Show 619: Listening Through Walls by Lucreccia Quintanilla (Radio One 91 FM)

In 2014, through the Freedom of Information Act, a series of formerly unavailable files held by the Australia Security Organisation became available to the public. Melbourne-based artist Lucreccia Quintanilla became interested in working with certain of these files, in developing a commissioned work for If People Powered Radio: 40 years of 3CR, an exhibition commemorating the 40th anniversary of important Fitzroy-based community broadcaster 3CR radio station at Gertrude Contemporary gallery in Melbourne, Australia, which ran from 18 March–23 April, 2016.

Through presenting physical and material artefacts, “a combination of recordings, technological hardware, photographic and textual documents from the station’s vast historical archive,”alongside new works, performances and broadcasts by contemporary artists, the exhibition foregrounded “the station’s history of radical broadcasting and how it has thrived in its endeavour to foreground the often unheard voices of Aboriginal people, women, workers, ethnic and GLBTIQ communities, people with disabilities, environmentalists, artists and musicians”and “an opportunity to explore the politics of broadcasting and listening, and the different material and aesthetic supports that facilitate 3CR’s engagement with its diverse and progressive publics.”

The artist writes: “3CR is a grass roots community radio station which has had a very important and continues to play an important role in developing the left politics of Australia and gives a voice to many issues and communities that otherwise do not get airplay.” In developing the work, she found it particularly interesting that part of the archival material of the station included records of the ways in which it was put under surveillance by the very Government it was critiquing.

The initial work was presented as an installation within the gallery at Gertrude Contemporary, where it staged the dynamics of the secret, and spying. Focusing on a document detailing a meeting held in the Melbourne town hall in august 1977 organised by the Australian independence movement, attended by between 400 and 600 people, the sound of the recorded script being read was amplified through a set of very large speakers in a stack that were pointed towards a wall, but this sound could only be heard through the other side of the wall, by placing an ear to one of a set of glasses which had been permanently secured to the wall. This reworking for radio is a reading of the file as a script for two voices.

Lucreccia Quintanilla

is a multidisciplinary artist, writer and DJ. She is currently undertaking a PhD at Monash University. Her most recent exhibitions include Rhythmic Traces at Bus Projects,  If People Powered Radio celebrating the 40th anniversary of Community radio station 3CR at Gertrude Contemporary and Liquid Architecture’s Fem(X) series at Westspace. Quintanilla has received grants from Arts Victoria, the Australia Indonesia institute the National Gallery Women’s Encouragement Award and the Australian Postgraduate Award. Most recently she has been awarded the 2016 NAVA Sainsbury Sculpture grant. She has presented her work in Auckland, Chicago, New York, Berlin, Yogyakarta, Sydney and Melbourne where she is based. Quintanilla has worked as an arts worker at Arts Project Australia, has lectured at Auckland University of Technology and taught at Signal Arts as well as project managing the Multilingual international publication Mapping South. Her collaborative written work with artist/curator Leuli Eshrahi has most recently been published in peer-reviewed journal Writings From Below. She is currently a member of the selection committee at Westspace.

https://lucreccia-quintanilla.squarespace.com
http://www.3cr.org.au/news/if-people-powered-radio-40-years-3cr-gertrude-contemporary

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Show 618: LANDUNTER by LASSE-MARC RIEK (radio x)

Unfathomable Sea! whose waves are years, / Ocean of Time, whose waters of deep woe /
Are brackish with the salt of human tears! / Thou shoreless flood, which in thy ebb and flow
Claspest the limits of mortality, /
And sick of prey, yet howling on for more, / Vomitest thy wrecks on its inhospitable shore; /
Treacherous in calm, and terrible in storm, /
Who shall put forth on thee, /
Unfathomable Sea?

[Percy Bhysse Shelley: Time. From: “Posthumous Poems”, Ed. by Mary Shelley, 1824]

LANDUNTER, two words merged into one: “Land unter!”, “Land submerged”. The howling winds are announcing a storm. Its ravenous anger will stir up the sea; waves raising high, hitting the coast, covering the land. “Land unter!” Sure, theyíve taken measures to break the forces, and for some decades, at least it would seem so, with reasonable success. However, in the meantime ñ sick of prey, yet howling for more ñ they forgot about other measures that should have been taken, so the winds became stronger and the waters rose. And the waves are singing. Sooner or later the island will be literally gnawed down and eaten up by the winds and the sea and sink forever in the ocean of time.

The sounds of LANDUNTER have been, in major parts, recorded on Helgoland. No known connection between the poet and the island. Except perhaps that after decades of being a sport of desires handed back and forth between different nations Hel(i)goland went from Denmark to Britain in the very year when Percy Bhysse Shelley left his pregnant wife for Mary Wollstonecraft ñ but that’s of course another story. Just as the fact he later would himself drown in another sea, terrible in storm – in a custom made boat about which Mary would later say it had never been seaworthy. As so many boats sinking there these days, but under considerably different conditions. Ah, a propos the inhospitable shores of national interests: did you know that Hoffmann von Fallersleben (no blame on him, seriously) wrote “Das Lied der Deutschen” during a stay on the island that was at that time, in 1841, of course still British?

The sinking island probably does not care about its nationality. However, while storms are still a natural force, their increasing strength in many parts of this world can be well considered as a result of national(ist) politics, and their liaisons dangereuses with global player economies. These are not as unsearchable as the unfathomable sea. But that’s again another story. We will see later.
Let us listen first.

LASSE-MARC RIEK
is an artist mainly working in the field of sound art, acoustic ecology and related interdisciplinary research, including cooperations with other artists as well as scientist. He is also the co-founder of GRUENREKORDER, an outstanding label for phonography, sound art and field recordings.
Find out more about his projects at www.lasse-marc-riek.de
and about GRUENREKORDER at www.gruenrekorder.de

links:
radio x & radiator x: www.radiox.de ñ www.radiox.de/radiator-x
GUNSTradio & radiator x: www.gunst.info ñ www.gunst.info/radiator
LASSE-MARC RIEK: www.lasse-marc-riek.de – www.gruenrekorder.de

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Show 617: Code Name: Villa B by Christophe Havard & Fabrice Arnaud-Crémon (Jet FM)

(english below)

Nom de Code : Villa B par Christophe Havard & Fabrice Arnaud-Crémon pour Jet FM (Nantes, FR)

Composition pour dispositif électro-acoustique et clarinette, enregistrée en binaural pendant le festival Sonor le 15 octobre 2016 à Nantes.

La rencontre d’un espace et l’évidence d’une obsession.
L’espace est un bunker, situé à Saint Marc sur mer, dans lequel Christophe Havard a longtemps enregistré seul ou parfois accompagné, notamment du clarinettiste Fabrice Arnaud-Crémon. Il extraira de ce lieu les éléments sonores qui constituent le corps principal de la composition : des sons épais et harmoniques dus aux matériaux métalliques incrustés dans l’architecture, des jeux plus subtils d’espaces révélés par les effets de résonance, des évocations de présences humaines (respirations, déplacements, souffles, voix hésitantes,…).
“Quand j’enregistre dans un espace tel que celui-ci je le considère comme un personnage de fiction. Je le guette, il me hante, nous nous tournons autour. Ses sols et ses murs deviennent organiques, lentement je les lèche de mes oreilles: sans le son, que serait l’architecture, quelle notion aurions-nous des distances, des mouvements, des textures, de la densité de l’air ? D’où l’obsession, toujours la même. Vouloir baigner à l’intérieur d’un chant sonore qui caresse le corps. J’aime quand le son me touche, parfois avec effleurement et parfois avec force. Le son est à la fois une masse et un souffle sensuel. Ici, l’espace est révélé par un clarinettiste marcheur, écoutant et souffleur. Il nous montre le lieu, joue avec, l’accompagne, se laisse porter par lui et s’y perd. Et si ces espaces sonores se mettaient à jouer de nous, à créer un léger chaos, à devenir des miroirs déformants, des réalités improbables.” Christophe Havard.

Pour que l’expérience d’écoute soit enveloppante, en relief et sensible, le spectateur est plongé dans le même espace que celui des deux musiciens. Le clarinettiste est mobile, jouant à la fois sur les propriétés acoustiques de son instrument ou du lieu et sur les effets d’espace offerts par la captation et le traitement audio. L’électroacousticien créé un dialogue par le son instrumental qu’il place sur les différents points de diffusion et le mixage en live des phonographies.
Quelques lumières posées au sol et programmées selon les mouvements de la composition accentuent l’effet d’immersion en proposant une écoute dans une relative obscurité.

Christophe Havard
A la fois compositeur (musique électroacoustique et instrumentale), interprète, improvisateur et artiste sonore, il commence sa carrière comme saxophoniste de jazz et se dirige progressivement vers l’improvisation et l’expérimentation sonore. Depuis une quinzaine d’années il réalise des installations sonores et des pièces électroacoustiques et radiophoniques. Ses créations s’attachent à l’espace sonore, la qualité du timbre, la notion de mémoire et l’éclatement des frontières stylistiques.
Pour lui, le contact du son sur le corps est fondamental, que ce soit dans une démarche sensuelle et délicate (souffle, voix, déplacement ou jeux d’espace, nuances, …) ou massive voire brutale (puissance, mise en vibration de matériau, épaisseur du spectre sonore, détonations, …).

Fabrice Arnaud-Crémon
Clarinettiste depuis l’âge de huit ans, Fabrice Arnaud-Crémon a notamment été l’élève de Michel Arrignon et d’Alain Damiens à Paris. Il s’intéresse à toute la richesse des pratiques liées à son instrument, que ce soit à travers le répertoire (Mozart, Weber, Brahms, Debussy, Stravinsky, Messiaen, Boulez, etc.), les transcriptions (celles de Julien Opic, de Sylvain Blassel ou de
Gérard Chenuet), ou encore la création contemporaine (œuvres de Philippe Boivin, Nicolas Frize, Julien Opic, Sylvain Kassap, Christophe Havard, Arturo Gervasoni, Benoît Granier, Jérôme Joy, Christian Wolff, Keith Rowe, François Rossé…).
Sa curiosité artistique l’amène à se produire dans des contextes très variés et parfois insolites, qui privilégient souvent le jeu en petite formation ou en soliste.

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Radia Show 617
Code Name : Villa B by Christophe Havard & Fabrice Arnaud-Crémon for Jet FM (Nantes, FR)

A composition for clarinets and electroacoustic devices, recorded with the binaural technology during the Sonor festival in Nantes, on October the 15th 2016.

The encounter of a space and an obsession!
The space is a bunker from Saint-Marc sur Mer, inside which Christophe Havard has started to record the sound alone or with the clarinet player Fabrice Arnaud-Crémon. He collected in these huge rooms the sound materials for his composition : some thick harmonics generated from iron structures, the clarinet with some strange reverb effects, some subtle motions of footsteps, voices and breath,…
When I record sounds in such a place, I consider its empty spaces as fictional characters! First, I gaze at them till I can feel them in my whole body. Gradually, the floors and the walls become like an organic structure that I slowly catch with my ears… I am convinced that, without the sound waves, the architecture would not exist: how could we feel the distances, the motions, the textures and maybe even the air density? Then, here comes my obsession, always the same: the desire to go through a sound which caresses my body. I feel so good when the sound affects me with delicacy or sometimes with a strong strength. I want so much to share this sensation with the audience. In this composition, the empty spaces also exist because one day, inside it, the clarinet player walked, breathed, played all kind of strange games and he ended up losing himself. And now, on stage, the games carry on and become unlikely realities and sound distorting mirrors.” Christophe Havard

In order to have a good experience of listening, with a surround space, some relief and more sensibility, the audience is set up on the same stage (or the same place) than the 2 musicians. The clarinet player often moves from one point of the stage to another. Thus he can play with the acoustic features of his instrument in interaction with the room. The electroacoustic player creates a relationship with the music of the clarinet, which he sends on different speakers, and the phonography mixed in live.
Some lights controlled by the Max / MSP program are placed on the floor. According to the movements of the composition, these lights provide a deeper sensation for listening to the music.

Christophe Havard
Composer (of electroacoustic and instrumental music), performer, improviser and sound artist, he began his career as a jazz saxophonist and progressively moved towards improvisation and sound experimentation. For fifteen years or so, he has been creating sound installations and electroacoustic and radiophonic pieces. He has been the guest at sound field residencies.
On stage or in his sound installations and compositions, we can find in Christophe Havard’s creations an interest for sound surroundings, the quality of timbre, the notion of memory and the opening up of stylistic forms.

Fabrice Arnaud-Crémon has been playing the clarinet since the age of eight. He studied notably with Michel Arrignon and Alain Damiens in Paris.
He is interested in all the possibilities of his instrument going through a large range of original repertory (Mozart, Weber, Brahms, Debussy, Stravinsky, Messiaen, Boulez, etc.) and transcriptions (Julien Opic, Sylvain Blassel, Gérard Chenuet). He often takes part to contemporary music (Philippe
Boivin, Nicolas Frize, Julien Opic, Sylvain Kassap, Christophe Havard, Arturo Gervasoni, Benoît Granier, Jérôme Joy, Christian Wolff, Keith Rowe, François Rossé…).
His artistic curiosity brings him into unusual contexts where he is used to playing chamber music or as a solist.

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Show 616: Rural Futurism: sonic escapade in the heart of Liminaria (Radio Papesse)

Liminaria is a research field project set to create cultural, social and economic sustainable networks in the Fortore Area, a micro region in the province of Benevento, Italy.

At Liminaria, artists and researchers are invited to work together with local communities in building “actions” within the territory; and “actions” is what Maurizio Chiantone, Fernando Godoy, Miguel Isaza and David Velez set in place during their residency in Summer 2016.

Rural Futurism is an open ear towards their encounters in Fortore: field recordings, candid conversations, manipulated sounds, voices and noises from the villages of Ginestra and Montefalcone.
Performances, concerts and wind all merge into a 28 minutes voyage between past and present; old traditions are renewed into public performances and artists David Velez and Fernando Godoy question themselves on the importance of giving back to the local communities that have welcomed them, meanwhile a 84 years old woman recounts her history and the villages transformation.

The last part of the show takes us in the middle of the joyous cacophony that has been an itinerant bell-concert devised by David Velez and Fernando Godoy which saw the participation of the whole community of Montefalcone.
From the children to the elderly people, dozens crossed the village streets and made the them resonate once again with the rural sounds of animal bells and traditional instruments; a procession guided by the sounds of the village church-bells and a single horse-rider, a girl whom, like a modern Don Quixote, defies the present and looks at the future.

liminaria.org
radiopapesse.org

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Show 615: radioraum (radio space) by OPCION and Max Höfler (Radio Helsinki)

What is this space between the sender and the receiver? How does this space sound like? Is it possible to bring the sound of this special space to life? Within the framework of a live show at Radio Helsinki OPCION and Max Höfler explored these questions: They build up and manipulated a feedback loop in between the radio station and the radio receiver so that this intermediate space could get available for acoustic experience.

http://opcion.mur.at/
http://max.hoefler.mur.at/

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Show 614: NaEE RoBErts (Radio Nova)

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

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Show 613: Trajectory by Milo Thesiger-Meacham (Resonance FM)


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.

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Show 612: Life Fragments in 11 Movements by Jared Sagar (Kanal 103)

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

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Show 611: Yannick Dauby, what does sunset mean to you? (Radio Zero)

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.

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Show 610: Täglich Tapes by Lucinda Guy (Soundart Radio)

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.

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