Category Archives: #22

Show 262: Ritmi di Milano by Painè Cuadrelli

a sound portrait of Milan produced by Painè Cuadrelli – marks our official first entry as RADIA member.

Radio Papesse launched the series with a work of Painè Cuadrelli and his soundwalk in Milan, the city Luciano Berio and Bruno Maderna portraied in 1954 in ‘Portrait of a city’, the first electronic music piece ever recorded at the Milan’s RAI Fonology Studios (Italian Radio and Television). As the oral narration is a primary key of this soundwork, Cuadrelli’s portrait is much more about sounds and field recording; it was produced recording sounds in the city of Milano, Italy and manipulating it into a collage of small compositions and rhythms. The show is intended as a modified soundwalk, where pieces of real-world soundscape get transformed, cut’n’pasted, mixed and remixed, becoming something else, yet keeping the original texture.

Recordings were made in main spots of the city centre: Piazza del Duomo, Duomo (inside), Triennale Museum, Teatro dell’Arte, Parco Sempione, to name a few, in differents moments of the day and night.
No addictional sounds were used.

>>CREDITS<< produced, composed and mixed by Painè Cuadrelli assistant: Mattia Trabucchi recordings made with; Edirol R-09, Apple iPhone with Audiofile Engineering Fire Application, Tascam DR 100 sound editing made with: Audiofile Engineering Wave Editor, Bias Peak post-production and mix made with: Ableton Live, Apple Logic Studio

Show 261: A Minute in the Life of a CFRC volunteer

Currently, at CFRC, there is an undeniable surge in creative energy that has been rare in the 90 year history of our station. For the past two years a critical mass of programmers have gotten together to accept all reasonable, and unreasonable, challenges for producing adventurous, risky, mind-bending radio and performing live radio dramas in front of skeptical audiences. To commemorate this moment in time, a call was sent out to represent a minute in the life of a CFRC volunteer. The purposefully vague request was meant to show the diversity of creative ideas present at our station in our small town. For our first Radia submission, many of the same people worked together, for long nights (often), in the same room, producing a radio drama, and for our second submission, they work together again….but this time as independent radio producers.

Thanks to Michael, Melissa, Irina, Carolyn, Jessie, Aleks, Melinda, Scott, Kristiana, Neven, Elson, Henrik, Bill, Chris, Christopher, Owen & Julia for participating.

Show 260: The Village is Quiet

Australian artist Patrick Hartigan exhibited a series of water colours in 2009 entitled “The Village is Quiet” – a show which was complemented by the publication of a series of short stories and a limited release dvd under the same title. Producer g.bert invited Hartigan to record a reading of a selection of the stories as a gesture toward a continued multiplication of media in Hartigan’s work through (and despite) which the ‘village remains quiet’.

Hartigan’s facility in isolating and expressing the subtleties and idiosyncracies of the simple everyday life of an unnamed contemporary Slovakian village in fact borders on a mythical expression – a kind of singular exemplarity. Littered as his work is with post-soviet remnants (the public address system that still ‘broadcasts’ via loudspeakers, for example) and the consequences of EU expansion (the evident desertion of youth), Hartigan’s village and its eloquent quietude speaks a kind of obscure generality (seen, as it is, through the eyes of an antipodean outsider finding feet and language in the village’s almost empty streets and homes).

A simple radio production (artifacts of recording included) accentuates the simplicity of Hartigan’s means. Visit and for Hartigan’s visual story

Show 258: algoRHYTHMIC noise of our everyday gadgets

by institute for algorhythmics, radio X
“algoRHYTHMIC noise of our everyday gadgets” consists of a study with short snippets of audio examples about audificated processes of our everyday gadgets like our cell phones, cameras, smart phones and laptops.
ausculations no. 1 to 16 are made by using a electromagnetic coil, no. 17 to 19 are made by audification processes of assembly code on software side (formal materiality) and ausculations no. 20 to 23 are produced with a HF-detector.

“algoRHYTHMIC noise of our everyday gadgets” is also a preliminary work for a more elaborated project about a “sonic archeology of advanced everyday technologies”.
archeology is meant following michel foucault’s notion of thinking that we – when looking for meanings of things, but also their history – need to look not only for documents, but also for monuments. this means that the materiality of things and their physical effects should be investigated not only on the surface, but by “digging deeper into” things or processes and by revealing and explaining the inner structures of black boxes. therefore we think that archeology is a more sophisticated term for hacking.
the institute for algorghythmics/michael chinen & shintaro miyazaki

michael chinen (*1982) is a programmer and musician. He studied composition & computer science at university of washington, seattle/washinton state, electro-acoustic music at dartmouth college and was research student at tokyo denki university. lately he moved to berlin with the Fulbright research grant for wavefield synthesis at technische universit‰t berlin.
shintaro miyazaki (*1980) is a theorist, artist and curator. he studied media studies, philosophy and musicology in basel, switzerland and is currently a PhD researcher at humboldt university berlin under prof. wolfgang ernst, holding a scholarship of the “cogito foundation”. in 2008 he founded the ìinstitute for algorhythmicsî.

find more info at

Show 257: radioRadar4 by Marold Langer-Philippsen

RADIORADAR_4 is a relay from some bird voices, wind, electricity, capitalism and a letter from benin mixed by radioerevan in february 2010.

Author is the radio- and performance-artist Marold Langer-Philippsen from Radio CORAX, also working in the field of theatre and video – living in Berlin.

Effi Rabsilber “whataday2”
Muhmood “8300 pillars of altai”
Coronet Instructional Films “Understanding of the Dollar”
also: different bird voices from europe, a letter from benin, some field recordings

Show 256: the nocturnal state of the city by Dimitar Dodovski

This piece of radia composition is made of lofi noises, crackles and subtle dubscapes which from the artists view depict the nocturnal state of the city. Inside the house where hums and noises from electronic appliances are generated and outside where distant sounds occupy space, reverbed voices from insomniacs, lovers and lonesome whistlers fill in the silence.

Dimitar Dodovski (Born 1980, Bitola/Macedonia)
authors expressive, melodic music distinguished by synthetic warmth and subtle, miniturized percussion. With an extensive knowledge of electronic music, his productions evoke a diverse range of influences from atmospheric dub to meticulous micro-house.

Show 255: ahoy! ahoy!

Orange 94.0 featuring new radia member Radio Helsinki
Introductory show by Martin Pichler and Max Höfler.

“Ahoy! Ahoy!” these are the words that are considered to be the first words that were transmitted by telephone. The composition analyzes different communication systems and information flows. The piece was first performed on the internet via digital transmission. So the two performers acted as a sender and a receiver at the same time. Afterwards the tracks had been transformed into a special form to accommodate the communication structure of radio.

Show 254: the unheard

Program themed ‘the unheard’ consisting out of 3 smaller parts.

Part 1: Retool Radio
Collage of ephemeral sounds recorded on the Retool Radio research night.

In December 2009 a number of artists were invited to investigate the space where radio can meet performance. Lilia Mestre is a choreographer who ended up in radiophonic spheres through her
antipathetic study of emotions in the performance arts. She’s looking
for ways to resist the dominant visual identification process and the
crystallization of meaning and narrative. As a choreographer she comes
from the theatre of movement and bodies to enter the theatre of sound
and nobodies. Nico Dockx is a visual artist, obsessed with data and archives. In one of his works he investigates the relation between sound and architecture. His film is suggesting that it’s not us, humans, who communicate, but communication itself, as Luhmann already pointed out. Who (or what) is sending? Who (or what) is receiving? Who (or what) is answering? Joris Van Damme is a former RITS student who won the Prix Europa for his fiction play ‘Ik zal het u vertellen’. Inspired by Ulysses, the piece was built up entirely of oral elements. Philosopher Samuel Ijsseling introduced the production. Dennis Tyfus, also a visual artist, ended the Retool Radio night with hidden guerrilla radio in quadraphonic setup.

The selected part contains a voice that was only broadcasted on the outside of the building and was unheard by the audience. Other sounds are mostly unintended, unheard or neglected bastard sounds from that evening, speech defaults, technical defaults etc. recycled, looped and edited. Some sounds are stolen from the talks or productions (for example the drumming).

Part 2: Servox
2 students (Elke Plancke & Eva Daeleman) looked to find the (unheard)
intonation of people deprived from their biological voice. People with
voice aids tend to have a very monotonous intonation. Through technical gimmicks they hoped to give them back some musicality. An extract of their search.

Part 3: Sample Minds
3 students (Joris Lenaerts, Vincent Van Reysseghem & Mathias Lewis)
are looking for the unheard in sample music. This fragment contains an
analysis of the samples used in ‘Voodoo People’ by The Prodigy

Show 253: RADIO WORM for Resonance104.4fm

In December 2009 the WORM STUDIO organised a ‘philosophical’ workshop about field recordings.
We invited Derek Holzer & Justin Bennett to tell their side of the story, told our side of the story as well (nothing is true, everything is permitted, etc.) and let all the workshop members work in the WORM studio to complete their pieces. And the results were great! So we had to shorten the pieces a bit to fit them in this RADIO WORM number 120, Radia edition.
And that’s the other side of the story; the Electronic/Experimental Radio monthly ‘RADIO WORM’ exists for 10 years now. And we never missed a beat! (never looked for it). So starting in January 2000 we come now to number 120, and we’re very proud to present this to the Radia Network.