The program documents the first ever performance of the first Inclusive City Choir, founded by Trisomie 21 – Association for Support of People with Down Syndrome and created in collaboration and mentorship of the Kolektiv Veternica. It took place in Skopje’s City Walls residential area, on 22.10.2021.
Mario, Stefan, Ena, Matej, Filip, Ilina, Oli, Niki, Beti, Dare and Kosta are performing famous Macedonian folk and pop songs.
At one point a neighbor yells from a balcony: “Stop it, you are disturbing! Go to the National TV to do this.”
KINsequences is a collaborative piece of writing by Molly Allam, Sovay Berriman, Alan Braidford, Tara Casey, Rachael Coward, Joanne Dorothea-Smith, Claire Gladstone, Tina Kutter, Clementine Neild & Frances Staniforth. The text has been built by each participant writing in response to the person that has preceded them. It is both in the Surrealist tradition and a version of the parlour game known as ‘consequences’. Each writer can only see the previous participant’s contribution, with the whole only being revealed at the end. The text contains enough common threads to form a narrative arc but travels in unanticipated directions and represents a chorus of voices, both visually and through language. There are three acts; Act I: A Sculpture That Wants To Get Made, Act II: The Making, and Act III: The Viewing.
Writers’ KIN is a group of artists who regularly meet through CAMP, a member led support and professional development network for artists, curators, producers and arts writers living in Devon and Cornwall.
A group reading of KINsequences was performed from this co-created and illustrated text, recorded and produced by Shelley Hodgson at Soundart Radio.
Le Rituel radioactif de désenvoûtement de la finance is a radio performance halfway between a magical ritual and an act of resistance.
It engages the metamorphosis of our relationship to capitalist power. The audience, the listeners, are invited to cut the link we have with this power to free ourselves from its hold on our lives.
This rite of passage gives rise to a real and living collective, capable of resisting the stupefaction of disasters, and of making something new.
The health, economic, social and environmental crisis has exacerbated financial imbalances, inequalities and the dysfunction of the dominant mode of production. It has underlined the way in which our rights are flouted. It has shown that what is most important, what we value most, starting with our health and that of our loved ones, is worth no more than an accounting line: apart from applause, little or nothing has been done to change the health system, and commodification continues.
It is time to get rid of vertical management and austerity policies; it is time to get out of the emergency, out of the reign of experts, and to facilitate the appropriation by the population of the problems it encounters; to share our knowledge, our resources, our common actions.
The Radioactive Ritual of Unblinding of Finance relies on collective intelligence, opens up imaginations and gives us the power to bring forth alternatives to power and the economy. This radio piece was made on October 15th, at dusk, we unblessed ourselves from the sorcerous power of finance on our health, on the health professions.
By the Laboratoire sauvage de recherches expérimentales Désorceler la finance
With : Théo Bourgeron – Brune Campos – Aline Fares – Amandine Faugère – Maxime Lacôme – Arthur Lacomme – Camille Lamy – Vincent Matyn – Emmanuelle Nizou – Fabrice Sabatier – Emilie Siaut – Suzie Suptille
Language : French only
Curation for Radio Campus Bruxelles : Carine Demange & Jonathan Frigeri
« En 2010, les Fralib, ouvrier·es de Gémenos, ont lutté contre la fermeture de leur usine quand elle appartenait à la société multinationale Unilever. Le site, déclaré non rentable et sujet à une délocalisation en Pologne devait cesser son activité.
Unis, les Fralib ont lutté âprement durant 1336 jours – plus de 3 ans et demie –, physiquement et juridiquement, pour contrer cette fermeture et reprendre l’usine sous forme de coopérative. Ils gagneront en 2014. La SCOP est toujours sur pied à ce jour.
A partir d’un travail de terrain commencé en 2018 et mené sur le long terme, j’ai pu collecter des sons dans ce milieu industriel et tisser des relations serrées avec les personnes qui y travaillent. Leurs trajectoires sont venues construire un destin collectif singulier dans l’histoire industrielle.
En puisant dans ce terreau à forte intensité sonore, en menant des interviews de terrain, j’ai souhaité livrer une lecture personnelle d’une histoire ancrée dans la lutte et l’émancipation. »
Création au Festival Futura 2021, reprise à Longueur d’Ondes 2022.
Prochaine diffusion : 26 mars 2022, avec acousmonium in-situ dans l’usine (Biennale des Écritures du Réel), en partenariat avec Radio Grenouille.
////////////// 1336… and beyond? François Wong
In 2010, the Fralib, workers of Gémenos, fought against the closure of their factory when it belonged to the multinational company Unilever. The site, declared unprofitable and subject to relocation to Poland, was to cease operations. United, the Fralib fought hard for 1336 days – more than three and a half years – physically and legally to counter this closure and take over the factory as a cooperative. They will win in 2014.
The SCOP is still on its feet to this day.
From a field work started in 2018 and conducted over the long term, I was able to collect sounds in this industrial environment and build close relationships with the people who work there. Their trajectories have come to build a singular collective destiny in industrial history.
By tapping into this high-intensity soil, by conducting field interviews, I wanted to give a personal reading of a history rooted in struggle and emancipation.
Premiered at the 2021 Futura Festival, retaken at Wavelength 2022. Next broadcast: March 26, 2022, with acousmonium in-situ in the factory (Biennale des Écritures du Réel), in partnership with Radio Grenouille.
I am listening in awe to surrounding environment. I wonder how I, as a human being, fit in? What is my place? How can “I” be an integral part of my environment by simply being “present”: here and
now _ as an equal participant _ in the same way as weather, wildlife, any other occurring event. I am instinctively seeking a sense of balance, a feeling of harmonious belonging, a being-together. Connection.
The music, the sounds, seems having magical ability – superpower – to tune effortlessly together, to collide in energetic harmony. Through intensive listening everything becomes alive, every subtle sound shivering in the air in tandem with my feeling of belonging. The music rises from an unknown and I am listening – speechless – in the core of creation itself:_: just listening to the primeval tone of my soul weaving into every moment, every other moment and another: perpetually changing _ adapting _ seeking for harmony _ seeking for that feeling I am attracted to: freedom … an opening of heart to the world – fearless: …
I am using the immediate surrounding environment as interface for connecting with “the rest of the world”, call it “the reality” if you wish. I have impression when I am trying to tune myself to my immediate sound environment, it helps me to be more sensitive to every perceptible miniscule fluctuations and changes between tension in my body – the emotion and the environment. Sound is my portal: a place to dream of endless possibility, ofanother future unfolding. A dream. Abstraction.
Conceived by Slavek Kwi / Artificial Memory Trace
Slavek Kwi is a sound-artist, composer, adventurer and researcher interested in the phenomena of perception as the fundamental determinant of relations with reality. He has a long-standing fascination with sound-environments, developing what he terms ‘electro acoustic sound-paintings’ that oscillate between sound only works and interdisciplinary works exploring social, spatial and temporal processes. These complex audio-based situations are created mainly from field-recordings, resulting in subjective reports for radio broadcast, ‘cinema for ears’ for multi-channel playback, sound installations integrated into the environment and performances. From the early nineties Slavek has operated mainly under the name Artificial Memory Trace.
Nowadays, since some years, he is mainly focused on exploring the deep relationship in between sound-environment and human consciousness via sound-art under moniker name of alfa00. Slavek is interested about exploring the idea of “absolute freedom” in connection to extrasensory communication possibilities via international project uni.Sol_ (United Artists for Well-Being of Solar System & Everything Else).
He facilitates experimental sound workshops with children, children on autistic spectrum and those with learning disabilities. The workshop technique emphasises extensive listening and the stimulation of creativity and freedom through observation and the support of natural tendencies. Currently he is working for Creative Schools of The Arts Council of Ireland. Slavek was born in former Czechoslovakia, lived 14 years in Belgium and has been based in Ireland since 2000.
This piece is loosely based on the live performance Claire Rousay did at WORM. Many of the same texts, samples, and forms were used in both the live and recorded versions of this piece. The recorded version, which is being broadcasted, features synthesizers, guitars, and field recordings that the live performance did not. This is due to the abundant resources the studio at WORM has. Thematically, the composition revolves around the idea of friendship, what makes it good/bad/valid. Claire Rousay is based in San Antonio, Texas. Her music zeroes in on personal emotions and the minutiae of everyday life – voicemails, haptics, environmental recordings, stopwatches, whispers and conversations – exploring and maybe “exploding” their significance. Stylistically Rousay draws on domestic musique concrete, voice recordings, percussion and multi-instrumentalism. She has built up an extensive body of work in a relatively short time, proving herself to be a most intruiguing contemporary sound artist. WORM is delighted to welcome her for a residency and a gig.
Credits: Claire Rousay (BMI) – electronics, field recordings, guitar, synthesizer, voice. Emily Harper Scott (BMI) – piano. youtube samples from – Defying Odds Donnelly, CAMELOT331. Produced @ Worm, november 2021
voices that can’t comprehend the conditions for mirroring…
the word as it clears itself…
language wrinkles in an empty bed…
engraving a long exit from memory…
a fragile memory finds a…
words simmered in three days of wind…
transcription as an instrument of expulsion…
MP Hopkins’ Page 38 (language wrinkles) is an exercise in spatially-decentred radiophony and poetic indeterminacy. It builds an intimate architecture of Hertian space in order to interrogate and unravel ideas of the broadcast voice as one-way transmission, setting in motion a series of ellipses and feedback loops. Using radio as both medium and method, a page from an evolving text score the artist has been writing since 2018 is vocalised and sent into the aether, an open-ended process incorporating several mediating techniques that work sequentially to further multiply and distribute: live FM radio improvisations that function as feedback systems rerouting signals through multiple sources that emerge again, transfigured, within the same on-air broadcast; low power FM transmissions and spatially-located arrays of small receivers channelling playback through an echo-chamber of domestic activity, the artist recording his own listening-to and listening-with. Anna Friz, in her 2009 essay Transmission Art in the Present Tense, writes of contemporary transmission art practice’s consistent interest in polyvalent transception, stating that “a transceptive approach to transmission is not only a statement (“I am”), but also an orientation toward active, engaged listening: a question asked, however conditionally (“who’s there”)? Transmission is understood not only as a radial description of space, but a circle of relationship.” Echoing this approach, MP Hopkins writes of Page 38 (language wrinkles), that “My intention was to confuse the time and space of when the work began and when it was being heard, a blurring of transmission and reception, (…) my role as the one transmitting and receiving was meant to be somewhat collapsed into a repetitively revised action where speaking and listening to that activity was simultaneous; talking with/to/through myself via the radio whilst also listening to myself and re-recording that – a transceiving activity.”
– Sally Ann McIntyre, February 2022
—- Page 38 (language wrinkles) was commissioned for the Radia network and Radio One91FM, Dunedin, New Zealand, January 2022.
MP Hopkins is an artist working on Gadigal and Wangal land in Sydney, Australia that makes audio, performance, radiophonic, and textual works. He uses voice, feedback, recording/playback devices, and verbal notation within different acoustic environments, which are deconstructed and presented to the listener in delicate and degraded ways. Hopkins has released recordings with Penultimate Press, Canti Magnetici, Tahalamos, Mappa Editions and Regional Bears. He has presented projects for the NOW now, Liquid Architecture, Avantwhatever, and The Make it Up Club. International appearances include Café Oto, UK; LaSalle College of the Arts, Singapore; Les Ateliers Claus, Belgium; TUSK Festival, UK; Colour Out of Space Festival, UK; and he has produced radiophonic works for Radiophrenia, Kunstradio, and the Radia network.
Produced following an invitation from the French radio network TT Node, this sound creation is an invitation to travel.
Imagination is undoubtedly, and will always be, our means to cross the world and to dream about it differently.
The author, Charles-Henri Despeignes is a graduate of the conservatory of Pantin in electroacoustic music and hasa University Diploma in Theatre. Hetrained at Radio Campus, and then produced programmes for Le Mouv’, France Culture, RFI.
He also has a company, Les Bruits du Réel, with whom he produces immersive sound works.
Based in Marseille, he recently composed the sound scores for shows for Galmae and Ex Nihilo theatre groups.
Réalisée à l’invitation de la radio française TT Node, cette création sonore est un appel au voyage.
L’imagination est sans doute, et sera toujours, notre moyen de traverser le monde et de le rêver autrement.
Diplômé du conservatoire de Pantin en musique électroacoustique et doté d’un Diplôme Universitaire de Théâtre, je navigue entre différents univers dont la radio, la musique et le théâtre. Formé dans les Radio Campus, j’ai par la suite produit des formats pour Le Mouv’, France Culture, RFI.
Je travaille aussi à développer ma compagnie, Les Bruits du Réel, avec laquelle je réalise des formats immersifs qui ne connaissent pas de limite de genre de par la pluralité des arts qui y sont convoqués et où, l’Autre, à une place centrale.
Basé à Marseille, je compose également la dramaturgie sonore de spectacle pour la compagnie Galmae et la compagnie Ex Nihilo.
Usmaradio – Research Centre for Radiophonic Studies presents a new session of The School of Radio: during December 2021 at Arena del Sole theater in Bologna (Italy), it’s been aired live on Usmaradio the radio performance “Senta, Pasolini” – freely inspired by texts of the italian writer and intellectual Pier Paolo Pasolini – by and with Anita Barbi, Francesco Cecchi Aglietti, Virginia Cimmino, Dario Fini, Inés García – Pertierra García, Francesca Lepiane, Dino Lopardo, Giulia Mento, Stefano Moretti, Lea Paiella, Andrea Pelliccia, Emanuele Regi and Francesca Miranda Rossi.
This is the result of the session – conducted by Roberto Paci Dalò – of the School of Radio within the course “Theories and practices of new forms of theatrical writing” promoted by the Iolanda Gazzerro Theater School – permanent laboratory for the actor as part of ERT – Emilia Romagna Teatro Foundation.
The participants worked for a week on the theory and practice of radio dramaturgy with particular attention to voice, vocality, technologies and performative radio.
The guest of honor was Andrea Borgnino, director of the new RAI RaiPlay Sound platform which it’s been launched on 8 December 2021 where its genesis and objectives were been exposed in Bologna.
This is a special Radia edit, the complete performance it’s available at this link.
partner ERT Emilia Romagna Teatro, Scuola di Teatro Iolanda Gazzerro – Laboratorio permanente per l’attore, RAI RaiPlay Sound, Arena del Sole di Bologna, Usmaradio, Giardini Pensili
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
Formed in Autumn 2020 RADIOM(e) is a network of radio artists from the Greater Region which is comprised of Luxembourg and the surrounding regions of France, Belgium and Germany. Throughout 2021 the artists from the network sent each other audio postcards from their local area and beyond. Their radio post was revisited by Natalie Rubchenko for this Radia episode. For more information on the artist network, please visit radiom-radiome.eu