Category Archives: #37

#37

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

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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

 

#37

Show 606: Strippd-down 01 Fear (CKUT)

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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

#37

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

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IMG_7584

“(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/).

#37

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

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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/

#37

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

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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/

#37

Show 601: Dive (Wave Farm / WGXC)

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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.

#37

Show 600: Special Collage by Chuse Fernandez (Tea FM)

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RADIA 600 IMAGEN
600 is a wonderful number. Can you hear it?

The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe.
The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form.
The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
On 3–7 February 2005, there was a first meeting of radio stations in Berlin under the banner of NERA (New European Radio Art). The decision was taken to start a broadcast season the following April, and an email discussion list was set up on which the name Radia was finally settled on.
The originally Radia found members were 9 radio stations and now we are 29 radio stations, webradios and art-radio projects that broadcast the Radia weekly show and produce shows in turns.
Can you hear it? This is creativity and sound art. This is RADIA. Welcome.

#37

Show 599: Noisy Casseroles by Geronimo, lyl6baz, ArtU ( Radio Panik )

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Mardi 12 juillet 2016, 8h du matin. Bruxelles, Quartier Européen, en pleine semaine de négociations autour du TTIP, ce traité entre les États-Unis et l’Europe discuté depuis des mois dans le plus grand secret. La population s’indigne et exprime son mécontentement à travers « TTIP Game Over », une série d’actions de désobéissance civile. 300 personnes se postent devant le lieu des négociations, casseroles et cuillères à la main, pour faire du bruit à l’arrivée des négociateurs. Pendant que le peuple bat la casserole, à quelques mètres, trois individus, situés dans un espace parallèle, créent un autre bout du réel. Quand un slogan est crié à tue-tête sur le trottoir, incitant la fin des négociations, la voix lointaine d’un objet perdu se remémore son terrible chemin vers une grande surface. Quand une cuillère frappe le tintamarre sur une casserole, un ongle gratte le dos d’une poêle striée.
Ce trio explore la situation sonore en portant ce réel dans une fiction radiophonique, comme témoin in situ et acteur de ce prolongement. Le dispositif utilisé reprend celui des activistes : casserole de métal, poêle en fonte, bidon d’huile, boîte de conserve, etc., tout ce qui peut faire du bruit. La démarche consiste à offrir une expérience sonore au public non présent sur place : celui qui écoute la radio, en l’occurence, ici, une radio libre bruxelloise, Radio Panik (www.radiopanik.org). Le collectif a travaillé sur un dispositif d’ustensiles de cuisine et de micros contacts permettant de nuancer les sonorités, de démontrer la portée de la casserole, cet objet de tous les jours et de tout le monde, dans sa dimension musicale.
La démarche est empreinte d’un esprit de liberté et d’une idée de réappropriation : les différents objets-instruments se sont passés de mains en main durant la performance et chacun a pu les expérimenter selon sa sensibilité. Cette pièce sonore est une improvisation.

Tuesday July 12, 2016, 8 am Brussels, European quarter, in the midst of a full week of negotiations about the TTIP, this treaty between the United States and Europe, which has been discussed for many months in deepest secrecy. The population reacts and voices their disapproval through civil disobedience demonstrations, known as “TTIP Game Over.” Three hundred people take up positions at the site of the negotiations, pans and spoons in hand to create a hullabaloo at the arrival of the negotiators. While the people beat their pots and pans, three individuals situated in a parallel space, create another version of reality. While a slogan is shouted loud enough to be heard across the land, encouraging the end of negotiations, the lone voice of a lost object looks back on its terrible journey towards a supermarket. While a spoon hits on a casserole, a nail scratches the back of a grill pan.

This trio explores the auditory soundscape, transporting this reality into a radiophonic fiction, as a witness in situ and as an agent of this ongoing event. The devices used are similar to the ones used by the activists: metal pans, cast-iron pans, oil cans, cans etc., anything that can make a racket. The objective is to recreate a sound experience for the public who is not on site: the radio audience, a community radio from Brussels, Radio Panik (www.radiopanik.org). The coalition has worked on a device based on kitchen tools and contact microphones creating fine nuances of sound, to demonstrate the significance of the pots and pans, these everyday tools for everyman, showcasing their musical dimension.

The proposed procedure is characterised by freedom and an idea of appropriation: the different objects-instruments were passed from hand to hand during the performance and everyone experienced them according to their own perception. This sound piece is an improvisation.

Geronimo | lyl6baz | ArtU
Radio Panik (Bruxelles)

#37

Show 598: Xylotheque by Eli Gras (radio Worm/Klangendum)

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eli

Eli Gras;

I was kindly invited to do a residency at the Worm, for to develope a work related to the idea of a hypothetical psychology of furniture and a possible communication, sort of a language amongst them in relation with “the human world”, that evolves and spreads to other household materials, resulting in a group of tracks trying to somehow express it with a certain narrative; like an electroacoustic sounds theatre fantasy, close to music, but not totally music, it’s in some way an “animistic” sound work.

I mounted it in between talking parts, forming sort of a little parody, almost a homage to the para-scientific radioplays, to prepare the listening mind and orientation of the concept, also explaining a little tale in order to add a ‘language’ touch to the bunch of absurdity that contains the edited work.

The sounds were taken from the Rotterdam city environment (hostel stuff, supermarkets, streets…), the Worm building (the rooms, furniture, synthesizers…), in Barcelona (houses of friends, parties, supermarkets…) Really every dot has a little history.

Credits:

Locutions: Jesús Brotons, Eli Gras.

Mastering: Albert Guitart (<http://alb-estudi.com>alb-estudi.com)

Thanks to:

Lukas Simonis and the Worm/Klangendum crew for the opportunity and patience, Ramon Faura for the rhythm pattern and to allow me to record his grandma’s home objects, to Antoine Manent and Florenci Salesas for the extra ears.