NaEE RoBErts is one of Norwegian visual artist Sandra Mujinga’s audiovisual projects. Mujinga has performed as NaEE RoBErts in both music and art contexts internationally. The materials presented are from “Summer Care”, which is NaEE RoBErts first casette release.
Photo Credit: Hanni Kamaly
www.sandramujinga.com
In this piece, ‘Trajectory’, devised by Milo Thesiger-Meacham, he and Patryk Gierczak very simply explore miscommunication. Recorded simultaneously in two separate studios, without any communication or forethought, this experiment relied only on the musicians being able to hear each other’s sounds. Produced by Milo Thesiger-Meacham, in association with Resonance FM. Painting by Milo Thesiger-Meacham. Engineered by George Rayner-Law.
Concept:
Each movement is a moment, a place in separate time. All the sequences have been placed together in order when they were first originally recorded. These sounds are all found in our world. Some natural, some man-made.
They are mostly, apart from one or two, all field recordings, everyday sounds of the forgotten, music that we choose to ignore or music that just passes through and hides within our subconscious.
I have altered these recordings and given them a new life, new breath.
Mixed and Mastered in my kitchen on a Monday morning.
Jared Sagar
Bio:
Jared Sagar is a composer from the United Kingdom. He specialises mostly in the experimental genre mixing drone/ambient/minimalism and abstraction together. His works feature field recordings as the basis to the sound, then he manipulates these recordings to give life to something new, something different and fresh.
Jared has released works on several labels including Sonospace, Phonographiq, Post Global Recordings and Petroglyph.
soundcloud.com/jaredsagar
discogs.com/jaredsagar
Field recordings realised in Hong-Kong during the mentorship program organised by soundpocket, between October 2014 and April 2015. Composed in Spring 2016.
Tai Po Kau, I couldn’t imagine such a peaceful forest as a first intimate contact with this territory.
A harbour in Chai-Wan, the light and the heat, a meeting on the pier, someone borrowed my equipment.
Lamma Island and its rural landscapes, a place where my guide and friend should own a house.
The street intersections are sonified by a system which adapt the level of its signals by measuring the intensity of the sound of the traffic. The intentions are probably good, trying to preserve a little bit of the relative quietness, but made me feel like my aural sensitivity was alternatively increasing and decreasing.
Mai Po Nature Reserve offers to walk through the frontier into the mangrove, to listen to the birds between the two systems, to observe thousands of amphibians fishes jumping in their little holes while the nearby brand new megapolis exhales something undefined.
During a public workshop led by one of the participants of the program, we visited a tiny hill which pretend to be an island. And I took their voices.
On Tung Ping Chau Island, I found a shell of a dangerous mollusc and some shards of old ceramic, but maybe it wasn’t so significant. The shores were reminding me the Mediterranean Sea. At Kadoorie Farm, the eyes of the some friendly flying mammals caught my attention. Near Apliu street, an old lady was selling dusty cassettes and the eyes of Sun Ma Sze Tsang convinced me. During their trip in Taiwan, each of them was recording a small message for me on the same cassette tape. But at the end, the Maxell C60 type I was containing only hiss, clicks and rumble and a few seconds of some random FM radio.
And finally I understood that the title wasn’t a question.
All my gratitude to the team of soundpocket, all my friendship to the participants of this program and to the people I met during my short but intense visits in Hong-Kong.
www.soundpocket.org.hk
Special radio version for Radia curated by Paulo Raposo.
Yannick Dauby is a sound artist living in Taiwan. Obsessed by listening the environment. Feels naked when he doesn’t wear microphones and headphones. In a special relationship with treefrogs and modular synthesizer. Improvises with branches and stones. Collaborates with communities in Hakka and Austronesian territories.
With my family, I spent October at the Radio Revolten Festival in Halle (Saale) along with many other Radia artists, and the global radio art community. This extraordinary, elaborate, dignified and vital event broadcast live on FM and MW in the city, and through many other channels. Live art surrounded us, including performances at the festival HQ, and a rich sense of community, built through artistic collaborations, late night conversations, shared food, and care for one another and for those we were broadcasting to. As the outside world felt at danger from the rise of reactive, violent political perspectives, the need to broadcast art, and for that art to be whatever it needed to be, felt increasingly significant.
30 days of Radio Revolten, 30 C15 cassette tapes, 1 tape filled each day. 1 minute of each tape is selected here for you.
These are not a representation of this amazing festival, its artists and broadcasts, but mostly a tuning-in to the moments in between. In the heat of experiencing radio art, I rarely remembered to record anything. The cassette players were awkward to carry around, and sometimes I couldn’t be bothered. Moments of Revolten broadcasts were taped back at the flat we stayed in, and sometimes off the radio set downstairs in the Revolten HQ cafe. These recordings are low quality, irritating, and vague.
Listening to the radio art installations at Rathausstraße 4 brought a new ear to Halle’s city centre, roaring away outside the building. Trams, buskers, church bells, passing conversation and weather kept the festival radiating around the city for anyone who had passed through the building. Choosing to capture my month in Halle on cassette freed me from trying to make beautiful and precise digital recordings. The tape recorder often stayed in my bag, was grabbed by others, or licked by the coypu in the park. Still the sounds shine through the medium – here my memories are not relived, eerily like the original moment, but behave more as memories do in my mind – damaged, deteriorated, remade, rearranged and lost in time.
Thanks, love and apologies to everyone at Revolten, particularly those whose voices have unwittingly appeared here.
For acsr 20th birthday party, Thomas Turine performed an electronic live version of Enfonçures. He previously composed this soundtrack for Caroline Logiou’s theater piece based on Didier-Georges Gabily’s poem, about the 1st Gulf War.
Thomas Turine is a composer, a musician and a sound artist. He has created and is leading the Cosipie Ensemble which gathers musicians, singers and actors. They work together on his contemporary musical compositions and his musical theatre pieces (“88 Constellations“).
He also works with artists from performing arts, plastic arts and auteur cinema. He started off his musical journey as a child with folk music, then he discovered new wave music (LVDCR), rock music (Major Deluxe 2001-2009), acid-house and electronic music (Sitoid 1996-:::).
Since 2002, he’s been closely working with stagedirectors, movie makers and choreographers who are interested in exploring contemporary forms and making new creations. He both composes the music pieces and designs audio spaces. He has created the electro-acoustic sound system for about 60 pieces. He invents his own instrumental composition process, either on computers or on paper. He turns his composition into something more plastic. He likes to take on a visual representation of the world and creates a new one. His work on space, both in the matter of his musical composition or the sound spatialisation tends to work itself in a subliminal way so that the perception of his pieces are organic. The body of the listener has to be engaged and engrossed. He intends his music to be a place of encounter with the listener.
In 2013 with acsr, he creates HO, an abstract radio piece based on sounds collected in Iceland. With the acsr too and the ONA, Thomas launched in 2016 the In Ouïe project, a thinking and exchange project on hearing, between blind people, sound practitioners and everyone.
picture © Hichem Dahes
www.thomasturine.com – cosipie.bandcamp.com – www.acsr.be/production/ho
APL-C06_GH
1 minute + 1 minute (remix) x12
Here is a sound collage composed of works of students in Plastic Arts (Aix-Marseille University).
Code : APL-C06_GH – Plastique Sonore
Setpoint 1 : realize a 1mn piece, focusing on the editing effects.
Set 2 : the piece is transmitted to another student to be remixed.
Each student then produces a piece and then receives one to be remixed.
The sources are free, but the exercise is designed to explore the characteristics of the selected sounds and their shaping by digital audio mixing and editing tools.
You will hear a minute, then his remix, in a course sometimes crude, where the sounds explode.
The first and last pieces are solitary because they were produced last year.
A circulation, from one cycle to another …
Final assembly made at Atelier-Studio Euphonia
…………………………..
Voilà un collage sonore composé de travaux d’étudiants en Arts Plastiques (Licence 2 – Aix-Marseille Université).
Code : APL-C06_GH – Plastique Sonore
Consigne 1 : réaliser une pièce de 1mn, en se concentrant sur les effets de montage.
Consigne 2 : la pièce est transmise à un autre étudiant pour être remixée.
Chaque étudiant produit donc une pièce puis en reçoit une à remixer.
Les sources sont libres, mais l’exercice vise à explorer les caractéristiques des sons choisis et leur façonnage par les outils de montage et mixage audio-numérique.
Vous entendrez une minute, puis son remix, dans un parcours parfois brut, là où s’explorent les sons.
La première et la dernière pièce sont solitaires, car produites l’année passée.
Une circulation, d’un cycle à l’autre…
Montage final réalisé à l’Atelier-Studio Euphonia
a Sound march
As part of the Women Wage Peace movement in Israel and Palestine, On October 19th 2016 I joined the last day of the March of Hope. We travelled from the Western Galilee to the dead sea where we met our Palestinian partners, then travelled to Jerusalem where we marched to the house of the Prime minister to conclude the march with a final assembly.
At the approach to the street of the Prime Minister’s residence a black barrier was present.
Supported by worldwide solidarity events and the participation of the Liberian peace activist Leymah Gbowee thousands of women marched throughout Israel between October the 4th and October the 19th. The march demanded from the leadership of the state to work with respect and courage towards a solution to the ongoing violent conflict, with the full participation of women in this process. Only an honorable political agreement will secure the future of our children and grandchildren.
Speakers/Singers in order of appearance:
Laymah Gbowee, Dvora Pearlman, Women of Shefa-‘Amr, Laila Najar Amouri,
Clemence Abud, Talia, Guy, Huda Abuarkoub, Hagit Lavi.
recorded, edited and produced by Meira Asher.
Photo: Ruty Kedar Lior
The first instalment of Strippd-down radio is an exploration into the experience of fear, as told through phone interviews. The segment attempts to demonstrate different experiences with fear through experimental audio and is entirely unscripted.
Strippd-down is a collective that aims to to deconstruct the way we consume and create media. Stay tuned for more.
For inquiries email strippd.down@gmail.com. Don’t get caught up; get stripped down
“(T)HERE” is one of a series of works I have made mediating electronic and acoustic sound to create imaginary spaces that nonetheless refer to an actual place. At the back of my garden there is a wall that at night reflects sound coming from the rubbish disposal operation centre some kilometres away. This piece is made entirely (with the exception of the two drones that come to prominence in the second half) from recordings made on the walk from my back room where I worked on it all the way down to the rubbish centre: traffic sounds, trucks loading, beeps and alarms, birdsong from blackbirds and currawongs, rain and insect sounds, reflected echoes from a distance etc. Many sounds are heavily granulated and pulverised to become abstracted noises with something of the original timbre preserved. The high pitched “strings” are concrete sounds put through filters tuned to the pitches present in the song of the blackbird. The basic pitches of the two drones in the piece are tuned to the birdsong as well. The basic idea of this and other environmentally derived works like it is to present and simultaneously disrupt this “tuning of the world”.
Keith W Clancy is a Melbourne-based composer, sound, video and installation artist. He currently studies sound at RMIT and was trained primarily in philosophy and fine arts some time late last century. His most recent work was “Corrective Services” for computer controlled organ and electronics performed on the grand organ of the Melbourne Town Hall (https://soundcloud.com/keith-w-clancy/corrective-services-for-organ-and-electronics-live-recording). He also performs and records long-form drone works under the name Wolftöne (https://wolftoene.bandcamp.com/).