Show 670: Turvalíngua by Nuno Pinto & Paulo Raposo (RadioZero)

Departing from the reading and performing experience of PO-EX, an ongoing archive of portuguese experimental poetry, this piece explores the mouth and tongue organs as sound tool to engage in an unstable balance between pre-verbal forms and collapsing discursive fragments which bring forward the interstices of language, all with a somehow black humour approach. Portuguese spoken only.

Nuno Marques Pinto is a multidisciplinary artist. He works on theatre, performance and painting, combining these tools to build a singular voice. His work shares a reflection on language and sound and aims to question or highlight the mecanisms of control in contemporany speech.

Paulo Raposo

Nuno Pinto: Voice.
Paulo Raposo: other sounds
Voice recording and editing by Pedro Centeno (parva edições independentes)
Produced and zemixed for Radia.fm by Paulo Raposo

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Show 669: Bodies of Water by Laura Irving for Soundart Radio

This piece is a sound meditation on impact of water; how sounds of water affect humans, and how human sound effect the aquatic ecosystem.

Using interviews, field recordings and archive footage (including from GM’s ‘Futurama’ exhibit of the New York World Fair of 1939), Bodies of Water looks at how we evolve and progress, and whether the tide of development we’ve been sold is actually taking us toward a destination we want to arrive at.

Produced and mixed by Laura Irving (Laurairving.co.uk). Mastered by Jean Paul DuBock

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Show 668: “Radio Souvenir” by Radio Picnic (Radio Campus Bruxelles)

Radio Souvenir

A portrait made with the memory of Aless, Caroline, Vera, Christophe, Victor, Ychaï, Eleonora, Pauline, Franco, Vincent, Jole, Paul, Izabella, Héloïse, Arthur, Electra, Susie, Aline.

First episode of a collective memory investigation by Radio Picnic.
http://radio-picnic.zonoff.net

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Show 667: « Ex Nihilo (nihil fit) » / Kinda Hassan (Radio Grenouille)

« Ex Nihilo (nihil fit) » – Kinda Hassan


Lebanese artist Kinda Hassan deciphers the Marseille kaleidoscope through a sound installation titled “Ex Nihilo (nihil fit), nothing comes from nothing”, where she interrogates the different stories rendered invisible by the contemporary facade of the city.

In the sonic image she creates, Hassan presents the city and its port as a subject and its mirror, unveiling details of some origins, often assigned today to the margin, to oblivion. They are details that illustrate a quotidian life by the sea: hours spent waiting for boats, bodies carrying tons of goods, products animating the shelves of the city markets, trades born on the corpses of their antecedents. They are details evoking ruptures, silences and ends.

The work is an intimate encounter with a city brought back to its fundamental roots: Man and his experience with survival.


 

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Show 666: One Thought Fills Immensity by Sarah Washington (Kunstradio)

One Thought Fills Immensity

Social Dreaming Climate Change: A psychosocial research pilot study into the contemporary cultural unconscious of climate change

A task, an engagement, a celebration, a seriousness, a desire, a call to arms. In October 2017 a gathering of specialists in climate change – including artists, researchers, activists, members of the Climate Psychology Alliance, and scientists – were brought together in rural Dorset by Cape Farewell, to be led by experts in a research method called the Social Dreaming Matrix. After contemplation of a series of powerful climate-based artworks, the 16 participants undertook a shared exploration of their dreams, associations and feelings with the aim of illuminating the cultural unconscious of climate change.

In One Thought Fills Immensity, Sarah Washington navigates the results in the hope of furthering the project’s goal to articulate the subliminal themes most meaningful for culture in the era of climate change. It is a Mobile Radio production for ORF Kunstradio and the Radia network, produced on behalf of Cape Farewell.

Photo: bobcat rock (CC BY-SA 2.0)

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Show 665: Screaming Tower by Carlos Santos & Nuno Torres (stress.fm)

Screaming Tower is a sound project by
Carlos Santos: electronics, field recordings
Nuno Torres: alto saxophone.

Screaming Tower is a site-specific audio performance based on the flux of water delivery public system, and uses electronics, alto saxophone and field recordings diffused by a set of mobile loudspeakers. 

The performance took place in the last level of a resonant water tower, about 40 meters high, located in Barreiro city, Portugal, in June 2017, as part of a performance event commemorating 80 years of public water delivery.

The architectural space is the “motor” for the development of the piece. Each of the generating sound elements: electronics, field recordings, saxophone, contribute as all for the displacement of sound in the resonant circular dome of the water tower. The usage of low and high pitch sound material, small percussive elements found in field recordings or played by the saxophone, were distributed by realtime mixing process of carefully placed speakers, 
so that space could vibrate revealing its hidden “music”, as the last character in this broader sound spectrum process.
Music for vertical structures.

Mixed and mastered by Carlos Santos
Photos by Vera Marmelo

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Show 664: Avant moi / Before me (Jet fm)

“Pourquoi le moustique, il mange le sang
de nous et pas des pâtes ? (Why mosquitos eat our blood and not pasta?)
Pourquoi quand je regarde par la fenêtre,
elle bouge la maison ? (Why, when i look out the window, the house is moving?)
Pourquoi les lapins qui courent, ils sont en poils
et ceux qu’on mange, ils sont en viande ? (Why the running rabbits are made of furs but those we eat are meat?)
Pourquoi les fleurs, elles défleurissent ? (Why flowers unflowered?)
Où j’étais avant d’être dans ton ventre ? (Where am i before growing inside you?)
Avant moi, y’avait quoi ? (What’s before me?)”

Avant moi (Before me) is a play for kids created in october 2017 by the theatre company Rachel Mademoizelle.It’s about origin of life, creation of the planets, life on earth and evolution (in the darwin way) until our birth. Inspired by a same title childbook by drawner Emmanuelle Houssais it’s a tiny tale for 3 – 6 aged. Annaïck Domergue did the script and played, Henri Landré made the sound, played live each time, with parts of improvisation and accident (as life).
This is a radiophonic version of the play without any words (except the introduction), just trying to make sense about the evolution with sounds only.
Contains samples by Pierre Henry, David Hykes, Rafael Toral & Chris Watson. Introducing Misha Landré Domergue.

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Show 663: a radio séance for Vera Wyse Munro, by Celeste Oram (Radio One 91FM, NZ)

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Vera Wyse Munro (1897-1966) was a pioneering New Zealand ham radio broadcaster, improviser, and sonic experimenter. Her primary media were amateur radio broadcasts, Morse poetry, and sono-topographical scores. Via her broadcasts, which were frequently received by amateur radio operators as far afield as the United States and Europe, Munro initiated some of the earliest telematic performances, in which she would perform prepared violin in structured improvisations with other musicians broadcasting from elsewhere in the world. Munro’s work was often necessarily clandestine, as a result of legislation curbing amateur radio activity in New Zealand. As a result of this, as well as the absence of extant documentation about her life and her ephemeral practice, Munro’s work is only now starting to be regarded amidst New Zealand’s cultural history.

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this improvisational radio play is part-homage, part-seance, part-instructional score for the home listener. it joins an ongoing series of broadcast re-enactments relating to Vera Wyse Munro by artist and researcher Celeste Oram. here, the radio is a medium through which we channel the lost histories of Vera Wyse Munro’s pioneering radio experiments back into audibility, utilising the opportunity provided by the global reach of the international radia network as a way of calling on radio artists and enthusiasts around the globe to collectively keep vigil on the ionosphere. the hope is to summon the spirit of Vera Wyse Munro by attempting to receive her final radio broadcasts.

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improvisation re-constructions by Keir GoGwilt & Alex Taylor
starling poems by Keir GoGwilt
written & produced by Celeste Oram

http://verawysemunro.nz/

 

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Show 662: Architecture & Time (Kanal 103)

Artists interested in field recording and related musical practices are invited to a five day Audio Workshop “Architecture and time” in Stari Grad on island Hvar in Croatia headed by the musician and artist Schneider TM. The workshop took place in towns music school located in the Biankini Palace – Stari Grad Museum. Over a period of 5 days the participants explored the two parameters of architecture and time with the aim to translate them into music /soundscapes / audio pieces. Both topics were reflected in sound. One aspect is the architecture of the city itself and the other is the architecture of sound structures, whether it is a soundscape, sound art or a song. The aspect of time can be taken as history of the city, but also as linear sound produced by the use of architecture like reverb / resonance or by playing with the material structures of found architecture, formed by certain spacial specifications.The final works were presented in a live session in the museum´s garden. This is a short presentation of that presentation.

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Show 661: Dirar Kalash (radioart106)

[archiveorg radia_s39_n661_radioart106_Dirar_Kalash width=640 height=140 frameborder=0 webkitallowfullscreen=true mozallowfullscreen=true]Dirar Kalash is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of compositional and improvisational contexts. His performative and compositional approaches to instruments, techniques, and aesthetics are highly political as they challenge dichotomies, hierarchies, and binary logics of new/old and west/east as tools of cultural imperialism and hegemony. The methods he uses are based upon his research into the intersections and relationships of music and sound with other contexts such as language, architecture, mathematics, visual arts and further social and human sciences. His regular solo and collaborative performances include but are not limited to audio-visual performances, free jazz groups, string ensembles, solo piano, and live electronics.

Silence measured with blood

“… I did this piece along one other in 2009, during the assaults on Gaza, not much thought was done during / before I did it, so it’s totally improvised using short samples from different sources, some were sent by friends, some from news broadcasts.. I remember i just plugged in my equipment and started playing, the thoughts i had in my mind were of persistence against the evil and shameful forms of silence: moral silence, ethical silence, impotent silence, corrupt and innjust silence… but at the same time that persistence was also directed inside, as a form of resistance.”

“wily dancing with twenty one passing winds”

“Holding onto the will // wily dancing with twenty one passing winds” is a no-input-mixer piece, mostly improvised, but with a direction in mind, moving from ambient drone sounds to harsher sounds, not simply as an attempt to structure a certain form, but rather as a focus on content an expression which are essentially poetic, as the starting point for the work was the title as a poetic expression that gravitates close to a human gesture. However, the choice of a no-input mixer setup, as a purely machinic-electronic setup, which essentially contrasts a human gesture with a machinic one, came out of the need of a live and interactive setup that could allow a variety of sounds and noises which could be approached as raw and primal, however commonly heard as “feedback noises”, yet they allow for a particular tension that constitutes a creative framework which is able to merge experiment with experience, due to the unexpected “feedback based” nature of this setup, the choice of such musical and sonic tools also raises questions on the possibilities of sonic and poetic condensation.”

https://albayan.bandcamp.com

 

 

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