I based the idea on a very personal “return to self” which was symbolically but also quite literally connected to the sea as a place of my childhood, fascination with its sonic qualities and colour. This radio piece is imagined as a personal search to reconnect again to a place that for me feels like home (a physical place and a mind space). That is how the story of Salvador Alvarenga, the sea wonderer who was lost at sea for 14 months served as a leading plot to underline my own personal wondering.
Lucija Gregov is a cellist, improviser and a liquid artist who creates and explores new sonic landscapes using cello, analogue synthesizers and processed field recordings. Her visceral approach to improvisation proposes a radically different way of creating, co-creating, thinking and performing in and about current sonic dynamic. Following indicators of flow, experimentation, investigation of unexplored physical and spiritual spaces, she enables emergence of practice and sound materials that are open-ended and continuously transformative. The sonic language she creates in her solo and collaborative performances comes close to what could be called a lang uage of memory and dreams.
To define a dwelling place, for a terrestrial, is to list what it needs for its subsistence, and, consequently, what it is ready to defend, with its own life if need be. This holds as true for a wolf as for a bacterium, for a business enterprise as for a forest, for a divinity as for a family. Bruno Latour – Down to Earth
The year is 3019, the atmosphere has sunk to 50 cm, the sun burns the earth’s surface and people hide in caves and dig in the earth for food and riches of past civilizations. The elite has retreated to “red” and left the earth to the impoverished 99% and their fate. Humans long for the top, but still have to crawl because getting up is deadly. A new man enters the colony cave and messes things up. Will he possibly crawl up? And what will he find there?
Text by Barbara Huber, Karl Schönswetter & Peter Wetzelsberger Voices by Daniela Fürst, Barbara Huber, Barbara Kaiser, Lale Rodgarkia-Dara, Jürgen Rendl, Karl Schönswetter, Peter Wetzelsberger
Space – We – Space. A binaural SoundWalk Composition
The city is music. Daily sounds become extraordinary by a shift in perspective. Just get a little bit closer. Objects speaking. Resonance is anywhere. Listen. Let go. Drift. And find a wonderful, creepy, and ensouled world in the hidden sounds.
This binaural field recording composition is based on a sound walk by Geräuschkulisse that took place on November 10, 2019, during Seanaps Festival for transdisciplinary music in Leipzig. The workshop explored the daily and hidden sounds of a post-industrial area close to an old train station that is now frequented for free-time activities. The composition is the result of a live on air experiment in the temporary online radio station of the festival. While Lena Löhr and Martina Weber were leading the 15 participants of the sound walk, Carina Pesch was wandering around as a microphone on two legs. Via streaming box she sent her collected sound treasures live to the studio where JD Zazie was sitting, modulating and composing in real time before airing the live composition. The original was a two hours radio show. The recordings were done using a set of binaural mics and a contact mic. All edited to half an hour of intensive listening, best with headphones.
Sound walk composition: Carina Pesch
Workshop led by Lena Löhr & Martina Weber
Live sound recordings: Carina Pesch
Other sound recordings: JD Zazie, Carina Pesch
Live composition: JD Zazie
Postproduction & composition: Carina Pesch
Production management: Tina Klatte / Radio CORAX
Photo: Leon Seidel
Production: GERÄUSCHKULISSE & Seanaps 2019
Long version: https://soundcloud.com/der-textbote/space-we-space-a-binaural-soundwalk-composition
Edie Reaney Chunn is an emerging playwright and performer based in Halifax who loves to work collaboratively and inefficiently. She is a graduate of the University of King’s College with a combined honours degree in English and Contemporary Studies. Recent projects include serving as playwright for the New Pants Project’s August 2019 production of How the Light Lies (On You); as musical performer/composer for Steady Theatre Co.’s production of Macbeth (2019); and as co-stage director for the Halifax Summer Opera Festival’s A Midsummer Night’s Dream (2018). Edie is also part of Eastern Front Theatre’s RBC Emerging Playwright’s Program (2019-2020), so maybe she will write a play again.
The two pieces included in CFRC’s submission are “She Sits in Her Big Tree”, a piece that was originally used for a puppet show (and is based on the Brother’s Grimm story “The Six Swans”), and a collection of shorter poems. These poems (when read written down) are mostly about the relationship between sound and print, and finding the fun, funny, occasionally annoying space where the aural and the visible meet. I don’t know what they’re about when read out loud, and you lose the printed aspect — the best I can say is that they still approach language playfully, lightly, and with care.
In Pantagruel Rabelais recounts the moment the bodies on the battlefield thaw he hears sounds, screams and onomatopoeia emitting from them. This image has always nourished my sound universe. I have tried to defrost my own sounds in different ways, I have even frozen speakers and microphones and recorded the process. For this radio version I propose a succession of landscapes that have been frozen inside my hard disk for some years. I like to remember the experience of my recordings. My tracks become an archive. A moment of intimacy that makes me more aware. Marie Limoujoux is a sound artist, co-director of Viziradio, and founding member of the collective Wonder. She is also a graduate of the Villa Arson in Nice, where she attended the classes of Pascal Broccolichi for five years. Unlike more ‘traditional’ forms of radio creation, she has always dreamt of a free and experimental production charged with energy and at the centre of life. By making her own recording and broadcasting devices she explores the stratification of listening. In 2017, she created Viziradio in collaboration with artist Basile Peyrade: a sound and radio experimentation laboratory. Viziradio is a multidisciplinary platform that engages in the creation, production, broadcasting, archiving of sound and radio mediation. In January 2020 Viziradio will launch a scholarship to finance three radio creations. One month writing residency in Corrèze (France) and access to the Vizir radio sound studio in Nanterre (Paris), with fees and production costs supported by the radio.The creation of this platform and the setting up of this scholarship is a political act. https://soundcloud.com/marie-limoujouxhttps://soundcloud.com/vizir-radio
“Space is a practiced place”. – Michael De Certeau. Practice of Everyday life.
As discussed in George Perec’s Species of Spaces there are specific activities which we enact in a kitchen (preparing meals, washing implements used for cooking and eating), and others which take place in the bedroom (sleeping, sex, storing clothes). Domestic spaces are delegated function and furniture to match.
A bedroom is a room in which there is a bed; a dining-room is a room in which there are a table and chairs, and often a sideboard; a sitting-room is a room in which there are armchairs and a couch; a kitchen is a room in which there is a cooker and a water inlet; a bathroom is a room in which there is a water inlet above a bathtub; when there is only a shower, it is known as a shower-room; when there is only a wash-basin it is known as a cloakroom; an entrance-hall is a room in which at least one of the doors leads outside the apartment; in addition, you may find a coat-rack in there; a child’s bedroom is a room into which you put a child; a broom closet is a room into which you put brooms and the vacuum cleaner; a maid’s bedroom is a room that you let to a student.
So is place simply a space that we have designated a use or function? Or perhaps even the overlaying of a memory of use or function? However what was designed for utility, for convenience or for hygiene, can also become a behavioural trap. So what happens to a space if it no longer has a specific designated use or function? Or if we simply refuse to follow the rules of which activity takes place in which room? Does it revert from a place back to simply a space? How does that affect our behaviour within it?
HOMEWORK was installed as a 16 channel audio work, shaped for and situated within my own home. A series of speakers of various types, along side transducers, attached to and in contact with various things, were placed through out the eight rooms of the house. The work was presented at night, with the interior of the house in darkness. A series of small LED globes where connected into various speakers so once the signal sent to a speaker reached a certain volume level the globe would engage, sending flickering light throughout the house, following the various intensities of sound. An additional four LED globes places inside bottles, run from a separate inaudible audio signal, where placed around the house.
The sounds used for the original HOMEWORK installation were largely collected from empty spaces of various sizes and uses; an office; a public toilet; a small store room; a large ex-factory, now studio space; my home. A series of recordings were made through simple gestures enacted in these locations; shoes striking concrete; body and clothes brushing against each other; creaking of doors; or rubbing microphones into the carpet. Additional sounds were generated through amplifying infrastructure found in a given room (such as an air conditioning unit) and then feeding it through the rooms various resonant items or surfaces, such as a filing cabinet (via transducers), and then further recordings where collected.
All these sounds were then arranged to both sound out the physical space that is my house, but also to overlay a new fictional space over the domestic one. Allowing the domestic items and rooms to blend and merge with the sounds and activities of other rooms and spaces to create the experience of a new space within a pre-existing one. Physical rattles, knocks and hums present as traces of previous activity which never took place. Well not in this space anyway. Pointillist clicks and knocks sounded out the full dimensions of the space, played back through various horn speakers placed at the extremities of house. Transducers places within the two aluminium sinks found within the house, vibrating cutlery and resonating the hollow forms, creating various rattles, hums and percussive sounds. An additional series of speakers played back the resonance of other rooms; stray shufflings and textures moving throughout the space.
The piece presented here is not indented as a strict document of the installation. Rather recordings were made in the various rooms of the house and then re-combined and arranged in an attempt to give some sense of the shifting densities of sound and the new spaces they created. Small excerpts of the original recordings have also been used and edited into the mix to provide additional detail. Other than simple layering and arranging, no additional processing or treatments have been made to the recordings.
TARAB/eamon sprod explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees. More than simply documenting a given site, TARAB is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness. Recent works have consisted of multi-channel, site specific performances and installations for speakers, transducers, found sounds, found objects, microphones and elements of the performance/installation space itself.
TARAB/eamon sprod has presented performances throughout Australia, Europe, Japan, Korea, North and South America; compositional works have been published on labels including Naturestrip (AU), nonlinear (AU), 23five (US), Unfathomless (BE), Aposiopese (FR), Swarming (FR), Cronica (PT), Semperflorens (RU) and also his own sonicrubbish imprint formed in 2018.
eamon sprod is currently undertaking a Masters by Research at RMIT in Melbourne, of which the ongoing HOMEWORK project is a component.
radia season 43 – show #760 (radio x) – Of Seeds and Lichen – by KATE DONOVAN & GABI SCHAFFNER
– playing from october 21 to october 27, 2019 –
OF SEEDS AND LICHEN by KATE DONOVAN & GABI SCHAFFNER
Of Seeds and Lichen is an invitation to join Datscha Radio’s collective artistic experiments in sensing the garden.
Find out more about Datscha Radio at www.datscharadio.de.
Seeds Dispersal I and II by Kate Donovan
“Seed Dispersal” explores the sounds and stories of various seeds on their journeys through water, air, and bodies: a cosmos of dispersal, told in radio snippets and sent upon a breeze. With sounds and voices from Pablo Juanes; Molly, Hunter & Scout.
Seed Dispersal I and II formed part of Datscha Radio’s intervention “Radio Seed Bombs” on the 13th of September 2019.
La Lichen Parfumée by Gabi Schaffner with Julia Drouhin
Based on several failed experiments in the transposition of plant’s chemical ingredients into random melody, lost and found field recordings and the sound and scents of a waffle iron. (Lan: F)
Text, recordings and composition: Gabi Schaffner
Speaker: Julia Drouhin
Piano: Sanne Drouhin-Kok
Waffle Iron: Richard Schaffner
La Lichen Parfumée was written and composed for Datscha Radio’s Nightgardening II, “Frequencies and Fragrances”, broadcasted August 8-9, 2019..
is a practicing radio artist, facilitator and researcher based in Berlin. Her artistic practice deals with radio in an elemental sense, in terms of frequency, transmission and interconnectedness (but also disruption and interference). Her editorial and organisational work in free and community radio fosters inclusion and experimentation.
Recent and current projects include: Datscha Radio 17, a garden radio art festival on the future of the garden in the Anthropocene; ‘The Bespoke Headpiece’, a speculative telling of radio history which was developed during a transmission arts residency at Wave Farm in 2018; and the ongoing radio show ‘elements’, which broadcasts monthly via CoLaboRadio, on FM in Berlin and Potsdam, and online.
works as an interdisciplinary artist in the field of visionary documentation, poetics and sound art. Traveling forms a vital part of her artistic practice – as a source for sound and language recordings but also as “a rite of passage” enabling the artist to explore alternative narrative structures. Her works in the field of sound and radio art have been broadcast internationally, including commissions by Deutschlandradio, SWR, ABC Australia and many more. Besides radio she has realized site-specific projects and exhibitions in India, Australia, Iceland, Spain, Finland, France and, most recently, Taiwan. Her collaborative project Datscha Radio won the Award of the Berlin Network of Free Project Spaces and Initiatives 2019. Recent activities include “Nightshade Island”, an audio walk conceived of for “Tracks in a Box” by “The Walking Tour Library”, and “Night Gardening”, Datscha Radio’s new series of broadcasts.
Of Seeds and Lichen – by KATE DONOVAN & GABI SCHAFFNER
radia production: miss.gunst [GUNST + radiator x]
production date: september 2019
station: radio x, frankfurt am main (germany)
length: 28 min.
licence: (cc-by-nc) KATE DONOVAN & GABI SCHAFFNER www.radiox.de – www.gunst.info – www.datscharadio.de
great many thanks to KATE DONOVAN & GABI SCHAFFNER!
includes radia jingles (in/out), station and program info/intro (english)
Radis en Rats by Alain Rocourt & Baryline Tone editing version of an 80 minutes live session improvised on radio Jet fm (March 18th 2019) Alain Rocourt played different sounds objects, toys, scratching things and did the cut an editing stuff.Baryline Tone played amp, pedals & baritone guitar. https://soundcloud.com/aldroc
The early commuters on the florentine tramway are caught off guard by unusual sounds while at the stops and on the rides. Surprise, weirdness and something unexpected in their daily routine make them look at each other and smile, eventually crack a laugh or exchange puzzled remarks.
It is all Benjamin’s fault. A project by Radio Papesse attempting to transform the waiting time into an imaginary journey and to invite people to get out of the bubble of their own personal devices so to find themselves as part of a moving – even if temporary – community.
This RADIA show is a mix of some of the soundworks that were broadcasted through the tramway speakers from October 3rd to the 6th.
The included sounds are:
π by Giovanni Corona
Borgarfiord in spring by Charo Calvo
A distanza by Pietro Michi
Affrico. Morte della stagione di mezzo by Maria Pecchioli
3 by Katatonic Silentio
I’ve never heard a Theremin before by Giulio Aldinucci
Quasi casa by La cosa preziosa
Attese :: Attesi by Chelidon Frame
AN by Abo Carcassi
The Piqué sisters by Valeria Muledda
Di passaggio by Luana Lunetta
Notturno by Roberto Paci Dalò
Bus Imaginario by Felix Blume & Chloé Despax
Mistery Goats & Mount Vodno by Toni Dimitrov
Waiting in the wings by Dinah Bird
DAM 0003 by User form PT
Amjad Mood by Giacomo Anichini
Take me home by Radio Continental Drift
More than 40 artists took part in Benjamin | sounds along the tramway. To know more about the project and to listen to the selected pieces: radiopapesse.org
How it is is deals with the tension between the description of a work and the work itself.
Produced by Max Höfler for Radio Helsinki, Graz – Austria 2019
Max Höfler born in 1978, is a Graz, Austria, based author, sound artist, curator and part of the artist association Forum Stadtpark. He is the co-founder of the international literature network CROWD and studied German literature, philosophy and history of art and did his doctor degree on Post-Wittgensteinian aesthetics. Max Höfler is writing experimental texts, which are influenced by the avant-garde movements of the early 20th century. For his books he was awarded several prizes and grants. Regularly international readings and performances (London, Peking, Berlin, Helsinki, Prag, etc) He is the publisher of the so-called screening literature magazine GLORY HOLE – messages from the other side.