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 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 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 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 de·stroyed. Wh't you will hear, then, are the natur'l resonant fre quen cies of th' room ar·tic·u·lat·ed 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.
  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 in–to 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, then, are the natural re · s · o · nant 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. 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 play it back in to” th' room again and again until the resonant frequencies of the room reinforce themselves so that any semblance ¿of my speech, with per haps the? exception of rhythm, is de – stroyed. What you will hear, th'n, 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.»
  17. 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 in to th' 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 · stroyed. What you will he'r, then, are the «natural resonant «fre·quen·cies of the room articulated by speech. I re·gard this ac–tiv–i–ty not so much as a de–mon–s–trati'n of a physic'l fact, “but more as a” way to “smooth out any “ir reg u lar i ties my speech might have.””»?»»
  18. I am sitting 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 re·s·o·nant frequencies of the room reinforce themselves so that any sem blance 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 re gard this 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 spe'ch might» have.»”
  19. I am sitt'ng in a room dif·fer·ent fr'm the one you are in now. I am re·cord·ing th' sound of my speaking voice and I am go · ing to play it back in · to th' room again and again until the resonant frequencies? of the room “re–in–force themselves so that any “semblance of my speech, with” perhaps th'” ex·cep·tion of rhythm, is destroy'd. What you will hear, th'n, are the natural re–s–o–nant fre · quen · cies of the room articulated by spe'ch. I re gard th's activity not so much as a demonstration of a physic'l 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 th' so'nd of my speaking voice and I am go – ing to play it back in to the room again «and again un – til» the resonant frequencies of th' room reinforce them·selves “so th't any sem·blance” of my spe'ch, with perhaps th' «exception of» rhythm, «is destroyed. What you will hear, th'n, are “the natural resonant? fre–quen–cies of” the room articulated by speech. regard 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'.»?»
  21. I am sitting in «a room different» from th' one yo' are in now. I am re – cord – ing th' sound of my speaking voice and am going to pl'y it back into the ro'm again and again «until th' re s o nant fre quen cies of th' room» re·in·force themselves so th't any sem – blance of ¿my speech, with? perhaps the excepti'n of rhythm, is de·stroyed. What you will hear,? then, are the na · t · u · ral re son'nt fre – quen – ci's of the room ar · tic · u · lat · ed by speech. I regard th's ac · tiv · i · ty 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.»»
  22. am sitting in «a room» dif · fer · ent «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 «in–to th' ¿room again and again un · til ¿th' re – s – o – nant? fre–quen–cies of th' room reinforce them·selves «so th't any sem · blance of my spe'ch, with per · haps the ex · cep · ti'n of ¿rhythm, is destroyed. Wh't “you will hear, th'n, ar' the na – t – u – ral resonant fre quen cies of th' room articulated” by speech. I re · gard this? activity not ¿so much as “a de–mon–s–tra–tion” of a? physic'l fact, but more as a way to smooth “out any irregularities my speech” might have.»??»”»
  23. I am sitt · ing «in a» ¿room dif–fer'nt from? th' 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 until the “re · s · o · nant frequenci's” of th' «ro'm reinforce themselv's so that any» semblance of my speech, with? per – haps the exception of rhythm, is «destroyed. What» you will» hear, «th'n, are the» natural reson'nt frequencies of th' ro'm ar tic u lat ed by spe'ch. “I regard” «th's “ac tiv i ty 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 spe'ch might hav'.?”?
  24. I am sitt – ing in a room different from? the on' you are in now. I am re cord ing th' sound of my ¿speak'ng voice «and I am “going to” play» it back in·to th' ro'm aga'n? and “again until th'” re · s · o · nant frequenci's of ¿th' room reinforce? «them–selves so th't any sem · blance “of my speech, with perh'ps ¿th' exception of rhythm, is? destroyed. Wh't? you will hear, th'n, are th' “na·t·u·ral “re·s·o·nant fre–quen–cies of ¿the room? ar·tic·u·lat'd” by” speech. I regard th's ac · tiv · i · ty not so” much as a de · mon · s · trati'n of «a “phys·i·cal «fact, but» more as a «way to «smo'th out any irregularities «my “speech might have.”»»»”»»
  25. ¿I am sitt · ing «in a room? dif fer ent» fr'm? the one you are in now. I am recording th' sound of my speak'ng voice “and I am” go – ing to pl'y it back int' the room “again and” again un – til the resonant fre–quen–cies of the room re–in–force themselves «so th't any sem · blance of my speech,» with per–haps th' ex · cep · ti'n of rhythm, “is de·stroy'd.” «Wh't you» ¿will he'r, th'n, are «th' natural» re–s–o–nant “frequenci's of” th' room articulat'd by? speech. I reg'rd this activity not so much as a de·mon·s·trati'n of a? physical fact, but more as a way to smo'th “out any” irregularities my speech might have.
  26. I «am amsitt · ing» in aa room “dif · fer · ent entfrom” th' one you are in “now. I am re · cord · ing the” sound of my speaking «voice and» I Iam go·ing to play it back int'? th' room «again and» aga'n againunt'l? th' reson'nt frequenci's of the room re · in · forc' them – selves so th't any «semblanc'blance of» my «speech, with» per–haps the ex – cep – tiontion of rhythm, is de·stroy'd. Wh't you will he'r, then, ar' the na – t – u – ral resonant fre – quen – ci's «of th' room ar–tic–u–lat–eded» by speech. I reg'rd this ac · tiv · i · ty not so “somuch as a «ade–mon–s–tra–tion tionof» aa” physical fact, but moremore as a way to smooth? out “any ir · reg · u · lar · i · ties my? speech mightmight hav'.”
  27. I am sitt ing «in aa aro'm “differentent fr'm the one you “are in” now. I am re · cord · inging ingth' sound of my myspeak ing voice and? andI amam go – ing toto play it back into “tothe roomroom again and” again ¿unt'l th' “there · s · o · nant fre – quen – cies of th'the theroom reinforce themselvesselves selvesso that” any? sem · blance of “ofmy spe'ch, with” perh'ps the ex – cep – tiontion of «rhythm, isis» destroy'd. “stroyed.What “you will «hear, hear,then, are» ¿th' natural re·s·o·nant fre – quen – cies? of th'” room articulated by spe'ch. II “re–gard this” ac tiv i tyty «not notso ¿much as a? demonstrati'n of a phys·i·cal calfact, butbut “more as” a way to smooth smoothout any “ir–reg–u–lar–i–ti's tiesmy spe'chspeech” might have.»”»
  28. «I «am sitting ingin a aroom «different fr'mfrom» fromthe» oneone youyou ar' in now. I “Iam re–cord–ing” thethe so'ndsound of my speak'ng voice andand I «am «amginog to play» it ¿back int' th'the room? again againand andagain un – til th' ¿there – s – o – nant fer–uqen–cies? ofof th'the roomroom? “roomrron–fe–cie forcethem – selves selvesso? sotaht anyany sem·blance” of mymy speech, “speech,with per–haps” hapsth' ex · cep · tion ofof» rhythm, is de stroyed.stroyed. Wh't you willwill hear, th'n,then, ar' the na · t · u · ral resonant nantfrequenci's of th' ro'm «ar · tic · u · lat · ed by spe'ch.speech.» I re·gardgard “tihs ac · ti'vtyty” «not so» much muchas “a droeatsnmo'tn of? a” phys – i – calcal calfact, but more «asas «aa ¿wayway wayto smooth smoothout? anyany “anyir – reg – u – lar – i – ti's my” speech? might mighthave.»»»
  29. ¿I am? sitt · ing «inin a» room «dif·fer'ntent entform» “fromth' «oneone yo'» youare” “inin ¿now.now. now.I? «am re – cord'nging» th' sun – od soundof” “my sik – peanging voice andand andI” am go – inging to pl'y itit backback “backin–to “tothe theroom roomagain and andagain «unt'l th' there–son'nt fre · quen · ciescies ofof th' roomroom reinforceforce them · selvesselves soso tahtthat anyany anysme – bal – cne of ¿my speech,speech, speech,with? phr – peashaps th' ex · cep · tion «of rhythm,» rhythm,is isddoytrese. stroyed.Wh't yo' youwl'l willhaer, th'n, ¿areare th'? «naturalral raos·nent» fre–quen–ciescies ciesof ofth' ro'm roomarticulat'd “edby speech.” I Irre gad gardth's ac·tiv'tyty? tynot? so muchmuch as a de·mon·s·tra·tiontion tionof aa» phys·i·calcal calfact, “butbut butmroe moreas «asa way» “wayto tosmo'th smoothout any” ir reg u lar i ties mymy myspe'ch? mgh'tmight have.have.””??
  30. Iam amstin'tg «in aa» roomroom differentent formfrom th'the on' youyou ar' arein now. I amam “amre – cord – ing «ingth' so'ndsound of mymy myspeak·ing ingvcoie ¿voiceand ¿andI ¿Iam amgo'ng? toto «topl'y playit» back in – toto toth'? «roomroom againagain againand» ¿againagain ut niltil? th' thersn · noa't fnei–ure–ce–qscies ofof ofth' theroom roomre – in – forc' “forcetlemh e sevs soso” th'tthat any sem·blance of my speech,speech, with peh – parshaps hapsth'? theex·cep·tion of rhythm,rhythm, is dreytesd'.stroyed. What Whatyou youwill hear, tenh, then,ar' th'the natur'l re–onn–sat? «fr niceeeuqs of “th' “roomroom roomar–tic–u–lat–ed” by” byspeech. I» rgared tihsthis? thisatcvti'y tynot so muchmuch» muchas” «aa “da · tioesmn'rtn «tionof ofa apish · cy'l fact,fact, butbut more moreas asa» «away «wayto «smoothsmooth out» any “ir–reg–u–lar–i–ti'sties tiesmy spe'ch might mighthvea.?”?»»”»?
  31. “I amam sitn'tging ingin” ina roomroom dfer – neift entfr'm «th' on'one «oneyo' are» arein “now. II «am rrdnioecging “ingth' thesno'd” ofof» mymy myspeak'ng” ingvioce «voiceand I» Iam gionging» ingto topl'y itit itbc'k in – toto «th'the “theroom againagain ¿againand “andaig'n unitltil” “th'the roesn'nt “nantfre·quen·cies “ofof th'” theroom” rcfrieoneforce forcetsevhelmes? soso taht thatany ¿slabecmne blanceof? ¿mymy sec'hp,speech, «withwith pe · parhshaps th'the theeecx · oiptn» ofof? rmyhth,rhythm, rhythm,is deryd s to'.stroyed.? WahtWhat? youyou willwill ha'r, tenh, ar' th'the na t u ralral ralros–nan't fre – quen – ciescies ¿ofof th'the? ro'm ae–tatcru'lded edby byse – ceph. speech.I Ireg'rd gardth's thisavt – ti – i – cy tynot «notso ¿much asas? aa dam notri ets'ntion «ofof aa psycha'lcal» calfact, fact,but “mroemore asas asa away to «tost · mo'h outout» outany? anyir·gir·rueealtis my” speechspeech “mg'htmight mighthave.”»?”?”»
  32. I amam “sttin'ging ingin” aa aroom roomder · fi'nft «entfr'm fromth'» theone «youyou youare arein innow. II Iam rni–dr–coeging ingth'» soundsound soundof ofmy “skn·pi·aeging vioc'voice” “voiceand II” Iam amgin'g toto pl'yplay playit back itn'to th'the “ro'm aag'nagain” andand andaga'n unitltil ¿tilth' thereno'nst? nantfeenue'rc qs “ciesof ofth' theroom rn – fie – roceforce” forcetmsveelh's selvesso tahtthat anyany anysaenbm – cle ofof mymy sechpe,speech, “speech,wt'h pper–ahshaps” th' «eetix·cp'ntion tionof» ofrmh · hyt, isis “isdd–te–or'sy. «WahtWhat yo'you» willwill hear,hear, tn'h,then, then,ar' th'the” thenuart'l rsan · no'tnant fenei crqe'scies ciesof th'the “theroom attle–cuairded” “byby bysh–pec'.” “speech.I Irge'rd” ¿tihsthis “thisaivtc'ty notnot notso mc'hmuch” asas? aa dr – to – ti – moen – santion ofof ofa? pish'cyl? «calft'c, butbut» «mor'more asas» asa wayway wayto sto'mhsmooth smoothout outany anyiar gli teureirs tiesmy “mysceeph speechmh'gt” hva'.have.

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

Antoine

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