Night Construction is an improvised acoustic image that went on air in the night. Acoustic atmosphere that was made with physical things in the studio (accordion, paper, books, autumn leaves, xylophone, pipe, marbles, glass, fruit,…) was inspired by texts of known (Danilo Harms, Dostojevski) and unknown authors or participants. Construction material was on air dematerialised and transformed into a sonic landscape.
Writes Robinson, “BLACKBODY, WHITE NOISE is an experimental radio art composition. For an entire week, while in residence at Wave Farm, I collected sounds using two vacant cast iron cubes and sound reproduction technology. Each structure bore a single hole (a Blackbody) allowing sunlight to penetrate and radiate throughout the interior space. During the course of the residency I recorded thermal conduction, movement, and ambience. I manipulated the collected data to compose a sonic relationship with excerpts from La’Vender Freddy’s Sunscreen Conspiracy project. The title Blackbody, White Noise is inspired by Frantz Fanon’s highly acclaimed literary work, Black Skin, White Mask. This project set out to reveal and translate a relationship between the light of the Sun and the struggle against forces determined to control it. The resulting meditation articulates a historical conflict, thereby leaving the listener to reimagine a new future inspired by a new solar narrative.”
Featured Voices Credits:
Preface: Black Body Radiation, Prince, Joseph Campbell, Hazel Barnes, Malcom X, Dwight D. Einsenhower, Harriet A. Washington, Maxine Hong Kingston, Neil Postman, Arthur Firstenberg, Dr. Ruha Benjamin, Jacob Bronowski, Professor Dave
Chapter One: M. NourbeSe Philip, Louis Daniel Armstrong , Ambervision Infomercial , Huston Smith, Ngũgĩ wa Thiong’o, BLACK on BLACK by Joe Saltzman , Margaret Mead, Daniel Quinn, Dr. Robin DiAngelo, Jimi Hendrix- Star Spangled Banner, Anthony T. Browder, Russell Means, Documentary The Milgram Experiment , Alice Walker, Dr. Frances Cress Welsing, Chude-Sokei, Maya Angelou, Octavia Butler, Dr. Martin Luther King Jr., James Baldwin, Alex Haley, Amina Baraka, Russell Means, David Roberts, Duck and Cover, Elizabeth Kolbert, Osofo Kofitse Ahadzi, Kwame Ture, Miriam Makeba, James Dewey Watson, Paul Robeson, Ursula K. Le Guin, Wiener Today, Georgia Bea Jackson, Marvin Gaye- Star Spangled Banner, Zora Neal Hurston, Haunani-Kay Trask , Jessica Valoris-Xigga, Douglas E. Brash-Sunlight Continues To Damage Skin, Aldous Huxley, Greatest Story Ever Told- Sun, Kathryn Yusoff, Joseph S. Nye, GCSE Science Revision Physics: Black Body Radiation , Carolyn Finney, Malidoma Patrice Somé, Carl Sagan, Fred Moten , Shock G., Sindiwe Magona
Ricardo Iamuuri Robinson was in-residence at Wave Farm Sep 24, 2021 – Oct 03, 2021. Visit https://wavefarm.org/wf/calendar/b5q45p for more information.
Revered Canadian composer and author R. Murray Schafer has died Aug. 14 after a long battle with Alzheimer’s disease at age 88.
Regularly described by colleagues as a man of extraordinary innovation and communicative ability, Schafer was one of Canada’s most prominent composers.
His works reflected an interest in myth, ritual, audience participation, and ecology and environmentalism’s aural elements. His best-known works were large, ambitious outdoor pieces that incorporated elements from the environment as an integral part of the performance. Examples include The Princess of the Stars that premiered in 1981 by New Music Concerts, and Music for Wilderness Lake, written for 12 trombonists spaced around a lake.
Many of his ideas were informed by a lifelong fascination with the “soundscape”, a term coined by Michael Southworth, and popularised by R. Murray Schafer in his influential book The Tuning of the World, published in 1977.
The book followed the World Soundscape Project (WSP), which he founded while teaching at Simon Fraser University in 1969. “[WSP grew out of Schafer’s initial attempt to draw attention to the sonic environment through a course in noise pollution, as well as from his personal distaste for the more raucous aspects of Vancouver’s rapidly changing soundscape,” writes colleague Barry Truax.
A TEA FM Radio School Production/Chuse Fernandez
On that night at Recyclart in Brussels, our neighbour the ACSR blowed out the candles and Radio Panik wished them a “Joyeux Anniversaire”. A tribute to l’Atelier de Création Sonore et Radiophonique, which spent already twenty-five years exploring, creating, mixing and playing with sounds…
And the show must go on…. !
(with Charco Calvo, Chedia Leroji, Gildas Bouchaud, Leslie Doumerx, Lorgatelier, Sebastian Dicenaire)
more info, more sounds :
https://www.radiopanik.org/emissions/l-heure-de-pointe/l-acsr-fete-ses-25-ans/
This piece is inspired by recollections and vague remembrances of rock and roll music from my childhood. This childhood was in The Hague (The Netherlands), the city that is the centre of many things. In many aspects it was the centre of European occult sciences (See Fredrick V of the Palatinate who took refuge in The Hague after being ousted as the king of Bohemia, also the influence of huguenots), but also the birthplace of “Indo-rock”, one of the first Dutch rock and roll phenomenon influenced by Indonesian culture combined with Martial sounds from USA military bases.
It is a mental puzzle piece of the idea of rock and roll, not reality, and then performed in stream. To amplify the working class mysticism element of it and the idea of the ritual as pure entertainment. From a love of outsider rnr music. I believe many things that are considered hidden are now actually present, but in a different way. In many ways considered low-culture. Squats and brothels, the afromented rock and roll music, evangelical preachers. They are now the spiritual reality
all sounds by Jacco Weener
produced by radioworm/Lukas Simonis
For this recording we have dedicated ourselves to the Lo-Fi Manifesto, which provided the basis for a live recording and jam session. The LofiDogma was published by a Swiss cultural foundation and is inspired by the Danish film “Dogma95”.
Nine articles severely restrict the use of technology in music recording and create the charme of home-recorded music. We have adapted the manifesto, shortened it to 8 articles and explicitly allowed a synth. The rules are:
What you will hear was recorded on the 31st of October 2021 at the Sendeschluss in Vienna.
Musicians:
Barbara Huber (noseflute, violin, xylophone and flute)
Marian Potocar (Bass and Electric Guitar)
Karl Schönswetter (Drummachine and Synth)
Idea & Research:
Peter Wetzelsberger (kollektiv-magazin.com)
A train station, a place in the middle of the village, a church, a supermarket, an abandoned building, a park, a beach… Both artists Freho and Akamatsu propose an original sound creation to rediscover the areas of our daily lives. Recorders in hands, they capture the atmosphere and what it inspires to them, figuring a very personal and poetic lecture of it. So turn up your headphones and enjoy.
Recordings : Église Sainte-Croix, Nantes, France.
Additional text “La Religion” : Le Prophète – Khalil Gibran
Release date : 10 octobre 2021
In 2008/2009 – I was in my late twenties but felt like in late puberty – I worked on a collection of fixed sound pieces that I would describe as precisely composed „field poems“. These LAMENTS (as a half-ironic reference to Monteverdis famous Lamento d’Arianna) are based on somewhat classical field recording material (daily life, urban soundscapes, noise) and on the other hand extremely private, spoken and often sobbed confessions I would nowadays assume to be evidence of a mental crisis combined with a devastating love story.
Technically these pieces are produced quite Low Tech – I would compare this way of cutting sound material with handwritten poems: drafted, crossed out, marked. Further, the evidence of time (13 years!) is very clear: sounds like „digital camera“, acoustic phone messages, UKW radio etc. must already seem historical, even nostalgic nowadays. I recorded most of it with a MINI DISC PLAYER and OKMs (Originalkopf-Mikrofon).
To whom these mixtures of tears and glitches, glitches and tears appear to be too private, selfmade or embarressing, I suggest to listen to them as simple love songs. Their approximate titles might be as follows:
THE DAY I FELL IN LOVE WITH A BLIND POET (00:30)
THE DAY MY GLASS BUTTER DISH BROKE (02:43)
WALKING THROUGH THE SNOW OF YOUR CANON (03:58)
THE DAY I HEARD MY DEMONS HAVE A COLD (feat. MONTEVERDI) (06:38)
SKYSCRAPERS ORANGE AND BLUE (OIL ON CANVAS) (09:18)
LOVE GAMES NEW SEASON (12:28)
INSTRUMENTAL (16:10)
BLACK SWANS EATING A CHRISTMAS TREE (18:00)
THE DAY I LOST YOU IN MY HONEYPOT (20:29)
A MIDSUMMERNIGHTS ENDING (WILL THESE THREADS EVER SEW ME TOGETHER AGAIN) (23:10)
WARNING: Please be careful with headphones at 09:18-12:30
Current projects: https://hoeherevasen.wordpress.com/
Loss in Translation
Drawn from the research of Social Distance, Digital Congregation: British Ritual Innovation under COVID-19 at Manchester University, England, ‘Loss in Translation’ is a montage piece interweaving the voices of funeral and death care professionals across faiths and people who have lost loved ones during the pandemic from interviews recorded remotely during the UK’s tough winter lockdown restrictions of 2021. This is a sociological piece reflecting on how important religious and non- religious rituals are and the potentially long-term trauma incurred when they are taken away. We discover the initiation of a ‘standing stone,’ erected as a memorial for this time when death has been so present in many people’s lives.
Researched by Paulina Kolata and produced by Lucia Scazzocchio (Social Broadcasts) and Sasha Edye-Lindner. With thanks to contributors Toby Angel, Tim Ashton, Peter Gaskin, Louise Winter, Waheed Khan, Lisa Wilkinson, Rachel Meyer, Shoayb Bux, Miri Lawrence and Perry Meyer.
‘Loss in Translation’ was a runner up in this year’s Prix Archives de la Parole category at the Phonurgia Nova awards. http://phonurgia.fr/2021/10/02/palmares-2021/
Lucia Scazzocchio (Social Broadcasts, UK)
As a sound artist, radio producer, community facilitator and educator, Lucia Scazzocchio has been nurturing and curating diverse and disparate stories and conversations that weave individual personal narratives as a way to help us better understand the wider social context. She calls this ‘Social Broadcasting’. Driven by creating engaging participatory radio and audio experiences that she ‘audioscapes’ into imaginative on and off-line broadcast initiatives and formats, Social Broadcasting represents the versatility of audio as an evolving social and artistic medium. https://www.socialbroadcasts.co.uk/