Vibrational Semantics / TEXST

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

as the non-world falls away is set of fragmented poetic compositions, created through iPhone scans of the artists notebook that have then been worked over digitally, testing the boundaries between image and text in a palimpsestic manner

risograph printed
200x250mm
edition of 150
2024

180 x 180mm, 16 pages, Risograph printing, Saddle stitched, Softcover, 2023

‘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.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice.

Part performance transcript, part conceptual writing exercise, this project works from an extract from Andrew McMillan’s poem Protest of the physical. The original text was rewritten and recombined into multiple possibilities of form and content. The variations of this text were then recited – from memory – in a semi-improvisational way over a four hour performance that took place at Galleri SLAKT in Bergen. Focusing on the meditative pace and rhythmic intonation of the original poem, various alternative possibilities for the poetic narrative were imagined and explored, creating a generative palimpsest of poetic experience that was shared with the audience. Here, the text from the performance is transcribed, allowing the poem to further mutate and shift from the realm of the voice back onto the space of the page.

With an introduction by the original poet Andrew McMillan.

offset
130 x 190 mm
500 pages
edition of 240
2021

150 x 200mm, 16 pages, Risograph printing, Saddle stitched, Softcover, 2022

A new text by poet, writer and performer Holly Pester. ‘Five Devours’ is a text 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.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice. The series is a collaboration with Lydgalleriet.

A weaving draft is a kind of notation for planning and sharing woven textile
structures. The threading, along the top, shows how the warp is threaded
through the heddles and frames; the treadling, along the right-hand side, shows
the order in which the treadles of the loom are to be pressed; and the tie-up, in
the upper right-hand corner, shows how each treadle interacts with the loom’s
frames. The drawdown, in the lower left, shows whether the warp or weft will be
on top at any particular intersection of threads—thereby providing a “preview”
of the completed textile. Often a draft diagram will indicate the intended colors
of the warp and weft threads, and the drawdown will show the completed textile’s
color patterns. In “Drafts,” Allison uses letters instead of colors, melding digital weaving with writing.

risograph printed
200x250mm
edition of 150
2024

200 x 280mm, 16 pages, Risograph printing, Saddle stitched, Softcover, 2024

Composed in collaboration with speech-to-text software on an iPad, this conversational publication discusses the relation between saying, writing, speaking and listening, through Wittgenstein and other.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice. The series is a collaboration with Lydgalleriet.

145 x 280mm, 16 pages, Risograph printed, Saddle stitched, Softcover, 2023

In this text Daniela tunes into the hums of voices heard within books, to the recollected csitation, to singing with stitched lips.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice. This is a collaboration with Lydgalleriet.

90 x 410mm, 12 pages, Risograph printing, loose leaf, Softcover, 2024

This visual score and accompanying essay uses Mosconi’s Paralingual Index: a notation device she devises to denote extralingual utterances such as breaths, sighs, pauses and mutters. Mosconi uses this transcription method to record conversations around bilinguality and translation.

145 x 290mm, 8 pages, Risograph printing, Unbound, Softcover, 2022

‘Belong to Me’ is by musician, artist and open water swimmer Lisa Busby 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. It is beautifully haunting.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice. The series is a collaboration with Lydgalleriet.

DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the voice.

The Vibrational Semantics text series explores the voice’s ability to shift seamlessly between signification and sonority, from speech sound to noise. Questions of linguistic ambiguity, embodied voicing and feeling/ meaning are investigated in relation to the place and presence of the performed voice. This is a collaboration with Lydgalleriet.

Part performance transcript, part conceptual writing exercise, this project works from an extract from Sam Riviere’s poem Miserable I hope you do too. The original text was rewritten and recombined into multiple possibilities of form and content. The variations of this text were then recited – from memory – in a semi-improvisational way over a four hour performance that took place at Black Box Theatre in Oslo. Focusing on the meditative pace and rhythmic intonation of the original poem, various alternative possibilities for the poetic narrative were imagined and explored, creating a generative palimpsest of poetic experience that was shared with the audience. Here, the text from the performance is transcribed, allowing the poem to further mutate and shift from the realm of the voice back onto the space of the page.

With an introduction by the original poet, Sam Riviere.