An experimental essay on voice, narrative, literature and translation. In this text Daniela tunes into the hums of voices heard within books, to the recollected csitation, to singing with stitched lips.
DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the visualised voice.
A text on speaking, listening and being understood made in conversation with iOS speech-to-text software.
‘A Tone or Two’ comes in the form of a text score and a melodic voice work. Noticing a shift in her voice in recent years, Thams tracks how within the last decades female voices have lowered 23hz in pitch. Tuning into the shift toward more gender equality, vocal pitch is explored in relation to authority, electability, courage and rhythmicity.
With link to online sound work.
‘Five Devours’ is a short essay in five parts about need and food as a part of speech, about speech’s relationship to nourishment and hunger; the currency between eating and speaking, expending and consuming.
12 pages
150 x 200mm
risograph printed
edition of 150
Lisa’s work takes the form of a visual score, a sound work and a short accompanying essay on the metaphorical act of singing underwater, within the context of the migrant crisis in the UK. It is a beautifully haunting.
With link to online sound work.
‘I am concerned with the power of sound! and what it can do to the body and the mind,’ wrote composer Pauline Oliveros. In the body, histories and politics come together with sound and listening, memory and feeling. Bodies of Sound offers a resonant exploration of feminist sonic cultures and radical listening in over fifty contributions. In this book of echoes, a variety of forms – from essays to text scores to art, fiction and memoir – speak across gender, ways of knowing, witnessing, sounding and voicing, translation, displacement, violence and peace.
With contributions from:
Sara Ahmed, Ximena Alarcón, Svetlana Alexievich, Ain Bailey & Frances Morgan, Anna Barham, Xenia Benivolski, Leanne Betasamosake Simpson & Kite, Elena Biserna, Karen Barad & Black Quantum Futurism, Anne Bourne, Daniela Cascella, Theresa Hak Kyung Cha, Maria Chávez, Don Mee Choi, Carson Cole Arthur, Petero Kalulé & AM Kanngieser, Lindsay Cooper, Julia Eckhardt, Lucia Farinati & Claudia Firth, Ella Finer, Annie Goh, Louise Gray, Christina Hazboun, Johanna Hedva, Sarah Hennies, Tomoko Hojo, IONE, Lee Ingleton, Hannah Catherine Jones, Christine Sun Kim, Nat Lall, Cathy Lane, Jeanne Lee & Lona Foote, Marysia Lewandowska, Annea Lockwood & Jennifer Lucy Allan, Cannach MacBride, Elaine Mitchener & Hannah Kendall, Alison O'Daniel, Naomi Okabe, Pauline Oliveros, Daphne Oram, Gascia Ouzounian, Holly Pester, Roy Claire Potter, Anna Raimondo, Tara Rodgers, Aura Satz & Barbara London, Shortwave Collective, Sisters of the Order of Celestial Nephology, Sop, Syma Tariq, Marie Thompson, Trinh T. Minh-ha & Stoffel Debuysere, Salomé Voegelin
"From Work to Frame" was first published in English and Swedish in 1987 in a catalog of the Moderna Museet in Stockholm for the exhibition "Implosion: A Postmodern Perspective" (October 24, 1987 to January 10, 1988).
As S*I*G #12, the text is published in English and in its first German translation, alongside a preface by Hannes Loichinger, who is editor of this issue.
Métaphoriques Cannibales est un recueil transdisciplinaire, où le cannibalisme est pris comme métaphore, comme un concept ouvert aux analogies, comme anthropopoiésis et boîte noire, et comme fait social total.
Peuplent cet endroit des individus qui s’abreuvent de symboles, d’imaginaires, d’occulte, d’intime et ne craignent pas d’en recracher des images et idées d’une extrême violence, tout en constituant paradoxalement l’univers de leur production comme “safe space”.
Le cannibale est une spécialité belge, composée d’un toast recouvert de filet américain (une variante belge du steak tartare).
Transgressif et provocant, c’est ici un paroxysme de l’altérité et fantasme de l’Autre, qui permet par reflet de nous contempler nous-même.
La vie n’a de saveur que pour devenir viande.
La transgression, c’est aussi aller plus loin. Oser aller plus loin. Plus loin que les normes communément admises qui sont toutes relatives et violentes.
SUBSTANCE MOLLE ET SANGUINE
Nous cherchons des outils spéculatifs pour pænser notre monde.STIMULI VISUELS HOMOGÉNÉISÉS PAR LE ROUGE
C’est d’un brouillard polysémique empli de chimères, d’un tabou lardé de malaise et d’angoisse, bien au chaud dans un ventre plein de plasma, que ɴon-ᴀ émet ce recueil transdisciplinaire.
Dans la large brèche que nous propose l’ouverture de notre thématique, s’engouffre une multitude d’approches : de la chansonnette, au récit spéculatif, de la définition critique, à la BD vorarephile, du reportage photo, à la poésie expérimentale, de la théorie d’écologie spéculatif, à la performance eroticocculte.
Explorons les obscures profondeurs de nos éthiques pour y trouver les fondations de nos ontologies... se mordre d’une balle dans le pied.
Contributeur·rice·x·s
aariel136, Maurane-Amel Arbouz, Nina Bigot,Mathilde Block, Juliano Caldeira, Rémi Calmont, Rouge Cendre, Chloé Clemen, Sam Ectoplasm, Robin Faymonville, Gabriel René Franjou, Tristan Gac, Léo Gillet, Charlotte Guerlus, Théophile Gürtin, KarenDK, Olga Mathey, Louise Mervelet, Jean-Baptiste Molina, Hélène Alix Mourrier, Carole Mousset, Lucy Ozon, Angel Raymond, Andres Komatsu & Camila Roriz, Paradoc sale, Manon Schaefle, Yan Tomaszewski, Tom Valckenaere, Chloé Viton, xX-Sukuba-Xx, Zelig, Janna Zhiri