SPEAK—SPEECH

SPEAK — SPEECH

Table of contents Introduction 5 Archive of transcriptions & stills

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Speech III Dysphasia & aphasia IV Index VI Video Index XVI

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Introduction Try halting sub-vocal speech.

Try to achieve even ten seconds of inner silence.

You will encounter a resisting organism that forces you to talk.

That organism is the word.

The Ticket That Exploded, 1962 William S. Burroughs Humans use different tools to communicate. The two parties can apply facial expressions or they chose to do with sign language. Speech however is the most common means of communication. Speech is unique, it is characteristic of the human species. Animals also communicate but they use vocalizations such as cries, screams, groans and growls. The incapacity to speak within the species of anthropoid apes which are, in terms of evolution, situated closest to mankind, is due to the incomplete development of their internal cerebral wiring, the connections between different parts of the brain. Unlike the ape, man is far more capable to call up all kinds of associations between the various sensory modalities.

The cross-modality (the capacity to make associations between hearing, sight, touch etc) is far less developed within the species of primates other than man.

Speech is inextricable bound up with language. The Swiss linguist Ferdinand de Saussure made a famous distinction between language (langue) and speech (parole). Language refers to the system of rules and conventions which is independent of, and pre-exists, and speech refers to its use in particular instances. De Saussure focused on langue rather than parole. In separating language from speaking, he was at the same time separating what is social from what is individual and what is essential from what is accessory and more or less accidental.

The complexity of speech and the resulting spoken errors that are often made take up the theory of De Saussure. When one finds it difficult to speak or cannot speak at all, one gets easily socially isolated. On the other hand in these circumstances one tries to concentrate on the essential sounds to explain the world to one’s own self in order to take part in it.

There are several physical and psychological factors that can interfere with or affect the power of speech. These disorders are classified under speech-language pathology. This pathology researches a complete spectrum of disorders as there are dysphonia or voice disorders, articulary disorders such as cluttering, stuttering, lisping, cleft palate, symptomatic speech traumas caused by metabolic disturbances such as dysarthria or shaking palsy and finally diseases and disorders of the brain including aphesia, dysphasia and alogia.

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Since long artists have been applying speech and/or language as a medium in their work. They concentrate especially on the disordered processes of this communication phenomenon.

Surrealists and Dadaists processed eagerly language disorders such as schizophrenic speeches. This resulted in the use of an infantile, childish and absurd linguistic performance in their art.

The performances of the Wiener Aktionisten were encompassing the excessive stimulation of all senses. They formulated texts and statements in which they incorporated ecstatic shouts recalling glossolalia or the gift of tongues.

Through performances Vito Acconci explores and analyse speech and the speech organs.

Imogen Stidworthy researches the identity of the individual through speech impediments such as aphasia and dysphasia. In her works she emphasizes that words, language exist in space as rhythmic sounds and noise. With this she joins in with philosopher Michel de Certeau who made clear that speaking establishes a present relative to a time and a place.

According to psychologists the monologues which one come across with schizophrenics must be considered as internal dialogues with themselves. Some artists and writers make use of this syndrome as a source for their work. Through video pictures they dialogize with themselves or with a second person. That’s how these artists explore language, identity, gender and race.

This essay based on a confrontation of life-like dialogues and images with artistic conversations and pictures demonstrates the delicate connection of art with life. Initially the artists appropriate the linguistic processes; subsequently they release their artistic products into the public space to start off a dialogue in every possible way.

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Archive of transcriptions & stills

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Now tell me what this thing was with your legs last week, or a week before.

Uh, no good. Uh. Uh. Um, Argh. Um, Argh.

Ache, and. Uh, um.

Uh. Uh. Knees.

And Ankles.

Uh.

What did you do about it?

Uh, home.

Uh, doctor. And legs.

Uh. Um. Walking, no good!

No good huh?

Man, you’re a fellow who likes to walk.

Oh, feast.

Oh boy oh boy!

And it’s getting to cold to…

Yeah.

…to run your John Deere tractor. Isn’t it.

Yes.

Up and down town.

Yes.

What did the doctor tell you?

Don’t know.

He doesn’t know what’s going on?

No, no.

Did you feel sick in any other way.

No, no, no.

Uh. Uh, ache.

Yeah.

Legs ached?

Yeah.

Uh.

Did you feel weak?

No, no, no.

No, uh.

Maybe you had a touch of rheumatism?

Don’t know. Jeez.

Haha.

Uh.

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h um thu, thu thuuuu, thu whu whu whu whu phu phu phu phu whu h huh ha, hate, haaat haat, haaaat haat haaaaaaat haaaa haat, haat haat, haat haat, haaaat huh, huh, huh haaat haaat land by haat hhhhaaa huh huh, huh, huh, huh, huh, haa, haa, hate hooooosh hoosh haaa haaate hate

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They are first, you know, boom, heh.

What’s this?

You know the big anchor right there. End of the football.

End of the football?

Yes. It’s. It, it, in foo, its the football right here, cause, it comes in, you see.

Yeah.

The end of it see.

Oh we have a lot of these you see.

I don’t understand.

Well.

It’s uh.

Well. It’s uh, it’s quiet prior, priorble in the you see.

You don’t understand it but it’s. It cause in the wrong kinda from the air.

And it comes, soars in the denture, through, see.

All the under, see, it comes up and finally come out here, it goes out see.

Get it?

Sort of.

It comes out here, see.

It comes out here.

Comes out here, here, you, and here.

And it comes in and it comes out and bing.

That’s a good ??? see.

That’s a good what?

That’s a good, good, fo fobosen.

Fire, fire, see.

It flows, gives out, or kicks out or bing or whatever it is.

It, we has no football right down.

It’s just pulling you see.

But they say fill up.

Uh.

Uhu

I guess you meant don’t have bed.

You know. Hehe.

Where do you live?

Where do you live?

Uh, you live. Up here you see.

Where do you live Don?

Really?

Where do you live?

Where do you live?

That’s, well. First round here.

Well round here.

You?

D You used to be a dentist?

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Where?

Right here, hehe. ??? The rest of the ???

And how many years were you a dentist.

Uh, how many? Holy Christmas!

Oh but um.

About a hundred and.

Lets see, about a hundred and, uh, thirty.

About forty, uh.

There is one uh.

One plus five.

Wait a minute, no.

It’s a pretty bad price to get this one together. Hehe.

The spine gone off see.

It’s cause, it goes for uh.

For about uh. Over thirty see, Or one thirty for God see.

Out forester, out forester, against her.

And then it comes back to the ??? four.

And then it goes out for the rest of the time

Uhu.

Thirties, thirties.

I had to serve with the soldiers, the soldiers.

Where they have the soldiers and sandbirds and the suburbs and the all the first serve. Watch out the shark guide and the uh.

The cars with the shurgurs, oh.

Two hours, two I learn and go wowie and these are terrible words. Hehe.

These are terrible words?

They sure are! Hehe.

Hard?

Yes.

What you’re saying you mean?

No, they make this, what they do.

They actually go a lot here.

It’s why I make, harder, here, hard, go.

And then when they go out finally they quit see?

Yeah.

Heck of a time don’t you think.

Do I have the time?

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Do I have the time?

You, you? Uh, no. You. Quick you out of them, and getter getter, you see

Uhm.

It’s a heck of an average these words.

Okey.

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ser groups of all sorts of the room whites out of the short time reforms will be sugar too clothes too i learned a lot wally the travelers cadet visa account these are our without have a headache is that they do they actually do a lot of newburgh this month byron new year’s article that when they go out finally the he had to have a tank of the again now all of you kick creek too quick to have a very different itself and so i have to have review

there for a funeral will gracia and a vote for apartments influence of football right here caller who comes into the well we are a lot of me i don’t understand it’s uh… well let’s try to prevalent you haven’t seen you don’t understand that but at that cards with them all very clever stuff when it comes starts with plenty of fluids followed a hundred steve comes up finally come out here it goes out starship there that comes out here to come down here u_n_ here uncle jim comes out that’s a good fartosi that’s a good laugh that’s a good grateful for those in swipes firewood so your clothes pool kicks out or being here whatever did it we had no wilshire boulevard just really c where they say they feel it occasionally do eventually relived u_n_ union yet it appears the where do you make it forty million where do you have where you live yes in well if it is a renter used to be against us the difference apartment resolutely yet how many years doing it again holy christian for one-third one hundred about forty actually there isn’t one plus five that’s a pretty good cause to get it yet this sunday is flying over iraq sleep its cause goes further for about uh… over thirty-two thirty-three bouncy friend about food cold foods throughout first was here yesterday and then head back to the events that have looked for then it goes out for the rest of the time through parenting had conservative soldiers where they are the soldiers at the same erodes va

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While the whole brain normally participates in communication most of what we think of as languages depends on the left side of our brains. The area for language on the left side is more densely wired and even structured differently than the same area on the right. In 1861 Paul Broca discovered the left hemisphere’s role in language.

This brain changed the course of neuroscience. It belonged to a stroke-patient nicknamed ‘Ta’. He was given that name because ‘Ta’ was all he could say. After ‘Ta’ died Paul Broca examined his brain. Because Ta could not speak Broca concluded the damaged part of the left hemisphere responsible for language. It’s now called ‘Broca’s area’. Ta’s brain was recently rediscovered in a Paris museum. Scientists x-rayed it with at CAT-scan. The black area in the left hemisphere is where the damage occurred.

We now know that Broca was largely right. Damage to Broca’s area does disrupt language.

Until his stroke Charles Landry had a thriving legal practice. At age 45 a blood cloth cut off to part of his brain and put an end to his professional career.

At the heart of practicing law is a facility for language.

Landry’s stroke affected both his ability to understand language and his ability to express himself.

Contingent reminder is, uh, sell it, sign it, deliver it, anything.

Uh, subject two. Contingency.

Oh boy.

When we talk about language difficulties we mean problems with either grammar or the choice of words. And if you were listening to him someone might say: ‘well his grammar is alright, and even though it takes a long time to find the words, he tends to find them.’ His difficulties are really all mechanical ones: he’s slow, he’s got problems getting going but none of this is really language disturbance.

Well I think that problem gets resolved very quickly when we start to examine his understanding of language.

Do you have any trouble with what I say, understanding it?

No

Well, suppose you wanted to communicate with a person…

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Yeah.

…who was in a distant city. What apparatus would you utilize?

Telephone.

Very good.

Allright. I deliberately made that sort of a curious sentence to show how well you did.

Allright, now let me ask you. Do dogs fly?

No.

No, huhu.

And how about this. Do submarines usually fly?

No.

How about a zeppelin? Does a zeppelin fly?

Yes.

Allright, ok.

I couldn’t make the question complicated enough in terms of the fanciness of the vocabulary to throw him of. He immediately understood.

And yet when I produced a sentence that most of us would’ve thought was about as easy English phrase as you can create, uh, he failed totally.

Do you know what a leopard is?

Yeah.

Do you know what a lion is?

Yes.

Alright, so the leopard was killed by a lion, which animal died?

I don’t know.

Uh, uh.

That’s hard is it?

No, no, no. I don’t know.

Uh. What animal died? I don’t know!

You don’t know what animal died?

Right.

Obviously that’s got to be an error in understanding the grammar.

Now, there’s a very easy way to understand it. Because if you think of those sentences with the grammatical words removed and try to figure out their meaning you would have the same problem.

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Landry hears all the sounds of the grammatical words but in his brain the sentence is processed something like this: 36

leopard killed lion.

He understands only nouns and verbs.

This pattern of having this special kind of understanding difficulty, uh, which is confined almost exclusively to these little words, to the grammatical word and to the endings, uh, is something that we find very frequently in the patient who’s got damage to Broca’s area. So the thing that’s so perplexing in Mr Landry is that he doesn’t have this difficulty in spontaneous speech, he doesn’t have this difficulty in repetition.

But when we come to the comprehension tests he has this difficulty in the most dramatic fashion.

Broca’s discovery was important, but it wasn’t long until other investigators discovered additional areas in the left hemisphere that contribute to language.

In 1874, the German scientist Karl Wernicke identified a third language area in the left hemisphere. Broca’s area in front plays a mayor role in speech production and grammar. The strip in the middle controls and coordinates movement but Wernicke’s area is involved both in the formation of what is said and in comprehension. When it’s damaged speech seems fluent but doesn’t make sence.

We now know how we process and repeat words. First sound travels as nerve impulses through Wernicke’s area, where it is analyzed, to Broca’s area where sounds are assembled into sequences and finally to the motor-cortex which directs movement and sends signals to the speech muscles.

Charles Landry’s brain damage has produced difficulties that are fairly typical to patients with damage to Broca’s area. From patients like him we’ve learnt a great deal how the left hemisphere decodes, processes and produces language.

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1.1 Name a few things.

Okey.

What is that?

Apple.

Okey good.

And what is that?

Candle.

Good.

A crayon.

Okey, which is this?

A crayon, cause it smells bad.

Is this a crayon or a candle?

That’s a crayon shaped like a candle.

Really.

Well if it’s shaped like a candle why wouldn’t it be a candle?

Because it smells like a crayon.

Allright I didn’t notice you smelled.

What is that?

Uh. Its a, um, pipe.

Okey, good.

1.2 Okey, I’m going to show you this picture and I’d like to have you just tell me what you’d do with that.

Write with it.

I don’t want you to tell me, show me.

Oh. You write

I’m sorry.

It’s a, a pen, you know,

Hold your hands up, here, where we can see and show me what you would do with it.

You write it, you know.

You just like, uh, ballpoint pen, you know.

But it’s not a ballpoint pen.

Well take your time and see if you can show me what you’d do with this.

Well you, uh, you write with it. But you know. This.

I don’t know but I know I doesn’t, it doesn’t come, come in to focus right. You know.

Right.

Um.

It uh.

Is that a flute or something?

Okey that’s close. What is that?

I don’t know.

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How did you figure that one out?

Cause that’s not the way I put my hands I know, Because I’ve never been in a flute and that’s the first thing I thought of.

Uhu, did your hand figure out before your.

Yeah.

For your had it in your month.

Yeah.

Uhu.

That’s weird. What is that?

That’s a clarinet.

Ah! It’s close.

That’s very close. That’s very good.

1.3 Another thing happens, sometimes you get something stuck in your head.

Yeah, that’s true.

Okey, so I want you to give up the telephone, it’s not a telephone.

Haha, okey.

Okey.

I really am lost. It’s just, I can’t. It isn’t making sense at all now.

Is it, is it uh bigger than a cat or smaller than a cat?

Than a cat?

Well it’s probably smaller than a cat.

About what size is it?

Well, it’s about that long.

Uhu. About what size is a telephone?

About ye by ye.

So this is smaller than a telephone?

Yeah.

Uhu.

Uh.

Does it have anything to do with communication?

Yeah, because this is where you, the numbers you got to hook up with in order to, um, dial your number.

Or something, you know?

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And why do you dial the number?

Because that’s evidently what what that dial is for.

I don’t know. Can I?

Let me give you a hint.

Okey.

Is. I’m going to give you a choice and you tell me what this is.

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Uhu. Okey, I can tell you then.

Okey. Uh, is this a clock, a lock, or a telephone?

A lock.

A lock?

A clock, a lock or a telephone?

Okey, lets rule out uh, lets rule out a telephone.

What a clock or a lock?

Clock? Got to be a lock.

It must be a lock then.

Did, are you sure?

No I’m not but I don’t recognize it as a telephone.

Uhu, do you recognize it as a lock?

No, honestly I don’t. But, it’s just, it does.

It really looks very indescript to me.

Uhu. But your hands know what they want to do.

I know, they want to do something.

That’s right.

I can see them. But.

Uhu.

I can just picture them. I know that I have.

It’s like em doing uh, combination lock.

Good!

Huh.

Okey, good.

We had to work on that one didn’t we.

No shit!

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Haha, that’s a good one.

How long have we been right here?

As long as I can remember.

As long as the stars are there.

At least a few days.

Are we thoroughly determined by the forces of nature?

Good question.

What is that anyway?

Is it a rupture?

I have no idea?

Aha I see what you mean, in a way.

Is it an animal?

What is that thing really?

What is that thing really?

You have no idea, really?

Ideas have a life of their own, don’t they?

What makes you say I have no idea? Really.

They are the one that will night poses.

The circuit.

Do animals love vegetables?

You wonder? Really?

Is it looking at us?

That’s life.

All of the animals are fine except for people.

I wonder.

Do you think that this thing is violent?

Are we the only ones who think about mind?

You just do what you want.

The entire universe is made of us.

We are never the only ones.

All of the small particles work together.

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The wind scares me.

I can break.

Really?

It’s just a prejudges you have against us.

There are more of us than anything else.

You can break.

Do you think that this thing is violent?

Animals kill each other and they eat us, and smash us, and burn us.

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Animals turn into minerals, right?

Animals in general are one thing but people are another story.

haha that’s a good war. how long have we been right here as long as the start of air has long as i can remember at least a few days are we fairly determined by the forces of nature i see what you mean it away good question isetan animal buttons that anyway what is that thing is it a rupture what is that thing is it looking at us i have no idea you have no idea what makes you say I have no idea really ideas have a life of their own thursday they are the one that will not poses the circuit that’s life new animals love they did a bulls all of the animals are fine except for people now i wonder. you wonder really do you think that this thing is violent you just do what you want are we the only ones who think about mine the entire universe is made oblast we are never the only ones all of the small particles work together there are more robust and anything else the wind scares me i can break. you can break really do you think that this thing is violent is just a prejudges you have against us animals and implement rules right animals kill each other and they eat us and smashes and burn us animals in general are one parent but people are another story

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A dog cannot lie. Neither can he be sincere. A dog may be expecting his master to come. Why can’t he be expecting him to come next wednesday?

Is it because he doesn’t have language?

If a lion could speak, we would not be able to understand what he said.

Why do I say such a thing?

If we can understand him, I shouldn’t think we’d have too much trouble with a lion.

We could get an interpreter.

Do you mean for me or for the lion?

Yes we could get an interpreter. But what possible use would that be?

To imagine a language is to imagine a form of life.

It’s what we do and who we are that gives meaning to our words.

I can’t understand a lion’s language because I don’t know what his world is like.

How can I now the world a lion inhabits?

Do I fail to understand him because I can’t peer into his mind?

What’s going on behind my words when I say: ‘this is a very pleasant pineapple’?

Take your time.

The thought professor.

I see. Uh, what is the thought that lies behind the words ‘this is a very pleasant pineapple’?

This is a very pleasant pineapple.

Listen to me. We imagine the meaning of what we say as something queer, mysterious, hidden from the view. But nothing is hidden, everything is open to view.

It’s just philosophers who muddy the waters.

Professor Wittgenstein.

You can’t know this pain.

Only I can.

Are you sure you know it?

You don’t doubt you had pain just then?

How could I? If we can’t speak of doubt here, we can’t speak of knowledge either.

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I don’t follow.

It makes no sense to speak of knowing something in a context where we could not possibly doubt it, therefore to say: ‘I know I am in pain’ is entirely senseless.

When you want to know the meaning of a word don’t look inside yourself, look at the uses of the word in our way of life. Look at how we behave.

Are you saying there are no philosophical problems?

There are linguistic, mathematical, ethical, logistic and religious problems but there are no genuine philosophical problems!

You’re trivializing philosophy.

Philosophy is just a by-product of misunderstanding language!

Why don’t you realize that?

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I live the good life.

You live the good life.

We live the good life.

This is the good life.

I have work.

You have work.

We have work.

This is work.

I play.

You play.

We play.

This is play.

I’m having fun.

You’re having fun.

We’re having fun.

This is fun.

I’m bored.

You’re bored.

We’re bored.

This is boring.

I’m boring.

You’re boring.

We’re boring.

This is boring.

I have sex.

You have sex.

We have sex.

This is sex.

I love.

You love.

We love.

This is love.

I hate.

You hate.

We hate.

This is hating.

I like to eat.

You like to eat.

We like to eat.

This is eating.

I like to drink.

You like to drink.

We like to drink.

This is drinking.

I like to shit.

You like to shit.

We like to shit.

This is shitting.

I piss.

You piss.

We piss.

This is pis.

I have work.

You have work.

We have work.

This is work.

I play.

You play.

We play.

This is play.

I’m having fun.

You’re having fun.

We’re having fun.

This is fun.

I’m bored.

You’re bored.

We’re bored.

This is boring.

I’m boring.

You’re boring.

We’re boring.

This is boring.

I have sex.

You have sex.

We have sex.

This is sex.

I love.

You love.

We love.

This is love.

I hate.

You hate.

We hate.

This is hating.

I like to eat.

You like to eat.

We like to eat.

This is eating.

I like to drink.

You like to drink.

We like to drink.

This is drinking.

I like to shit.

You like to shit.

We like to shit.

This is shitting.

I piss.

You piss.

We piss.

This is pis.

I like to sleep.

You like to sleep.

We like to sleep.

This is sleeping.

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I pay.

You pay.

We pay.

This is paying.

I don’t want to die.

You don’t want to die.

We don’t want to die.

This is fear of death.

I was a good boy.

You were a good boy.

We were good boys.

That was good.

I was a good girl.

You were a good girl.

We were good girls.

This is I was a bad boy.

You were a bad boy.

We were bad boys.

That was bad.

I was a bad girl.

You were a bad girl.

We were bad girls.

That was bad.

I am a virtuous man.

You are a virtuous man.

We were virtuous men.

This is virtue.

I am a virtuous women.

You are a virtuous women.

We were virtuous women.

This is virtue.

I am an evil man.

You are an evil man.

We are evil men.

This is evil.

I am an evil women.

You are an evil women.

We are evil women.

This is evil.

I like to sleep.

You like to sleep.

We like to sleep.

This is sleeping.

I pay.

You pay.

We pay.

This is paying.

I don’t want to die.

You don’t want to die.

We don’t want to die.

This is fear of death.

I was a good boy.

You were a good boy.

We were good boys.

That was good.

I was a good girl.

You were a good girl.

We were good girls.

This is I was a bad boy.

You were a bad boy.

We were bad boys.

That was bad.

I was a bad girl.

You were a bad girl.

We were bad girls.

That was bad.

I am a virtuous man.

You are a virtuous man.

We were virtuous men.

This is virtue.

I am a virtuous women.

You are a virtuous women.

We were virtuous women.

This is virtue.

I am an evil man.

You are an evil man.

We are evil men.

This is evil.

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Who are you?

I’m Tony.

Who are you?

I’m Bill.

Where are you Tony?

I’m in London, Bill.

Where are you?

I’m in a 1920 movie.

Ask the pre-clear to be a foot behind his head. If he does make him go back further.

Than up, than down. Practicing placement in space and time. Ask the pre-clear to locate the inside of his forehead. Ask him to put a pressor beam against it and push himself out the back of his head.

Supplement this by asking him to reach out through the back of his head and grab the wall with a pulling beam and pull himself out. Ask him to steady himself outside and then by means of beams to raise himself, lower himself, and to move to various parts of the room.

Who are you?

I’m Bill.

Who are you?

I’m Tony.

Where are you, Bill?

I’m in a 1920 movie, Tony.

Where are you?

I’m in London.

We didn’t lie to you ladies and gentlemen.

We told you we had living, breathing monstrosities. You laughed at them, shuddered at them. But for the accident of birth, you might be even as they are. They did not ask to be brought into the world.

But into the world they came. Their code is a law unto themselves. Offend one, and you offend them all. And now folks, if you’ll just care to step this way. You’re about to witness the most amazing, the most astounding living monstrosity of all time.

She was, once, a beautiful women.

Cut.

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Who are you?

I’m Tony.

Who are you?

I’m Bill.

Where are you Tony?

I’m in London, Bill.

Where are you?

I’m in a 1920 movie.

Ask the pre-clear to be a foot behind his head. If he does make him go back further Than up, than down. Practicing placement in space and time. Ask the pre-clear to locate the inside of his forehead. Ask him to put a pressor beam against it and push himself out the back of his head.

Supplement this by asking him to reach out through the back of his head and grab the wall with a pulling beam and pull himself out. Ask him to steady himself outside and then by means of beams to raise himself, lower himself, and to move to various parts of the room.

Who are you?

I’m Bill.

Who are you?

I’m Tony.

Where are you, Bill?

I’m in a 1920 movie, Tony Where are you?

I’m in London.

We didn’t lie to you ladies and gentlemen.

We told you we had living, breathing monstrosities. You laughed at them, shuddered at them. But for the accident of birth, you might be even as they are. They did not ask to be brought into the world.

But into the world they came. Their code is a law unto themselves. Offend one, and you offend them all. And now folks, if you’ll just care to step this way. You’re about to witness the most amazing, the most astounding living monstrosity of all time.

She was, once, a beautiful women.

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Baybyrus bay by ruse bay by the ruse bayberus.

Luca caloup caloup.

Stick your tongue. Lululululu.

Show me how you love kiss me.

Mumumu.

Shuhow, Shupsu, uh.

Ze ze ze ze zuppe zuppe mus.

See what a sipsticks.

See what sipsticks.

See to me.

Zee zee.

Show show pals pals.

Show how pals.

Should I mug pass me?

A plop.

Can you smile me?

Can you smile me?

Huh.

Chuuuu, chu, mike chu chulze.

Cough are you cough me.

Cou cou cou cou.

Okey and say baseball player.

Okey. Caterpiller Okey, allright.

I’d like for you to do some things with your mouth.

First thing I’d like for you to do is stick out your tongue.

Show me how you would kiss.

That’s good.

Haha.

Show me how you sip on a straw.

Can you sip on a straw?

Try this one.

Wait a minute.

Listen.

Show me how you smile.

Stop.

Can you smile?

Don’t say what I say.

I want you to do this.

Watch.

Look at me, smile.

That was a very good one huh.

Smile.

Chew, show me how you chew gum.

Okey this.

Good allright.

Cough.

Uh uh.

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Uh uh uh uh.

Let me let me.

Lulululululul.

There you go.

I want you to lick your lips.

Great, great.

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Yes, hello? Yes, hello! Look at that picture. Yes, hello? Yes, hello! Thank you. Yes, hello. Yes, hello? Yes, hello! Yes, hello. How does it seem to you now? Yes, hello. Yes, hello?

Thank you. Yes, hello? Look at that picture. Yes, hello! Yes, hello? Thank you. Hello. What seems to be persisting?

Yes, hello? Yes, hello! Good. Yes, hello? Yes, hello! Look at that picture. Yes, hello? Good. Yes, hello. Thank you. Yes, hello! What seem to persisting now? Yes, hello? Yes, hello!

Thank you. Look at that picture. Yes, hello? Good, thank you. Yes, hello! Yes, hello? What seems to be persisting?

Yes, hello? Thank you. Yes, hello! Yes, hello? Where are we now? Yes, hello! Yes, hello? Yes, hello! Thank you. Yes, hello? Yes, hello! Look at that picture. Yes, hello? Yes, hello? Yes, hello! Thank you. Yes, hello? How does it seem to be now? Yes, hello? Good. Yes, hello! Thank you. Yes, hello? Look at that picture. Yes, hello! Good. Yes, hello?

Thank you. What seems to be persisting? Yes, hello? Yes, hello! Good, thank you. Yes, hello? Where are we now?

Yes, hello? Good. Yes, hello? What seems to be resisting.

Yes, hello! Good. Yes, hello? Thank you. Look at that picture. Good. Yes, hello? Thank you. Yes, hello! How does it seem to be now? Yes, hello? Yes, hello! Good, thank you.

Yes, hello? Look at that picture. Yes, hello? Yes, hello!

Good thank you. Yes, hello? Does it seem to be persisting?

Yes, hello! Yes, hello? Good, thank you. Yes, hello? Where are we now? Yes, hello! Good, thank you. Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello! Hello. Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

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Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes. Yes, hello? Yes, hello! Yes, hello? Look at that picture.

Yes, hello? Yes, hello! Thank you. Yes, hello? Does it seem to be persisting? Yes, hello? Yes, hello! Good. Yes. Thank you. Hello? Look at that picture. Yes, hello? Yes, hello!

Thank you. Yes, hello? How does it seem to you now? Yes, hello? Yes, hello! Good, thank you. Hello? Look at that picture. Yes, hello? Yes, hello! Good, thank you. Yes, hello?

Yes, hello! Does it seem to be persisting? Yes, hello?

Good. Yes, hello! Thank you. Where are we now? Yes, hello? Yes, hello! Good, thank you. Look at that picture.

Yes, hello? Yes, hello! Good. Yes, hello? Thank you. Yes, hello? Yes, hello? Does it seem to be persisting? Yes, hello! Yes, hello? Good, thank you. Yes, hello? How does it seem to you now? Yes, hello! Good, thank you. Yes, hello?

Look at that picture. Yes, hello! Yes, hello? Good, thank you. Yes, hello! Does it seem to be persisting? Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Good, Thank you. Yes, hello? Look at that picture. Yes, hello! Yes, hello? Good 121

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thank you. Yes, hello! Yes, hello? Does it seem to be persisting? Yes, hello! Good, thank you. Look at that picture. Look at that picture. Good, thank you. Thank you.

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Good, Thank you. Good thank you. Where are we now?

Hello? Where are we now? Hello? Yes, hello? Good, thank you. Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Look at that picture. Yes, hello? Yes, hello! Fine, thank you. Yes, hello? Yes, hello!

How doe sit seem to you now? Yes, hello! Yes, hello? Look at that picture. Good. Look at that picture. Thank you. Does it seem to be persisting? Good, thank you. Good. Does it seem to be persisting. Thank you. Where are we now?

Good. Good. Thank you. Look at that picture. Look at that picture. Good, thank you. Good. Does it seem to be persisting? Thank you. Good. How does it seem to you now? How does it seem to you now. Good. Good. Thank you. Thank you. Look at that picture. Look at that picture.

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Thank you. Look at that picture. Does it seem to be persisting? Good, thank you. Good, thank you. Look at that picture. Does it seem to be persisting? Does it seem to be persisting. Good, thank you. Good. How does it seem to you now? Thank you. Look at that picture. Look at that picture. Good. Good. Thank you. Thank you. How does it seem to you now? Does it seem to be persisting? Good, thank you. Good, thank you. Where are we now? Look at that picture. Good, thank you. Good. Hello. Thank you.

Yes, hello? Does it seem to be persisting? Yes, hello!

Good, thank you. Yes, hello? Yes, hello! Where are we now? Yes, hello? Yes, hello! Good, thank you. Yes, hello?

Yes, hello! Look at that picture. Yes, hello? Good, thank you. Yes, hello! Yes, hello? Does it seem to be persisting?

Yes, hello? Yes, hello! Yes, hello? Good, thank you. Yes, hello? Look at that picture. Yes, hello! Good. Yes, hello?

Thank you. Yes, hello? Yes, hello! How does it seem to you 122

now? Yes, hello! Yes, hello? Good. Yes, hello! Thank you.

Yes, hello? Look at that picture. Yes, hello! Good. Yes, hello? Thank you. Yes, hello! Does it seem to be persisting? Yes, hello? Good. Yes, hello! Thank you. Yes, hello? Where are we now? Yes, hello! Yes, hello? Good, thank you. Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello!

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Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Look at that picture. Yes, hello? Yes. Good. Look at that picture. Thank you. Good.

Does it seem to be persisting. Thank you. Good. Does it see to be persisting. Thank you. Look at that picture. Good, thank you. Good, thank you. Look at that picture. How does it seem to you now? Good. Good. Thank you. Thank you.

Look at that picture. Look at that picture. Good, thank you.

Good, thank you. Does it seem to be persisting? How does it seem to you now. Good, thank you. Good. Look at that picture. Thank you. Look at that picture. Good. How does it seem to you now? Thank you. Good. Does it seem to be persisting? Thank you. Look at that picture. Good. Good.

Thank you. Thank you. Where are we now. Does it seem to be persisting? Good. Good. Thank you. Thank you. Look at that picture. How does it seem to you now? Good, thank you. Good, thank you. Look at that picture. How does it seem to you now? Good. Good. Thank you. Thank you.

Does it seem to be persisting. Does it seem to be persisting. Good. Good. Thank you. Thank you. Look at that picture. Look at that picture. Good, thank you. Good, thank you. How does it seem to you now? How does it seem to you now? Good, thank you. Good, thank you.

Look at that picture. Where are we now? Good. Does it seem to be persisting? Thank you. Good. Hello. Thank you. Yes, hello? Look at that picture. Yes, hello! Good. Yes, hello? Thank you. Yes, hello! Where are we now? Good.

Yes, hello? Thank you. Yes, hello! Yes, hello? Hello? Yes, hello? Yes, hello? Yes, hello! Yes, hello? Hello. Yes, hello?

Yes, hello! Yes, hello? Hello? Yes, hello! Yes, hello? Yes, hello! Yes. Yes, hello! Yes, hello? Yes, hello? Yes? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello. Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, 123

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hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes. Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello?

Yes, hello? Yes, hello? Yes, hello? Yes, hello! Yes, hello?

Look at that picture. Yes, hello? Yes, hello! Good. Yes, hello? Thank you. Yes, hello? Does it seem to be persisting? Yes, hello? Good. Yes, hello! Thank you. Yes, hello? Look at that picture. Yes, hello? Good. Yes, hello!

Thank you. Yes, hello! How does it seem to you now? Yes, hello! Good. Yes, hello? Thank you. Yes, hello! Look at that picture. Yes, hello! Look at that picture. Yes, uh, hello? Yes, hello! Does it seem to be persisting? Yes, hello! Good, thank you. Yes, hello? Good, thank you. Yes. Where are we now? Yes, hello? Good. Yes, hello! Thank you. Yes, hello?

Look at that picture. Yes, hello! Yes, hello? Good. Yes, hello! Thank you. Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello, Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes. Yes, hello?

Yes? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello! Hello? Yes, hello! Hello? Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Hello? Yes, hello? Yes, hello? Yes, hello?

Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello!

Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello!

Yes, hello! Yes, hello?Yes, hello? Yes, hello! Yes, hello!

Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello?

Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello!

Yes, hello? Yes, hello? Yes, hello? Yes, hello! Look at that picture. Yes, hello? Good. Yes, hello! Thank you. Hello?

Yes, hello! Does it seem to be persisting? Yes, hello? Yes, hello! Good. Yes, hello? Thank you. Yes, hello! Look at that picture. Yes, hello? Good. Yes, hello! Thank you. Yes, hello!

How does it seem to you now? Yes, hello! Good. Yes, hello! Thank you. Look at that picture. Yes, hello? Yes, hello! Good. Yes. Thank you. Hello? Yes, hello! How does it seem to you now? Hello? Yes, hello! Good, thank you. Yes, hello? Look at that picture. Good. Yes. Thank you. Hello?

Yes, hello! Does it seem to be persisting? Yes, hello! Yes, hello? Good, thank you. Where are we now? Yes. Good, thank you. Hello? Look at that picture. Yes. Good. Hello?

Thank you. How does it seem to you now? Yes, hello? Yes, hello! Good, thank you. Does it seem to be persisting? Yes, hello? Good. Thank you. Look at that picture. Yes, hello?

Good, thank you. Where are we now? Yes. Good. Hello?

Thank you. Yes, hello! Hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, 124

hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Look at that picture. Yes, hello! Good.

Yes, hello? Thank you. Does it seem to be persisting? Yes, hello? Good. Yes, hello? Thank you. Yes, hello? Look at that picture. Yes, hello? Yes, hello! Good. Yes, hello?

Thank you. Look at that picture. Yes, hello! How does it seem to be now? Yes, hello? Yes, hello! Good, thank you.

Look at that picture. Yes, hello? Yes, hello! Look at that picture. Does it seem to be persisting? Good. Good. Thank you. Thank you. Where are we now? Does it seem to be persisting? Good, thank you. Good, thank you. Look at that picture. Good. Look at that picture. Thank you. Good. Does it seem to be persisting? Thank you. How does it seem to you now? Good, Thank you. Good. Look at that picture.

Thank you. Look at that picture. Good, thank you. Good, thank you. How does it seem to you now? Does it seem to be persisting. Good, thank you. Good, thank you. Look at that picture. Look at that picture. Good. Good; Thank you.

Thank you. Does it seem to be persisting? Good. Good.

Thank you. Thank you. How does it seem to you now?

Good, thank you. Good, thank you. Does it seem to be persisting? Look at that picture. Good. Good. Thank you.

Thank you. Where are we now? Does it seem to be persisting? Good, thank you. Good, thank you. Does it seem to be persisting? Look at that picture. Good. Good.

Thank you. Thank you. Where are we now? Does it seem to be persisting? Good. Good. Thank you. Thank you.

Where are we now? Hello? Good. Yes, hello? Thank you.

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello!

Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello?

Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

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Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello!

Yes, hello? Yes, hello! Yes, hello? Good. Yes, hello! Thank you. Does it seem to be persisting? Yes, hello? Yes, hello!

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Good. Yes, hello? Thank you. Yes, hello? Look at that picture. Yes, hello! Yes, hello? Good. Yes, hello! Thank you.

Yes, hello? Yes, hello! How does it seem to you now? Yes, hello? Yes, hello! Good. Yes, hello? Thank you! Yes, hello?

Yes, hello! Look at that picture. Yes, hello? Yes, hello!

Good. Yes, hello? Thank you. Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello? Yes, hello? Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello! Yes, hello! Yes, hello? Yes, hello? Yes, hello! Yes, hello! Yes, hello? Yes, hello, Yes, hello! Yes, hello! Does it seem to be persisting?

Yes, hello? Yes, hello? Yes, hello?Yes, hello? Good. Thank you. Yes, hello? Yes, hello! Yes, hello? Yes, hello! How does it seem to you now? Yes, hello? Yes, hello! Yes, hello? Yes, hello! Good. Yes, hello? Yes, hello! Thank you.

Yes, hello? Yes, hello! Yes, hello? Yes, hello! Yes, hello?

Yes, hello! Look at that picture. Very good, thank you.

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Speech Dysphasia & aphasia Index Video Index

II

Speech While many animals possess voices of various types and inflections, man has learned to modulate his voice by articulating the laryngeal tone into audible oral speech. Vocal sound in itself is meaningless, until the conventional codes of a language have been learned, ordinarily first from the mother, then from other family members, and finally in school. ‘Sick’ for example, means ‘ill’ in English, while sic means ‘so’ or ‘thus’ in Latin. The difference between speech and language is one of application. Speech is the oral, audible expression of human language while talking. Writing and reading represent the use of human language through graphic symbols. The Morse code, naval flag signals, smoke signals of American Indians, African drum languages, and the almost extinct whistle language of the Pyrenees are all examples of special language usage without the need for oral speech. Each of these language systems has its own mode of transmission (electronic equipment, light, and air) and each is limited by darkness, distance, obstacles, etc.

Man became characteristically human when he learned to speak, perhaps 1,000,000 or more years ago. The ability to use symbolic and abstract spoken language is so far specifically human, though psychologists who have investigated the possibility of teaching spoken language to chimpanzees raised like human children in the family home have had results that, while limited, suggested that great affection and intensive training can teach a nonhuman some primitive beginnings of symbolic verbal behaviour (e.g., sounds resembling ‘mama’).

Man differs from the higher animals in several respects: he makes no mechanical use of his mouth in food gathering or tool making, and thus has freed his oral cavity for such activities as verbal articulation. He has developed manual dexterity, the preferred use of one leading and dominant hand for skilled manipulation, drawing, and (later) writing.

Preferred laterality (left or right) of hand, foot, eye, face muscles, tongue, and even ears is linked to the development of a distinctively human (known in no other animal) dominance of one brain hemisphere over the other in speech-learning. Many nerve pathways from either side of the brain cross to the other side of the body. Thus, the human brain became ready for specialized language function, in the dominant hemisphere of the brain, usually the left hemisphere, It may be inferred that language had as its precursors such phenomena as tool making and cerebral dominance. Conversely, it would seem that prehistoric relics of fire, tools, weapons, and utensils indicate that the makers of such artifacts must have possessed some form of language. All human culture (and its propagation) appears to depend on some form of language to serve as the vehicle for teaching, persuasion, and tradition.

Indeed, cultural impoverishment is observed in those with little or no language and speech: deaf-mutes, the mentally retarded, or the abnormally isolated. Without special instruction, learning is greatly impeded in deaf children, despite the potential for great intelligence that may be present.

III

Dysphasia & aphasia Dysphasia means the partial or total loss of language as a result of lesions in those parts of the brain that are directly related to language function. Stroke in elderly patients and head injury in younger ones are typical causes. Aphasia is seen most frequently when the left side of the brain is afflicted, as evidenced by paralysis of the right arm and leg.

Evidence indicates that the left hemisphere is dominant in all righthanded individuals and in some left-handers as well. Some experts even believe that the left brain hemisphere is dominant for language in most individuals regardless of handedness and that dominance of the right brain is exceptional in some left-handers. According to other opinions. dominance for language is more evenly distributed in both hemispheres in left-handed persons. As explained before, two major brain areas are recognized as intimately associated with language function: Broca’s area in the third frontal convolution and Wernicke’s area in the posterior third of the upper temporal convolution. The angular gyrus at the junction of the temporal (side), parietal (top), and occipital (back) lobes of the brain is believed to be related to graphic language as used for reading and writing.

Aphasiology, the science of aphasic language loss, is studied by neurologists, neurosurgeons, some phoniatrists, certain speech pathologists, as well as some psychologists and linguists. This diversity of research background accounts, in part, for the great diversity in theoretical approaches to aphasia. Numerous classification schemes that have been proposed vary from simple groupings into a few main types of aphasia to complicated systems with many forms and subtypes of aphasic disturbances. Similar to research in stuttering, the literature on aphasia is exceptionally large and growing.

The essence of aphasia is the loss of memory for the the meaning of language and its production. Thus, in the predominantly expressive or motor forms, the patient can no longer remember the intricate patterns for articulation; he can no longer form a word in speaking or writing, even though he may know what he wants to express. In the predominantly receptive or sensory forms, the patient can talk freely, sometimes excessively and incessantly (logorrhea), although with numerous errors and meaningless cliches, but he no longer comprehends what is said to him or what he tries to read. Those who recover from receptive forms of the disorder are likely to explain that during their aphasia spoken language sounded like an unintelligible, alien tongue. The degree to which there is combination of expressive and receptive symptoms varies greatly with the type and extent of brain lesion. There may be total loss of all language functions (global aphasia) to slight residual errors or misunderstandings when the brain dam­age is only slight or temporary. A major complication of aphasia is the frequent association with right hemiplegia, in which the paralyzed hand is no longer serviceable for writing. Retraining of the left hand for writing may then become necessary.

IV

Management of aphasia has two goals: one, the physical recovery of the patient through treatment by the internist, neurologist, and possibly brain surgeon, and two, the re-­education of the brain functions that are still present, the aim of which is to help the patient relearn some use of language under the guidance of the speech pathologist. The better the patient’s recovery from the brain lesion, the more chances there are of prompt and complete return of language. When the brain losses are permanent, the patient must relearn each word, sentence, and phrase like the young child, albeit in a more cumbersome manner, apparently using parts of the brain that still function. He is repeatedly shown the picture of an object along with its printed name; these words are spoken to him by his teacher over and over in the hope that the patient will learn to repeat the word or phrase until he can say it spontaneously.

Words that are relevant to the patient’s everyday life are emphasized first with due consideration for his interests and past occupation; later he may advance to the use of abstract concepts and of higher levels of lan­guage. Various types of automated training programs are available, including a simple play-back device that shows an inserted card with a picture on it, the name of the pictured object printed next to it, and the audible word recorded on a strip of magnetic tape. Devices of this type enable the patient to practice at his own pace.

V

Index Broca’s Aphasia 2'25" excerpt, black and white, sound

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A patient with Broca’s aphasia from the Wisconsin Physio Dept website.

I Hate (2007)—Imogen Stidworthy 2'30" extract from video projection (8'00) in multi-media installation I Hate, commissioned by Documenta 12, colour, sound With: Judith Langley and Edward Woodman Camera: Imogen Stidworthy Video and sound editing: Imogen Stidworthy This extract shows the third section of an eight minute video sequence which forms part of the installation I Hate (2007). The video shows Edward Woodman with speech therapist Judith Langley, as Edward works to master correct pronounciation of certain sounds. Edward lost his ability to speak following a cycling accident in 2000. As they concentrate on minute details of pronounciation, words are broken down into parts and repeated. Using the hands to feel the breath of the plosive ‘h’ sound, word fragments become sonic objects passed back and forth between the two, in a process of constant re-forming and variation. In the mantra of repetition, words, sounds and concepts become dissociated and given meanings unstable.

I Hate was conceived as an acoustic landscape of speech sounds and structures. It focuses on the speech and photographs of Edward Woodman, who was known in London during the 80s and 90s as a photographer of architecture and art installations. Unable to continue his professional work after his accident, Woodman began to regularly photograph the building site of the Eurostar terminal at Kings Cross, London, from the same set of viewpoints, throughout the seven years of its development. His roughly sellotaped panoramic images record the cityscape in a continual process of destruction, alteration and construction—processes which seem to echo the tiny, continually changing sound-forms heard in the video. In the installation, the panoramas are (re)presented on three flat-screen monitors in an interactive table-top display. Woodman’s hands move across the screens pointing out details and supporting his speech as he struggles to describe the images; his voice can be heard as an immersive sound composition within a curved wall construction nearby. On two LED displays transcriptions of his words run a little too rapidly to follow with ease. At one of the gallery behind a felt-covered acoustic screen, the full 8'00 video sequence is projected.

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Open Book (1974)—Vito Acconci 10'09", colour, sound Acconci’s open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, ‘I’ll accept you, I won’t shut down, I won’t shut you out… Im open to you, I’m open to everything…

This is not a trap, we can go inside, yes, come inside…’ Acconci continues to plead in this way for the length of the tape, his mouth held unnaturally wide open. The pathological psychology of such enforced openness betrays a desperate struggle to accept and be accepted by others. The sustained image of Acconci’s open mouth also evidences a sinister, vaguely threatening streak that is more or less evident in much of Acconci’s work.

The image of Vito Acconci’s mouth becomes dehumanized. The upclose image of his mouth, struggling to stay wide open while articulating words, becomes an object; it is hard to imagine this particular mouth being attached to a face. The repetition and the unnatural struggle create a divide between the mouth and the person it would technically belong to. The absence of a face is distressing. A detached mouth is usually associated with a sensual, charged moment in a movie, not to this prolonged, agonizing monologue.

Open Book. A phrase used to define people who are straight-forward, easy to read, accessible to others, to the outside, the inside is available for the outside to consume, a book is something contained within the limitations of its own form, that exists without the reader and yet somehow also requires the presence of a reader.

Throughout the course of this video, Acconci is struggling to speak with his mouth wide-open. Although this almost pathetic, futile gesture is physically trying for the artist, it requires the viewers’ endurance as well. The juxtaposition of the image and the slurred words is both repulsive and strangely alluring as one expects some sort of resolution by the end of the video, some sort of a sentence or a word that they can engage with. Rather, Acconci denies anything climactic or resolved to the viewer. The sustained image of a male mouth struggling to make words that are supposed to ‘welcome’ the viewer become exponentially more difficult for the viewer to see. We want the artist to make a statement, we want to attach to something legible, we want some sort of ‘message’ which we can choose to love or hate, but the lack of anything tangible combined with the physical struggle of the artist becomes excruciating for the viewer.

It is impossible to ignore the implications of Acconci inviting the viewer in. Conceptually, the relationship between the viewer and the artist can and should be received on a personal level. The invitation can be VII

repulsive, arrogant, contradictory or welcomed. The physical implications of the relationship between the viewer and the artist, through the mediated experience of watching Acconci’s mouth, are more complicated and visceral. Acconci strips his viewers of voyeuristic pleasures and forces them to confront this semi-private opening of his body, almost violently asking them to come in. Is this a gesture of frustration?

Of anger? Of helplessness? Of a need to connect with others? It is hard to know yet I do not think this gesture can be categorized as pathological; the joke might be on us.

Wernicke’s Aphasia 4'13" excerpt, black and white, sound + YouTube Closed Captioning

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A patient with Wernicke’s aphasia from the Wisconsin Physiology Dept.

Broca’s Aphasia 2'25" excerpt, black and white, sound

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A patient with Broca’s aphasia Associative Agnosia 6'29" excerpt, black and white, sound

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In the clip we see an associative agnosic attempting to recognize objects through touching/smelling vs. seeing. For the objects he sees but does not recognize, his hands demonstrate wonderful implicit awareness of how to manually interact with the object, based on representations in the ‘how’ visual pathway.

The Animal, Vegetable, Mineralness of Everything (2004)—Ken Feingold Endless, non-repeating realtime work, sound Silicone, fiberglass, steel, software, electronics, computer + YouTube Closed Captioning Three self-portraits, each possessing an animal, vegetable, or mineral mind, debate the nature of violence with each other, and discuss their fears—generally their fears about each other. They also wonder about ‘that thing’ before them, and we hear how they project their own interior worlds onto it in an attempt to figure out what it really is. Although they hear each other, nothing seems to penetrate or influence their ideas; no matter what the subject matter discussed, they eventually return to their own interests and fixed ideas.

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This work is a ‘cinematic sculpture’. The dialog is not pre-recorded, and is different each time someone visits it, generated in real time by a computer program. The conversations that these figures carry on are neither completely scripted, nor are they random; rather, the software gives each a ‘personality’, a vocabulary, associative habits, obsessions, and other quirks of personality which allow them to behave as if in a scene of film, acting out their role over and over, but always changing.

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Feed me Anthro/Socio: Rinde Spinning (1992)—Bruce Nauman Loop, colour, 6 video-discs, NTC, sound Bruce Nauman has been the most influential American artist in contemporary art in the last forty years. His work raises existential questions of life and death, love and hate, pleasure and pain. The recurrent ideas in his work deal in such concepts as body and identity, the role of language, spatial awareness, the artistic process and the participation of the observer. By means of a strict and revolutionary approach Neuman explores varied expressive avenues—neon walls, sculpture, photography and film, video, installation and painting. Nauman is also considered one of the pioneers of installation art.

In the piece Anthro/Socio a man’s head revolves on its axis and sings in changing tones: ‘Feed me/Eat me/Anthropology’ ‘Help me/Hurt me/Sociology’ ‘Feed me/Help me/Eat me/Hurt me’ The cries heard from different directions relate to the most basic physical needs of the human body and pose a doubt regarding them. The repetition of the cry, and multiplication of video images of the figure crying, create a most distressing feeling which involves the viewer in the work, and bestirs him to consider the relationship between subject and object, man and society.

The piece examines the role of language as agent in the most basic human physical experience. The figure appears trapped and torn between inseparable existential states: anthropological or social body, phenomenological or cultural body, abstract or material body.

How should one regard the human body – as a neutral biological phenomenon, a natural form which has not changed in the course of history, or alternatively as an object laden with cultural and linguistic meanings, linked to questions of race, identity, pleasure, religion and ritual, and changing our approach to nature? These are two sides of the coin in the exchange of roles which lies at the bottom of power politics.

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Wittgenstein (1993)—Derek jarman 4'01" excerpt from 75', colour, sound Wittgenstein is a 1993 film by the English director Derek Jarman. It is loosely based on the life story as well as the philosophical thinking of the philosopher Ludwig Wittgenstein. The adult Wittgenstein is played

by Karl Johnson.

The original screenplay was by the literary critic Terry Eagleton.

Jarman heavily rewrote the script during pre-production and shooting, radically altering the style and structure, although retaining much of Eagleton’s dialogue. The story is not played out in a traditional setting, but rather against a black backdrop within which the actors and key props are placed, as if in a theatre setting.

The Blue Book, a set of notes dictated to his class at Cambridge in 1933–1934, contains the seeds of Wittgenstein’s later thoughts on language, and is widely read as a turning-point in his philosophy of language.

Philosophical Investigations was published in two parts in 1953. Most of Part I was ready for printing in 1946, but Wittgenstein withdrew the manuscript from his publisher. The shorter Part II was added by his editors, Elizabeth Anscombe and Rush Rhees. Wittgenstein asks the reader to think of language as a multiplicity of language-games within which parts of language develop and function. He argues that philosophical problems are bewitchments that arise from philosophers’ misguided attempts to consider the meaning of words independently of their context, usage, and grammar, what he called ‘language gone on holiday’.

According to Wittgenstein, philosophical problems arise when language is forced from its proper home into a metaphysical environment, where all the familiar and necessary landmarks and contextual clues are removed. He describes this metaphysical environment as like being on frictionless ice: where the conditions are apparently perfect for a philosophically and logically perfect language, all philosophical problems can be solved without the muddying effects of everyday contexts; but where, precisely because of the lack of friction, language can in fact do no work at all. Wittgenstein argues that philosophers must leave the frictionless ice and return to the ‘rough ground’ of ordinary language in use. Much of the Investigations consists of examples of how the first false steps can be avoided, so that philosophical problems are dissolved, rather than solved: ‘the clarity we are aiming at is indeed complete clarity. But this simply means that the philosophical problems should completely disappear.’

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Good Boy Bad Boy (1985)—Bruce Nauman Two colour videos, sound, two monitors on two pedestals; Tape I (male): 60' loop; Tape II (female): 52' loop Bruce Nauman is a wildly influential artist whose work has explored the poetics of confusion, anxiety, boredom, entrapment, and failure since the 1960s. Nauman was a key figure in the experimental film and video movement of the late 1960s and early 1970s with such works as Dance or Exercise Around the Perimeter of a Square (Square Dance).

After 1973, film and video become conspicuously absent from his work, replaced largely by language-based neon sculptures. He returned to video more than a decade later, with Good Boy Bad Boy. Of this decision, the artist recalled, ‘I think it’s because I had this information that I didn’t want to put into a neon sign. […] I had thought about presenting it as a performance, but I have never felt comfortable with performance. And so video seemed to be a way to do it.’ Conceived as a didactic moral statement, the installation employs two actors, Joan Lancaster and Tucker Smallwood, who are presented in close-up, like newscasters, on two separate monitors. Each recites a one-hundred-line commentary on the human condition that includes passages such as ‘I was a good boy/You were a good boy/We were good boys’ and ‘I hate/You hate/We hate/This is hating.’ Directly confronting the viewer, they deliver each repetition with increased emotional intensity, shifting in and out of sync with one another.

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Bill and Tony (1972)—William S. Burroughs & Antony balch 5'11", colour, sound Cinematography: Antony Balch Screenplay: William S. Burroughs Cast: Antony Balch, William S. Burroughs The movie consists of the image of Burroughs mouthing Balch words, and Balch doing likewise to Burroughs’ words. Balch and Burroughs experimented with merging images to form a composite person.

Burroughs was very interested in such superimpositions. Burroughs states, ‘Antony Balch and I did an experiment with his face projected onto mine and mine onto his. Now if your face is projected onto somebody else’s in colour, it looks like the other person. You can’t tell the difference; it’s a mask of light.’ He states further, ‘Another experiment that Antony and I did was to take the two faces and alternate them twenty-four frames per second, but it’s such a hassle to cut those and replace them, even to put one minute of alternation of twenty-four frames per second on a screen, but it is extraordinary.’ Burroughs and Gysin also played with such techniques in The Third Mind experiments. The New Reformers photographs, produced in connection with the Colloque de Tanger in 1975, utilized such superimpositions. In 1971, XI

Jan Herman visited Burroughs and Balch at St. Duke Street in London.

At this time, the two men were making Bill and Tony and performing the experiments Burroughs describes above. Herman took part in these experiments and recorded a session on videotape.

William Burroughs and Antony Balch are seated next to each other, looking directly at the camera. Their dialogue goes something like, ‘I’m Tony, who are you? I’m Bill. Where are you Tony? I’m in London, where are you? I’m in a 1920s movie, Tony’. First Bill speaks Tony’s lines, then later the entire dialogue is repeated with the correct people speaking the lines. It is repeated again later with Bill’s dialogue playing while Tony’s lips move and vice versa. There are other permutations as well.

In between these scenes are shots of Burroughs and Balch sitting alone staring at the camera. They are dressed so that their heads seem to be floating in void space. Burroughs recites what might be some sort of Scientology ritual (he flirted with it for a time) about getting a ‘pre-clear’ to imagine himself out of his head using pushing and pulling beams. Balch quotes some dialogue from the movie Freaks (a film which he was successful in finally getting past the British censors for distribution in the UK). Later, Burroughs appears again, but Balch speaks his lines about preclears. Likewise, when Balch reappears alone, Burroughs quotes from Freaks.

Association Area (1971)—Vito Acconci 62', black & white, sound With: Vito Acconci, Mel Waterman This early performance tape is an example of what Acconci has termed his ‘quasi-ESP exercises,’ in which he explores mental concentration and intuition as a means of non-visual and non-verbal perception, interaction and communication. Blindfolded and wearing earplugs, Acconci and another man attempt to intuit and imitate each other’s movements and bearing, though they can neither hear nor see. The goal, as Acconci has stated, ‘was to concentrate on each other so totally that we’d begin to blend together.’ Audible only to the audience, an off-camera voice whispers directions and locations to the performers as they move slowly and haltingly around the performance space: ‘Mel, Vito is facing you.

Turn around and get into his position. Vito, turn completely around.

Mel, Vito is facing your right side…’

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Symptoms in Schizophrenia Documentary Film (1940) 13'08" excerpt, black and white Schizophrenia is a mental disorder characterized by a disintegration of thought processes and of emotional responsiveness. It most commonly manifests as auditory hallucinations, paranoid or bizarre delusions, or disorganized speech and thinking, and it is accompanied by significant social or occupational dysfunction. The onset of symptoms typically occurs in young adulthood, with a global lifetime prevalence of about 0.3–0.7%. Diagnosis is based on observed behavior and the patient’s reported experiences.

Genetics, early environment, neurobiology, and psychological and social processes appear to be important contributory factors; some recreational and prescription drugs appear to cause or worsen symptoms.

Current research is focused on the role of neurobiology, although no single isolated organic cause has been found. The many possible combinations of symptoms have triggered debate about whether the diagnosis represents a single disorder or a number of discrete syndromes. Despite the etymology of the term from the Greek roots skhizein, schizophrenia does not imply a ‘split mind’ and it is not the same as dissociative identity disorder – also known as ‘multiple personality disorder’ or ‘split personality’ – a condition with which it is often confused in public perception.

The mainstay of treatment is antipsychotic medication, which primarily suppresses dopamine, and sometimes serotonin, receptor activity.

Psychotherapy and vocational and social rehabilitation are also important in treatment. In more serious cases – where there is risk to self and others – involuntary hospitalization may be necessary, although hospital stays are now shorter and less frequent than they were.

The disorder is thought mainly to affect cognition, but it also usually contributes to chronic problems with behavior and emotion. People with schizophrenia are likely to have additional (comorbid) conditions, including major depression and anxiety disorders; the lifetime occurrence of substance abuse is almost 50%. Social problems, such as long-term unemployment, poverty and homelessness, are common. The average life expectancy of people with the disorder is 12 to 15 years less than those without, the result of increased physical health problems and a higher suicide rate (about 5%).

A person diagnosed with schizophrenia may experience hallucinations (most reported are hearing voices), delusions (often bizarre or persecutory in nature), and disorganized thinking and speech. The latter may range from loss of train of thought, to sentences only loosely connected in meaning, to incoherence known as word salad in severe cases. Social withdrawal, sloppiness of dress and hygiene, and loss of motivation and XIII

judgement are all common in schizophrenia. There is often an observable pattern of emotional difficulty, for example lack of responsiveness.

Impairment in social cognition is associated with schizophrenia, as are symptoms of paranoia; social isolation commonly occurs. In one uncommon subtype, the person may be largely mute, remain motionless in bizarre postures, or exhibit purposeless agitation, all signs of catatonia.

Late adolescence and early adulthood are peak periods for the onset of schizophrenia, critical years in a young adult’s social and vocational development. In 40% of men and 23% of women diagnosed with schizophrenia the condition manifested itself before the age of 19. To minimize the developmental disruption associated with schizophrenia, much work has recently been done to identify and treat the prodromal (preonset) phase of the illness, which has been detected up to 30 months before the onset of symptoms. Those who go on to develop schizophrenia may experience transient or self-limiting psychotic symptoms and the non-specific symptoms of social withdrawal, irritability and dysphoria during the prodromal phase.

Left side Right Side (1972)—Joan Jonas 8'50", black & white, sound

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In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body. Jonas performs in a direct, one-on-one confrontation with the viewer, using the immediacy and intimacy of video as conceptual constructs. Exploring video as both a mirror and a masking device, and using her body as an art object, she undertakes an examination of self and identity, subjectivity and objectivity. Creating a series of inversions, she splits her image, splits the video screen, and splits her identification within the video space, playing with the spatial ambiguity of non-reversed images (video) and reversed images (mirrors). Though Jonas’ approach is formalist and reductive, her performance reveals an ironic theatricality. Illustrating the phenomenology of video as a mirror, Left Side Right Side is a classic of early performance-based, conceptual video.

Wernicke’s aphasia 13'08" excerpt, black and white, sound A patient manifesting classic symptoms of Wernicke’s aphasia.

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Cut-ups (1966)—William S. Burroughs & Antony Balch 19'45", black & white, sound Cinematography: Antony Balch Screenplay: William S. Burroughs Cast: William S. Burroughs, Brion Gysin Essentially a dizzying montage of quirky shots of legendary Beat Generation writer William S. Burroughs and noted surrealist artist Brion Gysin, this nearly 20 minute avant-garde short features repeated articulations of such random things as ‘Hello’, ‘Where are we now?’ and ‘Look at that picture’ instead of music or standard dialogue. The narrative is decidedly nonlinear and perplexing, with no discernible plot whatsoever as we see images of Gysin working on his paintings and calligraphic designs and Burroughs rummaging through draws, packing a suitcase, giving a young man a physical, making a call in a phone booth, and waiting on a platform for a subway train. The fiercely edited visuals are shot in stark black and white and occasionally overlap each other. The whole thing reaches a delirious crescendo at the very end.

In The Cut-Ups Burroughs introduced chance/found techniques. Barry Miles writes: ‘The Cut Ups was literally that, with four reels of film being cut into twelve-inch lengths and assembled in rotation by a lab technician […] No artistic judgment was made, and Balch was not even present.’ The similarities to the restraints imposed on the screen tests are obvious.

While it’s impossible to figure out the exact point of this genuinely bizarre venture, it nonetheless remains fascinating despite (or maybe even because of) its gloriously wigged-out incomprehensible strangeness. An interesting one-of-a-kind oddity.

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Video Index A Broca’s Aphasia http://www.youtube.com/watch?v=f2IiMEbMnPM B I Hate (2007)

Imogen Stidworthy http://www.ubu.com/film/stidworthy_hate.html C Open Book (1974)

Vito Acconci http://www.ubu.com/film/acconci_book.html D Wernicke’s Aphasia http://www.youtube.com/watch?v=aVhYN7NTIKU + Closed Caption Youtube E Broca’s Aphasia http://www.youtube.com/watch?v=NUTpel04Nkc F Associative Agnosia http://www.youtube.com/watch?v=T1qnPxwalhw G The Animal, Vegetable, Mineralness of Everything (2004)

Ken Feingold http://www.youtube.com/watch?v=HSBLQUWK9ls&feature=relmfu + Closed Caption Youtube H Feed me Anthro/Socio: Rinde Spinning (1992)

Bruce Nauman http://www.youtube.com/watch?v=MyiZD4Q3Mdk I Wittgenstein (1993) Derek Jarman http://www.youtube.com/watch?v=r0cN_bpLrxk J Good Boy Bad Boy (1985)

Bruce Nauman http://www.youtube.com/watch?v=VugLUa47sLI K Bill and Tony (1972)

William S. Burroughs & Antony Balch http://www.ubu.com/film/burroughs_bill.html L Association Area (1971)

Vito Acconci http://www.ubu.com/film/acconci_association.html

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M Symptoms in Schizophrenia Documentary Film http://www.youtube.com/watch?v=5WXerSOhAKE N Left side Right Side (1972)

Joan Jonas http://catalogue.nimk.nl/site/art_play.php?id=2539 O Wernicke’s aphasia http://www.youtube.com/watch?v=dKTdMV6cOZw P Cut-ups (1966)

William S. Burroughs & Antony Balch http://www.ubu.com/film/burroughs_cut.html

Colophon 2012 Concept, design, transcription Kahil Janssens Print Gheysen We have attempted to contact all copyright holders but this has not been possible in all instances. We apologize for any omissions and, if noted, will amend in any future editions.

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