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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Show 660: cancelled

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Show 659: why is there something rather than nothing. deadpeoplesrecords (EastsideFM)

…taking a holiday in the universe of matter…

 

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Show 658: Urluberlu is getting Far/Etranger/Vreemd (XLair)



A collaboration between borders,
In a Europe that gets more and more closed from inside, the URLUteam decided to make a 6 hand piece with one motto : Far/Etranger/Vreemd.
Exploring the way we look at each other, knowing that it’s so strange to be a stranger.

More info about the collective : www.urluberlu.be

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Show 657: Method / Anna Zett (reboot.fm)

sdr

METHOD, by Anna Zett via reboot.fm 88.4 FM Berlin for radia.

In this spontaneous audio piece Anna Zett explores the interview as a form of monologue and a form of trialogue. It is centered around the artist’s visit at a professional fortune tellers office in Beijing.

She has brought her own deck of modernist tarot cards, he is willing to share his approach to situation analysis and fate calculation according to Chinese traditions. Mediated by a third person who is serving as translator, they enter a conversation about chance.

Anna Zett has written and directed two radio plays for the public radio in Germany, both of them dealing with voice-based oracles and the challenge of communication.

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