All posts by Eastside

#38

Show 631: Questions of Travel by Jo Burzynska (Eastside)

Leave a comment

Questions of Travel is a sonic travelogue inspired by two poems that chart different but interlinked journeys, created largely from recordings made on my own travels around the world. The first part, created specifically for this programme, draws on and uses fragments of the Elizabeth Bishop poem, Questions of Travel. The second, was the sound element of an audio-olfactory installation at the Institute for Art and Olfaction (2016, Los Angeles) and takes a sensuous journey through external to internal worlds using Charles Baudelaire’s La Chevelure as its guide.

Additional Creative Commons recordings used courtesy of Taira Komori, Andy Gardner, Glen Faramach and Panta Rei.

Jo Burzynska – who also works under the name Stanier Black-Five – is an Australasia-based sound artist and writer. Her audio work largely comprises soundscapes created by the manipulation of her own minimally processed environmental recordings. In a career that spans twenty years, she has recorded, exhibited and performed her works internationally. In recent years this has seen her make a number of sound releases, such as her CD album Avast! on Belgium’s Entr’acte label and Alone with the Black Spirits vinyl release on the UK’s Rail Cables; exhibit sound installations at Australasian galleries to Rome’s MAXXI; and perform shows and festivals around the world. In recent years her work has increasingly been created at the intersection of the senses; always using sound, but often combined with taste and olfactory elements. Also a writer and editor, she has contributed to specialist publications such as The Wire, and co-edits Australasia’s only sonic arts print publication, Writing Around Sound. She currently lives in Sydney, where she is researching sound and the multisensory for a PhD at the University of New South Wales.

More information about Jo and her work can be found at joburzynska.com

#37

Show 605: (T)HERE by Keith W Clancy (eastsidefm)

Leave a comment

IMG_7584

“(T)HERE” is one of a series of works I have made mediating electronic and acoustic sound to create imaginary spaces that nonetheless refer to an actual place. At the back of my garden there is a wall that at night reflects sound coming from the rubbish disposal operation centre some kilometres away. This piece is made entirely (with the exception of the two drones that come to prominence in the second half) from recordings made on the walk from my back room where I worked on it all the way down to the rubbish centre: traffic sounds, trucks loading, beeps and alarms, birdsong from blackbirds and currawongs, rain and insect sounds, reflected echoes from a distance etc. Many sounds are heavily granulated and pulverised to become abstracted noises with something of the original timbre preserved. The high pitched “strings” are concrete sounds put through filters tuned to the pitches present in the song of the blackbird. The basic pitches of the two drones in the piece are tuned to the birdsong as well. The basic idea of this and other environmentally derived works like it is to present and simultaneously disrupt this “tuning of the world”.

Keith W Clancy is a Melbourne-based composer, sound, video and installation artist. He currently studies sound at RMIT and was trained primarily in philosophy and fine arts some time late last century. His most recent work was “Corrective Services” for computer controlled organ and electronics performed on the grand organ of the Melbourne Town Hall (https://soundcloud.com/keith-w-clancy/corrective-services-for-organ-and-electronics-live-recording). He also performs and records long-form drone works under the name Wolftöne (https://wolftoene.bandcamp.com/).

#37

Show 603: Postcards from ISISTANBUL by 2/5BZ, aka Serhat Köksal (Reboot.fm)

1 Comment

radia_s37_n603_gozel_serhat_koeksal_reboot

Selected set pieces from Gozel Radio’s 2014-2016  broadcasts : ” Postcards from ISISTANBUL ” .
New global power complexes demand new multi-sensory ways of seeing power and sensing one’s own position in it: new sets of sensory politics. Following the concept of “altered states”—a geopolitics spectralized by sensory overload and dispossession and by the relocation of power in the post-democratic or post-digital era— the 2/5BZ works ” SERHILDUB vs. ISISTANBUL ” reconsider what is (or was) referred to as  Sustainable ISISolation States, TISA-ISIStanbul Hologram Doctrines, Spywarezullah Harassment Agencies, Golden Age Palaverel Universes, Eurottoman and Nattoman Empire/Autonomie of Hardcore Ultra Modernism.
2/5BZ, aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991. The work often balances on the verge of trash, and continuously engages with remakes and collages of music, cinema, speech, and field recordings. 2/5BZ has performed live audiovisual performances under motto ”NO Touristik NO Exotik” in 91 cities in clubs, festivals, squats, and exhibitions.
https://2016.transmediale.de/content/25bz
http://2-5bz.com
http://2-5bz.tumblr.com/criticzphotoz
http://reboot.fm/category/gozel-radio/

#37

Show 602: Otitis media 29 (excerpt): Con-(fi)-re 02 (Radio Student)

Leave a comment

2014-11-03-om-29-con-fi-re-02-33469 (1)

Paul B. Preciado calls for the universal use of dildos in order to denaturalize sexuality, to infect it with a thing that is not a copy of a penis but an object that is both a way to appropriate the ass as the universal passive and non-reproductive organ that all people have and a way to multiply sexual acts, distributing them throughout the whole body. In this radio show, simply called “OM 29 – Co-Fi-Re (Conceptual Field Recording) 2”, I’ve tried to create an analogon to this notion of denaturalization, which this time comes in the shape of denaturalization of the machine of mechanic reproduction, the recording device Zoom H2N, which is no longer used only as a device to reproduce reality, but a device which directly addresses the feelings of a subject who holds it. Denaturalization comes hand in hand with the fact that on the secondary level the recording device is still doing what it was devised to do ñ it records ñ but its primary practice is interwoven with the subject, who is afraid of walking in the dark in the foreign country and in the fields xe has never walked before. Subject knows what can xe expect, but xe never experienced it before. The flow of affects is pouring in xem, but the only thing to reassure xem that xe will be all right, is the device, which was primarily meant to only reproduce reality. The recording device Zoom H2N stops reproducing reality and stops being a substitute machine for capturing reality and becomes something else. (Andrej Tomaûin)

http://radiostudent.si/kultura/otitis-media
http://www.radiostudent.si/

#37

Show 600: Special Collage by Chuse Fernandez (Tea FM)

1 Comment

RADIA 600 IMAGEN
600 is a wonderful number. Can you hear it?

The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe.
The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form.
The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
On 3–7 February 2005, there was a first meeting of radio stations in Berlin under the banner of NERA (New European Radio Art). The decision was taken to start a broadcast season the following April, and an email discussion list was set up on which the name Radia was finally settled on.
The originally Radia found members were 9 radio stations and now we are 29 radio stations, webradios and art-radio projects that broadcast the Radia weekly show and produce shows in turns.
Can you hear it? This is creativity and sound art. This is RADIA. Welcome.

#37

Show 599: Noisy Casseroles by Geronimo, lyl6baz, ArtU ( Radio Panik )

Leave a comment

radia_radio-panik_noisy-casseroles

Mardi 12 juillet 2016, 8h du matin. Bruxelles, Quartier Européen, en pleine semaine de négociations autour du TTIP, ce traité entre les États-Unis et l’Europe discuté depuis des mois dans le plus grand secret. La population s’indigne et exprime son mécontentement à travers « TTIP Game Over », une série d’actions de désobéissance civile. 300 personnes se postent devant le lieu des négociations, casseroles et cuillères à la main, pour faire du bruit à l’arrivée des négociateurs. Pendant que le peuple bat la casserole, à quelques mètres, trois individus, situés dans un espace parallèle, créent un autre bout du réel. Quand un slogan est crié à tue-tête sur le trottoir, incitant la fin des négociations, la voix lointaine d’un objet perdu se remémore son terrible chemin vers une grande surface. Quand une cuillère frappe le tintamarre sur une casserole, un ongle gratte le dos d’une poêle striée.
Ce trio explore la situation sonore en portant ce réel dans une fiction radiophonique, comme témoin in situ et acteur de ce prolongement. Le dispositif utilisé reprend celui des activistes : casserole de métal, poêle en fonte, bidon d’huile, boîte de conserve, etc., tout ce qui peut faire du bruit. La démarche consiste à offrir une expérience sonore au public non présent sur place : celui qui écoute la radio, en l’occurence, ici, une radio libre bruxelloise, Radio Panik (www.radiopanik.org). Le collectif a travaillé sur un dispositif d’ustensiles de cuisine et de micros contacts permettant de nuancer les sonorités, de démontrer la portée de la casserole, cet objet de tous les jours et de tout le monde, dans sa dimension musicale.
La démarche est empreinte d’un esprit de liberté et d’une idée de réappropriation : les différents objets-instruments se sont passés de mains en main durant la performance et chacun a pu les expérimenter selon sa sensibilité. Cette pièce sonore est une improvisation.

Tuesday July 12, 2016, 8 am Brussels, European quarter, in the midst of a full week of negotiations about the TTIP, this treaty between the United States and Europe, which has been discussed for many months in deepest secrecy. The population reacts and voices their disapproval through civil disobedience demonstrations, known as “TTIP Game Over.” Three hundred people take up positions at the site of the negotiations, pans and spoons in hand to create a hullabaloo at the arrival of the negotiators. While the people beat their pots and pans, three individuals situated in a parallel space, create another version of reality. While a slogan is shouted loud enough to be heard across the land, encouraging the end of negotiations, the lone voice of a lost object looks back on its terrible journey towards a supermarket. While a spoon hits on a casserole, a nail scratches the back of a grill pan.

This trio explores the auditory soundscape, transporting this reality into a radiophonic fiction, as a witness in situ and as an agent of this ongoing event. The devices used are similar to the ones used by the activists: metal pans, cast-iron pans, oil cans, cans etc., anything that can make a racket. The objective is to recreate a sound experience for the public who is not on site: the radio audience, a community radio from Brussels, Radio Panik (www.radiopanik.org). The coalition has worked on a device based on kitchen tools and contact microphones creating fine nuances of sound, to demonstrate the significance of the pots and pans, these everyday tools for everyman, showcasing their musical dimension.

The proposed procedure is characterised by freedom and an idea of appropriation: the different objects-instruments were passed from hand to hand during the performance and everyone experienced them according to their own perception. This sound piece is an improvisation.

Geronimo | lyl6baz | ArtU
Radio Panik (Bruxelles)

#37

Show 588: Forgetfullness by Magnus Oledal (Radio Nova)

Leave a comment

forgetfullness

Forgetfulness is a mental sculpture. The piece starts with a session of relaxation. As you listen, you may feel a connection to new age or therapy. You should however try to look beyond these assosiations to fully experience the mental sculpture.

Magnus Oledal (b.1972, Sweden). Oledal holds a Masters degree in Fine Art from The Royal Institute of Art in Stockholm. He mainly works with sculpture. One of his main concerns is to create encounters that heighten the viewer’s awareness of her own body and the cognitive functions that enable and produce this encounter. He has been involved in the collaborative art project ‘Tomma Rum’ (Empty Rooms) since its inception in 2003. He exhibited in solo and group exhibitions in scandinavia and abroad. Lives and works in Oslo.

#37

Show 582: L’Étude-aux-Études. (Radio Grenouille)

Leave a comment

radia_s36_n582_étude-aux-études_IMAGE

L’Étude-aux-Études est une proposition collective.
C’est une composition utilisant de courts extraits de l’émission Les Études Sonores, programme diffusé sur Radio Grenouille et réalisé au sein de l’Atelier-Studio Euphonia, en collaboration avec la classe de composition en musique électroacoustique de la Cité de la Musique de Marseille.
http://www.radiogrenouille.com/emission/les-sons-creatifs/
Cette émission-atelier mensuelle propose aux étudiants un moment radiophonique en commun, ouvert aux travaux en cours ou finalisés.

Quatre participants se sont donc emparés de cette sonothèque puisant dans plusieurs émissions, en y ajoutant leur univers :

– Sandrine OZEROV : début / At the beginning
– Magali HEYRIES : suite 1 / la loi khomri ou les tribulations d’une grenouille
– Ophélie DORGANS : suite 2 / Sèn
– Jérémie DESSERTINE : fin / Project DEF ultime

Ils ont chacun produit 6,40mn.
Le travail se faisant à l’aveugle,
sa position seule étant connue,
avec comme matériau des extraits des Études Sonores,
pour composer cette Étude aux Études.

L’Étude-aux-Études (Study in the Studies) is a collective working.
It is a composition using of courts extracted from the broadcast Les Études Sonores (The Sound Studies), program broadcasted on Radio Grenouille and realized within Atelier-Studio Euphonia, in association with the class of composition in electroacoustic music of the Cité de la Musique of Marseille.

http://www.radiogrenouille.com/emission/les-sons-creatifs/

This monthly broadcast-workshop proposes to the students a radio moment in common, opens to work in progress or finalized.

Four participants seized this sound library drawing from several broadcasts, by adding it their universe:

– Sandrine OZEROV: At the beginning
– Magali HEYRIES: suite 1 / la loi khomri ou les tribulations d’une grenouille
– Ophélie DORGANS : suite 2 / Sèn
– Jérémie DESSERTINE : end / Project DEF ultime

They each produced 6,40mn.
The work being blind made,
its alone position being known,
with as material the extracts of the Les Études Sonores broadcast,
to compose this Étude-aux-Études.

#36

Show 577: Radio 0-3-0 (reboot.fm)

Leave a comment

radia_s36_n577_radio_0-3-0
By Emeka Ogboh for reboot.fm

RADIO 0-3-0 combines a vast array of recorded audio materials such as news reports, interviews and music into a radio program, which examines the refugees’ situation in Berlin. He thus inquires how the city as such is reacting to the situation. The sound installation RADIO 0-3-0 invited the visitors to stay and listen during a local mini-fm broadcast at the Gorki Theatre in Berlin as part of the Herbstsalon in October, 2015. This radia.fm compilation is extracted from over ten hours of radio material.

EMEKA OGBOH, lives and works in Berlin. His works have been presented in the Museum of Contemporary Art Kiasma, Helsinki (2011), DAK‘ART 2014, Dakar (2014), in the Louisiana Museum of Modern Art, Humlebæk (2015), and the 56. Biennale di Venzia (2015).

Artistic assistant: Daniela Sellen
Programming Radio: Pit Schultz
radia.fm edit with Diana McCarty

Special Thanks to: Alpha, Deutschlandradio, Ditte Haarlov Johnsen, Carrie Hampel, Hla Al Hourani, Muhammed Lamin Jadama, REM TV Produktion, Reboot FM, Refugee ClubImpulse, Refugees Revolution Band, REM TV, Schaubühne Berlin, Sissi FM –feministisches Stadtmagazin „We never speak the truth!“, Sudan Papol Music (SPM), The Voice, Voice Refugee Forum and Die Karawane. Alpha, Deutschlandradio, Ditte Haarlov Johnsen, Carrie Hampel, Hla Al Hourani, Yango González, Andrea Gordillo, Muhammed Lamin Jadama, René Kaur, Lola Lustosa, REM TV Produktion, Reboot FM, Refugee Club Impulse, Refugees Revolution Band, REM TV,Schaubühne Berlin, Sissi FM – feministisches Stadtmagazin „We never speak the truth!“, Sudan Papol Music (SPM), The Voice, Voice Refugee Forum and Die Karawane.