#51

Show 973: Soundscapes after October 7th 2023 (Radio Študent)

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Soundscapes after October 7th 2023

The EU-Israel relationship is one of cooperation and mutual benefit: indeed, it is the deepest and most far-reaching relationship the EU has ever had with a third country. Only three years after the EEC came into being, Israel made its first diplomatic efforts to enter the Common Market Agreement as a signatory country.

Since the 1960s, Europe has been Israel’s most important trading partner. 1975 is the year in which the two sides signed a free trade agreement on industrial goods, to be in place by 1989.

This relationship has been strengthened thanks to the Association Agreement between Israel and the EU in 1995, which has taken cooperation to new heights: Europe is responsible for more than one third of Israel’s total foreign trade.

Cooperation is fruitful: as a full partner in the Horizon 2020/Horizon Europe research programme, Israel has so far received €1.3 billion in grants, making it one of the top three countries outside the EU with the most funding from the programme.

EU-Israel relations are further supported by the 2005 Action Plan under the European Neighbourhood Policy. The Action Plan aims at progressively integrating Israel into European policies and programmes and has established 10 sub-committees which meet regularly to discuss priorities and exchange views. In 2012, agreement was reached on the elimination of trade barriers and on the mutual recognition of marketing certificates for medicines.

Europe buys around 30% of Israeli exports (as of 2016) and ranks ahead of the US, which buys around 26%. This is particularly true in the processed food sector, where around 44% of Israeli exports are destined for Europe. Total trade between the EU and Israel amounted to €46.8 billion in 2022. EU imports from Israel were worth €17.5 billion: led by machinery and transport equipment (€7.6 billion, 43.5%), chemicals (€3.5 billion, 20.1%) and other industrial goods (€1.9 billion, 11.1%). EU exports to Israel amounted to €12.2 billion, dominated by machinery and transport equipment (€12.3 billion, 41.9%), chemicals (€5.1 billion, 17.6%) and other manufactured goods (€3.5 billion, 12.1%).

Two-way trade in services between the EU and Israel amounted to €16.7 billion in 2021.

The European Neighbourhood Policy provides political and financial assistance to Israel.

On energy, the EU is financing feasibility studies for the construction of the so-called East-Med pipeline to carry gas from Israel as far as Italy by 2027. Israel is keen to join the EU’s efforts to diversify its energy sources and develop renewable energy sources. The Memorandum of Understanding on gas exports between the EU, Israel and Egypt, signed in June 2022, is an excellent example of Israel’s role in the EU’s efforts to address the energy crisis.

MILITARY COOPERATION

In 2016, Europe became the second largest export destination for the Israeli arms industry after Asia. Frontex – the EU’s best-funded agency with a budget of around USD 823 million for 2022 – has awarded border surveillance drone contracts to Airbus, Israel Aerospace Industries (IAI) and Elbit. As of 2018, more than €63 million of EU public money has been spent on direct war funding.

Israeli military drones are a useful tool in the crackdown on refugees: in September 2018, the EU border management agency Frontex announced the start of test flights for drones across Europe. The type of drones being tested had previously been used to attack Gaza in late 2008 and early 2009, killing dozens of civilians. A subsidiary of Israel Aerospace Industries – has been hired to design a prototype for the controversial wall proposed by Trump along the US border with Mexico. Another Israeli drone manufacturer was awarded a contract in 2014 to build surveillance towers between Arizona and Mexico. The same companies are looking for business opportunities in Europe.

Israel is the only non-European full partner country for EU research funding under the 7-year Framework Programmes. It is involved in three EU-funded research projects in the field of border security, one of which was aimed at developing specially adapted combat robots that “will take appropriate action to stop illegal activities under the control of border guards”.

In 2020, Frontex signed a $118 million contract to lease Israeli-made drones.

Well, but, the show is not about that. It’s about what’s going on in the background (and recently forefront) of these business deals between the EU and its new old partner in the energy sector.

Made for Radio Študent in Ljubljana by Višnja Malinić.

Radio Študent Radia.fm programme curated by Urška Savič.

#51

Show 972: Variations on a Topography by Lia Kohl for Wave Farm

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Variations on a Topography is constructed in stratified layers, each containing a recording of a full scan of the AM/FM spectrum from bottom to top and back down again. Tuning through the spectrum in the same place every time, Kohl charts a map of her specific signal, showcasing the geographic specificity of radio and drawing out its topography with additional musical sounds. Cello and synthesizer highlight moments of clarity and static, creating a counterpoint ruled by the dichotomy between them. These “signal sweeps” also offer a sedimentary view of time, capturing multiple 28 minute sections of what would otherwise be completely ephemeral sounds. The recordings, taken over the span of a few months, speak in various ways to the passage of time – the weather gets colder, traffic patterns shift, wars break out. The signal, like a ghostly mountain range, hovers around us.

Lia Kohl is Wave Farm’s fall 2023 Radio Art Fellow. She is a composer, cellist, and sound artist based in Chicago. Her wide-ranging practice includes solo composition and performance, installation, improvisation, and collaboration. Kohl tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound.

#51

Show 971: Subterranean Bubbles by Music for hiccups (Radio Panik)

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Music for hiccups is a duo composed of Brussels-based musicians Chiara Bacci and Nicola Lancerotti.

The improvised music they create centers around a continuous dialogue between modified voice and modular synthesizers. In their performances, the roles they play are intentionally left undefined: sometimes the voice can become an abstract disturbing sound, while modular synths can create melodic textures and often they are intertwined in a manner that blurs the lines between them.

“Subterranean Bubbles” was recorded in July 2023 during an artistic residency at Zsenne Art Lab in Brussels.

https://archive.org/details/radia-show-971-subterranean-bubbles-by-music-for-hiccups-radio-panik

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Music for hiccups est un duo composé des musiciens bruxellois Chiara Bacci et Nicola Lancerotti.

Leurs improvisations sont articulées autour d’un dialogue ininterrompu entre la voix modifiée et les synthétiseurs modulaires. Lors qu’ils performent, les rôles qu’ils jouent sont intentionnellement indéfinis : parfois la voix peut devenir un son abstrait et dérangeant, tandis que les synthés peuvent créer des textures mélodiques, les deux sources étant souvent entrelacées de manière qui en brouille les limites.

“Subterranean Bubbles” a été enregistré en juillet 2023 lors d’une résidence artistique à Zsenne Art Lab à Bruxelles.

https://archive.org/details/radia-show-971-subterranean-bubbles-by-music-for-hiccups-radio-panik

#51

Show 970: Much (scored out) love, A. / Excerpt (radioworm)

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In her performances, Antrianna Moutoula, repeats the same format: a table, a laptop, a projector, and a woman who talks and writes nonstop. In Much (scored out) love, A. her starting point is a series of letters from her family archive, the correspondence of two Greek women with their partners in exile, between 1958 and 1971. The result is an overload of words, thoughts, quotes, memories, transcriptions, and citations, all seeking their own linearity. The performance was developed during Moutoula’s residency in the Creative Lab of CCA Glasgow, a partnership between radio WORM and Radiophrenia Glasgow. This is a 28′ excerpt from the live-to-air performance during Radiophrenia in August 2023.

Antrianna Moutoula (GR, 1994) lives and works in Amsterdam. Primarily language-based her work spans performance, film, radio, and writing. Driven by the desire to articulate the continuous present, her ongoing research focuses on nonstop languaging, an autotheoretical practice in which she performs streams of consciousness by tracing her thoughts through language simultaneously in spoken and written form. By engaging with this practice in various contexts, she aims to contribute to a renegotiation of the confinements of knowledge production within artistic academic discourse. Always seeking ephemeral encounters with necessary others, she explores nonstop languaging as a biweekly radio performance at Radio WORM. Moutoula’s practice is currently supported by the Artist Start Grant of the Mondriaan Fonds (NL).

Website: antriannamoutoula.com

 

 

#51

Show 969: 720 to 28 or the impossible summary (Jet fm)

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12 hours of a poetry marathon performance compressed in a 28 minutes radio show. All material recorded live during the 23rd edition of Midi Minuit Poésie festival in Nantes, France, october 14th 2023.
Cast, in order of appearence: Pauline Catherinot & Bruno Chevillon, Magali Brazil, Pascale Monnier & Ryan Kernoa, Claro, Guillaume Dorvillé & Emma Anselmetti-Laffont, Didier Bourda & Sylvain Chauveau, Galina Rymbu & Marina Skalova, Virginie Poitrasson & Joce Mienniel, Juliette Mézenc, Stomach Cie/Vanessa Vallée, Antoine Boute, Lisette Lombé & Cloé du Trèfle.
Cut & mix in a more or less random way by Henri Landré.

More to know: https://midiminuitpoesie.com/
More to listen: https://www.jetfm.fr/midi-minuit-poesie-23/

#51

Show 968: Verwüstung by Scar sisters (Radio Helsinki)

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  1. Verwüstung by Scar sisters (Antonia Manhartsberger and Constanza Mendoza) deals with structural violence in gynaecological surgery. Lack of transparency and education and backward research meet capital and individual interests. People whose reproductive possibilities are limited or who have no desire to have children are denied the right to self-determined sexuality, their reproductive organs can be removed recklessly. The often profound consequences are ignored in medical discourse, the psychological, physical and sexual after-effects are denied. Those affected feel anger, grief, powerlessness, loneliness, inner emptiness…. Verwüstung is a call for solidarity and self-empowerment. We are scar sisters, ready to fight. With our bodies and our words. Our weapon is openness. Scar sisters against patriarchy, scar sisters for radical empathy, scar sisters against physical and psychological violence at the examination chair. Scar sisters for unlimited satisfaction. Sisters in solidarity!

 

  1. Extracts of the Live-Performance “Lounge music – Loungeová hudba” a dialogue with no-input-mixer and sheep on invitation of Brandon LaBelle and Ricarda Denzer’s Dirty Ear Forum # 9 sound, multiplicity and radical listening in Vienna, Arena Bar, March 20nd-23rd 2019, Literature and Live-Sound: Lale Rodgarkia-Dara, Voice-performance and Translation

Termine

#51

Show 967: Into the Wild by Sound Art Brighton (for Resonance)

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Into The Wild is a recorded sound excursion from Brighton Station to Stanmer Park, West Sussex, England, discovering sound marks of the city and its enchanting environs, winding up in the unique garden community of Stanmer Organics. Produced by members of Sound Art Brighton to celebrate World Listening Day 2023. World Listening Day takes place every July 18 to honour the birthday of Canadian composer and environmentalist R. Murray Schafer, often credited as the founder of acoustic ecology. Many thanks to Chris Sciacca (sound recordist, editor and producer) and Kersten Glandien (executive producer).

https://soundartbrighton.com/

#51

Show 966: If you love me, you can tell me by Elektro Kultura (Kanal 103)

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Greatest Hits by Elektro Kultura

Elektro Kultura is the solo project by Vladimir Muratovski Divo – a punk and social poet hailing from the streets of Skopje, Macedonia.

On Skopje’s Liberation Day (13.11.2022), he had his second, long awaited live performance at Kanal 103 radio. After he finished his repertoire, the packed crowd in the studio wanted for more. He briefly answered: “Real punks don’t do encore”.

This is the slightly edited recording of our little off programme afterparty.

https://elektrokultura.bandcamp.com/

#51

Show 965: SURINAME by Barbara De Dominicis & Cristian Maddalena (Rádio Zero)

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I spent my time investigating insects.
At the beginning, I started with silk worms in my home town of Frankfurt.
I realized that other caterpillars produced beautiful butterflies or moths, and that silkworms did the same. This led me to collect all the caterpillars I could find in order to see how they changed

Maria Sibylla Merian
foreword to Metamorphosis Insectorum Surinamensium [1705]

A preparatory studio for SURINAME, a soundwork inspired by the groundbreaking work of Maria Sybilla Merian, a seventeenth-century illustrator and naturalist.
This audio portrayal represents the first phase of an ongoing sound project that explores the evolving, intensifying interior landscape of this passionate explorer, who was also one of the greatest botanical and insect painters that ever lived.

Her extraordinary work on caterpillars, moths and butterflies, her unconventional life and her contributions to art and science turned her talent into a mission. Considered one of the founders of modern entomology, Maria Sibylla combined her passion for drawing with her interest in insects; in her vision art and nature are inextricably bound. Although it was extremely difficult for a woman to gain a foothold in science at her time, she emerged from her chrysalis to establish herself as a woman and a scientist in a world yet to be discovered. She happened to be a pioneer in the field of natural science anticipating several of the discoveries later made by Linnaeus and Darwin. Her stepfather, the naturalist painter Jakob Marell, chose her as a pupil in his studio. Maria Sibylla then started collecting caterpillars, worms, leaves and flowers, which she drew with great precision. She was particularly fascinated by the transformation of caterpillars into moths and butterflies.

At the age of fifty-two (1699) Maria Sibylla and her daughter Dorothea ventured thousands of miles from the Netherlands (where she had moved after her divorce) to Suriname to observe and document the metamorphosis of insects. She spent two years illustrating new and unique plant and animal species and behaviors. Many of these illustrations are featured in Sibylla’s incredible self- published Metamorphosis Insectorum Surinamensium (1705) She was one of the first to demolish the belief of the spontaneous generation of living organisms from inanimate matter and the first naturalist to recognise and document the wondrous transformation of caterpillars and illustrate the metamorphosis of the butterfly.

Her life, her perseverance, her vision, trace the imprints of a rarefied and inexorable inner world, offering a glimpse of the extraordinary vitality and variety of her perspectives, consistent with an ethical, poetic yet scientific gaze over plants and animals.

Inspired by this extraordinary woman, our work makes use of found sounds, imagination, voice and whispers, shamisen, cello, electroacoustic textures, noise, butterflies, frogs, archival research, letters; just like a sort of sonic score induced by an interior monologue, trying to trace Sybilla’s scientific attitude trapped in an artist’s soul. We tried to paint the critical moment of the brave, intrepid and long sea voyage to Suriname: the sea, the doubts, the solitude, the imagined dangers of the jungle, her being an independent but lonely woman in a male-dominated world ! To draw a woman’s private labyrinth made of doubts, fears, solitude, vulnerability, alienation, illness, identity.

Conceived, written and produced by

Barbara De Dominicis & Cristian Maddalena
Barbara plays voice, electronics, kalimba, synths, found sounds Cristian plays shamisen, keys, electronics, drums, found sounds with contributions by Andrea Serrapiglio (cello)
Words by Barbara De Dominicis and Cristian Maddalena,
Maria Sibylla Merian, Clarice Lispector [Água Viva], Virginia Woolf [Waves], Maya Deren.

We thank all the butterflies, crickets, birds, waves and frogs involved and, above all, Paulo Raposo for his supportive vision and trust.

Maria_Sibylla_Meridian (PDF)

#51

Show 964 : “Enoughness” from Hannah Drayson (for Soundart Radio)

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“Enoughness” is made up of conversations from “Mug Stories”, an interview project produced in collaboration with the residents of Braziers Park, an intentional community in South Oxfordshire, UK.  The interviews touch on a number of themes, around sharing,  object agency and affect. Starting a conversation about mugs, it turns out, can be a very effective way to talk about our interdependence and the ways in which it is mediated by objects. Through these stories, we learn how these everyday objects offer a locus of communal activity, and a metaphor for many other forms of intimacy and instability. Creating the program has allowed me to explore some of the intangible aspects of the mug as object and collection; personal pre-reflexive actions and perceptions, the affective dimensions associated with sharing and attachment; the agential qualities of objects within a shared domestic setting, and the questions of how relationships are understood, communicated and enacted through metaphor.

Dr Hannah Drayson is an artist-researcher and DJ. Her artist portfolio is here and you can read more about her research here.