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
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.
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.
Radio Študent Radia.fm programme curated by Urška Savič.
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.
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.
verb (used without object), smelled or smelt, smell·ing.
noun
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.
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.
« 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.
Water Saus is an audio work by Ash Kilmartin and Lili Huston-Herterich, produced during the development of their collaborative exhibition of the same title. The work began as the sketch of an invented character—a poet who writes in the shower, as a way to compose (in) privacy—but transformed into a journal of writing and making together. The recordings travel across Rotterdam, from one studio to another to home and back again, as the artists chat, eat, piss, sing in the shower, make moulds for soap, and compare playlists and book collections.
Lili Huston-Herterich is an American-Canadian artist who runs the project space Available & The Rat in her apartment. Ash Kilmartin is an artist from Aotearoa New Zealand and the founder of a shop called LIFE. They both live in Rotterdam.
This is a Radio Worm/Klangendum production.
A show by the wiener radia kollektiv, Orange 94.0, Vienna
Sounds Queer? was founded in 2014 by Zosia Hołubowska as a flying queer synthesizer laboratory and is now – with Adele Knall and Violeta Gil Martínez – a vital collective of three. It is a Vienna-base collective working on the intersection of electronic music, sound art and queer activism. Their approach was a unique one in Vienna that has been the spot for feminist networks and labels for many years such as female pressure, unrecords label, temp-records.
Sounds Queer? Starts with the eternal question: How does sound sound queer? and opens a wide process field between queerness, open hardware, software, music production or marketing. The idea of the project is to create a safer queer space through music, using music for process oriented discourse. During Corona they moved their workshop programme to the virtual space and offer online workshops.
In Oct 2019 they released a tape with odd, weird and queer and mostly unpublished tracks by former SQ? teachers and supporters: Aja Ireland, Masha Dabelka artist, Zdrada Pałki Waterflower, Qeei and Carlin Dally, and the three of us, Mala Herba, Matte/Glossy and Krach.
This radia show features music productions of the collective-members Krach (xxx ), Matte/glossy (let it die), Mala Herba (Mermaid Seduction) and an additional production by Aja Ireland (GrimeInside)
A show by Radio CORAX, Halle, Germany
schnelle musikalische hilfepresents: Mein tiefes Mitgefühl für diesen Ohrwurm
schnelle musikalische hilfe is an imaginary institution that deals with small musical problems as an excuse to start debates on bigger or other variously sized problems.
Every ear worm has a worm in it.
Mein tiefes Mitgefühl für diesen Ohrwurm is a lyrical and musical project that features small sung sentences as symbolic relief for earworms. Throughout four days of radioing at Seanaps festival in Leipzig in October 2020, schnelle musikalische hilfe offered her deepest sympathy to everyone’s earworm and displayed other than the regular ear worm solutions such as: playing sudoku, listening to God Saved the Queen, or avoid late night coffees; and transcended what is scientifically considered the ear worm cause: upbeat tempos or pitch patterns.
Including interviews with: Alina Medoia, Alice Feraru, Borys Slowikowski, Elisabetta Lanfredini, Gustavo Mendez, Heidi Heidelberg (Witch ‘n’ Monk), Kamila Metwaly, Larisa Crunțeanu, Maria Karpushina, Mihai Ogica, Petra Stefania, Ralf Wendt, Regina Sarreiter, Sarah Washington, Stephan Thierbach, Tatiana Lopez, Xiaoshi Vivian Vivian Qin
Produced by Jasmina Al-Qaisi for Radio Corax
more at: https://jasminescu.com/schnelle-musikalische-hilfe