The KunschTTurm Club was located in the Kunstturm, a 100 m² apartment, on the 22nd floor of the Tour de l’Europe in Mulhouse. Made available by its owners, the club quickly became a second studio for the Alsace branch of ∏-Node. Julia and Dinah bubbled up the closing weekend. Armed with their cristal Baschets, they pulled the plug from the heat in the bathroom for a 2 hours improvised installation/performance. Inspired by Anne Carson’s poem ‘Guillermo’s Sigh Symphony‘ (2002) which was copied onto the tiled walls, ears steaming near the bath tub of sounds, the audience drifted in and out. The “souffleuses de son” captured FM radio through the pipes, read extracts from the poem, and used hydrophones and small radios to amplify the drip, drip, dripping.
This is an edit from the ∏-Node stream, during the KunschTTurm Club, Season 1-31 jan-31 july 2025
Thanks to : JPRRR for the mastering, individu and the whole KunschTTurm crew.
On stage Lillevan: live cinema, images Paolo F. Bragaglia: sound design, synthesizer Leonardo Francesconi: piano, synthesizer
Don Giovanni is one of the archetypes of our culture, one of its founding myths. And myth is not an inert fable but an active, creative force, it nourishes, in a surprisingly circular way, the very culture that gave it life. Over the course of four centuries, Don Giovanni has taken on – or disguised himself in – countless and extraordinarily varied forms.
With this audiovisual project, we seek to explore the recurring and often mutable archetype concealed beneath Mozart’s masterpiece, creating a performance that draws on a contemporary aesthetic and language. Mozart’s music itself undergoes metamorphosis, electronic, sampled and manipulated, from old vinyl records to acoustic renditions, serving as the foundation for literary “evocations” of Don Giovanni, from Tirso de Molina to José Saramago, from Molière to Baudelaire, Hoffmann, Kierkegaard, Byron, and many others. And, of course, the operatic libretto by Lorenzo Da Ponte.
The project includes readings, sung passages, and historical recordings of actors’ performances, a sound carousel that conjures the situations, characters, texts, and voices that have given life to the Don Giovanni myth across different historical periods, authors, and its continual metamorphoses. Whether invoking the unrepentant libertine or the punished sinner, the paradise of the senses, the complexity of human relationships, or the hell of damnation.
A production of Mozartfest Würzburg World premiere: June 21, 2019
Show 1071 – Don Giovanni Metamorphosen Fragmente
Show 1071 – Don Giovanni Metamorphosen Fragmente
Show 1071 – Don Giovanni Metamorphosen Fragmente
Paolo F. Bragaglia is an electronic composer born in an entirely analog world, who has stubbornly journeyed into our digital age. Ever fascinated by the metamorphosis of sound across genres, over the years he has expanded his interests toward the intersections between music and moving images, dance, architectural spaces, visual arts, spoken word, and theatre.
This has led to an intense career as a composer of film scores, soundtracks, and multimedia performances, alongside record production, sound art, and sound installations. He is the creator and artistic director of the electroacoustic music festival “Acusmatiq”, held for twenty years in Ancona at the Mole Vanvitelliana, and the founder and president of the Museo del Synth Marchigiano (Museum of the Marchigian Synth)
Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, is a workplace of The School of Radio to develop an innovative radio pedagogy. Workshops, work sessions, meetings, presentations of live performance as sections of the project. Produced by UNIRSM | Università degli Studi della Repubblica di San Marino. usmaradio.org / theschoolofradio.org / unirsm.sm
A composition imagining gestures, an anthropological archive of the body, as sound objects, predominantly through an acousmatic approach to the deconstruction and reconstruction of field/phone recordings, using the CD and CDJ as a tool or instrument for real-time manipulation, re-recording and improvisation, highlighting the musical potential of seemingly trivial real world sounds.
A sound situation extracting and trapping gestures from a socio-cultural landscape into an unpredictable set of sonic objects, continuously re-arranged and re-choreographed in time.
This radio piece is in direct relation to Milic’s expanded cinema performance INSCRIPTION, ENDURING; POTENTIAL which centers on gesture as holder of subtle cultural memory and history (the body as an anthropological and sociological archive) using found footage to practice experimental autoethnography – extracting glimpses of gestural movement from super8 home movies and interconnecting them in multi-projections.
“Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as a moment of art subtracted from the neutrality of aesthetics: it is pure praxis. The gesture is neither use value nor exchange value, neither biographic experience nor impersonal event: it is the other side of the commodity that lets the “crystals of this common social substance” sink into the situation.” (Giorgio Agamben)
Geanina Gypt is a leftfield music project of artist and DJ Maja Milić, fueled by a hardcore use of loops, extensive resampling, deconstruction and creating rhythms by misuse and destruction of samples or trivial sonic elements of reality, as well as the use of DJ equipment as tool for real-time manipulation of prerecorded sound (improvisation of an improvisation), mostly on tapes and CD.
She uses radio as a space for releasing music in long form or testing conceptual ideas, often intermedial (like, broadcast of images or live happenings), through her show Gypt Sessions on Berlin’s artist radio reboot.fm, and sometimes through Intruder Sessions, which is an irregular intrusion of the radio with spontaneous sets or concepts. She started to self-release tapes under Gypt Records.
He(re)ar intellect and reductionism is not self assembling audio stream understanding which 28 minute recording defeats the or invited one is purpose and should not be that into an inscription from a which was extracted and frozen is manifesting in this moment irrelevant it is not required as it happens as it with a concept or an just present within the sounding never to be repeated this residue of linear time structure is into being would defeat its purpose content and required that you come to this transpires periodically describing why why and how it has come is inevitably shaped by memory an archived history he(re)ar is an edited document
Show 1067: Radar sem z živalmi / I like to be with animals by robrrr_ (Radio Študent)
Radio Študent for Radia Network presents a jumble of sonic images of animals and humans interacting with them collected and mixed by robrrr_. Field recordings, clips from television and appropriations from social media form the basis of an exploration into the way we spend time with animals, play with them, parody them… The sound samples are manipulated, arranged and interwoven with original musical compositions to create a warm and playful ramble around the various ways we represent animals and use images of them to expose things about ourselves and our lifeworlds. In the clips, we sense the love and happiness that emanate from the interactions but, at the same time, the animals’ presence is often reduced, indirectly heard or otherwise cryptic, leading us to the question if the subjectivity of the animals is given the space they really deserve.
Robbie Hopper is a musician, biologist, audio technician and sound artist, working under the name robrrr_. They find making abstract compositions a comforting way of making sense of worldly wonders and horrors, and are currently particularly interested in radio and noise as subversive conduits for rebellion against oppression of various kinds. They invite you to greet your pet on their behalf.
Radia.fm program by Radio Študent, curated by Urška Savič.
This program was assembled by Conduction Series member Jimmy Garver, culled from 81 minutes of collaborative improvisational bursts created by the Conduction Series group.
The Conduction Series is a collaborative live radio broadcast produced by sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. The collective comes together on the first Friday of every month at 3:02pm ET using custom-made software. Emphasizing live radio, interactivity, and media archaeological methods, the series explores themes of migration, noise, feedback, speculative fiction, transmissive theatrics, and recreational aesthetics. Members include: Betsey Biggs, August Black, Peter Courtemanche, Florencia Curci, Jeff Economy, Anna Friz, Jimmy Garver, Maximilian Goldfarb, Virginia Mantinian, and Rodrigo Ríos Zunino.
Non-linear fragments from an afternoon tracing the northern coastline of Tenerife. Casual conversations between two friends — about everything and nothing — dissolve into echoes of an impromptu jam session from later that same week. Layered throughout are scattered field recordings: wind, footsteps, passing voices, and the distant roar of La Palma’s Cumbre Vieja volcano, captured during its 2021 eruption and interwoven with snippets of local radio.
What emerges is a strangely coherent dérive — a collage of conversation, environmental textures, and informal improvisation. A radio piece that doesn’t tell a story so much as wander through one. Echoes of a promenade. Presque rien, tout à côté.
Recorded in Tenerife, May 2025.All music by Paskaliand Gonçalo, except a short loop sampled from “Montes Caucasus”by Andreas Tilliander & Goran Kajfeš.Edited by Gonçalo F. Cardoso, Tenerife 2025.
Pascal Van Leemput, a.k.a. Paskali Wonderful, presents his radio show Sub Culture every Friday afternoon on Radio Panik
Aja Ireland is an award-winning sound and performance artist making deconstructed club and industrial techno. This radio piece explores the evolution from the Noosphere (the 20th-century vision of a unified global consciousnes() to the fragmented, chaotic Woosphere of today.
100 years ago, scientists imagined a world where human intellect would merge into a divine, collective intelligence. But instead of enlightenment, we’ve entered a gamified reality of chaosmosis—where misinformation moves faster than light, truth bends to algorithmic influence, and quantum woo shapes belief systems.
Through an immersive sound composition, Aja sonified the Woosphere—capturing the dissonance between utopian aspiration and digital-era confusion. Much of the material was recorded in the WORM electronic studio.
Jardin Brouillon est un pièce-recueil d’un temps passé à arpenter les jardins, à tourner autour des pots, à les dessiner ; inventer son jardin-croquis, le planifier pour l’explorer. Ajouter un élément un par un, minutieusement fabriquer son paysage. L’autrice nous fait découvrir ce qui l’obsède dans son jardin secret : les petits être qui l’habitent, les mondes cachées sous les feuilles. Ballade musicale, improvisations, poèmes et journaux sonores.
Sketchbook Garden is a sound-collection spent wandering through gardens, drawing them; inventing your sketch-garden, planning it to explore it. Adding elements one by one, meticulously crafting your landscape. The author lets us discover what obsesses her in her secret garden: the little beings that inhabit it, the worlds hidden beneath the leaves. Musical ballad, improvisations, poems and audio journals.
Sophie Courge-Pinna est autrice sonore, poétesse et dessinatrice. Son univers artistique est peuplé de créatures étranges, qui poussent ou rampent dans des paysages lointains. Puisant sa force dans la fiction et le fantastique, elle n’hésite pas à brouiller les réalités dans ses créations, à laisser parler les voix du merveilleux ou de l’inquiétant. Ses œuvres sont des micro-histoires, des temps d’immersion dans des univers sans codes et profondément rebelles
“An audio montage evoking the sound experiences of my night excursions into the Australian Outback in October 2024, accompanying the zoomusicologist Hollis Taylor on her night recording sessions with the pied butcherbird. In six chapters we are inducted into an alien nocturnal world, populated by creatures, humans and their mysterious activities.” – Kersten Glandien
Concept & Script: Kersten Glandien
Recordings: Kersten Glandien & Hollis Taylor in Alice Springs, Central Australia, October 2024.
Composition except: Hollis Taylor: Green Park, Georgetown 2016 for bass clarinet und field recording, Ros Dunlop – bass clarinet.
From: Hollis Taylor, double album: Absolute Bird, 2017.
Production: Elsen Studio Berlin, 2025. Postproduction: Gisela Studio Berlin, 2025.
Duration: 25:10
