Title of Example:
Ake Hodell USS Pacific Ocean


Group Members: Keith Vislay, Jerry Chifari


Publication info:

Website- http://www.ubu.com/sound/text-sound.html
Title- U.S.S. Pacific Ocean
Author- Ake Hodell
Publication Info- Sveriges/Fylkingen (1968)

Media format:

MP3 embedded in web page via QuickTime.


Audible word


Fans of abstract story telling, anyone interested in communication

MS Keyword:

audio; Morse code; wartime; swinger; ideals; reality; the masses; non-interactive



This is an audio file that has been carefully edited using existing sounds and sound bytes. It is meant to sound as if it is filtered through 30's or 40's radio waves. All the listener can do is listen and imagine for themselves why the file plays a certain way, although the listener may understand the loose, untold narrative by the end.


This is an experimental MP3 mix that is meant to stir abstract emotions within the listener; it begins with a simple Morse code message that seems to be garbled, or at least layered. It then goes to a live radio broadcast of the President of the United States of the time. The mp3 subsequently has a range of sequenced sounds such as radio broadcasts from another language (likely Japanese), a response to Pearl Harbor, oil product placement, and a warning of destruction. This routinely gets interrupted by either an anthem or old "swinger" music of the times. This begins to clash all together at the end until finally a bomb explosion silences the world's noise. It is meant to evoke feelings of World War II and the tragedy of the atomic bomb.


Some audiences may find the repetition of sound bytes to be intolerable or even slightly maddening, but it has to be kept in mind that the redundancy of sound both reinforces the message of communication and also progresses the story. However, the wide array of sound used in this piece will shoulder some of the repetitive weight, ensuring that the listeners’ phonic palette remains well nourished.


This piece is a non conventional story told through audio samples which focuses on communication. It begins with rhythmically-communicative Morse code that dissolves into a flurry of indistinguishable beeps. This tonal hodgepodge is presently interrupted by a clear, understandable voice, and a concrete message is presented for the first time in this piece.

As the listener continues to absorb the piece, he/she notices that the audio sidesteps the line of communication, dancing between English voice, digital sounds, foreign voice, and music. This is important because it establishes the arbitrary connectivity of communication: All forms of communication were created from nothing, but they can all be individually understood.