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Show 117: Two turntables to make one landscape by Pedro Lopes

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From all the possible outcomes this is just one of them. Two turntables to make one landscape.

The turntables has a companion history with radio. For a long time, before the advent of clean and sanitized studios and the contact with the physical record was abstracted to bits and bites, the needle jumped on the groove and squided through the spiral of sound. Pedro Lopes paired two of these old tools of work and made them talk to each other. From all the possible outcomes this is just one of them. Two turntables to make one landscape.

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Show 116: Bxl: on air by Vincent Matyn

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The electronic piece is made in the french acousmatic tradition from archives of the french radio. While the radio broadcasted to the french colonies in East and in the Maghreb, Pierre Schaeffer has founded “Groupe de recherche musicale” in 1949 after he met John Cage. It was originally produced for theatrical issue in 2002 around testimonies of Harkis fighters and ex-french soldiers.
The project was aborted but in the meanwhile there were produced. Four years later, this piece can be heard for themselves.

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Show 115: BriefVision by Lale Rodgarkia-Dara

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BriefVision is the acoustic output of Lale Rodgarkia-Dara ‘s residency in St.Petersburg, Russia, at the art centre Pushkinskaya 10.

“During my stay I construct one shortfilm every two to three weeks. They are small letters from St.Petersburg and Vienna; a construction and product of rewriting St.Petersburg and the life in Vienna, I miss during the six months residency.”

BriefVision (Brief=letter in German) and PismoVidenie in the German and Russian meaning are the antithesis to TeleVision. Though, a letter itself can be read and is mostly read several times. A letter refers to a different reception of repetition, slowness, and even solitude.

The acoustic track of these small prose-shortfilms is representing the Viennese life. This audiopart is presented in a soundinstallation at the artcentre Pushkinskaya 10 at St.Petersburg.
Whereas the video track, representing the rewritten city of St.Petersburg, is shown at a video-installation in Vienna at the Museumsquartier (0-port).

The full lenght films of BriefVision can only be seen on the virtual bridge between these two European cities, the internet (click on the TV-set on www.speis.net and choose a channel).

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Show 114: Lament for the London Olympic Site by Stephen Cornford

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A site-specific field recording composition.
In 2012 the Olympics will come to London. The site, situated in north east London between Stratford, Hackney Wick and Pudding Mill Lane, currently a hotchpotch of industrial estates, disused waterways, railway sidings, traveller ‘s homes and allotments will soon be the biggest building site in Europe. In just over five years the entire area will be cleared, it’s map re-drawn ; transformed firstly into state of the art sports facilities, then re-regenerated to provide more homes yet another shopping centre and eventually re-sold to the public. The same public who, through government compulsory purchase order, have just bought the land once and will of course foot all the bills in the meantime. The latest leap in the budget for the whole project will likely cost the arts council 35% of its annual government subsidy.

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Show 113: R(H)umeur collective, part 2 / Relax! (we are a democracy)

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This program is composed of 2 pieces : R(H)umeur collective, part 2, Maki’s contributive project, and Relax! (we are a democracy) by Floriane Pochon and Etienne Noiseau.

R(H)umeur collective is based on a call for participation which Maki opened to artists and friends around the world, asking 1 minute audio pieces he then mixed all together.

The first part of R(h)umeur collective was broadcast on the Radia network on March 2007. The second one is composed of contributions from :
– Krafia (France) – Choose
– Ben Owen (USA) – Ans-mac 1999e
– Iris Garrelfs (England) – Guide
– David Fenech (France) – Melodica Paste
– Dinahbird (France) – Pigcrescendo
– Lucie Prod’homme (France) – Rouge
– eRikm (France) – Blécut
– Stéphane Possamai (France) – RioTorto
– Pauline Oliveros (USA) – Maki’s Minute
– Étienne Noiseau (France) – Chatouilles
– Andrew Sharpley (England) – Grapefruit
– Samuel Lartisien (France) – Cordida2
– David Gamper (USA) – Silver Bell
– Sarah Washington (England) – New Year Wind
– Mathieu Hours (France) – Waiting in NYC opus 12
– Soël Lymphini (France) – Jeu en Cage, d’escalier
– Tomonari Higaki (Japan) – Impro caoutchouteuse
– Ricardo Reis (Portugal) – Viagem de elevador
– Zol (France) – Stonn
– Collectif TRI (France) – Robots
– Francis Dhomont (France) – L’électro (Jalons – IMED 0365)
– Noël Akchoté (France) – Untitled wrong folk – Take #5
– Maki (France) – Untitled

Relax! (we are a democracy) is a piece by Floriane Pochon and Etienne Noiseau, composed with joy, drowsiness, disgust and worry.

Enjoy?

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Show 111: Untitled Sit for Your Aetheric Body by Michelle Nagai

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Long Distance Sitting Piece

Untitled Sit for Your Aetheric Body by Michelle Nagai.

This work is one in a series of sitting pieces. A collection of (usually live) performance works, these sitting pieces share several common themes, one of which is the presence of the performer and the listener in one “space” together. This broadcast’s subtitle, Untitled Sit, is the generic label for a series of compositions originally devised for live performance in private homes. Each work, created and performed by the composer, is centered around the presence of a still and silent seated figure in close physical proximity to the audience. Variations on the basic form are permitted, and in all cases, a free-form exchange of sensory information is encouraged between performer, viewer and environment. This is an interactive radio broadcast.

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Show 110: Kirkegaard/Grzinich workshop

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Kirkegaard/Grzinich workshop
Recordings and comments on a workshop

A workshop led by Danish sound artist Jakob Kirkegaard and US Estonian sound artist John Grzinich is documenting the feedback of the event and its revocation.

In February 2007 Jakob Kirkegaard and John Grzinich did a sound workshop in Prague. The recording was later edited by John Grzinich and re played by Milos Vojtechovsky to students of the foreign program on Prague Film Academy FAMU. They commented on what they heard.. and what was still in their memmory on the sound walk with Kirkegaard and Grzinich.

Language: English

http://stuff.lemurie.cz/Workshop.mp3

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Show 108: ENIAC NOMOI by Joulia Strauss and Martin Carlé

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Reboot.Fm presents:
ENIAC NOMOI
Length, 27:57
Languages: English, French, German, Greek

The acoustic results of the cooperation between artist, Joulia Strauss, and scientist, Martin Carlé: this work traces early computer sounds to ancient Greece. Additional scientific discoveries make the work all the more compelling.

The mathematical operations of the first calculation machine in history (ENIAC) to be called a ‘computer’ are differentiated through as yet unheard rhythms, frequencies, and melodies, which will be released as sound for the first time during THE ENIAC NOMOI. In so doing, the project seeks to prove the extent to which the epistemological existence of time-critical computer simulations are, in fact, rooted in ancient Greek dramaturgy and art. This sound perspective on cultural history becomes accessible by figuring it as successive knowledge structures with technical laws (NOMOI) governing their generation and culminating in simulation technology which moulds Being in contemporary life. Our choreography re-stages the diagrammatic notation of the historic ENIAC programmes in three acts and executes them in sound. This offers unique insight into the historicity of Being. In the clarifying environment of synthetic sculpture, the musical measures (NOMOI) of the first electronic computer (ENIAC) will provide a revelation: that the common origin of human beings and the poetic is a spring flowing at the foundation of technology. This fundament now ascends to regions of the living and divine nature from which it has heretofore been excluded. In contemplating the foundation of the evolution of Being, we do not seek a vanishing point in the past or bemoan “the forgotten Greek identity of art and craft in the concept of techné”. Rather, our thought must finally understand and commence with a recognition that the distinction between nature and art is rendered increasingly irrelevant by virtue of the processual entanglement of the symbolic with time.

http://www.medienwissenschaft.hu-berlin.de/~mc/ENIAC_NOMOI_eng.php