From a 100 days broadcast on the Landesgartenschau Gießen, datscharadio brought back an archive with audiofiles in a state of digital decomposition. the show takes three different depositories of audio material and traverses them to present an impossible algorithmic summary, a auto-montage of an already diverse ethnopoetic collection of todays garden cultures in an average mid size town in Germany. By Pit Schultz (with Gabi Schaffner) for reboot.fm
http://datscharadio.de
Three master students of RITS radio department (Lucas Derycke Cara Cobaert & Maarten Coosemans) capture a space in the city through audio recordings. Afterwards they edit these field recordings (without artificial effects) in order to try and grasp the specific sonosphere of that location. The students were assisted by Guy de Bièvre (http://www.guydebievre.org/)
After Artefakt is a regular radio art show by Bojan Anđelković at Radio Student, Ljubljana. The show is exploring autonomous radio language in the reality of hybrid media, dealing with different media and languages, logic of sense of the words and sounds, repetition and difference. For the sound matrix this time we take experimental film of Niko Novak – IDIOT, on the eponymous novel by F.M. Dostoyevsky.
It happened in Switzerland. The first year of his therapy. At that time he was pretty much an idiot; he could not even speak properly. One sunny morning, he climbed up a mountain..
Bojan Anđelković is an artist, philosopher and media theorist, ex-chief editor of Radio Student, and coordinator of RADAR – Open Radio Investigative Platform of Radio Student.
VOICES: ENG: Niko Novak; SLO: Polona Torkar; SER: Bojan Anđelković; RUS: Fiškin’s mother
MUSIC: Ludwig van Beethoven, »Für Elise« / Niko Novak; The Machine, »Continental Drift« / Ciniša; Ben Frost, »Leo Needs A New Pair of Shoes« / Ciniša
American novelist, short story writer, essayist, painter, and spoken word performer William S. Burroughs is sonically explored in this episode. Born 100 years ago and died in 1997, Burroughs’ cut-up period — the mid-1950s to mid-1960s — is explored here, with a special focus on Burroughs use of bodies and diseases as transmission metaphors. Ronald De Feo wrote in Modern Occasions in 1972, “in ‘The Ticket that Exploded,’ he scatters among his short-winded and repetitive fantasies a metaphysics, an eschatology, a theory of possession by demonic tape recorders, a theory of sexuality, an assault on advertising as a form of brainwashing, the usual quota of flashbulb-and-firecracker sodomies, and some suggestions for mind-changing party games.” This show cuts-up Burroughs’ words and mixes them with other odd sounds and stories. Two in particular about the body as transmitter or receiver. The episode samples Lucille Ball, talking about her molar radio, and an episode of the 1960s American television show “Gilligan’s Island” in which the title character’s tooth becomes a radio receiver. Then radio artist Anna Friz talks about whale radio, and other sonic signals sent by underwater creatures, from a talk in Toronto, Canada at the “Trans-X Transmission Art Symposium.” Burroughs words on disease, bodies, and transmission are cut-up throughout the show. Produced by Tom Roe from Wave Farm and WGXC in New York, in the United States.
La libération de Paris pendant la Seconde Guerre mondiale a eu lieu du 19 au 25 août 1944, marquant ainsi la fin de la bataille de Paris. Cet épisode met fin à quatre années d’occupation de la capitale française.
La résistance parisienne, est commandée par Rol-Tanguy responsable régional des FFI pour l’Île-de-France depuis son poste de commandement sous la place Denfert-Rochereau et par le colonel Lizé (de son vrai nom, Jean de Marguerittes), chef des FFI de la Seine (dont le PC est installé 1, rue Guénégaud, tout près de l’hôtel des Monnaies). Jacques Chaban-Delmas est le délégué militaire national du gouvernement provisoire ; il accueille le général Leclerc.
Elle est pauvrement équipée (elle n’a même pas de liaison radio avec l’extérieur) mais enthousiaste, encercle les îlots de défense allemands. L’occupant se trouve en position défensive, une division SS est mise en mouvement vers Paris pour renforcer l’armée allemande. Il est à prévoir qu’elle obéira sans état d’âme aux ordres de destruction d’Hitler. Avec l’annonce de l’avance rapide des Alliés sur Paris depuis la victoire de la poche de Falaise, les cheminots se mettent en grève le 10 août, suivis par le métro de Paris,la gendarmerie le 13 août. La police se soulève le 15 août, suivie des postiers le jour suivant. Ils sont rejoints par d’autres ouvriers de la ville quand la grève générale éclate le 18 août. Des barricades sont dressées, entravant les mouvements des véhicules allemands, et des escarmouches contre les forces allemandes d’occupation, épaulées par des membres de la Milice10,11 restés à Paris malgré le repli général des miliciens quelques jours plus tôt, commencent à devenir sérieuses les jours suivants, atteignant leur maximum le 22. De sérieux combats ont lieu à la préfecture de police, occupée par les policiers insurgés dès le matin du 19 août13.
Une trêve est conclue, trêve qui permet à chacun des camps soit d’évacuer la capitale pour les Allemands, soit de conforter ses positions, pour la Résistance.
En marge des évènements de la capitale, des accrochages et embuscades sont organisés par des partisans et résistants en banlieue parisienne.
Les insurgés, faute de munitions, n’auraient pas pu tenir longtemps : la résistance intérieure envoie en mission le commandant Cocteau (« Gallois »), chef d’état-major du colonel Rol-Tanguy, auprès du général Patton pour signaler aux Américains que la moitié de la ville est libérée le 23, mais que la situation des résistants est critique. Devant cette situation désespérée, ayant obtenu l’accord de De Gaulle, qui rappelle à Eisenhower sa promesse faite à Alger en décembre 1943 que la libération de Paris serait confiée à une unité française, le général Leclerc force la main aux Américains en donnant l’ordre de marche sur Paris aux éléments de reconnaissance de sa 2e division blindée française. Le général américain Gerow, supérieur hiérarchique de Leclerc, est furieux, considérant cela comme une insubordination.
Eisenhower doutant de pouvoir retenir les Français finit par accepter et envoie la 4e division d’infanterie américaine en renfort.
Avec les voix et les sons de Paris 1944 et 2014.
Un travail sonore par Chuse Fernandez
Discover Dominique Balaÿ’s project : Meanwhile in Fukushima.
Some tracks here to introduce you to his open sound and collaborative project in support to the japaneses after the nuclear catastrophe.
His « open sounds » creation is a library of sounds collected during his trip to Japan, as well as his proposal to invite artists respond to this material in the form of sound.
More here : http://fukushima-open-sounds.net
tracks :
Koji Nagahata, field-recording, fukushimas station
Philippe Petit, Daiichi Melts Down
Cristian Vogel, CandleSong
MERZBOW Richard PINHAS, FUKUATOMKILLUS
Yasuaki Shimizu, Sense-and-Nonsense
Koji Nagahata, field recording, hanamiyama top
A collaboration that was staged during the Poetry International festival between the Argentine poet Gambarotta and X Static Tics (also known under names like Worm Sound Crew and Dr. Klangendum). Originally played live it is an audio drama in which the text of Gambarotta almost forms a kind of score.
It’s said that at some point in the twentieth century, the great Peruvian writer Mario Vargas Llosa published an essay with the title ‘My Son the Ethiopian’. It was dedicated with mocking irony to one of his teenage sons who, while studying at an expensive London private school, had converted to Rastafarianism. This is dedicated to all those who once were Ethiopian children.
(excerpt of the text;)
I strummed the strings of my satirical sitar
until an incurable headache began
to dance to the rhythm of a nasty little waltz
on the lid of my brains, turning my
cerebellum into mush like that of a
senator whose head falls into
his plate of spaghetti. I strummed
I strummed that sitar, but I swear
by my days as a Rastafarian
that this will never happen again.
This radio show will take you on a trip to various places in cities and countries. A canon-like conversation between city and country surrounded by field recordings from Austria (Vienna, Tirol), Italy (Ligura) and Switzerland (Valais) highlights the good and the bad sides of both. There are moments when they harmonize and fit seamlessly together, but sometimes they repel each other. You will listen to cows, people, waterfalls, birds, fire, cars, thunderstorms, trains and many other sounds.
Some field-recordings will be recognized from the very first listening but you will also hear recordings were you can´t be sure whether it is in a city or on the countryside. And maybe there will be the desire to be at one of those places. But whether you find yourself in a city or on the countryside, there will always be the longing for the countryside when you are staying in a city and the other way around.
Maria Herold studied Musicology and worked at TV-Music Departments. Part of the International Radio Network: Radia.fm in Vienna. Loves to make music and sound art: kakophoniedergedanken.tumblr.com
Mexico City: more than 20 millions people gathered making noise!
A noisy city for most; Blume would like to transform it in a sonorous city.
The street sellers make the voices of the polyphonic choir, the small bell from the ice cream seller substitutes the triangle from the orchestra, and the hammering of the protesters on the metallic wall are the percussions.
In Mexico City, people shout to be heard, they shout their rage against the cops, they shout at the ‘lucha libre’ fights, they shout together ¡ Viva Mexico ! to feel united, and during a demonstration they also shout ¡Viva Mexico ! People shout in church, they pray together or alone, whispering in the silent night.
The thunder booms: nobody can shout at the storm, and the rain cleans the silent city.
A solo voice after the rain, and the choir resumes gradually.
People sing to forget and the shouting starts again, louder, so that the others don´t forget. The water flows under the city, the forgotten lake is mourning; it remembers when the city was an Island… On the top, it is too noisy, underneath, the water keeps in silence the secrets of the past.
INTENTION
Most of the people in the world live in cities. The daily soundscape is in most of the case a continuous sound of traffic, close or distant. Mexico City has a series of sounds added to the background which make the specificity of the city:
the cries and sounds of the street sellers are in most part responsible. In the past, most cities had their own cries (as some classical music can testify, like ‘Les cris de Paris’ from Janequin). In Mexico City, this tradition has persisted until today, but the government and general opinion is not in favour of them:
street sellers are each time further away from the touristic center, advertising campaigns are done to make them disappear from the subway, and police operations block their access to the streets. I would like to pay tribute to these Criers through a
soundscape of Mexico City, that will become a sonorous memory of a time that
sooner than later will disappear.
The artist:
Across the lake from downtown Kingston Ontario is Wolfe Island, the largest of The Thousand Islands. This episode of radia immerses oneself with a path away from the mainland, through a combination of soundscapes on the move and spoken word segments of tranquility from Henry David Thoreau’s, Walden. Hop on your bike and ride the Islander III through this experimental soundscape.
“All sound heard at the greatest possible distance produces one and the same effect, a vibration of the universal lyre, just as the intervening atmosphere makes a distant ridge of earth interesting to our eyes by the azure tint it imparts to it.” – Thoreau