ProgrammesArchive

Semantik live at Radio Sonic 2010

This show is a live performance made during Radio Sonic, the 4 days long webradio that Radio Campus Bruxelles operated the previous week, to announce a sound art festival in Belgium called City Sonic. (Works and exhibitions are open until the 12th of september, in Mons. Come and visit ! www.citysonic.be)

In the place we were working (Les anciens abattoirs), we met a sound artist working with devices that interrogate our relation to the body and territories. Audio Geolocalised derive & sound installation. He kept sounds he made and transformed to create this live performance one night. Here's the copyleft result.

Member of the collectif APO33, he's also performing as live dj with experimental breakcore set, under the name of Semantik.


http://semantik.free.fr/wordpress
www.myspace.com/abruitsecret
www.apo33.org

Semantik live @ Radio Sonic 2010

This show is a live performance made during Radio Sonic, the 4 days long webradio that Radio Campus Bruxelles operated the previous week, to announce a sound art festival in Belgium called City Sonic. (Works and exhibitions are open until the 12th of september, in Mons. Come and visit !)

In the place we were working (Les anciens abattoirs), we met a sound artist working with devices that interrogate our relation to the body and territories. Audio Geolocalised derive & sound installation. He kept sounds he made and transformed to create this live performance one night. Here's the copyleft result.

Member of the collectif APO33, he's also performing as live dj with experimental breakcore set, under the name of Semantik.


http://semantik.free.fr/wordpress
www.myspace.com/abruitsecret
www.apo33.org

The title of "Fruitcake" evokes a lost world of English teatime, as well as the mixed up and unpredictable nature of this piece.
Produced by two teenage girls as a response to growing up in a quiet but strange Moorland town in the South West of England, "Fruitcake" contains a blend of interviews with older residents of the town, dramatised sections set in an imagined 1950's community, improvised music and a bit of giggling and mucking about. In their words:
"We've been cutting and pasting and things. Basically our story is about two friends growing up in the 1950s in Buckfastleigh. It's a very hearwarming tale of joy and friendship. And it's sad and it's lovely and you'll love the people in it. You will laugh and you will cry and you will make new friends in this amazing world of Buckfastleigh. Come and visit us. We're not a bit crazy."

Alors… the Italian as a field… hmmm… of roots. As a thread that ties your own life up, an engine of memories and hidden emotions.
The Italian language course as a game. Languages that run one after another, overlapping each other, recalling themselves in an attempted translation, just like Naples and Marsiglia soundscapes emerging from memoirs of Monique’s, Therese’s, Vivianne’s childhood. All of them are pensioner over sixty, living in Marseilles, with Italian origins. Also meet Flore, Danielle and Eliane that present themselves in the street with their translated names Fiore, Daniela and Eliana. Immersion in a soup based on Italian, Neapolitan and French, where to find right gender concordance and how to get the right pronunciation.
The Italian class is not a psychoanalytic session. Yet, speaking Italian gives form to a carnal relation with language, to the childhood memories of “le Panier” known as the “Petite Naples”, and of “la Cabucelle”, two districts in Marseilles that are “really like Italy”. A dream of Italy, warm, sunny and
sublimated. Defined sometimes as babi, spaghetti or ritals, French people with Italian roots are beginners, false beginners, or advanced…. “False beginner” is something like faked beginner, maybe the feeling we have when we speak a second language; maybe the society’s condition with migration’s phenomenon… “False beginner” is a show based on binaural recordings in Naples’s Quartieri spagnoli
and in Panier and Cabucelle districts, recordings in different Italian classes,
interviews and dialogues in public spaces.

"Tout se passe près de chez moi, à deux cent mètres à la ronde. Une circulation dense de monde. Nous marchons, avec nos airs. Elles marchent. D'où vient ce fredon? Avec ou sans, peur et rire... Nous comptons nos pas, à pas, en temps et tant que nous le pouvons. Quel est ton nom déjà? D'où viens-tu? Où marches-tu?"

Une réalisation de Delphine Auby.
Montage : Sébastien Gonzalez

Hello: this is a Radioshow by WORM aus Rotterdam: it is a non linear radioplay constructed with spamlists messages and addresses, child torture and field recordings, soundart and snippets of music by The Static Tics. Dr. Lukas Simonis constructed and edited it, while Henk Bakr looked on and saw that it was good (it was actually time for his afternoon nap, but he skipped it for the good cause)
Thank you.

Grazer Walzer,
by Reni Hofmüller, Jogi Hofmüller, Katarina Petjovic and Borut Savski.

In November 1998, Reni and Jogi Hofmüller went to visit their friends, then living in Ljubljana, Katarina Pejovic and Borut Savski. As they had all been involved in different ways in radio making, sound production, and experimenting, it was clear that - though there had not been the plan beforehand - they would go to Radio Student, to the Ministery of Experiment, and do precisely this: experiment.
In the case of the Grazer Walzer, the production idea was simple: we went to the radio music archive, and took out several lps and cds, and decided to play only the beginnings of songs. In radio history, very often the intros of songs have not been aired, as the BPM (beats-per-minute) did not fit the "overall sound of the station". So in an somehwat "ausgleichende Gerechtigkeit" ("poetic justice") we exclusively played intros, and combined them with lp-scretching, text created with the apple-error-messaging system and some additional sounds, produced with piezos and other microphones. For radia, I compiled a 27minutes version, taken from the original 1 hour piece.

Reni Hofmüller, 2010

Radia Show # 278 by Radio Papesse
www.radiopapesse.org

Radio Zeit#2
Artwork Pasquale Napolitano
Programming Paolo Napolitano

Radio ZEIT is a sound composition which aims to use the radio spectrum as a mechanism of time exploration. The installation is programmed in MATLAB environment and programming language used for interactive and generative applications.
So, the composition has a soul linked to deeper interactive quotient variation in results depending on space and time of detection.

The mechanism of Radio ZEIT scans the entire FM radio compared by scaling each unit every 10 seconds and aggregates the results in 64 minutes of sound sequences.

The beta version presented at "Radioaktivität" - radio art meeting held in Naples in December 2009 - was produced by mapping the fm spectrum in the outer courtyard of the Pan Contemporary Art Center in Naples Sunday, December 12, 2009, from 18:00 to 19:04.

Taking the clue from that experience, here it is the second chapter of Radio ZEIT; after six months the mapping of the acoustic space took place in the same venue and at the same time. What has changed is the fm spectrum mapping time lapse: Radio Zeit#2 scales each unit of frequency every 5 seconds, gathering the results in a 28 minutes long sampled sound sequence.

This sound piece aims to build a soundscape through a repeatable practice within various territorial circumstances. We tried to depict/record a fresco sound of Naples; what emerges is a sort of local "agenda setting" of the medium, that reflect its multifaceted nature and comes out of a mix of both sports radio programs and neighborhood stations, both music of "neomelodici" and national mainstream.

Full Fucking Moon : 'I Am A Strange Loop' - Radia Mix (27:50)

Documentation of a live event which doesn’t merely reiterate it, Full Fucking Moon’s 'I Am a Strange Loop', with its kaleidoscopic shifts, fragments and interwoven threads of live streams, opens the listener’s ear to the multi-dimensional non-linearity of radio space, its mazes, veils and etheric folds, its membranes and mirrorings. This piece’s original life was as a dual-stream simulcast across both FM and AM channels (the stations Radio One 91FM and Toroa Radio 1575AM, respectively), which began at 1pm and ended at 2pm on Saturday 20th April 2010, in Dunedin, New Zealand, a commissioned work by The Blue Oyster Art Project Space as part of their annual performance series.

In a gesture toward a form of ‘Rorschach Radio’, the AM stream became an inversion of the FM, and the artists also de-stabilised this dualism by opening up a third-space (at the historic Otago Pioneer Womans Memorial Association Hall, Dunedin) as a public listening arena / performance venue. At first empty of the physical presence of the artists and allowing the audience to roam, the space contained a scattering of radio receivers embedded in the nooks and crannies of its colonial architecture, as well as a social space where tea was drunk, conversations were had, newspapers were read, and eyes were closed in meditative listening. With the intimacy of the home-wireless set being something that could only capture the ‘total work’ in a sequence of twists and fractures, requiring the radio to be physically tuned as an instrument betwixt and between bands, (an action itself revealing the miasmic, shifting cloud of radio space), listeners present both at home and in this more public space (the latter by walking around the rooms where radios were distributed) each found their own stream within the cloud of possibilities, this listenership evoking radio as both intimate and communal, both territorial and boundless. The artists inhabiting the radiophonic streams then literalised their presence by arriving in the space, dressed in outfits that both evoked the spirits of colonial women's meetings and more recent outsider pop ensembles, activating the instruments that had until this time remained a tableau of props amongst the other still-lifes in the room (radio receivers placed next to posies of fake flowers being a repeating theme in particular).

As befits radio’s multiform and fluid potentialities, this 1-hour performance was not the piece's only destination, and this new edit speaks to the radia network as a series of distributed nodes, and to radio’s strangely present invisible material. 'I Am a Strange Loop - Radia Mix' begins with the radiophonic glossolalic cloud, clearing a way for the arrival of a human channelling of a spirit-radio, in which a psychic presence casts ideas on “transmissions” (dictations) from the cosmos as a poetics of the medium, and ends with a song called ‘Litany of the Oceans’, an FFM ballad about the moon, in which singer Bek Coogan intones the names of the astral body’s craters, thought to be the sites of frozen lunar seas, evoking the moon’s tug on the ethereric tides (and also perhaps calling to mind the United States military probe Clementine, whose investigation known as the 'bistatic radar experiment' in 1994 used a transmitter to beam radio waves into the dark regions of the moon’s south pole).

I Am a Strange Loop is a work created by artists who are deliberate misreaders of traditions, who shift mercurially within critical and primordial texts and methods. It is radio aware of its own material presence and spiritual history, as etheric and boundless as it is consolidating of community, as its artists shift effortlessly within the worlds of art and music, high art and pop culture, and their audiences and forms, calling for a listener who is equally multiple, who can inhabit not one cultural reference point, but many.

- Sally Ann McIntyre, July 2010.

------

Edited and mixed by Bek Coogan & Torben Tilly from original recordings
of the one-hour performance 'I Am A Strange Loop' by Full Fucking Moon
on Saturday 20th March 2010 at the Otago Pioneer Woman's Memorial
Association, and broadcast live simultaneously on Radio One 89FM and
Toroa Radio 1575AM as part of the Blue Oyster Performance Series,
Dunedin.

Radio One signal recorded by Gilbert May.

Toroa Radio signal recorded by Hugh Dingwall.

Otago Pioneer Woman's Memorial Association audio recorded by Oliver Of The Sky.

Photography by Sally Ann McIntyre.

All rights reserved 2010.

FFM wishes to thank: Sheila Wall and Todd Wall, Kate Anderson, Tom
Bell, Hugh Dingwall and Toroa Radio, Violet Faigan and Modern Miss,
Edie Stevens and None Gallery, Gilbert May and Radio One, Obion,
Oliver Of The Sky, Otago Pioneer Woman's Memorial Association, Sally
Ann McIntyre, Jaenine Parkinson, The Wright Family. FFM also
acknowledges support from Blue Oyster Gallery, Creative New Zealand
and Dunedin Fringe Festival.

Words and Sentences

I said. He said. It was said. It was written. They wrote it. She thought it. I say, listen to CKUT as we dabble in that wild and wonderful thing we call language (the English language).

metadata:
Words and Sentences
by ckut / Adelaid / Dominique Ferraton / Andrea-Jane Cornell / Alphie Primeau / Erin Weisgerber / Chris Hand
date: June 2010
station: ckut 90.3FM, montreal, quebec, canada
duration: 29:11.
www.ckut.ca

- playing from june 21 to june 27, 2010 -

history exhaustion
by francis hunger

three friends search for an ominous radio station that transmits number sequences with mysterious messages. told is the expedition’s story through an area bearing names such as 'path of the invisible hand', 'stalin highlands' or 'post-modernist cave labyrinth'.
the characters – student, entrepreneur, skilled worker – lose their life or at least get lost under unpleasant circumstances...

history exhaustion is the audio transformation of an installation francis hunger created in 2009, focussing on the subject of 'verausgabung' (exhaustion).

with the voice of richard cotter.
francis hunger
is an artist, writer and curator. he lives in leipzig, germany.

find out more about francis hunger and his work at www.irmielin.org
further information on the installation work 'history exhaustion' can be found at
www.irmielin.org/works/history_exhaustion/index.htm
and at
www.metro-berlin.net/index.php/francis-hunger-history-exhaustion-press-release

metadata:
history exhaustion
by francis hunger
production: miss.gunst / GUNST + radiator x
date: june 2010
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: cc-by-nc-nd
www.radiox.de - www.gunst.info

additional info:
includes radia jingles (in/out), station and program info/intro (english)

VuNhatTan is a Vietnamese composer of experimental orchestral/chamber/piano and electro/computer & multimedia works that have been performed in Asia, Europe, United States and elsewhere. Tan studied piano at Vietnam National Academy of Music in Hanoi, where he earned a certificate in 1987 and degrees in secondary education in composition and musicology in 1991. He then studied composition and musicology there from 1991-95 and graduated with his BMus. He later studied computer music and new music at the Staatliche Hochschule für Musik in Cologne in 2000-01, on a scholarship from the Deutscher Akademischer Austauschdienst. His honors include Third Prize in the composition for traditional instruments competition of the Vietnam Composers Association in Hanoi (1992, for Chamber Piece for Traditional Vietnamese Instruments and First Prize in the Saint-German-en-Laye competition (1995, for Ky Uc – Memory).
He has performed on numerous occasions as a pianist and sáo tre (bamboo flute)-player in contemporary and improvisational music in Australia, China and Vietnam. He has lectured on composition and musicology at Vietnam National Academy of Music in Hanoi since 1995. He has also guest-lectured on Vietnamese music in Australia and Vietnam.
His work for radia is composed by soundscaping Hanoi and becomes a part of the ping-pong-collaboration between Corax musicians and vietnamese artists from Hanoi.

Unscheduled offer by Mobile Radio.

An intrinsic feature of radio broadcast is on the verge of extinction: interference. Artists have always loved interference. Early memories convey intoxicated sweeps of an old valve radio dial, simultaneous capture of two shortwave stations, the swashing sounds of the in-between as a prerequisite for sleep. The new interference is reduced to metallic distress at the breaking point of digital transmission; the new silence of buffering and disconnect presents a wholly characterless absence. What happens now? Will people forget what a rotary dial is? Will the radio band become an endangered species?
Whilst digital audio technology tries to emulate the analogue sound wave as closely as possible, digital transmission renders the radio spectrum inaccessible. The bits in-between are reallocated or discarded. The noise that changes when you touch the aerial is out of reach. Maybe the caller on the Harmon E. Phraisyar show Album One is correct when she says: "You and your stupid radio programmes, I'm fed up. Tell me this you stupid radio worms: radio interference, often it is that I am getting the interference. Why is it that the interference is always more interesting than the programme itself?" Endangered Radio Band is a performance by Mobile Radio, voyaging the vocal and electromagnetic spectra in search of an answer to this question.

Recorded in Napoli in December 2009 by Etienne Noiseau.
Here is a list of sound sources that were used for the performance (in no particular order) which was distributed on the PA system, and via FM transmitter to portable radios in the room.

- VLF natural radio from Todmorden (UK, 8-8:30pm local time)
http://67.207.143.181:80/vlf1 (live stream)
- electromagnetic sounds from Sony Minidisc recorder MZ30 via telephone coil of a modified analog hearing aid (live)
- broken AM radio (live)
- malfunctioning toy radio purchased in Napoli (live)
- home-made ultrasonic detector (live)
- home-made electronic instrument "Feedbug" via internal fm transmitter (live)
- air traffic radio band receiver (live)
- electromagnetic recording of the journey leaving Zürich for Milano in an Italian Pendolino train on 16/12/2009
- Morse code version of Kurt Schwitters' "Ursonate", recorded in Barrow on 22/10/2009
http://fullofnoises.blogspot.com/2009/10/coding-ursonate.html
- Original version of "Ersatzrauschen", sounds of a defunct Bell&Howard digital 8-track data recorder, recorded in Prague in 2006
http://www.finetuned.org/index.php?aid=49
- excerpt from the Harmon E. Phraisyar show "Album One: Unthinkable" produced in 2004 for Kunstradio
http://www.kunstradio.at/2004A/02_05_04.html
- cut-up recordings of the 15th and final World Chess Championship Game between Gary Kasparov and Vladimir Kramnik on 2/12/2000 (French and English commentary, as well as Kasparov in the press conference)
http://en.wikipedia.org/wiki/Classical_World_Chess_Championship_2000

“Fremde Dezibel”
maiz/iftaf/trafo.k 2009

The radioplay „Fremde Dezibel“ is based on interviews with migrant women in Linz, the capital of the province Upper Austria, and it’s surroundings. It deals with the interrelations between language, violence, social exclusion and sexism.
The interviews focus on the women's experiences with the German language and on ways of approaching the language of a majority as member of a minority.
Originally, the soundcollage was produced as an audio installation at a project of maiz (festival der regionen 2000). For the project “RebellInnen!” of trafo.K the audiomaterial was remixed and rearranged by Ernst Reitermaier (iftaf), Rubia Salgado (maiz) and Marty Huber (dramatic adviser of the project “RebellInnen”) in 2009.

http://www.iftaf.org
http://www.trafo-k.at
http://www.maiz.at


“Stille Post”
Alfred Grubbauer, Christine Schörkhuber (2008)
According to the principle of 'Chinese Whispers', we initiated a game with language. A text makes three journeys through different languages and is finally translated back into German. What happened to the words throughout the journey, how is a text transformed? Each player added their own imprint to the words and consequently changed their original meaning. There is no 'wrong' translation. The course of the text permits a closer look at the possibility of multiple interpretation- and gives us a chance to consciously examinate what it feels like to not-comprehend. The focus is directed towards the heterogenity of a regional population. 'Stille Post' is an art project for the public domain; it makes its appearance both visually and acoustically. It is presented in the form of an image/sound object, which is on exhibition throughout different cities of the Mostviertel with a duration of 2-4 weeks each. It's all about listening, about the silent tones and everything that happens in between the lines.

http://www.chschoe.net/
http://members.aon.at/croete/index.htm

This seasons XLAIR show is an impression of the Flemish ‘HAPPY NEW FESTIVAL VAN VLAANDEREN KORTRIJK’ and more precise an impression of the sound walk ‘Klinkende Stad / Sounding City’ (The Finest in Flemish sound art). The HNF festival is the successor of the renowned Happy New Ears festival that started in 1996 and came to an end last year. It has grown into one of the most prestigious sound art festivals around. In 2008 The Wire magazine called it: “one of Europe’s premier sound art festivals.” This year the festival took place from the 24th of April until the 9th of May. Klinkende Stad is best described as a sound walk and consists out of 12 different sound related works by Flemish artists, listed below. Since the works are very dependent on specific locations and are very difficult to record or grasp for radiophonic purposes, we tried to make a mix of information, description and sound suggestion. For those who want more information, listen to the 25 minutes interview with the HNF artistic director Joost Fonteyne following the radia show at 15:30.

http://www.happynewfestival.be/Klinkende_Stad.html.



WORKS & ARTISTS & time codes in the broadcast

“A40 Ruhr” Maria Blondeel (01’00” – 01’10”)

“De Egelantier in de Nachtegaal” Leo Copers (02’00” – 02’15”)

“Staalhemel” Christophe De Boeck (20’30” – 22’30”)

“Shadow Grounds” Pauwel De Buck

“Reflections” Boris Debackere & Steven Devleminck (09’40” – 12’25”)

“Permafrost” Aernoudt Jacobs (22’30” – 25’00”)

“Mahila” Annemie Maes & Bill Bultheel (25’00” – 28’00”)

“Not with a bang but a whimper” Stefaan Quix (12’30” – 15’30”)

“Circuit02” Jeroen Vandesande (15’30” – 20’00”)

“Shifting Grounds” Esther Venrooy & Hans Demeulenaere (07’00” – 09’40”)

“Into the Light of the Night” Els Viaene en Plan B Performance (03’00” – 07’00”)

“Mortuos Plango Vivos Voco” Visual Kitchen (09’40” – 10’30”)

‘The Transmission’

Introduction

One of the most annoying things about Radio Art is that you have to download it before you can fast-forward through it. In ‘The Transmission’, I’ve very kindly done all the work for you and it comes ‘pre-fast-forwarded’, so to speak. This, in turn, lends the piece a delightfully impenitent narrative structure – but we’ll come back to that in a moment.

Locations
Hopefully, as you listen to The Transmission, the question of location will spring to mind. Where are we, in both a geographical and cultural sense? A clue can be gathered from the presence of the two ‘Cockneys’ who appear in the story. Cockneys, for those not in the know, are a lower class London social grouping somewhat irrationally defined by a geophysical attribute – that of having been born within hearing range of a particular set of church bells. The idea that a social group can be branded for life by the mere fact of, at their moment of birth, being with earshot of a distinctive clanging noise is almost as ridiculous as the church in question. St Mary-le-Bow is an ersatz baroque monstrosity sandwiched off The City of London’s Cheapside between the pomposity of St Paul’s cathedral and the shadowy mammon of the Bank of England. Still, I must admit that the bells sound quite pleasant.

Cockney is also defined by a dialect. The best example I can think of is the chimney-hugging ‘Bert’ character in Mary Poppins, meticulously voiced by Dick Van Dyke. I’d be interested to know what dialect is used in the dubbed versions of non-English speaking countries. As for Dick Van Dyke – wow – what a fucking great name!!! Dick is better known to daytime TV victims as the sleuthing doctor in the cross-generic medical/crime drama Diagnosis:Murder. Incidentally, Victoria Rowell who portrayed the glamorous pathologist in that show, uses one of the best strap lines ever to market her kiss and tell confessional ‘Secrets of a Soap Opera Diva’.

‘You gotta get dirty before you can come clean’.
http://www.victoriarowell.com/

Should you ever find yourself in the drab and dirty City of London, the best way to seek out and unmask a Cockney is to ask them to say two words – ‘Town’ and ‘Water’. Listen carefully to their replies. In the mouth of a Cockney, ‘town’ will lose its distinctive ‘OW’ diphthong to be replaced by a drawling nasal ‘Aaaaaaaaa’, reminiscent of the braying of a sad donkey.

Thus - ‘Taaaaaaaaaaan’ instead of ‘Town’.

‘Water’ will be stripped of it’s sharp ‘ER’ ending and emerge with the definingly dozy non-rhotic ‘ah’ sound.

Thus – ‘Watah’ instead of ‘Water’. Somehow, the pronunciation makes it sound as though all the ‘Watah’ has dried up or leaked away through a hole at the bottom of the swimming pool.

Sci Fi
‘The Transmission’ is based on a soft and simple alternative timeline sci fi premise – that it was Muhammid XII who defeated the combined Catholic armies of Ferdinand and Isabella in the Battle of Granada, 1492, rather than the other way round. No wonder things appear culturally amiss. This is a Europe where women are forbidden to speak to other men but their husbands. They even then have to wait for the husband to deliver a complex series of signs before being granted permission to speak. This gives hint of a brutally misogynistic discourse more likely found in Saudi Arabia than in the heart of contemporary London.

In our particular timeline, the 1492 battle (more correctly, a siege) was the endgame in the gradual removal of the Muslim presence from Iberian soil. This had begun in earnest with the battle of Las Navas de Tolosa in the early 13th Century. The final victory, pompously titled ‘La Reconquista’, was sealed by the fall of Granada and the surrender of the Moorish ruler Muhammid XII. Soon afterwards, Ferdinand and Isabella – two raving religious loonies to put it mildly – founded the Spanish Inquisition and set about forcibly converting both Muslims and Jews to Christianity. Indeed, it was a converted jew who organised the financing of Columbus’ expedition to the New World.

In the timeline underpinning The Transmission, history snakes in another direction and it is Muhammid XII who smash the armies of Catholic king and queen and drive the idolatrous ones out of Spain. This victory leads us onto the eventual conquest and Islamicisation of the rest of Europe and the concommitamt institution of an alternative set of cultural norms. Now, our Cockneys are those born within hearing distance of the muezzin’s call - a muezzin perched atop minaret of the Aisha-al-Bow Mosque (named after one of the prophet’s most beloved wives). Incidentally, here’s one for all you Jerry Lee Lewis fans. Aisha, the Prophet’s third wife, was six maybe seven when she was betrothed to Muhammad and all of nine when the marriage was consummated. He was fifty two.
http://www.burroughs.com/


Text
The language and mores of ‘The Transmission’ are loosely informed by Sir Richard Burton’s translation of The Perfumed garden, a book of Arabic pornography written in the 15th Century by Muhammad ibn Muhammad al-Nafzawi. The language used is beautifully poetic and strikingly archaic, presumably influenced by the fact that Burton was working from an earlier French translation of the Arabic original. This ties in sweetly with one of ‘The Transmission’s’ themes, the manner in which information is codified and recodified and ultimately distorted into unrecognisable and sometimes delightful forms by the process of cross-cultural transmission.

The French translation of The Perfumed Garden has gathered an amount notoriety in that it excised the last part of al-Nafzawi’s manuscript - the explicitly gay stuff. In later life, Burton set to work on his own version from the Arabic, a translation that was to include all the original material be called ‘The Scented Garden’. We don’t know how Burton got on because his staunchly Catholic wife, opting for a proto-nazi position, flung the manuscript into the flames.
http://en.wikipedia.org/wiki/The_Perfumed_Garden

Credit where credit’s due – the ‘Why do you call me “O Man”’ idea that takes the form of a running joke in ‘The Transmission’ is a straight lift from al-Nafzawi’s (and Burton’s) book.

Technology
At what point can a technology be considered dead and buried? How redundant does it have to become it vanishes completely. The other day I saw a blank C90 cassette for sale in Central London for the price of about nine Euros. ‘Ah’, I mused, ‘The cassette is at last becoming an object of rarity, an exoticism, hence this ludicrous price for something you could pick up for a few pence ten years ago.’ Ask yourself this: Who stocks minidisks these days and does anyone remember how wide a five inch floppy disk is?

In ‘The Transmission’, the two main characters are collectors of the priceless and the extinct, prepared to travel the world and undergo many trials and hardships in pursuit of exotica. The humble compact cassette tape (that space age invention that sealed the fortunes of Dutch multinational electronic company Phillips) has joined the list of desirables having become an object of extreme scarcity. And even though a few tapes still exist, there is nothing to play them back on.
http://www.says-it.com/cassette/


Narrative

Kristine Brunovska Karnick has written that ‘Humour complicates and frustrates the spectator’s inferences about the narrative’. While humour is employed for this very effect, comedy is not itself the primary goal of ‘The Transmission’. My objective is to array elements of comedy (the running joke, unpredictability, incongruity-resolution) alongside stock b-movie themes of acquisition and impending disaster to create a delightfully disruptive text. When the Soviet system crumbled, the only regrettable result was that it took away the sole state-scaled opposing reality to the technologically astonishing, economically brutal, environmentally lethal Western society we have allowed nationalistic and globally corporate greed to conjure into existence.
We live in a mono-reality into which we are supposed to slot our strivings, ambitions, japes, joys, loves, lies and permeable madnesses. Personally, I find it a bleak and inadequate container.

My conception of a disruptive narrative is one that exposes or at least provides an index for a vast subset of practical realities. Not fancies, feathers, ideals and fantasies but empirically sparkling incarnations of ontology. This attempt at an exposition of sorts is the actual transmission that takes place in the course of the piece.

http://old.nationalreview.com/comment/comment-karnick032902.asp


r.t. bhoustard may 2010

ORBITARY KRAPP'S LAST TAPE

—upper lake, with the punt, bathed off the bank, then pushed out into the stream and drifted. She lay stretched out on the floorboards with her hands under her head and her eyes closed. Sun blazing down, bit of a breeze, water nice and lively. I noticed a scratch on her thigh and asked her how she came by it. Picking gooseberries, she said. I said again I thought it was hopeless and no good going on and she agree, without opening her eyes. Pause. I asked her to look at me and after a few moments—Pause.—after a few moments she did, but the eyes just slits, because of the glare. I bent over her to get them in the shadow and they opened. Pause. Low. Let me in. Pause. We drifted in among the flags and stuck. The way they went down, sighing, before the stem! Pause. I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently, up and down, and from side to side

play by: Zlatko Mitrevski
directed by: Riste Aleksovski
music by Sasa Pavlovic
radia program for kanal103 produced by Sasa Pavlovic

two factories

"two factories" is produced by Carlos Santos and Paulo Raposo with Radio Zero (PT) for Radia (EU). The program departs from field recordings made on two abandoned factories on the industrial outskirt of Lisbon. The sollected sounds explore the empty space, the empty rooms and technological leftovers and debris of what once was breathing with life, people and machinery. the factories were central to the villages providing employment and subsistence to thousands of families. Now they are just a shadow, a strange body, waiting in decay for replacement and erasure. Besides the sounds, the program contains readings from the current legislation on unemployment as published on the portuguese labour laws, "diário da républica".

high (pitch) on air(th)
synthetically amplified voices of the outskirts
= spam e-mail
high and broken feminine voice
low-fi one-take home recording during the preparation for the (yes!) holiday
all those @'s... they drive me to sleep...
get off the internet
get off the internet

(Spam (if you take it as some kind of alternative advertising (or as the abuse of electronic messaging systems)) hardly finds its way into the mainstream reception, it only exists on the outskirts of major media bodies and parasites on their backs.

The crucial point comparing 'spam' with mainstream advertising could be that major advertising firms are exploiting similar promotional techniques, but their ways of publicity enjoy a privileged role over small firms, individual businesses, or simply initiatives uncommercial in their nature etc. (capitalist mode of production/distribution). For me, the interesting thing is the means that unprivileged peoples are exploiting in order to find their way in publicity wars.

The broadcast of synthetically amplified spam e-mails is the starting point in the exploration of the 'alternative' means of distribution, the tactics of using trends/cults/gossip in order to exploit popular culture for emancipatory/socially progressive/anti-establishment goals. This quickly done recording during the last half-an-hour at home before my departure for the holiday mocks the differentiation of work/leisure in capitalist society because of the sounds of preparation being heard in the background and the whole 'rush' quality of the recording. Very literal take on creating 'spam-poetry' could act as an attempt to raise dialogue about the issues surrounding spam, annoy or amuse listeners.)

Produced by Andrius Savickas for Soundart Radio, Dartington, UK
www.soundartradio.org.uk

Radio Grenouille opens the new season of Radia and celebrates the fifth anniversary of the international soundart network, inviting the composer Pierre-Yves Macé to share his collection of "Miniatures".

A subtle mosaic made of "grands touts and petits riens" to rub concrete materials to the spirit of the times, dipping into the fluctuating fonds of web, movies and songs.

28 minutes about a meeting between the instant and the unstable, unstructured and restructured songs, exiled voices and transitional piano ...

www.pierreyvesmace.com

Ritmi di Milano - a sound portrait of Milan produced by Painè Cuadrelli - marks our official first entry as RADIA member.

It is a pleasure to launch the series with Painè Cuadrelli and his soundwalk in Milan, the city Luciano Berio and Bruno Maderna portraied in 1954 in 'Portrait of a city', the first electronic music piece ever recorded at the Milan's RAI Fonology Studios (Italian Radio and Television). As the oral narration is a primary key of this soundwork, Cuadrelli's portrait is much more about sounds and field recording; it was produced recording sounds in the city of Milano, Italy and manipulating it into a collage of small compositions and rhythms. The show is intended as a modified soundwalk, where pieces of real-world soundscape get transformed, cut'n'pasted, mixed and remixed, becoming something else, yet keeping the original texture.

Recordings were made in main spots of the city centre: Piazza del Duomo, Duomo (inside), Triennale Museum, Teatro dell'Arte, Parco Sempione, to name a few, in differents moments of the day and night.
No addictional sounds were used.

>>CREDITS<<

produced, composed and mixed by Painè Cuadrelli
assistant: Mattia Trabucchi

recordings made with; Edirol R-09, Apple iPhone with Audiofile
Engineering Fire Application, Tascam DR 100
sound editing made with: Audiofile Engineering Wave Editor, Bias Peak
post-production and mix made with: Ableton Live, Apple Logic Studio

“A Minute in the Life of a CFRC volunteer”

Currently, at CFRC, there is an undeniable surge in creative energy that has been rare in the 90 year history of our station. For the past two years a critical mass of programmers have gotten together to accept all reasonable, and unreasonable, challenges for producing adventurous, risky, mind-bending radio and performing live radio dramas in front of skeptical audiences. To commemorate this moment in time, a call was sent out to represent a minute in the life of a CFRC volunteer. The purposefully vague request was meant to show the diversity of creative ideas present at our station in our small town. For our first Radia submission, many of the same people worked together, for long nights (often), in the same room, producing a radio drama, and for our second submission, they work together again....but this time as independent radio producers.

Thanks to Michael, Melissa, Irina, Carolyn, Jessie, Aleks, Melinda, Scott, Kristiana, Neven, Elson, Henrik, Bill, Chris, Christopher, Owen & Julia for participating.

"The Village is Quiet"

Australian artist Patrick Hartigan exhibited a series of water colours in 2009 entitled "The Village is Quiet" - a show which was complemented by the publication of a series of short stories and a limited release dvd under the same title. Producer g.bert invited Hartigan to record a reading of a selection of the stories as a gesture toward a continued multiplication of media in Hartigan's work through (and despite) which the 'village remains quiet'.

Hartigan's facility in isolating and expressing the subtleties and idiosyncracies of the simple everyday life of an unnamed contemporary Slovakian village in fact borders on a mythical expression - a kind of singular exemplarity. Littered as his work is with post-soviet remnants (the public address system that still 'broadcasts' via loudspeakers, for example) and the consequences of EU expansion (the evident desertion of youth), Hartigan's village and its eloquent quietude speaks a kind of obscure generality (seen, as it is, through the eyes of an antipodean outsider finding feet and language in the village's almost empty streets and homes).

A simple radio production (artifacts of recording included) accentuates the simplicity of Hartigan's means. Visit http://www.brettmcdowellgallery.com/patrickhartigan09.html and http://www.darrenknightgallery.com/artists/hartigan/artist.htm for Hartigan's visual story.

Happy Birthday to ART.

metadata:
ckut rings in art's birthday
by ckut / Stephanie Staresky / Adelaide Simon
date: March 2010
station: ckut 90.3FM, montreal, quebec, canada
duration: 29:40.
www.ckut.ca

- playing from march 8th to march 14th, 2010 -

algoRHYTHMIC noise of our everyday gadgets
by institute for algorhythmics

"algoRHYTHMIC noise of our everyday gadgets" consists of a study with short snippets of audio examples about audificated processes of our everyday gadgets like our cell phones, cameras, smart phones and laptops.
ausculations no. 1 to 16 are made by using a electromagnetic coil, no. 17 to 19 are made by audification processes of assembly code on software side (formal materiality) and ausculations no. 20 to 23 are produced with a HF-detector.

"algoRHYTHMIC noise of our everyday gadgets" is also a preliminary work for a more elaborated project about a "sonic archeology of advanced everyday technologies".
archeology is meant following michel foucault's notion of thinking that we - when looking for meanings of things, but also their history - need to look not only for documents, but also for monuments. this means that the materiality of things and their physical effects should be investigated not only on the surface, but by "digging deeper into" things or processes and by revealing and explaining the inner structures of black boxes. therefore we think that archeology is a more sophisticated term for hacking.

- the institute for algorghythmics/michael chinen & shintaro miyazaki

michael chinen (*1982) is a programmer and musician. He studied composition & computer science at university of washington, seattle/washinton state, electro-acoustic music at dartmouth college and was research student at tokyo denki university. lately he moved to berlin with the Fulbright research grant for wavefield synthesis at technische universität berlin.
shintaro miyazaki (*1980) is a theorist, artist and curator. he studied media studies, philosophy and musicology in basel, switzerland and is currently a PhD researcher at humboldt university berlin under prof. wolfgang ernst, holding a scholarship of the "cogito foundation". in 2008 he founded the “institute for algorhythmics”.

find more info at www.algorhythmics.com

metadata:
algoRHYTHMIC noise of our everyday gadgets
by institute for algorhythmics
production: miss.gunst / GUNST + radiator x
date: february 2010
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: cc-by-nd
www.radiox.de - www.gunst.info

additional info:
includes radia jingles (in/out), station and program info/intro (english)
full licence info:
creativecommons.org/licenses/by-nc-nd/3.0/

accoustic steps towards the sound of dollar and electricity

RADIORADAR_4 is a relay from some bird voices, wind, electricity, capitalism and a letter from benin mixed by radioerevan in february 2010.
produced by Radio Corax, Halle
Playlist:
Effi Rabsilber “whataday2”
Muhmood “8300 pillars of altai”
Coronet Instructional Films "Understanding of the Dollar"
also: different bird voices from Europe, a letter from Benin, some field recordings
Author is the radio- and performance-artist Marold Langer-Philippsen from Radio CORAX, also working in the field of theatre and video - living in Berlin

"the nocturnal state of the city" by Dimitar Dodovski for Kanal103, Skopje

This piece of radia composition is made of lofi noises, crackles and subtle dubscapes which from the artist’s view depict the nocturnal state of the city. Inside the house where hums and noises from electronic appliances are generated and outside where distant sounds occupy space, reverbed voices from insomniacs, lovers and lonesome whistlers fill in the silence.

Dimitar Dodovski (Born 1980, Bitola/Macedonia)
authors expressive, melodic music distinguished by synthetic warmth and subtle, miniturized percussion. With an extensive knowledge of electronic music, his productions evoke a diverse range of influences from atmospheric dub to meticulous micro-house.

By Martin Pichler and Max Höfler.

"Ahoy! Ahoy!" these are the words that are considered to be the first words that were transmitted by telephone. The composition analyzes different communication systems and information flows. The piece was first performed on the internet via digital transmission. So the two performers acted as a sender and a receiver at the same time. Afterwards the tracks had been transformed into a special form to accommodate the communication structure of radio.

In December 2009 the WORM STUDIO organised a 'philosophical' workshop about field recordings. We invited Derek Holzer & Justin Bennett to tell their side of the story, told our side of the story as well (nothing is true, everything is permitted, etc.) and let all the workshop members work in the WORM studio to complete their pieces. And the results were great! So we had to shorten the pieces a bit to fit them in this RADIO WORM number 120, Radia edition.
And that's the other side of the story; the Electronic/Experimental Radio monthly 'RADIO WORM' exists for 10 years now. And we never missed a beat! (never looked for it). So starting in January 2000 we come now to number 120, and we're very proud to present this to the Radia Network.

http://www.wormweb.nl
http://wormstudio.blogspot.com/2009/02/studio-productions.html

Shows from the Radia Network travel... from one artist's ears to another's. From one small community to another, far away. Within the shows journeys take place too, whether a walk through the shopping centre or a trip into space.
This collage, built from fragments of some of 2009's contributions, celebrates these journeys large and small; what they have in common and what sets them apart.

This show is an abridged version of the one made for Kunstradio on ORF in Austria. If you'd like to hear the full version it's here:
http://www.kunstradio.at/2010A/03_01_10.html

Small Journeys Long Distance features extracts from:
Out of Space, War of the Worlds from Orange 94.0
Our Domestic Radiation by Anna Friz for Free103point9
Snow Squabbles by Neil Griffith, Cathy Inouye Caroline Kunzle for Ckut
Incidental Parallels by Pôm Bouvier B. for Radio Grenouille
Radiodance Opus.01: Y Do B?, by F. Ribeiro, for Rádio Zero
Silence Radio: Ruisselle by Philippe Vandendriessche; Greetings from Italy by Damien Magnette; Nous, les Défunts by Yannick Dauby,from Radio Campus
Stiller Marktschrei by Stephan Roth from Orange 94.0
Closing Down, by GilbertandGrape from Soundart Radio
This Means War by Andrej Ancevski for Kanal 103, Skopje
Fragments of Stratford Shopping Centre by Martin Williams for Resonance 104.4fm
The Forester And Me by Maarten Lauwaert and Joris Van Damme for XL Air
Rug Radio by Maria Papadomanolaki for Free103point9
Flare: Real Energy World By Eva Ursprung for Klubradio/Herbstradio
Why Don't You Go Home? by Cathryn Morgan Richards for Soundart Radio
Awaiting for the Waters to Rise by Frederic Alstadt for Radio Campus
Mayon Volcano by Andreas Loeschner Gornau for Radio Corax
Playground: Art Games by Miss Gunst for Radio X

This program, done in behalf of Rádio Zero, consists of the unedited recordings of the military operational communications that occurred during the 25th April 1974 in Portugal, the so called "carnation revolution". It is a raw window to the dynamic of a military push converted popular revolution that ended 40 years of dictatorship and jump started dreams and hopes which, like all revolutions, are still to be fulfilled.

For this Radia show 250, Radio Campus Bruxelles ordered a piece from Derek Sein : Un remix anti-délire du remix délirant de la Nouvelle Hybride consacrée à Apomorphine de W.S. Burroughs / Derek Sein's proposal : Another anti-delirious remix of the delirious remix of a past radio program inspired by Apomorphin, a text by W.S. Burroughs; noise but drony, enjoy !

With Les Nouvelles Hybrides, Derek Sein is creating programs on Radio Campus each saturday night to early sunday, since 20 years, it's 100% home-made, using no computer...

A New Year Show, from Soundart Radio 102.5fm, Dartington UK

This is a traditional story about when the moon fell in the river, became trapped by bad fairies and rescued by villagers.
I've retold it for Radia including recordings made during the last year, mostly of my children and friends playing in a river.
There's also music improvised by children.
There are some hymns and carols, some of which first appeared as part of my 'swimming in the stream' radio series, using our station's webstream to create loops and effects.

Thanks to:
Children at Bidwell Brook school, Dartington, who created some of the music
Catherine Guy, who sings Shakespeare's full fathom 5 with me
Ergo Phizmiz who reads the part of the man who fell in.
Beowulf, Artemis, Marlowe and Demeter who played in the river and chatted.
Ariane Delaunois, Nell Harrison and Kate Paxman who also recorded the children at our workshops last summer.

Happy New Year from all at Soundart Radio www.soundartradio.org.uk