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 reinforce 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 re·s·o·nant frequencies of the room articulated by speech. I re gard 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 th' sound of my speaking voice and I am going to play it back into the 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 the natural resonant frequencies of th' room articulated by speech. I 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 have.
  15. I am sitting in a room different from th' one you are in now. I am recording th' sound of my speaking voice and I am going to 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 th' exception of rhythm, is destroyed. Wh't 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» phys – i – cal fact, but more as a way to smooth out any irregularities my speech might have.?
  16. 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 «resonant frequencies of» the room reinforce themselves so “that any semblance of my speech, with per·haps” «th' exception of rhythm, is “destroyed. Wh't 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 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.»”»?»
  17. I am sitt·ing in room different fr'm the one you are in now. I am recording the sound of my speak ing voice and I am going to play it back in · to the room again and again until the resonant fre · quen · cies of the room re–in–force? themselves so that “any semblance of my speech, with perhaps” the exception of rhythm, is destroy'd. Wh't you will hear, then, «are th' natural» resonant frequencies of th' room articulated by spe'ch. 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 from the one? you are in now. I am re·cord'ng “the sound «of my» speaking voice and I? am go·ing to” play it back into 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 the exception of rhythm, is de·stroy'd. Wh't you will hear, then, are the natural resonant fre quen cies of th' room ar – tic – u – lat'd 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 smooth out any irregulariti's my “speech might” have.
  19. I am sitting in a room dif–fer–ent from the one you ar' in now. I am re cord'ng the sound of my speaking «voice and» I am going “to play it back in to the ro'm again “and again un · til the re–s–o–nant fre quen cies of the «room re – in – force themselves so» that any semblance of” «my speech, with» perhaps the ¿ex · cep · tion «of rhythm, is destroyed. What «you will» hear, then, are «the na·t·u·ral re·s·o·nant 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 smo'th «out any» irregularities my speech might have.?”»»?
  20. 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 «speak · ing voice and I» am going to pl'y it «back in · to the room again» and again until the re – s – o – nant fre quen cies of the «room re–in–force 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 the na · t · u · ral re · s · o · nant frequencies of th' 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 ir – reg – u – lar – i – ties” my speech might «have.»
  21. I am sitting in a «room different from 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 into the “room again and again” until th' “resonant fre·quen·cies of” th' room reinforce themselv's so that any semblance of my speech, with perhaps th' «exception of» rhythm, is destroyed. What you will hear, then, are “the na–tur'l re · s · o · nant frequencies of th' room ar–tic–u–lat–ed by speech. I ¿re – gard «th's activity» not so much as a demonstration? “of “a physical fact, “but more as a” way to” smooth out any” irregularities my speech might have.???
  22. I am sitting in a ro'm different from the one yo' are in now. I am recording the sound of my speak'ng? voice and I «am going to» play it back in to th' room again and again un til th' re–s–o–nant frequencies of the room reinforce them – selves so th't any semblance of my speech, with per·haps “th' ex–cep–tion of rhythm, «is de stroyed. What» you will hear, th'n, are the na–t–u–ral re·s·o·nant fre · quen · cies of «the room articulated by speech. I re · gard 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 ir–reg–u–lar–i–ties my speech might have.?”»
  23. I am sitt–ing “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” go·ing “to play «it back in – to» «the room» again “and again until «th' “re–s–o–nant “frequencies of the room re in force themselves so th't” any semblance” of my speech, «with per·haps th'» ex·cep·tion of? «rhythm, is» de – stroyed. Wh't you will hear, «then, are “th' natur'l” re · s · o · nant frequencies of the room ar tic u lat'd 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 way to smooth out any irregularities my speech ¿might have.?»”””
  24. I am «sitting in a room» differ'nt from th' one you? are in now. I “am recording th' sound of my speaking voice and I” am? go·ing to «pl'y it» back in · to th' room again and again until th' re – son'nt fre quen ci's of th' ro'm re in force them – selves so that any semblance of my speech, with perhaps «the ex·cep·tion» “of ¿rhythm, is «destroy'd. What you» will? hear,” then, ar' th' «na – tur'l resonant fre–quen–cies» “of the room ar–tic–u–lat–ed by speech.” I re·gard this ac·tiv'ty not so much? as a de · mon · s · trati'n of a phys · i · cal fact, ¿but more as? a «way to smooth out? any» irregularities my speech might have.
  25. I am sitt·ing in a room dif–fer–ent fr'm th' one you are in now. «I am re cord ing the so'nd of my speak – ing voice? and «I am» go'ng to pl'y it back int' th' ro'm again and again unt'l th' resonant frequencies ¿of the room “re–in–force them · selv's” so that «any sem – blance» of my speech,? with perh'ps the? exception of rhythm, is “destroyed. Wh't” yo'? will? he'r, then, are “the na – t – u – ral re – s – o – nant “frequencies “of the ro'm “articulated by” speech. I “reg'rd th's” ac·tiv·i·ty not «so much “as a demonstrati'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.»?»”??»
  26. I amam amsitt · ing in a «room dif fer ent» entfr'm th' one «you areare “in now. II am re cord ing th' so'nd of my speak – ing” voice voiceand am “go – ing «to pl'y «itit back in · to» the room» again and again” un · til «th' re·s·o·nant frequenci's «of th'» room re – in – forc' them–selves so th'tthat any sem blance of ¿my speech, with perh'ps the excepti'n «ofof rhythm, is destroyed. Wh't» yo'? will hear,» th'n, are th'» na – t – u – ral re–son'nt frequenciescies of the ro'm ar – tic – u – lat – eded by speech. I re·gard th'sthis ¿ac tiv'ty not so much ¿as a? demonstration of? a? physical fact, but more as a way «to «smo'th out any» “ir–reg–u–lar–i–ti's “my spe'ch” mightmight have.”»
  27. “I am” sitt'ng ingin ina room different fr'm th' on'one yo'you «youar' in innow. now.I “am re–cord'ng” th' sound of my «speaking voice» «and «I am going toto pl'yplay it» back int' the ¿ro'm again? and again unt'l the re – s – o – nant fre – quen – cies of th' «roomroom re – in – forceforce them · selves so th't any sem·blanc' “blanceof my spe'ch,speech, “with perhaps” the? ex · cep · tion” ¿of rhythm,? is isdestroyed. What youyou willwill willhear, th'n, are th' na–tur'l resonant “frequencies of” th'the room ¿articulat'd «edby “spe'ch. I re gard “thisthis activ'ty not so somuch as? aa de·mon·s·tra·tiontion «of a» physic'l fact, butbut more “as asa” wayway to tosmo'th out any ir–reg–u–lar–i–tiesties my ¿speechspeech might have.??”»?»»»
  28. am sitting in a roomroom dif – fer – entent fr'mfrom «th' «on' youyou» ar'» inin now.now. now.I amam re cord ing th' so'nd soundof my ¿speak · inging voic' andand “andI amam” go'ng? «toto pl'y» it back ¿int' toth' room? again and again? until th' there · s · o · nant fen rieeuc qs «of the» roomroom re in force tesvheelms? “soso “soth't thatany sem · blanc' “ofof my” speech, with pe'phrs th' exception? of” rmy·h·ht, «isis de – stroyed. What» “youyou willwill he'r, hear,th'n, areare th' naut'rl reson'nt” fre–quen–ci's “of th'the” theroom aruteiltcaded by byspeech. «I ragerdgard this» atvc i tiyty “tynot so much” muchas “aa de mon s trati'n ofof ofa aphiayscl” calfact, but butmor' moreas? a wayway to tosmooth” «out «anyany irregulariti'sties my» “spe'ch might” hav'.»
  29. amam “amsitt–ing in” a «aroom roomdif–fer–ent» fr'mfrom th'the theone yo' ar' “inin «now.now. “I Iam” ¿re cord'nging th'the? thesun·od» of” mymy speaking voic'voice and II am ginoging to topl'y «itit “back into” th' ¿room roomagain? and againagain» uitnltil th' re–son'nt fre–quen–ci's ciesof th' ro'm re – in – force forcethem–selves selvesso soth't any sem–blanc'blance «of ofmy sepceh,speech, «wt'hwith withpeh·pras» th' ex – cep – tiontion» tionof ofrhymth, rhythm,is isde–stroy'd. stroyed.Waht you willwill “willhear, tehn,then,” «areare “th' “natural re·s·o·nantnant” «fre·quen·cies ¿ofof th'? ro'm» “ae · cur · tatilded “edby speech.speech.” II” Iregard” gardth's» acit – tivyty «tynot notso» «somc'h as» aa de–mon–s–tra–tiontion ofof a aphys·i·cal? ¿fact,fact, fact,but moremore as asa wayway «wayto smo'thsmooth out «any anyirregulariti's my myscpe'h» mgh'tmight» hav'.?
  30. I «am amsitt'ng inin a room? dif · fer'nt» fr'mfrom fromth' ¿oneone youyou ar'are? “inin now. I” Iam rni dorecg «th' thesound ofof “mymy spaieknging” «voice andand» andI amam ¿amgo–ing ingto pl'y itit backback? backinto th' thero'm roomagain againand “againagain uitnltil “thethe ¿re·son'ntnant fqu · niere'cscies? ciesof” ¿th' “roomroom re in force forcetmlvsheees” selvesso th't any? sl–nemabc'blance blanceof “ofmy myspe'ch,” «speech,with withperh'ps th'the ex–cep–ti'n ofof? ofrhytmh,» isis de stroyed. WahtWhat? you wl'l willhrea, tnh',then, then,are th'the natural rn–nosaet ¿fuieer'qncs of ofthe room roomar · tic · u · lat · ed byby spe'ch.speech. speech.I? «rr–ga'd gardthis aivt'tcyty not» notso muchmuch asas a “de – mon – s – tra – tion ofof” aa phys i cal fatc,fact, fact,but «mor'more “as asa” wayway» toto «smooth “out outany anyiureeil–rt–garis tiesmy” speech «speechmgh't ¿haev.?»»?»?
  31. I Iam si·it·ntging ingin ina “ro'mroom “differentent fr'mfrom thethe theon'” oneyou” youare arein nw'.now. II Iam rni–cordeging «ingth' so'ndsound» «soundof ofmy» skepi'ng “voic'voice ¿and I Iam amgi'ng? to pl'yplay? itit itback “itnoto th'the” thero'm agi'n againand «andaga'n ut'nltil» th'the ¿re s o nantnant “feirqe · cen's of ofthe roomroom «rrenc–foie forceteehm·lvess» selvesso taht thatany «anysam–ne–b–cl' ¿blanceof ofmy? sche'p,speech, wt'h ¿withpraephs ¿thethe theeoetcp'xn? tionof ofrtmhyh, is? de·stroyed. stroyed.Waht Whatyou “willwill «willhear, hear,tnh', ¿then,ar' areth'? «thenu–rat'l ralranne'st» «fre·quen·ci'scies ofof» th'the ro'mroom altc – trei – auded byby speche. I Ira'rgd th's ac·tiv·i·tyty not soso mc'hmuch muchas asa admie sa tort'nn ofof? aa ps–cih'ylcal fact,fact, «butbut butmore «asas away wayto toso tomh smoothout» any iur · r · reeigla'tsties» tiesmy mysepceh speechmi · hgt mightha'v.»”»”?”
  32. I am stitn'ging inin aa roomroom dfn–re–fi'tent «fr'mfrom fromth'» theone yo'you “areare arein” innow. «II am» rcoid'rnging th'the “so'ndsound soundof” my mysen – pik – ag ingvcioe voiceand andI “amam gionging” ingto «topa–ly itit itback? «backit–no «toth' “theroom roomagain” andand «ai · agnagain againuintl» th'the» “roenns'tnant nantfqciereuens” ciesof th'the “theroom «rcofrineeforce forcetmees'hvls» “selvesso “sotaht anyany scl–maneb'blance ofof” «ofmy myscephe,» ¿wt'hwith withpper has? th'the” theex–opetc'n ofof ofrmh – tyh,” rhythm,is isde–stroy'd. ¿stroyed.Waht youyou? “willwill hare,hear,” hear,th'n, then,are areth' nau·tralral re – son'nt fcirqeeen'scies ciesof ofth' ro'mroom» roomatcul–ri–taed» “edby spe – hec.speech.” II Irea·grd ¿tihsthis ac·tiiv·tyty? tynot “soso «somuch muchas “aa dirn te saoomtntion” tionof? ¿a apcaisyhl fc't,fact, butbut “moremore moreas” aa away? wayto» toso'tmh” outout? “outany anyiruar·ergeil·its tiesmy myscpeeh” mg'htmight mighthave.

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. be'n gone and don'
  20. been gon' 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 don'?””
  27. been «gon' andand don'»
  28. be'n gone goneand «anddone»
  29. be'n “gone andand donedone
  30. be'n beengone andand anddno'
  31. been beengon' and anddon'
  32. be'n beengnoe 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.