Category Archives: #23

Show 280: this is not a radioplay by Dr. Lukas Simonis

This is a Radioshow by WORM aus Rotterdam: it is a non linear radioplay constructed with spamlists messages and addresses, child torture and field recordings, soundart and snippets of music by The Static Tics.

Dr. Lukas Simonis constructed and edited it, while Henk Bakr looked on and saw that it was good (it was actually time for his afternoon nap, but he skipped it for the good cause)

Show 279: Grazer Walzer

by Reni Hofmüller, Jogi Hofmüller, Katarina Petjovic and Borut Savski.

In November 1998, Reni and Jogi Hofmüller went to visit their friends, then living in Ljubljana, Katarina Pejovic and Borut Savski.
As they had all been involved in different ways in radio making, sound production, and experimenting, it was clear that – though there had not been the plan beforehand – they would go to Radio Student, to the Ministery of Experiment, and do precisely this: experiment.
In the case of the Grazer Walzer, the production idea was simple: we went to the radio music archive, and took out several lps and cds, and decided to play only the beginnings of songs. In radio history, very often the intros of songs have not been aired, as the BPM (beats-per-minute) did not fit the “overall sound of the station”. So in an somehwat “ausgleichende Gerechtigkeit” (“poetic justice”) we exclusively played intros, and combined them with lp-scretching, text created with the apple-error-messaging system and some additional sounds, produced with piezos and other microphones.
For radia, I compiled a 27 minutes version, taken from the original 1 hour piece.

Reni Hofmüller, 2010

Show 278: Radio Zeit#2

Radio Papesse is featuring Radio Zeit#2, an artwork by Pasquale Napolitano programmed by Paolo Napolitano.

Radio ZEIT is a sound composition which aims to use the radio spectrum as a mechanism of time exploration. The installation is programmed in MATLAB environment and programming language used for interactive and generative applications.
So, the composition has a soul linked to deeper interactive quotient variation in results depending on space and time of detection.

The mechanism of Radio ZEIT scans the entire FM radio compared by scaling each unit every 10 seconds and aggregates the results in 64 minutes of sound sequences.

The beta version presented at “Radioaktivität” – radio art meeting held in Naples in December 2009 – was produced by mapping the fm spectrum in the outer courtyard of the Pan Contemporary Art Center in Naples Sunday, December 12, 2009, from 18:00 to 19:04.

Taking the clue from that experience, here it is the second chapter of Radio ZEIT; after six months the mapping of the acoustic space took place in the same venue and at the same time. What has changed is the fm spectrum mapping time lapse: Radio Zeit#2 scales each unit of frequency every 5 seconds, gathering the results in a 28 minutes long sampled sound sequence.

This sound piece aims to build a soundscape through a repeatable practice within various territorial circumstances. We tried to depict/record a fresco sound of Naples; what emerges is a sort of local “agenda setting” of the medium, that reflect its multifaceted nature and comes out of a mix of both sports radio programs and neighborhood stations, both music of “neomelodici” and national mainstream.

Show 277: 6 Neighbourhoods

Neighbourhoods is a collaborative map of Kingston. The 6 collaboraters each chose a neighbourhood of Kingston and attempted to represent it through sound. The neighbourhoods were chosen for the diversity and the finished piece is designed to express a sense of movement and reflect the heterogeneity of this small Ontario city. Produced by CFRC Volunteers.

Show 276: I Am A Strange Loop (radia mix), by Full Fucking Moon

Documentation of a live event which doesn’t merely reiterate it, Full Fucking Moon’s ‘I Am a Strange Loop’, with its kaleidoscopic shifts, fragments and interwoven threads of live streams, opens the listener’s ear to the multi-dimensional non-linearity of radio space, its mazes, veils and etheric folds, its membranes and mirrorings. This piece’s original life was as a dual-stream simulcast across both FM and AM channels (the stations Radio One 91FM and Toroa Radio 1575AM, respectively), which began at 1pm and ended at 2pm on Saturday 20th April 2010, in Dunedin, New Zealand, a commissioned work by The Blue Oyster Art Project Space as part of their annual performance series.

In a gesture toward a form of ‘Rorschach Radio’, the AM stream became an inversion of the FM, and the artists also de-stabilised this dualism by opening up a third-space (at the historic Otago Pioneer Womans Memorial Association Hall, Dunedin) as a public listening arena / performance venue. At first empty of the physical presence of the artists and allowing the audience to roam, the space contained a scattering of radio receivers embedded in the nooks and crannies of its colonial architecture, as well as a social space where tea was drunk, conversations were had, newspapers were read, and eyes were closed in meditative listening. With the intimacy of the home-wireless set being something that could only capture the ‘total work’ in a sequence of twists and fractures, requiring the radio to be physically tuned as an instrument betwixt and between bands, (an action itself revealing the miasmic, shifting cloud of radio space), listeners present both at home and in this more public space (the latter by walking around the rooms where radios were distributed) each found their own stream within the cloud of possibilities, this listenership evoking radio as both intimate and communal, both territorial and boundless. The artists inhabiting the radiophonic streams then literalised their presence by arriving in the space, dressed in outfits that both evoked the spirits of colonial women’s meetings and more recent outsider pop ensembles, activating the instruments that had until this time remained a tableau of props amongst the other still-lifes in the room (radio receivers placed next to posies of fake flowers being a repeating theme in particular).

As befits radio’s multiform and fluid potentialities, this 1-hour performance was not the piece’s only destination, and this new edit speaks to the radia network as a series of distributed nodes, and to radio’s strangely present invisible material. ‘I Am a Strange Loop – Radia Mix’ begins with the radiophonic glossolalic cloud, clearing a way for the arrival of a human channelling of a spirit-radio, in which a psychic presence casts ideas on “transmissions” (dictations) from the cosmos as a poetics of the medium, and ends with a song called ‘Litany of the Oceans’, an FFM ballad about the moon, in which singer Bek Coogan intones the names of the astral body’s craters, thought to be the sites of frozen lunar seas, evoking the moon’s tug on the ethereric tides (and also perhaps calling to mind the United States military probe Clementine, whose investigation known as the ‘bistatic radar experiment’ in 1994 used a transmitter to beam radio waves into the dark regions of the moon’s south pole).

I Am a Strange Loop is a work created by artists who are deliberate misreaders of traditions, who shift mercurially within critical and primordial texts and methods. It is radio aware of its own material presence and spiritual history, as etheric and boundless as it is consolidating of community, as its artists shift effortlessly within the worlds of art and music, high art and pop culture, and their audiences and forms, calling for a listener who is equally multiple, who can inhabit not one cultural reference point, but many.

-Sally Ann McIntyre, July 2010.


Edited and mixed by Bek Coogan & Torben Tilly from original recordings of the one-hour performance ‘I Am A Strange Loop’ by Full Fucking Moon, performed on Saturday 20th March 2010 at the Otago Pioneer Woman’s Memorial Association, and broadcast live simultaneously on Radio One 89FM and Toroa Radio 1575AM as part of the Blue Oyster Performance Series, Dunedin.

Radio One signal recorded by Gilbert May.
Toroa Radio signal recorded by Hugh Dingwall.
Otago Pioneer Woman’s Memorial Association audio recorded by Oliver Of The Sky.

FFM wishes to thank: Sheila Wall and Todd Wall, Kate Anderson, Tom Bell, Hugh Dingwall and Toroa Radio, Violet Faigan and Modern Miss, Edie Stevens and None Gallery, Gilbert May and Radio One, Oliver Of The Sky, Otago Pioneer Woman’s Memorial Association, Sally Ann McIntyre, Jaenine Parkinson, The Wright Family. FFM also acknowledges support from Blue Oyster Gallery, Creative New Zealand and Dunedin Fringe Festival.

Show 274: Words and Sentences

I said. He said. It was said. It was written. They wrote it. She thought it. I say, listen to CKUT as we dabble in that wild and wonderful thing we call language (the English language).
by ckut / Adelaid / Dominique Ferraton / Andrea-Jane Cornell / Alphie Primeau / Erin Weisgerber / Chris Hand

Show 273: history exhaustion by Francis Hunger

three friends search for an ominous radio station that transmits number sequences with mysterious messages. told is the expedition’s story through an area bearing names
such as ‘path of the invisible hand’, ‘stalin highlands’ or ‘post-modernist cave labyrinth’.
the characters – student, entrepreneur, skilled worker – lose their life or at least get lost under unpleasant circumstances…

history exhaustion is the audio transformation of an installation francis hunger created in 2009,
focussing on the subject of ‘verausgabung’ (exhaustion).

with the voice of richard cotter.
francis hunger is an artist, writer and curator. he lives in leipzig, germany.

find out more about francis hunger and his work at

further information on the installation work ‘history exhaustion’ can be found at
and at

Show 272: Improvisationen by VuNhatTan

VuNhatTan is a Vietnamese composer of experimental orchestral/chamber/piano and electro/computer & multimedia works that have been performed in Asia, Europe, United States and elsewhere. Tan studied piano at Vietnam National Academy of Music in Hanoi, where he earned a certificate in 1987 and degrees in secondary education in composition and musicology in 1991. He then studied composition and musicology there from 1991-95 and graduated with his BMus. He later studied computer music and new music at the Staatliche Hochschule für Musik in Cologne in 2000-01, on a scholarship from the Deutscher Akademischer Austauschdienst. His honors include Third Prize in the composition for traditional instruments competition of the Vietnam Composers Association in Hanoi (1992, for Chamber Piece for Traditional Vietnamese Instruments and First Prize in the Saint-German-en-Laye competition (1995, for Ky Uc – Memory).
He has performed on numerous occasions as a pianist and sáo tre (bamboo flute)-player in contemporary and improvisational music in Australia, China and Vietnam. He has lectured on composition and musicology at Vietnam National Academy of Music in Hanoi since 1995. He has also guest-lectured on Vietnamese music in Australia and Vietnam.
His work for radia is composed by soundscaping Hanoi and becomes a part of the ping-pong-collaboration between Corax musicians and vietnamese artists from Hanoi.