It was early October, just a few weeks before the social explosion that rocked Chile in the whole length of its strange geography. An explosion that, in late November, resulted in over 20 deaths, hundreds of mutilated, thousands injured, an indeterminate number of detainees, torture, sexual assault and countless atrocities committed by the police and the armed forces. Just before this shift, Chilean President Sebastián Piñera spoke about the convulsions that swept the rest of the region. He then introduced Chile as an oasis of peace and tranquility in the middle of the storm.

On November 18th in the Main Square of Cochabamba, mobilization against the supreme decree that gives impunity to the military. By D.E. from Cochabamba.

They ask for justice for those killed, they call the international press to cover and the local press to stop being biased. They also ask for Añez’s resignation and Evo’s return to pacify the country.

In Colombia, the mobilizations formally began with the massive national strike on Thursday, November 21, a day that ended with an unprecedented and massive cacerolazo that resonated strongly throughout the night in different corners of Colombia. The objective was to claim the peaceful protest that at the end of the afternoon had been tarnished by some riots. From then on, various calls began to multiply, more or less spontaneous and mostly festive, which began to have their own scores.

Latin America screams, but also other places in the world. It is time to hear the cries of citizenship, which asks for respect, justice, future. The world screams. Do we hear it?

This creative radio documentary is the first step in the new path that TEA FM, CPR Spain and RESONAR start together. With audios collected in different demonstrations and protests in several cities in Latin America and Europe in october and november 2019.

Juan Rulfo, in full Juan Nepomuceno Carlos Pérez Rulfo Vizcaíno, (born May 16, 1917, Acapulco, Mexico — died January 7, 1986, Mexico City), Mexican writer who is considered one of the finest novelists and short-story creators in 20th-century Latin America, though his production—consisting essentially of two books—was very small.

Because of the themes of his fiction, he is often seen as the last of the novelists of the Mexican Revolution. He had enormous impact on those Latin American authors, including Gabriel García Márquez, who practiced what has come to be known as magic realism, but he did not theorize about it.

Rulfo was an avowed follower of the American novelist William Faulkner.

As a child growing up in the rural countryside, Rulfo witnessed the latter part (1926–29) of the violent Cristero rebellion in western Mexico. His family of prosperous landowners lost a considerable fortune. When they moved to Mexico City, Rulfo worked for a rubber company and as a film scriptwriter. Many of the short stories that were later published in El llano en llamas (1953; The Burning Plain) first appeared in the review Pan; they depict the violence of the rural environment and the moral stagnation of its people.

In them Rulfo first used narrative techniques that later would be incorporated into the Latin American new novel, such as the use of stream of consciousness, flashbacks, and shifting points of view. Pedro Páramo (1955) examines the physical and moral disintegration of a laconic cacique (boss) and is set in a mythical hell on earth inhabited by the dead, who are haunted by their past transgressions.

A brief resume from 10 years of radio creation and experimentation workshop, trying to make posible another kind of radio broadcasts.

Three words are our rules:

Imagination ( noun) imag·​i·​na·​tion | \i-ˌma-jə-ˈnā-shən  \

1: the act or power of forming a mental image of something not present to the senses or never before wholly perceived in reality

2a: creative ability

b: ability to confront and deal with a problem : RESOURCEFULNESS

use your imagination and get us out of here

c: the thinking or active mind : INTERESTstories that fired the imagination

3a: a creation of the mindespecially : an idealized or poetic creation

b: fanciful or empty assumptio

Creativity (noun) cre·​a·​tiv·​i·​ty | \ˌkrē-(ˌ)ā-ˈti-və-tē,  ˌkrē-ə-\

Definition of creativity

1 : the ability to create

her artistic creativity

2 : the quality of being creative

Risk (noun) \ˈrisk  \

Definition of risk (Entry 1 of 2)

1 : possibility of loss or injury : PERIL

2 : someone or something that creates or suggests a hazard

3a : the chance of loss or the perils to the subject matter of an insurance contract

also : the degree of probability of such loss

b : a person or thing that is a specified hazard to an insurer

c : an insurance hazard from a specified cause or source

war risk

4 : the chance that an investment (such as a stock or commodity) will lose value

at risk

: in a state or condition marked by a high level of risk or susceptibility

patients at risk of infection

Risk (verb) risked; risking; risks

Definition of risk (Entry 2 of 2)

transitive verb

1 : to expose to hazard or danger

risked her life

2 : to incur the risk or danger of

risked breaking his neck

With the talent and voices of Santi Ric, Máximo Pinilla, Luis Trébol, Miguel Angel Lordán, and all the students from TCR TEA FM

Sensation is the body’s detection of external or internal stimulation (e.g., eyes detecting light waves, ears detecting sound waves). Perception utilizes the brain to make sense of the stimulation (e.g., seeing a chair, hearing a guitar).

Sensation involves three steps:

• Sensory receptors detect stimuli.
• Sensory stimuli are transduced into electrical impulses (action potentials) to be decoded by the brain.
• Electrical impulses move along neural pathways to specific parts of the brain wherein the impulses are decoded into useful information (perception).

For example, when touched by a soft feather, mechanoreceptors – which are sensory receptors in the skin – register that the skin has been touched. That sensory information is then turned into neural information through a process called transduction. Next, the neural information travels down neural pathways to the appropriate part of the brain, wherein the sensations are perceived as the touch of a feather.

Children are often taught five basic senses: seeing (i.e., vision), hearing (i.e., audition), tasting (i.e., gustation), smelling (i.e., olfaction), and touching. However, there are actually many more senses including vestibular sense, kinesthetic sense, sense of thirst, sense of hunger, and cutaneous sense.

Synesthesia is a neurological condition in which stimulation of one sensory or cognitive pathway (e.g., hearing) leads to automatic, involuntary experiences in a second sensory or cognitive pathway (e.g., vision). Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of color. Since synesthesia can involve any combination of the senses, there may be as many as 60 to 80 or subtypes, but not all have been documented or studied, and the cause is unclear.

The most commonly seen type is grapheme-color synesthesia, in which individual letters and numbers are associated with specific colors and sometimes colorful patterns. Some synesthetes perceive texture in response to sight, hear sounds in response to smells, or associate shapes with flavors.

Many synesthetes have more than one type of synesthesia. It is estimated that approximately 3 to 5 percent of the population has some form of synesthesia, and the condition can run in families.

How can we explain the result if you mix sensation and synesthesia with the human sound perception?

We call it Sensathesia. This is a work born from the imagination of the Itinerary of Radio TCR 10.1 from TEA FM Radio School based on an original idea from Laura Sierra and Stel Garcia.

Although usual, the works of sound creation of TEA FM always look around to press the environment and look for those sounds that are hidden behind the silence or the screams, as both contaminate the speech and the listening.

In these days, almost all the sounds that arrive at any place of Europe from our latitudes refer to Catalonia.

IMAGE: El Periodico de Aragon. April 23th 1992. Aragonese people in front of Spanish Parliament, Madrid.

What is here called “train crash”, which is nothing more than a dialogue of the deaf in which neither party is able to hear the contrary to arrive at a valid conclusion, stifles any other claim or protest as valid or more like “Votarem”

This creative documentary that TEA FM puts in your ears is born of our own Aragonese identity. Aragon, an uninhabited territory (along with Lapland, of which the least inhabitants per square kilometer has in all Europe), with a proper language that is only speak by 12000 people and that is cataloged like the more reduced language than those that exist in Europe and a population of just over one million people aged and dispersed in a territory with the size of Switzerland.

What we put in your ears is not a claim program. Nor it meant to be informative. We just want you to listen to those sounds that exist and are not heard from the protests that have been produced and are taking place right now in Aragon for many years and are deaf to the media noise of who only wants public opinion to look in one other direction.

Because despite what it seems … NOT ALL HAPPENS IN CATALONIA

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Como es habitual, los trabajos de creación sonora de TEA FM miran a su alrededor para pulsar el entorno y buscar esos sonidos que quedan ocultos tras el silencio o los gritos, pues ambos contaminan el discurso y la escucha.

En estos días, casi todos los sonidos que llegan a cualquier lugar de Europa desde nuestras latitudes se refieren a Cataluña.

Lo que aquí se está denominando “choque de trenes” y que no es más que un diálogo de sordos en el que ninguna de las partes es capaz de escuchar al contrario para llegar a una conclusión válida, ahoga cualquier otra reivindicación o protesta tan válida o más como la del “Votarem”

Este documental de creación que TEA FM pone en tus oídos nace de nuestra propia identidad aragonesa. Aragón, un territorio despoblado (junto con Laponia, de los que menos habitantes por kilometro cuadrado tiene en toda Europa), con una lengua propia que tan solo hablan 12000 personas y que está catalogada como la lengua más minorizada de las que existen en Europa y una población de poco más de un millón de personas envejecida y dispersa en un territorio del tamaño de Suiza.

Lo que ponemos en vuestros oídos no es un programa reivindicativo. Tampoco pretende ser informativo. Solo queremos que escuchéis aquellos sonidos que existen y no se oyen de las protestas que se han producido y producen en Aragón desde hace muchos años y que quedan sordos ante el ruido mediático de quien solo quiere que la opinión pública mire en una dirección.

Porque a pesar de lo que parezca… NO TODO PASA EN CATALUÑA

Dreams. Mysterious, bewildering, eye-opening and sometimes a nightmarish living hell: dreams are all that and much more.
As you may know that dream and sleep is not the same thing so dreams and sleep facts are mentioned separately in this program. By close listening, you will skip dreams facts and will navigate directly to cool facts about sleep.

Dreams are an art form in which each of us acts as the sole scriptwriter, director, and producer. Dreams usually reflect current concerns. They integrate past data with recent experience and express the information metaphorically in the form of visual images.
“A dream that is not explained is like a letter that has not been read.” (author unknown)
Dreams can be interpreted on an ‘objective’ or ‘subjective’ level:
Objective—elements in the dream are related to external events and the person.
Subjective—elements in the dream are all strictly seen as part of the dreamer.
Dream symbols are specific to each person, although shared cultural contexts clearly play a role. Symbols arise out of the specific life history of each individual, and it is only within this context that their meaning can be interpreted.
Meaning is determined by the individual’s own biographical events, life experiences, and past relationships.
Let’s close your eyes, listen and… dream.
MUSIC BY PABLO RIBOT
EDITION AND PRODUCTION BY CHUSE FERNANDEZ

A TEA FM Creative Radio Workshop Broadcast for RADIA.
www.teafm.net

600 is a wonderful number. Can you hear it?

The Radia Network emerged from a series of meetings, clandestine events, late night club discussions and a lot of email exchanges between cultural radio producers across Europe.
The topics vary and the reasons for forming a network are many, but Radia has become a concrete manifestation of the desire to use radio as an art form.
The approaches differ, as do the local contexts; from commissioned radio art works to struggles for frequencies to copyright concerns, all the radios share the goal of an audio space where something different can happen. That different is also a form in the making – radio sounds different in each city, on each frequency. Taking radio as an art form, claiming that space for creative production in the mediascape and cracking apart the notion of radio is what Radia does.
On 3–7 February 2005, there was a first meeting of radio stations in Berlin under the banner of NERA (New European Radio Art). The decision was taken to start a broadcast season the following April, and an email discussion list was set up on which the name Radia was finally settled on.
The originally Radia found members were 9 radio stations and now we are 29 radio stations, webradios and art-radio projects that broadcast the Radia weekly show and produce shows in turns.
Can you hear it? This is creativity and sound art. This is RADIA. Welcome.

Cuando viajas, un mundo de sonidos, ambientes y voces crece y evoluciona a tu alrededor. Es un buen ejercicio prestar atención a ese universo sonoro para descubrir aquellos detalles escindidos tras una voz de niño, una llamada de aviso o un motor lejano.

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What better way to know James Joyce than his invented words. He was born in Rathgar, on the outskirts of Dublin, in 1882. Although he spent much of his life living and working on the continent — he died in Zurich, Switzerland, in 1941 — Joyce maintained close ties with Ireland, and used it as the setting for all of his major literary works, including A Portrait of the Artist as a Young Man (1916), Ulysses (1922) and Finnegan’s Wake (1939).

Known for his playful and endlessly creative use of words, Joyce invented a whole host of often fairly outlandish words and phrases in his writing, a handful of which have made their way into the more obscure corners of the dictionary. The stories behind seventeen of his most brilliant and most bizarre inventions are explored here.

With the help and support of Bernard Clarke from Ireland. A radioart documentary by Chuse Fernandez.

A TEA FM Radio Workshop Production. 2015.

ENGLISH TRANSCRIPTION.
“Interstellar Sounds” is an experimental sound work where we can hear all together sound from outer space, NASA historical archives and many other sounds and natural radio broadcasts from far stars.
It’s better to hear it with earphones and with closed eyes to rise all the details of this work.
The masterline of this radio work is the sentence “We aren’t travel in the space alone”
At the same time, humans usually think they are the center of the universe and they are seeking and searching another life outside Earth, maybe to learn from them, but why not human race could be looking for life outside to feel like a superior race.
A sound project produced by Chuse Fernandez for TEA FM Radio Workshop
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ARAGONESE TRANSCRIPTION.
Cuan o espazio suena/Interstellar Sounds ye un triballo esperimental an s’achuntan sons de l’espazio esterior, grabazions istoricas d’a NASA e atros sonius y emisions de radio d’as estrelas lexanas.
Cal ascuitar-ne con auriculars y con os guellos zarraus ta plegar a l’intenzión d’o triballo.
Que no semos solencos en a inmensidá d’o espacio ye una cosa platera de raso.
Alabéz, os umanos mos pensamos que semos o melico d’a galasia y amás amás escamos y rechiramos arredol de nusatros atrás formas de bida, puestar que ta aprender d’atrás culturas pero también puestar que rechiremos ta beyernos como sers alteros y superiors.