Funfair
A patchwork of raw recordings from a funfair – screams and terrifying sounds, robotic voices, anti-capitalist songs and slot machines, carnival barkers, crackling loudspeakers, a parade in the night – all leaving the impression of witnessing a strange ritual.
recordings: spring 2026 in Nantes, France.
as or another is a composition/collage for radia.fm. Although sonically it contains almost opposite sound textures, from fast, loud free improvisations to (very) silent chamber music, it is still based on same compositional/improvisational strategies. The work is centered to main piece, as or another for piano and electronics, but starts with a collage of free improvisations by author. After both is two spectral compositions, based on previous piece: string quartet movement using free improvisation collage as harmonic/rhythmic material, and piece for sine tones based on spectra of as or another. A kind of four movement piece, where the last section contains also music from third part of the piece.
Jukka-Pekka Kervinen is a Finnish composer, musician and visual artist. He is a member of Wandelweiser composer-collective, active musician, and runs a few record labels dedicated to experimental music.
Commissioned by Paulo Raposo/Rádio Zero for radia.fm
Art’s Birthday 26 @ ESC -Medien Kunst Labor, Graz
Art’s Birthday (French: anniversaire de l’art) is the birthday of art, arbitrarily set in 1963 by the French Fluxus artist Robert Filliou (1926–1987) on the day of his own birth, January 17th, and 1,000,000 years before 1963.
Initiated as a tribute to art and intended to celebrate its presence in everyday life, this day of action is now celebrated annually and resonates worldwide. We are celebrating Art’s Birthday with a live broadcast from the esc mkl on Radio Helsinki in Graz 92.6 FM and the EBU Ars Acustica Group.
Initiated as a tribute to art and intended to celebrate its presence in everyday life, this day of action is now celebrated annually and resonates worldwide. We are celebrating the birthday of art with a live broadcast from the esc mkl on Radio Helsinki in Graz 92.6 FM and EBU Ars Acustica Group.
Excerpts from:
Deta: Afterimage
Nayarí Castillo und Hanns Holger Rutz: Invisibilities
Reni Hofmüller: Khipu meets Resonating Sculptures
Kanal 103 celebrated World Radio Day with a live experiment from our small capsule in space, performed by Martin Djorlev, Mae Josifovska and Vasil Jordanov. They are part of a new generation of Macedonian musicians who move beyond genre, toward risk, curiosity and sonic exploration.
SHUM / ШУМ (Macedonian for “noise”) is an open-ended experimental music project initiated by Vasil Jordanov, appearing in different incarnations and collaborations.
This is the second part of the live performance recorded on 13 February 2026.
It is the last radio session produced in the Kanal 103 studio before access to the space was lost again, arriving right on time for our 35th anniversary.
We’ll be back.
Photo by Aleksandar Nestorovski
Hello
Now that we are 20 years as a radio station and 20 years as a radia station, here are eleven shows from the first decade. Rather than selected clips, they are all playing at once, but mixed up-and-down-and-in-and-out through a largely intuitive process.
It’s a chaotic muddle with moments of beauty, just like running a community radio station.
Not a retrospective, as you can’t see it.
Featuring radia shows 102, 114, 126, 137, 175, 190, 219, 264, 342, 483, 584.
By Chris Booth, Stephen Cornford, GilbertandGrape, Sarah Gray, Lucinda Guy, Shelley Hodgson, Anna Keleher, Lona Kozik, Stormsmith Nomi, Alexander Paterson, David Prior, Claire Long, Andrius Savickus.
The Game takes its name from the attempts made by asylum-seekers to reach the EU via the overland border between Bosnia and Croatia. Located on the so-called Western Balkan migrant route—and only 10 kilometres from the border—Bihać has for the last 15 years been used as a point from which to attempt ‘the game’. Visible from the nearby monument on Garavice Hill is the local cemetery which contains a small, unkempt plot of graves of many who did not succeed—either drowning in the Una river after jumping off the trainline which snakes along beside it, encountering bears or unexploded land mines from the 90’s wars, or as a result of injuries sustained by the brutal push-backs administered by the Croatian border police. The monument, symbolising twelve weeping mothers looking out over their fallen children from the National War of Liberation (WWII), now takes on new meaning. 
Additionally, the title references the local football stadium which at the height of the migrant crisis was used as a makeshift refuge for asylum-seekers. In contrast to the rising authoritarianism in Europe at present which manifests as increasingly harsh immigration policies, Bihać was the first region liberated from Nazi-allied forces in WWII. It was here that the founding principles of Yugoslavia, including its anti-colonial engagement with the global south were first fleshed out, guided by the Partisan call-to-arms ‘Smrt fašizmu, sloboda narodu’ (Death to fascism, freedom to the people).
The composition unfolds over nine thematic chapters (five of which feature in this excerpt), each focusing on one part of the constellational matrix of sites related to Garavice. The composition progresses through abandoned spaces used as makeshift asylum-seeker accommodation, game day at the local football stadium, the fields around Garavice, a border crossing, and archives related to the site, concluding at the point at which a group of asylum-seekers prepare to make a covert, nighttime border crossing. Interludes highlight the geological settings of these locations, while at other points field notes appear in the form of voice over, ruminating on the listening process.
The Game was first exhibited as a 60-minute, 22-channel sound installation incorporating geological and found objects activated by exciters and reclaimed speaker components, in Naarm/Melbourne in February 2026.
//
Bio
D A Calf is a Naarm/Melbourne-based sound and installation artist and researcher, working predominantly with sound, text and photography to explore the remnants and dormant possibilities of failed modernisms. Through field work and archival research his practice contends with archives—impossible, hidden, contested, and otherwise—of place.
www.dacalf.com
www.instagram.com/d_a_calf
//
Dreaming is an essential activity in processing experiences and witnessed events. It helps us construct a sense of identity, reality and can (partly) help to process traumatic experiences.
Since AI is constantly confronted with the most violent content on the internet, the Sonic Research Kitchen thinks it is very important that we learn this new technology how to dream. How else can we expect it to process all the violence it encounters on the internet?
If we don’t act now, we’d better reserve the poor thing a spot on the waiting list for a decent psychotherapist.
This is our humble contribution in trying to learn AI to dream. With many thanks to the contributors who preferred to stay anonymous.
Yours truly,
Sebastian Dingens,
for the Sonic Research Kitchen.
About Sebastian Dingens
Sebastian Dingens plays around, and calls it research. He lets his mind drift and calls it improvisation. He makes drawings and calls them compositions. He turns knobs and calls it synthesis. He fiddles with recorded sounds and calls it radiophonic. But he is very serious about all of these things.
AI says that he works at the intersection of experimental music, listening practices, radio and sonic research.
He is fascinated by processes of geological erosion, processes of forgetting and the emergence of memories of never-lived experiences.
The truth, in the end, is one’s own perception of reality.
_________________
cardboard cartoon figures of board surfers on waves of distant ice ages publicity for pubic hair and wrinkled bellies
anorexic skeletons disguised as bones of dinosaurs
fascinating drawings of young children,
curiously smiling with white teeth of disillusion
In a state of introvert depression rage I go to war,
I go to fight my own anger
with the violence of my own blood
on the brown battlefield under a dessert of black clouds
I am seeing myself standing there
but I am looking inward with closed eyes
fatigued by useless attempts to stay human in a hopelessly sick world
________________________________
there’s an impenetrable forest,
a forest inside myself
and inside this forest, there’s a clearing. I am standing there,
in the middle of the clearing
of the forest
inside of myself
there’s no animals moving about.. except for insects
small little insects
crawling around
with the speed of light
….
segmented legs
weird flies
…
a thousand faceted eyes
observe me
I feel their gaze piercing
my own
harnass
….
through bark and bush
there’s only a slow peculation of light
a glimmering reflection
of what used to be hope
seeps through the leaveless branches of berches pale bodied
their skinns inscribed with badly healed wounds as if this groove remembers
a wound I have not yet spoken
…
But if we change perspective ….
I am sitting in front of the open window my legs are a curtain
through the open window
I see a field of refined flowers wheeping, still in the wind
there’s a lot of berchtrees.
my skinn is waving
it is a waving curtain
my skinn is a curtain, waving in the wind ….
the waving enlightens in me a burning desire
the waving enlightens in me an inseasable desire …
and through the open window I see
…
cardboard cartoon figures of board surfers on waves of distant ice ages publicity for pubic hair and wrinkled bellies
anorexic skeletons disguised as bones of dinosaurs
fascinating drawings of young children,
curiously smiling with white teeth of disillusion
In a state of introvert depression rage I go to war,
I go to fight my own anger
with the violence of my own blood
on the brown battlefield under a dessert of black clouds
I am seeing myself standing there
but I am looking inward with closed eyes
fatigued by useless attempts to stay human in a hopelessly sick world
– – –
Radia show curated by Carine Demange for Radio Campus Bruxelles.
A journey
Questions
What is the difference between a metro and an airplane ?
Between a shopping center and an airport ?
What does the light energy and the roaring sound of these mechanical movements tell us ?
2,364 meters above the ground. Drink a sip of water, 4,901 meters above the ground ;
“Would you like an apple juice, pepsi, coffee ? Milk, sugar ?”
A café at an altitude of 5548 meters.
It happens every day.
There are sparrows in Istanbul airport. On the trees.
On the trees that are in pots, IN the airport terminal.
A bird people in a cage, surrounded by metal birds, which fly high.
Who authorized me to take their place ?
It’s the economic one.
The economic trip.
radia_s57_n1102_ Le voyage économique
Radio Grenouille
Un trajet
Des questions
Quelle différence entre métro et avion ?
Entre un centre commercial et un aéroport ?
Que nous dit l’énergie lumineuse et les vrombissements de ces déplacements mécaniques ?
2364 mètres au-dessus du sol. Boire une gorgée d’eau, à 4901 mètres du sol ;
« Voulez-vous un jus de pomme, pepsi, café ? Du lait, du sucre ? »
Ça se passe tous les jours.
Il y a des moineaux dans l’aéroport d’Istanbul. Sur les arbres.
Sur les arbres qui sont en pot, DANS le terminal de l’aéroport.
Un peuple d’oiseau en cage, entouré d’oiseaux de métal, qui eux, volent haut.
Qui m’a autorisé à prendre leur place ?
C’est l’économique.
Le voyage économique.
All spaces and objects hold the memory of what has gone before. Vibrations and atmospheres persist over time and are stored, layered and can be recalled. Observations from the past can be felt upon entering a space or when touching an object. This is a subtle sense that is often lost in our present noisy and distraction filled world. This sound piece is produced from recordings made of ancient habitats and artifacts aimed at revealing embedded memories.
Jimmy Peggie
Jimmy Peggie works at the intersection of sound and visual language. His practice is built on introspection, quiet intensity and deep engagement with place and time. It is rooted in observation and the subtle textures, decay and imperfections found in natural and urban environments.
radia season 56 – show #1100 (radio x) – 74.48 dB(A) – by IGOR ŠTROMAJER
– playing from April 27 to May 3, 2026 –
74.48 dB(A)
Buffering Love in a Hopeless Place
A sonic datastructure.
Programmed, synthesized, and processed by Igor Štromajer and his computers
The title – 74.48 dB(A) – represents the measured average sound pressure level in decibel in the central processing hub of a data center, where the A-weighting curve simulates the human ear’s response to the raw acoustic power of the hardware.
The sonic datastructure 74.48 dB(A) is an acoustic dissection of a heretical technological sacredness. At the core of the composition lies the processor noise of a server hall, establishing a decaying, mathematical, techno-sacred experience through a monotonous sequence of hums and mechanical sounds. This non-human sonic landscape deciphers the materiality of the internet, which manifests through constant vibration, heat, and forced mechanical cooling.The server room transforms from technical infrastructure into a consecrated space of mathematics, a hopeless place where the biological body can no longer survive due to noise and sterility. Here, the data stream reaches its harmonic peak within a post-human environment where machines communicate with one another in total autonomy, devoid of any human interaction or intervention.
This sonic architecture offers the illusion of salvation through the non-stop flow of information. Every single fan in this system acts as a prayer wheel, maintaining the stability of a fractured digital self in an infinite loop.The core state of this meditative sonic experience is buffering. In the server environment, love, affect, and identity cease to be fixed points; they become ongoing processes, constantly loading but never fully materializing. Simultaneously, the sonic datastructure deconstructs the myth of the ethereal data-cloud, confronting the audience with the brutal physical force required to sustain modern metaphysics. This non-human mantra, where noise and grief are the only remaining relics, offers failed tactics for transcending political anxiety and establishes meaningless strategies of groundless resistance.
IGOR ŠTROMAJER
Igor Štromajer – also known as intima.org – is a non-amateur level electric non-artist, “le Pavarotti du HTML”. He explores tactical artistic techno-performative research intimate guerrilla, and low-tech communication strategies.
.
He has shown his work at more than two hundred exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale and in numerous other galleries and museums worldwide) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor).
His projects form part of the permanent collections of the prestigious art institutions, among them Le Centre Georges Pompidou in Paris, the Museo Reina Sofía in Madrid, the Computerfinearts Net and Media Art Collection in New York, and the Maribor Art Gallery in Slovenia.
As a guest artist he lectures at universities and contemporary art institutes. Štromajer lives and works between Frankfurt am Main and Maribor / Ljubljana.
Find out more at intima.org
credits:
great many thanks to Igor Štromajer and his computers for 74.48 dB(A) – Buffering Love in a Hopeless Place!
metadata:
74.48 dB(A) by IGOR ŠTROMAJER
radia production: miss.gunst [GUNST + radiator x]
production date: april 2026
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by) Igor Štromajer 2026
www.radiox.de – www.gunst.info – www.intima.org
additional info:
includes radia jingles (in/out), station and program info/intro (english)
links:
radio x & radiator x: www.radiox.de – www.radiox.de/radiator-x
GUNSTradio & radiator x: www.gunst.info – www.gunst.info/radiator
Igor Štromajer: www.intima.org
pics:
(cc-by) Igor Štromajer 2026
