Show 536: Live ASMR by Marie Toseland and Sophie Mallett (Resonance104.4fm)

Live ASMR ASMR is Auto Sensory Meridian Response.
The ‘response’ is a pleasurable tingling sensation on and around the scalp, caused by certain ‘triggers’. More often than not ASMR has a strong connection to intimacy, although pleasant and intimate does not equate to sexual.
You may know of ASMR through its community of millions of youtube users. They are (mostly) young female artists staring earnestly into the camera as they gently caress microphones and domestic objects.
ASMR videos are a shortcut to the physical remnants of intimacy. They are created to replicate distinct sensations of stimulation to a diverse but invisible community of ASMRers. The imagination behind this clandestine physicality is superficially intersected with roleplays of mystic hypnosis, new-age relaxation and shamanic rituals.
Tune in with headphones to hear a live binaural sound work using familiar ASMR triggers and the female gaze. Marie Toseland and Sophie Mallett team up to explore the sonic results of an online obsession with intimacy.

Marie Toseland is an artist currently based in London. She works across sound, object making, photographic practices, and performance. Her interests include (but are not limited to) the voice and lyricality of speech; female sexuality; and the process of memorialisation and dread of forgetting. She is an associate at Open School East, London. Forthcoming exhibitions include The Sunday Painter, Northern Gallery of Contemporary Art, and Hauser & Wirth.
Sophie Mallett is a London based artist and radio producer exploring sound through the social, and the social through sound. Her background in music, radio and documentary have led to a practice that focuses on sounds’ intersection with affect, politics and value. She is currently an associate at Open School East, working with experimental musician Robbie Judkins as Nim and hosts Sonic Blind Dates on Resonance FM.

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Show 535: Easter (Kanal103)

konjskoWe had several spare days for the Easter holidays, so we went to small town Resen and Prespa Lake. There was still snow on the mountains around, on Baba and Galichica, but here the day was sunny and bright. There are several nice villages around the lake and we took long walk from Stenje to Konjsko. The others went to the near monastery, but i went to the small beach of Konjsko. On the way down to the beach there was a huge dump, the results of the civilization. Obviously it was done by the people of the village. Whenever they go to the beach they have to pass by it. And of course nobody was doing anything about it. Reminding us of our civilization and its consequences.

I set at the sand near the water and was listening to the birds that were flying or diving into the water. There are lots of endemic bird species nesting around on the bay and on the near island. I started playing with the shells and the cane branches. Was relaxing and meditative. The water drops, shells, cane crackling… Birds were singing… making me forgot about all that was surrounding me.

This is an audio story of this day, written through recordings done on the small beach of the village Konjsko. This is an audio story about nature, but also about our civilization.

Story, recordings and editing: Toni Dimitrov for Kanal103 and

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Show 534 Rios Enclausurados – Marco Scarassatti (Radio Zero)

Rios enclausurados (Enclosed Rivers) is a poetic and political construction of a sound space created by editing the sounds of various streams and rivers which have been artificially channelled in the city of Belo Horizonte. This Brazilian city has approximately 150 km of streams and rivers, a hidden population channelled into true underground dungeons visible only through exposed iron grids in the street. The sonority of this work reveals the existing dungeons in the city. In them, a prisoner is forgotten, the urban project serving to render him invisible and silent. However, when you get close to the grids you soon realize the power and sublimity arising from the idea that, at any time, the river can, with all its strength, break free and decide its own course. It was my first year in Belo Horizonte and, having been influence by the theory of derive, I was taken, one day, by the a sound coming from underground which I heard while walking down one of the central streets. I approached a fence that was in the street and was surprised by what I saw and heard. After that I started paying attention and realized that the whole city had the same type of grids scattered along the street. When I started recording the sounds of the river I positioned the recorder between the bars in the grid – I usually did this alone, and some streets were dangerous. Then in 2012, I started recording with Fernando Ancil, a visual artist friend and we created a sound installation along Avenida Afonso Pena, one of the city’s major thoroughfares. In this installation we created an aerial river using more than 40 speakers arranged at intervals of 350 meters up and down the avenue. The idea was to create an acoustic overflow so as to enable the city to once again hear the river. In Rios enclausurados, released in 2015 by Seminal Records, I composed two tracks from edits obtained from several rivers and streams recorded. I think the pieces do not allow for distraction whilst listening. Move the normative sense of the music so as to interrogate, in an interventionist mode, a way of listening to the city. The tracks carry with them a way of doing and a form of sound audibility which has been divorced from everyday living in the city.

Marco Scarassatti (1971) Sound artist and composer, undertakes research and building sculptures, installations and sound emblems. He is a professor at the Federal University of Minas Gerais – UFMG.
Participated with musical pieces and performances of the following festivals: ISIM Conference (EUA, 2007), 3ª Bienal Patagônica (2007), Encuentro de Arte Sonoro Tsonami (Chile, 2007) Buenos Aires 2009 e 2011, Festival Zeppelin 2008 (Espanha), Encontro de Música Improvisada de Atouguia da Baleia, o MIA (Portugal 2013 and 2014). Created and participated in Stracs Harampálaga group, which was dedicated to sound interventions in public spaces,Olhocaligari, poetry and experimental music and the Sonax Group, with which carries out work to date. With this group recorded by the European label Creative Sources Recordings cd Sonax (2008). Master in Multimedia and Doctor of Education has published articles in the areas of Soundtrack, Music Education and Curator of Contemporary Music. Curator of the exhibition Paisagens Plásticas Sonoras (2005) and the First Meeting of Improvised Music, held at Unicamp in December 2007 and creator of Encontro de Costas, meeting with Portuguese and brasilian experimental musicians. He is the author of the CD’s Novelo Elétrico (Electric Clew, Creative Sources Recordings, 2014) and Rios Enclausurados (Cloistered Rivers, Seminal Records, 2015) and he is the author of the book Walter Smetak, the alchemist of sounds, publisher Perspective / SESC (2008).
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Show 533: Day-by-Day (Soundart Radio)

Aunt Kate's Day-by-Day Book

Aunt Kate's Day-by-Day Book

I woke up with a sense of dread. I had forgotten to do something important. What could it be?

One of those things that springs into my mind at inopportune moments, when I can’t do anything about it, or even write it down. Something that I had suddenly, and with panic, remembered this way many times over the last month, but failed to do anything about.

Oh yes, the radia show. We should have made one and we have left it too late. Think of all the poor artists, who would love, love, love to make a show for radia – I only needed to ask someone, when there was still enough time. Now, what to do? I should email the list with some inane and dishonest comment, like ‘Yes, we’re nearly there, just getting the jingles on…’ Then I fell asleep again, and forgot all about it.

The next day, at our studio: I came in while Alex was interviewing Heather on his show. Heather had brought her ukulele and was singing ‘spirit songs’ she had ‘received’. She asked me how old I was, I said I was born in 1973. Heather – Oh, you are a couple of years younger than me and Alex. You are going through your midlife crisis. (I don’t think I am.)

They were talking (on air) about Disneyland Paris. Alex said he had been there once as it was the location of a Buddhist meditation festival he attended.

I had Aunt Kate’s Day-By-Day book with me – A Thought, A Recipe, A Household Hint, for every day of the year. (1937). My plan was to read this out loud, play a few musical instruments, and loop the whole thing back through our webstream. When I got home later on, I said – that’ll have to do. I’ll edit some of my show and use it as our radia show.

If I were to attempt to artistically justify this piece of audio, I would argue that by looping Aunt Kate’s disgusting recipes (‘sweet omelette’, ‘skate salad’) and her cheery words, originally written for and marketed at young women trying to create homes for their husbands and children, we can fully explore the irritating, nagging and incessant voice that tells us all to be better people, cook worse food and remove stains from leather chairs. Also, that the rather random and destructive process of continually looping through the webstream, compressing the signal again and again, sometimes produces rather nice results.

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Show 532: “Maria, Mariza and maybe Marianna” by Aurélie Lierman for Radio Campus Bruxelles

“Maria Mariza and maybe Marianna” is a soundscape with a selection of rough and manipulated field recordings from Tanzania, Cyprus and The Netherlands.
Created for Lost & Found (Young SDH/Korzo Theater), this radio composition was originally performed in a 6.2 surround speaker set up. It was premiered at Todays Art 2014, Den Haag (NL) but has never been broadcasted on the radio.

Composition: Aurélie Lierman (BE/RW)
Voices: Aurélie Lierman, Maria Avraam (CYP), Mariza Anastasiades (CYP)
All works are copyright protected via SABAM.

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Aurélie Lierman (Karago, Rwanda °1980 )
Aurélie Lierman was born in Rwanda but grew up in Belgium from the age of two. She’s an independent radio producer, vocalist and composer. Lately Aurélie Lierman is trying new directions by fusing radio art, vocal art and composition. Her main focus is her personal field recordings: a large collection of unique sounds and soundscapes from rural and urban contemporary East‐Africa. Sound‐bit by sound‐bit she’s transforming and sculpting them into something she would call “Afrique Concrète”. Aurélie Lierman’s work has been broadcasted, exhibited and performed in Belgium, The Netherlands, France, Portugal, Germany, Italy, Austria, Romania, Israel, Cyprus, Switzerland, Ireland, UK, Morocco, South Africa, etc.
In May 2014 Aurélie Lierman won the First Prize at Monophonic 2014 (Brussels) for ‘Anosmia’, a radio composition reflecting on the Rwandan Genocide. In 2013 Aurélie Lierman won the 1st prize at Sonic Art (Rome) for her radio composition KARIAKOO ( a sonic portrait of a lively neighborhood in Dar Es Salaam, Tanzania). In the same year, she also won the 3rd prize at Grand Prix Nova (Bucharest) for her radio composition ‘iota mikro’ (based on field recordings from her birthplace, the Karisimbi vulcano, in Rwanda).
Aurélie Lierman had two album releases in collaboration with the British cult-group Nurse With Wound ( [SIC] 2013, “Santoor Lena Bicycle” 2014 on which she appeared as a sound artist and vocalist. Currently Aurélie Lierman is developing a series of site specific installations, performances and electro acoustic compositions for “Meanwhile, in Fukushima“. Some of them will be premiered this summer 2015.

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Show 531: Guide of peripheral conversations in 26 lessons (Adeline Debatisse for Radio Grenouille)

The guide of peripheral conversations in 26 lessons and 28 minutes is a method composed by Adeline Debatisse. This method is an audio and vocal alphabet book in 26 letters and 26 lessons in order to listen sound of others.

This vocal, musical and pedagogical method help you to explore what there are between our words and to listen peripheral tunes of our language. After listening, you will able to hear a lot of new features of oral language: the b-side parts of our talks: sound of our vibrations, their emotional intensity, their singularity.

NB: Watch out ! Every conversations and exercices use an authentic language, pronunce with a normal speed. You will have some understanding problems, especially at the begining. To get used to theses plural voices, you must perservere to continue to read between the lines. Every lesson is made up of vocabulary and conjugation exercices, we add some additional exercices of anatomy, singing and biology.

In order to learn all of the new vocabulary, do not hesitate to repeat aloud what you are listening in a second time. Do not forget, when you are practicing that you don’t have to find the good words, you just have to listen and pronunce the best as you can.

A special thanks  to the plurals voices of this audioguide : Ed Williams and his «Assimil» tone of voice, students and friends who play this game of special interview : Chloé Cyril, Florent et Isalyne. Also, i’d like to thanks all the Radio Grenouille team for their trust and their support. And a special thanks to the electroacoustic composition class of Cite de la Musique in Marseille for their precious listening.

Thanks in advance to the audience of the radia sphere.

To listen again this methode, click here:

Credits:  Adeline Debatisse


Guide de conversations périphériques en 26 leçons

Le guide de conversations périphériques en 26 leçons et 28 minutes est une méthode d’apprentissage composée par Adeline Debatisse. Un abécédaire sonore et vocale en 26 lettres et 26 leçons pour écouter le bruit des autres. Cette méthode vocale, musicale et didactique vous permet d’explorer ce qui se trouve entre nos paroles et d’appréhender les mélodies périphériques de nos échanges.

Les exercices de dictions et de répétition que vous entendrez constituent un élément indispensable à l’écoute de toutes voix. Ils permettent d’étudier et d’entendre de nombreux aspects de la langue qui jalonnent nos respirations quotidiennes mais auxquels nous portons très peu d’attention, les à cotés et leurs vibrations sonores et affectives, les singularités de la voix.

NB : Attention tous les dialogues et exercices que vous allez entendre utilise une langue authentique prononcée à vitesse normale. Vous aurez sans doute des problèmes de compréhension, surtout au début. Il faudra persévérer car il faut absolument habituer votre oreille à ces voix plurielles pour continuer à lire entre les lignes.

Pour une exploration intégrale des périphéries vocales, chaque leçon est composée d’exercice de vocabulaire, d’orthographe, de conjugaison. Nous y avons ajouter des exercices complémentaires : d’anatomie vocale de chant et de biologie en fin de volume.

Afin d’assimiler l’ensemble du vocabulaire, n’hésitez pas à répéter à haute voix ce que vous entendez lors d’une seconde écoute.  N’oubliez pas en faisant ces exercices qu’il ne suffit pas de trouver les mots qui conviennent, il faut à tout moment vous efforcez de prononcer le mieux possible.

Remerciements aux voix plurielles:  Ed Williams et son tone of voice « assimil » aux apprenant(e)s et ami(e)s qui se sont prêté(e)s au jeu: Chloé, Cyril, Florent et Isalyne. Je tiens également à remercier l’ensemble de l’équipe de Radio Grenouille pour sa confiance et son accompagnement ainsi que les élèves de la classe de composition d’électroacoustisque de la Cité de la Musique de Marseille pour leurs écoutes précieuses.

Merci également à tous les écoutants et aux oreilles curieuses de la sphère radia.

Le Guide des conversations périphériques en 26 leçons est disponible à cette adresse pour une


Crédits : Adeline Debatisse

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Show 530: Lift Up Over Transmission (EastsideFM)

This is intended as an immersive participatory audio environment. Engaging in broadcast transmission means that each listener has their own unique auditory experience as a result of the sum of the environmental parts. For example, the sound reproduction technology (radio), the acoustic of the room it is situated within, the sounding activity and location of the “listener” as they interact with their physical space, the drifting in and out of focus as attention shifts from the listeners presence in the physical and the information from the transmission sounding device that aurally “colonizes” the physical space with its content. Bearing this in mind it is recommended that this piece be diffused at a reduced amplitude (low volume) so that divisions between the three environmental inputs: transmission media, ambient environment and participants sounding actions become blurred and result in a participatory immersive auditory event. This implies that the hermetically complete “work” no longer exists: The environment and the work can’t be distinguished.

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Show 529: double trouble (XLAIR)

This show has two parts:

PART 1 (0’00”-11’00”)

Départ, Arrivée

by Amber Meulenijzer, Lukas De Clerck, Lise Bonduelle

Temperature influences the speed at wich sounds travels.
We created a space where it gets colder and colder at one side, while at the other side it gets hotter and hotter. Two systems created by one microwave oven and one fridge. In turn, they create at their hand an ominous, mysterious feeling where the sound has to travel trough. Sounds will travel faster, slower, become one or disappear in the inertia of space.

PART 2 (11’00-28’00) =


by Dieter Van Dam, Alma Soderberg and Hendrik Willekens

this piece is an excerpt from a radio remix of the voice performance ‘Idioter’ by choreographer Alma Soderberg & musician Hendrik Willekens. Together they create a concert performance in which Willekens’ music supports Söderberg’s bodily movements and voice. She plays with syllables, intonation, cadence, gestures and dream language – creating a play between intensity and rhythm. The focus is on the flow. In addition the work includes drawings by Willekens: geometric landscapes that disappear into a single vanishing point. He makes these drawings over and over again whereby the expansion of the landscape becomes a theme in the work; each time the viewer is drawn towards the same ‘nothingness’.The audio was recorded in Het Stuk in Leuven on February 19th of this year. The sound recordings were then remixed with both influences for the performance and associated sounds by the artist.

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Show 528: Hidden Places _ Airplane Edit Iceland (

What comes to your mind if you think of a hidden place? Of a lost place? Of a place you found for yourself alone in the utmost wilderness. Four people share their stories. Mountain walks lead to Ice Elf City across rivers with a strange irridescent blue.

A combination of interviews and fieldrecordings, a rough edit done high up in the sky at night, in an airplace heading back to Berlin, 30.000 feet above the sea.

Jónìna Marta Arnasdóttir, IS
‘Susan Beattie, UK
Halldór Heiðar Bjarnason, IS
Charlotte Law, UK

Poem “Failed walk” and organ snippet by Charlotte Law. Martian language bit originally by Helene Smith (1861-1929).

My greatest thanks to Fljótstunga Residency and to the Goethe-Institut, Munich.

Field recordings & production: Gabi Schaffner/raw audio 2015

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Show 527: We Should Take Nothing for Granted! Listening Conditions for an Alert and Knowledgeable Citizenry (Radio Student)

 “We Should Take Nothing for Granted! Listening Conditions for an Alert and Knowledgeable Citizenry” 
by Matthew Biederman, Marko Peljhan, Brian Springer & Aljosa Abrahamsberg

Through the mining of the global radio spectrum for both recognizable voice communications as well as digital communications including encrypted, coded, open and proprietary modes, the work addresses current positions and debates  about the notions and structuring of  privacy, surveillance states, safety and active civic potentials to engage and re-imagine the relationship between the global citizenry and sovereign actors with the military industrial complexes including their visible, opaque and dark structures. 
The title is based on Dwight D. Eisenhower’s farewell address of 1961 wherein he warns of the dangers of an unchecked military industrial complex, the extinction of creative free-thinking within higher education, and the extraction of natural resources without consideration for their renewal. The address is extremely relevant today in light of recent revelations of massive surveillance programs, perpetual information and real wars, the reshaping of the university complex and intensified resource extraction. Eisenhower’s speech was not a dark forecast but instead stated that  ‘only an alert and knowledgeable citizenry can compel the proper meshing of the huge industrial and military machinery of defense with our peaceful methods and goals…’ The text serves as the foundation for a set of Systemic activities in the fields of communications security, data aggregation, analysis and display and retransmission. The work reflects on the conditions for the development of ‘an alert and knowledgeable citizenry’ in societal circumstances that, despite constitutional protections, do not warrant them.

Abrahamsberg, Biederman, Peljhan and Springer have been involved in activities dealing with the art and science of radio and telecommunications through the prism of radio art, technical culture, television, film, conceptual art, electronic music, media arts and tactical media since the 1980’s and 1990’s, in projects such as Ladomir-faktura, Makrolab, and Wardenclyffe. They are currently working on ‘Systemic tactical environments’ implementing the meshing of software defined radios, data aggregation, analysis and display.

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