Show 922: The Weekly Dream Report Workshop Omnibus by Hethre Contant and Jon Panther for 107Diffusion.

Here is a collage of various “live” stream sessions from the studio and street events at 107 Redfern NSW during the first Mezcal Radio Workshop. A group of workshop participants found themselves enjoying improvised sonic performances, interactions with anyone or anything from anywhere on the planet and whatever they fancied as the mood took them. They explored the possibilities of radio-space via telephones, walkie-talkies, computers, deep sea cables, whatever paraphernalia came to hand and August Black’s telematic browser app Mezcal.
They felt this slice of sound captured the “spirit of adventure” and the surreal chaos of the group’s endeavours…
Had any amusing dreams recently? 107Difffusion is proudly a Wave Farm Transmit Partner so you can enjoy checking in with us and sharing on Saturdays around 11ish AEST…. And don’t forget – the artist asleep is the artist at work!

Show 921: TZUSSS (Radio Student)



TZUSSS is the first collaboration between the Zurich duo of accordion player Tizia Zimmermann (CH) and trumpet player Silvan Schmid (CH) with Urška Savič (SI), radio artist. Their collaboration started – because of their physical dislocation – in the form of online exchange of thoughts and inspirations connected to their own creation in the field of sound and text. In that way, they started to build a basis on the concepts they find important in the vast field of selected topics. What came out as a common interest was the fragmentation of sound and text to shape their boundaries diffuse and agile; e.g. through examining speech on its melody/intonation, rhythm/tempo and (as a consequence) interruptions and interference in communication. The piece prepared for Radia Network is a fragment of a first performance on their November tour played live for Radio Študent.

Thanks to Špela and Smiljan. During the process we have read out of Dub : Finding Ceremony by Alexis Pauline Gumbs including poems of Sylvia Wynter.

Support: Radio Študent Ljubljana, Cirkulacija 2, KUD Mreža/Atelje Azil /Studio Asylum, Kulturno umetniško društvo Jadran, Pekarna Magdalenske mreže, Blech, Punctum, Pro Helvetia Schweizer Kulturstiftung, Kanton Zürich Kultur, Stadt Zürich Kultur, Open radio art-theory investigative platform R A D A R, Gamut LABYRINTH, Radia Network

Show 920: Co-regulating the spectrum: Meanwhile, the wave by José Alejandro Rivera (proxemia) for Wave Farm

    I have undone the sob of the lost echoes…
    I have the deep infinite playing in my hands

    Become the caress. I don’t want you to limit
    your eyes in my body. My road is space.
    To travel me is to flee from all paths…
    I am the dancing imbalance of the stars.

    excerpts from a Julia de Burgos poem entitled, Mi senda es el espacio / My Road is Space

Writes Rivera,“Co-regulating the spectrum: Meanwhile, the wave is a radiophonic river of shifting reflections across neurodivergence and consciousness studies, radio and radar via the electromagnetic spectrum, language and communication, ufology and ET lore, and diasporic musings regarding the political and cultural history of Puerto Rico. Through a dense assemblage of sound design and field recordings, and cut-up bilingual samples from poetry, personal reflections, interviews and archival documentaries, the electromagnetic landscape becomes an imagined extrasensorial, polymorphic, carrier of consciousness; a pulsating presence that is inhabited, and that inhabits, in a myriad of Other ways.

What do you mean when you say “spectrum”? What of “being on another wave-length,” or “the same frequency”? Like tuning a radio, bats from a cave, or flying saucers from the deep waters beneath the island, possible meanings emerge via aqueous transmissions and various slippages of language and meaning. Moving between English and Spanish, the piece utilizes common tropes such as contacts with extra-terrestrials, and autistics and other neurodivergent minorities as aliens with the felt experience of being an other and being othered. At the same time, the piece references a 1901 US Supreme Court ruling (Downes vs. Bidwell) that, in response to categorizing shipments for tax purposes, determined that Puerto Rico and the “new” island territories like Guam and the Virgin Islands were “inhabited by alien races” and “foreign, in a domestic sense.”

In addition, the work is equally inspired by the radical Neuroqueer Theory of Dr. Nick Walker (she/her), an autistic trans scholar and writer, the diasporic longings of Puerto Rican poet, Julia De Burgos, Ida M. Kanneberg’s book, UFOs and the Psychic Factor, and the science fiction of Octavia Butler.

What does is it mean to experience communication differences, sensory sensitivities, or other ways of being? How might these communication differences serve as opportunities to experience time and space differently and/or connect in other ways? How can a bodymind listen to, regulate, and communicate with itself, others, and the environment? Do bodyminds receive and transmit signals to and from beyond the local, and like radio and radar, can the diasporic experience be related?

At times, the listener’s attention is signaled outwardly towards the stars through ominous drones and radio feedback. Simultaneously, a notion of embodiment and grounding is alluded to with the samples of yoga nidra and tai chi explanations, and sounds of shelling habichuelas (Puerto Rican beans) recently grown in Vermont. Woven throughout the piece are field recordings captured while camping across the island in the July of 2022. Serving as textural markers and place-holders of memory, the recordings feature bomba performances, conversations, city ambience during an apagón (black out), and street protests, as well as various environments such as farms, forests, beaches, and caves.

Though a spectrum is defined as “a condition that is not limited to a specific set of values but can vary, without gaps, across a continuum,” the piece ultimately lies in the curious space between the gaps of the spectrum; among the edits, along the time shifts and losses, and across the possible waves and feeling frequencies of meaning and energy.”

Special thanks to: Wave Farm (Galen Joseph-Hunter and Tom Roe), Gregory Whitehead, Anna Friz, Joan Schuman, Neil Verma; Dr. Mel Houser, Sierra Miller, and the Neurodivergent Community of All Brains Belong VT; Vermont Art Council; and PR, the land and its people across the island and diaspora.

José Alejandro Rivera is a 2022 Wave Farm Radio Art Fellow. Rivera (he/they) is a Puerto Rican, Ohio-born artist, composer, designer, and researcher currently based in SW Vermont. Their layered, place-based practice is informed by a background in music, architecture, and tending land. Working through sound and space to draw on critical cartography, technological ubiquity, systems, and flows of temporalities, José creates evocative, experimental soundworks, geo-notational maps, sound design for podcasts and the moving image, and multichannel, audiovisual installations and performances. Visit for more information.

Show No. 919 : Symphony for a city (Radio Panik)

Subjectiv sound visit, “Symphony for a city” goes out of the field of reality in order to tranform it, mix it and make it sing. Based on records made during october 2022 in Bruxelles, this sound play distort the thousand noises of the city in order to make arrise his poetry, his rage, his rythm. In punctuation, daily words used in the french language like « bonjour » (hello), « oui » (yes), « non » (no) and « merci » (thank you) are declined in their infinites intonations. Oui don’t mean necessairly yes. Non can be sometimes be ask like a question. Merci is often used without a thought. Bonjour exist in a unconscious way but can also be used in very intimate opening to the closest persons. So many possibilities with which a game is established, first in solo and then with interactions between each words. This words, repeats, exhausted by repetition, loose then theirs significations for finaly just keeping theirs musicality, and theirs radicalness. Finaly, they enter into the landscape in which they are inscribed, in fake or in real.

This work would not have been possible without the meeting this summer 2022 of Arthur Lacomme and Domitille Devevey during the radio creation festival « Utopie Sonore ». The many “oui” heard were, by the way, collected from the participants of this festival.
This sound play was written with advices of Vincent Matyn and the kind listening of the Radio Panik team.
Finally, thanks to the voices, anonymous or friends, who punctuated this sound play.

Credits :
Image : Domitille Devevey
Mixing, composing, recording and production : Domitille Devevey

Symphonie pour une ville Visite sonore subjective, Symphonie pour une ville sort du champ de la réalité pour la transformer, la mixer et la faire chanter. Basée sur des enregistrements faits durant le mois d’octobre 2022 à Bruxelles, cette pièce sonore détourne les milles bruits de la ville pour en faire jaillir sa poésie, sa fureur, son rythme. En ponctuation, les mots du quotidien employés par les francophones comme « bonjour », « oui », « non », et « merci » sont déclinés dans d’infinis intonations. Oui ne veux pas forcément dire oui. Non peut parfois se poser comme une question. Merci s’emploie sans y penser. Bonjour existe de façon machinale ou bien s’utilise comme l’ouverture de l’intimité. Autant de possibilités avec lesquels un jeu s’instaure, d’abord en solo puis en ping-pong. Ces mots, répétés, filés, usés perdent alors leur sens pour ne garder que leurs musicalités et leurs radicalités. Ils s’accordent alors avec le paysage dans lequel ils s’inscrivent, en faux ou en vrai.

Ce travail n’aurait pas été possible sans la rencontre cet été 2022 d’Arthur Lacomme et de Domitille Devevey lors du festival de création radiophonique Utopie Sonore.
Les nombreux « oui » entendus ont d’ailleurs été récoltés auprès des participants du festival.
La suite c’est écrite à plusieurs oreilles, avec les conseils de Vincent Matyn et les écoutes bienveillantes de l’équipe de Radio Panik.
Merci enfin aux voix, anonymes ou amies qui ont rythmé cette création sonore.

Crédits :
Image : Domitille Devevey
Mixage, composition, enregistrements et réalisation : Domitille Devevey