Tag Archives: Radio Student

Show 997: Constant frequency: 89,3 mhz (Radio Študent)

Show 0997: Constant frequency: 89,3 mhz (Radio Študent)

Lora, Oli, and Sava, sound engineers from Radio Študent, embarked on a drive through the high hill lands and winding roads of western Slovenia on May 1st, after working at a concert at Stržnkarjevi, a place that no phone signal reaches. They tuned in to the frequency of 89.3 MHz, where Radio Študent is locally broadcasted in Ljubljana. The recording of the car drive captures the shifting soundscape as they journey from Vojsko to Idrija through the diverse terrain, each turn of the road bringing a new auditory experience.

Show 973: Soundscapes after October 7th 2023 (Radio Študent)


Soundscapes after October 7th 2023

The EU-Israel relationship is one of cooperation and mutual benefit: indeed, it is the deepest and most far-reaching relationship the EU has ever had with a third country. Only three years after the EEC came into being, Israel made its first diplomatic efforts to enter the Common Market Agreement as a signatory country.

Since the 1960s, Europe has been Israel’s most important trading partner. 1975 is the year in which the two sides signed a free trade agreement on industrial goods, to be in place by 1989.

This relationship has been strengthened thanks to the Association Agreement between Israel and the EU in 1995, which has taken cooperation to new heights: Europe is responsible for more than one third of Israel’s total foreign trade.

Cooperation is fruitful: as a full partner in the Horizon 2020/Horizon Europe research programme, Israel has so far received €1.3 billion in grants, making it one of the top three countries outside the EU with the most funding from the programme.

EU-Israel relations are further supported by the 2005 Action Plan under the European Neighbourhood Policy. The Action Plan aims at progressively integrating Israel into European policies and programmes and has established 10 sub-committees which meet regularly to discuss priorities and exchange views. In 2012, agreement was reached on the elimination of trade barriers and on the mutual recognition of marketing certificates for medicines.

Europe buys around 30% of Israeli exports (as of 2016) and ranks ahead of the US, which buys around 26%. This is particularly true in the processed food sector, where around 44% of Israeli exports are destined for Europe. Total trade between the EU and Israel amounted to €46.8 billion in 2022. EU imports from Israel were worth €17.5 billion: led by machinery and transport equipment (€7.6 billion, 43.5%), chemicals (€3.5 billion, 20.1%) and other industrial goods (€1.9 billion, 11.1%). EU exports to Israel amounted to €12.2 billion, dominated by machinery and transport equipment (€12.3 billion, 41.9%), chemicals (€5.1 billion, 17.6%) and other manufactured goods (€3.5 billion, 12.1%).

Two-way trade in services between the EU and Israel amounted to €16.7 billion in 2021.

The European Neighbourhood Policy provides political and financial assistance to Israel.

On energy, the EU is financing feasibility studies for the construction of the so-called East-Med pipeline to carry gas from Israel as far as Italy by 2027. Israel is keen to join the EU’s efforts to diversify its energy sources and develop renewable energy sources. The Memorandum of Understanding on gas exports between the EU, Israel and Egypt, signed in June 2022, is an excellent example of Israel’s role in the EU’s efforts to address the energy crisis.


In 2016, Europe became the second largest export destination for the Israeli arms industry after Asia. Frontex – the EU’s best-funded agency with a budget of around USD 823 million for 2022 – has awarded border surveillance drone contracts to Airbus, Israel Aerospace Industries (IAI) and Elbit. As of 2018, more than €63 million of EU public money has been spent on direct war funding.

Israeli military drones are a useful tool in the crackdown on refugees: in September 2018, the EU border management agency Frontex announced the start of test flights for drones across Europe. The type of drones being tested had previously been used to attack Gaza in late 2008 and early 2009, killing dozens of civilians. A subsidiary of Israel Aerospace Industries – has been hired to design a prototype for the controversial wall proposed by Trump along the US border with Mexico. Another Israeli drone manufacturer was awarded a contract in 2014 to build surveillance towers between Arizona and Mexico. The same companies are looking for business opportunities in Europe.

Israel is the only non-European full partner country for EU research funding under the 7-year Framework Programmes. It is involved in three EU-funded research projects in the field of border security, one of which was aimed at developing specially adapted combat robots that “will take appropriate action to stop illegal activities under the control of border guards”.

In 2020, Frontex signed a $118 million contract to lease Israeli-made drones.

Well, but, the show is not about that. It’s about what’s going on in the background (and recently forefront) of these business deals between the EU and its new old partner in the energy sector.

Made for Radio Študent in Ljubljana by Višnja Malinić.

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

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 897: Sleeplessly, a research of insomnia (Radio Student)


Sleeplessly, a research of insomnia.

The 3-piece soundtrack is inspired by Bukowski’s poetry. It consists of several field recordings, audio recordings and a live improvisation recording. It’s attempt is to study insomnia, unrestfullness, stagnation.

Poems interpreted:
The suicide kid
Roll the Dice
The Genius of the Crowd
(all by Charles Bukowski)

Audio sources include:
filed recording from 2019 Metaldays festival
field recording, Sava river, 2021
field recording, Soća river, 2019
field recording, Tolmunka river, 2021
field recording of the falling rain from my tent, June 2021
audio recording from exhibition: Piiril/Rajalla at Narva, Esthonia, 7.5.2022
audio recording from Neposlušno / Sound Disobedience festival, 31.3.2022
audio recording from a birthday party somewhere in Bežigrad, Ljubljana, June 2022
live recording at home, Šiška, Ljubljana, 4. 6. 2022

Makis Ananiadis is sound engineer at Radio Študent.
Has a few instruments, though he is no musician.

Show 873: Night construction (Radio Student)

Night Construction is an improvised acoustic image that went on air in the night.  Acoustic atmosphere that was made with physical things in the studio (accordion, paper, books, autumn leaves, xylophone, pipe, marbles, glass, fruit,…) was inspired by texts of known (Danilo Harms, Dostojevski) and unknown authors or participants.  Construction material was on air dematerialised and transformed into a sonic landscape.

The show in its entirety.

Show 846: rouge-ah (Radio Student)

Rouge-ah is a pseudonym of a sound explorer, visual artist and music writress Urška Preis from Ljubljana.

She finished her MA studies at the Academy of Fine Arts and Design Ljubljana, but has also studied at the academies in Reykjavík and Leipzig and completed internships at Aitor Throup studio in London and Atelier Hotel Pro Forma in Copenhagen. She collaborated in various music groups and constellations and currently represents one half of II/III duo, while also working for Radio Študent and ARS – Radio Slovenia Third Channel.

Her work traverses a wide genre-spectrum of electro-acoustic composition. It includes field recordings, noise and drone ambient, along with a variety of digital and analogue processing of acoustic and electric harp, her trademark instrument.

In Radia Network we will listen to a segment of rouge-ah recent sound work, an excerpt of the live performance from April 2021 that was streamed from ŠKUC gallery, closed for visitors due to the pandemic restrictions.

You can listen to the whole piece here: https://m.facebook.com/skuc.association/videos/172413481416668/

Rouge-ah debut album: https://rouge-ah.bandcamp.com/

Show 821: RADADAR: a multimedia digestive circuit (Radio Student)

There were many Dada’s. They have inhabited different cities, were named with many names, some were left unknown, others nameless. Borderlessness is written all over Dada’s body. She is not offended and she makes offenses. Directing infinity back to its own beginnings makes Dada capable of recurrently establishing clarity. Crossing and dismantling sense out of borders and limits – we know them as obstacles, as constraints, as objects to walk over, dodge and evade. For its destruction and digestion we need Dada that takes the principle of “kakortedragost” (“asyouplease” – the concept of Dragan Aleksić) to break through the ingrained structures of power.

RADADAR: a multimedia digestive circuit performative installation took place on 17th December 2020 in Ljubljana, Slovenia as an annual event of Radio Student’s open radio (art-theory) investigative platform RADAR (www.radiostudent.si/radar), hosted by Cirkulacija2, a basement echo chamber residing below the city’s main street. Trespassing the hours of the official curfew that the residents of the city must obey, the circuit comes to life. It is being fed by a messy archive of photo slides. Memories from another time are being chewed, consumed, processed, transformed and mutated. Humans along with analog and digital machines intervene into the past. Artefacts are being dragged out of the abyss of oblivion. Their materiality serves as a point of departure, the exit strategy is a creation of an experience for everyone and everything involved. The comment section of the website was being read by a synthetic voice, directly feeding comments into the circuit. The audience intervened and dadaised. The memories were calling for a situated reconfiguration.

In the RADIA show #821 you can hear only a snippet of the whole circuitry. At the time of the event was streamed live on air (FM 89,3MHz) and online (see archive here: https://www.youtube.com/watch?v=eMr0MyFzND4).

Concept was created by Mojca Zupančič and Tisa Neža Herlecin collaboration with Urška Savič, Sašo Puckovski, Luka Seliškar, Anja Hrovatič, Borut Savski, Stefan Doepner, Ana Lorger, Saša Hajzler, Kristina Pranjić and Matej Kavčič. (Arte)facts were given by mommy Annie, daddy Urosh and dear godmother, scenocollages by Matija Drobne – Maco. Tehnical support was provided by Jurij Podgoršek, Linč and the RTVŠ crew. Special thanks to Cirkulacija2, Blaž Božič and Bojan Anđelković!

A homage to the 100 years of the Dada Fair (Berlin, 1920) and to Modri kot.

Show 796: Plastic Whales by BRGS (Radio Student)

Plastic Whales

Jaka Berger is one of the most active, creative and versatile drummers, composers and improvisers on the Slovenian music scene in the last ten years. In 2006 he released his debut album with Samo Šalamon and Achille Succi for Italian label Splasch records. Since 2014 till today he is regularly publishing music for prepared drums that he is constructing by himself. His albums are reviewed by international media on improvisation and electroacoustic music. He is part of experimental project Partija with visual artist Matej Stupica, member of bands Ludovik Material and Darla Smoking. Performed in independent theatre shows Gremo Vsi!, Novo mesto Readymade and Nein. Toured with EBM legends Borghesia. In 2015 he released an album of graphic composition Treatise by Cornelius Cardew. In 2016 he performed his most complex piece Audiable life stream tentet for ten musicians. In 2017 finished a tour and released second album with the international trio Rieko Okuda and Antti Virtaranta. Currently, he is performing free jazz with Mezei Šalamon Berger trio, Džuklje Berger duo and Šalamon Džukljev Berger – Fresh Dust trio. He has just released his new electro acoustic album dedicated to composer Morton Feldman with pianist Dejan Berden, Fresh Dust trio album at FMR records UK and integrating modular synth into his prepared drumset.

A contribution for Radia Network show 796 is BRGS’s recently released album Plastic Whales, dedicated to all the creatures exposed to the pollution of the oceans and freshwaters.


“It would be beautiful to be conscious of our past, remembering the mistakes we have made. Unfortunately, presence is full of division among reds, blacks and whites, while we should look forward to the future, each day less certain because of our ignorance to the effect we have for our environment.” #savetheoceans #stopplasticpollution


Show 770: Marge Alpen Adria by Juliette Qualizza (Radio Student)

Marge Alpen Adria

The area crossed by the Alpe Adria Trail has always been a region of borders from ice age to cold war, but also of connecting paths of different kinds: military, animal, railway ones.
Through some research and walking, we investigated elements of dis / connection on the Alpe Adria Trail, collecting traces, documentation and creating some spontaneous interventions on the path.
We are two Italian and one Austrian artists from different backgrounds such as music, fine arts, game development, engineering and philosophy.
This is a flow of sounds recorded during the last walk in August 2019 along the Italian – Slovenian – Austrian borders. Eleonora Sovrani, visual artist, and Juliette Qualizza, musician walked from Robidišče to Tarvisio, passing through Prossenicco, Montemaggiore, Monteaperta, Gran Monte, Uccea, Saga, Bovec, Kranjska Gora, Canin, Sella Nevea, Cave del Predil, Coccau, Feistrits Alm, Feistritz an del Gail Arnoldstein. We spent the last days in a green house close to the Italian-Austrian border (Thorl Maglern) with Sarah Schalk, philospher and artist from Graz.
Sound suggestions speak of nature, mass tourism, intersections between people, prejudices, tradition, hospitality, isolation.
This was part of the project Interventions on the Alpe Adria Trail in 2019, supported by Österreichisches Bundeskanzleramt für Kunst und Kultur as well as Land Kärnten Kultur and Uti Canal del Ferro Val Canale

Credits: recording in August 2019 by Juliette Qualizza; voices: Eleonora Sovrani, Sarah Schalk,  Matija Sirk, Juliette Qualizza; composing and editing in December 2019 by Juliette Qualizza