Show 827: The Midnight Drive by Joe Cimino (Radio Papesse)

“Breaking news: a severe snow storm is headed this way. There have been multiple closures on I 76 and if you’re headed that way please be safe…”

There’s a snow storm headed your way. From the car speakers, the weather forecast calls for bad weather coming. The driver, whose name we do not know, is returning or heading to or from an undisclosed destination. A night show is aired, it might be a local radio she or he has just tuned in; its show host, while meditatively lingering around big topics like time, nature, human vs nature… acknowledges the driver directly – not to the metaphorical driver out there, the invisible listener – and points out different moments that happen outside of the vehicle for the driver to perceive. 


During this night drive, the weather begins to pick up and change into a snow storm. With it, strange and anonymous voices are heard in the backdrop, bringing back distant sounds and moments in time that don’t seem to add up…

via archive.org

Joe Cimino is an Italian American visual artist, musician and producer living and working between New Jersey (USA), and Florence (Italy). Growing up traveling back and forth from the United States to Italy, he holds on to his dual cultural identity and which remains present in his artistic practice. He holds a BFA in studio art from Rowan University and is currently in the middle of his MFA in studio art at Studio Arts College International, Florence Italy. Besides his visual arts career, Joe works as a producer and electronic musician, with his music located on Soundcloud. He is also the producer and co host of the Podcast, The Uncanny County Museum. 


In the last five months Joe has been working with Radio Papesse and while The Midnight Drive was produced, a specific aesthetic emerged. The central plot builds up expectations that are never fulfilled: what are we listening to? what’s the story? what’s happening and when is it happening? Joe plays around with the language and the tropes of both radio and podcast and but things never sounds how how are expected to.  Something is always off…

It is in what Joe calls the peripheries of The Midnight Drive that the story lies. This is an invitation to not only pay attention to what’s in front, but what is also happening in the background.

The Midnight Drive is a four part series and this Radia Show includes the first two episodes of it. To listen to the piece in its entirety: www.radiopapesse.org

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Show 826: Winter Shades – Eco Sons Etude 2: Ecological Radio Artwork by Sam Erpelding / Dankwart (Radio ARA)

via archive.org

Winter shades – Ecosons Étude II: Ecological Radio Artwork

Director, Field Recordings and Sound Design: Sam Erpelding
Speaker: Katrin (MacBook Pro – British english voice)
Performers: different Soundscapes around Luxembourg
[Pétange, Lasauvage, Prënzebierg, Garnich, Grass, Clemency, Bauschleiden]


Concept:
In a visually shaped world, little attention is often paid to the acoustic environment. However, hearing is a vital sense that serves not only for recognition, categorization, monitoring, and surviving, but also for the perception of sound-aesthetic phenomena and eco-sensitive obstacles
in real space. Thus, with the help of sound art, abstractions can be guided into real space and certain focal points can be reformulated from the real to the abstract world.
With the help of a directional and a contact microphone, various soundscapes in south- and northwestern Luxembourg were recorded in December 2020 and January 2021, and the sound signature unique to each location was crystallized. In essence, it seeks to examine the correlation between biodiversity quality and soundscape quality, as well as to highlight the essential characteristics of naturally left and human-modified spaces. In this way, the listener is left to draw his or her own conclusions and is thus made to think and listen.
Sam Erpelding is a sound-artist and sound-engineer based in Luxembourg and in Vienna. He studied computermusic, digital media technologies and sound-engineering in Austria. Under the pseudonym ´Dankwart`, Sam produces electroacoustic and electronic music as well as radio-art.
His compositions are based on soundscape research, field recordings, and computermusic strategies.

https://dankwart.bandcamp.com/
https://soundcloud.com/dankwart
https://www.facebook.com/SamErpeldingDankwart/
https://www.instagram.com/sam_dankwart_erpelding/

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Show 825: Into the Gray forest – L’Impero della Luce (Usmaradio)



Artist: L’Impero della Luce
Submitted soundwork: Into the Gray forest



L’Impero della Luce / The Empire of Light is an Italian experimental music duo that explores the sounds of electric current by using the technique of electromagnetic induction. This particular approach to music allows the listener to get closer to the sound of the electron, the physical and historical source of electronic music.
“Il Mare di Dirac ” / The Dirac Sea (2020) is their first album.
From 2020, L’Impero della Luce is part of Key Change  European Project and endorser of SOMA Laboratory.
L’Impero della Luce is: Johann Merrich and eeviac.

http://www.imperodellaluce.com
https://imperodellaluce.bandcamp.com/releases



SOUNDWORK
Into the Gray forest
This oniric improvisation​ was recorded in 2018 and published in July 2020 by Obsolete Capitalism and Stefano Oliva as supplement of ​La Deleuziana​: Rhythm, Chaos and Nonpulsed Man magazine (10th volume celebration).



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

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Show 824: Hunger for Justice (radioart106)

 
An Interview with Palestinian activist Maher alAkhras recorded on November 12, 2020.
He reflects upon his 103 day hunger strike.
 
Voice-Over and assistance: Liam Evans
Interpreter: Samia Nasser
Translation: Dareen Tatour and Samia Nasser
Graphic design: David Oppenheim
Produced and moderated by Meira Asher
Thanks: Tagreedd alAkhras, Ahlam Haddad, my fellow activists who vocalised their solidarity in the struggle.
 
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Show 823: Parahronos by Manoli Moriaty for diffusionfm91.9

Time in isolation has turned into an amorphous mass. Repetitive housebound activities render even the most well-organised of us struggling to keep track of time. Desperately seeking to extract an iota of excitement, mundane occurrences are seen in new light. With a pair of Cageian ears and through the assistance of trusty intoxicants, the busy street by the window turns into a clamorous symphony; each vehicle becomes a distinct instrument, with their different tyres, transmissions, and powertrains inducing unique timbres within this accidental composition.

Parahrono is part artistic expression, part reassurance; as long as vehicles are passing through, the world is yet to collapse. Focusing on the sound, the mind plays its usual tricks. Time becomes distorted; rhythms gallop alike drunken louts, textures intertwine in their frantic pursuit for attachment. The mundane becomes superb, and vice versa. Queens Drive in Childwall was recorded through the windows of a ground floor flat, the composer’s own isolated bubble. A pair of condenser microphones are poking through the blinds, and another pair of contacts attached to the glass, itself now a resonator, victim to the violent gusts of air blown by the passing vehicles. As long as vehicles are passing through, the world is yet to collapse. https://manolimoriaty.com

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Show 822: WE ARE ALL ALIKE by Korhan Erel (Reboot.fm)

Korhan Erel’s work “We’re all alike” created for the group exhibition “Hacktivate Yourself!”curated by Tuçe Erel at 1a Space in Hong Kong in March 2019 revisits and reinterprets “The Hacker Manifesto”, an essay written by The Mentor (born Loyd Blankenship) on January 8, 1986.

Korhan Erel made three computer voices spread over two speakers read this essay in parts. In between these parts, they inserted short sound compositions reminiscent of the computer sounds of the era, found-sound collages, snippets from Michel Foucault’s “The Culture of the Self” lectures at Berkeley (1983), and glitched versions of the manifesto in an effort to dig up and shine a new light on one of the first computer-era manifestos. The viewer experiences this sound piece by standing between two speakers pointed at each ear and in front of the printed manifesto.

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Show 821: RADADAR: a multimedia digestive circuit (Radio Student)

There were many Dada’s. They have inhabited different cities, were named with many names, some were left unknown, others nameless. Borderlessness is written all over Dada’s body. She is not offended and she makes offenses. Directing infinity back to its own beginnings makes Dada capable of recurrently establishing clarity. Crossing and dismantling sense out of borders and limits – we know them as obstacles, as constraints, as objects to walk over, dodge and evade. For its destruction and digestion we need Dada that takes the principle of “kakortedragost” (“asyouplease” – the concept of Dragan Aleksić) to break through the ingrained structures of power.

RADADAR: a multimedia digestive circuit performative installation took place on 17th December 2020 in Ljubljana, Slovenia as an annual event of Radio Student’s open radio (art-theory) investigative platform RADAR (www.radiostudent.si/radar), hosted by Cirkulacija2, a basement echo chamber residing below the city’s main street. Trespassing the hours of the official curfew that the residents of the city must obey, the circuit comes to life. It is being fed by a messy archive of photo slides. Memories from another time are being chewed, consumed, processed, transformed and mutated. Humans along with analog and digital machines intervene into the past. Artefacts are being dragged out of the abyss of oblivion. Their materiality serves as a point of departure, the exit strategy is a creation of an experience for everyone and everything involved. The comment section of the website was being read by a synthetic voice, directly feeding comments into the circuit. The audience intervened and dadaised. The memories were calling for a situated reconfiguration.

In the RADIA show #821 you can hear only a snippet of the whole circuitry. At the time of the event was streamed live on air (FM 89,3MHz) and online (see archive here: https://www.youtube.com/watch?v=eMr0MyFzND4).

Concept was created by Mojca Zupančič and Tisa Neža Herlecin collaboration with Urška Savič, Sašo Puckovski, Luka Seliškar, Anja Hrovatič, Borut Savski, Stefan Doepner, Ana Lorger, Saša Hajzler, Kristina Pranjić and Matej Kavčič. (Arte)facts were given by mommy Annie, daddy Urosh and dear godmother, scenocollages by Matija Drobne – Maco. Tehnical support was provided by Jurij Podgoršek, Linč and the RTVŠ crew. Special thanks to Cirkulacija2, Blaž Božič and Bojan Anđelković!

A homage to the 100 years of the Dada Fair (Berlin, 1920) and to Modri kot.

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Show 820: Useful Radio by Jeff Kolar for Wave Farm

https://archive.org/details/radiaS45E820_usefulradio_jeffkolar_wavefarm

Useful Radio is a new radio mix focused on radio voices, citizen listening, and the intimacy of signals. Featuring collaborations with Joe Jeffers, Anna Friz, and Zeena Parkins. Track listing in order or appearance: Untitled by Jeff Kolar; Creepy Tipi by Joe Jeffers and Jeff Kolar; Far Gone by Jeff Kolar; Useful Radio by Anna Friz and Jeff Kolar; Hooking by Zeena Parkins and Jeff Kolar; and Prologue by Zeena Parkins and Jeff Kolar.

This work was commissioned by Wave Farm for the durational broadcast event Christof Migone’s You- taking place on December 12, 2020.

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Show 819: Radio Fragrance (How the sound smells) from TEA FM

https://archive.org/embed/radia-s-45-n-819-radio-smell-by-teafm

Smell UK:*/ˈsmɛl/US:/smɛl/ ,(smel)verb (used with object), smelled or smelt, smell·ing.
The past form “smelt” is mainly used in UK English. It is correct in US English, but rare.

  1. to perceive the odor or scent of through the nose by means of the olfactory nerves; inhale the odor of:
    I smell something burning.
  2. to test by the sense of smell:
    She smelled the meat to see if it was fresh.

verb (used without object), smelled or smelt, smell·ing.

  1. to perceive something by its odor or scent.
  2. to search or investigate (followed by around or about).

noun

  1. the sense of smell; faculty of smelling.
  2. the quality of a thing that is or may be smelled; odor; scent.

smells
v 3rd person singular
smelling
v pres p
smelled
v past (US & UK)
smelt
v past (Mainly UK)
smelled
v past p (US & UK)
smelt
v past p (Mainly UK)

RADIO BROADCASTING. It is a transmission of audio (sound), sometimes with related metadata, by radio waves intended to reach a wide audience. … Stations are often affiliated with a radio network which provides content in a common radio format, either in broadcast syndication or simulcast or both.

FRAGRANCE – a sweet or pleasant odour. heady – strongly aromatic, pungent, rich, intoxicating, spicy, piquant – not a mild smell. heavy – a sweet and strong smell. intoxicating – A smell that exhilarates, disorients, or excites. laden – a literary word that describes a strong smell.

This is a radio show produced in the Creative Radio Production and Broadcast Course at TEA FM Radio Workshop in November 2020.

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Show 818: What do invisible sounds fancy? by Philippe Petit for Radio Panik

What do invisible sounds fancy?

by Philippe Petit

« One morning when I woke up I heard a sound that I could not recognize, consequently I wondered about its origin, its existence and its possible correspondences. Our perception of a sound or a music is not the same if we can locate its source, see how it is produced, by what, by whom and therefore I wanted to compose a soundtrack retracing the imaginary of what the sounds we do not hear would do if meeting those which are invisible to us. How do we perceive the sounds we don’t see and how do we see the sounds we don’t hear?

A play of frequencies, timbres or tessitura, prompting the listener to wonder how the sound-object was sculpted… The mystery remains whole and of little importance in our journey. » 

Philippe Petit / November 2020 – Recorded on a BUCHLA 200 system.

www.philippepetit.info

« Un matin au réveil j’entendais un son que je ne parvenais pas à reconnaître, du coup je m’interrogeais sur sa provenance, son existence et ses possibles correspondences. Notre perception d’un son ou d’une musique n’est pas la même si on peut en localiser la source, voir comment il est produit, par quoi, par qui et donc j’ai voulu composer une bande-son retraçant l’imaginaire de ce que feraient les sons que nous n’entendons pas au milieu de ceux qui nous sont invisibles. Comment percevons nous les sons que nous ne voyons pas et comment voyons-nous les sons que nous n’entendons pas?

Jeu de fréquences, de timbres ou tessitures, poussant l’auditeur à se demander comment ce son était sculpté… Le mystère reste entier et de peu d’importance dans notre voyage. » 

Philippe Petit / November 2020 – Enregistré sur un système 200 BUCHLA.

www.philippepetit.info

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