Show 922: The Weekly Dream Report Omnibus by Hethre Contant and Jon Panther for 107Diffusion.


Here is a collage of various “live” stream sessions from the studio and street events at 107 Redfern NSW. During these happenings we enjoy improvised sonic performances, interactions with anyone or anything from anywhere on the planet and whatever we might fancy as the mood takes us – exploring the possibilities of radio-space via telephones, walkie-talkies, computers, deep sea cables, whatever paraphernalia comes to hand and August Black’s telematic browser app Mezcal.
We feel this slice of sound captures the “spirit of adventure” and the surreal chaos of our endeavours…
Had any amusing dreams recently? 107Difffusion is proudly a Wave Farm Transmit Partner so you can enjoy checking in with us and sharing on Saturdays around 11ish AEST…. And don’t forget – the artist asleep is the artist at work!

https://august.black/mezcal/

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Show 921: TZUSSS (Radio Student)

 

TZUSSS

TZUSSS is the first collaboration between the Zurich duo of accordion player Tizia Zimmermann (CH) and trumpet player Silvan Schmid (CH) with Urška Savič (SI), radio artist. Their collaboration started – because of their physical dislocation – in the form of online exchange of thoughts and inspirations connected to their own creation in the field of sound and text. In that way, they started to build a basis on the concepts they find important in the vast field of selected topics. What came out as a common interest was the fragmentation of sound and text to shape their boundaries diffuse and agile; e.g. through examining speech on its melody/intonation, rhythm/tempo and (as a consequence) interruptions and interference in communication. The piece prepared for Radia Network is a fragment of a first performance on their November tour played live for Radio Študent.

Thanks to Špela and Smiljan. During the process we have read out of Dub : Finding Ceremony by Alexis Pauline Gumbs including poems of Sylvia Wynter.

Support: Radio Študent Ljubljana, Cirkulacija 2, KUD Mreža/Atelje Azil /Studio Asylum, Kulturno umetniško društvo Jadran, Pekarna Magdalenske mreže, Blech, Punctum, Pro Helvetia Schweizer Kulturstiftung, Kanton Zürich Kultur, Stadt Zürich Kultur, Open radio art-theory investigative platform R A D A R, Gamut LABYRINTH, Radia Network

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Show 920: Co-regulating the spectrum: Meanwhile, the wave by José Alejandro Rivera (proxemia) for Wave Farm

    I have undone the sob of the lost echoes…
    I have the deep infinite playing in my hands

    Become the caress. I don’t want you to limit
    your eyes in my body. My road is space.
    To travel me is to flee from all paths…
    I am the dancing imbalance of the stars.

    excerpts from a Julia de Burgos poem entitled, Mi senda es el espacio / My Road is Space

Writes Rivera,“Co-regulating the spectrum: Meanwhile, the wave is a radiophonic river of shifting reflections across neurodivergence and consciousness studies, radio and radar via the electromagnetic spectrum, language and communication, ufology and ET lore, and diasporic musings regarding the political and cultural history of Puerto Rico. Through a dense assemblage of sound design and field recordings, and cut-up bilingual samples from poetry, personal reflections, interviews and archival documentaries, the electromagnetic landscape becomes an imagined extrasensorial, polymorphic, carrier of consciousness; a pulsating presence that is inhabited, and that inhabits, in a myriad of Other ways.

What do you mean when you say “spectrum”? What of “being on another wave-length,” or “the same frequency”? Like tuning a radio, bats from a cave, or flying saucers from the deep waters beneath the island, possible meanings emerge via aqueous transmissions and various slippages of language and meaning. Moving between English and Spanish, the piece utilizes common tropes such as contacts with extra-terrestrials, and autistics and other neurodivergent minorities as aliens with the felt experience of being an other and being othered. At the same time, the piece references a 1901 US Supreme Court ruling (Downes vs. Bidwell) that, in response to categorizing shipments for tax purposes, determined that Puerto Rico and the “new” island territories like Guam and the Virgin Islands were “inhabited by alien races” and “foreign, in a domestic sense.”

In addition, the work is equally inspired by the radical Neuroqueer Theory of Dr. Nick Walker (she/her), an autistic trans scholar and writer, the diasporic longings of Puerto Rican poet, Julia De Burgos, Ida M. Kanneberg’s book, UFOs and the Psychic Factor, and the science fiction of Octavia Butler.

What does is it mean to experience communication differences, sensory sensitivities, or other ways of being? How might these communication differences serve as opportunities to experience time and space differently and/or connect in other ways? How can a bodymind listen to, regulate, and communicate with itself, others, and the environment? Do bodyminds receive and transmit signals to and from beyond the local, and like radio and radar, can the diasporic experience be related?

At times, the listener’s attention is signaled outwardly towards the stars through ominous drones and radio feedback. Simultaneously, a notion of embodiment and grounding is alluded to with the samples of yoga nidra and tai chi explanations, and sounds of shelling habichuelas (Puerto Rican beans) recently grown in Vermont. Woven throughout the piece are field recordings captured while camping across the island in the July of 2022. Serving as textural markers and place-holders of memory, the recordings feature bomba performances, conversations, city ambience during an apagón (black out), and street protests, as well as various environments such as farms, forests, beaches, and caves.

Though a spectrum is defined as “a condition that is not limited to a specific set of values but can vary, without gaps, across a continuum,” the piece ultimately lies in the curious space between the gaps of the spectrum; among the edits, along the time shifts and losses, and across the possible waves and feeling frequencies of meaning and energy.”

Special thanks to: Wave Farm (Galen Joseph-Hunter and Tom Roe), Gregory Whitehead, Anna Friz, Joan Schuman, Neil Verma; Dr. Mel Houser, Sierra Miller, and the Neurodivergent Community of All Brains Belong VT; Vermont Art Council; and PR, the land and its people across the island and diaspora.

José Alejandro Rivera is a 2022 Wave Farm Radio Art Fellow. Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. Visit https://wavefarm.org/radio/wgxc/calendar/mvfqk3 for more information.

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Show No. 919 : Symphony for a city (Radio Panik)

Subjectiv sound visit, “Symphony for a city” goes out of the field of reality in order to tranform it, mix it and make it sing. Based on records made during october 2022 in Bruxelles, this sound play distort the thousand noises of the city in order to make arrise his poetry, his rage, his rythm. In punctuation, daily words used in the french language like « bonjour » (hello), « oui » (yes), « non » (no) and « merci » (thank you) are declined in their infinites intonations. Oui don’t mean necessairly yes. Non can be sometimes be ask like a question. Merci is often used without a thought. Bonjour exist in a unconscious way but can also be used in very intimate opening to the closest persons. So many possibilities with which a game is established, first in solo and then with interactions between each words. This words, repeats, exhausted by repetition, loose then theirs significations for finaly just keeping theirs musicality, and theirs radicalness. Finaly, they enter into the landscape in which they are inscribed, in fake or in real.

This work would not have been possible without the meeting this summer 2022 of Arthur Lacomme and Domitille Devevey during the radio creation festival « Utopie Sonore ». The many “oui” heard were, by the way, collected from the participants of this festival.
This sound play was written with advices of Vincent Matyn and the kind listening of the Radio Panik team.
Finally, thanks to the voices, anonymous or friends, who punctuated this sound play.

Credits :
Image : Domitille Devevey
Mixing, composing, recording and production : Domitille Devevey
_____________________________________________________________

Symphonie pour une ville Visite sonore subjective, Symphonie pour une ville sort du champ de la réalité pour la transformer, la mixer et la faire chanter. Basée sur des enregistrements faits durant le mois d’octobre 2022 à Bruxelles, cette pièce sonore détourne les milles bruits de la ville pour en faire jaillir sa poésie, sa fureur, son rythme. En ponctuation, les mots du quotidien employés par les francophones comme « bonjour », « oui », « non », et « merci » sont déclinés dans d’infinis intonations. Oui ne veux pas forcément dire oui. Non peut parfois se poser comme une question. Merci s’emploie sans y penser. Bonjour existe de façon machinale ou bien s’utilise comme l’ouverture de l’intimité. Autant de possibilités avec lesquels un jeu s’instaure, d’abord en solo puis en ping-pong. Ces mots, répétés, filés, usés perdent alors leur sens pour ne garder que leurs musicalités et leurs radicalités. Ils s’accordent alors avec le paysage dans lequel ils s’inscrivent, en faux ou en vrai.

Ce travail n’aurait pas été possible sans la rencontre cet été 2022 d’Arthur Lacomme et de Domitille Devevey lors du festival de création radiophonique Utopie Sonore.
Les nombreux « oui » entendus ont d’ailleurs été récoltés auprès des participants du festival.
La suite c’est écrite à plusieurs oreilles, avec les conseils de Vincent Matyn et les écoutes bienveillantes de l’équipe de Radio Panik.
Merci enfin aux voix, anonymes ou amies qui ont rythmé cette création sonore.

Crédits :
Image : Domitille Devevey
Mixage, composition, enregistrements et réalisation : Domitille Devevey

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Show 918: Shadowside Of Sound (Worm)

SHADOWSIDE OF SOUND

A radiopiece by Coolhaven

SHADOWSIDE OF SOUND is an ongoing project, dedicated to works by Rotterdam composers, known and unknown, who have fallen into oblivion. Progressive or conservative. Fairly or unfairly; that will determine history. As you know, there are various points of view regarding whether or not acceptance is there. In general, it can be assumed that the circuit must have the power to handle the work. The other view is a chimera of the one who gives himself a stunning victory before playing time is up.

In this radiopiece, especially constructed for the Radia Network, we focus on Julie Bruins Rampart. Coolhaven was already deeply involved in her work when they discovered the existence of her twins, Sybille and Plasma, who never really ‘met ‘her mother (after they were born that is) and were raised in Devon, UK. Coolhaven went there to interview the twins. The radiopiece exists of the interview and some of Rampart’s re-interpreted works by Coolhaven.

Julie Bruins Rampart (1922-2005) In her free evening hours, Julie Bruins Rampart composed lustily. Initially, her favorite instrument was the great Baroque flute. We see this instrument in most of her compositions. This changed later when she discovered the possibilities of the electric guitar-sound.Sometimes solo, but often in combination with other instrumentation. What makes Bruins Rampart’s work attractive are the often complex gesticular additions that her works contain. She often stages the performers in a tableau vivant and does not shy away from acting unorthodox. Her work was dismissed as amateurish, a-musical and immoral. Bruins Rampart was active in the VSSM (Study Group Sadomasochism Association) in Rotterdam. The VSSM regularly organizes game meetings. Bruins Rampart strived for inclusiveness. Her series of compositions seem to be based on various agreements and putting them into practice; the so-called “play”. In that sense, her works could be interpreted as politically emancipatory erotic pamphlets. Bruins Rampart came from the PvdA circles that believed in the makeable world at the time. Moralistic, socially critical and also formative.

Credits;

Interviewers; Coolhaven

Sybille & Plasma Guy ; Lucinda & Catherine

interview recorded by Soundart Radio, thanks to Chris Booth.

Music; Julie Bruins Rampart, played by Coolhaven

This is a Worm/Klangendum production

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Show 917: WurM IN WorM (Worm)

Three crawlers decided to meet at one point a little bit longer. With Worm as their temporary residence, a continuous cycle took place where sounds
were made, regurgitated and eventually brought to the surface.

Hessel Veldman (NL), Kamilė Rimkutė (LT) and Ruben Verkuylen (NL) differ widely in their musical practices and experiences, but find kinship in
their appreciation of sound as soil for life. At the end of their sojourn, they performed their collection of sounds at Worm and showed their Wurm.

In this production at WORM they found the worm (“wurm’) inside the building, the organisation, in space, in the city, in the universe, in their afterlife, underground and in their friends. During the production days they build short and long fragments of soundbites, by creating several improvisation-settings and used real-time recording for building a sound archive. They mangled and cleaned up the recording results and modulated and arranged them during the final presentation on Sunday May 29 in WORM, Rotterdam; live and for Radio WORM.
Check: https://worm.org

Composers/musicians in residence:
Kamilė Rimkutė
Ruben Verkuylen
Hessel Veldman

Contributing composers/musicians:
Tisa Neza Herlec
Hugo Lioret
Puck Schot / Acidic Male
Thomas Dudckewicz
Marianna Muruyama

Sound Bites by Saskia McCracken from her short story Sister/Worm.

Also an unknown/unpublished track by Enno Velthuys is wrapped in the WurM.

Hessel Veldman (Y Create, Forbidden Photographs, FNTC). Hessel is a composer, musician and radio-producer in the electro-acoustic field.
Watch: Y Create Forbidden Photographs @ Headroom, OT301.
https://www.youtube.com/watch?v=3v1-WumW89o&t=1154s

Ruben Verkuylen Ruben is devoted to sound through a mixed practice of DJ’ing, producing and running two music labels (BAKK and Rubber). Ruben is also an independent graphic designer in the creative industry and co-runs cinema platform WYSIWYG (What You See Is What You Get).

Kamile Rimkute aka Caline With C. Kamile graduated from Master’s degree in Sonology at the Royal Conservatory in the Hague, where she created interactive sound installations and did mixing classes, but most of the things she learned through working with sound in her own studio. She does live sound for electronic bands/artists occasionally. And she also does mastering (cd, vinyl, cassette) work.
Watch: Caline with C live for Pinkman District.
https://www.youtube.com/watch?v=btyvGf26PPU

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Show 916: Recalcitrant Electronics by Julien Mérieau (Jet fm)

Recalcitrant Electronics

Without apparent thematic, assembled like a string of pearls this piece stages some formal obsessions of Mulot’s work since its origins. Micro-manifesto and lesson of sound art, blow of projector in the meanders of the archives it is a possible synthesis, floating, not exhaustive of several aesthetic obsessions, which are akin with the clandestinity of the radio pirates, the will to go further in the explorations of the radio medium.

A large part of the fragments originates from our private collection whose physical supports and origins are very varied (Found Sound) not to say improbable, saved at arm’s length, when they are not stolen or obtained under threat. The others are methodically punctured from a file conceived for the real time mixing, a hudge sorting station, a table of the elements and a visionary building site, infinitely ramified, whose finality would relate to a kind of total mix.

The proposal also recycles some debris of unfinished musical pieces. Its title is borrowed from one of the vocal fragments used in the piece. Basically, it can be considered as an additional track to the radio vinyl Quartz Locked, released by Warm in 2015, another synthesis, fragmentary, of more than twenty years of radio experiments in the shadow of any legal framework, of the contemporary art network and of the supposed expectation of an audience that should never accept anything less than dazzling, solar insurrections and other gestures pertaining to radical poetry. Listening with headphones strongly recommended.

Radio Mulot aka France Museau / Stream URL :
Description : http://fieldmice.free.fr/mulot2.htm
Souscription : https://radiomulot.bandcamp.com

Abstract photographer, author and sound artist Julien Mérieau is the founder of the well-named Radio Mulot aka France Museau (1997-2022). Enfant terrible of french photography, willingly polemist and irreverent his dismissal led him to found with a reduced team a large-scale pirate station, in a way to set up his own art gallery, transposing years of plastic, conceptual or visual arts concerns to sound arts and programming. Inspired by Dadaism, Situationism and the culture of Industrial Music this project has continued to multiply experiments and explorations, much of which remains in the archives. A Journal recounting this adventure, between existential chronicle, prose poetry and theoretical fragments should be published in 2023. Julien Mérieau is also the founder and continuator of the following projects: La Nouvelle Photographie, Cinéma Immobile, La Chambre Introuvable. According to his friend Gerard Malanga, Julien Mérieau is said as “the best keep France’s secret.”

http:// fieldmice.free.fr/call_fire_emergency/TeXTes

Recalcitrant Electronics

Sans thématique apparente, montée comme un collier de perles, cette pièce met en scène quelques obsessions formelles du travail Mulot depuis ses origines. Micro-manifeste et leçon d’art sonore, coup de projecteur dans les méandres des archives, elle est une synthèse possible, flottante, non exhaustive de certaines obsessions esthétiques, lesquelles ne sont pas sans lien avec la clandestinité des radio pirates, la volonté d’aller plus loin dans les explorations du média radio. Une grande partie des fragments s’origine de notre collection privée dont les supports physiques et les provenances sont très variés (Found Sound) pour ne pas dire improbables, sauvés à bout de bras, quand ils ne sont pas dérobés voire obtenus sous la menace. Les autres sont méthodiquement ponctionnées à partir d’un dossier conçu pour le mixage en temps réel, véritable gare de triage, tableau des éléments et chantier visionnaire, infiniment ramifié, dont la finalité relèverait d’une sorte de mix total. La proposition recycle aussi quelques débris de pièces musicales non abouties ou inachevées. Son titre est emprunté à l’un des fragments vocaux, magnifique, utilisé dans la pièce. Au fond, on peut la considérer comme un morceau additionnel au vinyle radiophonique Quartz Locked, paru chez Warm en 2015, une autre synthèse, fragmentaire, de plus de vingt ans d’expériences radio à l’ombre de tout cadre légal, des milieux de l’art et de l’attente supposée d’un auditoire qui ne devrait jamais rien accepter en deçà de l’éblouissement, des insurrections solaires et autres gestes relevant de la poésie radicale. Écoute au casque fortement recommandée.

Radio Mulot aka France Museau / Stream URL :

Description : http://fieldmice.free.fr/mulot2.htm

Souscription : https://radiomulot.bandcamp.com

Photographe abstrait, auteur et artiste sonore, Julien Mérieau est le fondateur de la bien nommée Radio Mulot aka France Museau (1997-2022). Enfant terrible de la photographie, volontiers polémiste et irrévérencieux, sa mise au banc l’aura conduit à fonder avec une équipe réduite une station pirate de grande envergure, de sorte à monter en quelque sorte sa propre galerie d’art, transposant des années de préoccupations plastiques, conceptuelles ou relevant des arts visuels vers les arts sonores et la programmation. Inspirée du dadaïsme, du situationnisme ou encore de la culture des musiques industrielles, ce projet n’a cessé de multiplier expériences et explorations, dont une grande part subsiste dans les archives. Un Journal relatant cette aventure, entre chronique existentielle, poésie en prose et fragments théoriques, devrait paraître courant 2023. Julien Mérieau est aussi le fondateur et continuateur des projets suivants : La Nouvelle Photographie, le Cinéma Immobile, La Chambre Introuvable.

http:// fieldmice.free.fr/call_fire_emergency/TeXTes

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Show 915: Bob (Musk’s Mushrooms) by Thomas Antonic (Radio Helsinki)

Show 915: Bob (Musk’s Mushrooms) by Thomas Antonic (Radio Helsinki)

Bob (Musk’s Mushrooms) is a sound collage based around an interview Thomas Antonic recorded while researching the beat generation in the United States and which revolves around topics such as freedom, drugs and conspiracy theories.


Thomas Antonic
is an award-winning poet, musician, writer, filmmaker and multimedia artist who holds a PhD in German Literature and Philosophy. He works mainly in the fields of experimental literature, multi-media intersections of poetry, film, music, visual arts, cut-up, improvisation, spontaneous prose and other principles of coincidence.

He has numerous publications to his name, in German and English, most recently: United States of Absurdia or The Glorification of the Golden West (poetry and prose, 2022). Antonic is currently conducting the research project ‘The Transnational Beat Generation in Austria’ at the University of Vienna. He was Visiting Researcher at Stanford University in 2013 and Research Fellow at the University of California in Berkeley in 2014 and 2015. He lives and works mostly in Vienna, Austria. In 2021, he completed his first feature length documentary film, ruth weiss: One More Step West Is the Sea.

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Show 0914: New Poem by That Travis (Resonance)

Currently based in London, for Radia singer-songwriter That Travis revisited their work “New Poem.” Originally released in 2021, the EP dived into the spaciousness within their imagination through songwriting and weaving woodwinds with voice. Experiencing lockdown at the time, they lived through solitude with one eye open; while the other one was reserved, longing for intimacy. That Travis is originally from Hong Kong, with a background of a colonised education and indigenous Hong Kong traditions. While the two worlds fight for presentation within their work, they exhibit an organic mixture of all influences through sonic expressions, lyrics and visual aids.

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Show 0913: Shentov, Simitchiev, Lukanov – Live in Skopje (Kanal103)

The episode consists of an excerpt from the bootleg recording of Shentov, Simitchiev, Lukanov’s performance at the Museum Of Contemporary Art Skopje from July 2022. This was the second performance of the drone trio outside of their native Bulgaria (the first one was a day earlier at the Macedonian radio Kanal 103). The performance took place on the museum patio, with parts of Skopje and the sun setting behind the mountains. 

It was part of the Amek Collective & Kontingent Records label showcase organized by KRIK – festival of critical culture in Skopje.  

https://amekcollective.bandcamp.com/

https://kontingentrecords.bandcamp.com/

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