Barangaroo by Sebastian Sequoiah-Grayson Several years ago I took a field recorder to several constructions sites around Sydney Australia. I transcribed the audio recordings I made into graphic notation. I then used the resulting graphic charts as improvisation platforms. This piece is from the Barangaroo construction site. I have been saving it and I have never improvised from it before (although I did transcribe it some time ago).
Sebastian Sequoiah-Grayson is a fingerstyle noise guitarist from Sydney.
Composed, played, arranged and produced by Satch Hoyt. for reboot.fm for the radia.fm network of free cultural radios.
Satch Hoyt is a visual artist and musician living in Berlin. His projects are related to the transnational African diaspora and revolve around the cultural and political role of sonicity. By combining music, art and historical narrative, he has developed a complex of works that explore what he calls the “migration of the eternal African sonic signifier.”
He began his research for Afro-Sonic Mapping in 2016 and documents them on the blog of the same name: www.afrosonicmapping.com
The area crossed by the Alpe Adria Trail has always been a region of borders from ice age to cold war, but also of connecting paths of different kinds: military, animal, railway ones. Through some research and walking, we investigated elements of dis / connection on the Alpe Adria Trail, collecting traces, documentation and creating some spontaneous interventions on the path. We are two Italian and one Austrian artists from different backgrounds such as music, fine arts, game development, engineering and philosophy. This is a flow of sounds recorded during the last walk in August 2019 along the Italian – Slovenian – Austrian borders. Eleonora Sovrani, visual artist, and Juliette Qualizza, musician walked from Robidišče to Tarvisio, passing through Prossenicco, Montemaggiore, Monteaperta, Gran Monte, Uccea, Saga, Bovec, Kranjska Gora, Canin, Sella Nevea, Cave del Predil, Coccau, Feistrits Alm, Feistritz an del Gail Arnoldstein. We spent the last days in a green house close to the Italian-Austrian border (Thorl Maglern) with Sarah Schalk, philospher and artist from Graz. Sound suggestions speak of nature, mass tourism, intersections between people, prejudices, tradition, hospitality, isolation. This was part of the project Interventions on the Alpe Adria Trail in 2019, supported by Österreichisches Bundeskanzleramt für Kunst und Kultur as well as Land Kärnten Kultur and Uti Canal del Ferro Val Canale
Credits: recording in August 2019 by Juliette Qualizza; voices: Eleonora Sovrani, Sarah Schalk, Matija Sirk, Juliette Qualizza; composing and editing in December 2019 by Juliette Qualizza
He writes, “Phonography has been sometimes been defined as “creative field recording,” taking and placing microphones out into the world in unusual ways and unexpected places. In this program phonographer Christopher DeLaurenti presents several specimens of subaudible phonography – field recordings from outside the realm of human hearing.
This program features four examples. “Below the written pitches of Brian Ferneyhough’s ‘Superscriptio’ for solo piccolo” spectrally extracts sound beneath the written pitches of Brian Ferneyhough’s “Superscriptio” to reveal recording anomalies, latent undertones, and mechanical noises. It’s akin to hearing the piece through a hydrophone.
In “Silences normalized from the complete organ works of Olivier Messiaen (part 1)” I amplified room tone to reveal the inner workings of an organ and its environment, including residual tones, traffic, stray speech, and tiny electrical anomalies.
The third example is an odd specimen of radio transmission—a rarity for its length and depth of activity: “Open Carrier, Citywide One Manhattan.”
In the United States, an “open carrier” is police parlance for a radio that has been inadvertently left on in Talk/Transmit mode. An open carrier stalls and paralyses broadcast traffic, leaving so-called “dead air” to reveal sudden gaps, smudges of hiss, gently swaying drones, beeping alerts, fragmented words, quick phrases, recessed conversations, and other unexpected artifacts. It’s like butt-dialing everyone who is listening to the radio. I recorded this example by accident in 2004 during the protest against then-president George W. Bush and the Republican National Convention in New York.
The final example is an excerpt from “of silences intemporally sung: Luigi Nono’s Fragmente-Stille, an Diotima.” Here, I have inverted Nono’s only string quartet by muting the audible passages played by a string quartet. Then I elevated room tone, discreet ambiance, and other assumed silences above the threshold of audibility. You will hear on-the-fly tunings, annunciatory gasps, hurried breaths, sul ponticello bowings, and creaking chairs; these eruptions and outcries fuse with flickers of ambient sound. You might also hear artifacts of the recording process, especially digital glitches and artificial echo. Visit delaurenti.net for more about Christopher DeLaurenti and subaudible phonography.”
It was early October, just a few weeks before the social explosion that rocked Chile in the whole length of its strange geography. An explosion that, in late November, resulted in over 20 deaths, hundreds of mutilated, thousands injured, an indeterminate number of detainees, torture, sexual assault and countless atrocities committed by the police and the armed forces. Just before this shift, Chilean President Sebastián Piñera spoke about the convulsions that swept the rest of the region. He then introduced Chile as an oasis of peace and tranquility in the middle of the storm.
18th in the Main Square of Cochabamba, mobilization against the supreme decree
that gives impunity to the military. By D.E. from Cochabamba.
They ask for
justice for those killed, they call the international press to cover and the
local press to stop being biased. They also ask for Añez’s resignation and
Evo’s return to pacify the country.
the mobilizations formally began with the massive national strike on Thursday,
November 21, a day that ended with an unprecedented and massive cacerolazo that
resonated strongly throughout the night in different corners of Colombia. The
objective was to claim the peaceful protest that at the end of the afternoon
had been tarnished by some riots. From then on, various calls began to
multiply, more or less spontaneous and mostly festive, which began to have
their own scores.
screams, but also other places in the world. It is time to hear the cries of
citizenship, which asks for respect, justice, future. The world screams. Do we
This creative radio documentary is the first step in the new path that TEA FM, CPR Spain and RESONAR start together. With audios collected in different demonstrations and protests in several cities in Latin America and Europe in october and november 2019.
Be part of these people who buy electronic products on aliexpress, killing small local business in Brussels. Receive or Get some envelopes packages with addresses from very exotic shippers. Be partly responsible for the development of an internationals exchanges forum currently in Liège: www.liegeairport.com/flexport/en/actualites/alibaba/ Evacuate or Relieve his ecological uneasy feeling mixing all of this in words and sounds.
This collective was created after 2016 Brussels bombings as an independent and uncontrolled mean of expression, as a recurrent collective work mixing experimental and creative writing, music and sound effects.
Faire partie de ces personnes qui achètent sur aliexpress du
matos électronique qui tue les petits commerces indépendants
Recevoir une collection d’enveloppes avec des adresses
d’expéditeurs très exotiques.
Être en partie responsable de la croissance d’une plateforme
d’échanges internationaux en cours à Liège:
Évacuer son mal-être écologique en triturant tout ça en mots/sons.
Alerte Niveau 5 est un collectif créé après les attentats de 2016
à Bruxelles comme une expression indépendante et incontrôlée,
comme de régulières expérimentations en écriture créative, musique
et effets sonores.
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.