MINI AUDIO is a sound library of readings curated by Ella Sutherland, Amy Stuart and Emily Floyd. This project is conceived in response to
Sam Petersen's text, WHY I WRITE SO LITTLE (My limited access to the print world), which appears in the recently launched issue of un Magazine 14.1: Care. In particular we couldn't stop thinking about Sam’s brilliant provocation:

“So much of the information in
our world is print based material, magazines, instructions, textbooks.
I simply cannot access it easily.

I would look at pictures for ages and divine a story from them because often I could not make sense of the text.

I would have pursued more physical things in life, but I have significant physical disability too. Partly why
I chose to study visual art was because I thought fuck what else
can I do?

You can have people read things to you, but that requires the kind of voice and kind of person that for
me has proven hard to get and their
time is limited.

This has made study even harder for me. I really need a voice actor to provide all the pauses and emphases.”1

With these words in mind, we want to pay attention to that which is already existing, reading aloud texts that bring focus to the immediate moment. This collection is a library of sorts, however, it is more usefully understood as a resource for those whose preferred mode of engaging with texts is audio-based. It's also for the exhausted cognitarians – for the students, artworkers, artists and overeducated now charged with the invisible and
often unpaid labour of preventing capitalist systems of knowledge production from de-railing. Here we have assembled sonic translations for incredible texts that we should and could be reading but may have no
such time or access to.

MINI AUDIO Library points outwards
to external links, resisting another taxonomy. Sources include: Documenta 13, MayFly books, Precarious Workers Brigade, Carrot Workers Collective, un Magazine, Libcom, Lotta Feminista, Mutual Aid Database, Coronavirus Syllabus (a crowdsourced cross-disciplinary resource), and Mute (who are ‘anti-copyright’). We’ve also sought permission to include texts by a selection of artists and writers.

MINI AUDIO Library’s texts, generously read aloud by a number of readers, will be released each day for the duration
of the project, circulating via MUMA’s social media platforms and hosted on SoundCloud.

Today we begin with WHY I WRITE SO LITTLE (My limited access to the print world) published in the current edition of un Magazine 14.1: Care, edited by Elena Gomez and Rosie Isaac. 

limited access to the print world)
is © Copyright 2020 Sam Petersen and
un Magazine and the authors, artists, designers, photographers and other contributors.

We wish to thank Sam and un
Magazine for their generosity in
sharing permission to read the text.
A PDF version of 14.1: Care is available on the un Projects website. Please subscribe here.

We also thank all artists and writers whose work appears in this project via special permissions or Open Source, anti-copyright, Utopian Copyright and Creative Commons licence; all readers who lent their voices; and Hannah Mathews, Francis Parker and staff at MUMA.

1 Sam Petersen, “WHY I WRITE SO LITTLE (My limited access to the print world),” un Magazine 14, no. 1 (2020).



Sam Petersen
WHY I WRITE SO LITTLE (My limited access to the print world)
Read by Amy Stuart

Claire Fontaine
Human Strike Has Already Begun (excerpt/s)
Read by Lei Lei Kung
Sarah Rodigari
Composition for Eight Voices (Withdrawal)
Read by Sarah Rodigari

Laboria Cuboniks
Xenofeminism: A Politics for Alienation – Mandarin Version
Read by Luyuan Zhang 张鏴元
Laboria Cuboniks
Xenofeminism: A Politics for Alienation – English Version
Read by Carmen-Sibha Keiso

Bernadette Mayer
Utopia (excerpt/s)
Read by Clare Longley
Jackie Wang
Against Innocence: Race, Gender
and the Politics of Safety

Read by Fjorn Butler
Isabell Lorey
Governmentality and Self-Precarity;
On the Normalization of Cultural Producers

Read by Gabriella D'Costa

Ari Tampubolon
Symposia: On curating the self-reflexive, meta-didactic, hyper-aware, and perhaps, the irony within it
Read by Ari Tampubolon
Hito Steyerl
The Institution of Critique
Read by Hannah Mathews

Peter Cripps
Recession Art and Other Strategies
Read by Ari Tampubolon
Carrot Workers Collective
Surviving Internships, A Counter
Guide to Free Labour in the Arts

Read by Francis Parker
Mariarosa Dalla Costa
Seven Good Reasons to Say “Locality”
Read by Emily Floyd

Marina Vishmidt
What Do We Mean By ‘Autonomy’
and ‘Reproduction’?

Read by Isla Scott
Beatrice Rubio-Gabriel
The Rise of the Neo-Environmental 
Read by Beatrice Rubio-Gabriel

Hana Pera Aoake
We begin floating in a womb
Read by Hana Pera Aoake
Nikos Papastergiadis
Notes without Notebooks:
Freehand Cornelius Castoriadis

Read by Evie Liolios

Fred Moten and Stefano Harney
The Undercommons: Fugitive
Planning and Black Study
Read by Andrew McLellan,
Melissa Ratliff, Benjamin Forster
and Julia Bavyka
Precarious Workers Brigade
with Silvia Federici

Training for Exploitation?
Politicising Employability
and Reclaiming Education

Read by Beatrice Rubio-Gabriel

Herman Melville
Bartleby the Scrivener:
A Story of Wall Street

Read by Diego Ramirez
and Carmen-Sibha Keiso
How is it to be done?
Read by Hana Pera Aoake


01 Agatha Gothe-Snape       02 A Constructed World
03 Art You Can Wear       04 Léuli Eshrāghi

The MUMA ONLINE design identity draws on the formal parameters of standard screen resolution and two-point perspective to suggest an exchange of both physical and online pages. Design: Ella Sutherland

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MUMA acknowledges the Boon Wurrung and Wurundjeri peoples of the Kulin Nation on whose lands Monash University is located. We pay our respect to their Elders, past, present and emerging, and celebrate the rich, ancient and continuing art cultures of the Aboriginal and Torres Strait Islander peoples of Australia.

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