I have no voice is a spoken word piece construite sur une indétermination de sons en chaos, phonétiquement structurés de façon à ce qu’ils forment leur propre langue parlée. La voix en outil langue, charcute cut le langage et sa parole par tranche, slices de syllabes, et hypercut.
De ritournelles en ritournelles la voix avance en deux langues et devient une langue à langage informatique, au parler algorythmique. Le rythme et la déconstruction des mots, voix hâchée et mots collés pour expérimenter la parole en la réinventant.
La voix dit qu’elle n’a pas de voix, elle est une IA, un bot, sa voix se prénomme Daniela, le féminin de Daniel dans 2001 Odyssée de l’espace de Arthur C. Clarke et Kubrick, et l’un des avatars dont Annlee parle dans Anywhere Out of the World (2000 Parreno).
Une langue frgl (franglais) ou glfr(glaisfran) ou françaisanglais ou
Frengl (frenchenglish) ou englfr (englishfrench) ou frenchenglish.
La confusion du sens dans tous les sens à mon sens un sens essentiel.
I have no voice is a spoken word piece based around an indeterminacy of sounds in chaos, phonetically structured so that they form their own spoken language. Here the voice is used a tool, it cuts into language and slices speech into syllables and hypercuts.
As the refrain develops the voice advances in two tongues and becomes a computer language, with an algorythmic diction. The rhythm and deconstruction of the cut-up fragmented voice and seeming hastily pasted together words are an experiment with speech through reinvention of the idiom.
The voice tells us she has no voice, she is AI, a bot. Her voice however has a name, Daniela, the feminine of Daniel in 2001 Space Odyssey by Arthur C. Clarke and Kubrick, and one of the avatars Annlee speaks about in Anywhere Out of the World (2000 Parreno).
A language frgl (franglais) or glfr(glaisfran) or françaisanglais or
Frengl (frenchenglish) or englfr (englishfrench) or frenchenglish.
The confusion of meaning in all directions has, in my opinion, an essential meaning.
Crown Quartet Croatia: Zahra Mani – double bass, bass & electric guitars, field recordings, live electronics Italy: Roberto Paci Dalò – clarinet, bass clarinet, voice, live electronics Hungary: Tibor Szemző – voice, bass flute, flute Austria: Mia Zabelka – electric violin, vocals, live electronics
Station Manager and sound engineer: Alessandro Renzi Technical direction at JRC: Denis Novello and Andreas Aschberger
We are pleased to announce the new sound art project A Natural Contract by the Crown Quartet. The project is supported by the festival Resonances IV – NaturArchy: Towards a Natural Contract.
To know the world is to breathe, to breathe is to savour the world. An interspecies dialogue where you find yourself human, vegetable, animal and mineral, in the name of fusion. A world composed not of objects but of streams that penetrate us and that we penetrate, of waves of varying intensity and in perpetual movement. We can no longer perceive the world as a simple collection of objects or as a universal space containing all things, but as the site of a veritable metaphysical mixture. Towards a “multispecies storytelling” (Donna Haraway).
A Natural Contract is created for Resonances IV and it crosses borders through the simultaneity of music and language in a musical exchange between four different European countries. The four countries in the Alps-Adriatic-Region have been barely accessible due to the Corona pandemic. The idea of this live sound art concert at a distance is to invoke notions of memory, a discourse, a call to the most basic elements of humanity and society.
A Natural Contract is a new project for the Crown Quartet, conceived and directed by Usmaradio. In addition to the rich instrumentation of the quartet, A Natural Contract has a textual layer embedded in the compositional structure (which leaves room for spontaneous improvised exchange). As with field recordings in music, the linguistic elements are subjected to selection, processing, reproduction and abstraction of text fragments that acquire new significances in connection with the sounds and the music.The multilingualism of the text fragments reflects the diversity of the musical languages and approaches of the four musicians. Hungarian, Italian, various German accents, English and Croatian meet the abstract vocal sound art of Zabelka and Szemző. Thus vocal modes of expression are explored and contrasted in their diversity. There is a musical transformation of semantics, reflecting the absurdity that arises when you repeat a word for a long time, highlighting the transitions between language and sound, from noise to music. These processes in turn reflect the shifting meanings of terms such as borders and freedom in theCorona-shaped cultural-political landscape.
All four ensemble members have been working in the field of radio art for many years and have participated in diverse live stream project formats. So far, due to the technical challenges and complexity, these projects have always been implemented in cooperation with public institutions.
The radio as an artistic stage or platform is a unique performance and communication space. It is always a special moment to play live on the radio and to come into intimate contact with listeners in their own four walls. In times of physical distancing, the radio in connection with the internet offers a new enhanced platform for communicative exchange.
A Natural Contract is about overcoming borders through music and language. A Natural Contract overcomes boundaries that have closed at an astonishing speed due to Covid-19. The long-term social, economic, socio-political implications of the events of the last few months are not yet foreseeable – just as little as we know how the virus and its mutations will affect our futures. In this respect, A Natural Contract is also a memory, a discourse, a reflexion of the most fundamental elements of humanity and society.
The four artists have been connected via internet stream from their studios in Austria, Hungary, Italy and Croatia in an acoustic exchange consisting of music, language and sound. The piece revolves around questioning acoustic materials, their manipulation, meaning, application and aesthetics.
within Resonances IV – “NaturArchy: Towards a Natural Contract “ A Natural Contract is produced by Resonances IV in collaboration with Usmaradio and Giardini Pensili.
In 2020 Usmaradio created the series Crown – fighting the lockdown through radio. An international tea time live concerts radio series. 33 daily collaborative telematic performances with the remote participation of artists from all over the world. CROWN PODCAST CHANNEL IS AVAILABLE HERE Later on, this experience contributed to the creation of the Crown Quartet project.
Crown Quartet ➥ Zahra Mani (UK, PK, resident in Austria) is a musician, composer and curator. She performs live in various constellations and creates multi-channel installations and radio art. Her work combines field recordings, instruments and voices in an ongoing exploration of sound and music, investigating and revealing the spaces between. ➥ Roberto Paci Dalò is an Italian clarinetist, composer, visual and sound artist. He performs worldwide in the usual and most unusual places. ➥ Tibor Szemző Composer, performer, media artist, lives in Hungary. Oriented by his diverse lines of interest towards the borderline areas of the various genres. His works are present across Europe and beyond. ➥ Austrian violinist, vocalist, improviser and composer Mia Zabelka is at the forefront of international electro-acoustic performance art. She developed a unique musical language she calls “automatic playing”, where the music grows out of her body and gestures and finds its expression in her acoustic/electric violin, electronic devices, alien objects and voice. The violin itself becomes a sound machine.
Usmaradio – Centro di Ricerca Interdipartimentale per la Radiofonia (CRIR) / Interdepartmental Research Centre for Radio Studies, is 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
“Grotte Song”, a vocal performance by French artist Claire Serres was presented in August 2021 as part of a series of countdown radio shows leading up to Radio Art Zone, a 100-day long celebration of radio art as part of the European Capital of Culture Esch2022 from June 18th – September 25th. It was broadcast from the contemporary art space “Konschthal” in Esch-sur-Alzette that opened to the public a few months after this behind the scenes live exploration.
For more information on “Radio Art Zone” and the live stream: www.radioart.zone
For more information on Claire Serre’s work: https://ligie.org/
On 4 May 2022, the Israeli Supreme Court approved the forcible transfer of more than 2,200 Palestinian residents of Masafer Yatta (South Hebron Hills) after the military declared their area of residence as “Firing Zone 918.” In handing down this judgment, the court permitted the state to commit a war crime.
This broadcast joins the emergency call to #SaveMasaferYatta. It is mainly compiled from local activists’ documentations of home demolitions, military assaults, Illegal Jewish settlers attacks, and new interviews.
“I am Wazha Ayub Abu Sabha, 60 years old. We have been living on this land since I was born, and I got married and had a baby, and I had grandchildren and brides in law, all this land. And my husband, rest his soul,got a cardiac arrest because he was here and did not agree to go home, then he got a cardiac arrest in the evening after he came home and we milked the goats, then he got a cardiac arrest and we called the car that came to pick us up, we returned home and he died. And we did not move from here. We built houses and wanted to rest and then they came and demolished our houses, 5 rooms, and a room on the second floor where my son wanted to entertain friends and another room that served as a warehouse, and a shed. On the first time they demolished everything. Then there were people who brought us houses and helped us, we rebuilt the houses. And we also set up a pigeon nest, a kitchen and other rooms. We were offered to move away from where we were the first time, that’s what we did but they demolished everything at once. They came the second time and destroyed everything at once the rooms and the kitchen and everything. On the third time [demolition], people helped us to set up tents. Two tents.Then suddenly in the middle of the day without any warning we saw tanks coming towards us. They moved the tents again and even the pipes – destroyed and removed from the place also a tree that was in the place. They uprooted it.
Then they destroyed everything. The legume warehouse, they took out the food for the sheep using a crane, and using a knife they opened all the food bags and covered them with earth. where shall we go? What shall we do? We sat here in the sun until they brought us the keys to the clinic where we are sitting now. The lambs and sheep were not saved either, they were also harassed. They took them out of their sheds, the lamb that gave birth, died in the morning, and our losses… we do not know how much …. And now we are in this heat, who can sit under this scorching sun?
This is our land and this is our homeland. Where shall we go? We have no other place, can’t leave and don’t want to leave.”
Recorded by Basel Al-Adaraa, Nasser Nawajah, Meira Asher and more.Speakers: Eid Hathaleen, Wazha Ayub Abu-Sabha. Interpreter and field coordinator: Hamdan Mohamad Hurani. Translation: Samia Nasser. Thanks to Sulaeman Salem Al-Adaraa, Kefah Al-Adaraa and the activistsat Masafer Yatta, South Hebron Hills. Produced by Meira Asher for radioart106
Machines Making Machines started four years ago as a daily exercise in journalistic sonic recordings. Tracks were actualised using both analogue and digital synthesizers and a variety of effects pedals. Created as single-take improvised happenings with minimal editing and mixing done live, each track was then uploaded as a personal online record. Recording sessions have now metamorphosised. Tracks are still created under an improvised meditative state though are now revisited and refined with a reflective consideration on the initial intent. Drawing heavily from the ability of sound to induce imagery, tracks begun to take on a Four-Act Structure akin to storytelling. A curated merging of tracks, both old and new, this piece is best considered as a ritualistic undertaking transporting the listener. The work explores textures and tonalities of both abrasive industrial percussive sounds cogitating a claustrophobic surreality, contrasted to ethereal symphonic states of saudade.
The 3-piece soundtrack is inspired by Bukowski’s poetry. It consists of several field recordings, audio recordings and a live improvisation recording. It’s attempt is to study insomnia, unrestfullness, stagnation.
Poems interpreted:
Dreamlessly
The suicide kid
Roll the Dice
The Genius of the Crowd
(all by Charles Bukowski)
Audio sources include:
filed recording from 2019 Metaldays festival
field recording, Sava river, 2021
field recording, Soća river, 2019
field recording, Tolmunka river, 2021
field recording of the falling rain from my tent, June 2021
audio recording from exhibition: Piiril/Rajalla at Narva, Esthonia, 7.5.2022
audio recording from Neposlušno / Sound Disobedience festival, 31.3.2022
audio recording from a birthday party somewhere in Bežigrad, Ljubljana, June 2022
live recording at home, Šiška, Ljubljana, 4. 6. 2022
Makis Ananiadis is sound engineer at Radio Študent.
Has a few instruments, though he is no musician.
Radio Študent Radia.fm programme curated by Urška Savič.
Writes Stuhl,“The age of automation – that art of worker-less factories which has industrial management crackling these days – is coming close to broadcasting,” announced Broadcasting magazine in 1954. Just as it is today, automation to radio practitioners in the 1950s was a daunting complex of threats and promises around technology, labor, and artistry. But it was also, more simply, a property of magnetic tape recording. Radio automation began as the technique of embedding “cue tones” in taped sound and configuring tape players to start or stop upon detecting them. From the ’50s into the era of syndication by satellite, almost every automation system used the same frequency for these tones: 25 Hz.
25 Hz splices together audio samples from a span of 1951 to present, casting radio automation amid characters from the sonic arts and popular culture in a historical drama. A 25 Hz “cue tone” punctuates each splice, inverting the automation system’s goal of seamlessly executing a programmed sequence. Re-sonifying those seams from within radio, the piece aims to open automation up as more than an industrial object – as a peculiar, emotionally charged, and passionately countered dream that has perhaps had something in common with avant-garde legacies in post-WWII America.”
Audio sources include:
John Cage, Imaginary Landscape No. 4 (1951)
Russell Tinkham (as voiced by Gregory Whitehead), “Automatic Station Operation” (1953)
Schafer 1200 advertisement (c. 1960)
John Cage in conversation with Morton Feldman on WBAI (1966)
Paul Schafer (as voiced by Lynn Claudy), NAB Radio Automation Workshop (1968)
Annea Lockwood in conversation with Pauline Oliveros (1972)
Annea Lockwood, Soundmap of the Hudson River (1982) American Grafitti (1973)
Howard Broomfield, A Radio Programme about Radio (1974)
Schafer 903 demonstration at 2KA Katoomba (1975)
Lee Bailey, Drake-Chenault automation tips (1975)
TM Productions jingle package promotion (c. 1976)
Jack Miller, The WCFL Story (1979)
TM Productions beautiful music automation package promotion (c. 1976)
Dave McElhatton, KPIX news segment (1980)
Shelley Pope, “A Human Radio Station,” (c. 1980)
Phil Jones, “The Last Polka” (1992)
Christof Migone (as voiced by Jennifer Cherniak, Amos Latteier, Chris Myhr, and Gintas Tirillis), Radio Naked (1994)
“Bart Gets an Elephant” (1994)
Absolute Value of Noise (Peter Courtemanche), “Monster Audio,” 1998
Tom Petty, “The Last DJ” (2002)
Paul Schafer, NAB Engineering Achievement Award acceptance speech (2002)
Shellac, “The End of Radio” (2004)
Google Radio Automation advertisement (2009)
Anna Friz and Emmanuel Madan, The Joy Channel (2018)
Many thanks to the following sound artists who contributed 25hz tones:
Keith de Mendonca
James Staub
Andrew Madey
Ezra Teboul
CJ Eller
A special thank you to Gregory Whitehead for voicing and audio production in the reenactment of “Automatic Station Operation” (1953).
Andy Kelleher Stuhl is the 2021/2022 Wave Farm Radio Artist Fellow. He is also a PhD candidate in Communication Studies at McGill University, where his dissertation traces the cultural meaning of radio automation between 1950 and 2010. He approaches radio history as a resource for overlooked precedents that artists and critics might adapt toward intervention in present-day technological systems. Visit https://wavefarm.org/wf/calendar/x1x6q0 for more information.
A rendition of what happens when you spend 6 days in Ton studio Worm while the world is burning with war, post-pandemic dystopia nightmares, weird santa´s and the bubbling spring-time vibes of Rotterdam. The piece is an attempt to combine Christian Rønn´s freeform playing-practice on keyboard-instruments (Piano, Church Organ, Rhodes & Würlitzer in combination with electronics) with Helena Berglund´s evocative performance-poetry. The duo releases music under the name “MäRK”, and while working on this piece in Ton Studio Worm, they used a “one-take-Dogma” which involved minimal editing and post-editing, partly to separate this work from their previous releases, which are all intensively edited studio-productions.
Since 1992 the a-conventional music program Moacrealsloa has been active at the Brussels Radio Panik. From the archive that counts several thousands of hours and hundreds of different participating artists, 27 minutes were distilled. In this collage the following artists are represented : Steven Stapleton (Nurse With Wound) Aloysius Suwardi, Ami Denio, Ana Homler, Arto Lindsay (DNA), Atsuko Hatano, Beatriz Ferreyra,Caroline Kraabe,Charlemagne Palestine, Charles Hayward (This Heat), Chris Speed, CM Von Hausswolff, Daniel Menche, David Lee Meyers (Arcane Device), David Moss, Detlef Weinrich, Drew McDowel (Coil) Elliott Sharp, Erik Drew Feldman (Captain Beefheart),Fred Frith (Henry Cow), Guy Klucevsek, Negativland, Renaldo & The Loaf, The Residents, JG Thirlwell (Foetus), Joëlle Léândre, Jean-Hervé Perron(Faust), Jean-Jacques Birgé (Un Drame Musical Instantané), Tomoko Sauvage,Mark Cunningham (Mars)
