All spaces and objects hold the memory of what has gone before. Vibrations and atmospheres persist over time and are stored, layered and can be recalled. Observations from the past can be felt upon entering a space or when touching an object. This is a subtle sense that is often lost in our present noisy and distraction filled world. This sound piece is produced from recordings made of ancient habitats and artifacts aimed at revealing embedded memories.
Jimmy Peggie
Jimmy Peggie works at the intersection of sound and visual language. His practice is built on introspection, quiet intensity and deep engagement with place and time. It is rooted in observation and the subtle textures, decay and imperfections found in natural and urban environments.
radia season 56 – show #1100 (radio x) – 74.48 dB(A) – by IGOR ŠTROMAJER
– playing from April 27 to May 3, 2026 –
74.48 dB(A) Buffering Love in a Hopeless Place
A sonic datastructure.
Programmed, synthesized, and processed by Igor Štromajer and his computers
The title – 74.48 dB(A) – represents the measured average sound pressure level in decibel in the central processing hub of a data center, where the A-weighting curve simulates the human ear’s response to the raw acoustic power of the hardware.
The sonic datastructure 74.48 dB(A) is an acoustic dissection of a heretical technological sacredness. At the core of the composition lies the processor noise of a server hall, establishing a decaying, mathematical, techno-sacred experience through a monotonous sequence of hums and mechanical sounds. This non-human sonic landscape deciphers the materiality of the internet, which manifests through constant vibration, heat, and forced mechanical cooling.The server room transforms from technical infrastructure into a consecrated space of mathematics, a hopeless place where the biological body can no longer survive due to noise and sterility. Here, the data stream reaches its harmonic peak within a post-human environment where machines communicate with one another in total autonomy, devoid of any human interaction or intervention.
This sonic architecture offers the illusion of salvation through the non-stop flow of information. Every single fan in this system acts as a prayer wheel, maintaining the stability of a fractured digital self in an infinite loop.The core state of this meditative sonic experience is buffering. In the server environment, love, affect, and identity cease to be fixed points; they become ongoing processes, constantly loading but never fully materializing. Simultaneously, the sonic datastructure deconstructs the myth of the ethereal data-cloud, confronting the audience with the brutal physical force required to sustain modern metaphysics. This non-human mantra, where noise and grief are the only remaining relics, offers failed tactics for transcending political anxiety and establishes meaningless strategies of groundless resistance.
IGOR ŠTROMAJER
Igor Štromajer – also known as intima.org – is a non-amateur level electric non-artist, “le Pavarotti du HTML”. He explores tactical artistic techno-performative research intimate guerrilla, and low-tech communication strategies.
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He has shown his work at more than two hundred exhibitions in more than sixty countries (transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale and in numerous other galleries and museums worldwide) and received a number of awards (in Frankfurt, Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor).
His projects form part of the permanent collections of the prestigious art institutions, among them Le Centre Georges Pompidou in Paris, the Museo Reina Sofía in Madrid, the Computerfinearts Net and Media Art Collection in New York, and the Maribor Art Gallery in Slovenia.
As a guest artist he lectures at universities and contemporary art institutes. Štromajer lives and works between Frankfurt am Main and Maribor / Ljubljana.
Find out more at intima.org
credits:
great many thanks to Igor Štromajer and his computers for 74.48 dB(A) – Buffering Love in a Hopeless Place!
metadata:
74.48 dB(A) by IGOR ŠTROMAJER
radia production: miss.gunst [GUNST + radiator x]
production date: april 2026
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by) Igor Štromajer 2026
www.radiox.de – www.gunst.info – www.intima.org
additional info:
includes radia jingles (in/out), station and program info/intro (english)
links:
radio x & radiator x: www.radiox.de – www.radiox.de/radiator-x
GUNSTradio & radiator x: www.gunst.info – www.gunst.info/radiator
Igor Štromajer: www.intima.org
La poesía de Federico García Lorca late como un pulso antiguo que atraviesa la tierra y la voz. En sus versos conviven la música del pueblo, el misterio de la noche y una intensidad emocional que transforma las palabras en imágenes vivas. Lorca escribe con sangre, con luna, con silencio; y en esa mezcla surge una expresividad creativa que desborda los límites del lenguaje. Su poesía no solo se lee: se escucha, se respira, se siente como un eco profundo del alma humana. En cada metáfora vibra un paisaje, en cada ritmo una emoción que invita a imaginar, a escuchar lo invisible.
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The poetry of Federico García Lorca beats like an ancient pulse moving through the earth and the human voice. In his verses live the music of the people, the mystery of the night, and an emotional intensity that turns words into vivid images. Lorca writes with blood, with moonlight, with silence; and from this fusion emerges a creative expressiveness that overflows the limits of language. His poetry is not only read: it is heard, breathed, and felt like a deep echo of the human soul. In every metaphor a landscape vibrates, and in every rhythm there is an emotion inviting us to imagine and to listen to the invisible.
The Vienna-based Radia Collective presents the live session “Radio Tecnicolor” featuring Stefan Nussbaumer and Georg Zichy. You are listening to a recording from 9 April 2026 at Basislager – Stefan Nussbaumer’s studio in 1150 Vienna. The concert was produced specifically for Radia transmission no. 1098. The performance can also be viewed in the following video:
You will hear an interweaving of sound and image, in which the video data controls the sound. There is a digital and analogue feedback loop, and radio sounds serve as the connecting element. An app programmed by Stefan Nussbaumer converts colour data into OSC signals. In this way, the sound is controlled by 54 pixels and two human beings.
Concept, production & performance: Stefan Nussbaumer & Georg Zichy
Video & audio recording: Lale Rodgarkia-Dara
Mixing: Karl Schönswetter
Photos: Karl Schönswetter, Georg Zichy
For the Radia Show 1097, *Duuu Radio presents a compilation of tracks from the album “mILLième” (2025). With mILLième, the artist duo Cécile Tonizzo and Nicolas Couturier set out to explore, over a stretch of 217 meters – one-thousandth of the length of the Ill River (Alsace, France) – a fragment of landscape, blending performance, sound design, and graphic art.
In July 2025, a temporary collective was formed for five days with Cyril Magnier, Manuel Zenner, Curtis Coco, and Aquila Lescene. The group built a floating platform, created sound-recording instruments, and printed a series of t-shirts using elements from the Ill. They recorded a collection of sounds, discussions, and musical improvisations for this stretch of the river, with the aim of producing this sound edition.
Produced by the CEAAC, in collaboration with the CSC du Marais in Schiltigheim. The project is part of the “l’Ill – Une collaboration avec la rivière ” initiative between the CRAC Alsace in Altkirch, La Kunsthalle Mulhouse, and the CEAAC in Strasbourg, a collaborative project made possible through the “Mieux produire, mieux diffuser” program established by the Ministry of Culture – Drac Grand Est and supported by the Grand Est Region.
Special thanks to Zoé Colombani and Charlotte Raimbault.
Compilation tracklist : Merle Jam – Est-ce que la rivière a changée ? – Milles rivières – Mise à l’eau – Sillure.
A jumble of sounds taken from Schnìtzelbànk 3000, but set in 2025
A ghostly journey created by the Mopiilettla streaming platform for the annual Schnìtzelbànk event, a four day radio exploration of Alemannic and Franconian dialects.
The main recordings were extracted from Mopilettla’s live 1kbps internet streams.
The elements:
A recitation of love by Frédéric Danos
Voices of Sylvie Reff (excerpts from her books), Sabine from Réunion, Daniel Muringer, Irmgard and Buki.
For more info on Schnitzelbank and how to make your own mini mo_pi_lette mobile streaming platform :
Elsasser-ditsch / àlamànisch:
A Kuddelmudel vum s’Schnìtzelbànk 3000 àwer in 2025
A geischtliga Wànderùng vu dr Mo∏letla duch dr Schnìtzelbànk3000
Meischta vu d’Ufgnuhma Ton sìn 1kbps
A Lieb Performànz: d’r Danos Frederic wu Eïer garn hàt
d’Ada, dr Sieben un dr Mabuseppi ìn dr Wàga
un d’Stìmma vu Reff Sylvie (stìckla vu sinna Biechla), Sabine üs la Réunion vu Elsasser Samossa kocht, Muringer Daniel, Irmgard, Buki
ufgnu mìt’m Mopilettla àwer nìt numma
“To Communicate” is a composition for radio transmissions, feedback and live electronics by Andrea Gava created in collaboration with Sante Gava.
“To Communicate” is a site-specific performance that begins with the installation of an antenna designed by my father Sante Gava, radio amateur ‘till the late 70s with the name India Zulu Three Charlie India Xray (IZ3CIX), at the performance site, alongside with a radio. The signals captured with it is then processed in real time and combined with live electronics.
My dad has been a radioamatuer since his twenties. He is still very passionate about it. He builds is own antennas and in the past he also used to make them for other people. Probably, in a subconsciuos way, my interest in sounds, noise, electronic instruments and diy comes from this activity as a radioamateur I was exposed to since birth. A few years ago in my musical research process with aleatoric sound sources, soundscapes and improvisation, I started thinking about radio signals and how to incorporate them in my music. I asked my dad if I could listen to some of his sessions. With my adult ears, the ones of a musician and composer with a passion for Pauline Oliveros, John Cage and Murray Schaffer, I discovered some amazing things simply listening to him surfing the radio waves.
There is such a vibrant soundscape hidden in that background noise and the wonder of the research and discovery for someone (or something) out there is so exciting and inspiring. The fact that noise is also a big part of this sonic landscape is pretty important for me: it is a perfect representation of the fact that noise is everywhere, it is the space where we move, the time that we live, it is a sea where we swim, a sound that contains all of the sounds and it is no single one of them.
“To Communicate” cannot exist without my dad. He is an essential part of this composition not only for the technical side of it but also in the final concerts as an active sound element.
I’ve never talked that much with my dad. He is quite descreet and silent about his inner world, his emotions. We haven’t had many conversations during our lifetime about our feelings. Nonetheless we really love and support each other in every situation, both good and bad. But this lack of communication has always bothered me, more and more during the last years. I know that I’m responsible for this too so I decided to make a change: now that we are becoming older I want to try to create a new bridge between us, a way to communicate.
Music and sound. A creative process that involves one of his passions, the radio, specifically conceived to supply this basic human need for connections and communication seemed the perfect way to do it. A way to make things together, to be creative, to talk and to listen, to connect deeply with each other. “To communicate” for me has a personal and emotional value beside its universal meaning.
Of course this is just a little step. It’s an attempt to communicate, in a rudimentary way maybe, and failure is part of the process too. Communication doesn’t work everytime. It is full of compromises, misunderstandings, conflicts, distance. But it is important to try. Again and again. In these dark and violent times where borders and wars are part of our everyday lives to communicate is more necessary than ever. We need to do it. I want to do it. And I will.
“To Communicate” has been performed twice: the first time in May 2025 during “Closer” (www.borgodicolleameno.it/portfolio/closer/), a contemporary art exhibition at Villa Davia, Borgo di Colle Ameno, Sasso Marconi, Italy, dedicated to the 150th birthday of Guglielmo Marconi, the inventor of the radio, in the same places where he made his first experiments at the end of the nineteenth century. It was played on an acousmounium called Organo Motore, built by Nicola Facchini and Giuseppe de Benedittis (www.organomotore.com). For this performance, I connected via radio with Sante, who transmitted from his home hundreds of kilometers from the concert site.
The second performance took place in February 2026 during “Radia. Mini-festival di radioascolto” (https://radiafestival.com/), at the Memoriale Veneto della grande guerra, Villa Correr Pisani, Montebelluna, Italy. The festival is dedicated to collective radio listening practices: podcasts, contemporary music, sound poetry, listening parties. During this second concert, Sante joined me on stage and performed a radio amateur session. I collected his audio and manipulated it in real time with live electronics, no input mixers and feedback.
Andrea Gava (1990, Italy) is a musician, composer and sound designer.
His work focuses on electroacoustic music and improvisation techniques. He explores the topics of the unexpected, the musical value of broken instruments, of the relationship between man and machine, between presence and absence, of the soundscape as a real space and an imaginary one. His research in the field of electronic music has developed around no-input techniques and the use of audio feedback as the core of his aesthetics.
He plays concerts and records albums both on his own as Andreij Rublev and together with others.
He created soundtracks for theatre, short films, silent movies and contemporary dance performances. He collaborates with cultural institutions, galleries, schools and universities, associations and people from all over the world. He creates online informative content on contemporary music, connecting artists and audience through talks, listening sessions, radio broadcasts and much more.
Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, is 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
Chronicles from the Arab Cold War, for radia.fm
by Ghazi Barakat/Pharoah Chromium for reboot.fm.
Pharoah Chromium is the project of German-Palestinian musician and sonic performer Ghazi Barakat.
With Chronicles from the Arab Cold War Pharoah Chromium continues his long-standing engagement with the Palestinian cause, following Gaza (LP, self-released 2015) and Jean Genet à Chatila (7”, self-released 2018).
Silence is never actually silent. Even in a recording studio at a radio station, there is a multitude of quiet sounds, constantly present, unintentionally produced, often unnoticed, which nevertheless make up the basic sonic environment we work out of.
By using the studio itself as an instrument, and its various noisy technological inhabitants as collaborators, this piece brings out the ambient voices which underlie all of the shows, jingles and tracks we produce on a daily basis. Condenser and contact microphones collect the hums of equipment, ticking of clocks, clacking of keyboards, etc, which are then passed through routine processes of effect chains in audio production software, as if they were any human voice or musical instrument.
In turning our attention to these tiny sounds around us, we are acknowledging and exploring the inextricable sonic nature of the studio itself from the audio products we craft within it. As Eno said, “Recording is not the same as reproducing – it’s producing something that couldn’t exist any other way” – sounds are brought into the studio and leave there in another form, with its presence imprinted; the studio has its own life, activity and agency, which co-authors the works made in it. Therefore, we can say that its voices are not necessarily annoying contingencies to be removed; rather, we can see them as intrinsic qualities, fundamental to the objects we produce, like a sonic DNA, or a distinguishing leitmotif, to be worked with rather than against.
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Oliver Wagner (2002) is a sound, lighting, and stage technician, programmer and electrical engineer, based in Ljubljana, Slovenia. He works at the community radio station Radio Študent as a member of both the audio technical and IT teams; in addition to routine broadcast and production studio work, he manages infrastructural development projects and performs advanced technical tasks. He regularly provides technical support for lighting, sound and stage at concerts, intermedia art performances, cabaret and theater events in alternative venues. In 2024, he co-authored one transmission of the open radio investigative platform RADAR, as well as one for radia.fm (#997). Additionally, he collaborated creatively and technically in the production of the RAD+ART 15 and 16 events in 2024 and 2025, respectively, at Cirkulacija2, Ljubljana.
Robbie Hopper (1991) is a musician, biologist, audio technician, curator and sound artist who lives in Ljubljana but hails from Scotland. As a sound researcher and collaborator in the performing arts, they have completed artistic residencies at PIF Camp (Slovenia, 2023), Kino Šiška (Slovenia, 2024), the National Center for Dance in Bucharest (CNDB, 2024), the Independent Dance Stage in Talinn (STL, 2024) and the University of Applied Arts Vienna (dieAngewandte, 2025). They are an active member of experimental electronic collective Clockwork Voltage as an artist, of the culturo-artistic association Anarhiv as a workshop facilitator, and of Radio Študent as a broadcast/production technician and co-curator of the open radio investigative platform RADAR.
