Category Archives: #57

#57

Show 1123: AUTOMATENKORRIDOR by GABI SCHAFFNER & DIY CHURCH for radio x

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Automatenkorridor Image 8bit Game Style

radia season 57 – show #1123 (radio x) – AUTOMATENKORRIDOR – by GABI SCHAFFNER & DIY CHURCH
– playing from Oct 5 to Oct 11, 2026 –

AUTOMATENKORRIDOR (radia edit)
by GABI SCHAFFNER & DIY CHURCH (ERNST MARKUS STEIN)

“In the form of a radio logbook the ‘conductor’ (Gabi Schaffner) & the DJ (DIY Church) make their way through hand-picked corridors, filled with devices. In the radio studio, little doors are opened, devices are drafted, shattered and discarded. Mean machines are exposed. Whole corridors of them […] You can already hear it from afar. A straightener, a chin strap… Access over or through foreign territories. Sovereign domains, high-frequency paradise apples, singing machines. One day it was there, the industrial revolution! Memorable things, more like sights to be seen. Stealing a berry from the neighbor. Searching for… a radio is playing somewhere. Entrance to healthy paranoia – just a pinch. A wind blows once through the corridor – an elongated connecting space in the first half of some century. And no, or was it actually in the museum for selfie sticks? That’s where the expedition began. Luckily, there was a writing tool…” (G.S./E.M.S.)

AUTOMATENKORRIDOR was a live radio performance created for the exhibition “Anybody out there? 100 Years of Radio” at Kunstraum D21 in Leipzig in 2020. Our walk through the corridor lasted for two hours. What you can hear here are the first 26.5 minutes, at the end of which a strange signal lures the wanderers onward. But where to? It’s up to your fantasies…
Live broadcast: November 28, 2020

ERNST MARKUS STEIN
The freelance artist Ernst Markus Stein is a co-founder of the online radio streaming project DIYChurch and a member of the Cashmere Radio collective. When he isn’t filling in at WestGermany (Berlin), he can usually be found at home, where he runs a virtual yacht club and devotes himself to underwater landscape painting, connecting waves, and transforming content management systems into poetry.
From time to time, he disguises himself as a disc jockey (DJ ShluchT) and throws carpets of sound and information around. Lately, he seems to have been wasting his existence on outdated copying machines, using them to print out the internet.
Find out more at swimmer.hopto.org/sidequest/

GABI SCHAFFNER
Gabi Schaffner works as an interdisciplinary sound artist and curator.
Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness for cultural, gender-related and/or geographical conditions.
Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains DATSCHA RADIO, a nomadic transmission project that links the medium of radio to current ecological issues.
Find out more about DATSCHA RADIO at www.datscharadio.de
and about GABI SCHAFFNERs projects in a broader perspective at www.schaffnerin.net

GABI SCHAFFNER & ERNST MARKUS STEIN
Since 2020, GABI SCHAFFNER and ERNST MARKUS STEIN have been working together.
They have created several DATSCHA RADIO iterations, most recently in September 2026 as RADYO PARFÜM in Frankfurt/Main. In 2026, they founded the No-Fashion label U5E.L3ss.
Their joint exhibition “Batteries are not included,” together with Mathias Deutsch and Thomas Lüer, ran from August 14 to September 13, 2026 at Kunstverein Familie Montez in Frankfurt/Main.

credits:
great many thanks to GABI SCHAFFNER and ERNST MARKUS STEIN for AUTOMATENKORRIDOR!

metadata:
AUTOMATENKORRIDOR by GABI SCHAFFNER & DIY CHURCH (ERNST MARKUS STEIN)
radia production: miss.gunst [GUNST + radiator x]
production date: september 2026
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc-nd) GABI SCHAFFNER & ERNST MARKUS STEIN
www.radiox.de – www.gunst.info – www.datscharadio.de – www.schaffnerin.net – swimmer.hopto.org/sidequest/

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
Gabi Schaffner: www.datscharadio.de – www.schaffnerin.net
Ernst Markus Stein: swimmer.hopto.org/sidequest/

pic:
(c) Ernst Markus Stein 2020

#57

Show 1122: Umbra. The sun disappeared and the world listened (TEA FM)

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Umbra
On August 12, 2026, for a few minutes, the sun disappeared and the world listened differently. Umbra is a sound piece that begins in that suspended moment and builds a journey between the physical and the imagined: the murmur of hundreds of people looking up, the abrupt silence of birds mistaking noon for night, the wind shifting direction as if it, too, hesitated.
From there, the piece opens outward into space: radio frequencies captured from the solar wind, the low hum of a magnetic field behaving differently during the eclipse, electromagnetic echoes suggesting how the sun — even hidden — keeps shaping the activity of Earth and its neighboring planets. A reminder that our daily rhythm, the tides, the weather, life itself, depend on a star we barely notice until it’s gone.
And when the light returns, Umbra doesn’t reach for easy wonder, but for something quieter: the sense that if, for a moment, an entire continent could pause to look up at the same thing, maybe the world isn’t as broken as it seems. A piece about darkness that doesn’t frighten but orders things; about hope that doesn’t shout, but can be heard low, like an echo taking its time to arrive.

#57

Show 1121: The Rössl Radia Show (Radio Orange 94.0)

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Disclaimer: This programme contains explicit content and is not suitable for children or young people.

The Palais Rössl is a cross-generational, multidisciplinary, growing symbiotic network of artists, musicians, designers and cultural practitioners in the heart of Vienna, as well as a hybrid entity transcending time and space, open to interconnections of all kinds. We share a love of communal spaces and poetic-political co-creation, with sound and soundproduction serving as a strong binding force.

Spanning 700 m², the space is home to art studios, music studios, rehearsal rooms, workshops, exhibition spaces, communal areas and a garden for fish.

Lale Rodgarkia-Dara reading at the Palais Rössl opening on 31 May 2024.

Two members of the Viennese Radia collective – Karl H. Schönswetter and Lale Rodgarkia-Dara – as well as a former member, Maria Herold, are key contributors to the Palais Rössl. Maria Herold collected sound clips from artists at the Palais Rössl which provide an acoustic insight into the ‘Soundpalais Rössl’.

At the Radia Show No. 1121 “The Rössl Radia Show” you will listen to the work of Auto Sophia, Bassano, TJ Tall, Lale Rodgarkia-Dara, Herrror and The Sir Teens. The Show is embedded by the live-performance of “under the given circumstances” by JUUN and Lale Rodgarkia-Dara at the Re-Compose-Festival 2021.

The Mycorrizha Mix, Art’s Birthday Party at Palais Rössl on 17 January 2024.

AUTO SOPHIA – Excerpt from Verwüstung

Member of Palais Rössl

This is an excerpt from Verwüstung, an audiovisual performance about structural violence in gynecological surgery, created in collaboration with Constanza Mendoza as scar sisters.

Anto Manhartsberger, also known as Auto Sophia, is a sound and performance artist. Her artistic and academic interests lie in sound art in public spaces, the spatialization of sound, the socio-political potential of new media and technologies, audiovisual design, and collective artistic practice.

BASSANO – Excerpt from Sound Encounters

Member of Palais Rössl

Bassano Bonelli Bassano is a sound artist attuning to the world through listening as a way of conversation and transformation. Moving through poetry, resonance and vibration, they weave organic, mineral and digital textures into immersive sound stories that rebel against imposed logics of separation.

Excerpt of Sound Encounters – Seeds: three sound stories with water, wind, sand, copper, stone, microphones and voice.

TJ TALL – Mama I’m GROWN

Member of Palais Rössl
Concert excerpt from Palais Rössl as part of the event “Black PPL Time” organized by TJ Tall

Born and raised on the Caribbean island of St. Vincent, TJ Tall started making music to express inner truths and connect with his roots. His music is influenced by soca, reggae, and dub, blending these genres with a distinctly queer perspective. It can be described as raw, political, and dance-driven.

LALE RODGARKIA-DARA – Excerpt from radia #1038, season 54

Member of Palais Rössl

Lale Rodgarkia-Dara is an author, radio producer, and media artist. In recent years, she has explored the intersection between art, science, and culture through a series of socio-political and artistic projects.

Numberstation is dedicated to number stations, a way of broadcasting encrypted information through sequences of numbers or letters, using automated voice, Morse code, or a digital mode.

HERRROR – Air Plant & Hill

Member of Palais Rössl

herrror is a art pop project between music, film and installation. herrror is interested in the spaces in between, where errors become the point rather than something to fix

THE SIR TEENS – The End

Members of Palais Rössl

Karl Schönswetter, Maria Herold, and Maria Hruscka form the band The Sir Teens, combining singer-songwriter melodies with electronic sounds. Based at Palais Rössl, they constantly pursue new musical expressions.

This Show is arranged by Karl H. Schönswetter, with the help of Maria Herold and Lale Rodgarkia-Dara.

https://www.instagram.com/palaisroessl

Reclaim Space at the City of Vienna.
#57

Show 1120: Borborygmes by Ioa Beduneau (*Duuu Radio)

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Borborygmes est un mixage, une tentative de dialogue entre des prises de sons (d’oiseaux, chauves souris, insectes…) et des sons de synthèse à modèles physiques dans le but de créer une ambiguïté entre les sources sonores et d’en donner à entendre leur richesse respective.

Qu’est ce qui est “naturel” ?
Qu’est ce qui est “synthétique” ? Qu’est ce qui est bruit ?
Qu’est ce qui est musique ?

Cette pièce sonore a été réalisée et diffusée en août 2026 à l’occasion de la résidence “La Pomme, la cuve et le ferment” organisée au sein de la coopérative de fermentation expérimentale Pain Liquide, située à Saint-Sauveur-le-Vicomte, dans le Cotentin.

Réalisation par Ioa Beduneau
Production par *Duuu Radio x Pain Liquide

Avec le soutien de la Drac Normandie, du département de la Manche et de la Mairie de Saint-Sauveur-le-Vicomte.

//////////////////////////////////////////////////////////////////////////////////////

Borborygmes is a mix, an attempt at a dialogue between field recordings (of birds, bats, insects, etc.) and physically modelled synthetic sounds, with the aim of creating ambiguity between the sound sources and highlighting their respective richness.

What is “natural” ?
What is “synthetic” ? What is noise?
What is music ?

This sound piece was produced and broadcast in August 2026 as part of the “La Pomme, la cuve et le ferment” residency organised at the Pain Liquide experimental fermentation cooperative, located in Saint-Sauveur-le-Vicomte (Cotentin, France).

A sound piece by Ioa Beduneau
Produced by *Duuu Radio x Pain Liquide

With the support of the Drac Normandie, the Department of La Manche and the City of Saint-Sauveur-le-Vicomte.

Radia Mixage : Mathias Dupaquier

Links : https://duuuradio.fr + https://ioabeduneau.com

#57

Show n1119 : Modulations Radiales- a proposition by Emma Loriaut and Julien Clauss (TT NODE)

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Every Summer, close to the full moon, a group of sound artists walk up a chosen montain carrying radios. Modulation is a micro radio camp run by artists Emma Loriaut and Julien Clauss for the past 16 years. Participants have to have a battery-operated or acoustic sound set up, a tent, some food and a portable FM radio. Over the 24 hours, participants chose their time slot, focusing on environmental sounds, day light or moon presence, temperature and the mountain itself. In this way the landscape dictates the line up. This concatenation sound piece came out of the 26 radio concerts that took place between 4 – 5 July 2026, at 1700m alttitude in the Devoluy Mountains. Every time you hear a cut, a new musician is playing.

The complete archives can be heard here https://108mhz.wordpress.com/

#57

Show 1118: Aether (Usmaradio)

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Credit Hannah White

Aether continues a field recording discipline that extends listening beyond the limits of human perception, revealing electromagnetic environments that exist alongside the audible world. Recorded in three remote locations – the Nevada Desert (2016), St Agnes in the Isles of Scilly (2021) and the Pyrenees (2023)—the works were created using a Stephen P. McGreevy VLF receiver. The environments were chosen for their lack of technological interference, where human-made electromagnetic activity recedes and the Earth’s own radio environment emerges. 

Stephen Shiell is a London-based sound artist, improviser, composer and field recordist working across experimental music, radiophonic art and site-responsive practice. His recorded works, live performances, sound walks, and workshops explore listening, gathering and performing as social, ecological and political acts, engaging with sound as a means of understanding place and environment. Drawing on field recordings, found and self-built instruments, electromagnetic sound and live electronics, he creates immersive works spanning solo and collaborative performance, radio and participatory projects. He is a certified Deep Listening practitioner and one half of the duo Blanc Sceol. He works collaboratively through Surge Cooperative on listening-based projects along the Channelsea River in East London.

http://www.stephenshiell.co.uk

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

#57

Show 1116: c/o Sirius by Anna Stereopoulou (radioart106)

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“Hello, this is Anna calling, from Earth. Just a few meters away from the top of Ancient Minoa. Last time I was here I found ‘my’ Tree broken by the wind. I touched it and wished us a ‘New Life’. I must return, I know. You, too. I know. I wish you a Happy New Life. I knitted this sonic shawl for you, to wish me a Happy New (personal) Year, soon! I love you! Your little cat”.
An imaginary letter from a daughter to a mother, consisting of the “Amphilyce”, “Ad Vivam Flammam” & “Hestia Fields” Diptych and “Galanthus” sound works, all produced and compiled by Anna Stereopoulou, featuring (free) Space Sounds compiled through the CARISMA. On the occasion of August Celestial Events and the composer’s birthday.

Anna Stereopoulou specialises in the field of Music Composition for Film & TV, whilst since 2017, she has been introducing a special form of live presentations, described as Cymatic Environment© (SYN and PLANO projects) and inspired by her Art & Science research. She has also composed music for the Theatre, Dance, Installations, Radio, Music Ensembles and Orchestra, and has presented her art in cultural venues and archaeological sites. Since 2006, she has occasionally been presenting her FEELMUSIC seminar series, whilst she has worked as an Advisor/Programmer in Music & Film Festivals (Italy, France) and has developed her work through a wide range of collaborations, through her activity in the field of Culture, Education, Journalism and Tourism, and as a member of female:pressure network.

Anna Stereopoulou | composer-pianist-researcher
A STEREOSCOPIC perspective of Music & Art©
W: https://annastereoscopic.wordpress.com/

#57

Show 1114: RADAVATART by Radio Študent

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Show 1114: RADAVATART by Radio Študent

The open radio (artistic-theoretical) research platform R A D A R presents the seventeenth edition of the audio-visual experience RADART, this time entitled RADAVATART.

“Before matter, there was interference.
Before interference, there was noise.
And the noise never wanted to die.”

RADAVATART is a noise opera about a body composed of four elements that attempts to break itself down into its constituent parts. Earth. Water. Air. Fire. Each element demands its own ritual, its own deity, and its own renunciation.
On stage, performers were accompanied by a trampoline, earth, water, fans, signal fire, sirens, radio voices, special guests and circus colleagues to create conceptual art in a self-ironising audio-visual spectacle.

RADAVATART took place on June 4th 2026 in the circus tent on Ambrožev Trg, Ljubljana, as a part of Trojne Salte Festival and the RADART platform. It was also broadcast on FM radio and video streaming services.
This audio-visual performance, through noise, radio fiction, and elemental catastrophes, explores whether it is possible to shut down signals by destroying their constituent parts.
So far, it seems not.
Sound never dies )))

The event was organized by the R A D A R team, as part of Radio Študent’s program, in collaboration with Cirkokrog and MismoNismo, with the support of the City of Ljubljana (MOL). For more of our transmissions, please see our webpage:
https://radiostudent.si/kultura/r-a-d-a-r

#57

Show 1113: FOSSIL///NOISE by Fabiana Gibim for Wave Farm

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An archive on the regulatory sense offers two shapes to live in: the grid, discrete, indexed, metric, the space of the catalogue and the timestamp, where everything has a slot and a slot has everything, or the flow, smooth, continuous, borderless, the space of the algorithm that sorts by resemblance instead of by rule. The flow looks like an escape from the grid. It works instead as the grid’s next form. Control doesn’t need walls once it can modulate a stream. Smoothness rarely means freedom: it works as surveillance without edges. A technofossil, though, doesn’t live in either shape. It lives in the escape of a different dimension from them, a fugitive geography. Between any two points in an archive there are always more points, mysterious, semiopen parts that are somehow both separable and inseparable from their neighbors, a texture that is neither cleanly cut nor cleanly continuous. This is a mereotopology. A technofossil can then be a fragment that stays a fragment no matter which classification tries to absorb it. It works less like debris than like a lure. A technofossil behaves the way a living fossil like the Arctic lamprey hunts, offering part of itself as bait, a tongue that wiggles like prey, close enough to something known to be pulled in and named, then slipping the catch just as recognition closes over it, a catastrophe of recognition that keeps recurring. Fugitiveness works this way too, staying legible only to itself, moving in ways the archive’s capturing apparatus hasn’t learned to follow yet.

What makes this geography fugitive, rather than simply unmapped, is that the archive’s own attempt at closure produces it, from inside its own edges. Any finite set of rules, any index, any algorithm, any catalogue, throws off a remainder it cannot account for, an incompressible residue generated by the very act of trying to make the archive total. A technofossil behaves the same way a transmission behaves once it has outlived the station that sent it, an archive of doom still propagating after the system that made it has closed the file. It persisted, migrated onto substrates nobody built for it, the way certain organisms take a bomb crater or a subculture takes root in the wreckage of a project that already failed, an ecology of distortion. It can also work as an archive of the hypothetical, a wrong prediction still waiting in the record for a chance to act on the present again.

In an attempt to scavenge a technofossil in this mix, nothing is mourned back into coherence. It stays inhabited in its ruined form, activated at the exact pitch of its distortion, an affection for destruction, that distortion is still carrying a charge.

Here, we are interested in the incomputable residue that any act of transmission, capture, or archiving throws off, and in treating that residue as the actual terrain worth mapping. An archive that fully accounts for everything it holds has stopped being strange to itself. Fossil///Noise is built from the technofossils it can’t hold, the fragments left over once the filing is done.

Samples include:

André Damião – Deumaestrutura (from NARVA2) — 2022
Merzboom – un till ed #002 – The Nightmare Continues — 2024
Yuri Bruscky – Trava-Língua nº 3 — 2023
W. Halliday – Arctic Noise (WCS Canada Ice Sounds) — n.d.
W. Halliday – Fish Grunt Sachs — 2015
W. Halliday – Bearded Seal — 2016
God Pussy – Raízes em Transe (from Diáspora: Expressão Ancestral) — 2023
God Pussy – Contos de Sinhá (from Diáspora: Expressão Ancestral) — 2023
Jesse Paul Miller – Sounds of Secret Records — 1995/1998
Martín Rodríguez – Des Cloches À La Solidarité / Une Grande Onde, Entre Temps Perdus (Transmission Ecologies Ep.14) — 2022
Sbjtvo – Isla decepción (title track) — 2020
Budhaditya Chattopadhyay – Sonic Psychogeographies II — 2025
Ajítẹnà – Chuva (from Habitar as coisas) — 2023
Jordan Belson & Stephen Beck – Cycles — 1974
Len Lye (film) / Andrew Pask (soundtrack) – Tusalava — 2008
Takashi Ito – Thunder — 1982
Amy Ireland – Cultivating Darkness — n.d.
Class Divide (dir. Simon James) – Neolithic Cannibals Soundscape — 2024
Reza Negarestani – On the Practical Necessity of Having Demons (Session 4) — n.d.
Sadie Plant – Where to with Cyberfeminism (CTM 2014) — 2014