Show 659: why is there something rather than nothing. deadpeoplesrecords (EastsideFM)

…taking a holiday in the universe of matter…

 

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Show 658: Urluberlu is getting Far/Etranger/Vreemd (XLair)



A collaboration between borders,
In a Europe that gets more and more closed from inside, the URLUteam decided to make a 6 hand piece with one motto : Far/Etranger/Vreemd.
Exploring the way we look at each other, knowing that it’s so strange to be a stranger.

More info about the collective : www.urluberlu.be

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Show 657: Method / Anna Zett (reboot.fm)

sdr

METHOD, by Anna Zett via reboot.fm 88.4 FM Berlin for radia.

In this spontaneous audio piece Anna Zett explores the interview as a form of monologue and a form of trialogue. It is centered around the artist’s visit at a professional fortune tellers office in Beijing.

She has brought her own deck of modernist tarot cards, he is willing to share his approach to situation analysis and fate calculation according to Chinese traditions. Mediated by a third person who is serving as translator, they enter a conversation about chance.

Anna Zett has written and directed two radio plays for the public radio in Germany, both of them dealing with voice-based oracles and the challenge of communication.

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Show 656: AMonFM::: underground_acceleration by beepblip (Radio Student)

beepblip

The track was recorded live on Sound Topographies Festival at Škuc Gallery, on 1 October 2017, by an invitation of the festival’s curator Nina Dragičević. The track is based on various field recordings, which in their raw form often sound quite piercing for the ear. Field recordings are most interesting for the person who finds them, in simultaneity with the sound-event, in direct contact with the sound-field source. Such encounters are marked by an element of surprise in a unique event, a non reproducible moment in time. With repetition this moment becomes an object in the archive of memory, of something known and transmittable. In my relation to sound, the element of the unexpected plays a significant role, as though I am making sounds in the tension between repetition and surprise.

The track plays with various frequencies in audio or electromagnetic spectrums, which are outside the range of a human hearing. Often, such frequencies come in extremely high and sharp form, when they are transposed to the human hearing range. These are exactly the frequencies that attract me most. I am producing such sound in an attempt to shift the flow of conscious thinking.  In this way, the production of such persistent sounds is political, because they nullify the capacity to be productive and efficient; the two imperatives imposed by capitalist mode of reproduction. At the same time, these sounds are not particularly entertaining, and they offer relaxation only to the people who refuse to be relaxed in an anesthetic way. The track ideally works as a jammer for thought pollution.

A few words about field recording. In the immediacy of listening when recording, I am using amplifiers, catchers of frequencies, different antennas, coils, transducers. I record either outside of the hearing range, either in the electromagnetic fields or on the radio frequencies outside of the advertisement-polluted FM (AM or VHF). To walk through space with headphones and an amplifier of sort is like floating in some virtual inter-space, which is not connected to online or digital virtuality, but a virtual space on the level of electromagnetic waves, for example. In my utopian thinking, I imagine that computers and the web are not optimal carriers of virtuality. If we are ever to develop interfaces, which are more comfortable for our human bodies, we would have to invent new way of virtualisation. I am not interested only in producing sound compositions, but propose sounds, which would say something about the future. As a representative of contemporary cognitariat I feel flattened in two dimensions of a computer screen. And sometimes I am in awe with the 3D world with its forms and possibilities. An ordinary view of the world is virtual reality to me. My listening of electromagnetic waves is a way of opening the virtual space into more spatial and temporal dimensions.

The track consists of modified fragments recorded with a radio receiver on AM waves. Mostly they are without narration, and sometimes a word or a melody creeps in. I listen to these tracks like they would be arias of some sort. The tracks also consists of sound layers recorded with a coil for sound detection of electromagnetic waves. These recordings were mostly taken in 2013 and 2014 in New York City, where the EM waves are omnipresent. This part of the recordings is also the reason to call this track Underground Acceleration. What interests me in this sound layer is the tension of constant acceleration with few releases. This constant electromagnetic tension works like an illustration of capitalist depletion and accelerationism.

There is also a really beautiful example or an acoustic citation of light installation by Kurt Laurenz Theinert: Gespinst, exhibited a few years ago at the Lighting Guerrilla Festival in Ljubljana. In addition to these field recordings, there are also several sound levels produced live with analogue electronic synthesisers.

For the conclusion, perhaps a short explanation of the title AMonFM. Not only are some AM transmissions now channeled on radia-FM, the FM in this case is also the Shape of a dozen of analogue patches.

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Show 655: Routing Around by Rory Solomon (Wave Farm / WGXC)

Rory Solomon on the CB radio.Rory Solomon presents his CB radio project, live at Wave Farm’s “Lodge” show at Riedlbauer’s Resort in Round Top, New York Aug. 26, 2017. Solomon reviews citizens band radio history in the United States, and relates CB radio today to mesh networks. Solomon also plays a CB radio game with participants during the show. Photo by Bryan Zimmerman.

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Show 654: OIDOS SORDOS – DEAF EARS. (TEA FM)

Although usual, the works of sound creation of TEA FM always look around to press the environment and look for those sounds that are hidden behind the silence or the screams, as both contaminate the speech and the listening.

In these days, almost all the sounds that arrive at any place of Europe from our latitudes refer to Catalonia.

IMAGE: El Periodico de Aragon. April 23th 1992. Aragonese people in front of Spanish Parliament, Madrid.

 

What is here called “train crash”, which is nothing more than a dialogue of the deaf in which neither party is able to hear the contrary to arrive at a valid conclusion, stifles any other claim or protest as valid or more like “Votarem”

This creative documentary that TEA FM puts in your ears is born of our own Aragonese identity. Aragon, an uninhabited territory (along with Lapland, of which the least inhabitants per square kilometer has in all Europe), with a proper language that is only speak by 12000 people and that is cataloged like the more reduced language than those that exist in Europe and a population of just over one million people aged and dispersed in a territory with the size of Switzerland.

What we put in your ears is not a claim program. Nor it meant to be informative. We just want you to listen to those sounds that exist and are not heard from the protests that have been produced and are taking place right now in Aragon for many years and are deaf to the media noise of who only wants public opinion to look in one other direction.

Because despite what it seems … NOT ALL HAPPENS IN CATALONIA

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Como es habitual, los trabajos de creación sonora de TEA FM miran a su alrededor para pulsar el entorno y buscar esos sonidos que quedan ocultos tras el silencio o los gritos, pues ambos contaminan el discurso y la escucha.

En estos días, casi todos los sonidos que llegan a cualquier lugar de Europa desde nuestras latitudes se refieren a Cataluña.

Lo que aquí se está denominando “choque de trenes” y que no es más que un diálogo de sordos en el que ninguna de las partes es capaz de escuchar al contrario para llegar a una conclusión válida, ahoga cualquier otra reivindicación o protesta tan válida o más como la del “Votarem”

Este documental de creación que TEA FM pone en tus oídos nace de nuestra propia identidad aragonesa. Aragón, un territorio despoblado (junto con Laponia, de los que menos habitantes por kilometro cuadrado tiene en toda Europa), con una lengua propia que tan solo hablan 12000 personas y que está catalogada como la lengua más minorizada de las que existen en Europa y una población de poco más de un millón de personas envejecida y dispersa en un territorio del tamaño de Suiza.

Lo que ponemos en vuestros oídos no es un programa reivindicativo. Tampoco pretende ser informativo. Solo queremos que escuchéis aquellos sonidos que existen y no se oyen de las protestas que se han producido y producen en Aragón desde hace muchos años y que quedan sordos ante el ruido mediático de quien solo quiere que la opinión pública mire en una dirección.

Porque a pesar de lo que parezca… NO TODO PASA EN CATALUÑA

 

 

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Show 653: Éponges d’une nuit d’été (Radio Panik)

Some morning voices who told with texture in situ and a live performance with found material.

A sonar experience in three stages: gleaning dreams (recorded), gleaning sounds, collective trance.

This performance art workshop, organized by Le Bruitagène, took place at the second Utopie Sonore manifestation, a sound and radio residence near Angers in France at the end of August 2017.

A dozen people participated in addition to the fourty people who recorded their morning voices surrounding the theme of their dreams. The idea: to create a soundtrack based on these recordings, and added interesting sounds made by instrument-objects collected in situ, to deliver a live performance by broadcasting the editing of voices and playing with instrument-objects.

Producer : Doux Comme Un Lézard

Illustration : http://smashinghub.com/free-sponge-textures.htm

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Des voix du matin qui racontent, de la texture in situ et une perf live avec la matière récoltée. Expérience sonore en trois étapes: glanage de rêves (enregistrements), glanage de sons, transe collective.

Cet atelier-performance a eu lieu lors de la 2e édition d’Utopie Sonore, résidence radiophonique et sonore près d’Angers fin août 2017, organisée par Le Bruitagène.

Une dizaine de personnes y ont participé, en plus de la quarantaine de personnes qui ont enregistré leur voix du matin autour de leurs rêves. L’idée: réaliser une trame sonore à partir de ces enregistrements, y ajouter des sons d’objets-instruments récoltés sur place, livrer une performance en direct en diffusant les montages des voix et en jouant des objets-instruments.

Une production Doux Comme Un Lézard

Illustration : http://smashinghub.com/free-sponge-textures.htm

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Show 652: IGITUR FLOTSAM (Radio Worm/Klangendum)



IGITUR FLOTSAM - a stream of deserted anthems, disembodied voices, morse signals, crank calls, 
corroded tapes, radio statics, counting games and wanderings through empty buildings.
This radioplay is based on the unfinished gothic tale IGITUR - a collection of texts abandoned by its 
writer Stéphane Mallarmé in 1869.

A man wakes up in the middle of the night. Is there something there? or has something disappeared? 
Outside are opaque constellations of stars, the radio plays random sounds from beyond and the phone 
is dead.  It seems as if something has been accompanying him already all the time, stealing his identity 
by being a double.  Trying to escape this double he leaves his room and outside on the stairs he 
happens upon more reflections, shadows and doubles.
He tries to conjure these multiples by counting steps and doors on the way. 
Finally downstairs everything vanishes in the dark when all the sounds of the world enter the 
large open space. 


Credits: 
music: Reinier van Houdt 
text: Stéphane Mallarmé/Reinier van Houdt 
voice: David Tibet

Thank you: David Tibet, Ossian Brown, Rita Knuistingh Neven, Andere Baustelle, 
Simon Lenski,  Susanne Fröhlich, Sascha Sulimma

produced by Worm/Klangendum
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Show 651: Austrian Angst by Wiener Radia Kollektiv (Orange 94.0)

This week’s show is the Wiener Radia Kollektives journey into “Austrian Angst”. Listen to a group’s access to our spaces of Angst. And how a collective deals collectively with the collection of individual angst.

A show by the wiener radia kollektiv, Orange 94.0, in the 2017.

Tobias Dankl, Maria Herold,  Barbara Huber, Milada, Niklas, Barbara Kaiser, Lale Rodgarkia-Dara, Karl Schönswetter and Maria Sulzer.

The German language differentiates between fear (Furcht) and Angst (Angst)

Furcht is clearly directed, rooted in our consciences.

We know what we are afraid of, can name it, sometimes, we don’t dare to express it but it is not labeled with a shattering uncertainty.

The Austrian Angst is like the misty evening. Fog between the lines of conscience reception and anticipation. Blurring boundaries. We embody the present, we cannot flee escape from the present. The present is present. We cannot estimate the risks and vulnerability of the threat. We fight, freeze, focus, or flee based on the essence of our temper but between the foggy lines of this present a thought turns into a tree with little shiny fruits of terror.

The Austrian Angst is quiet, a solidification of our breath.  The moment turns into eternity; every scream is inverted into your body that suddenly is the object of angst itself. The outside threat is no longer separated from the inside we merge with this threat from the outside. We cannot do anything to avoid the immediate danger. We react and act in a quiet time-less, space-less sphere.

The picture is never complemented if you only look at one generation, so we borrow other generations, look at our children or argue with  our mothers and fathers. Rage is the soft variant of angst. It might seem aggressive and uncontrollable but in most cases is precludes the arousal of the real feeling. This is Austrian Angst and it means, it treats your body without any shifting, development.

The creation of experience, in fact, involves a degree of forgetting. Austrian Angst offers a huge traditional cake of sweet joyfulness. Every spoonful of this creamy tasteful cake prevents us from this process of forgetting. We detain our memory, sentence it for life. Free floating fear. Uncertainty itself becomes the object of our Angst. We can no longer set any references in time, space, lose the others, our body, our essence. And this angst is merging with desire. For some this means a joyful experience of life.

Die Tendenz in der unbelebten Welt zu immer größerer Unordnung, ist die Entropie
Eine meiner persönlichen  Ängste besteht darin,  den Kampf gegen die Entropie zu verlieren. In der belebten Welt sehe ich Angst, irgendwann den Kampf gegen das Kompostieren zu verlieren.

Transference and countertransference – the Austrian Angst is shiny and frosted at the same time. It is equipped with an insect’s antenna beyond our imagination. A gentle exploration of our manifold selfs, interspecies meetings a wishful exchange of perception, in fact an encounter of death.

Flow is the Antagonist of Austrian Angst. Flow shuts out this indescribable boredom of the Austrian existence. We cherish this fadesse, the tedium sticks our soul together. Our senses are integrated in the eternal conjunctive. The terror of our soul is the vital life others might have. We stare in envy. No single sign of shame, we are proud of this fadesse. Resonance with it.

You were listening to Austrian Angst. A show by the wiener radia kollektiv, Vienna 2017.

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Show 650: Preface Demonstration by Friendly Fire (Radio Corax)

The performance-collective Friendly Fire recorded Protest Sounds in Leipzig during the racist mob actions in the last 3 years. You will hear the inner life of protest, scanning the potential of energy, loudness, movement and power.
Friendly fire are: Melanie Albrecht, Michael Wehren and Helena Wölfl and act in public space and radio as well.

http://friendlyfire-friendlyfire.blogspot.de/

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