Extracts of four consecutive live transmissions by Journalist Ghada Al Kurd from Dier Al Balah, Gaza,
part of the ongoing series ‘Radio With Palestine’ produced and broadcasted by Soundcamp London.
The transmissions, co-produced with radioart106, took place on the dates 17.12.24, 31.12.24, 7.1.25, and 16.1.25.
Ceasefire started on 19.1.25 and was broken by Israel on 18.3.25.
Show made on day 553 of the war on Gaza.
Four musicians of The Music Box Project deliver synchronised breath-length phrases to microphones, their presence doubled by the simultaneous lo-fi local broadcast diffusion of their music through the domestic radios they carry. The radios also diffusing field recordings played to air by a fifth performer, composer-producer Stephen Adams, operating the mixing desk of the Imaginary Radio Station. The installation looping in on itself when the musicians shift to using their radios to play the microphone feedback. All five artists interacting within a shared space of improvised sound-making and intense listening.
Breathing Rotations is a framework for improvising within the Imaginary Radio Station – a networked instrument-cum-sound-installation.
The installation enables a kind of live radio-making and hyper local broadcast to the performance venue and its immediate surroundings, with the performers both creating content for the station, and operating its lo-fi sound diffusion for the audience.
Breathing Rotations takes a mediative approach to the potentials of the Imaginary Radio Station. Four musicians are invited to improvise synchronised breath-length phrases to the four microphones at four corners of the room. With long pauses between phrases as the musicians move from one microphone to the next. Their sound-making and their movements are framed and potentially influenced by a fifth performer, the broadcast controller, who sits at a small mixing desk with FM transmitter, looking after the live mix as well as adding low-key field recordings and other audio files to the ‘program’ of live music-making broadcasting to the four radios which the musicians carry.
Over the course of the performance (which might last anywhere from 30 minutes to several hours), as well as rotating around the room in one direction or another (and occasionally choosing to remain at one mic for a while), the musicians gradually shift, one at a time, from playing their chosen musical instruments to playing microphone feedback with their radios, and finally to using their voices. The musicians cannot know what each other will play in each synchronised phrase. They know only what each played previously, and what they know of each other’s musical approaches and inclinations. Plus whatever may be suggested by their ways of moving between microphones, and the atmospheres created by the field recordings and that share the broadcast and acoustic space with them.
I created the Imaginary Radio Station (IRS) for Sydney-based collective The Music Box Project (TMBP), with the intention of composing a concert length work for TMBP, envisaged as built around an imaginary broadcast schedule, with opportunities to respond and incorporate material from the environments and audience members at each venue where it is installed/performed. While that concept is still in development, in March 2025 during a Bundanon artist residency with TMBP and dramaturg Nikki Heywood, an improvisation exercise I introduced proved to be particularly generative and exciting for all of us, emerging through further exploration and dialogue as a fully-formed model for a more abstract structured improvisational work, Breathing Rotations.
This program is a 28-minute radio edit and mix of a 50-minute workshop performance of that work by The Music Box Project and me, Stephen Adams, in the Dorothy Porter Studio at Bundanon to an audience of one – our collaborating dramaturg Nikki Heywood.
The opening field recording is of the sounds of dawn at Bundanon, as recorded on the verandah of the cottage next door to the studio at first waking on the morning of the performance. The final ‘field recording’ is the sounds from outside through the open studio door.
Performed by Elizabeth Jigalin (recorder, radio, voice), Naomi Johnson (flute, radio, voice), Jane Aubourg (violin, radio, voice), Joseph Lisk (trumpet, radio, voice), and Stephen Adams (live mix, field recordings and other pre-recorded material)
Concept developed by Stephen Adams for and in in dialogue with The Music Box Project and collaborating dramaturg Nikki Heywood.
Produced by Stephen Adams
https://www.linkedin.com/in/stephen-adams-1777025b/
https://www.themusicboxproject.com/
Show 1044: To kar zvok dvomu vzame / Sound that doubt takes” by Mrtvo Rođena Živa Lešina (Radio Študent)
Radio Študent this time presents a sound collage “To kar zvok dvomu vzame / Sound that doubt takes” by Mrtvo Rođena Živa Lešina. MRŽL is an artistic performance that exists in the in-between spaces of poetry, music, and photography. It explores the fear of death—silenced in modern society—and how, through apathy and nihilism, one arrives at a creative process where anonymity becomes an integral part of identity. Regarding this piece, they state the following: “Radio collage is a way of processing sound. It emerged out of necessity, due to the inaccessibility of smartphones and the internet. A push-button phone, which picks up radio signals and has the function of recording radio waves, serves as both a means of retrieving audio messages and an archive. The storage space is limited to 25 minutes of audio recordings before they are transferred to a larger archive, allowing the phone’s memory to be cleared for new recordings. The final composition is built from these recordings, using contrasts between them to reveal meanings that were previously hidden within their original contexts. The recordings range from 3 to 60 seconds in length. Each captures the most essential part of a song, an interview, or a news report. Only fragments of songs are recorded—preserving the emotions of the listening moment rather than the song itself. Similarly, in interviews, while a half-hour conversation may convey a great deal of information, it is equally important to capture the dynamics between the speakers. A ten-second clip can reveal moments of conflict and confrontation with another person’s thinking. With news, the understanding works in reverse. Short clips of current political affairs isolate pieces of information that might otherwise be lost in the flood of daily news—seemingly less urgent yet still significant. By removing these fragments from their original context, archiving them, and reintroducing them in a new framework, the collage plays with the perceived relevance of information. What might seem trivial in one setting can carry weight in another. At the same time, it also exposes the emptiness of certain information—what in one context signifies authority, professionalism, or intelligence may, in another, reveal itself as mere empty rhetoric, a hollow interpretation of new laws and state actions.”
Radia.fm program by Radio Študent, curated by Urška Savič.
SDR Jockey is a newly commissioned work by Tetsuo Kogawa for Wave Farm. SDR Jockey incorporates SDRs for 100khz to 6ghz. SDR Jockey is the term Kogawa uses for this receiving operation. The composition also incorporates transmissions from multiple transmitters.
Tetsuo Kogawa is a radio artist and sometimes a professor, director, and free radio activist.
On the evening of Friday February 28, 2025, 7 planets offered us an astonishing astronomical phenomenon. Mars, Jupiter, Uranus, Venus, Neptune, Mercury and Saturn aligned. We were able to observe them in the sky, some with the naked eye, others through a telescope. Next rendezvous: May 19… 2161! The same day, during the day, a Radio Panik team searched the shelves of the Médiathèque Nouvelle in Brussels. All these sounds have been arranged to take you on a sonic voyage we hope will be extra-planetary (and even more spatial if you listen through headphones).
https://www.mediatheque.be/
Le soir du vendredi 28 février 2025, 7 planètes nous ont offert un étonnant phénomène astronomiques. Mars, Jupiter, Uranus, Vénus, Neptune, Mercure et Saturne se sont aligné·es. À l’œil nu pour certaines et au télescope pour d’autres, nous avons pu les observer dans le ciel. Prochain rendez-vous le 19 mai… 2161! Le même jour, en journée, une équipe de Radio Panik a fouillé les étagères de la Médiathèque Nouvelle (ex Point Culture) dans ses locaux à Bruxelles. Toutes ces pépites sonores ont été agencées pour vous faire vivre un voyage sonore qu’on espère extra-planétaire (et encore plus spatial si vous écoutez au casque).
/www.mediatheque.be/
playlist galactique / galactic music by:_Jeff Mills, David Elfman, Laibach, Pierre Schaeffer, Rob Mazurek
Pulsar Quartet, Desmond Leslie The Orb, Ippu-Do, The
Psychophysicist, Rubin Steiner, Nobukazu Takemura, George Delerue,
Laurie Spiegel, Tomorrowland, Acid Mother Temple, Kris Davis, Oval,
KLF, Sufjan Stevens_
Collage par / by Patricia Gélise
https://www.instagram.com/patriciagelise/
Radio Panik Crew Production
avec le soutien de www.mediatheque.be
Gerarda Monster grew up in the hamlet of Mookhoek in a liberal Christian family of 12 children. A dominant, cigar-smoking mother and a father whose fervent nudism did not go down well in the small Mookhoek community, not to mention his tendency to sometimes disguise himself as a woman. Mother had a clothing repair service in Strijen, father worked at the office of Piet Klerkx in Waalwijk. In his spare time he supported refugee work in the Netherlands and was conductor of the choir ‘De Zevende Hemel’ (a project of Humanitas for mildly handicapped children). Gerarda went to study law in Leiden where she met her future husband, Gert Evenbeen at the law firm where she did an internship. Gert played an important role in her decision to hang up her robe and devote herself to creating avant-garde compositions for a very select audience, acting as a kind of manager and generating some interest in her work, despite the fact that Gerarda was self-taught and was driven more by an inner urge than by a desire to show her work to an audience.
After her divorce she barely left her house in the north of Rotterdam, but continued to write & record music until her premature death of malnutrition in 2017.
Gerarda made the mixture of a collage and electronic composition ‘The Voices Are Burning’ not long before she died, it could have been the last big piece she was working on. It was made on her only electronic device, an Arp 2600, recorded and overdubbed on 4 old Uher taperecorders, using all available tapes about voice related subjects that she collected through the years. It has never been released or broadcasted before.
This is part of an ongoing project called SHADOWSIDE OF SOUND, dedicated to works by Rotterdam composers, known and unknown, who have fallen into oblivion. Progressive or conservative. Fairly or unfairly; that will determine history. As you know, there are various points of view regarding whether or not acceptance is there. In general, it can be assumed that the circuit must have the power to handle the work. The other view is a chimera of the one who gives himself a stunning victory before playing time is up.
Composition; Gerarda Evenbeen
Production; Worm Radio/Dr Klangendum in collaboration with Coolhaven
Photo by Ben Aalders, Worm Studio, Rotterdam, 2016
Elle ne veut pas voir les ombres qui passent sur un mur blanc.
Elle ne veut pas voir la béance d’une grotte.
Elle ne veut pas voir le vent qui passe par une fenêtre, ni les mots qui se détachent d’une bouche.
Elle ne veut pas voir
Ce qui a osé s’écarter.
Elle veut tendre la main et boucher la serrure.
« Mon rêve est à toi. »
Alors.
Elle laisse l’animal rentrer
Et s’allonge à ses côtés.
No shadows overlooking the white wall.
No hole, no cavern.
No wind passing through the window, nor words fleeting from a lip.
She will not see
What has dared to suggest.
She will open her hand
And choke the lock.
“I am dreaming for you”
Therefore.
She lets the animal walk in
And lays down to his side.
Anaïs Prévost is a french american video & sound artist living in Nantes (France). Here are their first steps into radio art.
Thirty minutes of experimental music made in response to a haiku poem, curated by Marco Alessi of Naviar Records and Naviar’s international community of composers. This edition features music made by Naviar’s community inspired by Santoka Taneda’s poem “Above my head – / The burning summer sky, / Begging and walking.”
There are two kinds of dedicated radio listeners.
Those who head for their FM Soundscape while, working, reading living and those who head for numbers and morse-code on short wave. Distracting at least one of these groups may seem like an achievable aim. While we are discussing pipeline-holes and ripped interbet-cables in the Baltic sea, the neo-rebellion in Iran and drones in circles, it had all been broadcasted beforehand.
This Radia-show is dedicated to numberstations, a way of broadcasting encrypted information via serieses of numbers or letters, using either automated voice, Morse code, or a digital mode. A methode that has been used since WW I and is still used as this signals are not sensitive to any distortion and disturbance and reach out via aether into the air and water. Foreign intelligence agenciesunder water or overseas keep on useing this practical methode of informations transportation.
Nida Live-Performance from Sept 28th 2022 was developed during a residency at the Nida Art Colony of Vilnius Academy of Arts and performed there.
Numberstations was re-performed at Wien Modern November 24th 2024 as part of a project of the collective Institut for Transacoustic Research (Institut für Transakustische forschung).
IFTAF: AUF DEN SPUREN DER 12
Ein transakustischer Spaziergang
https://www.wienmodern.at/2024-iftaf-auf-den-spuren-der-12-de-4262
Thanks a lot to the Nida Art Colony and its team especially Vasilisa Filatova and Egija Inzule.
Lale Rodgarkia-Dara – works as an author, radio producer and media artist.
She is part of the Mz* Baltazar’s Laboratory Collective, which runs a feminist art/hacker space in Vienna, the Vienna Radia Collective (co-founder of radia.fm) and the of radia.fm) as well as co-founder of Elektronik Teatime (until 2015) and the Radio Ironie Orchestra of Radio Helsinki (2019). She somehow always invents projects with literature, media art and mostly in transitory spaces or on the radio.
Initiator and co-founder of the Palais Rössl. It is an intergenerational, polydisciplinary, queer, growing symbiotic connection of artists, musicians, designers and cultural workers in the heart of Vienna. Together with Judith Unterpertinger, she forms the duo Under the given circumstances. She is currently the strategic managing director of Radio Helsinki 92.6 – Freies Radio Graz.
In recent years, she has explored the intersection between art, science and culture in a series of socio-political and artistic projects. Since 2003 she has been holding radio workshops with young people and adults and giving lectures in formal and informal educational institutions and universities. She was artistic lecturer at the TU Vienna (SKUOR, 2013-2014), lecturer at the IEM –
Institute for Electronic Music and Acoustics at the KUG in Graz (2017/2018) and at the Institute for Artistic Teaching at the Academy of Fine Arts in the field of Acoustics (2018/2019, 2021/2022), since 2024 University of Applied Arts Vienna
(teaching as the collective Mz* Baltzar’s Laboratory).
Juror for the Hans Weigel Literature Scholarship 2013-2015, advisory board and juror for the the Media Art Prize of the City of Vienna 2017, advisory board Literatur&Kritik 2023-2024.
Blind date at Kanal 103.
Meet and greet, plug and play.
Deep into the pandemic, live music felt impossible. But we have Kanal 103, our little capsule in space. Two musicians, strangers until that moment, were brought together for an impromptu live session. This recording captures that initial spark and the genesis of Todor Karakolev’s Will Discuss, a project carelessly abandoned to the thrill of on-the-spot musical encounters.
Will Discuss for the occasion:
Todor Karakolev – electronics
Kristijan Savikj – guitar
Recorded live at Kanal 103 (15.11.2020) as part of the Music & Friendship series.
Will Discuss debut release is available here:
https://stotrojka.bandcamp.com/album/will-discuss