Footnotes to a blank page

by Nathalie Lieleu

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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 – which might, in some cases, not be enough. Grouped together of their own free will, expatriated at random or refugees forced to flee, how can we live in a country whose language we do not speak? Listen to incomprehensible words whose sounds have more weight and meaning for the spirit than their actual sense? Decipher words which for a long time you can only identify when written down? After a few weeks of this kind of isolation – unless blessed with the gift of languages – you find yourself deaf and mute in the face of thousands of eyes in a world that is as invasive as it is fascinating, because of its unfathomable “otherness”. I have often wondered about the enjoyment I would get from offloading my catalogue of overblown visions, like water bursting from a dam, onto other hapless victims.
When the moment finally came, I found myself having to face up to the blinkered gaze which I had mistakenly thought would release me from solitude. “What are you talking about? You’ve seen it and taken it on board, but you haven’t understood anything”. This is the brilliant result of a short-circuit between my optic nerve, my native culture, and the culture that has welcomed me, obstinately refusing to meet my expectations … The reciprocal ignorance between these two cultures sometimes has comical repercussions in everyday life: getting on a bus not sure of the destination even though it is written in large letters on the windscreen; living in the cold and dark for two days because you can’t work out how to pay the electricity bill; eating only the food that’s on display and ending up buying soft cheese instead of fresh cream. In spiritual terms, the social or political quid pro quo can be far more serious: the implicit protection in the condition of “idiot” is extinguished in ways that are hard to interpret.
The feeling of living behind the world in which you wake up and go to sleep clings to your skin.
An interpreter, “someone else who understands me despite the difference” is often essential if you want to move beyond this state of mere survival. But this assistance does not lift the veil, of varying thickness, of your inability to communicate with others. As an intermediary, he underlines a distance rather than a union.
In terms of interfacing, I thought I had found an area of common ground when it came to communications technology. On/Off is the same in any language. With their unbearable cacophony of local media, my telephone, computer and TV did nothing but amplify my listening problem. So many fumbled telephone calls, cartloads of illegible emails – and 120 TV channels out of 210 were completely inaccessible. The more a country develops, the more these voices multiply. Being able to understand them is an “open Sesame”, an essential password to enter their world. It is not an innate process: you learn, you build. You won’t forget it again – not even you.


Nathalie Lieleu works at the Conservatory of Modern Art at the Pompidou Centre in Paris. Having been posted to Damascus, Syria, for two years, she is a freelance organiser of modern art events and also promotes French and Syrian artists.


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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.

  • DSC_0016 - DSC_0012

    Citofono di una via di Urbino, nel luglio 2009.

  • DSC_0037 - DSC_0038

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

  • IMG_3062

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

  • IMG_3091 - IMG_3092

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

  • DSC_0077 - DSC_0088

    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

Words

  • The meaning of colour evolves in parallel with culture.

    Odile Decq

  • Colour has always been with us and has been, and will always be, one of the great unsolved mysteries.

    Luca Massimo Barbero

  • All I do is take away colour to get to the light.

    Mario De Luigi