Amauta Mixtapes is one of a four-part experimental acoustic reportage focused on epistemologies in resistance and sistered struggles. Assembled by Nomad Agency/Archive of Emergent Studies, a research studio and transdisciplinary platform that intersects advanced resilient practices, promotes studying against the grain, and claims the political space of research as the right to know and the right to imagine together. NÆS walks with artist David Muñoz Alcántara and curator Giovanna Esposito Yussif. This was commissioned for Latitude on Air – Unsettling Power Relations, 4-7 June, Berlin 2020, a project by the Goethe-Institut, in cooperation with reboot.fm and the Radio Netzwerk Berlin.
Jaka Berger is one of the most active, creative and versatile drummers, composers and improvisers on the Slovenian music scene in the last ten years. In 2006 he released his debut album with Samo Šalamon and Achille Succi for Italian label Splasch records. Since 2014 till today he is regularly publishing music for prepared drums that he is constructing by himself. His albums are reviewed by international media on improvisation and electroacoustic music. He is part of experimental project Partija with visual artist Matej Stupica, member of bands Ludovik Material and Darla Smoking. Performed in independent theatre shows Gremo Vsi!, Novo mesto Readymade and Nein. Toured with EBM legends Borghesia. In 2015 he released an album of graphic composition Treatise by Cornelius Cardew. In 2016 he performed his most complex piece Audiable life stream tentet for ten musicians. In 2017 finished a tour and released second album with the international trio Rieko Okuda and Antti Virtaranta. Currently, he is performing free jazz with Mezei Šalamon Berger trio, Džuklje Berger duo and Šalamon Džukljev Berger – Fresh Dust trio. He has just released his new electro acoustic album dedicated to composer Morton Feldman with pianist Dejan Berden, Fresh Dust trio album at FMR records UK and integrating modular synth into his prepared drumset.
A contribution for Radia Network show 796 is BRGS’s recently released album Plastic Whales, dedicated to all the creatures exposed to the pollution of the oceans and freshwaters.
“It would be beautiful to be conscious of our past, remembering the mistakes we have made. Unfortunately, presence is full of division among reds, blacks and whites, while we should look forward to the future, each day less certain because of our ignorance to the effect we have for our environment.” #savetheoceans #stopplasticpollution
Writes Karen Werner, “To make this radiophonic quilt, programmers at Wave Farm’s radio station WGXC came together for a day to make short radio art pieces about RADIO. We approached this theme in an imaginative, associative and at times literal way: radio as invisible waves, as a metaphor for communication and longing for community, as nostalgic soundscape, as a relationship between senders and receivers, as an amazing little box.”
Quilt sections in order of presentation: An SOS from Planet Earth by Liz LoGiudice The Mountain Blocks the Signal by Alanna Medlock Continue by Paulus Van Horne Tableaux Drawing by Max Goldfarb WGXC Piece by Thatcher Keats Radia Segment by Tom Roe
Threads and borders throughout the quilt: Gardens of Discordantia by Heather Martin Voicemails 1 and 2 by Sam Sebren Edited interview with Garrett Roche Edited interview with Carline Murphy Edited interview with Azouke Legba plus samples from the quilt sections above
A Radiophonic Quilt will broadcast on the 30 international stations that comprise the Radia network, June 22 – 28, 2020, Season 44, Episode 18.
A Radiophonic Quilt was collectively produced as part of a Wave Farm Radio Art Workshop led by Karen Werner, the 2019/2020 Wave Farm Radio Artist Fellow, who sewed the quilt together. Many thanks to the whole Wave Farm crew for organizing this event and to everyone who participated. And to Radia for creating an international broadcast platform for radio art.
Accelerated by a virus, we have suddenly found ourselves in a possible future. The existen-tial threat appears as if through a magnifying glass, allowing us to perceive the state of the world with increased clarity. With astonishment, we have seen political taboos and unques-tioned assumptions falling by the wayside, allowing our institutions to take action. All of a sudden, the tried and tested arguments of interest-driven politics – economic constraints, technological barriers, unchanging behavioural patterns, individual responsibility – no long-er seem to be guiding the decision-making. Behind this is a growing awareness that the cur-rent socio-political range of actions will be insufficient to cope with future crises, which are just as threatening, but of a completely different nature.
While the world is under pressure to emerge from the coronavirus crisis as intact as possi-ble, the virus has catapulted us to a crossroads. Can we rise to the challenge of the corona-virus phenomenon with answers from yesterday? Or will we look for the answers of tomor-row which also fulfil the various challenges surrounding sustainable development?
The virus has made it clear: the future is now
Dr. Sabin Bieri, Prof. Dr. Thomas Breu, Dr. Andreas Heinimann and Prof. Dr. Peter Messerli
The composers Christine Cornwell and Jago Thornton bounce off on their musical ideas and on what bats might hear while flying inside a room or a chapel. They even muse on the secret afterlife of sound-waves and on the working of their musical brain. Their introspection – during an interview – are set into a retro-SciFi sound-scape, depicting the creative human brain as a giant nervous clockwork.
René Uijlenhoet studied composition with Ton Bruynèl. He works as a composer, performer, museum installation builder, teacher, researcher and expert in the field of electronic music.
He taught at the HKU, worked for NEAR and published the complete tape music by pioneers Dick Raaijmakers and Jan Boerman. Since 1997 he is affiliated with the composition department of Codarts Rotterdam.
His music has been published by Donemus, by Basta and also by Peer Verlag. For the purpose of composing and teaching, he investigates new forms of sound synthesis and spectralism, the relationship ‘color’ and ‘timbre’, microtonality, spatial representation (via Ambisonics, among others), algorithmic composing strategies, live electronics in combination with acoustic instruments. , the history of electronic music and analog studio techniques, improvisation using live programming and also sonication of medical research data.
Texts and voice recording by Christine Cornwell and Jago Thornton The music for Bouncing Off was produced and mixed in the private studio of the composer.
The Vienna Radia Collective – worked out the common transmission with online video sessions during the covid-19 closing and confronted with the common work in front of the monitors and the mirrored mutual reality made us think of the novel Through the Looking-Glass by Lewis Carroll.
We used the Radia proven method of “Cadavre Exquis” to mirror and reflect our sonic ideas mutually. Our program “Abre Cadavre” consists of small parts that went around in our collective and the last 30 seconds of each piece of the predecessor’s piece were the basis for the next one.
Unconsciously a journey through a sonic magic land with sound, text and surprising transitions was created.
Contributions by Barbara Huber, Barbara Kaiser, Lale Rodgarkia-Dara, Karl Schönswetter and Peter Wetzelsberger.
Thanks to Alex, Feli, Martina, Susanne and Susi for their voices.
Listening’s Urgency In times of contact restrictions the radio is all the more an instrument to bridge the isolation. What role does listening play in times of crisis? In his project “Listening’s Urgency” the composer and sound artist Hardi Kurda explores this question, searching for the in-between sounds of the medium and the gaps in the social order: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?
For the second performance in the course of the project, Kurda asked musicians, artists and writers from different parts of the world to answer those questions. Their voices and narrations were the basis for a one hour live radio performance with a six-member radio ensemble which came together on Radio Corax on April 26 2020. For radia.fm Kurda made an edited version of the live radio performance.
Listening Urgency – live radio performance by Hardi Kurda, with: Andre Damiao, live from São Paulo; Maximilian Glass, live from Leipzig; Kamil Korolczuk, live from Berlin; Hardi Kurda, live from London; Soheil Soheili, live from Teheran; Ralf Wendt, live from Halle; and with the voices of: I-ID from Teheran, Kani Kamil from London, Peshraw Mohammed from Berlin, and Niga Salam from Slemani.
Hardi Kurda is currently stipendiary of the Radio Art Residency, an international fellowship program by Radio Corax and the Goethe-Institut.
Laura Agnusdei is an electroacoustic composer and saxophone player from Bologna (IT), classically trained, she also holds a Master in electronic music composition by The Institute of Sonology of The Hague (NL). Her compositions feature the saxophone as the main voice within sonic landscapes that shift between melodies and textures, the song form and improvisation, fusing acoustic, digital and analog sound sources. She is actually touring presenting her new album Laurisilva, six tracks that invite the listeners to explore an imaginary landscape made from sounds growing and layering like biological organisms within a forest. This work, as well as Laura’s debut ep Night/Lights, was released by London-based label The Tapeworm. Since 2016 her music has been presented in many venues and festivals such as Rewire, Dekmantel, EYE Filmmuseum (NL), Cafè Oto (UK), Node, Macao, MAST (IT).
“Hand in Hand with a stranger” is a radio piece I composed partly during my residency at Worm Studios and partly during the Covid19 pandemic lockdown period. Inspired by the art of Lithuanian-American videomaker Jonas Mekas, its form is what we can describe as an audio-diary; a collection of personal thoughts, feelings, and small ordinary events that happened between January and March 2020, when I was touring South Italy and during my residency period in Rotterdam. Nevertheless, these sonic sketches are not presented in a chronological sequence but assembled freely to compose an intimate story where a state of displacement and loneliness triggers an intense and attentive relationship with the surrounding world.
More info on laura’s Worm-residency; https://worm.org/projects/worm-talks-to-laura-agnusdei/
Mixing is a collage, that’s how I understand it. Some of raw recordings, some other are made from bits and pieces of elaborate works : films, songs,radio programmes – we’re thieves, and we make something out of our larcenies. Jean-Luc Godard suggested that better then making political films we should make films politically. I try to apply the same idea to radio. I’m Anaïs Denaux, I’m a member of the groups Le Bruitagène and Asu (Association Sonore et Utopique). We make documentaries and other more creative audio pieces, we don’t believe in being impartial. We are also organising public listening sessions and the audio artist residency Utopie Sonore. We believe in collective experiment.
Here are the audio pieces I chose for this Radia programme..
Biodiversité – Biodiversity, the sound you can hear now in the background, I made to answer the call of Mixage Fou, to mix different given sounds into a 80 second piece.
The Meaning of Life, a piece I made for the second digital album by Fair Play, a compilation of pieces by cis and trans female artists – The Meaning of Life is a collage with Nostalghia, The Mirror, Solaris and Stalker by Tarkovsky, the voice of Orson Welles on BBC4, Alphaville by Godard, a few words by Vaughan Supple about Tarkovsky’s work – and says on how mankind cope with the absurd of existence, wants to understand, knows the question is vain, but still wants to reproduce.
La Tempête des géants – Tempest of the Giants, a piece I created for my girlfriend during the Yellow Vest movement and is about the aburdity of police violence.
Followed by Restez chez vous which is a short piece by Leslie Doumerc at Radio Panik, with Gaëlle Morand and me as cops telling the population to stay at home during de pandemic.
Une Certaine dose de tendresse – A Certain Dose of Tenderness – a piece I made during the evacuation of the zad of Notre-Dame-des-Landes in April 2018. The title is from the famous speech by Subcomandate Marcos which says « A certain dose of tenderness is necessary in order to walk when there is so much against you / in order to awaken when you’re so exhausted. A certain dose of tenderness is necessary in order to see, in this darkness, a small ray of light / in order to make order from shame and obligations. […] But sometimes a certain dose of tenderness is not enough and it’s necessary to add… a certain dose of bullets. »
And Stalker, the last piece, by Clémence Fermé – with La Jetée by Chris Marker, Stalker by Tarkovsky, Alphaville by Godard, Roma by Fellini, Metropolis by Fritz Lang – this piece was carried out for L’Acentrale, radio held by a large group of people to speak out for strikers, workers and social riots.