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Xiang: The world we see every day is nothing but what we represent (2020)
Prepare a piece of paper and a pen
Try to write down every sound you are hearing
Read them aloud after writing
Always take your time
Xiang: The world we see every day is nothing but what we represent (2020)
Prepare a piece of paper and a pen
Try to write down every sound you are hearing
Read them aloud after writing
Always take your time
响：我们每天所看到的世界, 只不过是一种描述（2020）
准备一张纸和一支笔
尽量写下你正听到的每一个声音
写完后，把它们朗读出来
总是慢慢来
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2. |
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stefan thut: as two (2020)
going for a walk as two
at a distance
each one making a recording
an overlay of them
史特凡·图特：两个（2020）
两人一起出去散步
保持距离
每人都录音
回来把它们重叠起来
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3. |
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Che Qianzi: Berries NonPercussion
abstract here: a berry contains tar.
no beard,
but razor
need a handful of age for keeping armpit hair.
"not to
be sure" tune;
"not to deny"
delight to be juicy and trim
triangle, sure.
or break stick to two,
to two legs run to west
and east.
not drum
of encouraged gong.
not nuclear blackmail
of black walnut!
not nut. not worth
to abstract here simply traditional,
not as sex
uality of fish, but use ability of swimming
of mating of fish for abstrrr act here.
abstract: are you on tree?
point of abstract: do not abstract understandable music or.
therefore no hole: be drowned in half cup of,
other than choke-kill the sun-no-set in one cup.
prohibit abstracting ego here,
for sure also prohibit abstracting the other here.
and you.
"easily
rotting."
reneging, coughing, people who contracts respiratory disease and who has complicated facial sign, and combat effectiveness
in quarantine
kiwi fruits
huckleberries
goji berrries
melberries
(not southern clowns, they northern artists
keep sliced thick wet
bacon in the
accordion.
but also prohibit figs, fade-in-caves,
and faking love.
(so make sure as fat as no waist)
but also prohibit fat gut.
and, prohibit fat gut hitting
and korean waist drum in it.
(april 3, 2020; beijing)
车前子：浆果不打击乐
这里摘要：含有焦油的一颗浆果。
无胡须，
但剃毛刀
须要一把年纪保留腋毛。
“不肯
定”音；
“不否定”
乐于多汁和修剪
三角，可以。
要么把棍子一撅为二，
使其成为各奔东西的
两条腿。
不鼓
励锣。
不讹诈核
桃！
不逃。
不值
得这里摘要简单到传统，
不作为鱼
类性欲，而用鱼类交配
的水性在这里摘腰。
摘要：你在树上吗？
摘要点：不摘要所能理解的音乐或者。
如此无孔：半杯淹死，
而非一杯呛死不落日。
禁止在这里摘要自我，
当然也同样禁止在这里摘要他者。
还有你。
“容易
腐烂”。
食言、咳嗽、患呼吸系统疾病及气色复杂的人、战斗力
在隔离中
猕猴桃
欧洲越橘
枸杞
桑葚
（不是南方丑角，它们北方艺术家
手风琴里夹着一片片
切得很厚的
湿漉漉的
腌肉。
但也禁止无花果、无底洞、
无爱。
（所以一定要胖得无腰。
但也禁止大肚子。
另外，禁止打击大肚子以及
大肚子内的朝鲜腰鼓。
（2020,4,3,北京）
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4. |
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Sun Wei: The shape of dreams
If the dream is the mapping of reality, through the memory of the dream, play the dream in any way, and recording the process with the recorder. If you had a dream last night.
孙玮：梦的形状
如果说梦是现实的映射，通过对梦的记忆，用任何方式演奏出这个梦境，同时用录音机录下这个过程。前提是你昨晚刚刚做了一个梦。
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Wakana Ikeda: piece for the place
for a number of players
this piece uses azimuth magnet.
if you don't have one, make sure you know the approximate azimuth on the map.
set up the azimuth magnet in the center of the space, and align this score.
you follow the instructions.
you can move freely.
no.2 Pan
this piece does not have to be played in a serious.
but it can also be played in a serious way. it's all up to the imagination.
for the most part discretely.
very quiet or very loud or...
14th April 2020
池田若菜：给这个地方的作品
给若干演奏者
这个作品用到了指南针。
要是你没有，就需要知道图上大致的方向。
把磁铁放在空间的中心处，结合乐谱使用。
按照指示去做。
可以自由走动。
no.2 Pān
这个作品不需要严肃地演奏。
但也可以严肃地演奏。完全取决于想象力。
在多数情况下一个一个演奏。
非常静或者非常大声或者……
2020 年4 月14 日
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7. |
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Seijiro Murayama: BC-AD.
decompose or disassemble your name 'phonetically' (don't be precise too much) and write down each sound element on a sheet or paper.
for example in your case, like: y , a, n, j, u, n, five elements.
and improvise with silence and these elements (but each sound element is separated from the others).
you can 'articulate' (don't be precise too much) each sound element. try loud-soft-inaudible, long-short, dirty-clean, different sound textures, nuances.
like:
nnnnnnnnnnn(long tone).........(silence)aaaaaaa...........aa..y....................................nnnnnnnnnnn...yyy
you finish this piece by making sounds in the 'normal' order like: yyyyyyyyy.....aaaa............nnnnnnnnnnnn.........j..........uuuuuuuu..nnnnnn
be inventive (don't think of it too much) and enjoy (even boredoms).
every mistake in every process of the realisation of the piece is ok for me if you enjoy improvising.
for this, it is better to practice until you get certain sensation of joy. i give you a tip: if you want to enjoy yourself with something boring, you only continue trying by repeating this shit 'every day' (until you become happy and addicted like with tabacco), when you recall it for some reason. it is necessary for one to recall what he or she wants to try (or should do) at the moment of his or her own necessity (but quite often who knows it?).
you have your own name (generally instead of you) until the end of your life if you remember and recall it. you can practice this piece based on your name everywhere, at any moment. this is its big advantage (for free). it would be also useful in order not to forget your name (but it could contribute to do the opposite, attention), useful against Alzheimer's disease (AD), before thinking of contamination of the Corona virus (BC).
instead of playing this piece with sounds, you can only read (utter) this text in your own way as a performance (even alone. in order to get something positive).
村山政二朗：BC-AD.
按照语音拆解或者分解你的名字（但不必过于严格），把每个声音的元素写在纸上。
比如说，颜峻：y , a, n, j, u, n，有五个元素。
然后，用寂静和这些元素来做即兴（不过，每个声音元素都独立于其他的）。
你要把每个声音元素都念出来（不必过于严格）。试试大声、小声、无声，试试长的、短的，试试脏的、干净的，不同的声音质感，注意细微的差别。
比如：
nnnnnnnnnnn（长的音）……（寂静）aaaaaaa……aa..y…………………………nnnnnnnnnnn...yyy
结束这个作品的时候，你要按照“正常的”顺序念一遍，比如：
yyyyyyyyy……aaaa…………nnnnnnnnnnnn……j……uuuuuuuu..nnnnnn
保持创造力（不用想太多），享受吧（哪怕是无聊）。
对我来说，这个作品中，每个过程中的每个错误都没问题，只要你享受即兴。
要做到，最好你能练习练习，直到感觉到乐趣。我来给你一个提示吧：如果你想享受一个无聊的东西，你只需要每天一直重复这玩意（直到你开心，上瘾，就像有了烟瘾），一想到就练。一个人应该出于内在的需要才想到那个他／她想要尝试（或者必须做）的事（不过，这种情况常常发生，谁知道呢？）。
直到生命尽头，你都有自己的名字（而不是“你”），只要你能记得，能记起来。你可以在随便哪里、任何时候练习这个作品，就用你的名字做材料。这是它的优点（还不花钱）。而且在不要忘掉你的名字这件事上，也是非常有用的（不过，也有可能适得其反，要小心），可以对抗老年痴呆症（AD），可以不用操心冠状病毒（BC）的污染。
除了通过发声来演奏这个作品，你可以只是按照自己的方式，把这些文字读出来，这也是一个表演（哪怕是独自一人。以便获得正能量）。
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Junky: cassette
take a cassette tape. fast forward. rewind. or playback. by any means. or just pull the tape out for 10 minutes.
Junky：磁带
自行拿一盘磁带，随意用想用的方式快进、快倒，或者播放，或者干脆抽出磁带10分钟
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Anzi: Stay Home
Online (phone) talking with one of your friends about her (his) daily-life during the Stay Home period, the conversation can include her (his) thinking about the pandemic issue. Please let the conversation be conducted within 20 minutes and record the sound when you are talking.
At the beginning of the chat, interviewer and interviewee can introduce where you are, whom do you live with during this Stay Home period, additionally, please describe your room and the scene (landscape) outside your window.
The other questions leave to interviewer, no requirements here.
mail: 1248769367@qq.com
安子：减少外出
在线（或电话）采访一位你的朋友，聊天内容关于防疫期间的居家日常，也可以聊一些思考，时长20分钟以内，生成的作品就是这次聊天的录音，所以记得录音。
谈话双方都可以介绍一下自己的地理位置，一起居住的人员（独居、与父母一起、与朋友一起，什么的），也向听众描述一下你们所在的房间，以及此时窗外的风景。
其它问题由你自己设计，没有要求。
邮箱：1248769367@qq.com
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10. |
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stefan thut: as two (2020)
going for a walk as two
at a distance
each one making a recording
an overlay of them
史特凡·图特：两个（2020）
两人一起出去散步
保持距离
每人都录音
回来把它们重叠起来
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11. |
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Anzi: Stay Home
Online (phone) talking with one of your friends about her (his) daily-life during the Stay Home period, the conversation can include her (his) thinking about the pandemic issue. Please let the conversation be conducted within 20 minutes and record the sound when you are talking.
At the beginning of the chat, interviewer and interviewee can introduce where you are, whom do you live with during this Stay Home period, additionally, please describe your room and the scene (landscape) outside your window.
The other questions leave to interviewer, no requirements here.
mail: 1248769367@qq.com
安子：减少外出
在线（或电话）采访一位你的朋友，聊天内容关于防疫期间的居家日常，也可以聊一些思考，时长20分钟以内，生成的作品就是这次聊天的录音，所以记得录音。
谈话双方都可以介绍一下自己的地理位置，一起居住的人员（独居、与父母一起、与朋友一起，什么的），也向听众描述一下你们所在的房间，以及此时窗外的风景。
其它问题由你自己设计，没有要求。
邮箱：1248769367@qq.com
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12. |
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Immer Frisch: sparkling(er)
coke(r)
soda
bubbly(er) water
or effervescent tablet(er)
etc.
It's a liquid that breathes(er)
Before you drink
listen for a moment
of course
you can keep hearing until nothing(er) comes out
Ps:
From the small gap(er) in the Thermos
steam(er) escaping
listening carefully
12.05.20; Berlin
艾莫尔.弗里什：汽水儿
可乐儿
苏打水
气泡儿水
或者泡腾片儿
什么的
能发气儿的那种液体
喝之前
听一会儿
当然也可以一直听到没汽儿
Ps：
保温杯倒上热开水留点儿缝儿
仔细听也有音儿
12.05.20柏林
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Yuen Cheewai: Almost something
Needed:
A pencil, an eraser, two pieces of adhesive tape, a blank piece of A4 paper, a table (preferably wooden)
Action:
Sit at your table, with the piece of paper in front of you.
Very slowly, strongly and deliberately, write your name on the piece of paper.
Listen and imagine feeling the lead of the pencil transfer the line of your name onto the paper.
Slowly.
When done, look at what you have written. Examine its lines and textures.
Your name is done.
Now with the eraser, lightly erase it.
Erase everything. Lightly.
With the adhesive tape, stick that same piece of paper onto the table, the side with your erased name facing up.
It is preferred for the table to be a thin wooden table so that vibrations can be easily felt through the surface of the table.
Lay your head with one ear on the table, with your face aligned towards the paper.
With your eyes closed, and with the pencil, again, very slowly and delicately write your name on the paper. Do not be conscious about writing it accurately.
Slowly.
Listen very closely to the sound of the pencil tracing your name on the paper, as the vibrations transfer from your mind, to your hand, to the pencil, to the lead, to the surface of the paper, to the wood of the table, to your ear, and back to your mind.
Do this as slowly as you could.
Once you think you have finished, open your eyes, sit up, remove the paper from the table and look at what you have written.
Look at it carefully in silence, and observe the intersections between what was previously written, erased and the newly written.
Take your time. Take it.
Mix the two sounds of the writing carefully in your mind.
A mind is grown to eat its own.
袁志伟：几乎有什么
准备：
一只铅笔、一块橡皮擦、两条胶带、一张空白 a4 大小的纸，一张桌子（最好是木头的）
行动：
坐在桌前，面前是那张纸。
非常慢地、用力地、从容地把你的名字写在这张纸上。
听，并且想象着铅笔把你的名字变成石墨转换到纸上的过程。
慢慢地。
写好以后，看看你写下的。检查它的线条和纹理。
你的名字完成了。
现在，用橡皮擦轻轻擦掉它。
全都擦掉。轻轻地。
用胶带把这张纸粘在桌上，刚刚擦掉的一面朝上。
薄的木头桌最好，可以更好地传递振动。
把头枕到桌子上，一只耳朵贴着桌子，脸对着纸。
闭着眼睛。用铅笔，再一次把你的名字慢慢地、细心地写在纸上。不用在意是不是写得准确。
慢慢地。
仔细听铅笔把你的名字勾划在纸上，伴随着振动，将你的念头转换到手上去，到钱币上，到石墨，到纸面，到桌子的木头，到你的耳朵，又回到你的心念
尽你所能地慢。
你觉得结束了，就睁开眼睛，坐直，把纸从桌面上拿起来，看看你写的。
在静默中仔细看它。观察之前写的痕迹、擦掉的痕迹和新写下来的痕迹的交汇。
不着急。慢慢来。
在你脑中，小心地把两次写的声音混合起来。
一个念头增长，它吞食自身。
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14. |
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Yuen Cheewai: Almost something
Needed:
A pencil, an eraser, two pieces of adhesive tape, a blank piece of A4 paper, a table (preferably wooden)
Action:
Sit at your table, with the piece of paper in front of you.
Very slowly, strongly and deliberately, write your name on the piece of paper.
Listen and imagine feeling the lead of the pencil transfer the line of your name onto the paper.
Slowly.
When done, look at what you have written. Examine its lines and textures.
Your name is done.
Now with the eraser, lightly erase it.
Erase everything. Lightly.
With the adhesive tape, stick that same piece of paper onto the table, the side with your erased name facing up.
It is preferred for the table to be a thin wooden table so that vibrations can be easily felt through the surface of the table.
Lay your head with one ear on the table, with your face aligned towards the paper.
With your eyes closed, and with the pencil, again, very slowly and delicately write your name on the paper. Do not be conscious about writing it accurately.
Slowly.
Listen very closely to the sound of the pencil tracing your name on the paper, as the vibrations transfer from your mind, to your hand, to the pencil, to the lead, to the surface of the paper, to the wood of the table, to your ear, and back to your mind.
Do this as slowly as you could.
Once you think you have finished, open your eyes, sit up, remove the paper from the table and look at what you have written.
Look at it carefully in silence, and observe the intersections between what was previously written, erased and the newly written.
Take your time. Take it.
Mix the two sounds of the writing carefully in your mind.
A mind is grown to eat its own.
袁志伟：几乎有什么
准备：
一只铅笔、一块橡皮擦、两条胶带、一张空白 a4 大小的纸，一张桌子（最好是木头的）
行动：
坐在桌前，面前是那张纸。
非常慢地、用力地、从容地把你的名字写在这张纸上。
听，并且想象着铅笔把你的名字变成石墨转换到纸上的过程。
慢慢地。
写好以后，看看你写下的。检查它的线条和纹理。
你的名字完成了。
现在，用橡皮擦轻轻擦掉它。
全都擦掉。轻轻地。
用胶带把这张纸粘在桌上，刚刚擦掉的一面朝上。
薄的木头桌最好，可以更好地传递振动。
把头枕到桌子上，一只耳朵贴着桌子，脸对着纸。
闭着眼睛。用铅笔，再一次把你的名字慢慢地、细心地写在纸上。不用在意是不是写得准确。
慢慢地。
仔细听铅笔把你的名字勾划在纸上，伴随着振动，将你的念头转换到手上去，到钱币上，到石墨，到纸面，到桌子的木头，到你的耳朵，又回到你的心念
尽你所能地慢。
你觉得结束了，就睁开眼睛，坐直，把纸从桌面上拿起来，看看你写的。
在静默中仔细看它。观察之前写的痕迹、擦掉的痕迹和新写下来的痕迹的交汇。
不着急。慢慢来。
在你脑中，小心地把两次写的声音混合起来。
一个念头增长，它吞食自身。
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15. |
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Ake: Rhythm-Pacing
· in any space, set a walking route ( line or circle) in advance.
· walk this route repeatedly (if it’s not long enough) for 30 minutes (by check the time).
· walkers can be one or more than one person (start side by side if it’s more than one person ).
· walkers walk in their natural and comfortable way, with any shoes.
阿科：节奏-步调
· 在任意空间内，提前设定一个可以步行的路线（直线或者绕圈）
· 沿此路线反复行走30分钟（可以看时间）
· 步行者可以一人，或者多人（多人时请并排开始）
· 步行者穿着任意一双鞋，以其自然舒服的方式行走。
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16. |
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Li Weisi: Transform
1, Prepare two things:
A, Material which could be cut by tools like scissors, paper knives, or any sharpen blades, for example a piece of paper, rag, or plastic bag. Size should be around about an A4 paper’s size. The density of this material could be various.
B, A tool like scissor or knife that could cut your material. The size of this tool could be various.
2, Use your tool, transform your material into pieces which size around 1cm x 1cm.
Record the sound of the completely process, or 15 mins sound at most.
李维思：变换
1，准备一张A4大小的，可以被类似剪刀的工具剪开的材料，比如纸、布、塑料袋等。材料的密度任意。工具的大小任意。
2，使用任意方法，将这张材料剪成1cm x 1cm的碎片。
录制整个完整过程的声音，或者最长为15分钟的声音。
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17. |
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Hiroyuki Ura: Count the Blanks (2020)
pls download this pdf file. print and cut it (follow the instruction)
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
浦裕幸：空白计数
在演奏之前：
请将这些纸打印（用A4纸打印，100%尺寸），并沿裁切线剪裁。
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
在1秒-60秒之间，选择一个时间用于计数
演奏一些东西（任何长度都可以）
再一次在1秒-60秒之间，选择一个时间计数，但不可与之前选择的时间重复
演奏一些东西
直到60个时间全部用完
计数时间可以是任意的顺序
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18. |
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Hiroyuki Ura: Count the Blanks (2020)
pls download this pdf file. print and cut it (follow the instruction)
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
浦裕幸：空白计数
在演奏之前：
请将这些纸打印（用A4纸打印，100%尺寸），并沿裁切线剪裁。
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
在1秒-60秒之间，选择一个时间用于计数
演奏一些东西（任何长度都可以）
再一次在1秒-60秒之间，选择一个时间计数，但不可与之前选择的时间重复
演奏一些东西
直到60个时间全部用完
计数时间可以是任意的顺序
|
||||
19. |
||||
|
Yan Yulong: Untitled
1st movement
0’00’’
open laptop lid. turn on
0’33’’
close laptop lid
2nd movement
0’00’’
open laptop lid
2’40’’
close laptop lid
3rd movement
0’00
open laptop lid
1’20’’
turn off. close laptop lid
闫玉龙：无题
第一段
0’00’’
打开笔记本电脑，开机
0’33’’
合上笔记本电脑
第二段
0’00’’
打开笔记本电脑
2’40’’
合上笔记本电脑
第三段
0’00
打开笔记本电脑
1’20’’
关机，合上笔记本电脑
|
||||
20. |
||||
|
Hiroyuki Ura: Count the Blanks (2020)
pls download this pdf file. print and cut it (follow the instruction)
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
浦裕幸：空白计数
在演奏之前：
请将这些纸打印（用A4纸打印，100%尺寸），并沿裁切线剪裁。
http://subjam.org/wp-content/uploads/2020/05/Hiroyuki_Ura-Count_the_Blanks.pdf
在1秒-60秒之间，选择一个时间用于计数
演奏一些东西（任何长度都可以）
再一次在1秒-60秒之间，选择一个时间计数，但不可与之前选择的时间重复
演奏一些东西
直到60个时间全部用完
计数时间可以是任意的顺序
|
||||
21. |
||||
|
Zhang Yiding: The Power of Hand
1, In a quiet space, which could be your bedroom, try to be quiet.
2, Find a portable recording device, like a cellphone or handy recorder..
3, Place the recording device about 1 meter away from you.
4, Start clapping, which can be very slow or very fast.
5, Stop when you feel uncomfortable or tired, press the stop button after 15 seconds to finish the recording.
张一丁：手的力量
1，在一个安静的空间，可以是你的卧室，周围尽量没有别的声音。
2，找一个便携的录音设备，如手机，或录音笔。
3，将录音设备放置在距离自己1米左右的位置。
4，开始鼓掌，可以非常慢，也可以非常快。
5，15秒后按下停止键，录制结束。
|
||||
22. |
||||
|
Li Weisi: Transform
1, Prepare two things:
A, Material which could be cut by tools like scissors, paper knives, or any sharpen blades, for example a piece of paper, rag, or plastic bag. Size should be around about an A4 paper’s size. The density of this material could be various.
B, A tool like scissor or knife that could cut your material. The size of this tool could be various.
2, Use your tool, transform your material into pieces which size around 1cm x 1cm.
Record the sound of the completely process, or 15 mins sound at most.
李维思：变换
1，准备一张A4大小的，可以被类似剪刀的工具剪开的材料，比如纸、布、塑料袋等。材料的密度任意。工具的大小任意。
2，使用任意方法，将这张材料剪成1cm x 1cm的碎片。
录制整个完整过程的声音，或者最长为15分钟的声音。
|
||||
23. |
||||
|
Junky: cassette
take a cassette tape. fast forward. rewind. or playback. by any means. or just pull the tape out for 10 minutes.
Junky：磁带
自行拿一盘磁带，随意用想用的方式快进、快倒，或者播放，或者干脆抽出磁带10分钟
|
||||
24. |
||||
|
Xiang: The world we see every day is nothing but what we represent (2020)
Prepare a piece of paper and a pen
Try to write down every sound you are hearing
Read them aloud after writing
Always take your time
Xiang: The world we see every day is nothing but what we represent (2020)
Prepare a piece of paper and a pen
Try to write down every sound you are hearing
Read them aloud after writing
Always take your time
响：我们每天所看到的世界, 只不过是一种描述（2020）
准备一张纸和一支笔
尽量写下你正听到的每一个声音
写完后，把它们朗读出来
总是慢慢来
|
||||
25. |
||||
|
ryoko akama: reaction (2020)
for solo or any number of performers
with any continuous tone(s) you can make, adjusted to the environmental level
1 find one or two noises you hear continuously or sporadically around you
2 begin your tones
- in extremely lower dynamic when you see something moving in the space you are performing at.
- in extremely high dynamics you hear any noise, apart from your tone in the space you are performing at.
Play each of your tone till the end of decay softly and moderately.
Continue till you are bored and want to do something else.
赤間涼子：回应（2020）
独奏，或任何数量的表演者
任何一些你可以弄出的持续的声音，去适应环境的音量
1 找到一或两个在你周围持续，或是偶然出现的声音
2 发出你自己的声音
- 如果你看到有什么进入你的表演空间时，就使用极其小的动态
- 在你的声音之外，如果你听到任何别的声音，就用极大的动态
你的每个声音都让它慢慢衰减至结束
一直做这些，直到你觉得无聊想做点别的
|
||||
26. |
||||
|
yan jun: there is a point once you are over it you will never return (2020)
for any number of performer
boil an egg. put it into cold water for a while. hold it in hand.
it will turn warmer and warmer.
once it start turning colder, peel and eat it.
颜峻：有一个点一旦越过你就不再返回（2020）
给任意人数的表演者
煮熟一个鸡蛋，然后把它放进冷水浸一会儿，拿出来握在手里。
它会慢慢变热。
在它刚开始变冷的时候，打碎蛋壳，吃掉。
|
||||
27. |
||||
|
Antoine Beuger: now is the moment to learn hope (2017)
“Now is the moment to learn hope.
Now, when there seems so little ground for hope;
Now, when refugees and migrants are drowning in the sea;
Now, when racism and fascism are surging in Europe and North America and elsewhere;
Now, when even to mention hope seems like a sick joke or an insult to millions and millions of young
people who face a life of unemployment, or sometimes worse ‐‐ employment!
Now is the time to learn hope …
not just to hope that everything will be alright.
But to learn hope …
hope as a way of thinking that opens paths to a different world.”
John Holloway, Now is the Moment to Learn Hope,
public address at the Rediscovering the Radical Conference, Liverpool, 2016
https://www.youtube.com/watch?v=VxKXd5BjchI
inspired by and dedicated to erik carlson
playing
one
sound
caringly
daringly
over
and
over
again
and
again
in
wondering
pondering
communion
trustingly
not knowing
how
and
when
to end
© edition wandelweiser 2017
catalogue number ew 01.187
安托万·博伊格：现在是学习希望的时刻（2017）
“现在是学习希望的时刻。
现在，看来几乎没有希望的容身之地；
现在，难民和移民正淹死在海里；
现在，种族主义者和法西斯正在冲击欧洲和北美和到处；
现在，一说希望就好像在开变态玩笑，或者说是在冒犯
那些上百万就要失业的，或者更糟糕的就要就业（！）的年轻人。
现在是该学习希望的时候了……
不只是希望一切都好。
而是学会希望……
希望，做为一种思考的方法，向一个不一样的世界敞开。”
约翰·霍洛维，《现在是学习希望的时刻》
在“激进再探索”研讨会上的公开演讲，利物浦，2016
https://www.youtube.com/watch?v=VxKXd5BjchI
受启发于，并且献给：埃里克·卡尔森
演奏
一个
声音
体贴地
大胆地
一遍
又
一遍
一遍
又
一遍
保持
好奇
思量
共享
信赖地
不去知道
怎么样
以及
何时
结束
© Wandelweiser 出版 2017
编号 ew 01.187
|
||||
28. |
||||
|
Anzi: Stay Home
Online (phone) talking with one of your friends about her (his) daily-life during the Stay Home period, the conversation can include her (his) thinking about the pandemic issue. Please let the conversation be conducted within 20 minutes and record the sound when you are talking.
At the beginning of the chat, interviewer and interviewee can introduce where you are, whom do you live with during this Stay Home period, additionally, please describe your room and the scene (landscape) outside your window.
The other questions leave to interviewer, no requirements here.
mail: 1248769367@qq.com
安子：减少外出
在线（或电话）采访一位你的朋友，聊天内容关于防疫期间的居家日常，也可以聊一些思考，时长20分钟以内，生成的作品就是这次聊天的录音，所以记得录音。
谈话双方都可以介绍一下自己的地理位置，一起居住的人员（独居、与父母一起、与朋友一起，什么的），也向听众描述一下你们所在的房间，以及此时窗外的风景。
其它问题由你自己设计，没有要求。
邮箱：1248769367@qq.com
|
||||
29. |
||||
|
Takako Suzuki & Pär Thörn : Stereo Translation ''Natura''
(from a part of performance piece ''Blind-Tisch'' 2014 in Berlin)
1. Listen the original swedish text on the sound-file:
http://www.subjam.org/wp-content/uploads/2020/05/naturatilltakako-1.mp3
2. Try to read the english/chinese text in same time with the original text. For that you need to rehearse for a couple of times:
http://www.subjam.org/wp-content/uploads/2020/05/ NaturaCN20.pdf
3. When you feel sure with your part, you play with the original text with stereo system/each voice comes out from each speaker or simply with your voice infront of your computer.
4. If you are able to recording it and would like to present it, please send it to us as well. We will be happy to receive & listen it.
tokiudon@aol.com
per_thorn@yahoo.se
The Poem ''Natura'' is 17th capital of ''The red room''(1879) by August Strindberg which Pär Thörn made out of it in alphabetic order, in total 29 capitals from the original book. -”Röda rummet (alfabetisk)” 2010
Have a Fun!
铃木孝子&帕尔·索恩：立体声翻译“自然”
（节选自《盲桌》表演片段，2014，柏林）
1. 听听瑞典语原始录音：
http://www.subjam.org/wp-content/uploads/2020/05/naturatilltakako-1.mp3
2. 试着读包含了中英文的文字。你得先排练几次：
http://www.subjam.org/wp-content/uploads/2020/05/ NaturaCN20.pdf
3. 有把握之后，用话筒和立体声系统表演，你念的中英文要分别从两边的喇叭出来。或者简单点，就正对着你的电脑念也行。
4. 要是能录音就最好，请发给我们。我们会特别高兴听到它：
tokiudon@aol.com
per_thorn@yahoo.se
这首诗，《自然》，来自奥古斯特·斯特林堡1879年的《红房子》，帕尔·索恩把里面的单词拆出来，按照字母表顺序排列，总共29章。这是第17章。
——《红房子（按字母表顺序）》2010
玩得开心！
|
||||
30. |
||||
|
stefan thut: as two (2020)
going for a walk as two
at a distance
each one making a recording
an overlay of them
史特凡·图特：两个（2020）
两人一起出去散步
保持距离
每人都录音
回来把它们重叠起来
|
||||
31. |
||||
|
based on shu (qiu keman)'s recording (see "shu plays her own piece"), charles lareau made his interpretation.
|
||||
32. |
||||
|
Sun Yizhou: Bat Music NO.2
You need to work with your family, or you have multiple devices and apps (e.g. WeChat) that you can use to make group calls, at least two, and at most nine.
steps：
Turn on the ringtone and volume and set up a group chat with the devices.
WeChat group chat group call function, calls connected to multiple devices.
When the call starts, bring the devices close to each other to generate feedback,
The distance, the space, the volume will have different effects.
(for example: press the phone's built-in speakers against each other, and the feedback speed and volume will increase.)
Do not restrict the operation of the musicians. You can do this without actively changing your voice. And you can also 'cough' into your phone, or play with family and friends.
No time limit.
孙一舟：蝙蝠音乐NO.2
需要和家人一起完成，或者你有多台的可以群通话的设备和app（如：手机微信），最少两台，最多九台。
步骤：
打开手机消息铃声和手机音量，并用设备们建立一个群聊天。
用微信群聊天的群通话功能，通话连接多个设备。
通话开始后将设备相互靠近，产生反馈，
相互距离，所处空间，音量大小的不同会有不同的效果。
（如：将手机内置扬声器相互贴紧，反馈速度和音量会提升）
不限制乐手的操作。你可以不主动改变声音，也可以对着手机’咳嗽’一声，或者与家人朋友一起玩。
不限制时长。
|
||||
33. |
||||
|
see track cover image as score.
克莱格·派德森：19 年 6 月 13 日（？）
或许我不应该演奏
然后演奏
然后没有演奏
|
||||
34. |
||||
35. |
shu plays her own piece
28:44
|
|||
|
20分钟的“河流” (28分44秒)
当时颜峻说可以自己录一个最少20分钟的作品时... 我马上想 “20” 这个数字 为什么 可能好像这并不那么重要 但是20分钟 有多长呢 觉得如果不看表计算的话 我对20分钟的长度好像并没有什么概念 之后 一个古老的问题冒了出来 时间真的存在吗 如果存在又是怎样的存在呢 有人说 时间 是对于物理量变化的一种度量 有人说 时间 是一种“关系” 牛顿说 时间是一条无头无 始终如一的河流 没有“源头” 也没有涨落和波涛. 无论如何 我打算不用表来计算时间 而是自己任意决定20分钟的长度
选择了一个悠闲的午后 按下了录音键 开始记录“时间”河流中的20分钟 外面的鸟叫 厨房的广播...... 期间我翻看了一会儿资料 画了一会儿画 读了消息 剪了纸 烧了水 认真的玩了会儿电线 观察了空瓶里剩下的一粒豆子 专注手边所有物件可能可以发出的声响 从耳机里听到 辨别并认识了它们的声音 感觉自己是坐在”时间”河流的岸边 往里面扔着东西 激起了些不同的回响和乐趣 琢磨着自己有意识 无意识的动作和发声... 与“时间”发生了什么样的关系 或互动 还有长度
想到这 觉得应该差不多是20分钟了 停下来 才发现时间其实是28分44秒
很兴奋的发现原来自己的时间比别人多
术Su (kemanqiu)
画画 声活 组织策划“五官”活动
|
||||
36. |
||||
|
antti tolvi: OUT (7 min) (2020)
composition for one listener
go out
play file from your smartphone speaker
(from pocket if possible)
https://anttitolvi.com/wp-content/uploads/2020/05/OUT.mp3
walk 3 minutes softly to some direction (walk as straight as possible)
(there's a fade in music) turn 90°
walk another 3 minutes straight
stop and enjoy the view for a moment
Thank you
Antti Tolvi
5/2020
安提·图卫：外面（7分钟）（2020）
为一位聆听者而做
到外面去
用手机播放这个音频文件
（最好把手机放在口袋里）：
https://anttitolvi.com/wp-content/uploads/2020/05/OUT.mp3
轻松地，往某个方向走3分钟（尽量走直线）
（这时候音乐淡出）90度拐弯
再走3分钟直线
停下来享受一会儿风景
谢谢
2020.5
|
||||
37. |
||||
|
stefan thut: as two (2020)
going for a walk as two
at a distance
each one making a recording
an overlay of them
史特凡·图特：两个（2020）
两人一起出去散步
保持距离
每人都录音
回来把它们重叠起来
|
||||
38. |
||||
|
stefan thut: as two (2020)
going for a walk as two
at a distance
each one making a recording
an overlay of them
史特凡·图特：两个（2020）
两人一起出去散步
保持距离
每人都录音
回来把它们重叠起来
|
||||
39. |
||||
|
Seijiro Murayama: BC-AD.
decompose or disassemble your name 'phonetically' (don't be precise too much) and write down each sound element on a sheet or paper.
for example in your case, like: y , a, n, j, u, n, five elements.
and improvise with silence and these elements (but each sound element is separated from the others).
you can 'articulate' (don't be precise too much) each sound element. try loud-soft-inaudible, long-short, dirty-clean, different sound textures, nuances.
like:
nnnnnnnnnnn(long tone).........(silence)aaaaaaa...........aa..y....................................nnnnnnnnnnn...yyy
you finish this piece by making sounds in the 'normal' order like: yyyyyyyyy.....aaaa............nnnnnnnnnnnn.........j..........uuuuuuuu..nnnnnn
be inventive (don't think of it too much) and enjoy (even boredoms).
every mistake in every process of the realisation of the piece is ok for me if you enjoy improvising.
for this, it is better to practice until you get certain sensation of joy. i give you a tip: if you want to enjoy yourself with something boring, you only continue trying by repeating this shit 'every day' (until you become happy and addicted like with tabacco), when you recall it for some reason. it is necessary for one to recall what he or she wants to try (or should do) at the moment of his or her own necessity (but quite often who knows it?).
you have your own name (generally instead of you) until the end of your life if you remember and recall it. you can practice this piece based on your name everywhere, at any moment. this is its big advantage (for free). it would be also useful in order not to forget your name (but it could contribute to do the opposite, attention), useful against Alzheimer's disease (AD), before thinking of contamination of the Corona virus (BC).
instead of playing this piece with sounds, you can only read (utter) this text in your own way as a performance (even alone. in order to get something positive).
村山政二朗：BC-AD.
按照语音拆解或者分解你的名字（但不必过于严格），把每个声音的元素写在纸上。
比如说，颜峻：y , a, n, j, u, n，有五个元素。
然后，用寂静和这些元素来做即兴（不过，每个声音元素都独立于其他的）。
你要把每个声音元素都念出来（不必过于严格）。试试大声、小声、无声，试试长的、短的，试试脏的、干净的，不同的声音质感，注意细微的差别。
比如：
nnnnnnnnnnn（长的音）……（寂静）aaaaaaa……aa..y…………………………nnnnnnnnnnn...yyy
结束这个作品的时候，你要按照“正常的”顺序念一遍，比如：
yyyyyyyyy……aaaa…………nnnnnnnnnnnn……j……uuuuuuuu..nnnnnn
保持创造力（不用想太多），享受吧（哪怕是无聊）。
对我来说，这个作品中，每个过程中的每个错误都没问题，只要你享受即兴。
要做到，最好你能练习练习，直到感觉到乐趣。我来给你一个提示吧：如果你想享受一个无聊的东西，你只需要每天一直重复这玩意（直到你开心，上瘾，就像有了烟瘾），一想到就练。一个人应该出于内在的需要才想到那个他／她想要尝试（或者必须做）的事（不过，这种情况常常发生，谁知道呢？）。
直到生命尽头，你都有自己的名字（而不是“你”），只要你能记得，能记起来。你可以在随便哪里、任何时候练习这个作品，就用你的名字做材料。这是它的优点（还不花钱）。而且在不要忘掉你的名字这件事上，也是非常有用的（不过，也有可能适得其反，要小心），可以对抗老年痴呆症（AD），可以不用操心冠状病毒（BC）的污染。
除了通过发声来演奏这个作品，你可以只是按照自己的方式，把这些文字读出来，这也是一个表演（哪怕是独自一人。以便获得正能量）。
|
||||
40. |
||||
|
Seijiro Murayama: BC-AD.
decompose or disassemble your name 'phonetically' (don't be precise too much) and write down each sound element on a sheet or paper.
for example in your case, like: y , a, n, j, u, n, five elements.
and improvise with silence and these elements (but each sound element is separated from the others).
you can 'articulate' (don't be precise too much) each sound element. try loud-soft-inaudible, long-short, dirty-clean, different sound textures, nuances.
like:
nnnnnnnnnnn(long tone).........(silence)aaaaaaa...........aa..y....................................nnnnnnnnnnn...yyy
you finish this piece by making sounds in the 'normal' order like: yyyyyyyyy.....aaaa............nnnnnnnnnnnn.........j..........uuuuuuuu..nnnnnn
be inventive (don't think of it too much) and enjoy (even boredoms).
every mistake in every process of the realisation of the piece is ok for me if you enjoy improvising.
for this, it is better to practice until you get certain sensation of joy. i give you a tip: if you want to enjoy yourself with something boring, you only continue trying by repeating this shit 'every day' (until you become happy and addicted like with tabacco), when you recall it for some reason. it is necessary for one to recall what he or she wants to try (or should do) at the moment of his or her own necessity (but quite often who knows it?).
you have your own name (generally instead of you) until the end of your life if you remember and recall it. you can practice this piece based on your name everywhere, at any moment. this is its big advantage (for free). it would be also useful in order not to forget your name (but it could contribute to do the opposite, attention), useful against Alzheimer's disease (AD), before thinking of contamination of the Corona virus (BC).
instead of playing this piece with sounds, you can only read (utter) this text in your own way as a performance (even alone. in order to get something positive).
村山政二朗：BC-AD.
按照语音拆解或者分解你的名字（但不必过于严格），把每个声音的元素写在纸上。
比如说，颜峻：y , a, n, j, u, n，有五个元素。
然后，用寂静和这些元素来做即兴（不过，每个声音元素都独立于其他的）。
你要把每个声音元素都念出来（不必过于严格）。试试大声、小声、无声，试试长的、短的，试试脏的、干净的，不同的声音质感，注意细微的差别。
比如：
nnnnnnnnnnn（长的音）……（寂静）aaaaaaa……aa..y…………………………nnnnnnnnnnn...yyy
结束这个作品的时候，你要按照“正常的”顺序念一遍，比如：
yyyyyyyyy……aaaa…………nnnnnnnnnnnn……j……uuuuuuuu..nnnnnn
保持创造力（不用想太多），享受吧（哪怕是无聊）。
对我来说，这个作品中，每个过程中的每个错误都没问题，只要你享受即兴。
要做到，最好你能练习练习，直到感觉到乐趣。我来给你一个提示吧：如果你想享受一个无聊的东西，你只需要每天一直重复这玩意（直到你开心，上瘾，就像有了烟瘾），一想到就练。一个人应该出于内在的需要才想到那个他／她想要尝试（或者必须做）的事（不过，这种情况常常发生，谁知道呢？）。
直到生命尽头，你都有自己的名字（而不是“你”），只要你能记得，能记起来。你可以在随便哪里、任何时候练习这个作品，就用你的名字做材料。这是它的优点（还不花钱）。而且在不要忘掉你的名字这件事上，也是非常有用的（不过，也有可能适得其反，要小心），可以对抗老年痴呆症（AD），可以不用操心冠状病毒（BC）的污染。
除了通过发声来演奏这个作品，你可以只是按照自己的方式，把这些文字读出来，这也是一个表演（哪怕是独自一人。以便获得正能量）。
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41. |
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Charles LaReau: Insomnia
A- Pour a glass of spirits or enjoy a brewed cup of tea.
B- "Free sketch" for one minute.
C- Using your phone, record from an opened window, balcony or inside your place/wherever you may be. The length of recording is the date of recording.
D- Take one photo after recording. Mark the time of photo.
E= Fin
notes: start anytime from midnight to 3:30 am. "Free sketch"- with eyes closed.
查尔斯·拉瑞尔：失眠
A- 倒杯酒，或者泡壶茶给自己。
B- 花一分钟“天马行空”。
C- 用你的手机，在一个打开的窗口前或者在阳台上录音。或者在房间里也行。录音的分钟数就是当天的日期数。
D- 录完后拍张照片。记下拍照的时间。
E= 结束了。
注意：从午夜12点到3点半之间的任意时间。“天马行空”时闭上眼睛。
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42. |
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Charles LaReau: Insomnia
A- Pour a glass of spirits or enjoy a brewed cup of tea.
B- "Free sketch" for one minute.
C- Using your phone, record from an opened window, balcony or inside your place/wherever you may be. The length of recording is the date of recording.
D- Take one photo after recording. Mark the time of photo.
E= Fin
notes: start anytime from midnight to 3:30 am. "Free sketch"- with eyes closed.
查尔斯·拉瑞尔：失眠
A- 倒杯酒，或者泡壶茶给自己。
B- 花一分钟“天马行空”。
C- 用你的手机，在一个打开的窗口前或者在阳台上录音。或者在房间里也行。录音的分钟数就是当天的日期数。
D- 录完后拍张照片。记下拍照的时间。
E= 结束了。
注意：从午夜12点到3点半之间的任意时间。“天马行空”时闭上眼睛。
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43. |
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44. |
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Li Weisi: Transform
1, Prepare two things:
A, Material which could be cut by tools like scissors, paper knives, or any sharpen blades, for example a piece of paper, rag, or plastic bag. Size should be around about an A4 paper’s size. The density of this material could be various.
B, A tool like scissor or knife that could cut your material. The size of this tool could be various.
2, Use your tool, transform your material into pieces which size around 1cm x 1cm.
Record the sound of the completely process, or 15 mins sound at most.
李维思：变换
1，准备一张A4大小的，可以被类似剪刀的工具剪开的材料，比如纸、布、塑料袋等。材料的密度任意。工具的大小任意。
2，使用任意方法，将这张材料剪成1cm x 1cm的碎片。
录制整个完整过程的声音，或者最长为15分钟的声音。
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45. |
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Li Weisi: Transform
1, Prepare two things:
A, Material which could be cut by tools like scissors, paper knives, or any sharpen blades, for example a piece of paper, rag, or plastic bag. Size should be around about an A4 paper’s size. The density of this material could be various.
B, A tool like scissor or knife that could cut your material. The size of this tool could be various.
2, Use your tool, transform your material into pieces which size around 1cm x 1cm.
Record the sound of the completely process, or 15 mins sound at most.
李维思：变换
1，准备一张A4大小的，可以被类似剪刀的工具剪开的材料，比如纸、布、塑料袋等。材料的密度任意。工具的大小任意。
2，使用任意方法，将这张材料剪成1cm x 1cm的碎片。
录制整个完整过程的声音，或者最长为15分钟的声音。
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46. |
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Li Weisi: Transform
1, Prepare two things:
A, Material which could be cut by tools like scissors, paper knives, or any sharpen blades, for example a piece of paper, rag, or plastic bag. Size should be around about an A4 paper’s size. The density of this material could be various.
B, A tool like scissor or knife that could cut your material. The size of this tool could be various.
2, Use your tool, transform your material into pieces which size around 1cm x 1cm.
Record the sound of the completely process, or 15 mins sound at most.
李维思：变换
1，准备一张A4大小的，可以被类似剪刀的工具剪开的材料，比如纸、布、塑料袋等。材料的密度任意。工具的大小任意。
2，使用任意方法，将这张材料剪成1cm x 1cm的碎片。
录制整个完整过程的声音，或者最长为15分钟的声音。
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47. |
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48. |
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49. |
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ryoko akama: reaction (2020)
for solo or any number of performers
with any continuous tone(s) you can make, adjusted to the environmental level
1 find one or two noises you hear continuously or sporadically around you
2 begin your tones
- in extremely lower dynamic when you see something moving in the space you are performing at.
- in extremely high dynamics you hear any noise, apart from your tone in the space you are performing at.
Play each of your tone till the end of decay softly and moderately.
Continue till you are bored and want to do something else.
赤間涼子：回应（2020）
独奏，或任何数量的表演者
任何一些你可以弄出的持续的声音，去适应环境的音量
1 找到一或两个在你周围持续，或是偶然出现的声音
2 发出你自己的声音
- 如果你看到有什么进入你的表演空间时，就使用极其小的动态
- 在你的声音之外，如果你听到任何别的声音，就用极大的动态
你的每个声音都让它慢慢衰减至结束
一直做这些，直到你觉得无聊想做点别的
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50. |
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Anne-F Jacques: Pieces for domestic waste and objects
1- Paper (any kind: newspaper, advertisement, printing paper... at least 5 sheets)
2- Pencils (at least 3)
3- Styrofoam (one large sheet or block)
Gather the materials. If you have the materials for only one or two of the pieces, that's ok, play these ones.
Each piece can be played by one or many people at the same time.
If possible, record your actions with your telephone or any type of recorder, very close to the objects. I would be very happy to receive the recording.
1- Paper (sitting at a table or desk)
One by one, crumple a piece of paper very tightly, put it on the table, then crumple another one. Put each new crumpled paper close to or on top of the previous one. Do that quickly.
When you have finished, approach your ear to the pile of paper and listen to them unfold.
When they have completely stopped moving, take them one by one, flatten them and put them in a pile, like at the beginning.
2- Pencils (sitting at a table or desk)
Place the pencils side by side on the table in front of you, so that one end of the pencils hang over the edge.
With the fingers of both hands, do the following actions in any order, and repeat as you want:
- raise the top of the pencils and let them drop on the table
- make them roll
- change their position
- let one drop on the floor
3- Styrofoam (standing up)
balance the piece of styrofoam on your 10 fingertips. move your two hands away from the center, towards the edges, and then back, by in turns lifting some fingers and putting them further, as if the fingers were walking. vary the speed.
安妮-F.雅克：给日常垃圾和日用品的作品
1，纸（任何：报纸、广告、打印纸……至少5张）
2，铅笔（至少3支）
3，泡沫塑料（一大片或者一大块）
收集材料。如果只有其中一两种，也行，就只演奏这些。
每个作品都可以由一人或多人同时表演。
可能的话，用你的手机或者任何的录音机录下你的动作，尽量靠近。我会非常高兴听到这些录音。
1，纸（坐在桌前）
一张接着一张，把纸团得紧紧的，放在桌上。把纸团放在之前的纸团旁边或者上面。轻轻地。
完成后，把你的耳朵靠近纸团堆，听它们展开的声音。
它们完全停止不动之后，一个接着一个，把它们展平，摞起来，就像一开始一样。
2，铅笔（坐在桌前）
把铅笔放在桌上，放在你面前，让它们互相挨着。铅笔的一头要超出桌子的边沿。
用两手的指头，按照以下顺序操作，并且随你自己的意思重复：
－把铅笔的一头抬起来，让它们掉落回桌面
－滚动铅笔
－更换它们的位置
－让它们掉到地上
3，泡沫塑料（站着）
用你的十个手指支撑起泡沫塑料。从中间向边缘移动双手，再移回来，轮流抬起手指、放到下一个位置，就好像手指在走路一样。改变这样做的速度。
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Sub Jam Beijing, China
Sub Jam is a label and organization based in Beijing. Since 2000, it had working on underground music, film and literature. Now focus on improvised music and experimental sound practice.
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