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Events February 26, 2009; 17:00 to 22:00. February 27, 2009; 10:00 to 17:00. February 28, 2009; 15:00 to 22:00.
Zimmer, Hagdud Haivir 5, Tel Aviv

If you speak it, it’s no legend -

In the frame of Contempo-Tel Aviv International Festival of Contemporary Music and Video Art

Free Entrance

Sound artists:

XV Parówek (Bartek Kalinka) (Poland)

Wolfram (Dominik Kowalczyk) (Poland)

Seventeen Migs of Spring (Israel)

Eran Sachs(Israel)

Curated by: Antoni Beksiak (Poland) and Sala-Manca (Israel)

For further info on the project or the biennale: www.contempo.co.il

If you speak it – it is no legend is a sound installation consisting of four original pieces written by Israeli and Polish composers. The common base of these works is the use of the voices of non-Jewish speakers who live in Israel – foreign workers and refugees from different countries, for whom Hebrew is primarily a functional language of communication.

The words that the speakers were requested to articulate were chosen from a selection handwritten on the first empty pages of a copy of the book titled Reshimat Milot Hayesod Lehora’at Halashon Haivrit (A Basic Word List of the Hebrew Language), published in Jerusalem in 1960, by the Department of Education and Culture in the Diaspora of the World Zionist Organization, edited by I. Mehlman, Haiim B. Rosen and Y. Shaked. The copy was purchased in Jerusalem in the Hagaleria Lesifrut bookstore on Shats Street.

The choice of words included in the chapter “Principles of Selecting the Words,” is a didactic-linguistic one, whose point of departure is that the language to be learned is “living Hebrew,” as spoken and written in Israel. According to the editors, most of the 1,000 words included are useful for conversational topics and for the construction of basic sentences, maintaining that a basic knowledge of the language cannot be achieved without these selected words. It is apparent from the sticker on the book, that the aforementioned additional list was chosen from the basic list of words by Dr. Edward Horowitz – who, it appears from a search on the Internet, was the author of the book How the Hebrew Language Grew – also published in 1960.

The recordings of the words and short conversations with the speakers were made by Aviad Albert and Bynia Reches in Bamat Meitzag at the new Central Bus Station in Tel Aviv. Twenty-eight speakers – men and women, and two children – participated, all coming from different backgrounds: China, Eritrea, India, Jamaica, Nepal, Philippines, Romania, Sudan, Ukraine, and others. Each speaker was asked to read the list of words from a Latin transcription.

The collection of the recordings reveals an emphasis on the phonological aspect, while focusing on the differences in accents. The focus on the characteristics of the sounds of speech, and their musical value, is connected to modern music’s search for musical expression by means of speech. The focus on non-Jewish voices is connected to a search for expression that is devoid of the ideological-national influences that accompanied the revival and development of the modern Hebrew language, while giving way to a musicality that is less familiar in today’s Tel Aviv Hebrew.

The selection of the “Zimmer” as the location for presenting the installation is not a neutral choice. The Zimmer is located near or within the communities of many of the speakers, and is a new space, unique and independent from contemporary Tel Aviv’s artistic and musical sphere. It is a location where different and experimental methods merge without any economic or political considerations.


Project co-organized by the Adam Mickiewicz Institute as part of the Polish Year in Israel


Project financed from the means of the Ministry of Culture and National Heritage, and the Ministry of Foreign Affairs of the Republic of Poland


Projekt współorganizowany przez Instytut Adama Mickiewicza w ramach Roku Polskiego w Izraelu 2008/2009, finansowany ze środków Ministerstwa Kultury i Dziedzictwa Narodowego oraz Ministerstwa Spraw Zagranicznych RP.


Events February 13, 2007; 20:00 to 22:00.
Ein Kerem, Jerusalem

Tom Tlalim - computer musician, composer and improviser.Created unconventional musical structures, explores noise overdrive and feedback in the digital domain. He holds MA from the Royal conservatory of The Hague, the Netherlands, where he lives and works since 2000. Tlalim has performed extensively in Europe and outside of it, among others at ResonanceFM (UK), Huddersfield contemporary music festival (UK), Piksel FLOSS event (NO), BimHuis(NL), Night of the unexpected (Paradiso, NL), State-X new forms (NL), Gaudeamus live electronic festival (NL),  Audio Art Festival (PL), Int. Oud festival (IL), Cerkno jazz festival (SLO). He co-curates events in collaboration with POW ensemble (www.powensemble.nl), TAG (www.tag004.nl), Noisecape festival (www.noisecape.bk

), Edits and presents UCON -  a radio show together with Jan Truetzschler radio.sampleandhold.org, Tlalim has collaborated with many artist and musicians including Joseph Bowie, father of the funk-noise combo Defunkt, DJ DNA of the Urban Dance Squad, composer and sonologist Richard Barrett, noise artist Gilles Aubry, visual/sound artists Voldemars Johansons, Joost Nieuwenburg, saxophonist Keir Neuringer, turntablist Takuro Mitsuta Lippit a.k.a DJ sniff, dutch improviser Luc Houtkamp and others.

Quantasonic: development of the installation by Voldemars Johansons and Tom Tlalim

a performance and composition environment for organization of audiovisual processes using n-dimensional space as a control metaphor. The environment introduces a novel approach to control over masses of data deriving from granular synthesis concept, according to which all matter, including sound and light, comprises of particle motion in space. This concept is applied to abstract data structures which are interpreted as particles in a multidimentional space and rendered as sound and image. The process results in a dynamic audiovisual landscape in which the spectator is invited to experience an immersive data field.

Space is a basic concept and entity used in the QS environment due to its familiarity to human perception largely by visual means. Any organization of matter in a space, physical or virtual, complex or simple, can instantly be recognized as a structure or form (abstraction process), thus greatly reducing the number of parameters involved in the perceptual process.

Within the framework of the project, we are aiming to develop an audiovisual installation that summarizes our recent experimentation and discoveries in using information structures as source for synchronous visual and acoustic content. Based on the notion of space, sound, and vision as the basic essential domains that constitute human understanding and perception, we are searching for ways to present anonymous data structures and place them within the context of audiovisual space.


“Impulse - stretch - feedback – resonance”

15′-20′ long.

Tom Tlalim – Computer, Microphone, pedals

The piece draws influence from gestalt ideas regarding perception, pattern recognition within etc.

Physical/practical processes related to the performance techniqe, decision-making and the various limitations of the instrument, make the raw material to be transformed during the structure of the piece.

Eran Sachs

works as composer, improviser, sound-artist and curator in Jerusalem. As an improviser Sachs has collaborated with Oren Ambarchi, Thomas Koener, Marc Behrens, Achim Wollscheid, @c and many others, mainly playing his self-developed system, the No-Input-Mixer, which he has been playing since 1998. He plays this machine regularily in the Doom-Dub-Noise outfit Lietterschpich and John Zorn’s “Cobra” improvising ensemble in Israel. He has presented his works and compositions in such festivals as Sonorities (Belfast), Transmediale (Berlin) and Theaterformen (Hannover), as well as spaces and platforms such as  Sonic Square (Brusseles), Podewil (Berlin), Melkweg (Amsterdam), Israeli Cinemateques, Kulturbunker (Cologne), Muffathalle (Munich), Sonic Process, Heara and many others. His work “Studio” with sculptor Eytan Ronel was awarded the Excellence Award by the NY International Fringe Festival. He also has collaborated extensively with sound artist Sebastian Meissner (Klimek, Random INC.), with whom he has recently released “Into The Void” (on Sub Rosa), a reflection on the old abandonded Jewish quarter Kazimierz in the city of Krakow. His works have been released on Mille Plateaux and Sub-Rosa, as well as various labels in Israel. As a sound-artist his works tend fuse the sonic with the political, as in the case of Yannun Yannun, which portrays the harrasment of Palestinian villagers by fanatic right-wing settlers. He founded and managed the Yad-Vashem bookstore - the only holocaust dedicated bookstore in Israel.