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.
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…”
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 ( 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.



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


“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.

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/ 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

Find out more about her projects at and at

radia production: miss.gunst [GUNST + radiator x]
production date: february 2018
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc) GABI SCHAFFNER

great many thanks to GABI SCHAFFNER!

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

radio x & radiator x:
GUNSTradio & radiator x:
Gabi Schaffner:

(c) Gabi Schaffner

Show 676: radiAphonium by Anne-Laure Lejosne & Soizic Lebrat (Jet fm)


Please for this show, put your headphones !!!

What is binaural sound ? It’s a recording technique that try to reproduce the natural human hearing, created by our head and ears. This three dimensional acoustic experience is not a new idea, it’s been experimented since the 60’s. But it seems there is a new boom for binaural recordings…

With some musicians and dancers, we decided to experiment this binaural stuff, recording sounds simply using 2 little DPA microphones stuck in our ears in order to create new sensations to our listeners. This project is called RADIOPHONIUM. And here are some « work in progress » pieces extract from our experimental sessions.

Bon voyage…

1/ Drei Punkt #1 – (5’20) / by Anne-Laure Lejosne
Flutes: Juliette Faure
Cello : Soizic Lebrat
Danse : Alice Duchêne
Switching between Alice and Juliette’s ears.

2/ Dispositif BACH : Prélude
D’après le prélude de la 1ere suite pour violoncelle seul de Johann Sebastian Bach.
2 speakers and one cellist playing the Prelude with different speed and one dancer carrying the microphones in her ears. Can you hear the movement ?

3/ Cello à roue électrique et à archet & appeaux #1 – (4’46) / by Anne-Laure Lejosne
Roue électrique actionnée sur le violoncelle, doublée par 2 hauts-parleurs disposés de façon à former un triangle. Les microphones miniatures sont dans les oreilles de la preneuse de son, en mouvement : élévations rapides devant les HP, tourbillons…

4/ La petite hirondelle
Cello : Soizic Lebrat
Voice : Alice Duchêne
Microphones in Soizic’s ears

5/ Dispositif BACH : Sarabande
Danse and ears : Alice Duchêne

6/ Sol #2 – (4’) / by Anne-Laure Lejosne
Dispositif de captation binaurale sur les oreilles de la violoncelliste et sur la danseuse Juliette. Quelques superpositions des 2 captations.
Cello : Soizic Lebrat
Voice : Alice Duchêne
Flute : Anne-Laure Lejosne

7/ Dispositif BACH : Gigue
Danse and ears : Alice Duchêne

8/ Sol#1#2#3 – (3’35) / by Soizic Lebrat


Le binaural est une technique d’enregistrement cherchant à reproduire la perception sonore naturelle humaine. En quelques mots, l’écoute binaurale consiste à reproduire un espace tridimensionnel en reproduisant les indices qu’utilise notre cerveau pour situer les sons dans l’espace (latéralité, profondeur, élévation). Ces indices de localisation spatiale découlent, comme pour les couples microphoniques stéréo, de différences de temps et d’intensité, mais également des transformations spectrales qu’opère la morphologie de l’auditeur.
La captation binaurale propose donc de reproduire le champ sonore induit au niveau des oreilles de l’auditeur/preneur de son, en prenant en compte sa morphologie. Concrètement il s’agit de placer deux microphones miniatures dans le creux de l’oreille du preneur de son. Pour bénéficier de la sensation d’immersion que procure le binaural, le port d’un casque est obligatoire !

« Radiophonium » est un projet en cours de construction, élaboré par la violoncelliste Soizic Lebrat et Anne-Laure Lejosne à la prise de son. Ce projet musical protéiforme place, au cœur de l’écriture, l’écoute des performeurs grâce à cette fameuse technique de l’enregistrement binaural, à savoir 2 micro miniatures glissés dans nos oreilles. L’auditeur se retrouve alors dans les oreilles des performeurs. Il entre dans l’intimité du musicien(ne) ou du danseur(se). Une façon de mettre l’oreille à nu et de donner accès à ce qui met en mouvement le performeur, avec l’espoir de percer un peu de ce mystère de l’écoute…