Show 610: Täglich Tapes, by Lucinda Guy (Soundart Radio)

tape_recorderWith my family, I spent October at the Radio Revolten Festival in Halle (Saale) along with many other Radia artists, and the global radio art community. This extraordinary, elaborate, dignified and vital event broadcast live on FM and MW in the city, and through many other channels. Live art surrounded us, including performances at the festival HQ, and a rich sense of community, built through artistic collaborations, late night conversations, shared food, and care for one another and for those we were broadcasting to. As the outside world felt at danger from the rise of reactive, violent political perspectives, the need to broadcast art, and for that art to be whatever it needed to be, felt increasingly significant.

30 days of Radio Revolten, 30 C15 cassette tapes, 1 tape filled each day. 1 minute of each tape is selected here for you.

These are not a representation of this amazing festival, its artists and broadcasts, but mostly a tuning-in to the moments in between. In the heat of experiencing radio art, I rarely remembered to record anything. The cassette players were awkward to carry around, and sometimes I couldn’t be bothered. Moments of Revolten broadcasts were taped back at the flat we stayed in, and sometimes off the radio set downstairs in the Revolten HQ cafe. These recordings are low quality, irritating, and vague.

Listening to the radio art installations at Rathausstraße 4 brought a new ear to Halle’s city centre, roaring away outside the building. Trams, buskers, church bells, passing conversation and weather kept the festival radiating around the city for anyone who had passed through the building. Choosing to capture my month in Halle on cassette freed me from trying to make beautiful and precise digital recordings. The tape recorder often stayed in my bag, was grabbed by others, or licked by the coypu in the park. Still the sounds shine through the medium – here my memories are not relived, eerily like the original moment, but behave more as memories do in my mind – damaged, deteriorated, remade, rearranged and lost in time.

Thanks, love and apologies to everyone at Revolten, particularly those whose voices have unwittingly appeared coypu_tapehere.

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Show 609 : Enfonçures by Thomas Turine (Radio Campus Bruxelles)

enfoncures Hichem Dahes-1

For acsr 20th birthday party, Thomas Turine performed an electronic live version of Enfonçures. He previously composed this soundtrack for Caroline Logiou’s theater piece based on Didier-Georges Gabily’s poem, about the 1st Gulf War.

Thomas Turine is a composer, a musician and a sound artist. He has created and is leading the Cosipie Ensemble which gathers musicians, singers and actors. They work together on his contemporary musical compositions and his musical theatre pieces (“88 Constellations“).

He also works with artists from performing arts, plastic arts and auteur cinema. He started off his musical journey as a child with folk music, then he discovered new wave music (LVDCR), rock music (Major Deluxe 2001-2009), acid-house and electronic music (Sitoid 1996-:::).

Since 2002, he’s been closely working with stagedirectors, movie makers and choreographers who are interested in exploring contemporary forms and making new creations. He both composes the music pieces and designs audio spaces. He has created the electro-acoustic sound system for about 60 pieces. He invents his own instrumental composition process, either on computers or on paper. He turns his composition into something more plastic. He likes to take on a visual representation of the world and creates a new one. His work on space, both in the matter of his musical composition or the sound spatialisation tends to work itself in a subliminal way so that the perception of his pieces are organic. The body of the listener has to be engaged and engrossed. He intends his music to be a place of encounter with the listener.

In 2013 with acsr, he creates HO, an abstract radio piece based on sounds collected in Iceland. With the acsr too and the ONA, Thomas launched in 2016 the In Ouïe project, a thinking and exchange project on hearing, between blind people, sound practitioners and everyone.

picture © Hichem Dahes

www.thomasturine.com cosipie.bandcamp.com www.acsr.be/production/ho

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Show 608 : APL-C06_GH (Radio Grenouille)

APL-C06_GH
1 minute + 1 minute (remix) x12

Here is a sound collage composed of works of students in Plastic Arts (Aix-Marseille University).

Radia_s38_n608_Radio-Grenouille_APL-C06_GH

 


Code : APL-C06_GH – Plastique Sonore
Setpoint 1 : realize a 1mn piece, focusing on the editing effects.
Set 2 : the piece is transmitted to another student to be remixed.

Each student then produces a piece and then receives one to be remixed.
The sources are free, but the exercise is designed to explore the characteristics of the selected sounds and their shaping by digital audio mixing and editing tools.
You will hear a minute, then his remix, in a course sometimes crude, where the sounds explode.

The first and last pieces are solitary because they were produced last year.
A circulation, from one cycle to another …

Final assembly made at Atelier-Studio Euphonia

…………………………..

Voilà un collage sonore composé de travaux d’étudiants en Arts Plastiques (Licence 2 – Aix-Marseille Université).

Code : APL-C06_GH – Plastique Sonore
Consigne 1 : réaliser une pièce de 1mn, en se concentrant sur les effets de montage.
Consigne 2 : la pièce est transmise à un autre étudiant pour être remixée.

Chaque étudiant produit donc une pièce puis en reçoit une à remixer.
Les sources sont libres, mais l’exercice vise à explorer les caractéristiques des sons choisis et leur façonnage par les outils de montage et mixage audio-numérique.
Vous entendrez une minute, puis son remix, dans un parcours parfois brut, là où s’explorent les sons.

La première et la dernière pièce sont solitaires, car produites l’année passée.
Une circulation, d’un cycle à l’autre…

Montage final réalisé à l’Atelier-Studio Euphonia

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Show 607: Women Wage Peace March of Hope 2016 (KolHaCampus106fm)

wwplogo201410WWP_Ruty Kedar Lior

a Sound march

As part of the Women Wage Peace movement in Israel and Palestine, On October 19th 2016 I joined the last day of the March of Hope. We travelled from the Western Galilee to the dead sea where we met our Palestinian partners, then travelled to Jerusalem where we marched to the house of the Prime minister to conclude the march with a final assembly.

At the approach to the street of the Prime Minister’s residence a black barrier was present.

Supported by worldwide solidarity events and the participation of the Liberian peace activist Leymah Gbowee thousands of women marched throughout Israel between October the 4th and October the 19th. The march demanded from the leadership of the state to work with respect and courage towards a solution to the ongoing violent conflict, with the full participation of women in this process. Only an honorable political agreement will secure the future of our children and grandchildren.

Speakers/Singers in order of appearance:

Laymah Gbowee, Dvora Pearlman, Women of Shefa-‘Amr, Laila Najar Amouri, 

Clemence Abud, Talia, Guy, Huda Abuarkoub, Hagit Lavi.

recorded, edited and produced by Meira Asher.

Photo: Ruty Kedar Lior

http://radioart106fm.net

 

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Show 606: Strippd-down 01 Fear (CKUT)

The first instalment of Strippd-down radio is an exploration into the experience of fear, as told through phone interviews. The segment attempts to demonstrate different experiences with fear through experimental audio and is entirely unscripted.

Strippd-down is a collective that aims to to deconstruct the way we consume and create media. Stay tuned for more.

For inquiries email strippd.down@gmail.com. Don’t get caught up; get stripped down

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Show 605: (T)HERE by Keith W Clancy (eastsidefm)

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“(T)HERE” is one of a series of works I have made mediating electronic and acoustic sound to create imaginary spaces that nonetheless refer to an actual place. At the back of my garden there is a wall that at night reflects sound coming from the rubbish disposal operation centre some kilometres away. This piece is made entirely (with the exception of the two drones that come to prominence in the second half) from recordings made on the walk from my back room where I worked on it all the way down to the rubbish centre: traffic sounds, trucks loading, beeps and alarms, birdsong from blackbirds and currawongs, rain and insect sounds, reflected echoes from a distance etc. Many sounds are heavily granulated and pulverised to become abstracted noises with something of the original timbre preserved. The high pitched “strings” are concrete sounds put through filters tuned to the pitches present in the song of the blackbird. The basic pitches of the two drones in the piece are tuned to the birdsong as well. The basic idea of this and other environmentally derived works like it is to present and simultaneously disrupt this “tuning of the world”.

Keith W Clancy is a Melbourne-based composer, sound, video and installation artist. He currently studies sound at RMIT and was trained primarily in philosophy and fine arts some time late last century. His most recent work was “Corrective Services” for computer controlled organ and electronics performed on the grand organ of the Melbourne Town Hall (https://soundcloud.com/keith-w-clancy/corrective-services-for-organ-and-electronics-live-recording). He also performs and records long-form drone works under the name Wolftöne (https://wolftoene.bandcamp.com/).

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Show 604: Falling Stick (XL Air)

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Show 603: Postcards from ISISTANBUL by 2/5BZ, aka Serhat Köksal (Reboot.fm)

radia_s37_n603_gozel_serhat_koeksal_reboot

Selected set pieces from Gozel Radio’s 2014-2016  broadcasts : ” Postcards from ISISTANBUL ” .
New global power complexes demand new multi-sensory ways of seeing power and sensing one’s own position in it: new sets of sensory politics. Following the concept of “altered states”—a geopolitics spectralized by sensory overload and dispossession and by the relocation of power in the post-democratic or post-digital era— the 2/5BZ works ” SERHILDUB vs. ISISTANBUL ” reconsider what is (or was) referred to as  Sustainable ISISolation States, TISA-ISIStanbul Hologram Doctrines, Spywarezullah Harassment Agencies, Golden Age Palaverel Universes, Eurottoman and Nattoman Empire/Autonomie of Hardcore Ultra Modernism.
2/5BZ, aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991. The work often balances on the verge of trash, and continuously engages with remakes and collages of music, cinema, speech, and field recordings. 2/5BZ has performed live audiovisual performances under motto ”NO Touristik NO Exotik” in 91 cities in clubs, festivals, squats, and exhibitions.
https://2016.transmediale.de/content/25bz
http://2-5bz.com
http://2-5bz.tumblr.com/criticzphotoz
http://reboot.fm/category/gozel-radio/

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Show 602: Otitis media 29 (excerpt): Con-(fi)-re 02 (Radio Student)

2014-11-03-om-29-con-fi-re-02-33469 (1)

Paul B. Preciado calls for the universal use of dildos in order to denaturalize sexuality, to infect it with a thing that is not a copy of a penis but an object that is both a way to appropriate the ass as the universal passive and non-reproductive organ that all people have and a way to multiply sexual acts, distributing them throughout the whole body. In this radio show, simply called “OM 29 – Co-Fi-Re (Conceptual Field Recording) 2”, I’ve tried to create an analogon to this notion of denaturalization, which this time comes in the shape of denaturalization of the machine of mechanic reproduction, the recording device Zoom H2N, which is no longer used only as a device to reproduce reality, but a device which directly addresses the feelings of a subject who holds it. Denaturalization comes hand in hand with the fact that on the secondary level the recording device is still doing what it was devised to do ñ it records ñ but its primary practice is interwoven with the subject, who is afraid of walking in the dark in the foreign country and in the fields xe has never walked before. Subject knows what can xe expect, but xe never experienced it before. The flow of affects is pouring in xem, but the only thing to reassure xem that xe will be all right, is the device, which was primarily meant to only reproduce reality. The recording device Zoom H2N stops reproducing reality and stops being a substitute machine for capturing reality and becomes something else. (Andrej Tomaûin)

http://radiostudent.si/kultura/otitis-media
http://www.radiostudent.si/

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Show 601: Dive (Wave Farm / WGXC)

Dive into the Wave Farm pond to hear a different sort of radio waves this week. Zach Poff’s Pond Station is a set of hydrophones at the bottom of one of the ponds at Wave Farm in rural New York. The solar-powered webstream runs from dawn until dusk, and, occasionally, artists interact with the waves. Hear, listen to artist Zach Poff explain the pond station, and hear artists Ralph Lewis and Jeffrey Leppendorf play with the pond sounds. Also, Neptune’s “Marconi’s Belief” opens the show.

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