Monthly Archives: October 2015
Show 551: Seth Cluett’s The Exercise of Memory (Wave Farm WGXC 90.7-FM)
Writes Cluett, “I grew up rurally in the foothills of the Berkshire mountains on the eastern border of New York state and the states of Vermont and Massachusetts. Though I was at the periphery of three minor cities, each had colleges and local radio programming, leaving me at the center of the overlapping zones of their respective radio broadcast regions. When the whether would shift, the access would change; the pattern of expected scheduled programming was tethered to the randomness of the weather within the loose pattern of the four seasons. The material presented in this work represents common sound memories to each of the places I’ve lived in the last 7 years: the city of Troy in the state of New York, the city of Paris in France, the borough of Hightstown in central New Jersey, and the town of Oxford in the southwest corner of Ohio. Sirens, bells, rain, snow, wind, birds, footsteps, and traffic represent substantial areas of overlap between the soundscapes of each home. The work ebbs and flows between these geographic markers with the randomness of weather, finding pattern in the blurry boundaries of memory recorded as sound.”
Show 550: James Joyce. The Sound of Words.
What better way to know James Joyce than his invented words. He was born in Rathgar, on the outskirts of Dublin, in 1882. Although he spent much of his life living and working on the continent — he died in Zurich, Switzerland, in 1941 — Joyce maintained close ties with Ireland, and used it as the setting for all of his major literary works, including A Portrait of the Artist as a Young Man (1916), Ulysses (1922) and Finnegan’s Wake (1939).
Known for his playful and endlessly creative use of words, Joyce invented a whole host of often fairly outlandish words and phrases in his writing, a handful of which have made their way into the more obscure corners of the dictionary. The stories behind seventeen of his most brilliant and most bizarre inventions are explored here.
With the help and support of Bernard Clarke from Ireland. A radioart documentary by Chuse Fernandez.
A TEA FM Radio Workshop Production. 2015.
Show 549: Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales
Alice Just / Flavien Gillié / Liv / Sylvain van iniitu – Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.
This edit tells the story of a day of improvisation at E42.A8, creation and meeting around an inspiring place, in the peace and quiet,
firmly,
at the farm.
file under : Improvisation, electronics, found objects, field recordings.
editing and mixing by Flavien Gillié.
E42.A8
Is first a place ;
A place where we try to create the conditions that make an improvisation possible, a pretext for meeting, but also an end in itself.
A place on the fence : not useful anymore for its previous purpose, and yet without a new and definitive form
To take the time ;
To think not in terms of composition and efficiency, but rather in terms of freedoms-constraints, texture-range, inside-outside, games-interactions, pulse-stretch, moments-intensity, diversion-obviousness, amazement-oblivion, silence-saturation, space-sound +++
Opening
https://www.facebook.com/E42.A8
Alice Just / Flavien Gillié / Liv / Sylvain van iniitu – Une ville sans cloches est comme un aveugle sans baston, un asne sans cropiere, et une vache sans cymbales.
Ce montage retrace une journée d’improvisation chez E42.A8, création et rencontre autour d’un lieu inspirant, au calme,
fermement,
à la ferme.
file under : Improvisation, electronics, found objects, field recordings..
Montage, mixage, Flavien Gillié.
E42.A8
Est tout d’abord un lieu ;
Un lieu où nous essayons de mettre en place les conditions de possibilités d’une improvisation, prétexte à rencontres, mais aussi finalité.
Un lieu entre deux eaux ; qui n’est plus utile à sa fonction première ; et qui n’a pas encore trouvé de forme définitive ;
Y prendre le temps ;
Y penser non pas en termes de composition et d’efficacité, mais plutôt libertés-contraintes ; textures-tessitures ; intérieur-extérieur ; jeux-interactions ; pulsation-étirement ; moments-intensités ; détournements-évidences ; étonnement-oubli ; silence-saturation ; espace-sonore +++
Ouverture
https://www.facebook.com/E42.A8