To define a dwelling place, for a terrestrial, is to list what it needs for its subsistence, and, consequently, what it is ready to defend, with its own life if need be. This holds as true for a wolf as for a bacterium, for a business enterprise as for a forest, for a divinity as for a family.
Bruno Latour – Down to Earth

The year is 3019, the atmosphere has sunk to 50 cm, the sun burns the earth’s surface and people hide in caves and dig in the earth for food and riches of past civilizations. The elite has retreated to “red” and left the earth to the impoverished 99% and their fate. Humans long for the top, but still have to crawl because getting up is deadly. A new man enters the colony cave and messes things up. Will he possibly crawl up? And what will he find there?

Text by Barbara Huber, Karl Schönswetter & Peter Wetzelsberger
Voices by Daniela Fürst, Barbara Huber, Barbara Kaiser, Lale Rodgarkia-Dara, Jürgen Rendl, Karl Schönswetter, Peter Wetzelsberger

The play uses excerpts of:

• Dream on my Nazareth
• Atemlos durch die Nacht by Helene Fischer
• Wenn ich einmal reich wär’ by Ivan Rebrov
• Don’t Give Up by Peter Gabriel & Kate Bush
• Step by Step by NKOTB
• Radia Show 753: Space Audacity by Soundart Radio

The play uses sounds from freesound.org:
https://freesound.org/people/Glaneur%20de%20sons/sounds/104949/
https://freesound.org/search/?q=blubbern
https://freesound.org/people/dcf77/sounds/324576/
https://freesound.org/people/digifishmusic/sounds/73690/

The word “Glitch” is everywhere those days. In movies and TV shows, in clubs and galeries, on billboards, in magazines and all around the social network. Most people see it as a Digital failure, at best as a nice effect or plot device. But it’s so much more: Some kind of natural accuring Digital art. A new dynamic in modern Electronic music. A way to breech the boundries of the (Computer) system. A crack in the Utopian facade and a way to exploid the unknown possibilities of imperfection.

Peter Wetzelsberger and Lale Rodgarkia-Dara of the Wiener Radia Kollektiv attempted a brief history of Glitch, including some examples:

• The tracks loneloft, practice and Brunch mit Darwin by Austrian glitch artist Wolfwetz.
• Some alcohol induced Philosophic outbursts by Gregor Fröhlich, Dita Mukane and Stefan Nowak. (Examples of the brain as a corrupted system)
• Lale Rodgarkia-Dara’s failed interview with the theorist and feminist art curator Jelena Petrovic about the Glitch and the Dichotomy between the Digital and Analogue, supplemented by two Music pieces based on recordings with the counter-tenor Marin Vitas and a fan.
• The piece Biomechanics (raw data of Günther Witzany’s “Biocommunication and Natural Genome Editing”) and excerpts of Meine Kleine Nachtmusik, generated by Lale’s broken Intercom system.

Wolfwetz
http://wolfwetz.bandcamp.com

Jelena Petrovic
http://redmined.org/

It’s springtime. We would like to go out and listen to the renaissance of nature. This is a radia transmission of the Vienna Radia Collective made out of different pieces about the sounds of nature:

“die herbstträumereien” was a soundinstallation for the project “nixe” at the musikprotokoll in graz, austria, 2015. barbara kaiser and ernst reitermaier (“die audiotapete”) combined the very contemplative and peaceful considerations of ludwig salvators book “song of trees” with fieldrecordings they had collected around the world: the sound of seawaves from croatia, spain, new zealand/the noise of wind from wales/chirping crickets from new zealand and burgenland/the sound of trees from upper austria/some straw from lower austria/creaking stairs from styria and more ..

In Favoriten the wind always blows and the naked spring trees of Laaer Wald give us a sound – or two. In the rhytmic/non-rhytmic event of spring storms the microfone is exposed to the heavy breathing of the earth. Favoriten is ‘outer-district’ of Vienna and not far from the recording location the deathsman used to execute his deadly work.

Recordings by b# in Laaer Wald, 8th of April 2018
Text written by Ambrose Bierce (The Devil’s Dictionary)
Voice by Darren Guy

Written and produced by The Sir Teens.
Recorded at Sendeschluss, April 2018

Recorded by Marco Zinz (The Grand Post). Sounds available at Österreichische Bundesforste.
Arrangement and Voice by Karl H. Schönswetter.

This week’s show is the Wiener Radia Kollektives journey into “Austrian Angst”. Listen to a group’s access to our spaces of Angst. And how a collective deals collectively with the collection of individual angst.

A show by the wiener radia kollektiv, Orange 94.0, in the 2017.

Tobias Dankl, Maria Herold,  Barbara Huber, Milada, Niklas, Barbara Kaiser, Lale Rodgarkia-Dara, Karl Schönswetter and Maria Sulzer.

The German language differentiates between fear (Furcht) and Angst (Angst)

Furcht is clearly directed, rooted in our consciences.

We know what we are afraid of, can name it, sometimes, we don’t dare to express it but it is not labeled with a shattering uncertainty.

The Austrian Angst is like the misty evening. Fog between the lines of conscience reception and anticipation. Blurring boundaries. We embody the present, we cannot flee escape from the present. The present is present. We cannot estimate the risks and vulnerability of the threat. We fight, freeze, focus, or flee based on the essence of our temper but between the foggy lines of this present a thought turns into a tree with little shiny fruits of terror.

The Austrian Angst is quiet, a solidification of our breath.  The moment turns into eternity; every scream is inverted into your body that suddenly is the object of angst itself. The outside threat is no longer separated from the inside we merge with this threat from the outside. We cannot do anything to avoid the immediate danger. We react and act in a quiet time-less, space-less sphere.

The picture is never complemented if you only look at one generation, so we borrow other generations, look at our children or argue with  our mothers and fathers. Rage is the soft variant of angst. It might seem aggressive and uncontrollable but in most cases is precludes the arousal of the real feeling. This is Austrian Angst and it means, it treats your body without any shifting, development.

The creation of experience, in fact, involves a degree of forgetting. Austrian Angst offers a huge traditional cake of sweet joyfulness. Every spoonful of this creamy tasteful cake prevents us from this process of forgetting. We detain our memory, sentence it for life. Free floating fear. Uncertainty itself becomes the object of our Angst. We can no longer set any references in time, space, lose the others, our body, our essence. And this angst is merging with desire. For some this means a joyful experience of life.

Die Tendenz in der unbelebten Welt zu immer größerer Unordnung, ist die Entropie
Eine meiner persönlichen  Ängste besteht darin,  den Kampf gegen die Entropie zu verlieren. In der belebten Welt sehe ich Angst, irgendwann den Kampf gegen das Kompostieren zu verlieren.

Transference and countertransference – the Austrian Angst is shiny and frosted at the same time. It is equipped with an insect’s antenna beyond our imagination. A gentle exploration of our manifold selfs, interspecies meetings a wishful exchange of perception, in fact an encounter of death.

Flow is the Antagonist of Austrian Angst. Flow shuts out this indescribable boredom of the Austrian existence. We cherish this fadesse, the tedium sticks our soul together. Our senses are integrated in the eternal conjunctive. The terror of our soul is the vital life others might have. We stare in envy. No single sign of shame, we are proud of this fadesse. Resonance with it.

You were listening to Austrian Angst. A show by the wiener radia kollektiv, Vienna 2017.

A show by the wiener-radia-kollectiv presenting the project PERSONAL SPACE project by Hernán Kerlleñevich (ARG).

Beside other projects, Hernán started his project „Personal Space“ during the residency in Vienna from December 2016 until February 2017.

„Personal Space is presented as an interactive sound installation in which the sound sources are human musicians, who react subjectively with acoustic instruments to the locations of the public, based on proxemic relationships.

The term proxemics refers to the use and perception that humans have of their physical space, their personal intimacy. It describes the measurable distances between the individuals while they interact with each other, their postures and the existence or absence of physical contact.“

(Tobias arranging a comfortable personal space for the participants.)

(Hernán physically explaining his idea of a personal space. Photo credit:speisekammertag)

The first steps for realizing the project took place in Vienna at the temporary space Feldversuch feldversuch.speis.net with following musicians:

Mona Matbou Riahi, Valentín Pelisch, Katrin Hauk, Peter Seher, Arnold Noid Haberl, Glo Noise, Diego Mune, Tanja Brueggemann, Susanna Gartmayer, Stojan Vavti,

(Performance at Panal 361 Credit: Ignacio Silberfaden)

The final performance took place at Panal361 Art Gallery, Buenos Aires, Argentina, 21st of March 2017. Performer: Cecilia Quinteros, Eliana Rosales, Violeta García, Steve DiGregorio

This sound art experiment was created during the sonic art visiting artist residency program, which was organized by SPEISkammertag-Verein zur Förderung digitaler Kunst und Kultur in cooperation with Panal 361.

Lale Rodgarkia-Dara initiated the call for this residency in Vienna and was part of the jury together with the radia-collective-Vienna.

Radia-Kollektiv-Wien: Barbara Huber, Barbara Kaiser, Florian Bauer, Karl Schönswetter, Maria Herold.

Jury in Buenos Aires, Argentina was Helena Ferronato, Silvana Ovsejevich, Julieta Penedo.

The residency was part of an exchange programme. In 2016 an Argentinean artist was selected to take on a residency in Vienna with the focus on Sonic/Radio-Art.
The Exchange-Call was announced in August 2015 hostet by Speisekammertag.

About the artist:

Hernán Kerlleñevich’s artistic production includes interactive sound installations, audiovisual performances, site specific works, electronic and instrumental music compositions, interdisciplinary projects merging art and science. He is a founding member of the argentinian sound art collective Buenos Aires Sonora.

His work and collaborations have been exhibited and awarded at CCEBA (2009, Buenos Aires), EAC (2010, Montevideo), Espacio Fundación Telefónica (2013, Buenos Aires), Museo Castagnino (2013, Rosario) Ars Electronica (2013, Linz), Festival de Cannes (2015), Centro Cultural de la Ciencia (2016, Buenos Aires), Teatro Colón (2016, Buenos Aires), Biennale di Venezia (2013, 2016), and the Feldversuch (2017)

On 9th October 2016 members of the seminal international radio art network Radia came together in person for the first time in serveral years. They decided to record a three hour exquisite corpse session (https://en.wikipedia.org/wiki/Exquisite_corpse) based on the topic “longwave” as part of their contribution to the Radio Revolten Festival in Halle/Saale.

This Edit will present the first 28 Minutes of this Session, you are able to listen to the full version here: http://radiorevolten.net/en/9th-october-radia-exquisite-corpse/

In the very end of last year the viennese radia team discovered the undervalued sport “minigolf”. Memory serves its function in the mother tongue, Minigolf inspired Yoga and Family Affairs will await you in this show. An acoustic golf-course in 18 holes filled with emotions, advanced rules, deep insights into the structure of black holes and Sieghardt Quitsch by Florian Bauer, Maria Herold, Barbara Huber, Lale Rodgarkia-Dara and Karl Schönswetter.

Special appearance: Maria Sulzer, Kaspar, Aria Rodgarkia-Dara, Veronika Mayer and Fiona.

Hole 1: Kick-off
Hole 2: Minigolf Championship

Hole 3: Miniature Golf Poem
Hole 4: Dangerballs
Hole 5: Family Affair

Hole 6: No one’s interested

Hole 7: Rules
Hole 8: What’s your name?
Hole 9: Overboard
Hole 10: Emotions
Hole 11: Minigolf Yoga

Hole 12: Ambiguousness
Hole 13: Reminisce
Hole 14: How to built a miniature golf course?
Hole 15: The black hole
Hole 16: Sieghardt Quitsch
Hole 17: Brotherhood
Hole 18: Final

You can listen to this transmission @ cultural broadcasting archive.

Categorising, tagging, assigning and conducting research as a creative process. Where do art and order come together? How do artists use archives or archived material? Does the digital card index therefore need a digital artist? How can digital archives be handled artistically? What are the interests of community radio stations? What is the infrastructure like? Lale Rodgarkia-Dara and Karl Schönswetter want to use a live (radio) performance to transform material from archives and on-site recordings into a live feedback transmission and thereby establish a seamless transition between a reticent lecture and an in-your-face live show. What happens if the public annotates the transmission and creates a new work of art out of the archive molasses? An acoustic overwriting of a long day of busy conferencing mixed with archive material from the conference participants. Well, now we know.

Lale Rodgarkia-Dara and Karl Schönswetter from Vienna used an analog catalogue of the Cultural Broadcasting Archive and Live-Recordings from the conference “Radio Archives in European Community Media” to activate free radio archives.
“Taxonomy of sonorous order” was recorded 6th june 2015 in Halle.
Twitter-Feed of Live-Performance-Feedback-Looping here: #c4ptch4