Hum, Broadcast on Montez Press Radio, Saturday, March 30th, 2019, 11AM–12PM
Hum—locating vibration and channel, (gr, zz, hm), “indistinctness and lack of clear location…’ paravocalic’,”electro-larynx and exo-larynx, Brahmari or “the bee,” many busy parts, resonance and the choral coordination of an empathetic engine, “I think the veil of contentment and expressivity of the purr, purring, when a cat loves you and puts its warm body and it’s purring on you, it’s transformative, it’s lovely, it’s a healing sense.” Carolee Schneemann’s interview with Emma McCormick-Goodhart, Jane Birkin et Serge Gainsbourg’s “Je T’aime,… Moi Non Plus,”Knud Viktor, Tony Talmich, Elizabeth Grosz, Steven Connor, Crash Test Dummies.
Hockets —with Ona Lindquist, Broadcast on Montez Press Radio, Friday, February 22nd, 2019, 11AM–1PM
Hockets—with Ona Lindquist —“While I am waiting for my turn, I can draw a picture, look at my favorite character, count to 20 in my head, or watch my friends play out their turn,” Ars Antiqua and Notre Dame School, crows using traffic lights to crack their nuts, Burundi Salutation Akazéhé, hammers of Mochitsuki,“curl of trust…a twist and little sintering burn,” Stokes Interview questions, Balinese Gamelan, “the kiss as…silent polyphony…that two tongues fold into one…” exchange and acceleration zones in baton relays, the voices of engine maintenance. Guillaume de Machaut’s Hoquetus David, Alt-J, Herbie Hancock, Louis Andriessen, Brandon Labelle, John Smith, Dirty Projectors.
joined by Ona Lindquist, LCSW, artist, poet and psychoanalyst reading and discussing her work, Swimming in Space: [fragments of] a therapy in verse
Canon, Broadcast on Montez Press Radio,Friday, January 25th, 2019, 1PM–2PM
Canon—a loss of awareness of one’s identity, teachers listening/not listening, (I’d say / do you say / I do / I’d say), tuning orchestra, “a social body from the inside out,” fugues, Glenn Gould humming, harmonizing with animals, Rogerian therapy, coordinating, offsets and interweaving, learning Portuguese. Wolfgang Amadeus Mozart’s Le Nozze Di Figaro, “Cosa Sento,” R.D. Laing’s Knots, Serkan Çagri, Johann Sebastian Bach, Meredith Monk.
Bodies Moving Bodies—running out of breath, weightlifting, hugging yourself tightly, christ inhaling into death, (pa, de, fe, meh), “it is not coincidence that ‘aspiration’ means both hope and the act of breathing,” touch your lips to your headphones, a game of tennis between Richard Gasquet and Carlos Berlocq, “Pull while they push / Breathe in while they breathe out.” Gevorg Dabaghyan, Allora and Calzadilla in collaboration with Ted Chiang, Justin Stoney, Jeremy Ward, Werner Herzog.
Furrows, Broadcast on Montez Press Radio,Friday, August 17th, 2018, 10AM–11AM
Furrows—the direction of phonemes and emanating into environments, pulsations, flutter, wake, (ku, pa), pistol shrimp, Not I, aspirated voices, (zzzz), body-body resonance, body-wall resonance, wall-body resonance, “a telephone reaching the scale of the earth,” conch trumpets and horns, “In this Valley of Echoes…fossils are not minerals but masses of sound.” Franz Kafka’s “The Silence of the Sirens,” Pauline Oliveros’ “Horse Sings from Cloud,” Samuel Becket,Arecibo radio telescope, Charles Babbage, Jana Winderen, Nabil Ahmed, Gérard Klein, David Bowie.
Articulating, Containing, Hesitating—with Morgan Garrett, Broadcast on Montez Press Radio,Thursday, August 16th, 2018, 10AM–11AM
Articulating, Containing, Hesitating—with Morgan Garrett—“’its mouth is closed and its navel is open,”glottals (uh-oh), alveolars (ta, da, na), bilabials (papa, pop, Barbara, mama, memory), speech-language pathology, “I DON’T SWEAT / I HAVE NO ODOR / I INHALE, DON’T EXHALE … AN OBSERVER, A CONSUMER, A USER ONLY… I FEEL DON’T TOUCH,” learning to stop the air from exiting, the voiced and the voiceless. Babylonian Talmud, Ying Yang Twins, Bob Cobbing“(d – p – t),” Kurt Schwitters, Gayatri Chakravorty Spivak, Lauren Bacall, Anne Karpf, Bruce Nauman, Norbert Ruebsaat, Morgan Garrett.
joined by Morgan Garrett, musician and speech-language therapist. (Vocalise: Shaping)
Phatics, Broadcast on Montez Press Radio, Tuesday, August 14th, 2018, 10AM–11AM
Phatics—who/me harmonics, hey-you swinging, “a golden thread shooting out of the crown of your head to a distant star,” 18th century Vocalise, bee recording, bird call breathing, “sound a sound until it is a word / sound a word until it is a sound,” Marco – Polo. MoonDog’s “Lullaby,” Joan La Barbara’s “Circular Song,” Pauline Oliveros, Nikolai Medtner, Roman Jakobson, Pink Floyd, Samuel Goldwyn, Meredith Monk, Macaulay Library at the Cornell Lab of Ornithology, and Mladen Dolar.
Tongue and Cheek is a radio broadcast that leads listeners through vocal and movement exercises. Broadcasts are composed of warm-ups, conversations, and archival sound that focus on language and communication. We think about communication in a broad sense, leading listeners through exercises that reimagine the limits of the human body, social interdependence, and interspecies or non-species communication.
Voiced and led by Tim Simonds, Aaron Lehman and Emma McCormick-Goodhart Broadcast here, 8AM and 8PM everyday.
To listen to future and archived broadcasts: First Tuesday of the month 2:00PM–3:00PM EST on WGXC WGXC (90.7FM Acra) Wave Farm
Last Saturday of the month 11:00AM–12:00PM EST on Montez Press Radio Montez Press Radio
Tongue and Cheek was first developed and aired on Montez Press Radio beginning in the summer of 2018. Montez Press Radio is an experimental radio station and commissioning platform for unexpected works from artists and other creative voices. MPR continues to air new episodes of Tongue and Cheek during its monthly live broadcast at 46 Canal St in Chinatown, New York.
In 2019 Tongue and Cheek started an additional monthly broadcast on WGXC (90.7FM Acra, NY), Wave Farm’s community radio station. WGXC: Radio for Open Ears “is a full-power, non-commercial, listener-supported station in New York’s Upper Hudson Valley operating out of studios in Hudson and the Wave Farm Study Center in Acra.”
There are messages primarily serving to establish, to prolong, or to discontinue communication, to check whether the channel works… Dorothy Parker caught eloquent examples: “‘Well!’ the young man said. ‘Well!’ she said. ‘Well, here we are’ he said. ‘Here we are’ she said, ‘Aren’t we?’ ‘I should say we were’ he said, ‘Eeyop! Here we are.’ ‘Well!’ she said. ‘Well!’ he said, ‘well.’ ” —Roman Jakobson, “Linguistics and Poetics”
To reach an arm out of one’s mouth, peek through one’s ear, and speak out of one’s eye. Communication happens by any means possible. It is the different ways bodies extend themselves, as limbs that bridge things—reaching out, stretching and sometimes touching, with a light tap, “Marco!”
How we voice, how we gesture, how we manner, how we empathize. Exercises to find all ways of thinking of language, and to exercise them as their own paths of communication.
To empathize over radio. Invite to do the same—feel, mimic, echo. “Polo” The sound of leading, of following, of teaching speaking. And learning to make a body of a limb.
Transparency is something we associate with honesty, purity, or letting someone in on something. Yet at the same time as a piece of plexi or glass reaches for the ideal of being looked through—honest, pure, and uninterrupted by glare and muddling reflections—it hides itself and meekly shrinks away. A way of receding, shrinking back, hiding in an act of exposing something, making something pure, or making something evident. In that way the formal qualities of transparency are very human and social, a kind of emotional and interactive complex between someone and the world around them. Active and passive. Transparency as a kind of camouflage. —meek and assertive—crossing ones feet and wanting to be imagined and seen as shouting.
celery, water, traces of bleach, resin sealed cardboard box installed as a part of The Way You Look: Ashish Avikunthak and Tim Simonds, curated by Pete Moran at Burlington City Arts, VT.
Honeydew melon, papaya, carrot, daikon, onion, pineapple installed as a part of Cathouse Retrospective, curated by David Dixon at Chemistry Creative, Bk.
as a part of Dump Camp, a conference and sequence of performances organized and curated by Bethany Ides and Ari Ferdman in a lecture-class room at Cooper Union.
Hung in the window bays in netted bags. The clean smell of their bleached flesh wafts in with the open windows over the course of the day-long conference / sequence of performances. Dripping dry, and becoming more opaque as the day goes on and in the case of the beat, slowly re-reddening as it re-dyed itself from the inside out. How does this flesh take care of itself, inform itself? Is correcting, over-done, self defeating, self effacing?
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On the floor in the same space are a set of prints (To do before washing hands) taped to the floor in the way of the walking paths of the classroom. Each print is an image of a hand with reminders and to-do lists written on them. Some of the images show a wet hand, with handwriting smudged or running.
These are the first solips or bleached vegetables and fruits. I had at the same time been bleaching single stems of celery and hanging amidst prints that I was making from my spelling errors in my correspondences to my students. solips have always been a form of hyper-correction that runs parallel to the way I have thought of a teacher’s insecurity, the position of a teacher’s voice that is correcting itself.
What happens if the badly idealized forms of teacher and learner are folded over each other? What is the centripetal-ness, the self-awareness, self-reflection, self-correction, selfishness, passive, meek and undependable nature of a position seen and idealized centrifugally, hierarchically, as selfless, active, responsible? Though I had started then to work with teaching as a material, I only realize now, that the space of Bethany and Ari’s conference/performances was the first time that I entwined my work with an environment of teaching; I had taught in similar classrooms for a few years and still do.
In grade school when you learn how plants work, at the same time, how human work, how the blood circling around makes its way back up your legs, you place a piece of celery in a cup of water and food coloring. You watch the red, blue or maybe yellow march its way up the stem and to its leaves.
pineapple, mango, beet, apple, squash, papaya, kiwi, traces of bleach, plastic bins in House of Orange at Wilma Projects.
Breath and Incidental Vocalizations—with Jonathan Gordon, Broadcast on Montez Press Radio,Wednesday, August 15th, 2018, 10AM–11AM
Tongue and Cheek Episode 2
Breath and Incidental Vocalizations—with Jonathan Gordon—breath moving the body and breathing by moving the body, inhaling into extremities,“the channel, if we were to imagine it as this physical thing, runs from the viscera in your guts where the emotion originates, and like a tube, runs through your body out the mouth into the back of the theatre,”throat singing, Broomhaha, “if I breathe as I understand breathing, then I am doing something wrong.”F. Matthias Alexander’s Articles and Lectures, Antonin Artaud’s “Sound Effects And My Cry in the Stairwell” from to Have Done with the Judgment of God, Bob Cobbing “(d – p – t),” Thom Jones, William Shakespeare, and Batzorig Vaanchig.
joined by Jonathan Gordon, actor, leading his routine of “Channel Exercises.”
