Show 435: Clouds N 38 42.53, W 9 8.96 27-12-12 (Radio Zero)

Clouds N 38 42.53, W 9 8.96 27-12-12
Pedro Lagoa – laptop, 6DE
André Avelãs – electronics

(rehearsal for the When I Look at the Clouds I See Clouds [nimbostratus] performance that took place at Galeria Boavista, Lisbon, 28th Dec. 2012)

Taking as a starting point the intention of deconstructing the video [a cut through the] archive of destruction, this performance combines real time sound improvisation with a random video projection.

Elements of the video [a cut through the] archive of destruction were reduced to small segments which were divided into text and image video clips, to be played randomly from two separate sources projected on top of each other, and thus superimposing text on the video images. This way, the relation text/image is determined by pure chance, destroying not only the line of thought that presided at the narrative structure of the original video – with its calculated collages, sequences and juxtapositions of image-sound-text of different
proveniences – but also originating new and unpredictable image-text relations.

The sound of the original video segments was also split into small segments and loops, being subsequently reworked and transformed live during the performance. As images succeed each other in the projection, the performers try to respond to the random image-text combinations, through improvisation.

[a cut through the] archive of destruction is a video, of variable duration, that is part of the Educational Service of the archive of destruction, and consists of collage and editing of diverse materials which can be found in its collection. Through subjective associative lines, it performs a cut, in the geological sense, through some of the main ideas contained in the archive.
The video has been presented as part of installations of the archive of destruction and in a similar way to the archive, it develops in a process of continuous change and re-editing, never having the same cut of the video been presented twice.

The archive of destruction is an evolving structure, with no fixed address, dedicated to the collection of documents on actions and ideas that represent a negation of its basic function, which is the preservation of memory.
The archive has been developing in a continuous and organic way, in a movement of expansion that stretches to the most diverse areas – within well defined guidelines – where ideas or actions of destruction can be found.

Show 434: Number Twelve by Sophie Wilder (Soundart Radio)

Sophie Wilder has been making strange noises for over thirty years, initially at home but then as part of the legendary lost 80s band Well Crucial. Nowadays she intersperses infrequent improvisation as part of the A Band with weekly broadcasts of bizarre sounds on Soundart Radio.

Her home equipment consists of a couple of battered synth modules, a few musical toys and primitive recording equipment

Things Sophie likes

Electronic experimentation
Old Science fiction
The great outdoors

Things Sophie hates

Garden gnomes

Things Sophie is

A drifting clarifier
An experimenter
Usually late
An introvert

Things Sophie is not

Good at writing about herself

Sophie Wilder is not married, has no children, and does not live in Surrey.

Show 433: “Haren” by Flavien Gillié for Radio Campus Bruxelles

“Haren” de Flavien Gillié

from Radio Campus Bruxelles

In his essay “Discovering the vernacular landscape” John Jackson Brinckerhoff defines the vernacular, political and emerging landscape. These landscapes overlap, juxtapose and form what Sébastien Marot calls hyperpaysage. In the context of Haren – previously a mecca for chicory production – landscape traces of industrialization contrast with a rural center. Interviews with residents have been recorded, mixed here for Radia with various soundscapes from the place.

Flavien Gillié is doing field recordings as a link between places, voices and memory. He also reworks field recordings and elaborates soundscapes presented live or in some installations.

Show 432: la troisième heure by Clara de Asìs for Radio Grenouille


La troisième heure est un espace introspectif, en équilibre entre la subjectivité de la mémoire et l’expérience du réel. À travers la construction de paysages imaginaires composés de fragments sonores de sa propre vie, Clara de Asís explore l’ambiguïté du souvenir et son caractère artificiel.

Les sons de synthèse et les enregistrements anecdotiques, souvent confrontés à leur propre nature, convergent ici en un même espace et cohabitent dans une même temporalité ; une temporalité non-linéaire, une temporalité de la mémoire et de l’imagination.
Comme deux lignes parallèles, poussées à la rencontre, l’artifice et le réel convergent en un même point. De cette convergence, surgit une dimension inusitée, uniquement présente dans le silence de la spéculation, mais tout aussi réelle que ce que nous avons sous les yeux.

[EN]la troisème heure-clara de asis

La troisième heure is an introspective space, in equilibrium between the subjectivity of the memory and the experience of reality. By means of the construction of imaginary soundscapes composed of sonic fragments of her own life, Clara de Asís explores the ambiguity of the remembrance and its artificiality.

Sintetic sounds and anecdotical audio recordings, often faced to their own nature, converge in the same space and cohabit the sam temporality; a non-linear temporality, a temporality of the memory and of the imagination.

Like two parallel lines, pushed to join, the artificious and the real converge in the same point. From this convergence, an inedit dimension is born, only present in the silence of speculation, but as real as what we have infront of our eyes.

Show 431: Tuned City Brussels student mix (XL AIR)

The re-entry of XL AIR is a show that consists of various excerpts from radio pieces the RITS radio students made in order to document their installations made for the Brussels version of Tuned City, a platform which proposes an examination of the relations between architecture and sound.

The project draws the traditions of critical discussion about urban space within the architecture and urban planning discourse–as well as its strategies and working methods–into the context of sound art. This expanded discussion reenforces the potential of the spatial and communicative properties of sound as a tool and means of urban practice.

At the foundations of this event are artists’ works and theoretical approaches which examine in a critical and sensitive way the given urban and architectural situations alongside their resulting socio-political implications, that re-use existing spaces or that conceive and open new spaces.

A dialogue will be built at the intersection of both disciplines which traces out the complex relations and interactions of space-sound, both presenting and testing new strategies, methods, possibilities and potentials of sound work within the artistic and applied context.

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