Palestinian poet Dareen Tatour was convicted by an Israeli court in Nazareth of “incitement to violence” for a poem she wrote. She spent a total of THREE years under house arrest and in prison, between October 2015 and September 2018. On December 25th, 2018 she stood before the court once again, appealing against her verdict.
Dareen’s appeal was partially successful, in having one of the multiple convictions quashed by the same Nazareth District Court which originally convicted her. On July 1st 2019, The Israeli State has appealed against the verdict of Dareen’s appeal.
Voices and Sounds part of the solidarity album #poemontrial by Dareen Tatour / Isabel Nogueira / Anne-Line Drocourt / Monika Pich / Isa Stragliati / Ismael Gherzoul / Dror Feiler / Dalila Tehami / Selma Zghidi / Tavishi / FeralMind feat. Claudia Wegener / Dixie Treichel / Osea Merdis feat. Samira Deeb / Danielle Alma Ravitzki / AGF / Meira Asher feat. Young Thunder.
Just a minute…can you show me this?… And that to?…and THAT….?.. I’m sorry I don’t like it.
A cup of tea, the light, the socket, the tap, a fork, a knife, a spoon, a plate, a glass, another chair, there’s no hot water, it’s too expensive, too big, too small – may I see the manager please – can you show me some more, where’s the gentleman’s convenience?
I’m hungry-during-I’m lost-and-it’s important perhaps-it’s urgent –very-not-hurry up!! There, it is-now none/it’s-soon-is it? Then it isn’t Ah/no/nothing at all. Is there– here there isn’t, there aren’t, right, there isn’t any,
Operetta for madams, violin and electronica by Nina Dragičević.
Nina Dragičević‘s composition “Ma‘am, there is no such thing in reality” opens up with a question. A question, or questioning, a doubt, this constitutive moment, this constitutive act of the enlightened subject, was in modern age marked with a genera-tion of new insights, with the search of new knowl-edge, with widening of intellectual cognition, with thinking. But the intonation of the introductory question – “No, I mean, do you understand me?” – uttered by one of the speakers from Nina‘s com-position, does not presuppose new knowledge, new cognition. Her question does not presuppose doubt; on the contrary, it presents the incantation of dogma, it presents non-thinking, it confirms the axiom, it strives to confirm the axiom, personal belief, in short, the ideologeme. The question does no longer express a questioning. It is no longer a search for new, but a persistent perpetuation and confirmation of stasis.
In this urban operetta, as Nina Dragičević marks her composition, many voices speak and “sing”. Here they are, here we are, contemporaries, sunk in mortgages, hungry, in constant deprivation, and here is theirs, ours, sonority.
That is how capitalism sounds like.
Extracts from the text accompanying the album written by Nataša Velikonja.
Programming Environments was a networked event May 25, 2019 featuring live coding artists interacting with Wave Farm’s 29-acre wooded campus through code and transmission. They rewrite the code and the radio. Participating artists include Paul Feitzinger, JohnLP.xYz, Messica Arson, and Sarah GHP. Programming Environments was organized by Jen Kutler. wavefarm.org
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)