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 th' 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 reinforce themselves so th't 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.
  15. 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 play it back into» the room again and again until the re · s · o · nant “frequencies of th' room re·in·force themselves so” that «any semblance 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 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.”
  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 go·ing to play it back into the» room again and again until th' re · s · o · nant fre quen cies of the room reinforce them selves “so th't any semblance of my” speech, with perhaps th' exception of rhythm, is destroyed. Wh't yo' will hear, then, are th' 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 physical? fact, «but more as a way «to smooth out any irregularities my speech might have.»»
  17. I am sitt'ng 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 pl'y «it back» into th' room “again and again un til th' resonant frequencies of th' room” re·in·force themselves so that any semblance of my speech, with per haps the exception of rhythm, is destroyed. Wh't you will hear, then, are the natural 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.
  18. ¿I am sitting in a room dif·fer·ent fr'm? the one you “ar' 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 resonant fre – quen – ci's of the room re · in · force themselves so that «any semblance of» my speech, with per·haps the exception of rhythm, is de–stroyed. Wh't you will hear, then, are «the na t u ral re s o nant fre · quen · cies of “the room ar tic u lat ed” by speech. I regard th's ac · tiv · i · ty 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.?
  19. 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 ¿them · selves so that ¿any semblance? of my speech,? with perhaps the exception of rhythm, is destroy'd. What you will hear, th'n, are th' natural resonant frequenci's of the room articulated by speech. I regard 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.?
  20. I am sitting in a room different fr'm the one you are in now. I am recording th' sound of my “speak ing voice and I” am? going to play it back «into the room again and» «again un · til the reson'nt frequencies of «the room re in force «them–selves so th't any» semblance “of my speech, with perhaps the excepti'n of “rhythm, is de·stroyed. Wh't you” will ¿hear, then, are the? na–t–u–ral “resonant frequencies of the room ar tic u lat ed “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 «have.»»”?”»»
  21. I am sitting in a ro'm differ'nt from? th' one you are in now. I am re cord ing th' sound of my speaking voice and I am going to play it back into “th' room again and again unt'l the resonant fre–quen–cies of” th' room re in force themselves so that any semblance of my speech, with per · haps th' ex cep tion of rhythm, is de · stroyed. Wh't you will hear, th'n, are ¿th' na·t·u·ral resonant frequencies? of “the «room ar · tic · u · lat · ed by spe'ch.» I re – gard” th's ac tiv i ty not so much “as a demonstration of a physic'l fact, but mor' as a way “to smooth” out any irregularities my speech” might have.
  22. I am sitt·ing in a room dif fer ent fr'm th' one you are in now. I am re · cord · ing the sound of my speaking? ¿voice and? I am “go·ing to pl'y “it back in to the” room again «and again un · til ¿th' re · s · o · nant ¿fre · quen · cies of the room reinforc' themselves so th't any sem · blance of my speech, with perhaps ¿the ex – cep – tion of rhythm,? is de · stroyed. Wh't you will hear, then, «are th'» natural resonant «frequencies of “the room articulated by speech. I regard th's ac–tiv–i–ty not so much” as a de–mon–s–trati'n» of ¿a physical? 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–ent from the one you are in now.? I am ¿re · cord · ing «th' sound» of my speak · ing? voice “and I am “going to” play it” ¿back in · to? th' room aga'n and again until th' ¿re – son'nt fre–quen–cies? of the room reinforce themselves so th't any sem·blance of my speech, with perhaps ¿the ex·cep·tion of rhythm, is de stroy'd. “Wh't yo'” will he'r, ¿th'n, ar' th'? na · t · u · ral re s o nant fre – quen – cies of the room ar–tic–u–lat–ed? by speech. I reg'rd th's ac · tiv · i · ty not so much as “a demonstrati'n 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.?
  24. «I am» sitting in a ro'm dif fer ent from th' one you are in now.? I am re·cord·ing the “sound of ¿my speaking voice? and I am going to play it” back int' th' room again and again until th' re · s · o · nant fre·quen·cies of ¿th' ro'm? reinforce them·selves so ¿th't any sem – blance of my speech, with per haps th' ¿ex·cep·tion of rhythm, is destroyed. «Wh't yo' will hear, «th'n, ¿are th' ¿na – t – u – ral re · son'nt frequenci's? of the? room ar – tic – u – lat – ed by speech. I regard th's activity «not so much as a» demonstration of? physic'l fact, “but more “as a way to smooth “out any ir reg u lar i ties my speech might” have.””»»??
  25. I «am sitt – ing in» a ro'm different from th' on' you are in now. I “am recording th' so'nd ¿of my speak–ing voice and I am going to pl'y it ¿back int'? ¿th' room aga'n? and again until «the «resonant fre–quen–ci's» “of th' room” “reinforce them · selves so th't any ¿semblance of? my speech, with” ¿perh'ps th'? ex cep tion of» “rhythm, is” de stroy'd. Wh't yo'? will he'r, then, are th' na tur'l re·s·o·nant fre – quen – cies of? the room ar – tic – u – lat – ed by? spe'ch. I” re·gard th's “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 ir – reg – u – lar – i – ti's my” spe'ch might have.
  26. I am sitt'ng “in a” ro'm different fr'm the theone yo' ar'are in now.now. I am re–cord'ng th' sound of «my speak'ng voice» and I am go ing to pl'y itit back int' th' theroom again and “andagain un–til” the re – s – o – nant fre·quen·cies ciesof th' ro'm re·in·force them selves so thatthat any “semblanc' of “ofmy “speech, with perh'ps” th' ex – cep – ti'n of «rhythm, is destroyed. Wh't Whatyo' «will hear, then, are» th' «natural re · s · o · nant» fre quen cies» of thethe room ar tic u lat ed by spe'ch. I “re · gard th's ac–tiv–i–ty not so muchmuch” as a de mon s trati'n «ofof ofa» phys·i·cal fact,? “but “more as” «aa way to smooth» out” «any ir – reg – u – lar – i – ties» my spe'ch might” have.”??
  27. I amam sitt ing inin a room dif · fer · entent from? th'the? theon' youyou are “in now.” I amam re cord inging «th' sound» of my speak'ng voic' voiceand I am go'ng to pl'y it «backback «int'to tothe room again» and again» unt'l ¿th'the re s o nant frequencies of th'the room? re·in·force “them·selves “soso ¿th't any semblance of ofmy speech,? with” perhaps” the ex·cep·ti'n of ofrhythm, is de–stroy'd. What yo' willwill hear, th'n, «then,ar' “th'the na – t – u – ral” “re · s · o · nant fre quen cies “of th' room? roomar · tic · u · lat · ed” by speech.” ¿I reg'rd? gardth's “ac–tiv–i–ty not” «so much muchas» “aa de mon s tra tion” of «a physical fact, “fact,but “butmore asas” asa way to tosmooth «out “any «irregularities my spe'ch might have.»”»”»»
  28. I Iam sitnt'ging ingin a aro'm dfer · en · fit ¿fr'm fromth'? on' you youar' in now.now. I am recording th' sound of “my speak'nging” «voice and» II “Iam gonig ingto pl'y? itit itback in – to th'” roomroom roomagain and aa·ginagain againuntil tilth' resonant fre quen ciescies of th'the room roomreinforc' them · selvesselves selvesso th't “any anysem – blance” of ofmy speech, wt'h withperh'ps the ex – cep – ti'n of rhythm,rhythm, is ¿de–stroyed.stroyed. Wh'tWhat you? will ¿hear, th'n,then, ar' «th' na–t–u–ral re – s – o – nantnant fre·quen·cies» of? th' room roomarticulated by speech. I re · gradgard ¿gardth's thisac · tiv'ty tynot «so somuch as ¿asa de–mon–s–tra–tion? ofof a» physic'lcal ftc',? butbut «more as a way toto smo'thsmooth out outany? irregularitiesties» tiesmy? speechspeech ¿might have.?
  29. I am sitt'nging «in a roomroom dif·fer·entent fr'mfrom “th'the oneone” you ¿youare in? now.now. II am amre–cord'ng th'the sound? of ofmy speak'ng voice andand? Iam amgo'ng toto pl'y» it «itback in·toto toth' ro'mroom» again againand? againagain un · til ¿the there – s – o – nant? fe · crenuqies ofof ofth' ro'mroom ¿reif–conr' “tlseh–meves so” soth't? thatany seancblm' ofof mymy myspeech, withwith withperh'ps “th' theex · cep · ti'n” of “ry hhmt, isis isde stroyed. Wh't” ¿youyou willwill? hear, “then, areare” th' na t u ralral re·s·o·nant nantfnreqiuce's of th' ro'm ar – tic – u – lat – ed edby bysceehp. «I Ireg'rd» gardtihs ¿ac·tiv'tyty tynot? so muchmuch muchas a ade – mon – s – tra – tion of a aphys – i – cal «fact, fact,but» mroemore asas? a away wayto tosmooth out ¿anyany anyiarurg – terieils? my myspeech mhgit have.
  30. amam stiting ingin a ro'mroom dfrinefet entfr'm th' on'one yo' youare ¿in «innow. II» amam? amrrdieoc–ng th'the? «sound ofof ofmy speak · ing vi coe and andI am gni'ging ingto» pl'yplay itit backback int'to th' roomroom againagain andand andaga'n uitnltil th'the rsn noaet fre·quen·cies of th' room rnocfeire «forcete–h–e–semvls soso tahtthat thatany» se bam cn le of my myspeech, with phrapeshaps hapsth' eet · icpx · on tionof rhhtym,rhythm, is “dy eerodst.stroyed. «Wh't Whatyo' will hear,» hear,th'n,” are arethe “na–t–u–ral ralreaosn·nt” ferquince'scies? ¿ciesof th'the ro'm articulateded by bysep'hc. II rg – er'd tihs “ac – tiv – i – ty not” soso somuch muchas aa? adstein roo tamn of? ofa phys · i · cal fact, ¿but butmro' moreas “asa way wayto tosoomth outout anyany il · re · ru · aigeirts mymy mysecpeh speechmi·hgt hvae.?”??
  31. amam sittn'g in aa ¿aro'm dfefin–retent? “entform th'the” on' yo'you ar' “inin ¿nw'.now. now.I? amam re·cord·ing ingth' soundsound ofof ofmy myspeak'ng vcoi' voiceand I Iam” ginoging to topl'y «playit bc'k» backit no th'the theroom roomagain andand aga'nagain againutn'l th'the re·son'ntnant «nantfcrueei'qns ofof» th'the «roomroom re – in – forceforce» forcetevhe'slms soso soth't any sem blanc' ofof mymy mysphe'c, speech,with pr – pa – h – eshaps th'the theecx – opeitn ofof ofrhythm, isis ¿isdd – toeyr's. “Wh'tWhat you” youwill hrea,hear, hear,th'n, then,are th'the “na–tur'l ro ne santnant” fqe unei cres “ciesof ofth'” thero'm roomar – tic – u – lat – ed? byby? secpeh.speech. I ¿Ire'rgd tihs? aitvit·cyty tynot “soso mc'hmuch” muchas asa “dn · te · mo · taosirntion tionof” “a pchiysalcal «calfc't, butbut» butmroe” asas asa way to sm toohsmooth out outany anyiur · ril · it · gae'rs “mymy scepeh” ¿speechmh'gt hav'.have.?
  32. amam amst – ti – ing ingin «aa ro'mroom dire'nfftent entfr'm» fromth' ¿oneone oneyo' areare? inin? now.now. now.I Iam amren · rocdig? th'the soundsound soundof “ofmy mysnkpie'g” ingvcio' andand andI amam go inging toto topa · ly itit itbc'k “it · noto toth' theroom aaignagain andand andaga'n uintltil «tilth' thersoan'nt» nantfcein · qrue's” ciesof ofth' roomroom rrnce · foi'force «forcetleve'mhss soso soth't anyany anysbecm · lane ofof mymy? scepeh,speech, «wt'hwith withpa·prehs» hapsth' theetx–oipc'n tionof ofryhmht, rhythm,is isds · teroyd'. stroyed.Waht yo'you» willwill willhra', tehn,then, then,ar' th'the “thenara'tl ralrneaonst nantfe · qe · ceu'nrs ciesof ofth' roomroom aeru – titl'cded edby byspe·hc'. II? Iraergd gardtihs” thisati'tcvy ¿notnot soso? muchmuch asas asa dor moent ta'sntion tionof ofa apsyah cil calfc't,? butbut ¿mro'more «asas “asa away” toto» tosto'mh smoothout anyany? iiel·gtrur·raiesties mymy «myspec'h might» “mighthaev.”

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 don'
  22. been “gone and” “done”
  23. been gone and done
  24. been gone and don'?
  25. been “gon' and done
  26. be'n ¿gon' and? done
  27. been “gone goneand anddone”
  28. been gone and done
  29. be'n gon'gone and ¿anddnoe?
  30. been gnoegone andand anddon'
  31. been gonegone and don'done
  32. be'n beengno' goneand 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.