The XLair’s URLUteam is back on the radia waves with this 28′ excerpt of
a one hour live improvisation show.
Starring Lukas with his DIY flutes and
Gerald with his loops and effects.
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Show 688: Lüftung by Anna Bromley & Co. (reboot.fm)
Lüftung: The radio broadcast
By Anna Bromley, by, and with Jasmina Al-Quaisi, Petra Beck, Basma Elmady, Christine Eßling, Yayla Höpf, Lena Knäpper, Lena Schubert, Cindy Wegner, and Seoyoung Won.
Conceived, recorded and montaged by a group of radio-affine nGbK-visitors, the 1-hour broadcast explores the ambigue notion, and theme of the nGbK-exhibition “Left Performance Histories”.
It compiles artifacts and archival material from performances in Poland, Hungary, Jugoslavia, and Rumania between 1970 and 1989. Encountering its visual material and accompanying conference, the broadcast interweaves and montages the auditory side and texts of the exhibition with the questions and commentaries of the group, while visiting the show. How can our perspectives relate to the articulations of left critique in this setting? What has been left for us to perceive? Inhowfar did these performance come to an end, as they spark they an “archival archeology” which might be conceived as a montage in itself?
http://reboot.fm/
Show 687: Excerpt from Ptičji Mozak by SsmKOSK (Radio Student)
Excerpt from Ptičji Mozak
The presented material is an auditory stream of 4 compositions – a segment of the recent sound work by the audiovisual artist, poet and linguist Blaž Božič, released under alias SsmKOSK in the form of an album by Zvočni Prepihi record label in 2018.
Inter alia, it serves to exemplify his creative methods dealing with semantic multiplicity of music genre fusion, topologically specific to post-transitional Eastern Europe soundscape, most noticeably – turbo-folk. During the process of critical observation of the latter and working in the field of contemporary electronic music and sound art, the artist developed conceptually intricate techniques of working with sound, which further accelerate genre fusion by juxtaposing various found samples and usage of classical and non-classical instruments alongside spoken word, circuit bent equipment (guitar pedals, portable CD and VHS players, drum machine, etc.) and DSP tools for medium reconfiguration.
photo by: Blaž Božič
Show 686: “The Lost Hour” and “What is a Collaboration?” by Karen Werner (Wave Farm/WGXC)
Excerpt from “The Lost Hour” a series of short experimental radio autoethnography pieces made by students in Hörvergessen, a course taught by Ricarda Denzer at the Universität für Angewandte Kunst Wien, in which Karen Werner visited as guest artist and introduced students to radio autoethnography. Students participating in the class: Ahreum Kwag, Aral Cimcim, Ayse-Gül Yüceil, Binta Diallo, Elnaz Haghghi, Hanna Kucera, Hannah Sakai, Hector Schofield, Huda Takriti, Karl Kühn, Katharina Spanlang, Laura Irmer, Laurids Oder, Lea Föger, Liim Jang, Martina Pouchlá, Nazanin Mehraein, Oscar Cueto, Ramiro Wong und Simeon Jaax. Produced in March 2018.
Also included is “What is collaboration?” a radio autoethnography assemblage by Karen Werner and Deanna Shoemaker. Produced in May 2018.
Show 685: Sensathesia (TEA FM)
Sensation is the body’s detection of external or internal stimulation (e.g., eyes detecting light waves, ears detecting sound waves). Perception utilizes the brain to make sense of the stimulation (e.g., seeing a chair, hearing a guitar).
Sensation involves three steps:
- Sensory receptors detect stimuli.
- Sensory stimuli are transduced into electrical impulses (action potentials) to be decoded by the brain.
- Electrical impulses move along neural pathways to specific parts of the brain wherein the impulses are decoded into useful information (perception).
For example, when touched by a soft feather, mechanoreceptors – which are sensory receptors in the skin – register that the skin has been touched. That sensory information is then turned into neural information through a process called transduction. Next, the neural information travels down neural pathways to the appropriate part of the brain, wherein the sensations are perceived as the touch of a feather.
Children are often taught five basic senses: seeing (i.e., vision), hearing (i.e., audition), tasting (i.e., gustation), smelling (i.e., olfaction), and touching. However, there are actually many more senses including vestibular sense, kinesthetic sense, sense of thirst, sense of hunger, and cutaneous sense.
Synesthesia is a neurological condition in which stimulation of one sensory or cognitive pathway (e.g., hearing) leads to automatic, involuntary experiences in a second sensory or cognitive pathway (e.g., vision). Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of color. Since synesthesia can involve any combination of the senses, there may be as many as 60 to 80 or subtypes, but not all have been documented or studied, and the cause is unclear.
The most commonly seen type is grapheme-color synesthesia, in which individual letters and numbers are associated with specific colors and sometimes colorful patterns. Some synesthetes perceive texture in response to sight, hear sounds in response to smells, or associate shapes with flavors.
Many synesthetes have more than one type of synesthesia. It is estimated that approximately 3 to 5 percent of the population has some form of synesthesia, and the condition can run in families.
How can we explain the result if you mix sensation and synesthesia with the human sound perception?
We call it Sensathesia. This is a work born from the imagination of the Itinerary of Radio TCR 10.1 from TEA FM Radio School based on an original idea from Laura Sierra and Stel Garcia.
show 684: Le non-lieu du rêve by Philippe Petit (Radio Panik)
Philippe Petit : Le non-lieu du rêve
In this “no-space of dreams” the listener is at a crossroads of shared, multiple dreams; an interchangeable space to make his or her own and relax into…
A combination of field recordings, varied and prepared movements by Philippe Petit on his instrumentarium, fingernail rubbings-snappings by Chantal Rouet, and an inverted poem spoken by Julie Lagier.
Le non-lieu du rêve se voudrait être un carrefour de rêves multiples, de relations entre les songes, espace interchangeable que s’appropriera l’auditeur/trice pour se laisser-aller… Combinaison de field-recordings, de mouvements divers ou préparés de Philippe Petit sur son instrumentarium, de frottements-claquements d’ongles par Chantal Rouet, et d’une poésie inversée-dite par Julie Lagier…
Image/paintings by Eugénie Petit–Ginoux
show 683: Blues for Aliens by Dr Klangendum (Radio Worm)
Another attempt by the Dr Klangendum crew to put a finger on (or between) the buttons of Fiction and Sound (yes both with capital capitals). You might not believe us but we really were contacted by Aliens WHO MEAN GOOD but don’t ‘get’ our planet’s music much.
So we started to explain it to them, mainly how to arpeggiate the blues, as that is where it’s all at, isn’t it. And don’t underestimate the inner monologue with eyes closed.
Sounds and editing by Dr Klangendum, Rotterdam, 2018
www.worm.org
https://www.concertzender.nl/?s=dr+klangendum
Show 682: The melody of a fallen tree by Radia Collective Vienna (Radio Orange 94.0)
Show 681: NOTHING LIKE US EVER WAS by Gregory Whitehead & Ice Cristals by Leni Süß (Radio CORAX)
Can radio art comment, torpedo, disrupt and cross the flood of information we are facing today? This show’s radio pieces have in mind the approach of the philosopher Santiago Zabala, who trusts in the power of art works to raise awareness “for an emergency that is absent because of the very danger it implies.”
NOTHING LIKE US EVER WAS
radio performance by Gregory Whitehead
with vocalist Laura Wiens
based on Carl Sandburg’s „Four Preludes on Playthings of the Wind“:
The past is a bucket of ashes.
1
The woman named Tomorrow
sits with a hairpin in her teeth
and takes her time
and does her hair the way she wants it
and fastens at last the last braid and coil
and puts the hairpin where it belongs
and turns and drawls: Well, what of it?
My grandmother, Yesterday, is gone.
What of it? Let the dead be dead.
2
The doors were cedar
and the panels strips of gold
and the girls were golden girls
and the panels read and the girls chanted:
We are the greatest city,
the greatest nation:
nothing like us ever was.
The doors are twisted on broken hinges.
Sheets of rain swish through on the wind
where the golden girls ran and the panels read:
We are the greatest city,
the greatest nation,
nothing like us ever was.
3
It has happened before.
Strong men put up a city and got
a nation together,
And paid singers to sing and women
to warble: We are the greatest city,
the greatest nation,
nothing like us ever was.
And while the singers sang
and the strong men listened
and paid the singers well
and felt good about it all,
there were rats and lizards who listened
… and the only listeners left now
… are … the rats … and the lizards.
And there are black crows
crying, „Caw, caw,“
bringing mud and sticks
building a nest
over the words carved
on the doors where the panels were cedar
and the strips on the panels were gold
and the golden girls came singing:
We are the greatest city,
the greatest nation:
nothing like us ever was.
The only singers now are crows crying, „Caw, caw,“
And the sheets of rain whine in the wind and doorways.
And the only listeners now are … the rats … and the lizards.
4
The feet of the rats
scribble on the door sills;
the hieroglyphs of the rat footprints
chatter the pedigrees of the rats
and babble of the blood
and gabble of the breed
of the grandfathers and the great-grandfathers
of the rats.
And the wind shifts
and the dust on a door sill shifts
and even the writing of the rat footprints
tells us nothing, nothing at all
about the greatest city, the greatest nation
where the strong men listened
and the women warbled: Nothing like us ever was.
ICE CRISTALS (14:00 min, 2017/2018)
by Leni Süß
field recordings: Halle/Saale, 2017, Wegajty 2015, Ürzig 2016 and Baracoa, 2015
Many thanks to the story tellers Anke Zimpel, Sviatlana Haidalionak and Sarah Washington.