British Artist William Furlong began a project of mapping the territory of contemporary art in a series of cassette editions. The Audio Arts project is a massive archive of intervies wirg artists ranging from Joseph Beuys to Tracey Emin, but also contains documents of world exibitions, symposia, festivals and many original acoustic works by artists. Furlong finds rgar his way of working – using sounds and voice as materials – is a sculptural and creative process. It arose from his intimate association with the recorded voice.
In 2007 artists Achim Lengerer and Dani Gal visited Furlong in his Audio Arts studio and recorded this sound piece as a reference to his body of work.
This Radia show is a special edit of Lengerer and Gal’s piece realized in 2007 for their project VOICEOVERHEAD. “Voiceoverhead” dealt with performative aspects of speech, sound documents and archived spoken language.
Any resemblance with Radia show 228 by radio x is accidental but undeniable.
All truly great thoughts are conceived while walking (Sondaggio: Torino)is a collaboration between Radio Papesse and Graham Hudson, the artist invited by Progetto Diogene at the residenza Bivacco Urbano in Turin. Sondaggio:Torino is a soundwalk, a peculiar city tour of the most ancient part of Turin (the Quadrilatero Romano) guided by Graham Hudson. In this walk the artist was accompanied by Luca Morino (writer and musician) and Fabrizio Diciotti of the Torino Archeology Group.
The aim was to produce an audiowalk that would include words and speculations about the historical and contemporary Torino. The resulting tour takes the listener from the Quadrilatero Romano, a recognised symbol of Turin’s mythology to the Progetto Diogene Tram – a symbol of transitory architecture.
Along the way Graham Hudson’s talks about his work, his interventions on the architectural space of Torino, and his evolving sculptures provide fleeting landmarks that play between these concepts.
The original soundwalk is 45 minutes long, this 28′ RADIA EDIT takes the listener into a quicker visit of Torino, resulting in a documentary that let the listener discover corners of the city as well as know Graham Hudeson’s work, philosophy and art.
In this EDIT the focus lands more on Husdon’s interventions and sculpture installations along the streets of Torino. To better discover the space, the history and the stories we met on our route, you can download the entire soundwalk/citytour from radiopapesse.org
radia season 26 – show #328 (radio papesse) – LA RADIO A PEDALI by Alessio Ballerini
– playing from july 11 to july 17, 2011 –
‘La radio a pedali / Radio on wheels’ is a project produced by Radio Papesse in collaboration with the Maggio Musicale Fiorentino Theatre and Radio 3 Rai.
‘Radio on wheels’ is a participatory project with which Radio Papesse tried to trigger a reflection around the ideas of energy – released by art and culture – and sustainability of both cultural consumption and environmental habits.
On the occasion of the last Nuit Blanche of Florence, on april 30th, 2011 we invited cyclists to join a parade, to bring their own radios and to tune in to Radio 3 Rai, that would have aired the live concert at the Maggio Fiorentino Theatre that very night: Beethoven and Liszt interpreted by Daniel Barenboim and the Maggio Fiorentino Orchestra, under the direction of Zubin Mehta.
We invited the sound artist and musician Alessio Ballerini to record the sounds of the parade and the show he has produced for Radia – along with the sound postcard of the ride – is just a bit of the entire and multilayered audio project he is still developing:
“Along the run with many other bikers I held a 4 channel portable audio recorder in one hand, forward facing the two onboard mics and fastening the two other external mics on my backpack. That allowed me to record sounds both in front of me and in the rear.
This was meant to allow me to postproduce the field recordings in two different forms. On one hand I decided to use and mix the frontal stereophonic recordings with other field recordings, original scores and extracts from Beethoven and Liszt; the output are both a 25 minutes long radio piece and a 6 tracks release. On the other hand, thanks to the 4 channel recordings I recreated the acoustic environment of the bike parade just adding more sounds to enhance the imaginary/imaginative experience of those visitors who will listen to it in a dark room absorbed by a quadraphonic reproduction.
I decided to start with the recording of an interview* with Zubin Mehta released by Radio 3 Rai just before the beginning of the concert. I think Mehta’s words are good food for thoughts about technology – at large – and the role of music in the evolution of our society since the beginning of the XX century. I find those words even more meaningful since I recorded them in Piazza dell’Indipendenza where more than 200 bikers came together tuning in their portable radios to Radio Rai, waiting the parade to begin. I recorded chit-chats, background noises, Mehta’s voice coming out the radio speakers and the resulting field recording was appealing to me also in terms of poetics; everything was connected, Beethoven, Zubin Mehta, people ‘playing’ their radios and myself recording them. I did use Beethoven and Liszt, along with original scores and field recordings, according all of them the same standing. This experience has been both a generational comparison and a way to find a common ground between two opposite poles: internet and vinyls, cars and bicycles, till my compositional approach that combines rough recordings and post-production mix. The discourse around technology though is hopeful- be my creative approach to it, be Mehta’s call for a more conscientious use of it or the dreamy memories of a group of old men who remember the time when cars and the Mille Miglia Race were synonyms for technology; all these facets positively decline the technological issue.” [A.B]
* Synopsis of Zubin Mehta’s interview translated from Italian:
The interview concentrates upon the diverse media through which people have been listening to music since the age Zubin Metha started playing and directing: the long play was yet to come and people did think that a record was definitive. Mehta has always felt unconfortable with this idea and on the contrary he still thinks that changing interpretations in music are the real miracle.
He also reflects on the return of people to live performances and – once having got the highest quality of the cd – to the first person experience of the concerts. Mehta also remembers a conversation he had around the beginning of the 70s with Arthur Rubinstein who already reported the issue of the ‘new audience’. Comparing with the 20s – when more than 25% of his audience was educated to the music he used to play – he had witnessed a shift in the music education and knowledge of people. Internet flourished on that already changing ground; Mehta credits internet the much broader flux of informations but invites the youngest generation to interpret and try to disentangle the flow of available informations in order to turn them into education. For his part he appreciates Youtube but he hardly manages to have free time; he also admits to behave childishly: once started he would never quit the ‘game’.
CROSSINGS is an emporium of memories documenting Naples and New York along the imaginary 41°parallel that ties them on the same latitude line. Two cities in continuous metamorphosis, revealing how fragile the fringes between reality and the imaginary may be. Analog and digital meet to witness sounds of strangers, unknown horizon, private memories and crowded streets.These sound collecting events are aimed at creating a dislocation in the listener’s uncertain perception of space through sound: a sort of unerasable ‘shadow zone’ for the imaginary city walker to inhabit a no man’s land where the boundaries between the two cities are hardly palpable, proposing a displacing where gaps between audio fragments become for a few instants a sole ‘modified’ city.
credits: most sounds have been gathered in New York and Naples (sometime between october 2009 and february 2011) then manipulated filtered and and re-worked. The track makes use of field recordings, found sounds, synthesizers, filters, Luigi’s Pizza Fritta conversations; liturgical rituals at Napoli Dome (during the days of San Gennaro’s blood miracle) Akira Kasai ‘s Buthoh Performance at the National Museum, Napoli; Porta Capuana Fruit market; Peppino reading excerpts of ‘Alzaia’ by Erri de Luca; Banda and voices during the San Rocco Parade in Nyc; Coney Island subway stations and library sounds from the american radio archive, The Naked City, Union Square Farmer Market (nyc); student’s protests in Napoli; Marc Ribot concert at the Rose-Brooklyn; New York and Napoli harbours/seagulls/ships; open/broken cables, children; vocal and spoken words and cries, casual frequencies and a few more sources…
Recorded with MD Sony, telephone, Zoom digital recorder with a stereo microphone and in-ear binaural condenser mics, Edirol R4 Pro and Rode Shot-Gun mic.
short bio Soon Apres (Barbara De Dominicis) likes to record natural or urban sounds and merge them in her music. Her projects include Cabaret Noir (with Pasquale Bardaro), The Body exposed, Poe-Si (with Mirko Signorile and 99 Posse dubber Marco Messina); Kuul-Ma, an audio-visual project in collaboration with the media artist Davide Lonardi. In 2008 she wrote and produced the songs of her album Anti-Gone based on a narrative theme of Greek mythology. In the same years she met the canadian cello player Julia Kent; together they brought into existence Parallel 41a musical/visual/improvisatory project. Her growing interest in Sound Portraiture, led her to work on A tale of two cities, an audio collage documenting Naples and New York. In 2011 with a dozen of other artists, she gave life to Exquisite-What! a collective web/project based on surrealist’s Exquisite Cadaver pratice. At the moment she is working on a new solo album under the moniker Apres Soon: an assemblage of drones and field recordings, electronics, voices and string instruments.
Somewhere in between musical compositions, songs, literary essays, poems or unreligious mantras, close to Robert Ashley, Rene Lussier, Peter Ablinger, Ornette Coleman (or even the asymmetrical rhythms of Steve Coleman and Henry Threadgill), Life Expectation by Alessandro Bosetti is constructed around the intricate emotional, rhythmic and melodic counterpoints of a casual conversation.
Bosetti translates intonations of speech into complex and seemingly orchestral scores where meaning, tone and noise are melted into each other. Several variations of techniques known as shadowing or convolution were used in the making of it. Sometimes digital devices were used, some other times analogue – almost hand made – techniques. He has been pouring words into notes. Notes into noise and then again noise into meaning. He has been exploring spoken languages and the implication of repetition.
“Life Expectations” is taken from Royal, his latest album released last october 2010.
Life Expectations – CC Alessandro Bosetti 2010
Electronics, other Instruments and Field Recordings : Alessandro Bosetti
Text by Alessandro Bosetti after words of Chris Heenan and Fernanda Farah
Mastering : Martin Siewert
Alessandro Bosetti was born in Milan, Italy in 1973. He is a composer and multidisciplinary artist working on the musicality of spoken words and unusual aspects of spoken communication, producing text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves across the line between sound anthropology and composition, often including translation and misunderstanding in the creative process. Field research and interviews build the basis for abstract compositions, along with electro-acoustic and acoustic collages, relational strategies, trained and untrained instrumental practices, vocal explorations and digital manipulations. Recent text sound projects include African Feedback (Errant Bodies press), the interactive speaking machine “MaskMirror” (STEIM, Kunstradio.at a.o. ) and his own ensemble Trophies with guitar player Kenta Nagai, vocalist Christian Kesten, and drummers Morten J.Olsen and Ches Smith. Alessandro Bosetti has been touring extensively in europe, USA and Asia and lives in Berlin (Germany).
www.melgun.net
Radio Papesse is featuring Radio Zeit#2, an artwork by Pasquale Napolitano programmed by Paolo Napolitano.
Radio ZEIT is a sound composition which aims to use the radio spectrum as a mechanism of time exploration. The installation is programmed in MATLAB environment and programming language used for interactive and generative applications.
So, the composition has a soul linked to deeper interactive quotient variation in results depending on space and time of detection.
The mechanism of Radio ZEIT scans the entire FM radio compared by scaling each unit every 10 seconds and aggregates the results in 64 minutes of sound sequences.
The beta version presented at “Radioaktivität” – radio art meeting held in Naples in December 2009 – was produced by mapping the fm spectrum in the outer courtyard of the Pan Contemporary Art Center in Naples Sunday, December 12, 2009, from 18:00 to 19:04.
Taking the clue from that experience, here it is the second chapter of Radio ZEIT; after six months the mapping of the acoustic space took place in the same venue and at the same time. What has changed is the fm spectrum mapping time lapse: Radio Zeit#2 scales each unit of frequency every 5 seconds, gathering the results in a 28 minutes long sampled sound sequence.
This sound piece aims to build a soundscape through a repeatable practice within various territorial circumstances. We tried to depict/record a fresco sound of Naples; what emerges is a sort of local “agenda setting” of the medium, that reflect its multifaceted nature and comes out of a mix of both sports radio programs and neighborhood stations, both music of “neomelodici” and national mainstream.
a sound portrait of Milan produced by Painè Cuadrelli – marks our official first entry as RADIA member.
Radio Papesse launched the series with a work of Painè Cuadrelli and his soundwalk in Milan, the city Luciano Berio and Bruno Maderna portraied in 1954 in ‘Portrait of a city’, the first electronic music piece ever recorded at the Milan’s RAI Fonology Studios (Italian Radio and Television). As the oral narration is a primary key of this soundwork, Cuadrelli’s portrait is much more about sounds and field recording; it was produced recording sounds in the city of Milano, Italy and manipulating it into a collage of small compositions and rhythms. The show is intended as a modified soundwalk, where pieces of real-world soundscape get transformed, cut’n’pasted, mixed and remixed, becoming something else, yet keeping the original texture.
Recordings were made in main spots of the city centre: Piazza del Duomo, Duomo (inside), Triennale Museum, Teatro dell’Arte, Parco Sempione, to name a few, in differents moments of the day and night.
No addictional sounds were used.
>>CREDITS<<
produced, composed and mixed by Painè Cuadrelli
assistant: Mattia Trabucchi
recordings made with; Edirol R-09, Apple iPhone with Audiofile
Engineering Fire Application, Tascam DR 100
sound editing made with: Audiofile Engineering Wave Editor, Bias Peak
post-production and mix made with: Ableton Live, Apple Logic Studio
