From a 100 days broadcast on the Landesgartenschau Gießen, datscharadio brought back an archive with audiofiles in a state of digital decomposition. the show takes three different depositories of audio material and traverses them to present an impossible algorithmic summary, a auto-montage of an already diverse ethnopoetic collection of todays garden cultures in an average mid size town in Germany. By Pit Schultz (with Gabi Schaffner) for reboot.fm
http://datscharadio.de
Three master students of RITS radio department (Lucas Derycke Cara Cobaert & Maarten Coosemans) capture a space in the city through audio recordings. Afterwards they edit these field recordings (without artificial effects) in order to try and grasp the specific sonosphere of that location. The students were assisted by Guy de Bièvre (http://www.guydebievre.org/)
After Artefakt is a regular radio art show by Bojan Anđelković at Radio Student, Ljubljana. The show is exploring autonomous radio language in the reality of hybrid media, dealing with different media and languages, logic of sense of the words and sounds, repetition and difference. For the sound matrix this time we take experimental film of Niko Novak – IDIOT, on the eponymous novel by F.M. Dostoyevsky.
It happened in Switzerland. The first year of his therapy. At that time he was pretty much an idiot; he could not even speak properly. One sunny morning, he climbed up a mountain..
Bojan Anđelković is an artist, philosopher and media theorist, ex-chief editor of Radio Student, and coordinator of RADAR – Open Radio Investigative Platform of Radio Student.
VOICES: ENG: Niko Novak; SLO: Polona Torkar; SER: Bojan Anđelković; RUS: Fiškin’s mother
MUSIC: Ludwig van Beethoven, »Für Elise« / Niko Novak; The Machine, »Continental Drift« / Ciniša; Ben Frost, »Leo Needs A New Pair of Shoes« / Ciniša
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.