All posts by knut
Show 790: Listening’s Urgency by Hardi Kurda (Radio Corax)
Listening’s Urgency
In times of contact restrictions the radio is all the more an instrument to bridge the isolation. What role does listening play in times of crisis? In his project “Listening’s Urgency” the composer and sound artist Hardi Kurda explores this question, searching for the in-between sounds of the medium and the gaps in the social order: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?
For the second performance in the course of the project, Kurda asked musicians, artists and writers from different parts of the world to answer those questions. Their voices and narrations were the basis for a one hour live radio performance with a six-member radio ensemble which came together on Radio Corax on April 26 2020.
For radia.fm Kurda made an edited version of the live radio performance.
Listening Urgency – live radio performance by Hardi Kurda, with: Andre Damiao, live from São Paulo; Maximilian Glass, live from Leipzig; Kamil Korolczuk, live from Berlin; Hardi Kurda, live from London; Soheil Soheili, live from Teheran; Ralf Wendt, live from Halle; and with the voices of: I-ID from Teheran, Kani Kamil from London, Peshraw Mohammed from Berlin, and Niga Salam from Slemani.
Hardi Kurda is currently stipendiary of the Radio Art Residency, an international fellowship program by Radio Corax and the Goethe-Institut.
Show 786: Langue de paysage by Izabela Matos & Anne Laure Lejosne (JET FM)
Langue de paysage
Izabela Matos & Anne-Laure Lejosne
“Niko ne zna šta znači roditi se i živeti na ivici između dva sveta, poznavati i razumevati jedan i drugi, a ne učiniti ništa da se oni objasne među sobom i zbliže, voleti i mrzeti i jedan i drugi, kolebati se i povoditi celog veka, biti kod dva zavičaja bez ijednoga, biti svuda kod kuće i ostati zauvek stranac; ukratko: živeti razapet, ali kao žrtva i mučitelj u isto vreme.“
“No one knows what it means to be born and live on the edge between two worlds, to know and understand one and the other,
not being able to do anything that they explain one another and to get them closer, to love and hate one and other, to hesitate and lead the entire century, to be in two but without a single homeland, to be everywhere at home and remain forever a foreigner; shortly:to live crucified, but as a victim and torturer at the same time. »
Ivo ANDRIĆ 1892-1995 Travnička hronika – La Chronique de Travnik (1945)
With / Avec les voix de : Boško Vujačić, Milan Mrdović, Bojana Peković, Nikola Jeknić, Miroslav Tanović, Louis, Analia, Paole,Georgie, Martina, Giorgio, Dražen, Ilija (Anne-Laure et Izabela)
And musics from / musiques de : Sveci blago dijele (Saint sdeivide their treasures), Ženidba Milića Barjaktara (The yedding of Milić standard-bearer), Car Lazar i Carica Milica, Dertum “Eleno Kerko”, Jorge Drexler “Al otro lado del rio”, Boško Vujačić, Milan Mrdović, Bojana Peković, Nikola Jeknić, Miroslav Tanović,Joao Gilberto “Maria ninguem”, Maria Bethânia “Purificar O Subae”
http://www.izabelamatos.me/
Soundcloud : Anne-LaureLejosne
Show 785: We Stay Apart Because We Love Each Other. Love is Stronger than Greed. By Caroline Kraabel and London Improvisers Orchestra (Guest Slot)
We Stay Apart Because We Love Each Other. Love is Stronger than Greed.
London Improvisers Orchestra, ‘conducted’ by Caroline Kraabel
For over 21 years the London Improvisers Orchestra has been rehearsing and performing large-group free and conducted improvisations on the first Sunday of each month, working on a frayed shoestring and the goodwill of its illustrious improvising musicians and faithful old and new audiences. For the first time since 1998, the first Sunday of April this year will not see an LIO concert.
Because we and you are in isolation, together. This piece (WSABWLEO.LISTG.) has been devised, collected and collated by Caroline Kraabel from solicited 20-second (recommended handwash length) recordings by musicians from the London Improvisers Orchestra. Most of the segments are necessarily solos, but musicians who are in isolation together have also provided duos and (in one case) a trio. Where musicians have provided segments of a length other than 20 seconds, I have left them as sent, for a luxurious and varied handwashing experience. The pieces are joined together more or less in the order in which they were received, from 18 March-5 April of the pandemic year 2020.
Warmest thanks to all the musicians and listeners, and all LIO colleagues past and present, well and ill, living and dead.
We miss you very much and think of you with respect and love.
CK
Credits and details about the worldwide LIO musicians who participated, with links allowing you to explore their work:
1: LIOQ by John Edwards (double bass) and Caroline Kraabel (alto sax) London UK.
https://johnedwards.bandcamp.com/
https://carolinekraabel.bandcamp.com/
http://www.masskraabel.com/
2: March 22, by Steve Beresford (electronics) London UK
Here is my piece for your project.
It was played on a toy circuit-bent by Tasos Stamou. He gave it to me as a birthday present.
How’s it going?
Best, Steve
www.unpredictable.info
3: Adrian Northover (soprano sax) London UK
https://www.adriannorthover.co.uk/
4: Adam Bohman (words and voice) London UK
https://adambohman.bandcamp.com/
5: Isolation, by Dave Jago (trombone) Southend UK
Here’s my contribution. Are you getting many in? Cheers, Dave Jago
https://www.davejago.com/
6: Marcello Magliocchi (percussion) Bari, Italy
soundcloud.com/marcello-magliocchi
7: 20 Seconds for the LIO, by Susan Alcorn (pedal steel guitar) Baltimore, USA
I hope that you and your families are doing OK during this pandemic. I’m doing alright. My husband and I are both laying low – staying at home and only going out to get food, etc. once a week. A lot of free time on my hands since all my gigs are cancelled. So, doing the 20 second musical hand wash seems like a wonderful thing to do. Attached is my humble contribution.
Best always, and I miss playing with you, Susan
https://www.susanalcorn.net/
8: John Butcher (tenor sax) London UK
here you go
JB
x
https://johnbutcher1.bandcamp.com/
9: Short Home Improv, by Martin Vishnick (guitar) London UK
Quarantine piece – short piece!
Stay well!!
Martin Vishnick
www.mvish.co.uk
10: Melodica Quarantine Solo, by Douglas Benford (melodica) London UK
Hi All,
I attach my quarantine piece, 20 seconds long…look fwd to hearing the whole project.
Best wishes to you and all and take care!
Douglas
https://dbenford.bandcamp.com/
11: Knut Aufermann (electronics) Ürzig Germany
Thanks a lot for this invitation. Attached are two 20-second snippets from Sarah and myself. We recorded them at home last Thursday while sound-checking for a live radio broadcast, with our friend Tetsuo Kogawa in Tokio, that went out on radio stations in France, UK and US. I’ve included a picture of the setup.
Hope you are keeping well, all the best, Knut
https://mobile-radio.net/
12: Sarah Washington (electronics) Ürzig Germany
https://mobile-radio.net/
13: Kitchen Music with my Dog Mali, by Jacques and Mali Foschia (voices) Brussels Belgium
Ce fût un plaisir… n’oublies pas de créditer ma chienne Mali;)
Portez vous bien, keep safe!
Jacques
https://jacquesfoschia.bandcamp.com/
14: Microsolo, by Chris Hill (clarinet) London UK
Hi Caroline, minisolo as requested. Great idea and thanks
C. Hill
15: Y se quedarán los pájaros cantando, by Daniel Cano Amaro (trumpet) London UK
Hi Caroline,
Hope you’re well.
Please find attached the short solo piece for the LIO. The title comes from a poem by Juan Ramón Jiménez entitled ‘Y se quedarán los pájaros cantando’. It could be translated as ‘And the birds will stay singing’.
Take care, Daniel Cano Amaro
https://danielcanomusic.bandcamp.com/
16: Coronavirus, by Dave Fowler (percussion), London UK
Looking forward to being with the orchestra for real, but in the meantime, thanks & hope you’re all keeping well. We have been in quarantine for nearly 2 weeks. I don’t know how I ever had time to go to work!
Dave x
http://www.squidco.com/miva/merchant.mvc?Screen=PROD&Store_Code=S&Product_Code=28438
17: Sebastian Sterkowicz (acoustic guitar and rubber band) London UK
Hope you are well, and coping through this strange time okay!
Please find my solo piece attached to this email; for a change I am playing here on acoustic guitar with rubber band preparation.
Looking forward to hearing the music:)
Best, Sebastian
soundcloud.com/sebastian-sterkowicz
18: I.Kallin, by Ivor Kallin (voice, harmonium), London UK
I’ve attached my 20 seconds of virtuosic wizardry, feat. Indian harmonium and voice, and I callin’ it I.Kallin
Take care, be well and see you at the other end of this nightmare.
Ivor
https://linearobsessional.bandcamp.com/album/a-goose-is-a-horse
19: John Edwards (double bass) London UK
Better in mono x
https://johnedwards.bandcamp.com/
20: April, by Sue Lynch (tenor sax) London UK
Hope it’s all going well over yonder. Our residents did an 8pm handclap for the NHS staff tonight; even if nurses didn’t hear, it was a nice morale booster to see all our neighbours again, everyone is hiding away!
Thanks for suggesting this, Sue xx
https://suelynch.bandcamp.com/releases
suelynch.wordpress.com
21: Olivia Moore (violin) London UK
Hi There,
Here is my 20 second violin contribution for the April Quarantine piece.
Many Thanks, Olivia Moore
www.oliviolin.com
https://limefield.bandcamp.com/album/amoghasiddhi
22: Under the Nails, by Sylvia Hallett (violin) London UK
Special thanks to Sylvia Hallett for suggesting that the segments should be 20 seconds, the recommended duration for hand-washing, rather than 10 seconds as initially proposed! CK
http://www.sylviahallett.co.uk/
23: Quarantine Piece, by Stephan Barrett (clarinet) London UK
Quarantine 20 second recording (home clarinet practice attempt!) Looking forward to hearing the combined LIO piece! SB
Postcards from the Volcano: https://www.facebook.com/postcardsfromthevolcano/
Littoral Transmissions: https://soundcloud.com/littoraltransmissions
Georges Kaplan Presents…: https://georgeskaplanpresents.bandcamp.com/
24: Laura Cioffi (alto flute) Glasgow, Scotland UK
Here’s my 20 seconds’ worth!
Hoping that you are keeping well during these times.
Best wishes, Laura
https://www.lauracioffi.net/
open.spotify.com/playlist/3vFYmuChUKHMGdiWgZKn1s?si=kJPG_tK2T3OZIroXcFkb-g
25: Ten Seconds of Steel, by Mike Cooper (lap steel guitar) Rome, Italy
www.cooparia.com/welcome/biography
26: Pei Ann Yeoh (violin) Malaysia
Good to hear from you and hope you’re managing well under the circumstances. Thanks for organising a piece in these times. I’d like to participate in April’s performance – I’ve recorded something ‘short’ but it’s not 20 secs long – it’s surprisingly difficult to be concise! Something to work on I suppose. Please feel free to edit as you wish.
Best wishes from Malaysia! We’re on Day 13 (as of 30th March 2020) of Movement Control Order here – another 15 days to go!
Thanks, Pei
soundcloud.com/pei-ann-yeoh
27: Idle, by Martin Clarke (alto sax) London UK
Hi guys, here’s my contribution to the lockdown release!
best wishes and I hope you’re well.
martin clarke
martinclarkemusic.net
oemrecords.net
rockscottage.net
28: Martin Hackett (electronics) Oxford, UK
soundcloud.com/martin-hackett-717490473
29: Handwash, by Robert Jarvis (trombone) Faversham, UK
Hi, Please find attached my ‘handwash’.
With thanks, Robert Jarvis
www.robertjarvis.co.uk
30: Jerry Wigens (mandolin) London UK
https://www.jerrywigens.net/about
31: Pascal Marzan (10-string micro-tonal guitar, timer) London UK
http://pascalmarzan.blogspot.com/
32: Being Able to Tell if it was Good Would Make it Valid in Some Way, by Staircase Trio: Susanna Ferrar (violin, voice), Jerry Wigens (mandolin), Pascal Marzan (10-string micro-tonal guitar), recorded on their joint staircase in Stoke Newington, London.
33: Susanna Ferrar (violin, timer) London UK
https://uk.linkedin.com/in/susanna-ferrar-760bb51a
34: Erzbergerstraße 31 March 2020, by Phoebe Bognár (flute, voice, plus birds, street and clock) Frankfurt, Germany
It’s a confusing time, quite honestly… I was supposed to be here for some auditions but as it turns out they are now cancelled! Making the most of things though… catching up on lots of tasks that were piling up.
And this was a lot of fun to do! This is the sounds of my neighbourhood of Obertshausen. There’s a beautiful clocktower here that I love the harmonic partials of. I usually go for walks or stick my head out the window around the hour. I wanted to do a little vocal diary entry into my flute and play on those harmonics, so here it is – with love to the LIO community!
Phoebe
phoebebognar.com
soundcloud.com/phoebebognar
35: Andrew Ciccone (electronics, percussion, objects), London UK
Hi! Here’s a 20-second piece at the 11th hour. It’s a sound collage of me playing otamatone, flexitone, a tape machine, a creaky hinge and some steel and concrete items.
Hope you’re well! Cheers,
Andrew Ciccone
https://omphalopticon.bandcamp.com/
36: Twenty Seconds on Flugelhorn, by Charlotte Keeffe (flugelhorn, voice) London UK
Hi everyone, just a quick email sending my love to you all at this surreal time.
I’m looking forward to hearing the results of this lovely idea for April’s Concert/track! Let’s keep keeping in touch; shall we do another track for May’s Concert?
Charlotte Keeffe
37: Gero Kempf (double bass) Oxford UK
So, just did my 20sec. It was inspired by Adrian´s conduction, “Hive”, signalling that I should play time. Quite a memorable event in the context of my improvisational practice here in the UK! So, that resonates even until today. In these 20sec, I’m adding in bringing my left hand fingernails suddenly closer to the lowest string played. The one reflecting time.
Best, Gero
38: Handwashsong, by Charlotte Hug (voice, running water) Zurich Switzerland
I hope you and your families are healthy and well! We are fine. I am grateful for this.
It inspired me a lot to use these micro-timeframes of a handwash to connect with the LIO and all these wonderful musicians. I miss you! All my Love and be well!
Yours,
Charlotte
39: LIOisolation, by Crystabel Riley (percussion) London UK
instagram.com/xcrswx/?hl=en
40: Emily Shapiro (clarinet) London UK
http://emilysuzanneshapiro.com/
41: Emil Karlssen (percussion) Leeds UK
Wonderful initiative with the LIO quarantine piece – here’s my submission. Hope you’re keeping safe. Take care, see you when all this is over.
best wishes, Emil Karlssen
https://emilkarlsen.bandcamp.com/releases
42: Sutherland’s New Law, by Rowland Sutherland (flute) London UK
soundcloud.com/Rowland-sutherland
43: LIO Handwash, by Cath Roberts (percussion) and Tom Ward (flutes)
Looking forward to hearing the finished piece. Sending healthy vibes, Cath
Thanks for asking us – yes, Cath & I are isolating together. Here’s a short duet we just recorded for you! Tom
http://cathrobertsmusic.co.uk/
https://madwort.co.uk/
44: Self-isolation, by Neil Metcalfe (flute) London UK
For technical reasons, this was recorded in person by Caroline Kraabel in an isolation-appropriate manner. Travel was by bicycle. Neil unlocked the front door of the flat-block from upstairs, then Caroline placed the recorder on the bottom step and retreated back to the other side of the door. Neil played his solo segment and went back upstairs, so Caroline could come back in and collect the recording.
45: 20 Seconds for LIO, by Charlie Watkins (balloon?) London, UK
hi, here is my 20 second piece. thanks so much for doing this!
charlie
https://chaarliewatkins.bandcamp.com/
soundcloud.com/chaarliewatkins
46: It’s in the Air, by Sue Lynch (tenor sax) and Adrian Northover (soprano sax) London UK
47: Mark Sanders (percussion) Birmingham UK
https://www.marksanders.me.uk/
48: Simon Petermann (trombone) Bern, Switzerland
You might not remember me, as I played only once with the LIO and it was last November already. I am from Berne, Switzerland and I play with Cath Roberts and Dee Byrne in the band MoonMot, that’s also how I came to play with the LIO. I actually planned to come and play with you that April weekend, but now I’ll have to postpone it for a while…
https://simonpetermann.ch/
49: Jackie Walduck (vibes and breath) London UK
soundcloud.com/jackie-walduck
50: Tracy Lisk (percussion) Philadelphia USA
https://tracylisk.bandcamp.com/
51: Trevor Taylor (percussion) UK
http://musicontheedge.com/musician.php?mus_id=10
52: Male Basic No. 1, by Phil Minton (whistling) London UK
https://www.philminton.co.uk/
53: Dee Byrne (alto sax, pedals) London UK
I was using my pedals to create an underlying texture – distorting and looping the sound of my keys opening/closing and blowing into the sax without a mouthpiece. X
deebyrnemusic.com
54: David Ryan (clarinet) Northern Italy
http://www.david-ryan.co.uk/music.html
55: Ed Lucas and Antony (percussion, noises) London UK
I hope you are doing well. Thanks for setting up the isolation piece on Bandcamp.
Here is my recording – it’s a duet with the other musician in my household (plus domestic machine and the open window). He’s not a LIO member because he’s only 2 months old!
all the best, Ed
lucas.earshots.org/live
56: Sounds to Wash Hands by: 20 Seconds of Something, by Jason Yarde (alto sax) Hastings UK
Good morning to you and yours!
I do hope you’re all fine and dandy this sunny weekend. Apologies for sending these so late! I actually did these as soon as I got the email, just very quickly on my phone… Too busy! I look forward to hearing everything,
All the Beats
Jason Yarde
https://igg.me/at/AcouBomb
http://joyandears.com/
57: Julie Kjaer (flute) and Paulo Duarte (guitar) Copenhagen, Denmark
I hope you are all doing well in spite of this whole crazy world situation! I’ve attached a 20 sec clip with Paulo and me playing (guitar + flute) I know the deadline was yesterday, and possibly it’s too late for you to receive this. No worries if you can’t use it because of that!
I also just wanted to say that I think it’s great you’re doing this!!
Here we are doing ok. Loosing work, as for many others, is a bit of a challenge.
I hope I’ll see you both in not too far a future!
Lots of love
Julie
www.juliekjaer.com
www.paulodiasduarte.com
www.paulodiasduarte.bandcamp.com
58: Honja (Alone), by Hyelim Kim (taegum) London UK
How are you? I hope you are doing reasonably well, considering the uncertain times we’re in. It is a shame that we won’t be performing in April. But I would like to join the collage piece that you suggested. Please find the audio file attached. Its title is Honja, which means ‘alone’ in Korea.
Thanks again. Hope to see you soon.
Kind regards,
Hyelim
59: Breath Clock, by Caroline Kraabel (alto sax) and clock (ticking) London UK
The first few seconds of a slightly longer piece that’s available here: https://carolinekraabel.bandcamp.com/track/breath-clock-4-april-2020
Show 783: Close-Shaved Sardine by Ed Baxter (Resonance FM)
It took a year or more to think of a sequel to The Exeter Whisper (2018), a radio work realised with 400 primary school children in which a short text decayed and revivified under pressure of being passed along individually and being misheard and reinterpreted. This time I searched for a transparent and static text as a point of departure. I settled on the phrase “God Save The Queen” for five reasons. First, it is something one never actually says; secondly, it is something one never actually thinks; thirdly, everyone in the UK knows precisely what it means and carries a civic weight; fourthly, it is essentially meaningless, especially perhaps to a republican atheist such as myself; and finally, it is a phrase which will become extinct when the present Queen dies, as she shortly will. Initially I wanted to have lots of people repeat the phrase so as to provide a map of regional accents and dialect, perhaps drawing on Members of Parliament as speakers. The corona virus crisis meant that faced with the Radia deadline I had instead to do this sketch on the spot, using a standard industrial sound effects unit which brought out the tones of my own received pronunciation and seemed instantly to dictate rhythm, diction, and a sense of musicality and ham theatre I had not anticipated. This is a live recording made in real time on the afternoon of Tuesday 16 March 2020 in Resonance FM’s Frank Howling Studio. It is dedicated to Michael Umney and Margot Gibbs on the occasion of the postponement of their wedding. Title by Anthony Moore.
Show 777: Makhtesh Ramon by Møn feat. Alina Sauernheimer for Sphere Radio (Guest Slot)
Makhtesh Ramon
(scoll down for english text)
Eine Nacht im weltweit größten Erosionskrater der Wüste Negev, Israel.
Absolute Stille, außer den Geräuschen von Dingo´s die an unserem Zelt schnuppern nichts. Unwirkliche Träume und dann aufstehen.
Es ist 4:00 Uhr morgens, aufstehen um pünktlich zum Sonnenaufgang auf dem nächsten Berg zu sitzen und dem Spiel von Formation, Licht und Geräuschlosigkeit wie im Kino zu folgen.
Gibt es einen friedlicheren Ort? Selbst die Form des Kraters ist wie ein Herz…
Außer uns niemand so weit das Auge reicht. Keine Geräusche, kein Wind, nur Stille und ein Himmel voller unfaßbarer Farben.
Wir sitzen, ca. 20 Min und ich denke mir: „Das ist wohl der stillste Ort an dem ich je war“. Und als hätte ich es heraufbeschworen, plötzlich ein unwirkliches tiefes Dröhnen aus dem nichts. Was ist das? Erst, Verwunderung, ein bisschen Verunsicherung, dann: „Ach neee, es sind Düsenjäger. Düsenjäger die wohl Ihre nächsten Einsätze üben.
Ernüchterung macht sich breit, der Wurf zurück in die Realität. Wir sind gerade mal 350 km entfernt von Syrien. Sind das die abgesandten in den Krieg? Die Situation wird noch surrealer als sie schon war und das Aufnahmegerät was ich anfangs angeschaltet hatte um die Stille aufzunehmen, dokumentiert nun das Spiel von Schall und Krater in dem jedes Geräusch dass sich in ihm fängt in alle Richtungen zurückwirft. Eine unwirkliche Komposition aus Echoes aus allen Richtungen, erzeugt durch Düsenjets die, die Schallmauer durchbrechen.
Dieser Moment hat in mir sehr viele Fragen aufgeworfen und ich hatte das Gefühl es bedarf einer weiteren Ebene das erlebte Spürbar zu machen. Also beschlossen wir eine Art Hörspiel daraus zu machen und die Aufnahme als Grundlage für den Text zu nutzen.
So kam es dass ich meiner Freundin Alina um ihr Interesse fragte, welches Sie direkt hatte und die Aufnahme + ein paar Situationsbeschreibende Anekdoten zukommen lies und Sie darauf hin niederschrieb was in ihr passierte. Raus kam dieser Text.
Credits:
Aufnahme, Produktion und Idee: Møn (Simon Clement)
Text und Stimme: Alina Sauernheimer
Mastering: Leon Seidl
Bild: Omri Shmulewitz
www.sphere-radio.net
https://m-o-n.bandcamp.com/
One night and one day in the world’s largest erosion crater in the Negev desert, Israel.
Absolute silence, only noises from Dingo’s sniffing our tent in search of something edible. Unreal dreams and then, get up.
It is 4:00 o’clock in the morning, time to get up to reach the hike to the top of the next mountain before sunrise and to follow the play of shapes, light and noiselessness.
Is there a more peaceful place? Even the shape of the crater looks like a heart …
No one except us as far as the eye can see. No noise, no wind, only silence and a sky full of incredible colors.
We sit, about 20 minutes and I think to myself: “This is probably the quietest place I have ever been”. And as if I had conjured it up, suddenly an unreal deep roar from nowhere. What’s this? First, amazement, a little uncertainty, then: “Oh no, they’re jet fighters. Jet fighters who will probably practice their next missions.
Disillusionment spreads, the throw back to reality. We are only 350 km away from Syria. Are they the sent to war? The situation becomes even more surreal than it already was and the recording device that I had initially switched on to record the silence now documents the play of sound and crater in which every sound that gets stuck in it, is thrown back in all directions. A unreal compositions of Echoes from all directions made by Jetfighters breaking the sound barrier.
This moment raised a lot of questions in me and I had the feeling that another level was needed to make the experience felt. So we decided to make a kind of radio play out of it and to use the recording as the basis for the it´s text.
So it happened that I asked my friend Alina about her interest, she was immediately into it and I sent her the recording + a few situation anecdotes and she wrote down what happened to her during listening. In the end, this text came out.
Credits:
Recording, production and idea: Møn (Simon Clement)
Text and voice: Alina Sauernheimer
Mastering: Leon Seidl
Picture: Omri Shmulewitz
Show 776: Une Marche Deux Parcourts by Marilou Craft and Tamara Filyavich (CKUT)
As part of Une Marche Deux Parcourts, a soundart and words performance with Marilou Craft that took place at McGill University last November, below is the event description by the organizers.
“Le 6 décembre 1989, la tragédie de l’École Polytechnique de Montréal a plongé le Québec dans le désarroi, touchant les femmes et les communautés universitaires à travers le monde. 14 femmes ont été tuées parce qu’elles avaient choisi d’occuper un espace traditionnellement réservé aux hommes. L’événement commémoratif Une marche, deux parcours. À la mémoire des femmes de Polytechnique vise à souligner que leurs initiatives et leurs contributions, même interrompues, contribuent à l’histoire de Montréal”
Show 764: Space – We – Space. A binaural SoundWalk Composition (Radio Corax)
Space – We – Space. A binaural SoundWalk Composition
The city is music. Daily sounds become extraordinary by a shift in perspective. Just get a little bit closer. Objects speaking. Resonance is anywhere. Listen. Let go. Drift. And find a wonderful, creepy, and ensouled world in the hidden sounds.
This binaural field recording composition is based on a sound walk by Geräuschkulisse that took place on November 10, 2019, during Seanaps Festival for transdisciplinary music in Leipzig. The workshop explored the daily and hidden sounds of a post-industrial area close to an old train station that is now frequented for free-time activities. The composition is the result of a live on air experiment in the temporary online radio station of the festival. While Lena Löhr and Martina Weber were leading the 15 participants of the sound walk, Carina Pesch was wandering around as a microphone on two legs. Via streaming box she sent her collected sound treasures live to the studio where JD Zazie was sitting, modulating and composing in real time before airing the live composition. The original was a two hours radio show. The recordings were done using a set of binaural mics and a contact mic. All edited to half an hour of intensive listening, best with headphones.
Credits:
Sound walk composition: Carina Pesch
Workshop led by Lena Löhr & Martina Weber
Live sound recordings: Carina Pesch
Other sound recordings: JD Zazie, Carina Pesch
Live composition: JD Zazie
Postproduction & composition: Carina Pesch
Production management: Tina Klatte / Radio CORAX
Photo: Leon Seidel
Production: GERÄUSCHKULISSE & Seanaps 2019
Long version: https://soundcloud.com/der-textbote/space-we-space-a-binaural-soundwalk-composition
Show 749: Magic Sound Box (CKUT)
sound boxers brought beautiful sonic creations to the ears of many listeners. Sound artists: Alanna McNevin, Alejandro Saravia, Antonella l.c. Giordano, Britt Wray, Courtney Kirkby, Dominique Ferraton, Elena Stoodley, Eugenie Brin, Jasmine Wilson, Jason Levine, Karen Robins, Marc Messier-Peet, Moe Clark, Miss Lamb, Neil Griffith, Nicolas Vigneau, Rae Dooley