Show 694: Strata by bauhaus.fm (guest producer)

Bauhaus.fm is a student initiative in Weimar, Germany, with a weekly broadcast slot on local FM community Radio Lotte. Most students are connected to the unique chair of “experimental radio” at Bauhaus University. For this summer semester guest tutor Knut Aufermann invited his course participants to produce a guest show for the Radia network. Instead of following a linear compositional approach, the spectrum of human hearing range was divided into five discrete frequency bands for which five pieces of 28 minute length were produced completely independently. Those layers were then combined with very little intervention to produce the stratospheric results you can hear.

20 – 120 Hz: Lefteris Krysalis
A collage made from experiments of different ways of producing and editing low frequency sounds. Sources include pre-recorded material from the bauhaus.fm archive, analog sound generators, digital operators and silence.

120 – 400 Hz: Janine Müller & Jan Glöckner
An acoustic portrait from beneath the water surface of the events that led to the Halifax Explosion in Halifax, Nova Scotia, Canada, on the 6th of December 1917.

400 – 1000 Hz: Konrad Behr & Anton Worch
In the human voice between 400 – 1000 Hz mostly the sounds of vowels are perceptible. With this in focus we excluded all consonants from the most important text in German law – the Grundgesetz (German constitution). The leftover is read by the voice of the most common translation service google.

1000 – 3500 Hz: Severin Schenkel
On this frequency-section, your ears receive the friendly female voice of a ‘Danube Swabian’ – southwest-german people – who once had to flee for economical reasons to the north of Romania, along the Danube bank, to a region called ‘Bessarabia’. A dystopian, fluent, room- and timeless collage that sets the narration to the darkness of contemporary brutality, sexual assaults, drowning and reactions on refugee-movements which, as citizens of the world, applies to all of us.

3500 – 20000 Hz: Grit Lieder & Johann Mittmann
Our capacity to perceive higher frequency ranges drops with age. At the same time the higher frequencies in the audible range of the human ear are highly important for spatiality. So we decided to give you a hearing test using the width of the stereo-field, reverberation and panning automations as the core parameters for our composition.

Final mix by Knut Aufermann, Jan Glöckner, Martin Hirsch, Lefteris Krysalis, Grit Lieder, Johann Mittmann, Severin Schenkel & Anton Worch. Image by Jan Glöckner.

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Show 693: Cagetown – Fragments (Usmaradio)

Within The School of Radio, has been presented on 10 March 2018 Cagetown a concert that celebrated the 40 years of John Cage’s Train. Numerous artists took turns on the stage also confronting with unpublished images shot on the train in 1978 (black and white super8 films) from the Oderso Rubini archives. Some of the original sounds from the 1978 project were also part of Cagetown.

The School of Radioradio art symposium took place in the Republic of San Marino from 9 to 11 March 2018.
Three days of round tables, workshops, sound installations, photographic exhibitions and concerts.

At 40 years from John Cage’s Train and 20 years after the last edition of the Radio Art Festival, L’Arte dell’Ascolto, San Marino hosted a symposium/workshop – curated by Roberto Paci Dalò and Elisabeth Zimmermann – dedicated to Radio Art.

The experience of John Cage in 1978 also touched Rimini and Ravenna and you can hear the witnesses of those who were on the train to investigate this epochal project. L’Arte dell’Ascolto (LADA) was the festival that during the 1990s brought international artists to Rimini and San Marino working together on some of the pioneering projects between radio and internet. From the itinerant audio laboratory of Cage, a reflection is opened on the need (today as then) of the experimental sound laboratories of the radios.

The School of Radio: promoted by the University of the Republic of San Marino, Usmaradio and the Secretariat of State Education and Culture.

 

 


min 0:00
Andrea Borgnino –  “Radio Bari 1943 – 2018” – Sound bites from the first italian free radio station in WW2


min 10:01

Reni Hofmüller – “Acting Waves” (in reference to http://www.futureacoustic.com/silence/)


min 18:22

Oderso Rubini + ensemble – “Cage-Toy”

usmaradio.org

theschoolofradio.org

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Show 692: from the Red Sea to the Dead Sea (radioart106)

Image by Muhammad Jabali

An abridged version of a program, produced by Meira Asher for Radiokunst-Kunstradio ORF Vienna, in the frame of the Nebenan – Erkundungen in Europas Nachbarschaft: Israel Serie.

kunstradio.at/2018A/04_02_18en.html

1. North Jordan Valley 2018 (by Meira Asher)

There is a project by the Israeli state to make life intolerable for the Palestinians remaining in the Jordan valley, the West Bank, for the purposes of de-facto annexation of this land and its resources. This introductory composition is focused on the evacuation and demolition orders issued to the Palestinian communities by the Israeli Civil Administration.

Voices: families of the North Jordan Valley, Guy Hircefeld, Meira Asher

Lexical assistance: Liam Evans

2. The Sea That You Cannot See (by Dganit Elyakim)
dedicated to Haitham Khatib

I asked my friends to describe the sea to their beloveds from the other side of the barrier, the ones who are prevented from approaching it.

The actor, director and writer Mohamad Bakri described the sea to his friend Hassan; Hanan Zaid Elkilani, a young, emerging art student, portrayed the sea to her father’s friend, Prof. Ahsan Eldick, from Nablus; Maya Felixbrodt (viola) played for the freedom fighters Ahed (16) and Nariman Tamimi from Nabi Saleh; Adaya Godlevsky (harp) dedicated her playing to the children of Palestine; and Samira Saraya painted the sea in words and sang for her family in the refugee camp in Jenin.

3. Lascia Vibrare: There’s a Family Living (by Eran Sachs)

Dedicated to Michael Zupraner

At the center of this piece there is a field recording of a family, captured from a distance. On first listen there doesn’t seem to be anything particularly special about this recording; but over the course of this reportage it becomes apparent that the act of documentation may register more than one might have initially suspected.

4. An Audio Guide to Occupation_part01_A-D (by Ma’ayan Tsadka)

an audio guide to occupation is a sonic archive, using found materials from the daily life in occupied Palestine. It makes use of minimum sound manipulations.Mostly isolating moments, categorising, and at times layering. It is intended to be an ongoing documentation

The complete program can be heard here:

https://soundcloud.com/meiraasher/from-the-red-sea-to-the-dead-sea-a-soundscape-of-an-occupation-2018

www.meiraasher.net

www.misscomposed.com

eransachs.wordpress.com

www.maayantsadka.net

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Show 691: cancelled

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Show 690: Vietnam: through open windows and empty rooms by Gail Priest (diffusionFM)

Is it as disrespectful to record the sound of the temple gong as it feels to photograph the scene? And in the process, is it thus disrespectful to record the Russian tour guide, and the screaming child, and the power tool, and rustle of velcro from camera bags?

The syllable ‘spect’ within respect is the same as in spectate, spectacle.

Respectus via old French and thus Latin: the action of looking back. This implication of the seen within respect, does it let listening off the hook?

Is it simply that listening requires more time, requires a sense of being truly present, and that this offers more opportunity for connection, contemplation… or am I telling myself convenient truths, to excuse my aural ghoulishness, to separate myself from the tourists?

http://www.gailpriest.net

Recorded in Ho Chi Minh City, Dalat, Halong Bay and Hanoi, Feb 2018.

Gail Priest a Katoomba/Sydney-based artist whose practice encompasses performance, recording, sound design for dance and theatre, installation, curation and writing. She has performed and exhibited nationally and internationally and has several CD releases on her own label, Metal Bitch, as well as other labels including Flaming Pines. She is also a curator of concerts and exhibitions and writes factually and fictively about sound and media arts. www.gailpriest.net

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Show 689: Brullend Brein (XLair)

The XLair’s URLUteam is back on the radia waves with this 28′ excerpt of
a one hour live improvisation show.
Starring Lukas with his DIY flutes and
Gerald with his loops and effects.

XXXXXX——RADIOSNAKE——XXXXXX

http://www.urluberlu.be/

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Show 688: Lüftung by Anna Bromley & Co. (reboot.fm)

Lüftung: The radio broadcast

By Anna Bromley, by, and with Jasmina Al-Quaisi, Petra Beck, Basma Elmady, Christine Eßling, Yayla Höpf, Lena Knäpper, Lena Schubert, Cindy Wegner, and Seoyoung Won.

Conceived, recorded and montaged by a group of radio-affine nGbK-visitors, the 1-hour broadcast explores the ambigue notion, and theme of the nGbK-exhibition “Left Performance Histories”.

It compiles artifacts and archival material from performances in Poland, Hungary, Jugoslavia, and Rumania between 1970 and 1989. Encountering its visual material and accompanying conference, the broadcast interweaves and montages the auditory side and texts of the exhibition with the questions and commentaries of the group, while visiting the show. How can our perspectives relate to the articulations of left critique in this setting? What has been left for us to perceive? Inhowfar did these performance come to an end, as they spark they an “archival archeology” which might be conceived as a montage in itself?

http://reboot.fm/

https://ngbk.de/de/

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Show 687: Excerpt from Ptičji Mozak by SsmKOSK (Radio Student)

Excerpt from Ptičji Mozak

The presented material is an auditory stream of 4 compositions – a segment of the recent sound work by the audiovisual artist, poet and linguist Blaž Božič, released under alias SsmKOSK in the form of an album by Zvočni Prepihi record label in 2018.

Inter alia, it serves to exemplify his creative methods dealing with semantic multiplicity of music genre fusion, topologically specific to post-transitional Eastern Europe soundscape, most noticeably – turbo-folk. During the process of critical observation of the latter and working in the field of contemporary electronic music and sound art, the artist developed conceptually intricate techniques of working with sound, which further accelerate genre fusion by juxtaposing various found samples and usage of classical and non-classical instruments alongside spoken word, circuit bent equipment (guitar pedals, portable CD and VHS players, drum machine, etc.) and DSP tools for medium reconfiguration.

photo by: Blaž Božič

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Show 686: “The Lost Hour” and “What is a Collaboration?” by Karen Werner (Wave Farm/WGXC)

how to build a forest performance


Excerpt from “The Lost Hour” a series of short experimental radio autoethnography pieces made by students in Hörvergessen, a course taught by Ricarda Denzer at the Universität für Angewandte Kunst Wien, in which Karen Werner visited as guest artist and introduced students to radio autoethnography. Students participating in the class: Ahreum Kwag, Aral Cimcim, Ayse-Gül Yüceil, Binta Diallo, Elnaz Haghghi, Hanna Kucera, Hannah Sakai, Hector Schofield, Huda Takriti, Karl Kühn, Katharina Spanlang, Laura Irmer, Laurids Oder, Lea Föger, Liim Jang, Martina Pouchlá, Nazanin Mehraein, Oscar Cueto, Ramiro Wong und Simeon Jaax. Produced in March 2018.

Also included is “What is collaboration?” a radio autoethnography assemblage by Karen Werner and Deanna Shoemaker. Produced in May 2018.

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Show 685: Sensathesia (TEA FM)

Sensation is the body’s detection of external or internal stimulation (e.g., eyes detecting light waves, ears detecting sound waves). Perception utilizes the brain to make sense of the stimulation (e.g., seeing a chair, hearing a guitar).

Sensation involves three steps:

  • Sensory receptors detect stimuli.
  • Sensory stimuli are transduced into electrical impulses (action potentials) to be decoded by the brain.
  • Electrical impulses move along neural pathways to specific parts of the brain wherein the impulses are decoded into useful information (perception).

For example, when touched by a soft feather, mechanoreceptors – which are sensory receptors in the skin – register that the skin has been touched. That sensory information is then turned into neural information through a process called transduction. Next, the neural information travels down neural pathways to the appropriate part of the brain, wherein the sensations are perceived as the touch of a feather.

Children are often taught five basic senses: seeing (i.e., vision), hearing (i.e., audition), tasting (i.e., gustation), smelling (i.e., olfaction), and touching. However, there are actually many more senses including vestibular sense, kinesthetic sense, sense of thirst, sense of hunger, and cutaneous sense.

Synesthesia is a neurological condition in which stimulation of one sensory or cognitive pathway (e.g., hearing) leads to automatic, involuntary experiences in a second sensory or cognitive pathway (e.g., vision). Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of color. Since synesthesia can involve any combination of the senses, there may be as many as 60 to 80 or subtypes, but not all have been documented or studied, and the cause is unclear.

The most commonly seen type is grapheme-color synesthesia, in which individual letters and numbers are associated with specific colors and sometimes colorful patterns. Some synesthetes perceive texture in response to sight, hear sounds in response to smells, or associate shapes with flavors.

Many synesthetes have more than one type of synesthesia. It is estimated that approximately 3 to 5 percent of the population has some form of synesthesia, and the condition can run in families.

How can we explain the result if you mix sensation and synesthesia with the human sound perception?

We call it Sensathesia. This is a work born from the imagination of the Itinerary of Radio TCR 10.1 from TEA FM Radio School based on an original idea from Laura Sierra and Stel Garcia.

 

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