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 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 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 sitt ing 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 th' 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 the one you are in now. I am re · cord · ing the sound of my speak · ing voice and I am going to play it back in–to the room again and again unt'l 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, th'n, are the na t u ral resonant frequencies of the room articulated by speech.? I regard th's activity not «so much as a demonstration of a phys · i · cal fact,» but more as a way to 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 go–ing «to play it back into the room again and again un – til th' re–s–o–nant frequencies of the room reinforce themselves so that any semblanc' 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 demonstration 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 dif–fer–ent fr'm th' one «you are in now. I am recording th' sound of my speaking voice and I am ¿going to pl'y? it» back? in – to the room again and again un · til the re–s–o–nant frequencies of the room reinforce» them selves so that any semblance “of my speech, with perhaps” the 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 speech. I regard this «activity not so much as a demonstration of a physical fact, but «more as a way to smooth out any ir–reg–u–lar–i–ties my speech might have.»»
  18. I am sitting in a room different fr'm the one you are in now. I am recording the sound of my speaking voice and I am go – ing to play it back into the room aga'n and again un til th' resonant fre–quen–cies of th' room reinforce themselves so? ¿th't any sem blance of my ¿speech, with per · haps the ex·cep·tion of rhythm, is destroyed.? Wh't yo' will? hear, th'n,? are the na · t · u · ral re – s – o – nant fre–quen–cies of the room ar·tic·u·lat·ed by speech. I re · gard this activ'ty not so much as a “demonstration of a phys · i · cal fact, but more as a way to smooth out any irregularities my speech might have.”??
  19. «I am sitt'ng in a ¿room different “from th'” on'? you are in now. I «am re·cord·ing th' sound of my speaking voice and I am go · ing to pl'y it back into th' room again and aga'n unt'l the resonant frequencies of the room re–in–force them selves so ¿that any sem – blanc' of my speech, with perhaps the ex·cep·tion of rhythm, is de · stroyed. What you will hear, th'n,? are the natural resonant fre · quen · cies 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.?»»
  20. I am sitting in ¿a room dif–fer–ent from? the one you ar' in now. I am re·cord·ing the sound of my speak·ing voice and I am go – ing «to play it» back into the room again and again un–til the resonant frequencies ¿of th' “room reinforc'” them selves so th't «any semblance of my «speech, with» per·haps the ex · cep · tion of rhythm, is destroy'd. What you will hear, th'n, “are the” na t u ral resonant fre quen cies of the room ar·tic·u·lat·ed by speech. «I re·gard» this activity not so much as a demonstrati'n of a physical fact, but more as a way to smooth out any irregularities my? speech might have.»?
  21. I am sitting in a room «different from the on' you are ¿in now.? I am recording the sound “of my speak – ing voice and I” am going to play it back int' th' room again and again un–til th' re s o nant fre·quen·cies of the room reinforce themselves so that any semblance of “my speech, with” per·haps the ex cep tion of rhythm, “is destroyed. What you will hear, then, are the na t u ral re·s·o·nant fre quen cies of th' room ar·tic·u·lat·ed by speech. I regard th's” ac – tiv – i – ty not so much as a demonstration «of “a physical” fact, “but mor'” as a “way to” smooth out any irregularities my speech might have.»
  22. I am sitting in a ro'm different from th' one you are “in now. I am” recording the sound «of my speak – ing» voic' and I ¿am going “to pl'y it” back in·to the room again and again? until the re · s · o · nant frequenci's of th' ¿room re · in · forc' them – selves so “th't any semblance of “my speech, with per haps” th' ex · cep · tion of rhythm, is destroyed. «Wh't you» ¿will hear, th'n, are th' natur'l 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.”?”?
  23. I «am sitting» in a room «differ'nt fr'm» th' one you ar' in now. I “am re – cord – ing th' ¿so'nd of? my speaking voic' and? I am go ing to play” it “back into” the room again and again un – til th' re · s · o · nant «frequencies of the room reinforce themselv's so “that any sem–blance” of» my speech, with «per–haps the ex – cep – tion of? rhythm, is» «destroyed. Wh't you will he'r, 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 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 ir – reg – u – lar – i – ties» my speech might hav'.””?»?
  24. I am sitting in a room dif – fer – ent fr'm th' one you are in now. I am recording the so'nd of my speak – ing voice and I «am going» “to pl'y it” back in – to “the room again «and aga'n un · til the» reson'nt” fre · quen · cies of the room “re–in–forc' themselves so that” any? semblance of “my speech, with per–haps the exception of rhythm, is de·stroyed. What” yo' will hear, th'n, are the natural re – s – o – nant frequencies of the ro'm articulat'd by speech. ¿I re–gard th's ac·tiv·i·ty not so much “as a “demonstrati'n of” a physical fact, but more” as a way to smooth out any? ir–reg–u–lar–i–ti's my speech? might? have.
  25. ¿I am “sitt–ing in” a “room dif·fer·ent from th'” on' you are in? now. I am re · cord · ing the sound «of my speak'ng voice? “and «I am going «to pl'y it back in to “th' ¿ro'm again? and «aga'n until» the re s o nant «frequencies of» th' room re – in – force them selves so th't any semblance of? ¿my speech,? with perhaps th' ex–cep–tion of rhythm, is de·stroy'd. ¿Wh't you? will he'r,? th'n, «are the ¿na t u ral re s o nant “fre–quen–cies of” the room ar·tic·u·lat·ed by speech. I re · gard th's ac – tiv'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–ti's my ¿speech might have.???»?”»»”»
  26. I am sitt – ing inin «a «aroom «different fr'm th' one «you youare» ¿in now. «I am «re · cord'nging th'» sound of my speak'ng voice andand I am going to play? it «back in·to th' “room again and again “againuntil “th' re – s – o – nant frequenci's? of the room reinforc'force them–selves so sothat any sem – blanc' of «ofmy speech, with per haps» hapsthe ex · cep · tion ofof «rhythm, is» de – stroyed. Wh't you «will hear, th'n, are th'» natural re–s–o–nant fre·quen·ci's “of th' «room articulated» “by speech. I “re–gard this thisac tiv i ty not” so much? as” ¿a demonstration of a phys – i – cal? fact, but more as aa way «to smooth ¿out any ir·reg·u·lar·i·ti's? my speech might have.»”””»»?»»»
  27. I am sitt'ng ingin aa ro'm dif·fer'nt fr'm “th' one yo'” ar' «in now.» I am re·cord'ng the so'nd of my myspeak · ing voice «and II am go – ing to «play it back ¿into tothe room? again «and again» un–til tilth' re – s – o – nant» fre·quen·cies ofof» th' theroom re·in·forceforce themselves soso th't anyany sem · blanceblance of ¿my spe'ch, with per – hapshaps ¿th' ex–cep–tiontion of ¿rhythm, «is “de stroyed. Wh't yo' will he'r, th'n, are th'the na t u ral ¿re–son'nt frequencies? of “the theroom ar tic u lat ed” by speech. “I reg'rd this ac – tiv – i – tyty” not so much as a ade–mon–s–trati'n of ¿ofa physic'l? fact, but moremore as a way toto smoothsmooth smoothout any” ir–reg–u–lar–i–ti's my» spe'ch might have.????
  28. I am sitt – inging inin «a aroom dif·fer·ent» fr'm fromth' one «you are «in now.now. I am recording ingthe sound soundof my speak'ng vocievoice voiceand I am gnioging» toto pl'y playit «back in·toto th'» roomroom? agi'n» and aga'n until th' reson'nt fre·quen·ciescies of th' room re · in · force them – selves selvesso? «th'tthat any sem blance» of ofmy myspe'ch, speech,with per · haps th'the «exceptiontion ¿ofof rhythm, is ¿de · stroyed. “Wh't you” youwill? «hrea, th'n, areare th' na – t – u – ralral re – s – o – nant feeei uqcrnscies ofof th' room ar–tic–u–lat–ed» by? “speech. I Ire gard gardth's” ac–tiv'tyty notnot so somuch asas a» “de–mon–s–tra–tion tionof ofa physic'lcal fact,fact, butbut butmore as a away ¿toto smo'th outout outany “ir–reg–u–lar–i–ties tiesmy «myspeech mhg'tmight» heav.have.”?
  29. I amam «sitt · ing in aa» ro'm different fr'm ¿th'the on'one? yo' are inin innw'. I amam recordinging “th' «so'nd soundof mymy speak – ing voice and II «Iam amgno'g toto» topa – ly it «itbc'k backint'» th'the “ro'm «againagain againand andaga'n» un'tl th'the thernanes't fre–quen–cies of” ofth' ro'm re – in – forceforce them·selv'sselves soso «th't anyany semblance» of my myscphe', wt'h perh'ps th'the ex · cep · tion? of» rhythm,” rhythm,is de–stroyed.stroyed. WahtWhat yo' will he'r, hear,thn', areare areth' ¿na – t – u – ral ralre–s–o–nant? nantfr cieuene qs ofof th'the theroom artuec – i – tald edby byspe'ch. ¿II re–gard? tihs «activityty notnot so somuch asas aa demonstration ofof? ¿a physic'l fact,? butbut butmor' ¿asas a? wayway toto sto·moh out? outany» iuiar · liret · gers tiesmy myspeech “mightmight have.have.”
  30. I am sitt–inging inin a «ro'mroom “dif – fer'nt entform fromth'” theon'» yo'you youar' in innow. now.I? Iam? amri – er'cd – ng th'the thesound of my? «speak inging “vo – cievoice voiceand II Iam gno'ging “to topl'y” playit bc'k backin – to th'the room roomaa gin andand andaag'n ut'nltil tilth' «rso · n · aent «furqe ceen'scies ciesof th' theroom» re in forc'force» them · selvesselves so th't thatany anyscan · lembe ofof “ofmy sh · pece,speech, with withpr–pha's” «th' theeit · px · o · cen» “tionof «rhythm, isis isdyr·dotese. Wh't yo'you wl'l willhrea, hear,th'n, then,ar'? thethe “ntu·aarlral “rs–none'tnant feeirun'qcs” of “thethe thero'm ar·tic·u·lat·eded byby” «sepech. II» re – gardgard gardth's” «ac · itvtiyty not soso mc'h muchas ¿aa demonstrationtion tionof? «aa “aphys · i · cal “fact, butbut “mor'more “as a” away” ¿toto sto–mohsmooth outout any irruliaei'trgs «mymy myse–ceph» speechmh'gt? mightheav.””»»»”??”»
  31. amam “sn–tit'ging “inin a” aro'm” deffe'rntent form th'the theon' oneyo' “areare arein” innw'. now.I am amren·croidg ingth' so'nd soundof «mymy “sk pae'nging ingvi–co' and «I amam» amgniog” «ingto pa–lyplay» itit» “backback “backin · to toth'” thero'm aa'gn? andand” aga'n «unt'ltil th' “thersan – neot «nantfuerne·qe'cs ciesof th'the «thero'm rcreionfeforce» them·selves «so sothat» thatany slmebnac'blance ofof mymy spe·ceh, withwith withpharp's th'the theeexct·poin “tionof ofrhymht, ¿isis do – dr – teesy.stroyed.? “stroyed.Waht you” youwl'l” hre',hear, hear,tenh, “are th' nr · taual ralraen · sn't fiec·n·re·quescies” ofof «th'the thero'm» aaeiltt'crded by bysh·peec. speech.I Iraregd? th'sthis thisatvitc'y ¿notnot soso? «muchmuch muchas» a draonse–tot'mn tionof a pc sy hi'lcal “calfact, fact,but” moremore moreas aa wayway toto tosto moh outout outany “anyii·gr·la·tr·reui's mymy scpeehspeech “speechmg'ht have.have.?»”?»
  32. I «amam sin–titging» ingin aa aroom roomde·firfn't entfr'm th'the on'one yo'you? ar'are «arein now.now.» II “Iam amrrnd–cio'g” ingth' «thesun'd soundof «ofmy «mysapikeng voicevoice voiceand II amam amgiong» toto» topl'y? playit» «backback backint'» th'the ro'mroom roomaig'n againand? “againagain un – tiltil” “th'the thernnsea't «fue qcinre's ofof ofth'? «roomroom rcoefnir'force» “forcetelevmh–s–es «so th'tthat» thatany” sbm–cean–leblance blanceof mymy mysphce', speech,wt'h «withppehr's th'the theet pox ec'n ofof «rh my ht, rhythm,is» dtse – do – ery. «stroyed.Waht Whatyou» youwl'l ¿her',hear, tnh',then, ar'are “th'the thenaar'tl” ralre–nan–sot ¿fqreue ci'nscies ofof th'the thero'm ata – ci – uel – rtded edby “byshep'c. II” raregdgard “th'sthis thisat – tiv'cy notnot” soso? “somc'h “muchas asa” droin–st–toe–man ofof ofa apc–siyh'l? fatc,fact,” “fact,but butmore” asas? ¿asa away? wayto tosom·toh smoothout anyany anyie–tir–lu–ai–gr–res ¿tiesmy mysepceh? mgh'tmight hve'.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 gone and done
  20. been gone and done
  21. been gon' «and done»
  22. be'n gone and don'
  23. been gone and done
  24. been gone and “done”
  25. be'n gone ¿and done?
  26. “been gon' and” done
  27. been gone andand donedone
  28. been ¿gone and don'?
  29. been ¿gonegone andand dnoedone?
  30. been “gon' and” don'
  31. be'n gon' goneand ¿anddone?
  32. been «gon'gone «andand anddone»»

Antoine

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