Runaway Noosphere
Oleksiy Radynski in conversation with Svitlana Matviyenko
Sonic Intervention by Sasha Dolgiy.

for radia.fm by reboot.fm Berlin.
excerpt from: Red Forest Radiograms- Nomadic Cosmology and Fugitive Power

In the interwar period, the Soviet geologist and philosopher Vladimir Vernadsky diagnosed the transformation of the scientific thought into a geological force that affects material processes on a planetary scale and one able to transform the planetary biosphere ‘according to the interests of freely thinking humanity as an organic whole’, and sublate it into the Noosphere – a highly networked sphere of unified human knowledge. Vernadsky claimed that the transition to the Noosphere went utterly unnoticed and unreflected by humanity itself, which led to devastating consequences in the form of two world wars. He passed away just before the Hiroshima bombing, a challenge to his cautious optimism regarding the Noosphere’s future. With cyberwar, this future has arrived and its shifting battlefield is now in Ukraine where the nexus of cyber and nuclear emerged as the symptomatic trace of the runaway Noosphere.

Oleksiy Radynski is a filmmaker and writer based in Kyiv. His award-winning short films have been screened at film festivals including DOK Leipzig, Oberhausen International Short Film Festival, Kurzfilmtage Winterthur, Docudays IFF, Artdocfest, Odesa IFF, Watch Docs, Molodist IFF, as well as at the Institute of Contemporary Arts (London), e-flux (New York), SAVVY Contemporary (Berlin), International Studio & Curatorial Program (New York) and others. He is a participant of VCRC, an initiative for art, knowledge, and politics founded in Kyiv, 2008. He was a 2019-2020 BAK Fellow at basis voor actuele kunst, Utrecht and a KONE Research Fellow in 2021. In 2020, he convened War and Cinema, a cycle of artist films for e-flux Video and Film.

Svitlana Matviyenko is an Assistant Professor of Critical Media Analysis in the School of Communication and Associate Director of the Digital Democracies Institute, Vancouver. Her research and teaching are focused on information and cyberwar, political economy of information, media and environment, and infrastructure studies.

Sasha Dolgiy is an artist, musician and innovator. In 2012-2018, he was an organiser of ЭFIR, a legendary artist run space in Kyiv. His work has been represented at a number of venues in Ukraine and internationally, including documenta 14.

Red Forest is mobilized by David Muñoz-Alcántara, Diana McCarty, Mijke van der Drift and Oleksiy Radynski, after their collectiv

e practices super collided during a 2019-2020 BAK Fellowship in Utrecht. It unfolds as a growing constellation of artists, activists, researchers, media producers, filmmakers, philosophers, educators and time travelers realizing interdisciplinary projects. In 2021, their ongoing research on Extractivism, Datafication, and Transformative Justice was supported by the Kone Foundation in Finland. They are producing an experimental social and durational performance series in Kyiv and Berlin titled Sambatas Stagings, supported by Goethe-Institut Co-Production Fund Kyiv and Haus der Kulturen der Welt, Berlin. In 2022, they convened Red Forest Radiograms -Nomadic Cosmologies and Fugitive Power  as the German Pavilion of the the 23rd Triennale Milano International Exhibition Unknown Unknowns. An Introduction to Mysteries.

The German Pavilion at the 23rd Triennale Milano International Exhibition is convened by Red Forest on a commission from the Goethe-Institut Mailand and supported by the German Federal Foreign Office. Media Partners: Radio Raheem Milan and reboot.fm Berlin

Co-Tension – Fish for Thought
From reboot.fm for radia.fm

By Varja Hrvatin, Polina Burovskaya, M. Marque Pham & Gideon Morison

Co-Tension – Fish for Thought was realized as part of the Kammer Kampus Radio organized by Katja Kobolt and Diana McCarty and produced by Noemie Cayron as part of the „Friendly Confrontations“ program curated by Julia Grosse und Julian Warner at the Münchner Kammerspiele in 2020.

Sounding Sambatas
 
Many other walled towns have been razed to the ground by mighty movements of the earth, and many cities, citizens and all, have sunk to the bottom of the sea.

– Titus Lucretius Carus, De Rerum Natura

Sounding Sambatas riffs off of SAMBATAS STAGINGS, an experimental performative project that drew on the imagery of urban ruin to find new ways of using the public space in times of social distancing. It took form as a series of process-oriented, collectively produced performances, readings, rituals, writing sessions and audio transmissions that depart from the poem De Rerum Natura by Titus Lucretius Carus. Opening up the hidden potentials of urban and acoustic space, these practices activated the abandoned ruins in a garden off of Petrivska street in central Kyiv. This process culminated in a public gathering and performance on August 19th, 2021.
 
Sambatas is alleged to be an ancient city that may or may not have existed alongside Kyiv. Sambatas is thought to have been raised to the ground in the first millennium AD. Today, in the second millennium, a similar fate is threatening certain parts of the city of Kyiv, like the area of Petrivska street that fell prey to a number of landslides. Sambatas Stagings takes place at the site of those landslides to make Lucretius’ philosophies of flux present in contemporary Kyiv.
 
Sambatas Stagings was realized by Red Forest together with Maryana Bodnaruk, Sasha Dolgiy, Artem Kanischev, Lyuba Knorozok, Oleksiy Kuchanskyi, Nastya Teor, Ihor Sokolo and Nika Zenova, in and around the abandoned territory of Petrivska Street in Kyiv aka ХАЩІ featuring analog synthesizers, drums, a magnetic harp, alto saxophone, vocals and strange interference.

Sounding Sambatas was produced by Nika Zenova with Red Forest.

Red Forest is a collective that works on the intersections of research, art, political imagination, and social actions. Red Forest are: David Munoz Alcantara, Mijke van der Drift, Diana McCarty and Oleksiy Radynski.  

Sambatas Stagings was organized by the Visual Culture Research Center and ХАЩІ with the support from the International Co-Production Fund / Goethe Institut Ukraine / Haus der Kulturen der Welt, Berlin.

Korhan Erel’s work “We’re all alike” created for the group exhibition “Hacktivate Yourself!”curated by Tuçe Erel at 1a Space in Hong Kong in March 2019 revisits and reinterprets “The Hacker Manifesto”, an essay written by The Mentor (born Loyd Blankenship) on January 8, 1986.

Korhan Erel made three computer voices spread over two speakers read this essay in parts. In between these parts, they inserted short sound compositions reminiscent of the computer sounds of the era, found-sound collages, snippets from Michel Foucault’s “The Culture of the Self” lectures at Berkeley (1983), and glitched versions of the manifesto in an effort to dig up and shine a new light on one of the first computer-era manifestos. The viewer experiences this sound piece by standing between two speakers pointed at each ear and in front of the printed manifesto.

Amauta Mixtapes is one of a four-part experimental acoustic reportage focused on epistemologies in resistance and sistered struggles. Assembled by Nomad Agency/Archive of Emergent Studies, a research studio and transdisciplinary platform that intersects advanced
resilient practices, promotes studying against the grain, and claims the political space of research as the right to know and the right to imagine together. NÆS walks with artist David Muñoz Alcántara and curator Giovanna Esposito Yussif. This was commissioned for Latitude
on Air – Unsettling Power Relations, 4-7 June, Berlin 2020, a project by the Goethe-Institut, in cooperation with reboot.fm and the Radio Netzwerk Berlin.

http://reboot.fm/projects/latitude-on-air-unsettling-power-relations/

Composed, played, arranged and produced by Satch Hoyt.
for reboot.fm for the radia.fm network of free cultural radios.

Satch Hoyt is a visual artist and musician living in Berlin.
His projects are related to the transnational African diaspora and revolve around the cultural and political role of sonicity.
By combining music, art and historical narrative, he has developed a complex of works that explore what he calls the “migration of the eternal African sonic signifier.”

He began his research for Afro-Sonic Mapping in 2016 and documents them on the blog of the same name: www.afrosonicmapping.com

Since the dawn of radio, the medium has been used by musicians and artists alike as a material to work with and to subvert conventional formats. The radio is still very much fertile ground for sonic experimentation in the digital age. Through a scripted conversation taken from found material online, Harry, Rosie, Veena, Fiona and Tess discuss the endless possibilities of public speech and identity in the anonymous age.

Lüftung: The radio broadcast

By Anna Bromley, by, and with Jasmina Al-Quaisi, Petra Beck, Basma Elmady, Christine Eßling, Yayla Höpf, Lena Knäpper, Lena Schubert, Cindy Wegner, and Seoyoung Won.

Conceived, recorded and montaged by a group of radio-affine nGbK-visitors, the 1-hour broadcast explores the ambigue notion, and theme of the nGbK-exhibition “Left Performance Histories”.

It compiles artifacts and archival material from performances in Poland, Hungary, Jugoslavia, and Rumania between 1970 and 1989. Encountering its visual material and accompanying conference, the broadcast interweaves and montages the auditory side and texts of the exhibition with the questions and commentaries of the group, while visiting the show. How can our perspectives relate to the articulations of left critique in this setting? What has been left for us to perceive? Inhowfar did these performance come to an end, as they spark they an “archival archeology” which might be conceived as a montage in itself?

http://reboot.fm/

https://ngbk.de/de/

METHOD, by Anna Zett via reboot.fm 88.4 FM Berlin for radia.

In this spontaneous audio piece Anna Zett explores the interview as a form of monologue and a form of trialogue. It is centered around the artist’s visit at a professional fortune tellers office in Beijing.

She has brought her own deck of modernist tarot cards, he is willing to share his approach to situation analysis and fate calculation according to Chinese traditions. Mediated by a third person who is serving as translator, they enter a conversation about chance.

Anna Zett has written and directed two radio plays for the public radio in Germany, both of them dealing with voice-based oracles and the challenge of communication.

Selected set pieces from Gozel Radio’s 2014-2016  broadcasts : ” Postcards from ISISTANBUL ” .
New global power complexes demand new multi-sensory ways of seeing power and sensing one’s own position in it: new sets of sensory politics. Following the concept of “altered states”—a geopolitics spectralized by sensory overload and dispossession and by the relocation of power in the post-democratic or post-digital era— the 2/5BZ works ” SERHILDUB vs. ISISTANBUL ” reconsider what is (or was) referred to as  Sustainable ISISolation States, TISA-ISIStanbul Hologram Doctrines, Spywarezullah Harassment Agencies, Golden Age Palaverel Universes, Eurottoman and Nattoman Empire/Autonomie of Hardcore Ultra Modernism.
2/5BZ, aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991. The work often balances on the verge of trash, and continuously engages with remakes and collages of music, cinema, speech, and field recordings. 2/5BZ has performed live audiovisual performances under motto ”NO Touristik NO Exotik” in 91 cities in clubs, festivals, squats, and exhibitions.
https://2016.transmediale.de/content/25bz
http://2-5bz.com
http://2-5bz.tumblr.com/criticzphotoz
http://reboot.fm/category/gozel-radio/