American novelist, short story writer, essayist, painter, and spoken word performer William S. Burroughs is sonically explored in this episode. Born 100 years ago and died in 1997, Burroughs’ cut-up period — the mid-1950s to mid-1960s — is explored here, with a special focus on Burroughs use of bodies and diseases as transmission metaphors. Ronald De Feo wrote in Modern Occasions in 1972, “in ‘The Ticket that Exploded,’ he scatters among his short-winded and repetitive fantasies a metaphysics, an eschatology, a theory of possession by demonic tape recorders, a theory of sexuality, an assault on advertising as a form of brainwashing, the usual quota of flashbulb-and-firecracker sodomies, and some suggestions for mind-changing party games.” This show cuts-up Burroughs’ words and mixes them with other odd sounds and stories. Two in particular about the body as transmitter or receiver. The episode samples Lucille Ball, talking about her molar radio, and an episode of the 1960s American television show “Gilligan’s Island” in which the title character’s tooth becomes a radio receiver. Then radio artist Anna Friz talks about whale radio, and other sonic signals sent by underwater creatures, from a talk in Toronto, Canada at the “Trans-X Transmission Art Symposium.” Burroughs words on disease, bodies, and transmission are cut-up throughout the show. Produced by Tom Roe from Wave Farm and WGXC in New York, in the United States.

“Morton Feldman Says, Robert Ashley,” from April 9, 2011 Wave Farm/WGXC broadcast. Performed by Bill Hellermann and Max Goldfarb. Hellermann and Goldfarb perform Robert Ashley’s “Morton Feldman Says” live in WGXC 90.7-FM’s Hudson Studio on April 9, 2011. Wave Farm Executive Director Galen Joseph-Hunter introduces the broadcast, and asks a few questions afterward. Click here to download the audio file. (28:11)

NRRF is a collaborative effort to make unlicensed neighborhood radio art. For the B Radio iteration, the core group of noisemakers consists of Jonny Farrow, Anna Friz, Steve Germana, Jeff Kolar, Peter Speer, with Sarah Knudtson (documentation and props wrangling).

B Radio is a series of long-form radio shows mashing b-list genres with radio art. Each B Radio episode features a theme to structure the improvisational nature of the shows, though tangents are frequent and encouraged. It’s live radio, streamed, with special guests and live audience.

Recorded from a live pirate and translocal radio session at the Experimental Sound Studio (Chicago) and Deep Wireless Festival of Radio and Transmission Art (Toronto) on May 3, 2013.

German composer Hans Schüttler creates live radio dramas, and was recently in New York City for a workshop and performance at Harvestworks as part of 2013 New York Electronic Art Festival. Hans Tammen from Harvestworks put together this audio tour of Schüttler’s work. It includes excerpts of “Death of an Underwater Diver” and others. This show was produced for Wave Farm‘s WGXC in New York.

Hans Schüttler produces radio dramas for German public radio WDR, DeutschlandRadio Berlin, NDR, and others. He has produced radio dramas for writers such as Günther Eich and Vladimir Grossman, but also his own productions in various genres. As an audio artist he also created works for theater productions and audio books. Schüttler studied piano with Nicolai Posnjakow, and currently teaches at the Universities of Kassel, Rostock and Halle. As a pianist and composer he worked together with a wide range of artists such as Manos Tsangaris, Dieter Schnebel, Barry Guy, Dror Feiler, Anthony Braxton, Howard Johnson, Jay Oliver, Jimmy Carl Black, Dangaa Khosbayar Hosoo, Ge Suk Yeo, Kuyn Dong Yeo.
Download an mp3 of the show here.

Sam Sebren and Liz LoGiudice to bring you a glimpse into the transmission of Anguilla rostrata, aka the American eel. Sebren and LoGiudice trace the eel’s story from the Hudson River to the Caribbean, sometimes by way of Europe and the Pacific. Sebren and LoGiudice look at the American Eel Project’s Hudson River Estuary Program. Teams of scientists, students, and over 200 community volunteers monitor and count glass eels at 12 HREP sample stream locations along the Hudson River in New York State in the United States.

Each year, glass eels – the tiny, transparent young fish – navigate the Atlantic Ocean all the way from the Sargasso Sea to the rivers along the East Coast. Every March and April, these young fish migrate into the rivers and freshwater streams, where they mature for 20 years or more before returning to the Sargasso Sea to mate and die. This episode of “Radia” tracks their progress in the Hudson River, and around the world. The entire show serves as a metaphor for the “Radia” stations and weekly transmission.

Liz LoGiudice is an environmental educator and eel devotee who helps to coordinate the Hudson River Eel Project in Greene County. Sam Sebren is a volunteer citizen scientist for the HREP American Eel Research project, and a multidisciplinary artist who began his career in the East Village New York arts scene in the 1980s. A prolific maker, Sebren’s visual works take form in installation, collage, painting, photography, video, and public works. His sound-based works have ties to noise and no-genre music (Menlo Park Recordings). Sebren also uses the medium of radio to activate dialogue around ecological and social justice issues impacting New York’s upper Hudson Valley. LoGiudice and Sebren collected and edited audio from various eel experts and volunteers of all ages at various locations during the 2012 eel counting season. For more information about the Hudson River Estuary Program, or to volunteer, go here: http://www.dec.ny.gov/lands/49580.html

This episode was produced through the Wave Farm studios at WGXC 90.7-FM in New York, in the United States.

From free103point9 in upstate New York, a story of sound effects, subverting a documentary-style radio show with bits of radio theatre created entirely of sound effects. Foley effects in films, and live theatre and radio sound effects are explored. Also music from Spike Jones (“The Sound Effects Man”), Rufe Davis (“I’m a Sound Effects Man”), and Dymaxion (“The Haunted Radio”), plus fake commercials, and excerpts of pop songs (“Paper Planes” by M.I.A. and “Pop Life” from Prince) and more. (27:58) Audio file:

http://data.free103point9.org/r/q5/46/23/Radia_s29_n405_free103point9_WGXC_Sound_Effects.mp3

free103point9 is a non-profit arts organization defining and cultivating the genre Transmission Arts by promoting artists and works with, for, and about the electromagnetic spectrum — the airwaves. Transmission arts programming from free103point9 Online Radio airs every Saturday and every night from midnight to 6 a.m. on WGXC 90.7-FM, a 3300-watt radio station in the Hudson Valley in New York State in the United States.

http://www.free103point9.org/

Jeremy Kelly is a noise musician based in Hudson, New York. He uses
radio feedback to create psychedelic noise collages.

free103point9’s contribution to the Radia network comes from a fundraiser for its FM station, WGXC, last summer, with “Radio Readings” from Max Goldfarb and Brian Dewan, Alison Knowles  and Hugh Dancy.

The readings, in order of appearance:

• Artists Max Goldfarb and Brian Dewan produced this “reading” of Velimir Khlebnikov’s The Radio of the Future (1921) in 2011. A canoncial text, “Radio of the Future,” may be the first real conceptualization of transmission art.

• Alison Knowles is a visual artist known for her soundworks, installations, performances, and books. She was a founding member of Fluxus, and recently Knowles offered her iconic performance “The Identical Lunch” to museum visitors as part of the Museum of Modern Art’s Performance Exhibition Series. On the occasion of a summer garden party benefit for free103point9’s FM radio station (WGXC). Alison Knowles performed one of her “Bean Turners,” constructed from beans and paper, Bean Turners and are both book pages and sonic instruments.

• At the same summer garden party, acclaimed film and stage actor Hugh Dancy, performed F.T. Marinetti and Pino Masnata’s “La Radia” (1933) a visionary text, if one that reveals the authors proclivity for Fascism. La Radia asserts what The Radio Must Not Be, what The Radio Abolishes, and what The Radio Will Be.