Show 715: From side A to side B of the Climate by Staš Vrenko (Radio Student)

From side A to side B of the Climate

Two presented compositions are taken from an album Klima (Climate) by Staš Vrenko released in March 2018 under a Slovenian label for improvised and experimental music “Zvočni prepihi”. Author holds a degree in sculpture of the Academy of Fine Arts in Ljubljana but in his interdisciplinary practise he is intensively dealing with field recording and its performative aspects, as well as the technological and media specifications of the sound itself.

Presented composition from side A – Osončeno (Sun-drenched) is the longest one out of three pieces that in Vrenko’s words…

“…summarize the past two years of the creative work and research. The condensation of fragments and recordings is tracing the boundaries of field recording, plunderphonics, engaging in and creating electronic instruments and sound design. The complementing and intervening of recordings opens up the possibility for diverse audio material, of simultaneously being documentary and musical, even if it is usually not perceived as such. The principles of re-amping and recording, add their own acoustics to the material, such as sounds of various surfaces recorded with contact microphones, vinyl record manipulation, DIY modular synthesizer and others that usually don’t have it. Field recordings are thus placed in the same order. They, as real acoustic spaces, become subject to certain strategies of sound design and other media manipulations. Such ‘equalization’, which deals with all the recordings from a standpoint of the final reduction to the vibrations of the speaker membrane, complicates the relationship between contingency, that is usually ascribed to found sound and field recordings, and desire and composition, which are usually associated with the creation of electronic and composed music.” *

The 18 minutes long side B’s last composition Tehnike posvojitve (Adoption Techniques) juxtapose with the wider art project that holds the same name and was presented in Gallery P74, Ljubljana, Slovenija as a sound installation in September 2017.

“In the Adoption Techniques, documents of highly processual and site-specific research and creation, are regarded as the explications of the acts of sound recording and playback.  They, as specific forms of performativity, enable the re-thinking of the position of the sound creator and the musician. The selection from a vast heterogeneous mass includes, among other things, examples of different occurrences of mediated sound, replay and consequent changes in the source locations and the time of the sound. The sounds are tied by the last stage – the final “recording” and the flattening of each fragment into a self-standing representation.  Emphasis is placed on the recordist – the listener who in the process of gathering recordings, recognizes events in the sound environment as signs. This necessitates the determination of the sound’s sources and echoes as well as the differentiation, arrangement and separation of sounds and their relations to meaningful and meaningless. Exactly tracing this unsustainable line, thinking about the acousmatics, transparency of the media, and the non-selectivity of the recording process of a recorder, which creates a complete (meaningful) whole from an inconceivable time-and-sound stream, brings on the reflection on what and how the audio documents can be ‘read’ by the listener. Repeated capturing, playback, re-recording and dubbing, results in an unfaithful tracing of the sound sources and in thinking about what the potential of a recording act, that for its audibility demands and creates a new, future playback site, is. The pursuit of these simultaneities, due to the temporal nature of the sound, intensely places itself on the point before and after sound, in the place of constant anticipation and distance from the moment of capture.” *

* text by Staš Vrenko

photo by Maja Burja

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Show 714: Magic on the Radio: An Experimental Airwaves Fantasy (Wave Farm/WGXC)

Written in 1924 by Hans Flesch, “Magic on the Radio” depicts chaos surrounding a radio broadcast under siege by conflicting interests and mysterious technical problems. This was reportedly the first radio play ever broadcast in Germany. This is the debut of a new translation of the text by Carl Skoggard and Franziska Lamprecht. Recorded Feb. 24, 2018 at HiLo in Catskill, New York before a live audience. Featuring: Tom DePietro, Brian Dewan, Jeff Economy, Philip Grant, Maria Manhattan, Debby Mayer, Tom Roe, and Phyllis Segura. Directed and produced by Alanna Medlock and Jess Puglisi. wgxc.org wavefarm.org Click here to download or play audio.

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Show 713: TEA FM. Sounds views from another places

A brief resume from 10 years of radio creation and experimentation workshop, trying to make posible another kind of radio broadcasts.

Three words are our rules:

Imaginationnoun) imag·​i·​na·​tion | \i-ˌma-jə-ˈnā-shən  \

1: the act or power of forming a mental image of something not present to the senses or never before wholly perceived in reality

2a: creative ability

b: ability to confront and deal with a problem : RESOURCEFULNESS

use your imagination and get us out of here

c: the thinking or active mind : INTERESTstories that fired the imagination

3a: a creation of the mindespecially : an idealized or poetic creation

b: fanciful or empty assumptio

 

Creativity (noun) cre·​a·​tiv·​i·​ty | \ˌkrē-(ˌ)ā-ˈti-və-tē,  ˌkrē-ə-\

Definition of creativity

1 : the ability to create

her artistic creativity

2 : the quality of being creative

 

Risk (noun) \ˈrisk  \

Definition of risk (Entry 1 of 2)

1 : possibility of loss or injury : PERIL

2 : someone or something that creates or suggests a hazard

3a : the chance of loss or the perils to the subject matter of an insurance contract

also : the degree of probability of such loss

b : a person or thing that is a specified hazard to an insurer

c : an insurance hazard from a specified cause or source

war risk

4 : the chance that an investment (such as a stock or commodity) will lose value

 

at risk

: in a state or condition marked by a high level of risk or susceptibility

patients at risk of infection

 

Risk (verb) risked; risking; risks

Definition of risk (Entry 2 of 2)

transitive verb

1 : to expose to hazard or danger

risked her life

2 : to incur the risk or danger of

risked breaking his neck

 

With the talent and voices of Santi Ric, Máximo Pinilla, Luis Trébol, Miguel Angel Lordán, and all the students from TCR TEA FM

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Show 712: Homeless by Flavien Gillié for Radio Panik

Flavien Gillié : Homeless

I’ve been recording homeless people for a few years now, talking to me, or sometimes talking.
Generally I geolocate them on a soundmap, it’s a way for me to tell where they have been, where they lived.
This Radia creation is a montage of various recordings from Homeless people in Brussels.

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Show 711: Almanack of Breath by Ash Kilmartin for Worm/Klangendum

The Almanack of Breath

Recounting the life of the punitive, eavesdropping Tutivillus, a medieval character also known as the Recording Demon, ‘The Almanack of Breath’ proposes another character: a nameless, invisible and inaudible allegorical figure of Listening. This creature promotes an ethics of listening by collecting and donating different forms of breath to those who need it. Month by month, each of the twelve ‘Seasons of Breath’ details the type of breath – a gasp, or yawn or a sigh – that the listener should take care to hear.

The Almanack of Breath’ is based on a book published by Other Versions (2018), written by Ash Kilmartin with drawings by Collette Rayner. This audio version was made in the WORM studio, starring little bits of Arp Odyssey, Arturia Minibrute, an old Yamaha PortaSound and some field recordings.

Ash Kilmartin is an artist from New Zealand who lives in Rotterdam.

Thanks to:

Lukas Simonas

Bergur Thomas Anderson

ashkilmartin.net

otherversions.tumblr.com

produced by Worm/Dr Klangendum

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Show 710: Zufall (Randomness) by Wiener Radia Kollektiv for Radio Orange 94.0

Zufall, zufällig, Zufallsgenerator, zufallen, to fall, accidens, accidere – from latin: ad ‘to’ and cadere ‘to fall’ – in german a calque, in english taken directly from the latin word and therefore accidentially.

To form a radioshow around the topic needed more than an accidentially arranging of accidentially recorded files.

Serendipity revolves around the “glückliche Zufall”. With a little help from the word “Zufall” the German languages is providing a whole space with a single incident. The differentiation is neither precise nor clear. Our world in patterns and algorithms produces a fear of randomness and uncertainty. Hence the “Zufall”-itself suddenly turns into a protected species. This poetic road-feature is an attempt to search for the “Zufall” and find:

accident der Zufall Pl.: die Zufälle 
chance der Zufall Pl.: die Zufälle 
hazard der Zufall Pl.: die Zufälle 
luck der Zufall Pl.: die Zufälle 
coincidence der Zufall Pl.: die Zufälle 
happenstance der Zufall Pl.: die Zufälle 
fortuitousness der Zufall Pl.: die Zufälle 
fortuity der Zufall Pl.: die Zufälle 
fortune der Zufall Pl.: die Zufälle 
concurrence der Zufall Pl.: die Zufälle 
hap der Zufall Pl.: die Zufälle 
contingency der Zufall Pl.: die Zufälle 
fluke [ugs.] der Zufall Pl.: die Zufälle

lucky break glücklicher Zufall 
serendipity glücklicher Zufall 
contretemps unglücklicher Zufall 
fluke [ugs.] glücklicher Zufall 
fortunate coincidence glücklicher Zufall

We didn’t only acoustically look for it but constructed frameworks around our “Zufall”. Created beds for it, went on a journey, set up surveillance micros for ourselves and started with a meeting without a meeting-point. We welcomed the “Zufall” back to our hyper-controlled lives, created to protect us from disappointment and frustration but creating a series of frustrating reciprocal effects.

Contributors:
Maria Herold
b#
Barbara Kaiser
Lale Rodgarkia-Dara
Karl H. Schönswetter
Peter Wetzelsberger

Thanks to:
Maria Sulzer & Family
Majo
Nikola
Manuel Waldner

You will find this radia-transmission also on the CBA Archive.

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Show 709: Find Your Own Raven Voice, by Claire Serres (Radio Corax)

Hi listeners, here I’m talking about the present voice, sharing energy and transformation. Here, I’m talking about performance, about body feeling facing the microphone. I’m a performer, invited for three months of experimentation in the course of the Radio Art Residency at Radio Corax. Here, your are listening to a composition with the voices of Radio Corax members.

Twice a week, I invite a voice of Corax to join me in the studio for a live “Hörspiel”. 

Find Your Own Raven Voice is an on air playground to improvise the deconstruction of language, our uncontrolled voice, and to hear a voice we’ve never heard before.

If you want to find, you have to know how to lose. This is the game.

Give me your tongue and I’ll give you energy.

Claire Serres is a performance artist based in Paris. She considers radio primarily as a real-time medium that invites to play with the quality of the live moment. Currently Serres is the second scholarship holder of the Radio Art Residency, an artist-in-residence program by Radio CORAX and the Goethe-Institut, which makes international activities in the young art genre of radio art visible and audible.

Claire Serres has realized works for documenta 14 Radio (2017), the Strasbourg Museum of Modern and Contemporary Art (2016), and Art’s Birthday 2014 SWR/E-Werk Freiburg. She also works as an editor at the independent radio station Frequence Paris Plurielle 106.3 FM, where she presents the daily current affairs magazine.

http://ligie.org/

http://radioart-residency.net/en/

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Show 708: cancelled

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Show 707 – Tuning the World by Jean-Philippe Renoult (Campus Paris)

Tuning the World is a series of active field recording transmissions that began over the
Summer 2018 during a residency at Wave Farm (Acra NY), and continued in the mountainous Telemark region of Norway.

My intention is to create an open air dialogue between soundscapes and drone music practices. For this I play a shruti box, an entirely organic drone generator usually used by Indians raga musicians. During these field recording sessions, I play the shruti box quite far from the microphones, mingling in my surroundings.

It is no secret that Tuning the World alludes to R Murray Schafer’s essay “The Tuning of the World” and his concept of wilderness radio. In this edition you can hear swifts swooping around a cemetery in Norway, a motorcycle engine roaring at the bottom of a valley, distant traffic on an American road, the lapping of the waves on a mountain lake, and the timid wildlife of New York state combined with the natural resonances of the Wave Farm Study Centre… and of course the shruti box tuning and retuning to it’s immediate environment.

This “New York to Telemark edition” of Tuning the World is dedicated to Pauline Oliveros.
Wave Farm is close to where she used to live and there is one particularly resonant tree on a wooded part of the property that she played where I too chose to begin, and listen.

credits

environmental recordings : DinahBird 

shruti box, edit and mix : Jean-Philippe Renoult

 

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Show 706: Deep Time, by Charlotte Parallel (Radio One 91FM, NZ)



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Charlotte Parallel: Deep time

Charlotte Parallel’s practice operates within a geophysical framework, engaged directly with physical properties and processes of the Earth. This has seen her explore areas such as sound waves, transduction, conduction, seismic vibrations, field-recording methods, and the relationship our bodies have to these processes. Parallel’s research phase is fundamental to the way in which her practice operates, revealing the potential of specific sites where she will record data, both above and below ground. This data, which is often inaudible in its raw state, is then translated into sound works. These works make visible/audible elements that are often overlooked, ignored or inaccessible in their original state, but constantly moving through and around our environment.

This exhibition explores the concept of deep time, or geologic time, in various locations across Ōtepoti Dunedin. Deep time, a concept developed in the late 18th century (but not coined until the 20th century), speaks to the way that key events and successive changes to the earth are measured over an expanded timescale, within the mineral make-up of the earth itself. This area of geological study provides a framework for engaging directly with the past, measuring cycles of sedimentation and erosion that have come to shape the land.

Parallel worked in collaboration with a seismologist, using sensors and computers to listen to and record the earth in sites across the city. Each site speaks to various stages of movement and distribution of earth including Te Wai o Tinirau / Makereatu / Blackhead Quarry, Walton Park Sand, Logan Point Quarry and in the base of various storm drains. In Deep time Parallel uses sound, accessed by the viewer through telephones, to analyse distinctive formational changes that have taken place within these sites – reminding us that the land is not static but ever-changing, responding and adapting to both organic and forced movement.

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Charlotte Parallel is a New Zealand artist based in Koputai Port Chalmers working in the fields of sculpture, sound, performance and collaboration. She has been exhibiting within New Zealand consistently over the last 16 years and internationally since 2010.

Deep time was commissioned by Dunedin Public Art Gallery, for the exhibition FOUR: Kim Pieters. Charlotte Parallel. Megan Brady. Aroha Novak, 25th Aug 2018 – 18th Nov 2018

images: Iain Frengley
text: Lauren Gutsell

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Deep time was conceived as an interactive installation, for one or many listeners. This edit by the artist was made especially for the international radia network, recomposing the work’s sites and sonic materialities as a piece specifically for the radiophonic context.

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