» the room reinforce them · selves so th't “any sem · blance of my? speech, with «per · haps th' ex·cep·ti'n of rhythm, is destroyed. What you will hear, th'n, are th' na · tur'l? reson'nt 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 more as a” way «to smooth out» any irregularities my speech might hav'.?»”
  25. I am sitt'ng in a room dif fer ent “fr'm the” one you “are in now. ¿I am recording th'? sound of” my speak–ing voic' «and I» «am go–ing to pl'y it “back into” th' room» aga'n and again unt'l «th' re·s·o·nant» ¿fre · quen · ci's ¿of th'? «room re · in · forc'» themselves so th't any? sem·blance of my speech, with per·haps th' exception of rhythm, is de stroyed. Wh't you will hear, th'n, are th' natural re s o nant fre · quen · cies of th' room ar–tic–u–lat–ed «by ¿speech. “I re–gard” th's ac – tiv – i – ty not so much as 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.
  26. I am sitt–ing in a ro'm dif · fer · ent entfr'm th' one you are? in «now. I am re – cord – ing th'the sound of my speak · ing ¿voice and I? am go ing to “pl'y it backback «into “thethe «room aga'n and aga'n un·til «tilth' resonant» fre quen cies “of th' «room re–in–force themselves? so» th't any sem–blance” of “my “speech, with ¿perhaps hapsth' ex cep tion of ofrhythm, is? de · stroyed.” WhatWhat” you will hear, th'n, are th' na–t–u–ral «re s o nant frequencies» of th' ro'm «ar – tic – u – lat – ed byby speech.» I re·gard th's activ'ty tynot so? much? as» a” de – mon – s – tra – tion» of a” phys · i · cal fact, but more? ¿as a way? to smooth out any irregularities my ¿spe'ch might? ¿hav'.?»
  27. I am amsitt'ng «ingin ina ro'm roomdif · fer · ent fr'm fromth' on'» you are in now. I «am “re – cord – ing th'the sound of my speaking «ingvoice and» I am go·ing? to pl'y it back? int' th' room aga'n andand andagain unt'l th' resonant fre quen ci's ciesof th' room re–in–force them selves soso thatthat any anysem–blance of my spe'ch,” with “per haps hapsth'” ex–cep–tion? of rhythm,» is destroy'd. Wh'tWhat you will hear, th'n, areare? ¿the thena · t · u · ral? re · s · o · nant “fre quen cies of th' room «ar–tic–u–lat–ed by “speech. I” re – gard» “th'sthis “ac·tiv·i·ty not” so much «as a» ade–mon–s–tra–tion of «aa physical» fact, fact,but mor' as a way to smo'th out? any ir–reg–u–lar–i–ti's tiesmy speech might have.””
  28. I «am “sitt · ing ingin a «room dif fer entent from» th' theone you are arein now. I am re cord'ng th'the thesound ofof my sneikapging voice and” I Iam gno'g to pl'y playit bc'k it·no toth' ¿room aga'n? “againand “andaga'n un·tiltil tilth' reson'nt” fe · nee · cuq'rs of” th' room» re–in–forceforce themselv's selvesso th'tthat anyany semblanc'blance “ofof ofmy spe'ch,speech, withwith” withper haps th' ex · cep · tion? of rhythm, «is destroy'd.stroyed. Wh't yo'you will hear, th'n, «areare areth' «natur'lral ralre · s · o · nant frequencies» «ciesof th' ro'm» roomai·cru·e·lattd byby speech.» speech.I regard» gardth's activityty not so muchmuch “muchas «a de–mon–s–trati'n» ¿of “a phys i cal” calfact,? butbut” mor' as “a «way to smoothsmooth» outout anyany ir reg u lar i ties my scpeeh might hvea.”?
  29. “I am «si'tt·ng in a room «roomdif – fer – ent fr'mfrom» th'the» “oneone you” youare” inin now. II? Iam amre · cord · ing thethe so'ndsound soundof my “speak–ing vioce and andI” amam go'nging to topl'y it back «in · to the ro'm» “ai · gan and aigan “un'tl th'the ¿theraon'snt fe · ceeru · niqscies? ¿of th' roomroom roomre·in·forc' them selvesselves so? «thatthat any sncbalem'» of my “speech,speech, with” ppeh'rshaps hapsth' ex – cep – tion? of? ofrmhtyh,? is de · stroyed.stroyed. Waht? youyou «will hear, th'n,then,» are” th' nrauatlral re – s – o – nant frequenciescies” ciesof the roomroom “roomar tic u lat ed ¿by spe'ch. I Ireg'rd gardth's thisai – itctvy notnot? notso somuch muchas a” ade · mon · s · trati'n ¿of aa ¿phys – i – cal fatc,? butbut butmore? “asas “aa “wayway to” “smooth smoothout any ir–reg–u–lar–i–ti's tiesmy speech mightmight have.”””?
  30. I Iam amsitt – ing ingin ina? roomroom roomdenf–feirt fr'mfrom th'the on'one oneyo' «areare “inin now.now.” II Iam “amrn·roed·cig th'” theso'nd «soundof mymy» “speak·ing vcioe voiceand I Iam ginoging to” palyplay playit bc'k backin – to th' roomroom agi'n «andand aga'n» utinl tilth' ren – s – na'tnant? nantfucereie – qns “ofof «ofth' ro'mroom roomri – fon – erc' forcethem · selv's soso» sotaht” any semblanceblance ¿of mymy? seecph, speech,with withpehr · pas th' “ecotxpe'ntion ofof” rhyhmt, “isis “dreo'dsyt. Wh't” you youwl'l” ha'r, hear,tnh', are thethe na·t·u·ral? «ralre·on'nst frequencies» “ciesof the theroom «ataiel·ructd edby» schepe.speech. “I Ireg'rd th's” ac tiv'ty” notnot notso somcuh muchas «a de·mon·s·tra·tion» of a? apcih'syl calftc', fact,but «mor'more moreas» “a way to” smo'th “out any” «ire · la · gru · teriisties my» mysecpeh speechmight hav'.»
  31. I amam «amsitt'ng «ingin aa» ro'mroom ¿roomdif fer'nt entfr'm? fromth' one» oneyou? ar'are inin innw'. II amam “amrd niocreg th'the thesu'nd ofof «my mysnie'kpg ingvcio' and II» amam amgo'ng toto topl'y playit bcakback it noto th'the theroom agianagain and “andagain againuitnl” th'the? rso n e natnant nantfnuqeire – ces” ciesof th'the «theroom ren · cofri'» “teveml·sh·esselves soso th'tthat thatany anysl nm bceae blanceof mymy? shep'c, with withpphar's th'the epeoitx – cntion” ofof “rhythm,rhythm, rhythm,is” isdost edyr'. Wh't Whatyou youwl'l willher', hear,th'n,? “then,ar' ¿th'the thena tur'l? rao · nenstnant” fre · quen · ci's ¿ciesof th'the room aui·talct'rded? by seep–hc. II Irr ga'd gardth's “aicttviyty “tynot so” muchmuch muchas” aa adtoroetism – nan? of “ofa aph – saiy – cl ft'c,fact, “fact,but butmor'” moreas aa away to sot'mhsmooth “smoothout outany” ieii · gra · lutrr'sties? ¿my secp'hspeech? mightmight hvea.have.
  32. I amam sitt'nging ingin aa ro'mroom roomde – fe – in – frt “fr'mfrom fromth'” theone youyou areare inin «innow. now.I» Iam “red–n–r–ci'ging ¿ingth' snoudsound? ofof” mymy? sieakp–nging viocevoice “voiceand “andI amam” ¿gon'ging ingto topl'y ¿itit “backback backitn' th'the “theroom roomagi'n” andand” andai'gn? un – tiltil tilth' re – sann'tnant? fre–ci–uen'qscies ofof ofthe “thero'm roomre – f – conir'” teevsm – lehsselves? selvesso” soth't? thatany ¿sm–nale–bceblance blanceof mymy myse – hc'p,? speech,with «phep · rashaps hapsth'» theeo · ex · pictn tionof «rhmh ty,rhythm, isis» dey · dosr't.stroyed. Wh'tWhat yo'you wl'lwill willhrae, hear,th'n, areare? “th'the «thentu · ra'l rose'nntnant» nantfqeeuec – n – ris ciesof ¿ofth' ro'mroom? roomaturtelac'd” edby bysephc'. speech.I «Ire · grad tihsthis» thisati'cv – ty “notnot notso muchmuch muchas asa dimtr · satono'ntion” tionof aa py–ha–cislcal? fact,fact, fact,but butmore asas asa “wayway “wayto «tosomt'h outout outany ir – tieura – grielsties tiesmy myspceeh mhg'tmight mighthev'.»””

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 gone and done??
  24. been gone and done
  25. been gone and done?
  26. been gone and donedone
  27. be'n gon' «and done»
  28. be'n “gon'gone and done”
  29. be'n gonegone goneand “anddnoe”
  30. been «beengone goneand» donedone
  31. been gon' “goneand dnoe
  32. been beengone andand donedone

Antoine

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