Radio-là: un atelier permanent d’expression et de diffusion radiophonique avec des usagers de la psychiatrie, des soignants, des journalistes et des techniciens pour interroger la psychiatrie et tenter de faire bouger les représentations liées à la maladie mentale.
Radio-là : Un atelier hebdomadaire à l’atelier-studio d’Euphonia propose à chacun de produire « son expérience » radiophonique et sonore. Nous y effectuons des écoutes, des prises de sons, de l’expression autour de thèmes choisis ensemble, des lectures, du montage, diffusés en FM et mis en ligne sur le web.
A la manière de John Cage, nous avons jeté les dés et aligné ici 28mn de captations, performances et expériences sonores :
**Performance : Cartridge-Music-John-Cage (2018_06_27- version binaurale)
Quelques lectures en français
(désolé pour le reste du monde), traductions de textes de John Cage et de
Bravo à tous les participants de Radio-là.
Bonne écoute !
Radio-là : a permanent workshop for radio expression and broadcasting with psychiatric users, caregivers, journalists and technicians to interrogate psychiatry and to try to change the representations related to mental illness.
Radio-là : A weekly workshop at the Euphonia studio offers everyone to produce their own radio and sound experience. We make listening, sound recordings, expression around themes chosen together, readings, editing, and put productions on FM and on the web.
Like John Cage, we have thrown the dice and lined up here 28 minutes of captations, performances and sound experiments.
A few readings in French (sorry for the rest of the world) translations
of texts by John Cage and Gaston Bachelard.
Thank you to all the participants of Radio-là. Good
This is the first Radia contribution out of Luxembourg. A dozen people got together to discover new ways of recording and radio making, thrilled by the infinite possibilities of radio art and wildly making use of any recording device they found.
Intentionally focusing on sounds, noises and voices that usually just form the background of recordings – or are not recorded at all. Distracting reverbs, deformed languages, distortions and alien sound worlds have been surrounding us and have now been captured for Radia. Plunge into these soundscapes and enjoy the variety of discoveries we have made.
Special thanks go to Mobile Radio for holding a two-day introduction workshop, of which this show is the result, organised by CNA (Centre national de l’audiovisuel) and Radio ARA, the free radio in Luxembourg.
Produced by Wendy Winn, Ben Dratwicki, Jamie Reinert, Claire Thill, Sandra Laborier, Lars Schmitz, Véronique Faber, Justin Jacquot, Guy Anthony, Monique Hoffmann, Luca Piparo and Isabel Scott with support from Sarah Washington and Knut Aufermann. Made with additional recordings by CNA audio archive and SoundBible.com (Daniel Simon).
radia season 41 – show #722 (radio x) – UNFOLLOW ME by IGOR ŠTROMAJER
– playing from january 31 to february 3, 2019 –
Proto-Political Post-Accelerationist Anthem
by IGOR ŠTROMAJER – intima.org
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inwardly they are ferocious algorithms.
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Igor Štromajer (intima.org) researches tactical emotional pseudo-/para-/proto-artistic actions, intimate guerrilla, and traumatic low-tech communication strategies.
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.
UNFOLLOW ME – Proto-Political Post-Accelerationist Anthem #NSFW
by Igor Štromajer
radia production: miss.gunst [GUNST + radiator x]
production date: january 2019
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by) Igor Štromajer
www.radiox.de – www.gunst.info – www.intima.org
includes radia jingles (in/out), station and program info/intro (english)
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
EN : Myself and my partner Dr. Kawai, we would go through our voices this part of the world where the scientific legend believe the cosmic yeti is hidden. It is a vast country where, since its discovery, the adventurers dare and are damaged. However, they do not risk their life because bodies does not have access to this world made of waves and vibrations. Not that the skin, like the body and any other physical form, does not belong to it, but here it is preferable to travel light and limit the sources of sensation. The voice is the congenial tool to this crossing, it allows us to not lose our life. To get lost remains the only danger and get lost for good.
FR : Accompagné du Docteur Kawai, nous parcourons de nos voix cette partie du monde où la légende scientifique veut cacher le yéti cosmique. C’est un pays vaste où les aventuriers s’osent et s’abiment depuis sa découverte. Ils n’y laissent cependant pas leur peau puisque leur peau n’a pas accès à ce monde fait d’ondes et de vibrations. Non pas que la peau, comme le corps et toute autre forme physique, n’y appartienne pas, mais ici il est préférable de voyager léger et limiter les sources de sensation. La voix, la voix oui, étant l’outil congénial à cette traversée, on ne pouvait y perdre la vie à proprement dire. Et dire que de s’y perdre demeure l’unique danger : s’y perdre pour de bon
Un projet de David Liver et Jonathan Frigeri. With texts from David Liver, Gregory Whitehead, Pier Luigi Ighina, Tesla.
Jonathan Frigeri is a sound and radio artist. He is mainly interested in revealing a hidden layers of reality by underlining sounds we don’t usually pay attention to, a practice that explore the relation of sound as a door that opens imaginative space. On his work for radio he tends to incorporate on the creative process, the radio device and the space between the transmitter and the receiver. Radio art is a set of parameters which have to deal also with the space in between, between here and there. http://jfz.zonoff.net/jfz
In writing, performance and visual art, David Liver incisively provokes the boundaries that define cultural standards. David Liver considers writing to be the root of his creative output. A major Liver’s theme is the institution of “Believes” in the western social identity and it’s particular system of faith. http://www.the-david-liver.com/
Space is the Place works on radio signals collected at the Medicina Radio Astronomical Station – INAF National Institute for Astrophysics ‘Northern Cross’ (Italy). The signals are converted into audible sounds by human ear in order to create a data base which has been used in conjunction with live electronics for the performance presented in world prèmiere on 25th June 2018 at SciArt Summer School on Big Data. This radiowork is based on this original performance. The Summer School was a preparation for JRC Resonances Festival III, a project of the European Commission which will be presented during 2019.
Sun Ra The project is a hommage to composer and poet Sun Ra and in particular his Space Is the Place film and album. Space Is the Place is an 85-minute Afrofuturist science fiction film made in 1972 and released in 1974. It was directed by John Coney, written by Sun Ra and Joshua Smith, and features Sun Ra and his Arkestra. During the late-1960s and early-1970s, Sun Ra and his ensemble made several forays to California. In 1971, Sun Ra taught a course, “The Black Man in the Cosmos”, at University of California, Berkeley. Over the course of these California visits, Sun Ra came to the attention of Jim Newman, who produced the film based, in part, on Sun Ra’s Berkeley lectures.
More about the Medicina Radio Astronomical Station Several laboratories are present, dedicated to topics such as: radio frequency, electronics, time and frequency and RFI. A team of engineers, technicians and researchers is in charge of the design, development and test of all the aspects related to the radio telescopes, in particular as concerns their mechanics, radio frequency devices, digital systems and control software.
The Medicina radio astronomical station staff has gained deep know-how in many topics related to the construction of radio telescopes. Inside the station labs many technological solutions were designed, developed and tested. Examples of the achieved skills are provided by the making of: the active surface system for Noto and SRT, a new vertex room concept for “frequency agility” implemented in Medicina and Noto and an innovative rail solution developed for all the Italian dish antennas.
SKA (Square Kilometre Array) is an international project involving many countries: Italy, The Netherlands, Great Britain, Sweden, China, Australia, Canada and South Africa. Its goal is the production of a powerful new generation radio telescope: SKA will be up to one hundred times more sensitive than of any of the existing radio telescopes. This instrument will be based on a huge number of substations, deployed in 3,000-kilometer wide areas located in Australia and South Africa. It will allow a next generation of scientists to observe the radio sky with unprecedented performance. INAF-IRA is Work Package Leader for the receiving system – the one in charge of amplifying and filtering the signals between the LNA (Low Noise Amplifier) output and the ADC (Analog to Digital Converter) input. The Medicina station is studying all the problems related to the “antenna array implementation” using a prototype called MAD (Medicina Array Demonstrator). Experts are paying particular attention to the array calibration methodologies, testing new back-ends together with the software and algorithms in use.
JRC Resonances Festival The Joint Research Centre (JRC) of the European Commission has a strong interest in working with the arts as part of its multi-disciplinary support to EU policy making. The JRC intends to activate rapprochement between the arts and the sciences of the last decades in its daily practice. To that end it established a project in art and science: SciArt. SciArt investigates this growing movement and to map these changes on a philosophical, scientific and artistic level. The flagship initiative of the project is the Resonances Festival, which brings together artists, scientists and policymakers around themes central to the JRC and the European Commission. The festival aims at fostering awareness and stimulating new thinking/sensing at the border between science, art and society through the production of corelated works by artists, nurtured by the dialogues with scientists. The upcoming 2019 edition “Resonances III” focuses on Big Data: the challenges of generating, storing, sharing, selling, analysing, using, misusing, hacking, etc., large data sets of all kinds.
Roberto Paci Dalò works with radio since 1989. Musician, director, and visual artist he has created a body of over 40 radioworks, founder and director of LADA L’Arte dell’Ascolto (radio festival 1991 –・1998 Rimini / San Marino), created the web radio Radio Lada in 1995 and he’s founder / director of Usmaradio, the radio station produced by UNIRSM. His work deals with art, science and nature interconnections and has won him international admiration from, among the others, John Cage and Aleksandr Sokurov. He leads the Giardini Pensili company, has been recipient of the Berliner Künstlerprogramm des DAAD Fellowship and the Premio Napoli 2015. Member of the Internationale Heiner Müller Gesellschaft and the British Cartographic Society. Founder in 1988 in Jerusalem of the ‘RPD Klezmer Orchestra’. Collaborations include: Kronos Quartet, Fred Frith, Alvin Curran, Terry Riley, Tom Cora, David Moss, Robert Lippok, Hermann Nitsch, Stefano Boeri, Akio Suzuki, Philip Jeck, Yasuhiro Morinaga, Stefano Scodanibbio, Peter Courtemanche, Scanner, Adriana Borriello, Amelia Cuni, Joëlle Léandre, Maurizio Cattelan, Werner Durand, Mouse on Mars, Paolo Rosa, Gabriele Frasca, James Rosen, Mariangela Gualtieri, Leonardo Montecchi, Cesare Ronconi, Patrizia Valduga, Giorgio Agamben, Predrag Matvejevic’, Levon Zekiyan, a.o. His projects have been presented in such venues as Tonspur MQ Wien, Locarno Film Festival, MAXXI Roma, Venice Biennale, Fundaciò Joan Mirò Barcelona, Wien Modern, Ars Electronica Linz, Charlottenborg Copenhagen, ZKM Karlsruhe, Bienal de Radio México, Kunsthalle Wien, Power Station of Art Shanghai, SKIF St. Petersburg, MaerzMusik / Berliner Festspiele, Vienna Opera House, a.o. His galleries and museums’ work is presented internationally by Galerie Mazzoli Berlin. Professor of Interaction Design at UNIRSM Università degli Studi della Repubblica di San Marino, Roberto spent his childhood in Tremosine (Lake Garda) and has been living in Berlin, Rome and Naples with residencies in Vancouver BC. He currently lives and works on the Rimini’s hills and in Tremosine sul Garda.
Palestinian poet Dareen Tatour was convicted by an Israeli court in Nazareth of “incitement to violence” for a poem she wrote. She spent a total of THREE years under house arrest and in prison, between October 2015 and September 2018. On December 25th, 2018 she stood before the court once again, appealing against her verdict.
A group of artists and activists issued a call inviting musicians to contribute to a digital compilation album in protest at Dareen’s conviction, called Poem On Trial. This album, in tandem with a radio broadcast with Dareen, was released on November 11, 2018.
The project aims to undermine and expose the true basis of her conviction by repeating and distributing her ‘illegal’ poem via the medium of music and art.
#poemontrial team: Meira Asher, Antye Greie, Liam Evans, Yoav Haifawi, Smadar Yaaron and Dganit Elyakim.
Produced by Meira Asher for Radioart106.
Playlist from the album #poemontrial (2018):
Isabel Nogueira – Resist them
Anne-Line Drocourt – écrivez moi en prose dans le bois d’agar
During the course of the previous year I found myself contemplating the hybridisation of performance and radiophonics (whatever radiophonics means) …. how would a marriage like this pan out….? The piece takes a lot of its materials from a gig mid last year at Metanast in Manchester UK care of the amazing Manoli Moriaty
Since the dawn of radio, the medium has been used by musicians and artists alike as a material to work with and to subvert conventional formats. The radio is still very much fertile ground for sonic experimentation in the digital age. Through a scripted conversation taken from found material online, Harry, Rosie, Veena, Fiona and Tess discuss the endless possibilities of public speech and identity in the anonymous age.
Two presented compositions are taken from an album Klima (Climate) by Staš Vrenko released in March 2018 under a Slovenian label for improvised and experimental music “Zvočni prepihi”. Author holds a degree in sculpture of the Academy of Fine Arts in Ljubljana but in his interdisciplinary practise he is intensively dealing with field recording and its performative aspects, as well as the technological and media specifications of the sound itself.
Presented composition from side A – Osončeno (Sun-drenched) is the longest one out of three pieces that in Vrenko’s words…
“…summarize the past two years of the creative work and research. The condensation of fragments and recordings is tracing the boundaries of field recording, plunderphonics, engaging in and creating electronic instruments and sound design. The complementing and intervening of recordings opens up the possibility for diverse audio material, of simultaneously being documentary and musical, even if it is usually not perceived as such. The principles of re-amping and recording, add their own acoustics to the material, such as sounds of various surfaces recorded with contact microphones, vinyl record manipulation, DIY modular synthesizer and others that usually don’t have it. Field recordings are thus placed in the same order. They, as real acoustic spaces, become subject to certain strategies of sound design and other media manipulations. Such ‘equalization’, which deals with all the recordings from a standpoint of the final reduction to the vibrations of the speaker membrane, complicates the relationship between contingency, that is usually ascribed to found sound and field recordings, and desire and composition, which are usually associated with the creation of electronic and composed music.” *
The 18 minutes long side B’s last composition Tehnike posvojitve (Adoption Techniques) juxtapose with the wider art project that holds the same name and was presented in Gallery P74, Ljubljana, Slovenija as a sound installation in September 2017.
“In the Adoption Techniques, documents of highly processual and site-specific research and creation, are regarded as the explications of the acts of sound recording and playback. They, as specific forms of performativity, enable the re-thinking of the position of the sound creator and the musician. The selection from a vast heterogeneous mass includes, among other things, examples of different occurrences of mediated sound, replay and consequent changes in the source locations and the time of the sound. The sounds are tied by the last stage – the final “recording” and the flattening of each fragment into a self-standing representation. Emphasis is placed on the recordist – the listener who in the process of gathering recordings, recognizes events in the sound environment as signs. This necessitates the determination of the sound’s sources and echoes as well as the differentiation, arrangement and separation of sounds and their relations to meaningful and meaningless. Exactly tracing this unsustainable line, thinking about the acousmatics, transparency of the media, and the non-selectivity of the recording process of a recorder, which creates a complete (meaningful) whole from an inconceivable time-and-sound stream, brings on the reflection on what and how the audio documents can be ‘read’ by the listener. Repeated capturing, playback, re-recording and dubbing, results in an unfaithful tracing of the sound sources and in thinking about what the potential of a recording act, that for its audibility demands and creates a new, future playback site, is. The pursuit of these simultaneities, due to the temporal nature of the sound, intensely places itself on the point before and after sound, in the place of constant anticipation and distance from the moment of capture.” *