Radiodance Opus.01″Y Do B?” starts from the voice, the presence of the verb and the dance of electromagnetic fields to compose a body program of synaesthetic flexing of the body limits, it’s listening s and gestures. In the metaphysical inversion of the body (udob), the representation of the clash of embodiment springs a question: why do we keep insisting on engineering the “being”? Why do we still believe in artistic performance when it has no longer the power to update the world? We ask the listener to watch his body with utmost attention during the broadcast and dance.

Voices (heard and un-heard): Veridiana Zurita, Julia Rocha, Daniel Fagundes, Daniela Dini, Gabriel Kolyniak, Guilherme do Vale, Chico Science, Frank Zappa, Key Sawao, Ricardo…
http://sons.maquinas.com.mx

Another dada collage by yours truly. An I tell you the truth, the is a Tommy pilot in the end.

Backup show for Kanal103 slot

Lange Beschreibung The sonic resonance that surround current and former military landscapes have intrigued artists working with sound. Memories of power and technology settle as an uneasy layer in these environments, creating opportunities for artists. I intend for this to be an on-going series, hopefully weaving in writings, interviews and inviting collaborations.

1.Richard Lerman, Aleutian Internment (7:01)
Inside a hunting dwelling on the Pribilof Islands in the Bering Sea (amplified whale bone, grass, rain, wild celery and a wind harp) Funter Bay Internment camp (slats of the goldmine camp building where they were interned, windharp, rain) Windharp and weeds at a Cemetery across from the Internment camp at Funter BaySeals on St Paul Island, the Pribilofs Ugadaga Bay, looking towards Biorka Island and an Iris in the wind and snow, recorded on Unalaska Island.

2. Louise K. Wilson “Black Beacon Receiver mix” ( 5:46)
Mixed-down version of the seven soundscapes produced for “Black Beacon Receiver”. From A Record of Fear

3. Louise K. Wilson, “U amplified choir. Sine oscillator ” Yannais Kyriakides, Composer (7:20)
A specially composed piece for Exmoor Singers, made for temporary installation in Lab 5 at Orford Ness.
Recorded at Lansdowne Studios, London on August 7, 2005.
Music Director: James Jarvis; Producer Clarissa Farran.

4. Richard Lerman, Trinity Site (5:12)
Trinity Site, near Alamagordo, NM, was recorded in April 1997. Two times a year, the site where the first atomic bomb was tested, is opened up to visitors and many hundreds of people attend. I began recording from the car as I entered the military check point. Later, I recorded sounds from piezo disks attached to glass pieces that I placed into the earth. Also heard are sounds recorded from the fence surrounding ground zero and amplified, grass, weeks and footsteps of persons at the site.

Visit Richard’s site: http://sonicjourneys.com
Visit Louise’s site: http://www.lincoln.ac.uk/lsad/staff_pt/l_wilson.htm

Zero brings Rui Chaves. In his own words “I live in Lisbon. Between January and February, and within the Sonic Arts Laboratory cem HZ ( c.e.m-centro e movimento) in which i participated as a tutor, i was in different areas in this town, recording its different soundscapes. The work that is going to be transmitted consists in the editing and construction of a Sonic voyage, trough this different places.”

ruichaves@c-e-m.org
www.myspace.com/ruichaves
www.c-e-m.org/
http://eaoresto.blogspot.com/
http://www.c-e-m.org/formacao/cemhz.htm

This piece is based on previous personal sound tour mixing project called Myxamatosysm now debuting as a full lenght program. Since the beggining more oriented for less than a minute intermissions on Radio Zero, now its time to unleash the full power of the sound tour experience. In this piece we’re going to travel through the Lisbon Subway system, a path full of acordeon players, beggars, voices ( little and not so little) and fizzy sounds:
sprockets, rail flanging and pure voltage oscillating in triphasic electric engines. Are you ready? Step in!

Amadeu Dias is a 25 year old Portuguese Software Engineer working on multimedia and interaction that sometimes wanders off to the artistic side. Although he ain’t a superhero, he sometimes leads a double life: capturing sounds everywhere he goes every breathing time. The addiction started more acutely two years ago, registering and mixing all the meaningfull sounds trapped at every corner of Portugal. One of his samples got featured in an album by the French Band Zef. You can freelly browse and use all the samples from Amadeu at Freesound. Just search for user amabok or drop him a line at his profile or at amabok ?at? gmail dot com.

This work crosses three layers:

1) Recording inside a taxi of excerpts of the “Bad Marriage Mantra”
(Erik Belgum) broadcast in Antena 2, with driver’s and passengers’
commentaries.

2) Fragments of the “Song of Solomon” (King James version) read by
Rich, Audrey and Claire; synthesized voices by AT&T.

3) Recordings selection of my first-floor neighbours, who emit in a
non-stop basis, in closed circuit, the most varied insults and agressions
which translation would become injurious.

There is also a dog and its transfiguration.

Radio show consists of introduction which is followed by 23 min long soundwork. Introduction part contains night fieldwalk in Nodar village, Portugal, accompanied by short introduction into notion of scale made by author.

Soundwork ”Variations of Scale” is a contextual continuation of ”soundscape mapping” project developed in Nodar, Portugal, during FRONTE[I]RAS 07, international meeting of transdisciplinary arts. The backbone of “Variations” is formed by fieldmix of water tanks, recorded during Fronteiras in the village of Nodar. Recording of resonating tanks is left untreated, while it skins over with multi textural layers of sound material gathered in different places during recent years. This blend is forming fluent narrative soundscape, whose vibrant shiftiness of scales uncovers conditionality of perception.
”Variations of Scale” were constructed for a quadrophonic live performance in Kumu, Contemporary art museum in Tallinn, Estonia, October 2007.

“Each space has the potential to expand the perception of a sound.This program departs from several artists own descriptions and reflections on specific spaces to expand the long debate on architectural and acoustic space while simultaneously keeping the focus in the listening experience.”