Written in 1924 by Hans Flesch, “Magic on the Radio” depicts chaos surrounding a radio broadcast under siege by conflicting interests and mysterious technical problems. This was reportedly the first radio play ever broadcast in Germany. This is the debut of a new translation of the text by Carl Skoggard and Franziska Lamprecht. Recorded Feb. 24, 2018 at HiLo in Catskill, New York before a live audience. Featuring: Tom DePietro, Brian Dewan, Jeff Economy, Philip Grant, Maria Manhattan, Debby Mayer, Tom Roe, and Phyllis Segura. Directed and produced by Alanna Medlock and Jess Puglisi. wgxc.org wavefarm.org Click here to download or play audio.
Show 713: TEA FM. Sounds views from another places
A brief resume from 10 years of radio creation and experimentation workshop, trying to make posible another kind of radio broadcasts.
Three words are our rules:
Imagination ( noun) imag·i·na·tion | \i-ˌma-jə-ˈnā-shən \
1: the act or power of forming a mental image of something not present to the senses or never before wholly perceived in reality
2a: creative ability
b: ability to confront and deal with a problem : RESOURCEFULNESS
use your imagination and get us out of here
c: the thinking or active mind : INTERESTstories that fired the imagination
3a: a creation of the mindespecially : an idealized or poetic creation
b: fanciful or empty assumptio
Creativity (noun) cre·a·tiv·i·ty | \ˌkrē-(ˌ)ā-ˈti-və-tē, ˌkrē-ə-\
Definition of creativity
1 : the ability to create
her artistic creativity
2 : the quality of being creative
Risk (noun) \ˈrisk \
Definition of risk (Entry 1 of 2)
1 : possibility of loss or injury : PERIL
2 : someone or something that creates or suggests a hazard
3a : the chance of loss or the perils to the subject matter of an insurance contract
also : the degree of probability of such loss
b : a person or thing that is a specified hazard to an insurer
c : an insurance hazard from a specified cause or source
war risk
4 : the chance that an investment (such as a stock or commodity) will lose value
at risk
: in a state or condition marked by a high level of risk or susceptibility
patients at risk of infection
Risk (verb) risked; risking; risks
Definition of risk (Entry 2 of 2)
transitive verb
1 : to expose to hazard or danger
risked her life
2 : to incur the risk or danger of
risked breaking his neck
With the talent and voices of Santi Ric, Máximo Pinilla, Luis Trébol, Miguel Angel Lordán, and all the students from TCR TEA FM
Show 712: Homeless by Flavien Gillié for Radio Panik
Flavien Gillié : Homeless
I’ve been recording homeless people for a few years now, talking to me, or sometimes talking.
Generally I geolocate them on a soundmap, it’s a way for me to tell where they have been, where they lived.
This Radia creation is a montage of various recordings from Homeless people in Brussels.
Show 711: Almanack of Breath by Ash Kilmartin for Worm/Klangendum
The Almanack of Breath
Recounting the life of the punitive, eavesdropping Tutivillus, a medieval character also known as the Recording Demon, ‘The Almanack of Breath’ proposes another character: a nameless, invisible and inaudible allegorical figure of Listening. This creature promotes an ethics of listening by collecting and donating different forms of breath to those who need it. Month by month, each of the twelve ‘Seasons of Breath’ details the type of breath – a gasp, or yawn or a sigh – that the listener should take care to hear.
‘The Almanack of Breath’ is based on a book published by Other Versions (2018), written by Ash Kilmartin with drawings by Collette Rayner. This audio version was made in the WORM studio, starring little bits of Arp Odyssey, Arturia Minibrute, an old Yamaha PortaSound and some field recordings.
Ash Kilmartin is an artist from New Zealand who lives in Rotterdam.
Thanks to:
Lukas Simonas
Bergur Thomas Anderson
ashkilmartin.net
otherversions.tumblr.com
produced by Worm/Dr Klangendum
Show 710: Zufall (Randomness) by Wiener Radia Kollektiv for Radio Orange 94.0
Zufall, zufällig, Zufallsgenerator, zufallen, to fall, accidens, accidere – from latin: ad ‘to’ and cadere ‘to fall’ – in german a calque, in english taken directly from the latin word and therefore accidentially.
To form a radioshow around the topic needed more than an accidentially arranging of accidentially recorded files.
Serendipity revolves around the “glückliche Zufall”. With a little help from the word “Zufall” the German languages is providing a whole space with a single incident. The differentiation is neither precise nor clear. Our world in patterns and algorithms produces a fear of randomness and uncertainty. Hence the “Zufall”-itself suddenly turns into a protected species. This poetic road-feature is an attempt to search for the “Zufall” and find:
accident der Zufall Pl.: die Zufälle chance der Zufall Pl.: die Zufälle hazard der Zufall Pl.: die Zufälle luck der Zufall Pl.: die Zufälle coincidence der Zufall Pl.: die Zufälle happenstance der Zufall Pl.: die Zufälle fortuitousness der Zufall Pl.: die Zufälle fortuity der Zufall Pl.: die Zufälle fortune der Zufall Pl.: die Zufälle concurrence der Zufall Pl.: die Zufälle hap der Zufall Pl.: die Zufälle contingency der Zufall Pl.: die Zufälle fluke [ugs.] der Zufall Pl.: die Zufälle lucky break glücklicher Zufall serendipity glücklicher Zufall contretemps unglücklicher Zufall fluke [ugs.] glücklicher Zufall fortunate coincidence glücklicher Zufall
We didn’t only acoustically look for it but constructed frameworks around our “Zufall”. Created beds for it, went on a journey, set up surveillance micros for ourselves and started with a meeting without a meeting-point. We welcomed the “Zufall” back to our hyper-controlled lives, created to protect us from disappointment and frustration but creating a series of frustrating reciprocal effects.
Contributors:
Maria Herold
b#
Barbara Kaiser
Lale Rodgarkia-Dara
Karl H. Schönswetter
Peter Wetzelsberger
Thanks to:
Maria Sulzer & Family
Majo
Nikola
Manuel Waldner
You will find this radia-transmission also on the CBA Archive.
Show 709: Find Your Own Raven Voice, by Claire Serres (Radio Corax)
Hi listeners, here I’m talking about the present voice, sharing energy and transformation. Here, I’m talking about performance, about body feeling facing the microphone. I’m a performer, invited for three months of experimentation in the course of the Radio Art Residency at Radio Corax. Here, your are listening to a composition with the voices of Radio Corax members.
Twice a week, I invite a voice of Corax to join me in the studio for a live “Hörspiel”.
Find Your Own Raven Voice is an on air playground to improvise the deconstruction of language, our uncontrolled voice, and to hear a voice we’ve never heard before.
If you want to find, you have to know how to lose. This is the game.
Give me your tongue and I’ll give you energy.
Claire Serres is a performance artist based in Paris. She considers radio primarily as a real-time medium that invites to play with the quality of the live moment. Currently Serres is the second scholarship holder of the Radio Art Residency, an artist-in-residence program by Radio CORAX and the Goethe-Institut, which makes international activities in the young art genre of radio art visible and audible.
Claire Serres has realized works for documenta 14 Radio (2017), the Strasbourg Museum of Modern and Contemporary Art (2016), and Art’s Birthday 2014 SWR/E-Werk Freiburg. She also works as an editor at the independent radio station Frequence Paris Plurielle 106.3 FM, where she presents the daily current affairs magazine.
Show 708: cancelled
Show 707 – Tuning the World by Jean-Philippe Renoult (Campus Paris)
Tuning the World is a series of active field recording transmissions that began over the
Summer 2018 during a residency at Wave Farm (Acra NY), and continued in the mountainous Telemark region of Norway.
My intention is to create an open air dialogue between soundscapes and drone music practices. For this I play a shruti box, an entirely organic drone generator usually used by Indians raga musicians. During these field recording sessions, I play the shruti box quite far from the microphones, mingling in my surroundings.
It is no secret that Tuning the World alludes to R Murray Schafer’s essay “The Tuning of the World” and his concept of wilderness radio. In this edition you can hear swifts swooping around a cemetery in Norway, a motorcycle engine roaring at the bottom of a valley, distant traffic on an American road, the lapping of the waves on a mountain lake, and the timid wildlife of New York state combined with the natural resonances of the Wave Farm Study Centre… and of course the shruti box tuning and retuning to it’s immediate environment.
This “New York to Telemark edition” of Tuning the World is dedicated to Pauline Oliveros.
Wave Farm is close to where she used to live and there is one particularly resonant tree on a wooded part of the property that she played where I too chose to begin, and listen.
credits
environmental recordings : DinahBird
shruti box, edit and mix : Jean-Philippe Renoult
Show 706: Deep Time, by Charlotte Parallel (Radio One 91FM, NZ)
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Charlotte Parallel: Deep time
Charlotte Parallel’s practice operates within a geophysical framework, engaged directly with physical properties and processes of the Earth. This has seen her explore areas such as sound waves, transduction, conduction, seismic vibrations, field-recording methods, and the relationship our bodies have to these processes. Parallel’s research phase is fundamental to the way in which her practice operates, revealing the potential of specific sites where she will record data, both above and below ground. This data, which is often inaudible in its raw state, is then translated into sound works. These works make visible/audible elements that are often overlooked, ignored or inaccessible in their original state, but constantly moving through and around our environment.
This exhibition explores the concept of deep time, or geologic time, in various locations across Ōtepoti Dunedin. Deep time, a concept developed in the late 18th century (but not coined until the 20th century), speaks to the way that key events and successive changes to the earth are measured over an expanded timescale, within the mineral make-up of the earth itself. This area of geological study provides a framework for engaging directly with the past, measuring cycles of sedimentation and erosion that have come to shape the land.
Parallel worked in collaboration with a seismologist, using sensors and computers to listen to and record the earth in sites across the city. Each site speaks to various stages of movement and distribution of earth including Te Wai o Tinirau / Makereatu / Blackhead Quarry, Walton Park Sand, Logan Point Quarry and in the base of various storm drains. In Deep time Parallel uses sound, accessed by the viewer through telephones, to analyse distinctive formational changes that have taken place within these sites – reminding us that the land is not static but ever-changing, responding and adapting to both organic and forced movement.
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Charlotte Parallel is a New Zealand artist based in Koputai Port Chalmers working in the fields of sculpture, sound, performance and collaboration. She has been exhibiting within New Zealand consistently over the last 16 years and internationally since 2010.
Deep time was commissioned by Dunedin Public Art Gallery, for the exhibition FOUR: Kim Pieters. Charlotte Parallel. Megan Brady. Aroha Novak, 25th Aug 2018 – 18th Nov 2018
images: Iain Frengley
text: Lauren Gutsell
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Deep time was conceived as an interactive installation, for one or many listeners. This edit by the artist was made especially for the international radia network, recomposing the work’s sites and sonic materialities as a piece specifically for the radiophonic context.
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Show 705: “Meanderings. Acoustic Measurings of the City.” (Radio Helsinki)
“Mäanderungen – Akustische Vermessungen der Stadt”
“Meanderings. Acoustic Measurings of the City.”
By and with Nayarí Castillo, Reni Hofmüller, Miriam Raggam, Hanns Holger Rutz for Radio Helsinki, Graz
The city is the place where we live. The design of the city seems to pretend who is moving in it. “Meandering” is an acoustic suggestion to develop other forms, in real physical space as well as in the imagination.
Part of the material production is based on the interpretation of different spatial realities such as facades or columns. They are photographed, signed, recorded by means of sensors or by pressure and processed with text fragments into a composition that manifests itself both as a radio-listening piece and in the form of a spatial installation.
“Developing and allowing for an exploratory process that corresponds to one’s own, peculiar, subjective, just-happening, use-free, exploratory walking, being, moving in the city, and making that audible. Admitting idiosyncratic ways of urban space viewing, introducing unusual measurement units that apply briefly, and then no longer allow themselves to be distracted, and instantly recognize that distracting is only possible if there was a focus beforehand.
Achieving a state of de-optimization, circumventing the notion of efficiency, allowing moments of losing and losing, enabling a degeneration, a noise, a simultaneity of different realities, a series of condensations, a finding and losing, a series of instructions – for senders and receivers, translations of the visual, from tactile to sonic – with human language and metaphor, and with technical language – software, polyrhythms and polyphony, perception of time, the actors perceive as time units, 11 drops, speed / and rhythm, of facades, of own walking, of water, Imaginary Landscapes create and chaotic numbering, bring about collisions and understand the (own) body as a surveying device and use, lying on the sidewalk and hear the channel grille laugh, visible and invisible and the Change color.
From this we can develop ideas for a generator, a machine that is fed with all these materials and produces a variation or variations of a radio play. ”
(Introduction from the score to meanderings)
lime_lab | Installation
Mäanderungen – Akustische Vermessungen der Stadt
“Meanderings. Acoustic Measurings of the City.”
23.9.–14.10. im Reagenz, Morellenfeldgasse 11, 8010 Graz
Eröffnung/Opening: So, 23.9., 12.00 Uhr
Do–Sa 14:00–19:00, So 12:00–16:00
Eintritt frei
