***
Stop/Play. Change de fréquences… !

Pile ou face ? Et si on jouait à ça pour changer nos perceptions du monde ? Et si on capturait l’extérieur, on le transformait et on le réécoutait un peu plus à notre oreille, depuis l’intérieur ? Je suis sûre que mon bébé serait tout heureux…

C’est ça le secret de la « Fermentation authentique », garantie «depuis des générations» !
On a un autre secret : « On a du pain sur la planche ! »

Encore une dernière chose et après Stop/Play :
………« Ecoute……. »

Mathilde Lacroix est basée à Bruxelles. Après des études de traduction et de documentaire sonore, elle étudie la musique électroacoustique.
Elle explore les paysages mentaux et physiques, vivants et abandonnés, qui ouvrent à d’autres manières de percevoir et ressentir le monde. Elle s’intéresse à la transformation, aux matières à pétrir, organiques, à la (dé)composition des sons, des mots, des hasards. Concrètes ou abstraites, avec des instruments acoustiques ou virtuelles, dans l’air ou ailleurs, ces matières cherchent à s’émanciper d’une forme définie et à trouver une poésie entre les formes.
Elle collabore régulièrement avec la photographe belge Nathalie Hannecart et l’artiste Aurélie Bay pour explorer trois regards, trois formes, trois joyeuses combinaisons (Les terribles ténébres). Elles ont également exploré la thématique des traces et de l’érosion à travers l’industrie minière et sidérurgique, aux côtés de la graveuse Weronika Siupka (Kierunek Gruba). Elle a accompagné musicalement le film de Miléna Trivier « Le Murmure des lieux qui nous habitent », et a collaboré à plusieurs reprises avec Maxime Coton, en questionnant la place de la poésie dans la mixité des formes. A travers le projet Living Pages, elle a fait la rencontre du peintre Jamil Mehdaoui.

CREDITS
Création sonore : Mathilde Lacroix
Compositions sacrées : Camille Lacroix
Avec la voix de Franck Seng, comme Youtubeur pétrisseur.
Avec la complicité et le jeu de Shakira & Beyoncé, les chat.x, et le soutien de Xiri Tara Noir dans cette lente fermentation.
Merci à Carine Demange pour son invitation, son écoute et ses bons échanges.

***
Stop/Play. Change frequencies, change your mind !

Aids of tails ? What about playing this to change perceptions of the world ? What about record outside, transform it and ear it more confortable from inside, with a new perception ? My baby would be very happy.

This is the secret of authentic fermentation, guaranteed since several generations !

We also have an other secret : We have a lot to do. In french, we say :
« We have a lot of bread to cook ».

Last thing before to really Stop/Play :

…………….« Listen…. »

Mathilde Lacroix is staying in Brussels. After learning translation and sound documentary, she’s studying electroacoustic music.
She’s exploring mental and physical soundscapes, alive or deserted, and try to open other perceptions to feel the world, and translate it with combinaison of poetical forms. She likes transformation, kneading and organical matter. She likes to decompose sounds, words, coincidences. Concret or abstract, with acoustic or virtual instruments, in the air or somewhere else, there is not permanent definition.
She collaborates with photograph Nathalie Hannecart and Aurélie Bay to explore three regards, three forms, three happy combinaisons (Les terribles ténébres). They also worked with engraver Weronika Siupka on the thematic of coal and steel industry. She also composed soundstrack of Miléna Trivier ‘s movie « Le Murmure des lieux qui nous habitent », and collaborates several times with Maxime Coton, exploring the place/space of poetry mixing different forms. Through project Living Pages, she meets of pinter Jamil Mehdaoui.

CREDITS
Sound creation : Mathilde Lacroix
Sacral compositions : Camille Lacroix
With the voice of Franck Seng as youtuber carrying kneading.
With the complicity and actoring of Shakira & Beyoncé, and the support of Xiri Tara Noir in this long fermentation.
Thanks to Carine Demange to invite me in Radia, for her good listening and exchanges.

Un projet radiophonique documentaire et musical. La composition musicale a été entièrement créée à partir de sons domestiques collectés chez les habitants du quartier qui ont ouvert leur porte pour nous faire partager leur son de prédilection, favori ou redouté.

Cette approche vise à mettre en relation les sons de l’espace intime et la potentielle musicalité qui en découle. A l’issue de la collecte, les sons sont agencés pour créer une composition musicale qui sera réintroduite à l’intérieur des foyers par le biais des ondes radios. Ces sons intimes sont devenus, le temps d’une émission, une ouvre sonore collective. Porte à porte sonore, des sons collectés dans les maisons du quartier du Chant d’oiseau à Bruxelles.

Jonathan Frigeri & Maxime Lacôme

This sound piece is created with sounds recorded on the roads of Belgium, the Alps and Lapland.

« Walking is the best way to go slower », says the philosopher Frédéric Gros. We need to find slowness again, to anchor our feet into the ground, to feel its texture, to listen with our toes. At least this is the invitation launched by this sound piece, a geopoetic immersion, an invitation of the paths.

Anne Versailles is a Belgian artist, polymorphic, based in Brussels. She lives on the edge of the Forêt de Soignes which is her creative studio. She is a walker, a geopoeteer, a director and a sound designer. She works on the border between text, image and sound. By training, she is a biologist and has done her PhD on the selection of the lapwing’s nesting habitat (it’s a bird). In 2010, she crossed the Alps, from the Adriatic to the Mediterranean, in three months of autonomous walking (www.vialpe.be). Since then, her poetic work explores, between documentary and poetry, the slowness and the crossing of territories and landscapes.
www.anneversailles.be

ZUGUNRUHE (2016/reworked for Radia 2020)

Zugunruhe was originally conceived as an installation, a piece where the audience lies together on a large mattress and watches 27 stuffed birds fly in a large circle above their heads. A fiction soundcollage dealing with being lost, new horizons, too much clouds, magicians and birds on cruise control. For this reworked version, it is introduced by a nightly fieldrecording in Brussels. A single bird is singing, calling out into the night, confused and at the same time encouraged by street lights and city noises. 

Voices: Tibo Vandenborre, Elise Pierre, Sam Lowyck, Igor Paszkiewicz
Extra music: Mi_les Davis

Amber Meulenijzer (°1994) lives and works in Brussels. As a visual artist with an audio background (RITCS Radio, 2016 | KASK Installation Art 2019), she mainly investigates the relationship between image/installation and sound. Where do decor and soundscape meet?  What does the eye need in order to listen better? Beyond the silence.  
https://ambermeulenijzer.tumblr.com
https://soundcloud.com/amber-meulenijzer 

Curated by Carine Demange for Radio Campus Bruxelles

In the spring of 2018, the temporary lesbian bar Mothers & Daughters opened in Brussels. This opening brought together a community in deficit. In deficit of place, of celebration and of collective rituals. In the wake of this event whose near disappearance made its presence all more precious, Severine Irène V. Janssen X BNA-BBOT recorded testimonies, conversations and sounds. These recordings took place in the bar and outside the bar and resulted in this radiophonic piece.

BNA-BBOT isa Brussels-based organisation dedicated to the past, present and future sound memory of Brussels. Since 2000, BNA-BBOT generates a history and memory of the city through the stories and memories of its inhabitants. We’ve compiled closed to 20.000 items of sound data – witness accounts, snippets of conversations, monologues, songs, soundscapes and raw sounds – that form the history of the city. A kind of documentative experience over a very long course, which is not only intended to capture the voices and sounds that pass, but to also create multiple forms that can be heard and returned to the city. All this, in order to have the city actively rework its living memory, and the memory – both present and future – constantly reworked by the city.

Séverine Irène V. Janssen lives and works in Brussels. She studied philosophy but her passion for the way in which history is conceived, written, commented and transmitted, as well as her interest in memory as a political and aesthetic subject led her to take on coordination for BNA-BBOT in 2009.

Credits music :

Make Your Dreams Television – Planète Concrète

Küss Mich Wund – Planète Concrète

Tropical vibration – Planète Concrète

What I Would – MC Mustaj

Highway – Grande

Production : BNA-BBOT, 2019

(Curated by Carine Demange & Radio Campus Bruxelles for Radia network)

Call & Answer

To fly between the North Atlantic and the South Atlantic, is normal for grey wings, be they of aluminium or feathers. The grey feathered wings swim, too, with easy; the aluminium ones try to be like home but never quite can. And to hear them, in sound or radio, we need points on land among the vast ocean; the Azores announces itself as ‘Santa Maria Radio’, which the North Atlantic is termed ‘Shanwick’ or ‘Gander’. 
And in pure communicative sound, we landlubbers can need to set foot on the 3 square km island of Skomer; and we need to wait until night falls, before the Manx Shearwaters… before they… 

Like passengers in a plane, some shearwaters too are locked away—inside the earth. 

More about the expedition here.

Radio Artist : Connor Walsh
for Radio Campus Brussels, with guidance from Carine Demange.
www.coffeeflavouredtea.net

Ci-dessous, version FR par Connor <3

Comment les oiseaux migratoire fait leur voyage, la mer d’Irlande et le Océan Atlantique près du Brésil ? D’ailleurs, comment les avion fait leur voyage transatlantique ? Les aile, bien sur, de aluminium ou de plume ; Mais comment piloter ? Si on veut l’entendu, on a besoin de points sur la terre ; les avion se compte sur les contrôle aérien au bord de mer, en Irland, au les Açores, au Canada. Et pour rencontre les puffins des Anglais, on a besoin de passer le nuit dans une de trois petite isles au Pays de Gal. 

Connor Walsh a être là en Juin 2018 avec une partie du bénévoles qui faire des recherche sur les puffin des Anglais ; et écouter aussi les avions transatlantique par les ondes courtes; il a prepare cette emission Radia avec le aide du Kika de Radio Campus Bruxelles.

http://www.coffeeflavouredtea.net/

 

EN : Myself and my partner Dr. Kawai, we would go through our voices this part of the world where the scientific legend believe the cosmic yeti is hidden. It is a vast country where, since its discovery, the adventurers dare and are damaged. However, they do not risk their life because bodies does not have access to this world made of waves and vibrations. Not that the skin, like the body and any other physical form, does not belong to it, but here it is preferable to travel light and limit the sources of sensation. The voice is the congenial tool to this crossing, it allows us to not lose our life. To get lost remains the only danger and get lost for good.

FR : Accompagné du Docteur Kawai, nous parcourons de nos voix cette partie du monde où la légende scientifique veut cacher le yéti cosmique. C’est un pays vaste où les aventuriers s’osent et s’abiment depuis sa découverte. Ils n’y laissent cependant pas leur peau puisque leur peau n’a pas accès à ce monde fait d’ondes et de vibrations. Non pas que la peau, comme le corps et toute autre forme physique, n’y appartienne pas, mais ici il est préférable de voyager léger et limiter les sources de sensation. La voix, la voix oui, étant l’outil congénial à cette traversée, on ne pouvait y perdre la vie à proprement dire. Et dire que de s’y perdre demeure l’unique danger : s’y perdre pour de bon

Un projet de David Liver et Jonathan Frigeri.
With texts from David Liver, Gregory Whitehead, Pier Luigi Ighina, Tesla.

Jonathan Frigeri is a sound and radio artist. He is mainly interested in revealing a hidden layers of reality by underlining sounds we don’t usually pay attention to, a practice that explore the relation of sound as a door that opens imaginative space. On his work for radio he tends to incorporate on the creative process, the radio device and the space between the transmitter and the receiver. Radio art is a set of parameters which have to deal also with the space in between, between here and there.
http://jfz.zonoff.net/jfz

In writing, performance and visual art, David Liver incisively provokes the boundaries that define cultural standards. David Liver considers writing to be the root of his creative output. A major Liver’s theme is the institution of “Believes” in the western social identity and it’s particular system of faith.
http://www.the-david-liver.com/

Radio Souvenir

A portrait made with the memory of Aless, Caroline, Vera, Christophe, Victor, Ychaï, Eleonora, Pauline, Franco, Vincent, Jole, Paul, Izabella, Héloïse, Arthur, Electra, Susie, Aline.

First episode of a collective memory investigation by Radio Picnic.
http://radio-picnic.zonoff.net

Another Communist Horror Story is another communist horror story about child labour, deep mining, gold lust, human sacrifice and antediluvian entities lurking in the dark.

Based on a true story.
Set in Banská Štiavnica, Slovensko.

By luvan

In English, Slovak and French

Many thanks to Lenka Luptáková, who introduced me to the Salamander ; Léo Henry, John Sellekaers and Eve Commenge, beta-listeners ; and Carine Demange, from Radio Campus Bruxelles, for her deaf trust.

For this show, I have used tiny bits of : Baku Symphony Of Sirens, by Arseny Avraamov / Alfred Wolfsohn’s Experiments in Extension of Human Vocal Range, by Smithsonian Folkways / Starfish Dissection, by Richard Glassford II on Youtube / CROWN OF THORNS STARFISH, by ABCTVCatayst, on Youtube / Baníctvo na Porači (dokument, 2014) by Tomáš Telepák, on Youtube / Štiavnické Bane, Slovakia – šachta, by Radio Aporee, on archive.org / Novy Most Bridge, Bratislava, Lift in pylon, by Jodi Rose for Radio Aporee, on archive.org / velka causa – singing, by Radio Aporee, on archive.org / Trenčín-Kubrica, Slovenská republika – Scary Tale, by Jüang Ren, for Radio Aporee, on archive.org / Tchecoslovak TV news from 1957-9-11, on Youtube / Banská Štiavnica, slávnostné zvonenie, by Glockenman, on Youtube / Banská Štiavnica – zvon Umieračik ( c” ), by Glockenman, on Youtube / A few interpretations of Edgar Allan Poe’s poem Bells, for Librivox / Snow White, the Slovak dubbing version from year 1970, on Youtube / Old ORIGINAL GERMAN AIR RAID SIREN TEST, by e57michel, on Youtube / Venus fly trap – The Private Life of Plants – David Attenborough – BBC, on Youtube / S-40 siren test, by Olafs Kodolšķiltava, on Youtube / The sound of sea urchins crunching as they eat par ABCRadioN-1, on Soundcloud / Scenes from the film The Haunting, by Robert Wise, featuring the voices of Julie Harris and Claire Bloom, on Youtube / The pre-recorded voices of  Juliette, Alice, Bruno, Alain, Anjali, Reiner, Francesca, Audrey, Rachel and Lucy on NaturalReaders.Com / My own field recordings / My own voice / My own text / Hope I’m not forgetting anyone / Cheers, luvan / www.luvan.org/blog / https://soundcloud.com/luvan

For acsr 20th birthday party, Thomas Turine performed an electronic live version of Enfonçures. He previously composed this soundtrack for Caroline Logiou’s theater piece based on Didier-Georges Gabily’s poem, about the 1st Gulf War.

Thomas Turine is a composer, a musician and a sound artist. He has created and is leading the Cosipie Ensemble which gathers musicians, singers and actors. They work together on his contemporary musical compositions and his musical theatre pieces (“88 Constellations“).

He also works with artists from performing arts, plastic arts and auteur cinema. He started off his musical journey as a child with folk music, then he discovered new wave music (LVDCR), rock music (Major Deluxe 2001-2009), acid-house and electronic music (Sitoid 1996-:::).

Since 2002, he’s been closely working with stagedirectors, movie makers and choreographers who are interested in exploring contemporary forms and making new creations. He both composes the music pieces and designs audio spaces. He has created the electro-acoustic sound system for about 60 pieces. He invents his own instrumental composition process, either on computers or on paper. He turns his composition into something more plastic. He likes to take on a visual representation of the world and creates a new one. His work on space, both in the matter of his musical composition or the sound spatialisation tends to work itself in a subliminal way so that the perception of his pieces are organic. The body of the listener has to be engaged and engrossed. He intends his music to be a place of encounter with the listener.

In 2013 with acsr, he creates HO, an abstract radio piece based on sounds collected in Iceland. With the acsr too and the ONA, Thomas launched in 2016 the In Ouïe project, a thinking and exchange project on hearing, between blind people, sound practitioners and everyone.

picture © Hichem Dahes

www.thomasturine.com – cosipie.bandcamp.com – www.acsr.be/production/ho