Category Archives: #45

Show 830: Holy Mary Sinners Wave by Edyta Jarząb for Radio Kapitał (Guest Slot)

Holy Mary Sinners Wave

(c) Rafał Milach

A soundscape made with field recordings from the streets of Poilsh cities in protest and close listening to the technology and radio waves as a space of interference.
Mixing fragments from performance based on the practice of microcasting, here pirating polish catholic radio Maryja (Holy Mary) on its own frequency with transmission of poetry and sounds of politic, electric body.

Produced by Edyta Jarząb for Radio Kapitał

Show 829: FAMILY TAPE 4.12.78 SUB MASTER / I Am No Lung; No, by Samaan Fieck (Radio One 91FM, NZ)

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VOICES:

Tilly-Juls
Warwick Fullford
Samaan Fieck
Jane Michaelis
Alan Steele
Sheng Yan
Peter Emptage
Anatol
Cricket
Berri
Hunter

Thank you: Mark Groves, Sally Ann McIntyre.

Mastered by Joe Talia.
Dedicated to W.G Fullford.

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Fragments of these recordings first appeared:

C.C.P, Bin Lang Tourism as part of Specimen, curated by Giles Fielke, 2017.
The Quarry, Remain In Light, curated by Joseph Norster, 2019.
Red Wine and Sugar, A Population of Indoor Cats (Index Clean)
Red Wine and Sugar, Lake/Wildflower (Thalamos)
Red Wine and Sugar, Benchmarks/Stark (Ongoing Discipline)

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Monday

Speaking: Only that which has sense and meaning should come from the lips of the
person who strives for higher development. All talk for the sake of talk (for example,
killing time) is harmful in this respect. The usual kind of conversation, in which
everything is muddled together, should be avoided. One should not, however, avoid
intercourse with others. It is just during this intercourse that speech should
gradually become meaningful. All speech and answers should be carefully
considered. Never talk without a reason (rather remain silent). Try to use neither too
many nor too few words…

… the propagation of man will be intimately connected with the organ of the
larynx… It will be the reproductive organ of the future…


– Rudolf Steiner

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This transcript was exported on Feb 07, 2021
(Include filler words (um, ah), nonverbal communication, and false starts)

Speaker 1:
[inaudible 00:00:17].
Speaker 2:
Instead of what was it? I was thinking what [inaudible 00:00:26].
Speaker 1:
[inaudible 00:00:26].
Speaker 2:
Okay. And then I thought it didn’t make sense because they were [inaudible
00:00:33].
Speaker 1:
[inaudible 00:00:33]. What we’re doing. [inaudible 00:01:03].
Speaker 2:
That’s really good.
Speaker 1:
And [inaudible 00:01:10].
Speaker 2:
That’s too much [inaudible 00:01:12].
Speaker 1:
[inaudible 00:01:12] be honest, [inaudible 00:01:12].
Speaker 2:
Okay.
Speaker 1:
Accept others [inaudible 00:01:44] for what they are. [inaudible 00:01:44]. But
yeah, we can all be held, held [inaudible 00:02:03] by the quality [inaudible
00:02:07]. I know that [inaudible 00:02:14]. It’s hard to put into words.
Speaker 2:
What did [inaudible 00:02:17].
Speaker 1:
[inaudible 00:02:21]. That’s what we really feel. [inaudible 00:02:35].
Speaker 2:
This man is old.
Speaker 1:
[inaudible 00:02:57]. We clean the house each day and then we also [inaudible
00:03:07].
Speaker 2:
That man is old.
Speaker 1:
[inaudible 00:03:08] day consists of cleaning up the house in the morning, which is
[inaudible 00:03:10].
Speaker 2:
That man is old.
Speaker 1:
[inaudible 00:03:19].
Speaker 2:
He’s next to another bald man.
Speaker 1:
[crosstalk 00:03:25] and kitchen and laundry.
Speaker 2:
Another old man next to it.
Speaker 1:
[crosstalk 00:03:35] cleaned up.
Speaker 2:
Another old man next to it.
Speaker 1:
[crosstalk 00:03:37] clean up we prepare the lunch each day.
Speaker 2:
Another old man beside.
Speaker 1:
[crosstalk 00:03:43] slow down a bit and odd jobs around the place.
Speaker 2:
Another old man in the side.
Speaker 1:
[crosstalk 00:03:49] put you onto someone else.
Speaker 2:
Eight hours later.
Speaker 3:
It’s really wonderful working the finance group. I know every meeting we have
there, which is on Tuesdays mornings, I mean, one of the things we try to really do
is just tune into that energy of finance and [inaudible 00:04:14] through finance and
money and that whole area. Really try and transfer the thought forms that have
been built up with the whole energy of money. And try to move into a deeper
experience knowing it’s just an energy that can flow through us. I mean, I truly say
that I do look forward to the finance meetings because they bring up so much to
look at [crosstalk 00:04:38] that area. One of the recent things we’ve come to really
experience here is that flow [crosstalk 00:04:48] signing checks, it’s really just a
wonderful kind of [crosstalk 00:04:51]. And so, I think my, I thank God I suppose
[inaudible 00:04:57] for that experience within [inaudible 00:04:59].
Speaker 4:
[inaudible 00:04:59] pile of timber and found a red belly black snake. It crawled
under the rest of the timber and he’s been there all day and talking to me. I haven’t
done much today.
Speaker 5:
[foreign language 00:05:25].
Speaker 6:
Find a way to turn the topic towards yourself.
Speaker 5:
[foreign language 00:05:28].
Speaker 6:
If you do it this way I’ll give you money.
Speaker 5:
[foreign language 00:05:37].
Speaker 6:
Internet café [inaudible 00:05:40].
Speaker 5:
[foreign language 00:05:41].
Speaker 6:
So much. Completely wasn’t-
Speaker 5:
[foreign language 00:05:47].
Speaker 6:
Why is this useful?
Speaker 5:
[foreign language 00:05:48].
Speaker 6:
Like, music for children’s books and CDs. Teach guitar.
Speaker 5:
[foreign language 00:06:08].
Speaker 6:
Why is this useful?
Speaker 5:
[foreign language 00:06:56].
Speaker 6:
Because it’s so facetious. [inaudible 00:07:04] even one cigarette.
Speaker 5:
[foreign language 00:07:11].
Speaker 6:
God told you to give that [inaudible 00:07:41].
Speaker 5:
[foreign language 00:07:41].
Speaker 6:
you know you’ve been [inaudible 00:07:41].
Speaker 5:
[foreign language 00:07:41].
Speaker 6:
Sexual predators.
Speaker 5:
[foreign language 00:07:53].
Speaker 6:
All that Julia Roberts stuff.
Speaker 5:
[foreign language 00:07:59].
Speaker 6:
When I found my strength I received so much.
Speaker 5:
[foreign language 00:08:10].
Speaker 6:
30,000 [inaudible 00:08:11].
Speaker 5:
[foreign language 00:08:11].
Speaker 6:
Also, a very beautiful, classical [inaudible 00:08:25] guitars.
Speaker 5:
[foreign language 00:08:39].
Speaker 6:
[inaudible 00:08:39] the window and step on the gas.
Speaker 5:
[foreign language 00:08:39].
Speaker 6:
You’re really close to him.
Speaker 7:
Also, just um, recently we acquired a new room, a lounge room. Um, for a long
time actually we haven’t had a lounge area in the house. It’s just been a dining
room has been a general meeting ch- chatting place. Um, we have a very original
farm house. It has two rooms in it, two old rooms, which has just been renovated
with the help of others. Um, that was the main focus for the lounge room. It’s really
beautiful how that’s sort of come along and really um, provided a place for people
to sit in a more relaxed environment and this last couple of weeks we’ve been
making cushions and dying, doing some tie dying and we like to go and sit as a
group and [inaudible 00:09:56]listen to the tapes. It becomes sort of like a
endurance exercise. And um, some of us end up staying for days and the others
bring food and water and ah, um…
Speaker 8:
[inaudible 00:10:20] the ground, ground, ground, ground. The ground, ground,
ground, ground, ground, ground, ground, ground, ground, ground, ground, ground,
ground, ground, ground, ground, ground, ground, ground, ground, ground, ground,
ground, ground, ground, [inaudible 00:10:20]. Drink a glass. Drink. A drink. A drink.
Speaker 5:
[foreign language 00:10:20].
Speaker 6:
‘Cause these girls are so lazy.
Speaker 9:
Also, just um, recently we’ve just um, acquired a new room, a lounge room. For a
long time actually we haven’t had a lounge area in the house. It’s just been the
dining room has been the general meeting and chatting place and um, we have an
old, um, old, original farmhouse. It had two rooms in it, two old rooms which have
just been renovated with the help of others, with the main focus for the lounge
room and um, it’s- it’s- it’s really beautiful how that’s sort of um, come along and
really, um, it’s providing a place for people to, you know, sit in a more relaxed
environment. Um…
Speaker 5:
[foreign language 00:12:12].
Speaker 8:
36 degrees.
Speaker 10:
[inaudible 00:12:19]. I am a breath of air and lung is [inaudible 00:12:27]. If I grasp
this I know myself in the spirit of the world.
Speaker 11:
[inaudible 00:12:49]. Oh my God. I just had the worst [inaudible 00:13:06].
Speaker 12:
[inaudible 00:13:06] dropped by.
Speaker 11:
I just had the worst thought.
Speaker 13:
What?
Speaker 11:
Imagine if some fucking weird malfunction thing happened and the door just
fucking opened?
Speaker 10:
Articulate fuck.
Speaker 11:
[inaudible 00:13:26]. It’s all the way up to [inaudible 00:13:33].
Speaker 10:
With [inaudible 00:13:38] eyes.
Speaker 11:
I really recommend people…
Speaker 10:
I say breezy black veins is now a thick black air. And in my lungs you are just
coming out of a dirty coat.
Speaker 11:
Drink.
Speaker 10:
All the time like a sliced fly. (singing). [inaudible 00:15:17].
Speaker 11:
Blue mesh. [crosstalk 00:15:34] are back. I’ll take one home to my daughter.
Sealed square plastic bag.
Speaker 5:
[foreign language 00:17:16].
Speaker 11:
Dropped from the crane’s cock pit.
Speaker 5:
[foreign language 00:17:16].
Speaker 12:
[inaudible 00:17:16]. She’s fucking asleep. [inaudible 00:17:16].
Speaker 6:
I don’t know that. [inaudible 00:17:17] I can look it up really quickly. What is it?
Speaker 5:
[foreign language 00:17:27]. Aggressive time.
Speaker 6:
I think I’ve got it. Yeah.
Speaker 5:
Grab my bag and take it out slow.
Speaker 6:
[crosstalk 00:17:47].
Speaker 5:
It’s like a helicopter, but it’s a bit close.
Speaker 6:
[foreign language 00:17:56].
Speaker 5:
I don’t think it’s that much [inaudible 00:17:57]. I just want to get on with my life.
Speaker 8:
Lunch break.
Speaker 5:
[inaudible 00:18:09] fucking grab my [inaudible 00:18:14]. Just out of nowhere. I
don’t know how she does [inaudible 00:18:36] falling asleep. [inaudible 00:18:36].
Looks like it’s going to [inaudible 00:18:46]. Anyway, I’m a [inaudible 00:18:50]
fucking over it so there’s not [inaudible 00:18:59]. I’m hearing this sound like… I
can tell it’s not a helicopter because it sounds very close and if it was a helicopter
I’d feel it- feel a breeze in face.
Speaker 5:
I’m not sorry for what I’ve done.
Speaker 8:
It’s not [inaudible 00:19:40].
Speaker 14:
[inaudible 00:21:50] Australian scene out the window. In case you don’t meet our
three little three year olds, but the nut brown bodies, naked as can be, fully out
there with the birds flying over head, hoses in hand, [inaudible 00:22:02] each
other. Their blond heads and smiling faces and scampering little legs out there
they’re really delightful across the green field. They’re having a really wonderful
time.
Speaker 8:
Oh God, it’s like [inaudible 00:22:31].
Speaker 15:
I think the last few months in the garden have been a- a period of a lot of ah, inside
growth [inaudible 00:22:38] in the garden.
Speaker 16:
A lot of cabbages would agree with that.
Speaker 15:
We’ve been getting a lot of vegetables too from the garden. But, for myself I’ve
been away probably [inaudible 00:22:50] past three months. And going to
[inaudible 00:22:55] convention in Adelaide and a few other things. But ah, I think
it’s been a lot of sorting out in my head of what I really want to do and where I
should be. And it’s become clear all the time. So it’s really great to be back and
starting again finally at [inaudible 00:23:23], being here more permanently. But, ah,
we also acquired a member in the garden lately [inaudible 00:23:26] harvester.
Which, ah, for the amount of land we’ve got here and the size of the garden ah, it
really helps us tremendously to be able to get mulch for the garden [inaudible
00:23:38] the grass at the same time.
Speaker 15:
Being in a sub-tropical area the grass just grows over your head [inaudible
00:23:49].
Speaker 16:
Actually I think that’s exaggerated a tiny bit. (laughs) the grass grows quickly.
Speaker 15:
Well, it’s [inaudible 00:23:56] grass and it- it really grows fast. But the idea of
[inaudible 00:23:59] cut the grass over a big area and give us more park space. We
also mulch the ground, and we’ve got about, getting towards an acre of garden.
And basically it, our garden [inaudible 00:24:15] three or four people and it keeps
us pretty busy. And so had [inaudible 00:24:26]. The greatest bit of manifestation
we’ve done since we manifested homeland. [inaudible 00:24:32] we should be able
to keep the garden not only as a dynamic for [inaudible 00:24:39] garden, but also
not ever increasing awareness [inaudible 00:24:44].
Speaker 17:
[inaudible 00:24:44].
Speaker 2:
Prolong the extension of your [inaudible 00:25:15] sides of her mouth [crosstalk
00:25:16].
Speaker 18:
And the fluid streams into the body when awakening and streams out of the body
when falling asleep.
Speaker 2:
[crosstalk 00:25:29].
Speaker 18:
So that your nose gets pushed into your anus [inaudible 00:25:37] just to put out
your flaming kidneys.
Speaker 2:
[inaudible 00:25:41].
Speaker 18:
And you eat what you speak, like a [crosstalk 00:25:48].
Speaker 2:
[crosstalk 00:25:49] 200 meters [inaudible 00:25:51].
Speaker 18:
Eating your tongue and spitting and cleaning salt.
Speaker 2:
[crosstalk 00:26:00].
Speaker 18:
Body goes to [inaudible 00:26:03] and more before I want it short. I just say
[inaudible 00:26:12] like that. [inaudible 00:26:18] and the end falls [inaudible
00:26:24] giving birth to lumps of [inaudible 00:26:28]. From mouth to mouth,
confusing [inaudible 00:26:32] buckets of [inaudible 00:26:34] bubbles. When I
want to eat I just say about the noisy snake that falls like greasy sausage on the
floor [inaudible 00:26:51] before I eat it. [inaudible 00:26:57]

– Homeland Community 1978 / Taiwan 2014 / Skenes Creek 2021.

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Samaan Fieck lives on Gadubanud land, north of the Southern Ocean, surrounded by the Otway Ranges. He is the host of More Than the Ear Can Hold, a weekly broadcast on Apollo Bay Radio (3abr). He has exhibited / performed throughout Australia, Taiwan, Japan and New Zealand at; The Centre for Contemporary Photography, ACMI, Lacking Sound Festival (Taipei), Treasure Hill Artist Village (Taipei), Avantwhatever Festival and CAST gallery (Hobart) among others. Since moving to the Otways he has provided the composition and sound design for The Sublime and Remain In Light, in collaboration with These Are The Projects We Do Together. He is an active member of Red Wine and Sugar, with Mark Groves.
http://www.samaanfieck.com/


Show 828 by Sarah Brown for ∏ Node

!Make Some Domestic Noise! is a collective online performance created in the context of the covid-19 lockdown. It can be described as an online domestic noise big band. As everyone was isolated at home, ∏ Node launched the Antivirus program in order to train people to join this online community with their own stream and sounds.

Being alone at home can be stressful, but it can also reveal the beauty of everyday noises.

On a weekly basis, people were invited by email to participate by playing with the noises of their domestic set-up and live stream the result. These separate audio fluxes were then mixed in real time and sent to the main output stream. This was enabled by the ∏ Node site structure, which provides a volume button for every active stream. The website also has an IRC chat through which participants can, and did, directly interact.

Bio

A video artist and performer, Sarah Brown has been exploring video media since 1996 via analogue and computer-based devices. She began her work in the free party scene where she initiated the search for a language that links images and sounds. She has collaborated with many artists and dance and theatre companies (Cie Vent de Sable, Fabienne Gotusso, Hey! La Cie) and since 2015, has been part of the radio collective ∏ Node for whom she conceives participatory sound performances and produces various programmes.

https://www.enreportagepermanent.com/sarahbrown

https://p-node.org/broadcasts/antivirus-makesomedomesticnoise

Show 827: The Midnight Drive by Joe Cimino (Radio Papesse)

“Breaking news: a severe snow storm is headed this way. There have been multiple closures on I 76 and if you’re headed that way please be safe…”

There’s a snow storm headed your way. From the car speakers, the weather forecast calls for bad weather coming. The driver, whose name we do not know, is returning or heading to or from an undisclosed destination. A night show is aired, it might be a local radio she or he has just tuned in; its show host, while meditatively lingering around big topics like time, nature, human vs nature… acknowledges the driver directly – not to the metaphorical driver out there, the invisible listener – and points out different moments that happen outside of the vehicle for the driver to perceive. 


During this night drive, the weather begins to pick up and change into a snow storm. With it, strange and anonymous voices are heard in the backdrop, bringing back distant sounds and moments in time that don’t seem to add up…

via archive.org

Joe Cimino is an Italian American visual artist, musician and producer living and working between New Jersey (USA), and Florence (Italy). Growing up traveling back and forth from the United States to Italy, he holds on to his dual cultural identity and which remains present in his artistic practice. He holds a BFA in studio art from Rowan University and is currently in the middle of his MFA in studio art at Studio Arts College International, Florence Italy. Besides his visual arts career, Joe works as a producer and electronic musician, with his music located on Soundcloud. He is also the producer and co host of the Podcast, The Uncanny County Museum. 


In the last five months Joe has been working with Radio Papesse and while The Midnight Drive was produced, a specific aesthetic emerged. The central plot builds up expectations that are never fulfilled: what are we listening to? what’s the story? what’s happening and when is it happening? Joe plays around with the language and the tropes of both radio and podcast and but things never sounds how how are expected to.  Something is always off…

It is in what Joe calls the peripheries of The Midnight Drive that the story lies. This is an invitation to not only pay attention to what’s in front, but what is also happening in the background.

The Midnight Drive is a four part series and this Radia Show includes the first two episodes of it. To listen to the piece in its entirety: www.radiopapesse.org

Show 826: Winter Shades – Eco Sons Etude 2: Ecological Radio Artwork by Sam Erpelding / Dankwart (Radio ARA)

via archive.org

Winter shades – Ecosons Étude II: Ecological Radio Artwork

Director, Field Recordings and Sound Design: Sam Erpelding
Speaker: Katrin (MacBook Pro – British english voice)
Performers: different Soundscapes around Luxembourg
[Pétange, Lasauvage, Prënzebierg, Garnich, Grass, Clemency, Bauschleiden]


Concept:
In a visually shaped world, little attention is often paid to the acoustic environment. However, hearing is a vital sense that serves not only for recognition, categorization, monitoring, and surviving, but also for the perception of sound-aesthetic phenomena and eco-sensitive obstacles
in real space. Thus, with the help of sound art, abstractions can be guided into real space and certain focal points can be reformulated from the real to the abstract world.
With the help of a directional and a contact microphone, various soundscapes in south- and northwestern Luxembourg were recorded in December 2020 and January 2021, and the sound signature unique to each location was crystallized. In essence, it seeks to examine the correlation between biodiversity quality and soundscape quality, as well as to highlight the essential characteristics of naturally left and human-modified spaces. In this way, the listener is left to draw his or her own conclusions and is thus made to think and listen.
Sam Erpelding is a sound-artist and sound-engineer based in Luxembourg and in Vienna. He studied computermusic, digital media technologies and sound-engineering in Austria. Under the pseudonym ´Dankwart`, Sam produces electroacoustic and electronic music as well as radio-art.
His compositions are based on soundscape research, field recordings, and computermusic strategies.

https://dankwart.bandcamp.com/
https://soundcloud.com/dankwart
https://www.facebook.com/SamErpeldingDankwart/
https://www.instagram.com/sam_dankwart_erpelding/

Show 825: Into the Gray forest – L’Impero della Luce (Usmaradio)



Artist: L’Impero della Luce
Submitted soundwork: Into the Gray forest



L’Impero della Luce / The Empire of Light is an Italian experimental music duo that explores the sounds of electric current by using the technique of electromagnetic induction. This particular approach to music allows the listener to get closer to the sound of the electron, the physical and historical source of electronic music.
“Il Mare di Dirac ” / The Dirac Sea (2020) is their first album.
From 2020, L’Impero della Luce is part of Key Change  European Project and endorser of SOMA Laboratory.
L’Impero della Luce is: Johann Merrich and eeviac.

http://www.imperodellaluce.com
https://imperodellaluce.bandcamp.com/releases



SOUNDWORK
Into the Gray forest
This oniric improvisation​ was recorded in 2018 and published in July 2020 by Obsolete Capitalism and Stefano Oliva as supplement of ​La Deleuziana​: Rhythm, Chaos and Nonpulsed Man magazine (10th volume celebration).



Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, 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

Show 824: Hunger for Justice (radioart106)

 
An Interview with Palestinian activist Maher alAkhras recorded on November 12, 2020.
He reflects upon his 103 day hunger strike.
 
Voice-Over and assistance: Liam Evans
Interpreter: Samia Nasser
Translation: Dareen Tatour and Samia Nasser
Graphic design: David Oppenheim
Produced and moderated by Meira Asher
Thanks: Tagreedd alAkhras, Ahlam Haddad, my fellow activists who vocalised their solidarity in the struggle.
 

Show 823: Parahronos by Manoli Moriaty for diffusionfm91.9

Time in isolation has turned into an amorphous mass. Repetitive housebound activities render even the most well-organised of us struggling to keep track of time. Desperately seeking to extract an iota of excitement, mundane occurrences are seen in new light. With a pair of Cageian ears and through the assistance of trusty intoxicants, the busy street by the window turns into a clamorous symphony; each vehicle becomes a distinct instrument, with their different tyres, transmissions, and powertrains inducing unique timbres within this accidental composition.

Parahrono is part artistic expression, part reassurance; as long as vehicles are passing through, the world is yet to collapse. Focusing on the sound, the mind plays its usual tricks. Time becomes distorted; rhythms gallop alike drunken louts, textures intertwine in their frantic pursuit for attachment. The mundane becomes superb, and vice versa. Queens Drive in Childwall was recorded through the windows of a ground floor flat, the composer’s own isolated bubble. A pair of condenser microphones are poking through the blinds, and another pair of contacts attached to the glass, itself now a resonator, victim to the violent gusts of air blown by the passing vehicles. As long as vehicles are passing through, the world is yet to collapse. https://manolimoriaty.com

Show 822: WE ARE ALL ALIKE by Korhan Erel (Reboot.fm)

Korhan Erel’s work “We’re all alike” created for the group exhibition “Hacktivate Yourself!”curated by Tuçe Erel at 1a Space in Hong Kong in March 2019 revisits and reinterprets “The Hacker Manifesto”, an essay written by The Mentor (born Loyd Blankenship) on January 8, 1986.

Korhan Erel made three computer voices spread over two speakers read this essay in parts. In between these parts, they inserted short sound compositions reminiscent of the computer sounds of the era, found-sound collages, snippets from Michel Foucault’s “The Culture of the Self” lectures at Berkeley (1983), and glitched versions of the manifesto in an effort to dig up and shine a new light on one of the first computer-era manifestos. The viewer experiences this sound piece by standing between two speakers pointed at each ear and in front of the printed manifesto.

Show 821: RADADAR: a multimedia digestive circuit (Radio Student)

There were many Dada’s. They have inhabited different cities, were named with many names, some were left unknown, others nameless. Borderlessness is written all over Dada’s body. She is not offended and she makes offenses. Directing infinity back to its own beginnings makes Dada capable of recurrently establishing clarity. Crossing and dismantling sense out of borders and limits – we know them as obstacles, as constraints, as objects to walk over, dodge and evade. For its destruction and digestion we need Dada that takes the principle of “kakortedragost” (“asyouplease” – the concept of Dragan Aleksić) to break through the ingrained structures of power.

RADADAR: a multimedia digestive circuit performative installation took place on 17th December 2020 in Ljubljana, Slovenia as an annual event of Radio Student’s open radio (art-theory) investigative platform RADAR (www.radiostudent.si/radar), hosted by Cirkulacija2, a basement echo chamber residing below the city’s main street. Trespassing the hours of the official curfew that the residents of the city must obey, the circuit comes to life. It is being fed by a messy archive of photo slides. Memories from another time are being chewed, consumed, processed, transformed and mutated. Humans along with analog and digital machines intervene into the past. Artefacts are being dragged out of the abyss of oblivion. Their materiality serves as a point of departure, the exit strategy is a creation of an experience for everyone and everything involved. The comment section of the website was being read by a synthetic voice, directly feeding comments into the circuit. The audience intervened and dadaised. The memories were calling for a situated reconfiguration.

In the RADIA show #821 you can hear only a snippet of the whole circuitry. At the time of the event was streamed live on air (FM 89,3MHz) and online (see archive here: https://www.youtube.com/watch?v=eMr0MyFzND4).

Concept was created by Mojca Zupančič and Tisa Neža Herlecin collaboration with Urška Savič, Sašo Puckovski, Luka Seliškar, Anja Hrovatič, Borut Savski, Stefan Doepner, Ana Lorger, Saša Hajzler, Kristina Pranjić and Matej Kavčič. (Arte)facts were given by mommy Annie, daddy Urosh and dear godmother, scenocollages by Matija Drobne – Maco. Tehnical support was provided by Jurij Podgoršek, Linč and the RTVŠ crew. Special thanks to Cirkulacija2, Blaž Božič and Bojan Anđelković!

A homage to the 100 years of the Dada Fair (Berlin, 1920) and to Modri kot.