Voice of Bruno Ganz (1941-2018) reciting the poem ‘Lied vom Kindsein’ (Song of Childhood)
by Peter Handke. 

Excerpt from ‘Der Himmel über Berlin’ (Wings of Desire)
Directed by Wim Wenders, 1987

---
Lied vom Kindsein 

Als das Kind Kind war,
ging es mit hängenden Armen,
wollte der Bach sei ein Fluß,
der Fluß sei ein Strom,
und diese Pfütze das Meer.

Als das Kind Kind war,
wußte es nicht, daß es Kind war,
alles war ihm beseelt,
und alle Seelen waren eins.

---

Song of Childhood 

When the child was a child
It walked with its arms swinging,
wanted the brook to be a river,
the river to be a torrent,
and this puddle to be the sea.

When the child was a child,
it didn’t know that it was a child,
everything had a soul,
and all souls were one.

lied vom kindsein

Polyphonic rearrangement of ‘Possibly Maybe’
Original composition, lyrics & vocals by Björk (1995)
…
 
Possibly maybe
Maybe
Possibly maybe
Possibly

Who knows what’s going to happen?
Who knows what’s going to happen?

I’m exhausted, leave me alone

Where’s that love you promised me?
Where is it?

Possibly maybe 
I’m exhausted
Possibly maybe 
Leave me alone
Possibly maybe

This is possibly 
Love
Since we broke up
Love
I’m using lipstick again
Love
I suck my tongue
Love
In remembrance of you
Love

How can you offer me love like that?
My heart’s burned
Love
How can you offer me love like that?
I’m exhausted, leave me alone
Love

This is possibly 
Love
Possibly maybe 
Love

Possibly maybe
This is possibly 
Love

Love
This is possibly love
Love  

Uncertainty excites me
Baby, who knows what’s going to happen?
Who knows what’s going to happen?

Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?
Baby, who knows what’s going to happen?

Who knows what’s going to happen?
Who knows what’s going to happen?

possibly maybe (Bjork remix)

Voice of Nina Simone (1933-2003) 
Repeated excerpts from the vocal intro to Simone’s 1960s live performance of ‘Feeling Good’ 

---

Birds flying high
You know how I feel

Sun in the sky
You know how I feel

Breeze driftin' on by
You know how I feel

It's a new dawn
It's a new day

It's a new life for me
Yeah

It's a new dawn
It's a new day

New life for me

new life

Voices of Harry Dean Stanton and Nastassja Kinski

Excerpt from the phone booth scene in 'Paris, Texas' (1984) 
Directed by Wim Wenders, co-written by Sam Shepard and L.M. Kit Carson

---

I can’t see you, Jane

Don’t go yet
Don’t go yet

I, I used to make up long speeches to you after you left
I used to talk to you all the time
Even though I was alone

I walked around for months talking to you

Now
I don’t know what to say
It was easier when I just imagined you

I even imagined you talking back to me
We’d have long conversations
The two of us
It was almost like you were there

I could hear you
I could see you, smell you
I could hear your voice

Sometimes your voice would wake me up
It would wake me up in the middle of the night
Just like you were there in the room with me

Then
It slowly faded
I couldn’t picture you anymore

I tried to talk out loud to you like I used to
But there was nothing there
I couldn’t hear you

Then
I just gave up
Everything stopped

You
Just disappeared

Now 
I’m working here
I hear your voice all the time
Every man has your voice

I tell him 
That you are coming

Travis

What?

I’ll be there

almost like you were there

Voices of Gary Farmer and Jim Morrison (1943-1971) reciting lines from the poem 
‘Auguries of Innocence’ (1803) by William Blake (1757-1827) 

Excerpts from a scene in Jim Jarmusch’s movie ‘Dead Man’ (1995) 
and from the isolated vocals of ‘End of the Night’ by The Doors (1967)

Image: Gary Farmer as Nobody
Still from 'Dead Man', 1995

---

Every night and every morn
Some to misery are born

Every morn and every night
Some are born to sweet delight

Some are born to sweet delight
Some are born to endless night

Some are born to sweet delight
Some are born to sweet delight

Some are born to endless night
Some are born to the endless night

Some are born to sweet delight
Some are born to the endless night

every night and every morn

Voice of Gilles Deleuze (1925-1995)

Excerpt from the recording of Deleuze’s talk for the ‘What is the Creative Act?’ conference at the FEMIS film foundation in Paris in 1987. French transcription and English translation below.

Additional voices: Excerpts from the intro to ‘Waking The Witch’ by Kate Bush
First released on the album ‘Hounds Of Love’ in 1985

---
   
Parce que dès qu’il y a rêve de l’autre, il y a danger. 

A savoir que le rêve des gens est toujours un rêve dévorant qui risque de nous engloutir, et que les autres rêvent, c’est très dangereux, et que le rêve est une terrible volonté de puissance, et que chacun de nous est plus ou moins victime du rêve des autres. 

Même quand c’est la plus gracieuse jeune fille, même quand c’est la plus gracieuse jeune fille, c’est une terrible dévorante, pas par son âme, mais par ses rêves. 

Méfiez-vous du rêve de l’autre, parce que si vous êtes pris dans le rêve de l’autre, vous êtes foutus. 
 
You must wake up
Wake up, love

Wake up
Wake up

You must wake up
Wake up
Wake up, honey
Wake up, child

Wake up, now
Wake up, love
Wake up, you sleepy head

We are of the going water and the gone 
We are of water in the Holy Land of water

---

Because as soon as someone else dreams, there is danger. Namely, people’s dreams are always all-consuming and threaten to engulf us, and what other people dream is very dangerous, and the dream is a terrifying will to power, and each of us is more or less a victim of other people’s dreams. Even the most graceful young woman even when it’s a graceful young woman, she’s a horrific ravager, not through her soul, but through her dreams. Beware of the dreams of others, because if you are caught in their dream, you are done for.

---
French transcription and English translation by Charles J. Stivale

dans le rêve de l'autre

Voice of David Lynch
Repeated excerpt from Lynch’s ‘Weather Report 8/28/20’
Strings sample: First bars of Franz Schubert’s ‘Rosamunde, D.797: 5. Entr'acte No. 3 – Andantino’

---

Today 
I was thinking

Today 
I was thinking
What a great time to be alive

Today 
I was thinking
What a great time to be alive
If you love the theatre of the absurd

If you love the theatre of the absurd
What a great time to be alive
I was thinking
Today 
Today

If you love the theatre of the absurd
What a great time to be alive


entr'acte absurde

Voice of Jane Siberry
Vocal excerpts from ‘Calling All Angels’ (1991) by Jane Siberry and KD Lang

---

Santa Maria, Santa Teresa, Santa Anna, Santa Susannah
Santa Cecilia, Santa Copelia, Santa Dominica, Mary Angelica
Frater Achad, Frater Pietro, Julianus, Petronilla
Santa, Santos, Miroslaw, Vladimir 
And all the rest

Oh, a man is placed upon the steps and a baby cries
High above you can hear the church bells start to ring

And as the heaviness, oh the heaviness, the body settles in
Somewhere you can hear a mother sing

Then it's one foot 
Then the other 
As you step out on the road
Step out on the road

How much weight? 
How much?

Then it's how long? 
And how far? 
And how many times?

Oh, before it's too late
Oh, before it's too late
Oh, before it's too late

Heaviness, oh the heaviness, the body 
Heaviness, oh the heaviness, the body 
Heaviness, oh the heaviness, the body 

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?

How much weight? 
How much?


how much weight

Voice of Thom York
Excerpts from the background vocals stem for Radiohead’s ‘Reckoner’
Original song by Thom Yorke, Jonny Greenwood, Colin Greenwood, Edward O’Brien, and Philip Selway; first released on the Radiohead album ‘In Rainbows’ (2007)
---

Rainbows
Rainbows

Rainbows
Rainbows

Because we separate
Like ripples on a blank shore

Rainbows
Rainbows


on a blank shore

Voice of Thom Yorke
Repeated excerpts from ‘Bending Hectic’ by The Smile
Original song by Thom Yorke, Jonny Greenwood and Tom Skinner
First released on the album ‘Wall of Eyes’ (2024)

---'

I’m letting go 
Of the wheel

It might be as well
It might be as well

It might
It might be
It might be as well


might be as well

Voice of Thom Yorke
Layered excerpts from the isolated vocals in Radiohead’s ‘True Love Waits’
Released on the album ‘Moon Shaped Pool’ (2016)

Image: Volcanoes on Jupiter’s moon Io. NASA, 1979

---

Just
Just 
Don’t leave

True
True love waits

Just
Just

Just 
Don’t leave
Don’t leave

Just 
Don’t leave
Don’t leave

Just 
Don’t leave
Don’t leave

True love waits
Don’t leave
Just

true love waits (Radiohead rework)

Voices of Rosamund Pike, Susan Dugdale, Julian Fellowes and Steven Patrick Morrissey

Excerpts from three readings of Christina Rosetti’s poem ‘Remember’ (1862) and the isolated vocals from ‘Well I Wonder’ (1985) and ‘Please, Please, Please, Let Me Get What I Want’ (1984) by The Smiths

Image: Christina Rosetti, photographed by Charles Lutwidge Dodgson in 1863

---

Remember me
When I am gone away
Gone far away
Into the silent land

Remember me

Please 
Keep me in mind
Please keep me in mind

Please keep me in mind
 
Remember me 

When I am gone away
Gone far away
Into the silent land

Please keep me in mind

When I am gone away
Gone far away

Please keep me in mind
Please, please keep me in mind

Please, please, please  
Please keep me in mind

Please 
Keep me in mind

Oh, keep me in mind
Keep me in mind

Please 
Keep me in mind

So, please, please, please 
Please keep me in mind

Oh, keep me in mind
Keep me in mind


keep me in mind

Voices of Kurt Schwitters (1887-1948), Ada, Max, Ruby, Zane & Zoe

Excerpts from Schwitters’ ‘Ursonate’ (1922-1932)
Recorded by Süddeutscher Rundfunk, Frankfurt am Main, 1932
Vocal loops from the GarageBand library 

Image: Collage by Kurt Schwitters, 1923

ah-eh-ih-oh-uh

Voice of Billie Eilish
Excerpt from the isolated vocals of ‘The Greatest’
First released on Billy Eilish’s studio album ‘Hit Me Hard and Soft’ (2024)

---

I’m trying my best
I’m trying my best


trying my best

MUSIC FOR BUILDINGS
Gabor Stark

PLOT D-1 COLUMNS, WALLS & BALCONIES
01. Prelude (1’51’’)
02. Columns And Walls (4’01’’)
03. Balconies (3’58’’)
04. Balcony Variations (3’53’’)
05. Coda (1’06’’)

PLOT G-1 ROTUNDA
06. Right The Sea, Left The Hills (3’01’’)
07. Four Apartments (3’04’’)
08. Rondo In A Major (6’47’’)

MARINE PARADE
09. Folkestone FM (1’20’’)
10. There We Go (3’52’’)

---
Composition & arrangement by Gabor Stark
https://soundcloud.com/precariouspropositions

Field recordings by Duarte Lobo Antunes & Hazel Cowie

Vocal sample on track 06: Voice of Patrick Magee 
Excerpt from Samuel Beckett’s radio play Cascando 
©BBC Third Programme, 1964

℗2025
A IS FOR ARCHITECTURE LTD
www.aisfor.co


MFB 10. There We Go

MFB 09_Folkestone FM

MFB 08_Rondo In A Major

MFB 07_Four Apartments

MFB 06_Right The Sea, Left The Hills

MFB 05_Coda

MFB 04_Balcony Variations

MFB 03_Balconies

MFB 02_Columns And Walls

MFB 01_Prelude

Voice of Le Corbusier (Charles-Édouard Jeanneret, 1887-1965)
Excerpts from a BBC reportage, 1958
Image: Model for Le Corbusier’s 'Le Ferme Radieuse' (1930) 

---

La Ville Radieuse
Sun, space and green
Silence and total solitude

Sun, space and green
Such richness of life
Silence and total solitude

Open the eyes and the ears
The whole world is ready
And the old things are now fluid

la ville radieuse

Voice of Le Corbusier (Charles-Édouard Jeanneret, 1887-1965)
Excerpts from a BBC reportage, 1958
Improvisation on the first notes of ‘Blue in Green’ by Miles Davis (1926-1991) 
and Bill Evans (1929-1980). Released on the album ‘Kind of Blue’ (1959)
Image: Le Corbusier in his Paris studio

---

Such richness of life
Silence and total solitude

Silence and total solitude
La Ville Radieuse
Such richness of life

Silence and total solitude
Total solitude

Such richness of life
Silence and total solitude


silence and total solitude

Voices of Johnny Murphy, Barry McGovern, Samuel Beckett and Aidan Moffat.
Excerpts from a 2001 production of ‘Waiting for Godot’ and a 1987 film recording of Beckett.
Looped guitar sample from ‘Piglet’ (1998) by Arab Strap, written by Aidan Moffat and Malcolm Middleton.
Image: ‘Attendant a Godot’ by Gabor Stark, 2025

---

Well, shall we go?
Yes, let’s go.

I don’t know.
I don’t know what to think anymore.

(Beckett speaks)

Didi?
Yes.
I can't go on like this. 
That's what you think. 

If we parted? 
That might be better for us. 

Unless Godot comes. 
And if he comes? 
We'll be saved.

Well, shall we go?
I don’t know.

You had already been half an hour …

Let’s go.
And if he comes? 
I don’t know.

Tenebrae | ˈtɛnɪbriː, ˈtɛnɪbreɪ |
Origin: Latin, literally ‘darkness’

Plural, noun: (In the Roman Catholic Church) matins and lauds for the last three days of Holy Week, at which candles are successively extinguished. Several composers have set parts of the office to music. 

Voice sample: ‘Miserere, mei Deus’ (1630s) by Gregorio Allegri (1582-1652)
Lyrics: Book of Psalms, Psalm 51
Verse 3: Miserere mei, Deus: secundum magnam misericordiam tuam.
Verse 21 […] tunc imponent super altare tuum vitulos.

https://en.wikipedia.org/wiki/Miserere_(Allegri)

tenebrae  3rd mvt: dawn

tenebrae  2nd mvt: night

tenebrae 1st mvt: dusk

https://precariouspropositions.wordpress.com/

precarious propositions

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