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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show 684: Le non-lieu du rêve by Philippe Petit (Radio Panik)

Philippe Petit : Le non-lieu du rêve

In this “no-space of dreams” the listener is at a crossroads of shared, multiple dreams; an interchangeable space to make his or her own and relax into…
A combination of field recordings, varied and prepared movements by Philippe Petit on his instrumentarium, fingernail rubbings-snappings by Chantal Rouet, and an inverted poem spoken by Julie Lagier.

Le non-lieu du rêve se voudrait être un carrefour de rêves multiples, de relations entre les songes, espace interchangeable que s’appropriera l’auditeur/trice pour se laisser-aller… Combinaison de field-recordings, de mouvements divers ou préparés de Philippe Petit sur son instrumentarium, de frottements-claquements d’ongles par Chantal Rouet, et d’une poésie inversée-dite par Julie Lagier…

Image/paintings by Eugénie Petit–Ginoux

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show 683: Blues for Aliens by Dr Klangendum (Radio Worm)

Another attempt by the Dr Klangendum crew to put a finger on (or between) the buttons of Fiction and Sound (yes both with capital capitals).  You might not believe us but we really were contacted by Aliens WHO MEAN GOOD but don’t ‘get’ our planet’s  music much.

So we started to explain it to them, mainly how to arpeggiate the blues, as that is where it’s all at, isn’t it. And don’t underestimate the inner monologue with eyes closed.

Sounds and editing by Dr Klangendum, Rotterdam, 2018

www.worm.org

https://www.concertzender.nl/?s=dr+klangendum

 

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Show 682: The melody of a fallen tree by Radia Collective Vienna (Radio Orange 94.0)

It’s springtime. We would like to go out and listen to the renaissance of nature. This is a radia transmission of the Vienna Radia Collective made out of different pieces about the sounds of nature:

Herbstträumereien

“die herbstträumereien” was a soundinstallation for the project nixe” at the musikprotokoll in graz, austria, 2015. barbara kaiser and ernst reitermaier (“die audiotapete”) combined the very contemplative and peaceful considerations of ludwig salvators book song of trees” with fieldrecordings they had collected around the world: the sound of seawaves from croatia, spain, new zealand/the noise of wind from wales/chirping crickets from new zealand and burgenland/the sound of trees from upper austria/some straw from lower austria/creaking stairs from styria and more ..

Favoritner Baumsong / My favorite treesong

In Favoriten the wind always blows and the naked spring trees of Laaer Wald give us a sound – or two. In the rhytmic/non-rhytmic event of spring storms the microfone is exposed to the heavy breathing of the earth. Favoriten is outer-district’ of Vienna and not far from the recording location the deathsman used to execute his deadly work.

Recordings by b# in Laaer Wald, 8th of April 2018
Text written by Ambrose Bierce (The Devil’s Dictionary)
Voice by Darren Guy

Baum Traum

Written and produced by The Sir Teens.
Recorded at Sendeschluss, April 2018

Spring is the beginning of Autumn

Recorded by Marco Zinz (The Grand Post). Sounds available at Österreichische Bundesforste.
Arrangement and Voice by Karl H. Schönswetter.

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Show 681: NOTHING LIKE US EVER WAS by Gregory Whitehead & Ice Cristals by Leni Süß (Radio CORAX)

Can radio art comment, torpedo, disrupt and cross the flood of information we are facing today? This show’s radio pieces have in mind the approach of the philosopher Santiago Zabala, who trusts in the power of art works to raise awareness “for an emergency that is absent because of the very danger it implies.”

NOTHING LIKE US EVER WAS
radio performance by Gregory Whitehead
with vocalist Laura Wiens

based on Carl Sandburg’s „Four Preludes on Playthings of the Wind“:

The past is a bucket of ashes.

1

The woman named Tomorrow
sits with a hairpin in her teeth
and takes her time
and does her hair the way she wants it
and fastens at last the last braid and coil
and puts the hairpin where it belongs
and turns and drawls: Well, what of it?
My grandmother, Yesterday, is gone.
What of it? Let the dead be dead.

2

The doors were cedar
and the panels strips of gold
and the girls were golden girls
and the panels read and the girls chanted:
We are the greatest city,
the greatest nation:
nothing like us ever was.

The doors are twisted on broken hinges.
Sheets of rain swish through on the wind
where the golden girls ran and the panels read:
We are the greatest city,
the greatest nation,
nothing like us ever was.

3

It has happened before.
Strong men put up a city and got
a nation together,
And paid singers to sing and women
to warble: We are the greatest city,
the greatest nation,
nothing like us ever was.

And while the singers sang
and the strong men listened
and paid the singers well
and felt good about it all,
there were rats and lizards who listened
… and the only listeners left now
… are … the rats … and the lizards.

And there are black crows
crying, „Caw, caw,“
bringing mud and sticks
building a nest
over the words carved
on the doors where the panels were cedar
and the strips on the panels were gold
and the golden girls came singing:
We are the greatest city,
the greatest nation:
nothing like us ever was.

The only singers now are crows crying, „Caw, caw,“
And the sheets of rain whine in the wind and doorways.
And the only listeners now are … the rats … and the lizards.

4

The feet of the rats
scribble on the door sills;
the hieroglyphs of the rat footprints
chatter the pedigrees of the rats
and babble of the blood
and gabble of the breed
of the grandfathers and the great-grandfathers
of the rats.

And the wind shifts
and the dust on a door sill shifts
and even the writing of the rat footprints
tells us nothing, nothing at all
about the greatest city, the greatest nation
where the strong men listened
and the women warbled: Nothing like us ever was.

ICE CRISTALS (14:00 min, 2017/2018)
by Leni Süß
field recordings: Halle/Saale, 2017, Wegajty 2015, Ürzig 2016 and Baracoa, 2015
Many thanks to the story tellers Anke Zimpel, Sviatlana Haidalionak and Sarah Washington.

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Show 680: cancelled

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Show 679: Honi soit qui mal y pense by mABuSeKi (Radio Campus Paris)

Titre : « Honi soit qui mal y pense »
La pièce : Europa, Europe, Heureux qui comme Pénélope. Ma foi, langues étrangères à nous-même.
Frédéric II: « Hunde, Wollt Ihr ewig leben? » Cette phrase, l’a-t-il dit afin de motiver ses généraux prussiens la veille d’une bataille ou en vantant son amour pour le français, langue de l’esprit aux côtés de l’allemand, langue de la guerre ? Du côté du Rhin, rien d’autre à signaler que des broutilles du type Die Suppecroisière, Zürich-Strasbourg en une journée et la soupe est toujours chaude. Pfff. Mais qu’apprend-on à l’école ? « Ariane, ma sœur, de quel amour blessée, – Vous mourûtes aux bords où vous fûtes laissée ! » Prochain épisode. « Ti rata poum-pier, t’katz hat yo mâga wé – legt ouf t’er Canapé – oun trink Kaméla thé. »

Europe is the subject. Maybe the underlining subject of this Klangstück. Some existing languages – like the one used as material for this piece –  are evidence of a transnational reality sometimes forgotten and replaced by the history of the building of the nation-state over several centuries. Europe is an idea that for some time now has the apparence of a political whole, an imperial ambition sometimes mixed with universalism. But with boundaries. They are static, and if one decides to change them, then the question of sovereignty rises. War, conflict, bellicosity.
Citizenship is a nation-state characteristic, a part of the mechanics. Europe cannot be a political whole based solely on this nation-state model. But a European identity can emerge through the idea of citizenship built together from scratch, not a nation-state built and imagined by leaders.
The question of language is at the same time a quality and a difficulty in this construction.
Back to boundaries. The Rhine is the embodiment of a frontier where you can find sounds of what could be a European Heimat : East/West, North/South. We have a long way to go, all of us. Europe is a body with intestinal problems; full of subconsciously deliberate mistakes (actes manqués) and a wealth of several sickly personalities. And if we are winning on one side, we are definitely losing on the other. It is the minimum. But this is only a conversation.

Honi soit qui mal y pense
is a cut up of archive samples recorded all over Europe. A plane over the Balaton lake, a voice in a train through Switzerland, consumptive memories of a person born during WWII in a German town which today is French.

Auteur : mABuSeKi (MCOTF / EL)
Ancien bassiste reggae reconverti en claviériste (reggae toujours). Appréciateur en matière de radiophonie, tout du moins sa mise en œuvre, la sorcellerie de la mise en onde. Pour toute réclamation merci de vous adresser à Paul.

mABuSeKi (MCOTF / EL) is a former reggae bass player, reconverted to keyboard player, but still into reggae. He is a great admirer, mover and shaker of all matters related to radiophonics. Any complaints should be addressed to Paul.

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Show 678: “Lands End – Rakiura/Ulva Island”, by eves (Radio One 91FM, NZ)

In early 2018, time-based sound and visual artist Edwina Stevens/eves journeyed to the third island of New Zealand, smaller in size than the larger, more populated land masses of the South Island (Te Waipounamu, Te Wahi Pounamu, Te Waka-a-Māui, Te Waka o Aoraki), and the North Island (Te Ika-a-Māui). Alighting by boat on Stewart Island (Rakiura, Te Punga o Te Waka-a-Māui) she created the recordings that comprise “Lands End – Rakiura/Ulva Island,” a sonic meditation on remoteness, utopia and exile, in which the restless, ever-fluxing borderline of the sea and the land, where the trailing songs of rare New Zealand birds fall from the air in the warmth of day like bright, startling lost talismans, meet ways of wandering that invisibly mark the bush, and both listener and artist alike find the value of getting lost in order to renew the ability to listen, to be attentive, to be simple. A document of a place in time, it is also a gentle reflection on the island mythos which New Zealand settler culture holds to itself, in which we are always seeking the elsewhere, but are simultaneously conscious of the special status of the isolated, isolating nature of our ground as geography and topography. “Lands End – Rakiura/Ulva Island” listens carefully to the immediacy of the bounded space of the island, the forest path, the communities of birds, the density of foliage, as well as further to the distance, island hopping in the New Zealand imagination via the ever-elsewhere of communications and recording technologies, to other real and imagined worlds, distant yet immediate through the ever-present sounds of the sea.
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Ngā manu are the connection to the gods, as they cross the space between the worlds.
“Tall Beech and creaking Totara, lank Rimu swaying. Young Miro, Horoeka lancing upwards among the other saplings. Kaka grapple upside down, mouthing the vines with their beaks. The sound of the ancient fallen Rātā rotting back into the earth is deafening, reclaimed by grubs and Punga, the Kapuka and Kamahi stowing Pīwakawaka, Miromiro, Weka. Spatial awareness shifts along with call and response, awareness held close and thrown out on a line drawn in again, points begin to connect. The expanding acoustic field of the forest forms, Ngā manu calls from their positions handover to the naturally occurring echo and reverb. Source and surface respond to one another in vibrating air between Totara and Miro, moss dampening, each listening Kapuka leaf. Eyes search the sound field, a mental map drawn of sonic reference induces out of body navigation. The white noise of the ocean pushes out further, pushing an outline momentarily out past the shoreline and shrinks back. Calls of here-ghosts and now-spirits, they know where you are; ruminating phantoms regard you. Feathered tongues at sugary black mould. You, Visitor. Time-traveller…”
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Edwina Stevens is an audiovisual artist, performer and writer/researcher. Born in Dunedin, New Zealand and currently living in Melbourne, her work investigates how the human experience of time may be captured, transformed and retold through audio visual composition. Her work could also be described as environmental, in that where one finds oneself at any particular moment; where a slowing of time and shifting of pace might be found, and held up to the listener or viewer; a reminder or a meditation on what is right in front of us.
Edwina has worked under the moniker of ‘eves’ since 2011, during which time eves has exhibited visual and sound works in New Zealand and Australia (FFFFFF, Eves); played live in collaborative and self-structured events and tours (Eves, Ladyz In Noys Australia, Sisters Akousmatica 2016, Nowhere Festival Auckland 2014, Make It Up Club Melbourne), recorded and released 3 albums (eves.bandcamp.com) and was nominated for The Age Music Victoria Awards/Best Experimental-Avant Garde Act for 2015. Also upon travelling for work or other reasons, several projects have presented themselves in response to her surroundings (Guangzhou/Mexico/Fiji/New Zealand). Edwina has also established, operated and curated within two project spaces within New Zealand, None Gallery (Dunedin, 2006-2012) and Rice and Beans (Dunedin, 2011-2012). The two spaces frequently exhibited and hosted artists locally and internationally as a no-cost, open space for experimental artists and their practices.
http://www.disrhythms.net

 

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Show 677: RESOUNDING BANGALORE (RE) by GABI SCHAFFNER for radio x

radia season 40 – show #677 (radio x) – RESOUNDING BANGALORE (RE) by GABI SCHAFFNER
– playing from march 19 to march 25, 2018 –

RESOUNDING BANGALORE (RE)
by GABI SCHAFFNER

"Sounds in India are strangely alive! For me, they form autonomous entities: a bell resounding through layers of different memories, the swish of a broom dusting flights of cerebral chambers, a train travelling beyond the boundaries of one’s own biography. ‘Resounding Bangalore’ is a journey in itself and an invitation to cherish an indigenous sound world played back through the ears of a “stranger”…… with no constraints to timelines and topographies.

‘Resounding Bangalore’ was composed on the occasion of an epigynous radio art performance in India, when I was staying there within the frame of the Goethe Institute’s BangaloREsidency in collaboration with the arts and media collective maraa. This radia edit is a slightly extended version of it."

[Gabi Schaffner)

RE = RADIA EDIT = This piece is a special pre-edit for radia by raw audio.

GABI SCHAFFNER
is an interdisciplinary sound artist, curator, writer and photographer based in Berlin.
Travelling forms a vital part of her work – as a source for sound and language recordings but also as “a rite of passage” enabling the artist to explore alternative narrative structures. Her works in the field of radio art have been broadcast internationally, including commissions for Deutschlandradio, SWR, ABC Australia and many more. In 2012 and 2014, she staged in collaboration with Pit Schultz/reboot.fm a garden radio station in Berlin and in Giessen, Hessia, both featuring international as well as local artists and gardeners. Since 2011 she has been creating several shows for radia.fm. .

Find out more about her projects at rawaudio.de and at www.datscharadio.de.

metadata:
RESOUNDING BANGALORE (RE)
by GABI SCHAFFNER
radia production: miss.gunst [GUNST + radiator x]
production date: fabriary 2018
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc) GABI SCHAFFNER
www.radiox.dewww.gunst.inforawaudio.dewww.datscharadio.de

credits:
great many thanks to GABI SCHAFFNER!

additional info:
includes radia jingles (in/out), station and program info/intro (english)

links:
radio x & radiator x: www.radiox.dewww.radiox.de/radiator-x
GUNSTradio & radiator x: www.gunst.infowww.gunst.info/radiator
Gabi Schaffner: rawaudio.dewww.schaffnerin.net

pic:
(c) Gabi Schaffner

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