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.
Language: English
‘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
‘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.
Tips of the Sung is a collection of interdisciplinary texts from Samuel Brzeski composed over the five years whilst he was Associate Artist at Lydgalleriet. The collection brings together performance scripts for voice and video with newly composed texts for the page. Centring on the vibrations of the voice, the texts exist somewhere between signification and delirium, at times making more sound than sense.
The texts are full of bumbling mumbles, meandering hums, homophones, inner voices, affirmations, motivations, subvocalisations, resolutions, errors in speech production, peach seduction, car maintenance manuals, self-help fallacies, roomy echo chambers, overheard language lessons, morning meditations, and other forms of verbal rehearsal at the limits of language.
A text on speaking, listening and being understood made in conversation with iOS speech-to-text software.
‘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
Don Mee Choi is the author of three books of poetry and hybrid essays, and an award-winning translator of contemporary Korean women’s poetry. In this pamphlet, Translation is a Mode=Translation is an Anti-neocolonial Mode, she explores translation and language in the context of US imperialism—through the eyes of a “foreigner;” a translator; a child in Timoka, the made-up city of Ingmar Bergman’s The Silence; a child from a neocolony.
This pamphlet is part of UDP’s 2020 Pamphlet Series: twenty commissioned essays on collective work, translation, performance, pedagogy, poetics, and small press publishing. Each offers a different approach to the pamphlet as a form of working in the present, an engagement at once sustained and ephemeral.
A virtuosic inquiry into the forms and uses of healing, from ancient and modern medicine to contemporary literature, ecology, and protest.
In the era of the “chronic acute” long predating COVID-19, Eleni Stecopoulos set out to investigate the imagination, aesthetics, and ideology of healing—its mysteries and mystifications, its many channels and codes. Fusing lyric inquiry with cultural criticism, Dreaming in the Fault Zone explores art’s treatment of our conditions at a time of both increased cynicism about healing and longing for it. Stecopoulos talks to physicians, poets, psychotherapists, disability activists, ethnographers, spiritual seekers; curates performances and takes part in community rituals; documents pilgrimages and visits therapeutic landscapes. Whether writing about the poet H.D.’s psychoanalysis with Freud or madness and apartheid in Bessie Head’s novel A Question of Power, the salve of demagogues or a global alliance of people with contested illnesses, Stecopoulos confronts the poetics and politics of affliction, empathy, memory, and survival. Weaving together esoteric scenes and everyday practice, with flashes of humor, these essays travel in a space of impasse and unending experiment.
How most Western governments and elites have supported the destruction of Gaza and silenced voices calling for the rights of Palestinians.
Providing a record of the first six months of the war waged by the Israeli army after the 7 October attacks and drawing on a rich range of international sources, Didier Fassin examines how most Western governments have acquiesced in and often contributed to the destruction, by the Israeli army, of Gaza, its homes, infrastructures, hospitals, institutions of education, and civilian population. To justify their support and prevent criticism, they have provided an official version of the events, adopting the Israeli narrative. It was largely taken up by mainstream media, which ignored the experiences and perspectives of Palestinians. Dissenting voices were silenced. A policing of language and thought was imposed. Censorship and self-censorship became normalized.
To call for a ceasefire or to demand the respect of humanitarian law was enough to prompt the ever-ready accusation of antisemitism. Exploring the multiple dimensions of the extreme inequality of lives between the two sides of the conflict and analyzing the complex geopolitical, economic and ideological stakes that underlie it, Fassin intends to constitute an archive of this moral abdication. In his view, the abandonment of the values and principles proclaimed by Western elites to be foundational will leave a deep scar in the history of the world.
An essay on art, bodies and fascism.
In an era where identity politics is being weaponised against the very people it has sought to make visible, how can we reclaim complexity?
In 1937 the Nazis staged an exhibition of seized modernist artworks. Named Entartete ‘Kunst’ – Degenerate ‘Art’ – it sought to define degeneracy, display it and destroy it.This act of violent appropriation is one episode in a long and ongoing history of the erasure of queer and non-normative cultures.
A Nazi Word for a Nazi Thing works against this erasure; it is a manifesto – a catalogue for an exhibition that could never take place. Drawing on work from dissident sexologist Magnus Hirschfeld to South African artist Zanele Muholi, as well as a century of queer cinema from Sergei Eisenstein to Pedro Almodóvar, So Mayer creates an archive of resistance.
‘This book is a small revolution that becomes a party that you won’t be leaving soon. I believe we’re living in a time of fresh erasures, systemic violences working that global pandemic to take some other bodies out. Looking so freshly at the history of queerness, sexual deviance and the long long coordinated erasures of colonialism, bigotry and transphobia the essential non binary nature of art opens up right here like the wildly singing flower it is and So Mayer’s compelling version makes sense, makes me listen.’
— Eileen Myles
‘A Nazi Word for a Nazi Thing is a reflective, creative walk through some of the worst – and best – people of the last hundred years, looking at the power of images and their relationship(s) with text. In a time of rising fascism, So Mayer highlights ways that artists have found strategies of resistance, and offers hope in historical analysis.’
— Juliet Jacques