With the programme VIENNA CRAWLING, the Vienna Radia Collective feat. Fabi Lux would like to welcome a new guest (Fabi) to Vienna and make ‘arriving in the city’ the topic of discussion.
Equipped with the sounds of the city on their way to the radio station, the group met for a radio programme in which the concept of the programme was discussed live in an on-air public editorial meeting. Fabi Lux used the material from all the participants, including the recording of this editorial meeting, as material for a remix.
Fabi mixed the sounds with DJ software, changed speeds, added effects and asked chance if it would like to contribute to the flow. VIENNA CRAWLING is a mixtape that tells of the journey, of arriving and then inviting you to take another trip.
Credits:
Sound-Recordings by
Fabi Lux
Barbara Kaiser
Stefan Nussbaumer
Karl Schönswetter
Another programme from the “Elements” series. Previous parts: Earth, water. This time it’s about metal.
“Heinrich, der Wagen bricht!” “Nein, Herr, der Wagen nicht, Es ist ein Band von meinem Herzen, Das da lag in großen Schmerzen, Als Ihr in dem Brunnen saßt
Und in einen Frosch verzaubert wart.”
Gebrüder Grimm – Der Froschkönig
The Viennese radia collective thematically revolves around the largest group of chemical elements. In addition to the collage of characteristic soundscapes, the group embarks on a fabulous and mystical search for clues.
A programme by (in alphabetical order):
Barbara Huber, Barbara Kaiser, Stefan Nussbaumer, Marian Potocar, Karl Schönswetter, Kaiser Wilhelm
Thanks to: Martina, Cuco
Recording Session at Radio Orange 94.0. f.l.t.r.: Karl Schönswetter, Barbara Huber, Barbara Kaiser, Stefan Nussbauer. Foto: Karl Schönswetter
spoken passages of text:
Peter Schilling – Metall (Song):
Metall Um meinen Hals
Metall Auf meiner Haut
Metall Wir fühlen nichts Doch uns geht es glänzend
Metall An meiner Hand
Metall Auf meinem Haupt
Metall Wir sind schön Wir sind blank polierte Menschen
A ballad poet (around 1887) – “Die Sage vom Erzberg” (The tale of the Erzberg):
Und wählet Ihr ein silbern Herz,
Wählt Ihr den gold’nen Fuß
Bedenkt, daß Silber und auch Gold
Gar bald Euch schwinden muß.
Doch wählet Ihr von dunklem Erz
Den festen Eisenhut,
Das Eisen, – ew’ge Zeiten währt’s,
Der Hut hält lang und gut.
Gebrüder Grimm – Der Froschkönig:
“Heinrich, der Wagen bricht!”
“Nein, Herr, der Wagen nicht,
Es ist ein Band von meinem Herzen,
Das da lag in großen Schmerzen,
Als Ihr in dem Brunnen saßt
Und in einen Frosch verzaubert wart.”
Ovid – Metamorphosen:
Latin:
Aurea prima sata est aetas, quae vindice nullo, sponte sua, sine lege fidem rectumque colebat. poena metusque aberant, nec verba minantia fixo aere legebantur, nec supplex turba timebat iudicis ora sui, sed erant sine vindice tuti.
German:
Als erstes entstand das Goldene Zeitalter, welches ohne einen Strafvollstrecker, freiwillig und ohne ein Gesetz immer die Aufrichtigkeit und das rechte Tun hochhielt. Strafe und Furcht gab es nicht, auch las man keine drohenden Worte, in Erz geschrieben; keine flehende Menge zitterte vor dem Spruch ihres Richters, sondern alle waren in Sicherheit ohne einen Rächer.
Today’s radia programme from the RADIA-Kollektiv-Vienna features the anthropologist Bianca Ludewig who researches music and sound and plays with records as Jukebox Utopia. She will introduce her radio piece Jukebox Utopia’s Snapshot that was part of the 2023 project Contingent Snapshot.
The following piece is a sound collage she produced as a contribution for the Contingent Snapshot project by Eugenia Seriakov and Francesco Zedde, which took place in Linz in September 2023 as part of STWST48hours open Radiolab and was broadcasted on various international radio stations. The core of the 12-hour programme consisted of contributions by the two curators exploring the facets and sounds of Linz, live improvisations by local and international musicians and sound contributions from their open call. For her audio snapshot, she associatively edited together found footage, sound pieces from her music archive and field recordings to create an audio essay for your enjoyment.
by Vienna Radia Collective feat. Stefan Nussbaumer
Oops, something has happened! The microphone fell into the water. Quel Malheur! Thank goodness our special guest Stefan Nussbaumer shrink-wrapped the microphones and nothing happened to them. So, by chance and without intention, exciting worlds of sound opened up that we don’t want to deprive you of. Have a nice summer! (… and happy winter to Sally & Jon!)
A really wet programme by Karl Schönswetter, Stefan Nussbauer, Barbara Kaiser, Barbara Huber, Milada Huber and Nikola Huber.
In our search for an acoustic equivalent of a liminal space, we found it in the sound aesthetics of waiting loops. The dissolution of time into emotion throws the listeners back on themselves, on their own acoustic equivalent of a liminal space in the sound aesthetics of a waiting loop. The dissolution of emotion into time does not take place. Press “0” if you want to be forwarded, press “1” if you like to wait in the queue. If there is no input, you are automatically forwarded.
Radio Show by:
Barbara Huber
Barbara Kaiser
Karl Schönswetter
Thanks to:
Lale Rodgarkia-Dara, Peter Wetzelsberger
Voices:
by google translate
Music:
Donauwalzer by Johann Strauss (Sohn) downloaded from wikimedia.org
All others by brrr
Aramesh – attempts a literary-acoustic examination of sound and the sonic spectrum, violence and war. In partly fictionalised interviews and conversations with people currently living in Vienna on one hand and on the other hand in an electro-acoustic-literary approach in the form of a live radio play with live transmission.
The interviews, which were originally conducted in a decentralised manner in cultural associations, had to be moved to private rooms due to the pandemic. From Nov 2020 Oct 2021 interviews and the development of a composition and a live radio play had been taking place. In addition a joint collective of people of different origins and residence between Armenia, Iraq, Iran, Russia, Germany, Spain, Syria, Austria and the former Yugoslavia came into being.
Some of them conducted interviews themselves for the first time in their lives and the musicians, apart from three who already knew each other, grew into a collective music group that will continue to work in a follow-up project.
A speech characterised by hegemonic ideas and sometimes almost bizarre world views. The radio play is mostly in German and in the respective languages of the interlocutors.
The radio drama was broadcasted live on Radio Helsinki 92.6 – Freies Radio Graz and Radio Orange 94.0 on the evening of October 3rd 2021. It was located on the Danube in Vienna in a concrete arena, called Kaisermühlenbucht. It is a wide area of approximately 100 m diameter
along the Danube river without any basic infrastructure. The elaborate technical set-up itself was a challenge and took the whole day and half the night. The audience had the possibility to listen on the spot or turn on their radio. Therefore, two separate mixes where produced, one for the radio-broadcast and one for the location. The live radio performance was accompanied by an exhibition and a picnic.
By October 2021 most of the citizens of the EU would deny the range of military conflicts on the fringe of our borders, let it be the war in the Ukraine that started on the 24th of February 2022, ongoing pushbacks on our borders or the failure to render assistance offshore.
Aramesh is an artistic work – in the current common sense it is placed in the artistic research field – by Lale Rodgarkia-Dara and designed in a participatory way.
The project team has included the following people (Name | Function):
Manar Aleter | Picnic design and sewing, buffet.
Wajd Abdalrahmann | Text contribution (rap)
Christina Krämer | Planning and realisation Lighting
Mohadese Siasar | live-performance, collective musical conception
Wolfgang Fuchs | live-performance, collective musical conception
JUUN performance | live-performance, collective musical conception
Abdul Hadi Hashem live-performance
Barbara Huber | Tech Support Streaming
Lenja Gathmann | Soundediting for live radio transmission
Prilfish | Sound equipment and technical support
Taguhi Torosyan | Scientific-dramaturgical research, conception,
Nadar Afsali | DJ
Sama Yaseen | Interviews
Bernadette Schausberger | Interviews
Jessica Gaspar | Graphics and print material
Angela Schausberger | Performance development Voice, live performance
Afzal Khan | Corona Checks
Stephanie Reumann | Helping Hand
Christoph Mooser | Helping Hand
Felix Theile Helping Hand
Pablo Herrasti-Fajardo Sound Technician/Preproduction
Lale Rodgarkia-Dara | Concept, text, production, live-performance,
collective musical conception
Delagha Miakhel | Initiation and Interviews
Hakam Alwan | Photodocu Interviews
Mutuz Al Kerdy | Video Production
Sahf Abdalrehmann| Exhibition in public space
Anna Karner | Official Permits, on location management
Maria Danila | Official Permits, on location management
The arena (photocredit: Anna Karner)
Setup (Photocredit: Mutuz Al Kerdy)
View onto the exhibition and audience (Photocredit: Mutuz Al Kerdy)
Shortly before the start of the live performance (photocredit: Anna Karner)
Live-Performance (from left to right Wolfgang Fuchs, JUUN, Asifeh, Lale Rodgarkia-Dara, Angelika Schausberger, Mohadese Siasar)
For this recording we have dedicated ourselves to the Lo-Fi Manifesto, which provided the basis for a live recording and jam session. The LofiDogma was published by a Swiss cultural foundation and is inspired by the Danish film “Dogma95”.
Nine articles severely restrict the use of technology in music recording and create the charme of home-recorded music. We have adapted the manifesto, shortened it to 8 articles and explicitly allowed a synth. The rules are:
The piece must be recorded in one day.
All musicians and instruments must be in the same room.
A maximum of ten mixer channels may be used.
All channels must be mixed together into two channels during the recording.
Only equalisers and compressors may be used to influence the sound, synth is allowed!
Only one effects device may be used in the mix.
Nothing may be cut, added or corrected afterwards.
A result must be published.
What you will hear was recorded on the 31st of October 2021 at the Sendeschluss in Vienna.
Musicians:
Barbara Huber (noseflute, violin, xylophone and flute)
Marian Potocar (Bass and Electric Guitar)
Karl Schönswetter (Drummachine and Synth)
when the actor max glatz and performance artist peta klotzberg challenged themselves to create the auditive experience of a radio play – “klimatolypse jetzt” – they where looking for a project that captured issues arising out of the now + here. while some of the scenes have a dreamlike logic and are quite associative, they tried to scetch a scenario of a not-so-far climatolypse resulting from today ́s problems, and our constant overlooking of climate crisis agendas. so the play arises out of a clash of reality and distopia.
peta klotzberg is a vienna-based performance artist who avails herself to experiments with text, methods of acting, physical body movement and improvisational dance and recently with auditative tools such as music, sound and noize as instruments of communication and spreading ideas. the content of her works circulates around preservation and protection of given ressources as well as keeping a critical eye on structures of systems in the big picture as well as everyday issues. austrian theater actor and performer, max glatz studied philosophy and acting in vienna. he played i.a. in Dschungel Wien, Teater im Spielraum, with theater.wozek, wozek.film, TimeOut and Bluatschwitz black box. his work centers around spiritual and ecological themes. „klimatolypse jetzt“ is his first radio work. we both feel deeply connected to nature and are concerned about climate change and how we are wasting our resources.
the creation process of the radio play lasted about a year and a half and we did research in magazines, newspapers, videos and documentaries which took us all around the globe in our minds. during this time many things occurred such as forest fires in california and australia, thawing permafrost soil, a collective of accusers marching towards the European Court of Justice to sue the governments… we developed some fairy-tale-like and some more realistic characters, who are more or less lovable. there is the chaotic and leisurely university professor dr. florian lichter, e.g., who is burning for the issues of climate change in his public speeches. some strange guy who ́s profession it is to applaud such unconvenient climate savers in a way that they are silenced. a teflon-coated chancellor and his lady sunshine, observed in both public and private. you will meet a a triangle of revolutionists deep down in an austrian forest planning to take over the world by the help of trained martens and a gas that interferes with the nervous system and controls the minds of mankind in a strange way…
for “klimatolypse jetzt” – our first radio play – we experimented with acting techniques, with recording of sounds, such as martens running across metal surfaces and spent hours searching in open source sound libraries and asked native russian speakers to help out with a short dialogue on “sissy brooch and mozartkugeln”. we also used the form of ancient greek chorus, a revolutionary manifest, direct speech, interviews and narrative, and drew a bow to st. stephan ́s place with its famous pigeons and accordeon sounds. we took interest in writing a modern fairy tale.
sit back, listen and enjoy the journey.
voices: max glatz & peta klotzberg (radio play), katrin daliot (presentation) sounds: home recording and free sources under creative common licence music: “erbarme dich” from j. s. bach, st. matthew passion “aloha ́oe” by liliʻuokalani, performed by kahealani hamakua, kaniho giminiz, and aldrine guerrero, www.ukuleleunderground.com recording studio: florian widhalm, www.scopeaudio.com
Sounds Queer? was founded in 2014 by Zosia Hołubowska as a flying queer synthesizer laboratory and is now – with Adele Knall and Violeta Gil Martínez – a vital collective of three. It is a Vienna-base collective working on the intersection of electronic music, sound art and queer activism. Their approach was a unique one in Vienna that has been the spot for feminist networks and labels for many years such as female pressure, unrecords label, temp-records.
Sounds Queer? Starts with the eternal question: How does sound sound queer? and opens a wide process field between queerness, open hardware, software, music production or marketing. The idea of the project is to create a safer queer space through music, using music for process oriented discourse. During Corona they moved their workshop programme to the virtual space and offer online workshops.
In Oct 2019 they released a tape with odd, weird and queer and mostly unpublished tracks by former SQ? teachers and supporters: Aja Ireland, Masha Dabelka artist, Zdrada Pałki Waterflower, Qeei and Carlin Dally, and the three of us, Mala Herba, Matte/Glossy and Krach.
This radia show features music productions of the collective-members Krach (xxx ), Matte/glossy (let it die), Mala Herba (Mermaid Seduction) and an additional production by Aja Ireland (GrimeInside)
The Vienna Radia Collective – worked out the common transmission with online video sessions during the covid-19 closing and confronted with the common work in front of the monitors and the mirrored mutual reality made us think of the novel Through the Looking-Glass by Lewis Carroll.
We used the Radia proven method of “Cadavre Exquis” to mirror and reflect our sonic ideas mutually. Our program “Abre Cadavre” consists of small parts that went around in our collective and the last 30 seconds of each piece of the predecessor’s piece were the basis for the next one.
Unconsciously a journey through a sonic magic land with sound, text and surprising transitions was created.
Contributions by Barbara Huber, Barbara Kaiser, Lale Rodgarkia-Dara, Karl Schönswetter and Peter Wetzelsberger.
Thanks to Alex, Feli, Martina, Susanne and Susi for their voices.
