Juan Rulfo, in full Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno, (born May 16, 1917, Acapulco, Mexico — died January 7, 1986, Mexico City), Mexican writer who is considered one of the finest novelists and short-story creators in 20th-century Latin America, though his production—consisting essentially of two books—was very small.
the themes of his fiction, he is often seen as the last of the novelists of the
Mexican Revolution. He had enormous impact on those Latin American authors,
including Gabriel García Márquez, who practiced what has come to be known as
magic realism, but he did not theorize about it.
Rulfo was an
avowed follower of the American novelist William Faulkner.
As a child
growing up in the rural countryside, Rulfo witnessed the latter part (1926–29)
of the violent Cristero rebellion in western Mexico. His family of prosperous
landowners lost a considerable fortune. When they moved to Mexico City, Rulfo
worked for a rubber company and as a film scriptwriter. Many of the short
stories that were later published in El
llano en llamas (1953; The Burning Plain) first appeared in the review Pan;
they depict the violence of the rural environment and the moral stagnation of
Rulfo first used narrative techniques that later would be incorporated into the
Latin American new novel, such as the use of stream of consciousness,
flashbacks, and shifting points of view. Pedro Páramo (1955) examines the
physical and moral disintegration of a laconic cacique (boss) and is set in a
mythical hell on earth inhabited by the dead, who are haunted by their past
EN How can the cat be both dead and alive? A sound test in noncompliance Just like in Schrödinger’s cat case, we’re here confronted to a situation of quantum entanglement, a “physical phenomenon whereby the quantum state of each pairs or groups of particles cannot be described independently from the state of the others”. To the colonizer, the colonized is noise, creating an interference against the legitimate signal. When a community radio choses to broadcast the voices of the colonized, we hear the noise entangled to them. It’s all about quantum superpositions of states and their decoherence. It’s all about the shown and the hidden, the audible and the noisy. Street backgrounds and side-effects become first and central. Dichotomies, dualities and their reflects in broken sonic mirors ripple in a droste effect of community radio recorded in its making. The radio in the radio. How can homeless people be both dead and alive? Here’s the impossible answer. With street-fed audio formulas, (no)home-made antipsychiatric remedies discovered through loud crash tests in counter-science in denial, invisibilisation and erasure of indigenous voices and bodies, as well as those of other landless and homeless people.
Comment le chat peut-il être à la fois vivant et mort? Un test sonore non-conforme
Comme dans le cas du chat de
Schrödinger, nous nous confrontons ici à une situation d’intrication
quantique, “un phénomène physique dans lequel l’état quantique de chaque
paire ou groupe de particules ne peut être décrit indépendamment de
l’état des autres.” Pour le colon, le colonisé est bruit, à l’origine
d’une interférence sur le signal légitime. Lorsque une radio
communautaire fait le choix de diffuser les voix des colonisés, on
entend nécessairement le bruit qui leur a été intriqué. Il est question
de superpositions quantiques et de leur décohérence. Il est question
de ce qui se montre et se cache, de l’audible et du bruyant. Arrières
fonds urbains et effets secondaires sont mis en première ligne. Les
dichotomies, dualités, et leurs reflets dans ces miroirs sonores brisés
se propagent dans la mise en abîmes d’une radio communautaire
enregistrée en train d’enregistrer. La radio dans la radio.
Comment les sans-abris peuvent-ils être à la fois vivants et morts?
L’impossible réponse se trouve dans des formules audio découvertes lors
d’errances de rue, dans des recettes antipsychiatriques faites
(sans)maison, suite à des tests de collision sonore en contre-science du
déni, de l’invisibilisation et de l’effacement des voix des peuples
indigènes et de leurs corps, ainsi que ceux d’autres sans terres et sans
Short excerpts/courts extraits read by/lus par Samuel Limet, from/de de
Marie Thompson, Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism , Michael Goddard, Reverberations: The Philosophy, Aesthetics and Politics of Noise and www.informationphilosopher.com/freedom/noise.
Some of the audio material used in this piece was taken from
the podcast of the 14 hours long broadcast of the 11th CKUT (McGill
university community radio) Homelessness Radio Marathon, held in 2013 outside and inside the
Native Friendhip Center of Montreal, in February, with a temperature of around -20 celsius. Most of the material was
recorded there by the author/Partie du matériel sonore utilisé pour
cette pièce est repris du podcast des 14 heures de diffusion en direct
du Centre d’Amitié Autochtone de Montréal lors du onzième marathon des
sans-abris organisé par la radio communautaire de l’université de
McGill, CKUT, en février 2013, lors d’un studio volant dans la rue par
une température d’environ -20 degrés. La plupart du contenu sonore a été
enregistré sur place par l’auteure.
Magdalena is a volunteer at Radio Panik, Brussels, and whishes to explore all the obstacles, challenges, restrictions and impossibilities of a radiophonic Cinema Vérité for the ear/ Magdalena est bénévole à Radio Panik, Bruxelles, et souhaite explorer tous les obstacles, défis, restrictions et impossibilités d’un ciné direct radiophonique pour l’oreille.
The Horse is a psychological thriller centered around one narrator’s struggles with socialization, and his relationship with a therapist.
Music and production: Alexander Iezzi Voices:Hannah Endrulat, Alexander Iezzi, Steven Tyler, Gene Autry
Produced by Lukas Simonis for RadioWorm/Klangendum/Concertzender/Radia.fm
Alexander Iezzi is an artist and musician currently based in Rotterdam. He is a graduate of The New School in New York and the Piet Zwart Institute in Rotterdam. His work continuously draws on ideas and perspectives of what cohabitation entails as an experience and an experiment. The work manifests through a variety of mediums – sound, sculpture, film, performance – in order to reorganize, reshuffle, and shift perspective on collected experiences. These transformations takes place via touch, language, mashing, and mixing, as well as through reactions between different (chemical, social, hormonal, psychological, reproductive) elements. Recent performances and exhibitions include: “Femke Hears A Who” with Clementine Edwards at Peach, Rotterdam (2019)“Aminals” with Viktor Timofeev at 427 Gallery, Riga (2019), “Signs of Invasion” (performance) with Billy Bultheel at Ku’damm Kuree, Berlin (2018), “Kunsthalle For Music” (performance) at Witte de With Center for Contemporary Art, Rotterdam (2018); “My New Feelings Whip” (performance) at Galleri Syster, Luleå (2017).f art making.
The word “Glitch” is everywhere those days. In
movies and TV shows, in clubs and galeries, on billboards, in magazines and all
around the social network. Most people see it as a Digital failure, at best as
a nice effect or plot device. But it’s so much more: Some kind of natural
accuring Digital art. A new dynamic in modern Electronic music. A way to breech
the boundries of the (Computer) system. A crack in the Utopian facade and a way
to exploid the unknown possibilities of imperfection.
Peter Wetzelsberger and Lale Rodgarkia-Dara of the Wiener
Radia Kollektiv attempted a brief history of Glitch, including some examples:
The tracks loneloft, practice and Brunch mit Darwin by Austrian glitch artist Wolfwetz.
Some alcohol induced Philosophic outbursts by Gregor Fröhlich, Dita Mukane and Stefan Nowak. (Examples of the brain as a corrupted system)
Lale Rodgarkia-Dara’s failed interview with the theorist and feminist art curator Jelena Petrovic about the Glitch and the Dichotomy between the Digital and Analogue, supplemented by two Music pieces based on recordings with the counter-tenor Marin Vitas and a fan.
The piece Biomechanics (raw data of Günther Witzany’s “Biocommunication and Natural Genome Editing”) and excerpts of Meine Kleine Nachtmusik, generated by Lale’s broken Intercom system.
“No Ravens Left for the Funeral” discusses the juxtaposition of different forms of sound definition mediated by instrumental improvisation with prepared electronic guitar, self-built circuits and other electronic instruments.
André Damião works transversally between the fields of music and electronic art. He graduated in Composition at the State University of São paulo (UNESP), and holds a PhD in Sonology at the University of São Paulo (USP). Currently he is a fellow of the Radio Art Residency at Radio CORAX in Halle (Saale), which is awarded in cooperation with the Goethe-Institut and supported by the Kunststiftung Sachsen-Anhalt. (radioart-residency.net)
I came up with the name Mother Drone and Other Ancient Spirits of Great Power after googling how to summon demons. I stumbled upon the image of a being called Caim which is depicted as a thrush and drew the album cover. Prior to this I had been working on some music built around the idea of reverb trails, as in taking source material, applying reverb and cutting away as much as possible except the reverb to create a new timbre. As experimental music can be quite cold I felt that by making the piece about the character of Mother Drone I could give it a personality rather than just showcasing whatever technical process I came up with. As such Mother Drone became the spirit of the piece, and the piece became the story of Mother Drone.
Jeremy Kerr is a musician and sound artist based in Kingston, Ontario. He got his start writing and recording music while living in the middle of nowhere as a kid with no internet and nothing better to do. He attended queens university in Kingston and obtained his Bachelor of Music degree in 2018. He continues to make music in a variety of styles and plays regularly around Kingston. He is currently playing bass in the Meringues and working on a noise-pop/drone album titled In the End Everyone Lets You Down.
Some sonic thoughts on the link between the Earth and the Universe.
From radio to RADIA : creating for the RADIA network a composed play of electromagnetic signals.
With field recordings and electromagnetic reception recordings from around the world, here is a sonic drift about us, the earth and the universe, without much intention for narrative structure. I want to talk about the very little time we have left to make earth a better and peaceful world ; how fragile and wounded nature is, although still offering us pure moments of bliss ; waves link us together with everything. In the end, we are one with the world, time has no meaning, nothing comes first. All in all is all in one.
Julie Rousse is a sound artist and improviser performer. Her work is diverse and expressed through several different experimental projects and based on improvisation : live acts, sound installations, music scores for dance, performance, films, visual art and documentary. A passionate phonographer and noise lover, she is always looking for new sonic sources in her worldwide travels, exploring the possibilities of sound capturing in specifically chosen contexts, whilst working with different recording devices. She oscillates between pure field recordings and a special attraction for archaic, lo-fi recording machines. She uses that sonic collection – in an experimental process – as her raw material, an infinite source of rhythms and colors which she shapes with a real time sound treatment software – real time being the essential element of her spontaneous and chaotic approach. She digs in the sound – intruding in the detail – in search of new textures and raw sounds.
My Digital Music Collection is exactly what it says on the box: a list read out in a single take by New Zealand-born, Melbourne-based sound artist and podcaster Allanah Stewart “of all the albums I have on my computer at the moment.”
In this piece Allanah’s voice, self-recorded simply in a domestic room in front of the computer screen, turns the data of titles into a kind of wonky conceptual sound poetry, in which the names of obscure, fetishistic experimental music albums from New Zealand’s underground history bump up against more commercial releases, in a surprisingly intimate self-portrait.
Making a gently humorous case for the continued role of the DJ as loving listener, nerd, selector and collector in an age where automated-playlist bots increasingly program our listening spaces, and celebrating the role of the peer-to-peer file share in independent radio, My Digital Music Collection re-humanises the algorithm, returning lists of data back to a resolutely analogue, lo-fi, and radiophonic voice.
“I have loads more digital music files in my life than I do physical releases. Unfortunately I don’t have enough of an income to keep up with the speed that I find new music and I don’t think I ever will. There’s so much good stuff out there to explore. I remember when I first started downloading music, when I was 11. My username on Napster was “Hellokittyfanman” and people would tease me on the chat rooms because they thought that I was a “man” who enjoyed hello kitty. But I was just kid that happened to be a hello kitty fan, man. These days I spend a bit of time roaming through Soulseek. I like digging through peoples files and just downloading stuff cause the name sounds cool. I suppose that trading files online has become my version of a record fair. I can find super rare rips of stuff without having to pay someone hundreds of dollars for a damaged tape that was originally sold for 3 bucks or something. It definitely removes the exclusivity of the whole process, though some might say it also removes some of the romance.” – Allanah Stewart
Allanah Stewart is an artist from Aotearoa/NZ, currently living in Melbourne, Australia. As well as her work in various experimental music projects, she is the presenter of a monthly podcast radio programme called Enquiring Minds, hosted by Noods radio, which explores experimental music and its many crossovers. She recently finished a Master of Arts Therapy, and believes in the power of the arts. Dissecting drums, recording silly things, making music and eating chocolate keeps her going.
radia season 42 – show #733 (radio x) – The Dog That Licked Up A Star – Orchid Mix by GABI SCHAFFNER
– playing from april 15 to april 21, 2019 –
The Dog That Licked Up A Star – Orchid Mix by GABI SCHAFFNER
“The Dog That Licked Up A Star – Orchid Mix is a radiophonic suggestion for deceleration. The composition features (among others) a singing dog from the town Hengchun, in the South of Taiwan. While I sat in the patio listening to his voice, a cloud passed. The other afternoon I sat under a tree next to the lake of Luan and recorded short wave radio in the rain. The dog and I also went up to Maokong mountain in a gondola where we met with Mr. Hu and the Orchid Lady. On the way down we noticed something glittering in the mud. It was a tiny star.
Recordings for this piece were made in: Treasure Hill Artist Village, Bamboo Curtain Studio and Maokong mountain in Taipei; Yilan, Yilan District; and in Hengchun and Hengchun Folk Museum, Houbihu and Longluantan, Pingtung District, South Taiwan.
Mr Hu is the eldest inhabitant of Treasure Hill Village. 93 years old, he likes to study books on the history of China and he loves to sing to the ladies. Translator: Catherine Lee, director of Taipei Artist Village (TAV).
Margaret Shiu is the founder and artistic director of the Bamboo Curtain Studio, an ecologic artist residency in Tamsui, New Taipei. Excerpt is taken from our ‘Plum Tree Talk’, February 2019.”
[Gabi Schaffner, April 2019]
Gabi Schaffner works as an interdisciplinary sound artist and curator. In her artistic practice, she merges ethnography with poetics and the arts of transmission. She also she cofounded “Datscha Radio”, a temporary garden radio station that connects the spheres of radio art, gardening and ecology. She is active as a radio artist, writer, translator and poet. Since 2005 Schaffner has realised productions with Deutschlandfunk, HR2 Kultur, radia.fm and ABC Australia. Gabi Schaffner lives in Berlin.
The Dog That Licked Up A Star – Orchid Mix
by GABI SCHAFFNER
radia production: miss.gunst [GUNST + radiator x]
production date: april 2019
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc) GABI SCHAFFNER www.radiox.de – www.gunst.info – rawaudio.de – www.datscharadio.de
great many thanks to GABI SCHAFFNER!
includes radia jingles (in/out), station and program info/intro (english)