宇宙之息汇集了来自麦加、耶路撒冷、新加坡、喀土穆及更远地区的历史与当代宣礼。该作品部分源自南非针对宣礼限制的跨信仰抗议，探讨信仰、声音与抵抗。它坐落于牛津街喧嚣不息的街角仅一石之遥之处，在伦敦市中心扎根了一个全新的声波圣殿。乔·纳米（Joe Namy）是一位出生于美国的黎巴嫩艺术家兼作曲家，其创作实践涵盖声音、声音的历史及其对建筑环境的物理影响。他将多声道声音装置《宇宙之息》带到了英国首都。
Cosmic Breath brings together historic and contemporary adhans from Mecca, Jerusalem, Singapore, Khartoum and beyond Born partly from an interfaith protest against restrictions on the adhan in South Africa, the work explores faith, sound and resistance Tucked away just a stone's throw from the relentless hum of Oxford Street, a new sonic sanctuary has taken root in central London. Joe Namy, an American-born Lebanese artist and composer whose practice encompasses sound, its history, and its physical impact on the built environment, has brought his multi-channel sound installation, Cosmic Breath, to the UK capital.
该作品为Ibraaz的Musalla重新构想而成，Musalla是一个致力于将精神实践既作为生活体验又作为创造性表达的空间。
The work is reimagined for Ibraaz’s Musalla, a space dedicated to spiritual practice as both lived experience and creative expression.
该装置由伊斯兰教宣礼（adhan）的录音组成，汇集了来自不同地理区域的历史与当代宣礼，通过类似安装在清真寺宣礼塔上的喇叭扬声器进行放大。
Composed of recordings of the adhan—the Islamic call to prayer—the installation brings together historical and contemporary calls from different geographies, amplified through horn speakers like those mounted on mosque minarets.
这些扬声器同步播放，每个扬声器轻柔地发出不同的宣礼录音，邀请观众前倾身体、仔细聆听。在礼拜时间，音量会增强，使宣礼在整个房间内清晰可闻，从而营造出一种礼拜召唤的集合体。
Played simultaneously, each speaker softly emits a different adhan recording, inviting the audience to lean in and listen closely. At prayer times, the volume increases, making the calls clearly audible throughout the room, creating a congregation of calls to prayer.
“对集体声音体验感兴趣” 该作品是纳米对声音系统、社区与灵性更广泛探索的一部分。
'Interested in collective sound experiences' The work forms part of Namy's wider exploration of sound systems, community, and spirituality.
该装置首次由其艺术总监兼建筑师萨迈亚·瓦利（Sumayya Vally）委托，用于2023年吉达伊斯兰艺术双年展，旨在探索集体听觉体验和公共声音地标。
First commissioned for the Islamic Arts Biennale in Jeddah in 2023 by its artistic director and architect, Sumayya Vally, the installation explores collective auditory experiences and public sound landmarks.
“我的很多工作涉及声音的政治，也涉及声音的精神层面，以及它以不同方式影响我们的方式，”纳米解释道。“因此，我对声音系统文化（以及）集体声音体验也很感兴趣，以及它们如何影响我们的生活。”该装置艺术在与瓦利紧密合作下开发而成，瓦利负责设计了装置的空间景观，作品源自对时间和地理的诗意反思。
"A lot of my work deals with the politics of sound, and deals with the spirituality of sound as well, how it affects us in different ways," Namy explains. "So, I'm interested in sound system cultures (and) collective sound experiences as well, and how they impact our lives." Developed in close collaboration with Vally, who designed the installation’s spatial scenography, the artwork grew out of a poetic reflection on time and geography.
纳米被这样一个想法所感动：“在地球上的任何时刻，都有礼拜召唤（adhan）在这个星球的某个地方发生，我认为这是一种非常有力且美丽的举动。”纳米从社会学的角度审视礼拜召唤，探讨一种古老的口头传统如何随着现代科技、放大技术和录音技术一起演变。
Namy was moved by the idea that "at any moment in time on Earth, there is an adhan happening somewhere on this planet, which I think is such a really powerful and beautiful gesture." Approaching the adhan through a sociological lens, Namy examines how an ancient oral tradition has transformed alongside modern technology, amplification, and recordings.
将这件作品从沙特阿拉伯带到伦敦，极大地重塑了其意义，尤其是考虑到英国当前的社会氛围。
Bringing the piece from Saudi Arabia to London reshapes its meaning dramatically, particularly given the current social atmosphere in the UK.
从吉达到伦敦：不同的政治声音景观 “在吉达首次展出与在这里伦敦展出是截然不同的体验，这……使作品的处境与在那里完全不同，”纳米强调。
From Jeddah to London: A different political soundscape "Showing it for the first time in Jeddah was a very different experience than showing it here in London, which ... situates the work very differently than how it was situated there," Namy underlined.
他直接指出了当前政治格局周围日益加剧的敌意：“尤其是如今在这个伦敦的政治氛围中……存在着更加强烈的伊斯兰恐惧症、外来恐惧症、偏见……所有这些我们一直在经历且仍在增加的事情。”对纳米而言，在伦敦市中心装置这件作品是一个避难所，也是对这种敌意的解药。
He pointed directly to the heightened hostility surrounding the current political landscape: "Especially now today in the current kind of political climate here in London... there's just a more heightened kind of Islamophobia, xenophobia, prejudice... all these things that we've been experiencing and has been increasing." For Namy, installing the piece in the heart of London serves as a sanctuary and an antidote to that hostility.
“我觉得在这里伦敦市中心展出——你知道，就在牛津街附近——能够为人们提供一个来此放松的空间，这是一种更有力的举动，”他说。
"I feel like it's a more powerful gesture to be able to show it here in the center of London, you know, just off of Oxford Street, and to be able to have this space for people to be able to come, relax," he said.
他指出，在当代艺术空间中，如此公开地探讨信仰是非常罕见的：“我认为，我真正享受的是它在思考艺术与灵性的关系，而这并不是你总能有机会去探索的，但同时也为人们提供了一种第三空间，让他们能够更深入地探索。” 疫情封锁期间诞生的伦敦记忆 为了让展览扎根于当前环境，Ibraaz 这次的展览加入了一段本地录音。“所以，这段录音来自伦敦，”纳米指出。
He notes how rare it is in contemporary art spaces to engage with faith so openly: "I think, what I really enjoy is the fact that it's thinking about the spirituality in relation to art, which you don't always get a chance to explore, but also providing a kind of third space for people to explore more.”A London memory born during lockdown To ground the exhibition in its current environment, this iteration at Ibraaz features a local recording. "So, this recording is from London," Namy notes.
“实际上，引入一些本地元素也很重要，因此这实际上是伦敦在COVID期间发生的第一批公开宣礼（adhan）录音之一，地点是在沃尔瑟姆斯托。当时大家都在保持社交距离，所以这成为社区能够——尽管彼此遥远——感受到更紧密联系的一种方式，因此将本地元素带入展览环境也很重要，这样我们才能更贴近我们此刻所在的伦敦。” 这段录音捕捉了2020年沃尔瑟姆森林伊斯兰协会所进行的历史性宣礼，呈现出一种声音表达，体现了在无法进行实体聚集时的共同体验。
"Actually, it was important to bring in something that was local as well, and so this was actually one of the first recordings of a public adhan in London that happened in Walthamstow during COVID. It was again a time (when) everyone was social distancing, and so it was a way for the community to be able to kind of -- although they were distant -- to feel closer together, so it was important to bring in a local element into the setting as well, so that we have some a more closer connection to where we are here in London." The recording captures the historic call performed by the Waltham Forest Islamic Association in 2020, offering a sonic expression of shared experience when physical gathering was impossible.
从麦加到新加坡，第比利斯到喀土穆的宣礼 《宇宙之息》中的音频选择跨越一个多世纪，横跨广阔的物理与声学空间，揭示了每一次宣礼如何承载独特的特质——这种特质由当地传统、声学环境和区域历史共同塑造。
Adhans from Mecca to Singapore, Tbilisi to Khartoum The audio selections in Cosmic Breath span more than a century and cross vast physical and acoustic terrains, revealing how each call carries a unique character shaped by local traditions, acoustic environments, and regional histories.
“我们在本次装置中选入的每一段录音，都代表了礼拜召唤的某个方面，或具有独特之处，”纳米说。“部分思考在于那些你通常不会听到礼拜召唤的空间，以及礼拜召唤录音具有历史意义的空间。”档案亮点之一被认为是麦加禁寺最早的礼拜召唤录音，可追溯至19世纪末。“我认为这是有史以来第一次在麦加录制的19世纪后期的礼拜召唤。你能听到录音的颗粒感。这不是一段非常出色的录音，但与其他录音放在一起聆听，很有意思，”纳米回忆道。来自亚洲的作品汇集了里程碑式的历史与地理。
"The selections that we included within this installation each represent a certain aspect, or have a unique aspect for the adhan," Namy says. "Part of it is thinking about spaces (where) you normally wouldn't encounter the adhan, spaces in which recordings of the adhan are kind of historically significant as well." Among the archival highlights is what is considered the first recording of the adhan at the Haram Mosque in Mecca, dating back to the late 19th century. "I think this one is the first recording that was ever done of the adhan from the late 1800s in Mecca. You can kind of hear the grain of the recording. It's not a really great recording, but it's interesting to hear it in context of all the other ones," Namy reflects. From Asia, the piece gathers landmark history and geography.
“来自菲律宾，有一段1950年代的档案录音。这是菲律宾最早的礼拜召唤录音之一，”纳米指出。
"From the Philippines, (there is) an archival recording from the 1950s. It was one of the first recordings of the adhan in the Philippines," Namy points out.
当代与历史录音还包括耶路撒冷的阿克萨清真寺和新加坡的苏丹清真寺，后者被认为是1930年代首个采用扩音器的清真寺。
Contemporary and historical selections also feature the Al-Aqsa Mosque in Jerusalem and Singapore's Sultan Mosque, thought to be the first mosque to adopt loudspeakers in the 1930s.
“这一段来自新加坡，是在第一座实际使用扩音器来放大礼拜召唤的清真寺录制的。清真寺至今仍在，这一点很重要，”他补充道。其他现场录音在风格和环境上形成鲜明对比——从华丽到简约。
"This one is from Singapore, and this was recorded at the first mosque that actually used speakers to amplify the call to prayer. The mosque is still there, and that was important," he adds. Other field recordings offer stark contrasts in style and setting—from the ornate to the stripped-back.
“这一段来自格鲁吉亚的第比利斯，我想这可能是最华丽的。你能真正听到即兴发挥和装饰音，以及声音在诵读中如何延伸，”纳米说。
"This one is Georgia Tbilisi, and this one is probably the most flowery, I think. You really hear the improvisation and the embellishments and how the voice gets extended in the recitation," Namy says.
相比之下，“一个来自阿尔及利亚的撒哈拉威难民营，它是少数几个未被记录、未被放大的之一，”纳米解释道，“这是一个老派风格的人，基本上只是凭着自己的声音，没有扬声器或其他设备，只是在背诵。”该装置捕捉了深刻亲密的信仰行为，也捕捉了独特的口语传统。
In contrast, "one is from the Sahrawi refugee camp in Algeria, and it's one of the only ones that's not recorded, that's not amplified," Namy explains saying, "It's somebody who is old school-style, kind of just reciting it without any speakers or anything like that, just their voice." The installation captures deeply intimate acts of faith as well as distinct colloquial traditions.
“我觉得这个来自日本，”纳米分享道，并解释说，与之前提到的录音类似，这是“某人基本上只是对着森林自己背诵，我觉得这是一个非常美好的举动。所以，这是一个非常个人化的录音反思。”
"I think this one is from Japan," Namy shares, explaining that similar to the recording mentioned before, it was "somebody just kind of reciting it into the forest for themselves, basically, which I thought was a really beautiful gesture. So, it's a very personal personal recording reflection."
来自喀土穆的礼拜呼唤凸显了地区身份：“这个是喀土穆的。它是在苏丹录制的，同样，你能听到口语上的差异以及礼拜呼唤的诵读方式。它的诵读方式非常不同。它在风格上非常苏丹式，这一点我真的很喜欢。”并非每个地方都能通过音频捕捉到。
A call to prayer from Khartoum highlights regional identity: "This one is Khartoum. It's recorded in Sudan, and again, you hear the colloquial differences and how the adhan is recited. It's very different in the recitation. It's very Sudani in its style, which I really love."
纳米回忆说，他曾试图录制南美洲第一座清真寺的声音，该清真寺位于巴西。由于该建筑仅用于特殊场合，“你在那儿听不到礼拜呼唤，所以我们只是录了那间房间的空旷空间，就像那样，为了保留这种手势，”但最终它未被发布， alongside 埃及的海滨野外录音。
Not every place could be captured on audio. Namy recalls attempting to record the first mosque built in South America, located in Brazil. Because the building is reserved for special occasions, "you don't hear the adhan there, so we recorded just kind of like the empty space from that room, just to have that kind of gesture," though it ultimately remained unreleased alongside seaside field recordings from Egypt.
来自南非，一场抗议成为宇宙之息的种子 宇宙之息的最初冲动可以追溯到南非一次关键的公民抵抗时刻。2020年新冠疫情封锁期间，德班的社会紧张局势上升，伴随着伊斯兰恐惧症和外来恐惧症，导致当地禁止公开广播礼拜呼唤。
From South Africa, a protest becomes the seed of Cosmic Breath The initial impulse for Cosmic Breath traces back to a pivotal moment of civic resistance in South Africa. During the COVID-19 lockdowns in 2020, rising social tension, Islamophobia, and xenophobia in Durban led to a local ban on publicly broadcasting the adhan.
作为回应，一场跨信仰的团结行动应运而生。“这次抗议实际上是由一位印度教社区成员组织的。他不是穆斯林，但他在那里组织了这次抗议，以表达对穆斯林社区的团结，”纳米回忆道。萨米亚·瓦利把活动链接分享给了他，这激发了更广泛的概念。
In response, an act of interfaith solidarity emerged. "This protest was actually organized by a Hindu community member. He wasn't Muslim, but he organized this protest in solidarity with the Muslim community there," Namy recalls. Sumayya Vally shared the link to the event with him, sparking the broader concept.
由于社交距离规定的限制，居民们进行了适应：“在无法聚集和聚合在一起的时候，你如何进行抗议？于是他们让每个人开车参加，组成了这支庞大的车队。每个人都将汽车音响系统调至正在播放宣礼的其中一个频道。”数百辆汽车扬声器在德班街道上回荡产生的声音景观为整个项目奠定了基础。“这也是那次经历的录音，”纳米反思道。
Restricted by social distancing rules, residents adapted: "How do you protest at a time when you can't congregate and gather together? And so they asked everybody to bring their cars and made this huge parade. Everybody tuned their car stereo systems to one of the channels that was broadcasting the adhan." The resulting soundscape of hundreds of car speakers reverberating through the streets of Durban provided the foundation for the entire project. "This is the recording from that experience as well," Namy reflects.
“而且那基本上是最初的录音，真正让我开始思考这件作品……并把一切融合在一起。”
"And that was kind of the first recordings that really made me think about the piece... and bring everything together."