#27 The Culture of Listening

2009

During a television interview, one of Italy’s leading cultural commentators Giovanni Sartori said ”these are certainly talkative times”.
This is an important statement and certainly cannot be denied, if we look at the huge number of talk shows, conventions, discussions, debates, forums and confessions by celebrities (usually the kind who ought to keep quiet). Everyone wants to talk and have their say at every available opportunity. Just how much all this chattering stimulates our sense of listening has yet to be proved, however. It seems as though the river of words, rather than creating a gentle wave of sound that reaches our ... Read More

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ISIA – Higher Institute for Artistic Industries – is a state school teaching graphic design at graduate level and it is part of the Dipartimento di Alta Formazione Artistica e Musicale (department for higher music and art training) run by the Italian Ministry for Education, University and Research. The ISIA premises are in the Santa Chiara ...

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In front of a cup of coffee with Andrea Bellini The theme of this edition of illywords is “La cultura dell’ascolto” (or “the Culture of Listening”). Did this lead to the idea of choosing “Accecare l’ascolto” (“Blocking the ears”) as the title for the section on theatre and the role of theatrical performance in the modern art...

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“Listening patiently to the other’s dream in exchange for the luxury of recounting their own”. Ian McEwan, The comfort of strangers. Once upon a time there was a talkative tomato. It had studied all the works of Brillat-Savarin and knew the abyss that separated it from the firm and flavourful oyster, the woody texture of the porcini mush...

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Is the “listening” aspect a feature of your work as an architect? First of all I’d like to give an example. Italo Calvino, on the subject of hearing (or listening), told a story that for me is extremely significant. There was a powerful man who once became king. From that time on, he decided not to move from his throne in case someone physi...

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You could be me. Any human being on earth could end up in my situation – that of an (im)migrant. I am not talking about tourists who give up their daily life at home to try living somewhere else for a time. I’m talking about people who pack up their lives and move to a country that is so foreign that they have to mobilise all their resources - ...

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Sometimes I am asked to help other people to improve their listening skills. My profession exposes me to the risk of thinking of listening mainly as a subjective ability, something that can be trained, partly linked to personal predisposition. But when I actually listen, and when listening becomes a tool necessary for a job in which you approach...

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Let’s suppose we are taking a stroll through the congested streets of a city centre. Perhaps we don’t notice, but we are always “bombarded” by sounds: honking horns, chattering and shouting, the trilling of mobile phones, music blaring at full volume from clothes shops. But, in spite of all this din, we are always able to pick out the voice...

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Silence creates room for the mind, and the mind can create visions. Yoko Ono described how the hypnotic effect of a flame would help to do this: “You could tell someone to look into the fire for 10 days just to create a vision in someone’s mind” she write in her first, epic work, a book of instructions for performances entitled Grapefruit (a ...

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During these times of reflection and change caused by the global crisis we are all experiencing, I find the topic of listening to be extremely relevant. My approach is to see what can be learned from it, starting with the basic theories of modern management. I think this is essential, if we are to deal with the current economic situation. For mana...

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Images

  • ISIA – Higher Institute for Artistic Industries - Urbino

  • ISIA – Higher Institute for Artistic Industries - Urbino

  • Kurt Schwitters, 1927

    NEUE PLASTISCHE SYSTEMSCHRIFT. Like many new experimental types to arise from the early twentieth century avant-garde in Europe, Schwitters’ type is an attempt to remake the Western writing system through reduction, and the abandonment of idiosyncrasies. Schwitters proposed a monocase system, adopting a rectilinear interpretation of roman capitals, and contrasting these with six vowel alternate characters, A, E, I, O, Ü, and Y scaled to the same height but based upon Carolingian lowercase. The vowel alternates, though primarily used for the short sound, are used somewhat indiscriminately in his print work. Unlike his contemporaries, Herbert Bayer, Theo Van Doesburg and Jan Tschichold all who produced experimental universal alphabets that rejected uppercase, Schwitters retained the form of roman capitals.

  • George Bernard Shaw, 1912

    SHAVIAN ALPHABET. The Shavian alphabet is conceived as a way to provide simple, phonetic orthography for the English language to replace the difficulties of the conventional spelling. Shaw set a criteria for the new alphabet: it should be as phonetic as possible. The Shavian alphabet consists of three types of letters: tall, deep and short. Short letters are vowels, liquids and nasals; tall letters are unvoiced consonants. A tall letter rotated 180°, with the tall part now extending below the baseline, becomes a deep letter, representing equivalent voiced consonant.

  • Herbet Bayer, 1959

    FONETIK ALFABET. In 1959, he designed his fonetik alfabet, for English. It was sans-serif and without capital letters. He had special symbols for the suffixes “ed” “-ory”, “-ing”, and “-ion”, as well as the digraphs “ch”, “sh”, and “ng”. An underline indicated the doubling of a consonant in traditional orthography.

  • Alexander Melville Bell, 1867

    VISIBLE SPEECH. In 1867, Alexander Melville Bell published the book Visible Speech: The Science of Universal Alphabetics. The book contains information about the system of symbols created by him that indicates the pronunciation of words so accurately that it represents even regional accents. Melville Bell’s intention was to create a script in which the characters actually look like the position of the mouth when they are being pronounced. The system is useful not only because its visual representation mimics the physical act of speaking, but because it does so, these symbols may be used to write words in any language, hence the name: Universal Alphabetics.

  • Microphone

    MICROPHONE is an experimental typeface designed by Jonathan Hoefler and Tobias Frere-Jones for the periodical Fuse #15 cities, in 1995. “There are six million stories on the naked city”. The idea was to take fragments of conversations from people which where then used as a character set in the Microphone typeface. One single character in Microphone represents a phrase with an individual style, size and spacing that reflects the voices heard on the street. Microphone is different from the rest of the typefaces because it consists of text that is read more like a short story.

  • Jan Tschichold, 1926 /29

    UNIVERSAL ALPHABET. This alphabet has been designed to clean up the few multigraphs and non-phonetic spellings in the German language. He devised brand new characters to replace the multigraphs “ch” and “sch”. His intentions were to change the spelling by replacing systematically “eu” with “oi”, “w” with “v”, and “z” with “ts”. Long vowels were indicated by a macron below them, though the Umlaut was still above. The alphabet was presented in one typeface, which was sans-serif and without capital letters.

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    Citofono di una via di Urbino, nel luglio 2009.

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    Confessionale nella chiesa della Maddalena in Piazza della Maddalena a Roma, nel luglio 2009.

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    Telefono pubblico in Borgo Mercatale a Urbino, nel luglio 2009.

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    Call center in via Emanuele Filiberti a Roma, nel luglio 2009.

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    Confessionale nella chiesa di San Macuto, in piazza di San Macuto a Roma, nel luglio 2009.

  • Karlheinz Stockhausen, 1928-2007

    Hello! Repeat please. Hello! Is changed, of course. I’m always right. Mr. Stockhausen? Yes I am. Can I… No you can’t. Try to say “hello” more quiet, pretend to have a little pillow in your mouth. Hello. AH! Perfect. Wait, I’ve to record it. Wait wait wait.

  • John Cage, 1912-1992

    Who is there? Hi, this is John Cage! I’m here in the 6th Avenue and there’s a good traffic today. What? I said there’s a good traffic today! And I want to advise you! Stop listening music and come down! You don’t need music! You don’t need someone talking! The activity of sound is enough. We don’t need sound to talk to us. And today the traffic sound is awesome! Ok John I’m coming!

  • Arrigo Lora Totino, 1928

    Hello. Good morning Miss. I’m Arrigo Lora Totino and I would like to invite you to my next performance of liquid poetry. Uh, poetry you said... I am not used to read poetry. You don’t have to read, it’s a kind of sound poetry Miss. The phonetic aspects are foregrounded and the performance becomes the thing in itself. You will feel the poetry, the real poetry, with the ears and with the eyes. Sounds interesting. And what means “liquid”? I’ll explain it: with a hydromegaphone, built by my friend Piero Fogliati, I’ll try to declaim the language of fishes and other sea stuff, speaking through the water inside the hydromegaphone. Mmm... sounds funny. It is funny... It’s like a cabaret. I love cabaret. I will be there! Ah, Mister Totano* (* Squid)? Do I need an umbrella?

  • Robert Schneider, 1961

    Hello. Mr. Schneider? Yes? Oh hi! I’m Elias, the character of your new novel. Hi Elias, everything ok? Yes! Finally it happened. I see the air condensing and then expanding with incessant rhythm. I see the sound valleys and their giant mountains! Perfect! Congratulations Elias, thank you for calling.

  • La Monte Young, 1935

    Hey La Monte, can I ask you something? Of course... How can you stand the wind sound during the storms? At night I can’t sleep!! It’s easy, you can’t turn off the wind like you would turn off the radio. When the wind comes it goes on as long as it is going to last. You would find it to be very profond and very awesome.

  • Philip Glass, 1937

    Who is there? I’m Philip, your neighbour, I just want to thank you. Thank you for what? For the noises coming from your apartment, the washing machine, the dishwasher, the mixer... Oh I’m sorry Phil, I didn’t want to disturb you! Disturb me? Not at all! Your noises revealed me the use of rhythm in developing an overall structure in music!!! What? I don’t understand... Of course you don’t understand, you are accostumed to the use of rhythm in western music, where the time is divided, but if you were interested in the indian music you would have a very different conception, and you would appreciate the beats coming out from your apartment, that string together make up larger time values! Do you understand now?

  • Luigi Russolo, 1885-1947

    Hello? Bzt... bzzz... It’s me, Luigi What? I don’t understand anything! I’m Luigi... bzzz... Luigi Russolo Who? Who is there? Bzzz... bzt I can’t hear anything, there is a disturbing noise in the entry phone. Bzzz... Disturbing noise? You really believe that noise is disturbing? Our entire life is accompanied by noise! What do you mean? The noise is familiar to our ear, the sound instead, this occasional and unnecessary element, is alien to our life, but we forgot it a long time ago. Bzzz… The irregular confusion of our life create the noise which reaches us in a confused and irregular way. So we have to select, coordinate and dominate all the noise to increase our sensual pleasure... bzt