- *Duuu (Paris, FR)
- ∏node (Mulhouse, Paris, FR)
- Diffusion107 (Sydney, AU)
- JET FM (Nantes, FR)
- Kanal 103 (Skopje, MK)
- Orange 94.0 (Vienna, AT)
- Radio ARA (Luxembourg, LU)
- Radio Campus (Brussels, BE)
- Radio Grenouille (Marseille, FR)
- Radio Helsinki (Graz, AT)
- Radio One 91 FM (Dunedin, NZ)
- Radio Panik (Brussels, BE)
- Radio Papesse (Firenze, IT)
- Radio Student (Ljubljana, SI)
- radio x (Frankfurt/Main, DE)
- Rádio Zero (Lisboa, PT)
- RadioWORM (Rotterdam, NL)
- Reboot.fm (Berlin, DE)
- Resonance FM (London, UK)
- Soundart Radio (Dartington, UK)
- TEA FM (Zaragoza, ES)
- Usmaradio (San Marino, SM)
- Wave Farm WGXC 90.7-FM (New York, USA)
- Kunstradio (Vienna, AT)
- Mobile Radio (Ürzig, DE)
- Radioart106 (Haifa, PS48)
- Campus Paris (Paris, FR)
- CFRU (Guelph, CA)
- CKUT (Montréal, CA)
- KZradio (Tel Aviv, IL)
- Radio Corax (Halle, DE)
- Resonance Extra (Brighton, Bristol, Cambridge, London, Norwich, UK)
June 2023 M T W T F S S 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
- Campus Paris
- CFRC 101.9 FM
- CKUT 90.3 FM
- Curious Broadcast
- duuu radio
- Eastside FM
- Jet FM
- Kanal 103
- Lemurie TAZ
- Orange 94.0
- Radio ARA
- radioart106fm KolHaCampus
- Radio Campus
- Radio Campus Bruxelles
- Radio Corax
- Radio Cult
- Radio Grenouille
- Radio Helsinki
- Radio Nova
- Radio One 91 FM
- Radio Panik
- Radio Papesse
- Radio Student
- radio Worm/Klangendum
- radio x
- Rádio Zero
- Soundart Radio
- TEA FM
- Tilos Radio
- Wave Farm
- Wave Farm/WGXC-90.7FM
- XL Air
Show: 948 Frontyard for Diffusion by Hethre Contant & Jon Panther
This brunch residency occurred every Saturday morning from 11am (ish) to 2pm (ish) in Frontyard’s Frontyard Marrackville NSW. Hethre and Jon used this time to create process-driven radio experiments using the Mezcal audio streaming platform developed by August Black (https://august.black/mezcal/), extremely low-powered terrestrial radio wave technologies, other electromagnetic and time-based sensing tools. Here is an edit constructed from some of those brunches. https://www.frontyardprojects.org
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Show 947: Concretisations (Radio Student)
For this edition of Radia Network, Radio Študent is featuring an excerpt from live broadcast of the annual event Radart, which is organized by R A D A R – Open Radio (Art-Theory) Investigative Platform at Radio Študent in Ljubljana. The event took place on May 9th, coinciding with Radio Študent’s 54th anniversary.
The opening act of RADART#14:Sonor(n)ost, which was held at Cirkulacija2, was “KONKRETIZACIJE” (Concretisations), performed by Marko Košnik, Borut Savski, and Luka Prinčič. All three were members of the experimental unit MZX or Ministry for Experiment, which was active in the 1990s and focused on experimental radio activities, streaming production, and building international connections.
The performance was accompanied by a stream of videos from Košnik’s archive. The computer-controlled accompaniment of the projections was made up of samples of concrete sounds that Marko and Borut captured pictorially in a full-length session in the old RŠ studio in autumn 1994. Part of the video premiered in “CONCRETIZATIONS” was recorded in May 1996 by Gerard Couty and Marko Košnik for the production of the short video “A Day in the Life of the Music Editor of RŠ.” The audience was also able to view footage produced in 1992 for the Piazza Virtuale interactive television that was part of Documenta 1992, or in 1997 for the first XLR Internet radio, produced simultaneously from several linked locations in Europe, and from the footage of some other projects produced during this period on Radio Študent.
Radio listeners though, will have the opportunity to listen to a soundscape created by the unique collaboration of Košnik-Savski-Prinčič, which features voices of numerous participants and passers-by from a quarter of a century ago, to name just a few: Roberto Truzardi, Gerard Couty, Monika Glahn, Dagmar Gabler, Ulf Freyhof, Mike Hentz, Salvatore Vanasco, Karel Dudesek, Slavoj Žižek, Rastko Močnik, Rade Šerbedžija, Jure Longyka, Mojca Dimec, Mare Kovačič, Miran Divjak, Ema Kugler, Mojca Kumerdej, Lidija Bernik, Silvo Zupančič, Mira Berginc, Martina Vičič, Aleks Žagar, Leon Rolih, Boštjan Napotnik, Katarina Pejović, Alenka Veler, Bruno Subiotto, Igor Brlek, Miha Zadnikar, Sabina Potočki, Špela Stare, Peter Kisin, Borut Osonkar, Ali Žerdin, Miha Fras, Tomi Matič, Nataša Serec, Namita Subiottova, Franci Cotman, Vuk Čosić, Jaka Železnikar, Špela Virant, Jurij Krpan, Brane Zorman, David Kodrič, Viva Videnović, Jernej Kolenik, Niko Novak, Vito Rožej, Ksenja Perko, Katja Šoltes, Barbara Kelbl, Jana Slaček, Uroš Prestor, Krištof Savski, Mojca Savski, Boštjan Vrhovšek – Botz, Edo Pajk, Mario Kapelj, Barbara Borčič, Katjuša Kovačič, Koen Van Daele …
The full-length performance is available for listening here: https://radiostudent.si/kultura/r-a-d-a-r/konkretizacije
PIAZZETTA LJUBLJANA – PIAZZA VIRTUALE / Documenta 1992
INŠTITUT EGON MARCH
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Show 946: Comfort Noise by Iru Ekpunobi for Wave Farm
“I have made a mark, and I do not know whether I am drawing or writing. I am thinking about marks and how they collect on a surface. I have accumulated marks, and I believe that this accumulation is at once a drawing, a text, and an archive.”. –Steffani Jemison
Writes Ekpunobi, “Comfort noise, or comfort tone, is synthetic background noise used in radio and wireless communications to fill the artificial silence in a transmission in which low volume levels are ignored by the transmitting device. In a system that disregards sound under a designated threshold, the absence of that sound must be reintroduced to ‘comfort’ the listening ear.
Drawing on Saidiya Hartman’s process of critical fabulation, comfort noise reintroduces speakers and practitioners of love, freedom, and memory in conversation with one another. In this sonic third space, audio samples originating from 1976 to 2023 not only coexist, but collaborate. ”
Free, Deniece Williams (1976)
Relation, Anaïs Maviel (2018)
Speaking Freely, bell hooks (2002)
welcome, i are u (2023)
Iru’s Introduction, Bongo Herman (2022)
I Love Myself When I’m Laughing…And Then Again When I’m Looking Mean and Impressive (Zora Neale Hurston Tribute), Imani Uzuri (2016)
DNA Activation, Witch Prophet (2022)
Neptune Frost Q&A: Techno-Spiritual Overtones, Neema Githere + Saul Williams (2022)
Creative Matriarchy, Shantrelle P. Lewis (2022)
Slow tv, Thomas Hellum [Invisibilia Podcast, Season 7 Episode 5] (2021)
Hvnli, KeiyaA (2020)
Theater of the Black Church, Serpentwithfeet [reinventing gospel with complex visions of gay black love] (2018)
Neptune Frost Q&A: Encryption, Saul Williams + Anisia Uzeyman (2022)
How do you preserve freedom?, Anisia Uzeyman (2022)
blessings mantra, iru ekpunobi (2023)
Happy Birthday EmmaB, KillMovesNate (2016)
Othership 23, KMNate + MC Maggley + Aleon + Angel (2023)
Grandma E’s Wishes, Esther Igboko (2019)
Can I Hold The Mic (interlude) + Stay Flo, Solange (2019)
The Phone is a Confessional, Miss Cleo (2022)
Are We African Gods or African American Gods?, Jordan Gallimore + Kristin Dodson [Flatbush Misdemeanors, Season 2 Episode 4] (2022)
Gladys is With Me Right Now, Shantrelle P. Lewis [In Our Mother’s Gardens] (2021)
Grandma E’s Wishes: Remixed, Esther Igboko (2019)
We Wear The Mask / That Survival Apparatus, Maya Angelou (1988)
HAHA, Charlotte Adigéry + Bolis Pupul (2022)
Iru Ekpunobi is Wave Farm’s spring 2023 Radio Art Fellow, a deep listener, DJ, and audiofuturist. A recent graduate of New York University, Ekpunobi began their journey in FM radio as an DJ and show host at WNYU 89.1-FM, where they synthesized Black musicology, revolutionary history, and futurist transmission on a weekly, 90-minute broadcast. Culminating in their undergraduate thesis, Ekpunobi launched Third Space Radio, a digital media project and community radio station exploring sonic transmission as a ‘third place’ where community, education, and love can persist.
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Radia 945: Entramadas Anfibias, by Léa Roger (Radio Panik)
At the debut of 2023, we conducted expeditions with our microphones in the Tariquía and Carrasco National Parks, located in Andean forests and mountain jungle (Yungas) in Bolivia. We found ourselves in the heart of the paradoxes of conservation, far from a romantic view. The Carrasco National Park is an ecological corridor where the last specimens of the Sehuencas frog are found, in danger of extinction by a construction of large hydroelectric plant while the Tariquía National Reserve is threatened by hydrocarbon extractivism. Communities try to resist to the interventions of the companies.
This sound-poetic piece created by two hands, seeks an ecology of encounter to build new relationships with others – humans, animal species, plants and the elements.
At once a journey, a sensory and perceptive multispecies interpretation, this sound piece is part of a political reflection.
We consider this contemplative soundscape as a therapeutic device, where we seek to hear what the landscape diffuses in us.
Our intention emerges from the muddy depths of a reality operated by predatory, extractivist, neoliberal and colonial logics, where the coexistence between the human and the non-human diverges between dense veils that keep us in a loop of disconnection and bewilderment.
Become spirals in the meantime. From the depth of darkness towards a radiant, vibrant dawn. From the great pulse of this planet to the infinite spiral of the cosmos, dancing in the organic and non-organic rhythmic of existence and enjoying the transformation of sound matter into a substance that ceases to be what it is, to be reborn in its infinite possibilities.
Recorded and composed by Léa Roger (Be) & Cristina Canedo (Bol)
Mixed by Léa Roger
Léa Roger is a Belgian sound artist, experimental harpist and electro-acoustic composer. She likes to play with the unpredictable aspects of sound through physical experiments that mix energy flow, psycho-acoustics and sound ecology.
Léa Roger – en écoute sur Radiola
Cristina Canedo is a Bolivian artist, cultural manager, multinaturalist ethnobiologist and researcher in bioacoustics and data sonification. She has made incursions into bioacoustics, exploring sound phenomena and investigating biosemiotics.
Photo : Cristina Canedo
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Radia 944: My Complex Me And Brain (for Radio Worm)
A new WORM production by Lieuwe Zelle
made for Worm/Klangendum/Concertzender/RadiaFM, april 2023
Name: Lieuwe Anthonie Zelle
06-03-1956 The Hague
Original a toy salesman working in a toyshop technical toys like model-railroad trains and stuff and plastic
model kits and so on. In that time you had to have a diploma to sell toys or to be a shop-manger.
Besides that I played drums in a´Hard Rock band’. Later-on in life I found that playing music an working in a toyshop was not enough to support my family.
Due to my family history -I am related to Mata Hari whose real name was Margaretha Geertruida Zelle (Leeuwarden, 7 augustus 1876 – Vincennes, 15 oktober 1917) sometimes I would be her or even have a relation with her across time and gender.
But even if the truth is historically justified with facts and documents, the myth is stronger than the truth/facts. In a number of cases the myth changes to divine status, hero stories about the saints of the Roman Catholic Church and even Greek and Roman mythology.
Or even closer stories in the time of which the real facts are difficult to find out, such as a story from the family about Red Devil, an inland shipping flat-bottomed skipper from the early 1800s or so. But also a book that has largely determined our European and Dutch society, the Bible is not good at determining what histories are correct or where it is more a testimony of faith and society from the time of the writers.
Let’s now talk about my great-great-aunt and great-uncle, each of whom has achieved some fame. And with some narcissistic pleasure also myself your undersigned writer to introduce you, because if you don’t imagine yourself, you’re nothing.
Margreet Zelle ls daughter of Adam Zelle was already a free-spirited young lady/girl in her youth, the favorite of her father who, by the way, was not devoid of any kind of exaggeration in who and what he was. A fairly successful businessman and seller of hats and caps from his shop in Leeuwarden. But business failures ensure that dad goes bankrupt and Margreet is referred to looking for a husband, as it were.
Hum yes you can see the rest of the story in the movie Mata Hari The naked spy or read the book about the history of Mata Hari.
As I want to be.
I am Mata Hari eye of the day.
I am light let disappear the darkness yes your light of day woman nor man I am goddess and god at the same time beauty and inspiration I am Mata Hari,
Goddess and God I am man and woman and give you light, light of the world through the world.
As a few in time and eternity I descend and give my light, wisdom, and blinded you with beauty to all who are worthy of my temptation in money and power but I remain light and the darkness behind me and before me.
I was posing for a famous artist in Paris frivolously yet virtuous when the Director of the Opera came in and invited me to present myself in a new production as a young virtuous lady as a kind of introduction. Since I still had good hopes of obtaining custody of my daughter back in Holland, I have to decline the offer, a virtuous life is necessary for custody.
I am now at the Tivoli as there are no rehearsals so I have a moment to discuss a few
things with you my dear second cousin. You are my voice you are my body my survival on stage in front of the audience.
Dear Aunt, it is a lot that you ask me, but may I be with many my Aunt my Aunt Margreet.
Played or better I danced tonight at Musée Guim for the first time to general amazement
only a few who looked and really saw. Yes my dear be with many my voice my body my name.
We are Mata Hari we are the eye we are Margreet Zelle.
Now Listen to my sound and music or what I call a sound-experience.
Lieuwe Zelle they/them
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Radia 943: Ritournelle, a live performance by EauChaude (for Jet FM)
Performance live d’EauChaude (eauchaude.bandcamp.com/)
ritournelle, déambulation, lecture, voix, réminiscence, chant, fanfare, bruits , fondu, sans attendre et ailleurs
Ste Soline (79), logiciel Ibniz et lesobscurs.wordpress.com/
ritornello, wandering, reading, voice, reminiscence, singing, fanfare, noises, fading, without waiting and elsewhere
Ste Soline (79), Ibniz software and lesobscurs.wordpress.com/
img : 25mars2023
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Radia 942: “Abstürze/Crashes” – Radia Version by Mark Kanak (for Radio Helsinki)
“Abstürze/Crashes” – Radia Version by Mark Kanak
Mark Kanak – Poems & electronic sound structures
Rex Joswig – Voice, loops & final mixing
Tone Avenstroup & Susan Atkins –
A Kanak & Joswig Production for Radio Helsinki, 2023
Rex Joswig liest Gedichte (Deutsch/Englisch) von Mark Kanak aus “Abstürze”, 2006. // Rex Joswig reads poems in German and English by Mark Kanak from “Crashes,” 2006.
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Radia 941: “Dead Cat Bounce” by Waste Paper Opera (for Resonance)
A live performance of improvised and reimagined music and text from the project “Dead Cat Bounce” – a collaborative performance work by Gary Zhexi Zhang and Waste Paper Opera, telling tales of time, money and the unmaking of reality in the wake of catastrophe. The original piece unfolds over five vignettes, blurring the lines between capitalism and ritual, finance and nature, belief and manifestation. The original score merges the Baroque music of Niccolò Jommelli and J.S.Bach with mimetic improvisation, choral rounds, synthpop and the textures of public speaking. “Dead Cat Bounce” takes the form of an oratorio, a medium of vocal performance used to deliver a sacred narrative.
Music by James Oldham. Text by Gary Zhexi Zhang and Klara Kofen. Violin – Chihiro Ono; drums – Cameron Graham; additional performer/band leader – James Oldham; banker/reader – Klara Kofen; banker/Namazu – Gary Zhexi Zhang; Mezzo soprano (Jeremiah) – Suzie Purkis; Baritone (Real Estate Agent of Miami) – Themba Mvula; chorus – Jacob Bolton, Keir Cooper, Gabriella Demczuk, Klara Kofen, Livvy Lynch, Themba Mvula, James Oldham, Suzie Purkis, Gary Zhexi Zhang. Thanks to Resonance Extra, Milo Thesiger-Meacham and Travis Yu.
Waste Paper Opera is an experimental music theatre collective currently based in London. Defining “Waste Paper” as any found text with the potential for recontextualisation, we write music, build structures, make costumes, and write stories using Waste Paper.
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Radia 940: Born With Pain (Kanal 103)
The episode is an audio recording of the performance “Confutatis – What are the heroes made of?”, premiered on 28.10.2022 in Prishtina, Kosovo, as part of the Manifesta 14, the European Nomadic Biennial. It’s been slightly edited for the purposes of the radia.fm format.
“Why do some people become heroes and others not? What kind of shining lights do we need, and of what might they be made? Skopje-based artist Velimir Zernovski joins forces with the Physical Performative Theater ensemble to explore these and other questions around the politics of power, marginalization and belonging. Instigated by Biljana Dimitrova, the performance enacts rituals of mourning for the living beings we have lost and are losing, many of them through neglect.”
“Confutatis – what are heroes made of?” is a performance by Velimir Zernovski in collaboration with Kolektiv Veternica & Trisomija 21, both from Skopje.
Music by Joana Risteska & Filip Mitrov, based on the motifs of the Macedonian traditional folk song “I Was Born With Pain” (So maki sum se rodila).
Photo by Jelena Belikj
Recorded and edited by Gjorgji Janevski
In loving memory of Filip Mitrov
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Radia 939 : “TstBd” by Christopher Booth for Soundart Radio
“TstBd” was a ritual performance carried out December 9th 2021 in Studio 1, Dartington Hall. Utilizing sound, radio feedback, video & ritual a spell was cast, the results of which are as yet indeterminate.
The Test Bed was a performance created in response to a critical investigation into Dartington Hall, its history, pedagogical legacy and the landscape and people who live and have lived in and around the estate. The title was taken from a board annual report for the Dartington Trust in which it was stated “Dartington should be a test bed for a just and sustainable future” Indeed, the sigil used ritually in this piece is conceived from this premise. The work is a celebration of craftmanship, egalitarianism, the landscape of Dartington Hall and a call to remember its history as a catalyst for experimentation and exploration of radical ideas.
“It brought to mind fluxus performances from the 60’s and seemed to symbolize a revisiting of Dartington’s history although the involvement of radios in the space and the knowledge that this was being broadcast on Soundart radio brought the focus into the present. An experimental practice-based project which was professional, engaging and displayed a rigorous performative approach and inventive use of research material.”
– Dr Jo Joelson (London Fieldworks)
The audio is also available in conjunction with the video footage from the performance here – The Test Bed – YouTube
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