18 Wed

Conceived to emulate free jazzrhythmic patterns, sharp pointy things is the name I gave the computer enginebehind half of these sounds. It sounds like almost communicating with machines.It also has the sounds that the synths and machines made when I turned thesoftware off but they kept trying.

Poly-rhythmical and poly-metrical algorithmic patterns generated with Max/MSPran drum machines and pitched synthesizers with live improvisations on guitarswith various tunings and electronics.

Stephen Germana is a musician and artist, an improviser with a focus onelectric guitar, and a composer using algorithmic programming of his own design.He is a member of the radio art collective NRRF B Radio, and a graduate of thesound department at the School of the Art Institute of Chicago. He currentlyteaches fine arts and art history in South Florida where he lives with hispartner, Sarah Knudtson and their cats, Roland and Boonmee (Meep).  stephengermana.com 

KgAugenstern (Christiane Prehn and Wolfgang Meyer) have been exploring the worldfor many years  with their “Tentacles,” extendable fiberglass canes thatallow them to touch and extract the sounds of the places they are travellingthrough. These tentacles have become a kind of prostheses to generate subtleexperiences that require attentive listening. The various aspects of theproject are constantly transformed and presented as audiokinetic installations,live-streams, radio broadcasts or sound installations in contemporary art spaces. 

In autumn 2019, the artists explored places in Sicily that have been abandonedwithin the last few decades. With their tentacles, they scratched circles onthe surface of these contemporary ruins to reveal the specific sounds of thevarious surfaces and their surroundings. A camera installed in the center ofthe circles recorded the images. The research was accompanied by experimentswith raw sheep’s wool and clay as materials corresponding to the ephemeralappearance and transitory atmosphere of the places. The outcome of the researchwas presented as an exhibition in an old prayer hall in Palermo.


https://www.kg-augenstern.com/

It’s So Easy Pt. 3 is an audioinstallation made from recordings of my singing saw processed and layered, thentriggered to produce semi-random harmonies. It starts as one great swellof all the bowed parts playing together, but over 10 minutes they are graduallyteased apart until there is a constant swirl of notes. These are thensemi-randomly detuned and retuned over five minutes, then brought back in lineover another 10 minutes until we arrive back at the beginning, at which pointthe piece takes another big breath in and out, and so on.

Ollie Hawker is a Glasgow-basedcomposer currently studying for his Masters degree at RCS. He is primarily interested in the complex mixture of data-overload futurism and nostalgic romanticismin his personal relationship to the internet and its folk culture.

https://soundcloud.com/olliehawker

Mark Vernon – Longueur d’ondes

Description:

A soundscape composition made from field recordings made in Brest, France in February 2020 during the festival Longueur d’ondes. This occasion coincided with the storms Ciara and Desmond which feature heavily in the piece. It also incorporates recordings from a batch of reel-to-reel tapes kindly donated by a volunteer at the festival.

Biography:

Mark Vernon is a Glasgow based sound artist whose current work is focused on concepts of audio archaeology, magnetic memory and nostalgia. At the core of his practice lies a fascination with acousmatic presence, environmental sound, obsolete media and the reappropriation of found sounds. A rich collection of domestic tape recordings; audio letters, dictated notes, answer-phone messages and other lost voices often find their way into his unorthodox soundworlds. These diverse elements are distilled into radiophonic compositions for broadcast, multi-channel diffusion, fixed media and live performances.

http://meagreresource.com

Worker-artists convene a hive broadcast of indiscriminately gathered sound-pollen, transmitting codified messages to kindred folk. 

Each week a potent gang of sound artists are at play, exploringwhatever is on their minds. Style guide: Anything goes

Knut Aufermann & Sarah Washington (Ürzig) http://www.mobile-radio.net


Xentos Fray Bentos (Broughton) http://www.discogs.com/artist/xentos


Frauke Berg (Düsseldorf) http://www.fraukeberg.de 


Katharina Bihler & Stefan Scheib (Saarbrücken) http://www.liquidpenguin.de


DinahBird (Paris) http://www.bird-renoult.net/dinah-bird 


dieb13 & Billy Roisz (Vienna) http://dieb13.klingt.org & http://billyroisz.klingt.org


Anna Friz (Santa Cruz) http://nicelittlestatic.com 


Ralf Schreiber (Cologne) http://www.ralfschreiber.com

Live broadcast 11th June 2020 on Resonance Extra,Soundart Radio, WGXC, Wave Farm & π-node. Later on Radio ARA, JET FM, RadioPanik & Radio Orange.

Produced by Mobile Radio with support from π-node.

It’s So Easy Pt. 3 is an audioinstallation made from recordings of my singing saw processed and layered, thentriggered to produce semi-random harmonies. It starts as one great swellof all the bowed parts playing together, but over 10 minutes they are graduallyteased apart until there is a constant swirl of notes. These are thensemi-randomly detuned and retuned over five minutes, then brought back in lineover another 10 minutes until we arrive back at the beginning, at which pointthe piece takes another big breath in and out, and so on.

Ollie Hawker is a Glasgow-basedcomposer currently studying for his Masters degree at RCS. He is primarily interested in the complex mixture of data-overload futurism and nostalgic romanticismin his personal relationship to the internet and its folk culture.

https://soundcloud.com/olliehawker

1. Olivier Julien – I Never Knew                                

The work came out of an attempt to access the locked melancholia created in William Basinskis Disintegration Loops. The initial focus is around a found sound loop from a 60’s version of Alice in Wonderland by John Barry. Hoping that I would be able to draw out this sonic object’s emotion, I found it increasingly frustrating that the loop never managed to fully articulate itself. The work plays out these stages of frustration, cadencing in a big splurge of dramatism only to find itself frustrated and austere, acting out through dinge-step. This wall final wall breaks and invites the listener in, the track collapses, clicks indicate the edit and out plays afield recording of me listening to a Dionne Warwick track, taking in her sumptuous words and advice, alone in my own loop.  

 OlivierJulien is an artist based in Glasgow working with sound, film and collage. His work is concerned with sound and information hoarding; memories, intersubjectivity and the  haunting, understanding of and engagement with the electrical sublime.  https://soundcloud.com/djjjuli

2. Barry Burns – How Rare a Possession              

3. Ortooeen Waves – The Drowned World                            

https://xemporium.bandcamp.com/album/ballardian

4. Gareth John & Laura Tansley – Mid Thought

Gareth shared several pieces of music with Laura, who then wrote short poetic prose in response. The result is an experiment in co-working, call-and-response, and a thematic exploration of nostalgia. Gareth John and Laura Tansley met whilst studying at the University of Cardiff in 2002. This is their first collaboration. Individually Gareth runs the label Weak Friends. Laura’s writing has been published in a variety of places including Sand, Dream Pop Press and Adjacent Pineapple.

5. Ivor Kallin – Sangs of Bute, Eh? R_09_0098                            

6. Thomas Finbarr – Music on Later                                    

Composed for the Zeppelin Sound Festival in Barcelona, a sound poem created from recordings made by the composer and  one ‘cheeky’ found recording. It deals with religion and the part that the concept of deferred gratification plays in religious philosophies.

First entering a studio as a bass player, Thomas Finbarr soon learnt his way around both analogue and digital recording. After an Msc in Sound Design at Edinburgh University he has worked as a recordist, sound  designer and dialogue editor as well as creating his own sound pieces for festivals, theatre productions and installations, including pieces at the Perth Concert Hall in Scotland and Medialab Prado in Madrid.

7. Martina Morger – (pro)found listenings 

A sound collage, which requires compassionate listeningt owards the female voice and the voice of the ‘other’. The sonic carpet consists of interviews with fellow artists on the topic of the expression of voice and the female experience. The constructed layers create a patchwork of speech to challenge attention allowing one to lose the thread, only to find it again. 

with giacinta frisillo, jina song, sukhy parhar, rosafarber, roberta howson-janes, raginichawla, claire curtin, morgan woods, laura mcglinchey, chioma ince, alexandrasantos, julia kothe.

martina morger is a performance artist who also works with multimedia. She reflects on femininity as a device, and claiming space as a political body. her work is primarily concerned with women’s placement within society, but also queerness in regards to cybernetical hybridisation. Exploring female and quee rvoices – or lack thereof – domesticity, repetitive action and labour, she works primarily with performance and enjoys investigating the borders to other media. http://www.martinamorger.com           

8. Sweaetshops – An introdoctrination to We Eagerly Await Your Complete Submission No 11

Have you got X? That certain “something”?Have you been biding “your time”? Do you just want to be “up there”? You know you do. You have always known. We have always known and in all ways known. Your dreams. Your deepest desires. Your moment. We are here to take you there on th next step. We Eagerly Await Your Complete Submission is an ongoing multidisciplinary work about the parallels between the rhetoric of religious cults and reality TV. Created from a mixture of audition tapes,self-help cassettes and show business jargon.

 Sweætshops® is a multipersonality “conglomerate” and multidisciplinary artist, whose practise is focused on creating allegory out of the waste of 21st century capitalism using sound and performance. Their name is a portmanteau of the two extremes of our current era. They hold a sonic arts MMus, are the 2019 recipient of the BUZZCUT Emerging Artist Award and have been both banned from the Edinburgh Fringe and simultaneously legally married/divorced for Brexit. They have played various festivals including Listen Again and Meadows Festival. Their work has also been featured on compilations by various labels including Violet Comet and DeadHound Records. 

https://www.swextshops.io    

9. Lisa Fabian and Matt Robin – Current Clap

    

 

 

 

The work “Memories Of A Spa Town” deconstructs what it means to listen to a DJ Set. This work is a recording of a live mix by the artist consisting of field recordings he has collected through the past eighteen months of his many years in the spa town of Harrogate, England. These recordings are presented as a living museum of faded grandeur, seen in the light of the pandemic and as a gig-going local. This is my town, as a DJ Mix; warts and all.

Andy Backhouse is a fine artist working with time-based media and digital collage. The underlying emphasis of his work is the wish to transmit the sense of wonderment and revelation upon his discovery of ‘a thing of beauty.’ He wants to make it a joy forever. Influenced by the Lakes Poets, Edward Lear, Jez Riley French, AGF and RuPaul, Andy is setting out to see if the genii locus of dearly held location be transmitted to another recipient – will the media, now divorced from the situation, hold as much appeal to the recipient? The Wire Magazine once described Andy as “…difficult to dislike.” He is still at his most enthusiastic and naive.

http://www.andybackhouse.com
twitter – @Backhouse_WTF
instagram – @Backhouse_WTF

Stolen Voices 001 compiles a series of experimental sound works produced as part of a five-year long slowly developing eavesdrop on the east coast of the UK. The result is the sonic equivalent of a car boot sale on a sea cliff in County Durham. Artists and composers who contributed to Stolen Voices 001 include Emma Bennett, Ode Asiguenolasa, Mariam Rezaei, Pete Stollery, Barretts Dottled Beauty, Stolen Voices (Johanna Linsley and Rebecca Collins with Jan Mertens) and Kitchen Cynics. The tracks were mastered by Adam Matschulat of The Listening Tower,with production consultation from Flora Pitrolo. More about Stolen Voices at http://www.yourstolenvoice.com

 Stolen Voices is a collaboration between Johanna Linsley and Rebecca Collins, artists and researchers based in Dundee and Edinburgh. The project listens in on the east coast of the UK. Results from theinvestigation have been shared throughout the UK and in the Netherlands, Spain,the USA and Brazil. Stolen Voices has received support from Arts CouncilEngland, Silver City Stories, the Live Art Development Agency, SnapeMaltings/Aldeburgh Music, Sound & Music, SPILL Festival of Performance,Arts Bournemouth, Helix Arts, East Durham Creates, Aberdeen Performing Arts,University of Edinburgh, University of Aberdeen, University of Roehampton and Birkbeck, University of London.

jhlinsley.com

 

Ain Bailey – And We’ll Always Be A Disco In The Glow Of Love (3:06)

https://radiophrenia.scot/portfolio/ain-bailey/

Soft Tissue misc 2 (2:37)

https://radiophrenia.scot/portfolio/soft-tissue/

Kapitał Gains is a daily radio programme showcasing live performances by Polish and German sound and radio artists, curated and hosted by Knut Aufermann. Every day at noon CET (11am GMT) from 16th to 22nd of November 2020 a roster of acclaimed noise makers will present solo or duo concerts from their homes live for the radio audience. Today it is the turn of Mateusz Rosiński, mover and shaker from Gorzow.

The second half of the show is dedicated to works from the international radio art network Radia. Kapitał Gains is a project by Goethe Institut and Radio Kapitał in Warsaw, with partner broadcasts on ∏-node in Paris and Radiophrenia in Glasgow.

Artist biog:
Mateusz Rosiński is a Gorzów based artist and culture activist. Founder of the publishing label and the festival DYM, he also runs creative venue Sejf. Mateusz currently performs under the pseudonym (wd30), often cooperating with other artists. In his artistic activities he focuses mostly on improvisation, however he doesn’t avoid the conceptual
forms. Rosiński also co-create Szczecin-Gorzów trio Dynasonic. He’s a composer of music for performances and exhibitions. 

Web links:
https://dymrecordings.bandcamp.com/album/ycie-smutne-te-jest-weso-e    Mateusz Rosiński
https://www.goethe.de/warschau    Goethe Institut Warsaw
https://radiokapital.pl/    Radio Kapitał

I was born in Germany and moved to France six years ago. I first studied humanities. After
volunteering for several months at a local and non-commercial radio (l’Eko des Garrigues) I
decided to shift to Fine Arts and integrated the Conservatory’s electro-acoustic music class
to concentrate on music and sound within the field of Art. I graduated in 2019 from the
Higher National Academy for Fine Arts in Bourges (ENSA) and in 2020 from the International
Post-Graduate Program in Arts in Sound in Ghent, Belgium @ KASK/Conservatorium

(EPAS). I am currently living and working in France. My artistic work is based on the exploration of the esthetic experience of sound and music. I use the technique of Field Recording and produce sound and video installations and performances. I frequently contribute my compositions and recordings to radio and cinema projects. Sometimes I work as a sound engineer for events such as concerts, theater shows or radio programs. Currently I am working with an environmental biologist with whom we founded the Observatory of the Hole in Deep Time that aims to analyze the links between Sound and Biodiversity in the Anthropocene era.

Nika Son – Esel und Gespenst from ‘To Eeyore’ (3:44)

https://radiophrenia.scot/portfolio/nika-son/

soft tissue – gesine 1 from ‘Soft Tissue’ cassette (1:50)

https://radiophrenia.scot/portfolio/soft-tissue/

For the Radiophrenia commission: ‘Ode To The N.H.S.’ I have composed a meditation/homage to the National Health Service, using as a starting point, and end, I guess, the recordings of 10 weeks of ‘Clap for the N.H.S.’ that took place during lockdown. While there are many who thought the gesture futile, I saw it as moments of solidarity and community appreciation for an organisation that has long been under siege and underfunded.  

Ain Bailey is a sound artist and DJ. She facilitates workshops considering the role of sound in the formation of identity and recently held a residency at the ICA, London.  Exhibtions in 2019 included ‘The Range’ at Eastside Projects, Birmingham; ‘RE:Respite’ at Transmission Gallery, Glasgow, Scotland, and ‘And We’ll Always Be A Disco In The Glow Of Love’, a solo show at Cubitt Gallery, London. Last year, Bailey was commissioned by Supernormal and Jupiter festivals to create and perform a new work,  ‘Super JR’. Currently, following a commission by Serpentine Projects, she is conducting sound workshops with LGBTI+ refugees and asylum seekers, as well as working on commissions for radio for Deutshlandfunk Kultur, Radiophrenia and Savvy Contemporary’s new radio station, SAVVYZAAR.

http://www.ainbailey.com

This sound piece was inspired by the early ‘dream work’ of the surrealist painter De Chirico.I ran a workshop with a Liverpool group called Surrealerpool in which I showed the prints of early De Chirico paintings which are extremely dreamlike.  Each person had a picture of their own. I then asked them to describe in words what they imagined the picture to be and what they saw and heard. I recorded their words. I also ran some other exercises with them so that I could build a sound picture. I then took all this away and composed and designed the score and weaved in their words. I was also able through editing to use their words as motifs for songs and imagined dialogue. I was particularly interested in creating a hermetically sealed world that teetered on the edge of the unconscious and also was completely involving for the listener.

I am a composer, lyricist, orchestrator and sound designer.I have worked on many drama productions for BBC Radio 3 and 4, as well asproductions on Channel 4, BBC2, ITV and BFI independent films. My work in liveperformance includes aerial ballet (international touring), scores forlarge-scale site-specific pieced and promenade pieces. My work as a composer-inresidence includes Liverpool Playhouse and Everyman Theatres and the RoyalLiverpool Hospital. I have run my own company touring original music adultfairy tales both in the UK and abroad. I live in Liverpool.

http://www.patrickdineen.com

https://soundcloud.com/patric123/we-went-to-see-de-chirico?in=patric123/sets/sound-art

 

1.  Francesca Hawker – You got stuff in there?

A collection of poemsand songs that hazards a guess about what is or is not inside… what.T-shirts heavy with hope are gifted to friends, and letters written to therecipients of the T-shirts are broadcast to encourage frequent use, making usall closer to the heart of the matter right? We put our hands inside ourpockets at the exact same time? 

Thank you to: EricPeter, the band Gray, James St. Findlay, Leo Arnold, Nilz Källgren, Robert Ashley, Sean Paul

Francesca Hawker is an artist who lives in Brussels. She createshumorous mutli-modal medleys of performance, poetry, sound and text, with eachof the components playfully infused into one another in a prevailing thematicof a remix. In her experimentation with the spoken and written word, throughvariations in tone, emphasis, repetition and rhythm, she unravels and decodeslinguistic meaning and signification, creating space for novel re-assemblageand interpretation in a way that transcends language or representation.(credit: Bethany Crawford)  

https://cargocollective.com/francescahawker

https://you-must-go-world-heritage-sites.tumblr.com/  

2.  Elen Huynh & Mark Vernon – Stirring into theAwakening

3.  Fabian Zuniga – Room tone

Soundscapes recorded with the mindset of showcasing a perspective of reality. The idea is to create an awareness of the soundscapes that exists, the combinations of worlds, the movements, the rhythms, the tempos, the sensations and energy that the sounds around us create, the randomness, the consciousness and subconsciousness in sound creating and listening. How conscious acts from an outsider perspective, form part of a subconscious whole. These recordings are reminders of what surround us, what influences us, what shapes us, what we are part of.

Born and raised in Costa Rica, with a degree in Film and Television. Even though I work in several aspects of the audiovisual production, sound it’s my main field. In 2017 I did a postgraduate in arts in sound in Belgium called EPAS. During EPAS I discovered new ways of listening and viewpoints towards sound, as well as sound art. The last couple of years, I have been mostly interested and documenting soundscapes and its role in our sound world/life.
Documentary, randomness, surrealism, consciousness and subconsciousness, narrative sound would describe my recent approach.

4.  Ivor Kallin – Sangs of Bute, eh? R09_0093

From a collection of 51 improvised’songs’ on the piano, (which I can’t play).They were recorded in a cottage onBute, which just happened to have a piano, and I’d brought my voice with me.

5. Kate Donovan – Seed Dispersal

Do seeds move through bodies – ofair, of water, of animals – like radio waves? This series  considers theagency of seeds and radio. Including sonic input by Pablo Juanes and thevoices of Molly, Hunter & Scout.

Kate Donovan is a practicing radioartist, facilitator and researcher based in Berlin. Her artisticpractice deals with radio in an elemental sense, in terms of frequency,transmission and interconnectedness (but also disruption and interference). HerRadio show ‘elements’ is broadcast monthly on CoLaboRadio in Berlin.Since 2017, she’s been part of theDatscha Radio Berlin team. Currentlyshe’s part of the research group “SENSING – the knowledge ofsensitive media”, with a PhD project on expanded listening and radio art.

http://www.sensing-media.de

https://mattersoftransmission.wordpress.com

 6. Gareth John & Laura Tansley – summer agoraphobia

Gareth shared several pieces of music with Laura, who then wrote short poetic prose in response. The result is an experiment in co-working, call-and-response, and a thematic exploration of nostalgia.

Gareth John and Laura Tansley met whilst studying at the University of Cardiff in 2002. This is their first collaboration. Individually Gareth runs the label Weak Friends. Laura’s writing has been published in a variety of places including Sand, Dream Pop Press and Adjacent Pineapple. They live in London and Glasgow, respectively.

7. Lise Olsen – Quarrymill Soundscape

TheQuarrymill soundscape is a symphony of field-recording and fragmentedconversation recorded while walking along the Anntey burn, near Scone inPerthshire. Lise Olsen recorded the sounds during outdoor events run by theRSPB; these activities focused on encouraging children to connect, enjoy, andcare for wild places. The composition was inspired by conversations she hadwith visitors and the children’s experience of outdoor activities includingpond dipping, bat hunts, and imaginary play. The soundscape was created as amethod to explore alternative ways of engaging children with nature by usingimmersive 3-D sound technologies.

Lise Olsen is a responsive artist who works in-between a sphere of space andthe sonic. She is a Ph.D. candidate in Sonic Arts at the University of Aberdeenresearching immersive soundscapes and exploring the embodied experience of thein-between. She is a keen advocate for collaboration and co-production of work,having worked together on several projects with other, musicians, andperformers. Other projects include facilitating community sound projects,soundwalking events, and site-specific installations. https://soundcloud.com/visionbylise

Dyed in the Grain is a stereo reduction of a multichannel audio/video installation

All sounds are processed from recordings made during the manufacture of ceramic tiles at Florim plant in Sassuolo, Italy.  Sounds come from a wide range of operations: from prime material collection to the hammering of the tile for the final test , passing through various types of presses, moulds, printers and ovens.

Planta is a stereo reduction of a multichannel audio installation made to be listened in complete darkness.

The piece is realised exclusively with sounds derived from the various activities and work flows that take place at the Planta quarry in Menarguens, Spain. The composition is based on the sounds of the grains. Generally ‘grains’ arecoarse particles such as sand, salt or seeds; food grains, the small, hard,fruits or the crops bearing those seeds. In Planta all the materials, as a result of a process, are in grains: stones, corn, olives, and even gold. The word ‘grain’ has a plethora of meanings and most of those, in one way or another, to me are connected with the flow of time.

Renato Rinaldi studied acting, composition and electronic music. He has worked extensively in theater, first as an actor and then as a sound artist. As a musician he has composed music for theatre, radio plays and documentaries,video and sound installations. He is interested in composition applied to therelationship between sound /environment. He has also produced radio plays,documentaries and radio reportages, aired by Radio RAI and Radio France. Forseveral years he has been working on multimedia projects, within the scope ofcontemporary art, linked to the changing of the contemporary landscape.

https://soundcloud.com/renato-rinaldi

Soft Tissue – Leaks (13:00)

Laura Irving – Anguilla Anguilla (4:19)

Anguilla Anguilla evolved from an anecdote my father-in-law used to tell about catching eels in his boyhood. Since developing Alzheimer’s, he’s returned frequently to this story, with the narrative becoming progressively fractured, interrupted and detuned.

There seemed a metaphorical synergy between his story, his illness and the mysterious cyclical end of life journey of the European Eel (Anguilla Anguilla), which travels the width of the Atlantic, guided by a force little understood, to return to the place of its birth.     

The piece is probably best described as a sketch or assembly of ideas, to be continued someday..

 Producer Bio:

Laura Irving was born by a dockyard and lives on the south-coast of England. She likes recording soundscapes, rummaging, audio archives and eavesdropping. More at http://www.LauraIrving.co.uk  

wander | from my thought i’m at my shoes and from my step i’m on the ground, the surface of matter | asphalt | a moving bicycle chain spinning sound into my right ear | my notions roam again | i deliberately step aside | grass | a crumpled piece of foil | it resonates | bits of voices carrying information | i know that street | do i? | it used to sound different | treading on some pebble stones, chrunching them | noises appear louder this year | step by step | aiming for a rhythm | getting lost | not marching but walking along lines | more lines | trying to avoid them | a puddle’s echo | unlearning what i hear and see | is it a rumble or a murmur behind that pole | wind purrs | a crow just shat on me | i remember | traipse is a word i didn’t know | meander  

“…thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It’s best done by disguising it as doing something, and the something closest to doing nothing is walking.” [Rebecca Solnit in Wanderlust]

Nika Breithaupt alias Nika Son works as a musician, artist, film sound-designer, Dj and curator after graduating in Fine Arts at the Art Academy in Hamburg in 2012. Influenced by Musique Concrète and the outer space of electronic music, her compositions are built from deformed and fragmented fieldrecordings, interweaving with analogue synth lines, broken rhythms, rare voice scraps and filtered tape layers. As a sound artist she became a dedicated hunter of extraordinary sounds and discoveries of new and old technologies in music. Sounds of various origin are translated into a very unusual musical language, as if one watches the audible.

She has played at international festivals such as Intonal, Meakusma, IFFR, Klub Katarakt, Nuits Sonores etc. and released on various labels, such as Mmodemm, First Terrace Records, Sky Walking, Anti-Ghost Moon Ray and her own imprint Noctui. Her debut album was released in March 2020 on the Belgian-British label Entr’acte.

Next to her solo project, she has been collaborating with various artists for many years now, foremost with the filmmaker Helena Wittmann and the musician F#X. Furthermore she hosts regular art and music events at the Golden Pudel Club in Hamburg since 2011 with various international guests. In July 2018 she staged a two-day festival called Eruption, freely based on the musician and video artist Conrad Schnitzler and since 2019 she is part of the curator team of the papiripar festival. 

As a DJ, her waywardly sound is marked by the outer space of electronic music, spanning from musique concrete, early electronics, synth wave, Industrial, Noise, Kraut and experimental Techno.

http://www.nikason.de

La foresta dei violini, prodotto da Faïdos Sonore e la Radio Televisione Svizzera di lingua Italiana (RSI). Versione per concerto in 8.1 e per podcast.

La Val di Fiemme è nota per il suo bosco di abeti di risonanza fin dal XVI secolo. I suoi abitanti hanno sviluppato un rapporto speciale con la foresta.

Con le voci di Marcello Mazzucchi, Giuliano Zugliani e Signore Ognibeni della ditta Ciresa. Grazie all’ Azienda per il Turismo della Val di Fiemme e al Signore Saber della segheria La primula.

La forêt des violons, production Faïdos Sonore et la Radio Télévision Suisse de langue italienne (RSI). Versions concert en 8.1 et podcast.

Le Val di Fiemme est connu pour son bois de lutherie depuis le 16ème siècle. Ses habitants ont développé une relation particulière à la forêt.

Avec les voix de Marcello Mazzucchi, Giuliano Zugliani et Mr Ognibeni della ditta Ciresa. Merci à l’Agence de Tourisme du Val di Fiemme et à Mr Saber de la scierie La primula.

https://faidosonore.net/La-foresta-dei-violini-La-foret-des-violons-sortie-automne-2020.html

Title: “Mauricio Pucci (1899-1926) Fazzoletto per un eternità. Pandemic New Music”

By: Gabi Schaffner. Raw Audio Productions 2020

Compositions and sound recordings: Gabi Schaffner

Participating musicians: Claudio Comandini, Hannes Wienert, Mimosa Pale, Rosanna Lovell

For this special Radiophrenia edition: text read by Tony Morris
“Mauricio Pucci: Fazzoletto per un Eternità” (Handkerchief for an Eternity) combines under the term “Pandemic New Music” nine works of sound art that pay homage to the musicality of “nasal explosions”. At the same time, it tells an adventurous biography that transcends national and gender boundaries, whose obsessive protagonist does not shy away from passing on infected handkerchiefs in order to be able to realize his compositions.

A first version of “Fazzoletto per un Eternità” spread through the airwaves on behalf of the Ars Acustica Group (Tracing Pjotr Zak, a special on fictional musicians and their works, first broadcast 17 December 2017). It was at this time that a preliminary version of the text was written, which biographically linked Pucci’s life path with the fate of the New York composer Charles Tomlinson Griffes. The idea of a miraculous love story arose…

A performance in “Ausland Berlin” (of course, in Berlin, 2019) required a review of the material. “Moccio Oscuro” (Dark Snot) soared up from the depths of the viral archives.Then: A stipend of the Kunstverein Global Forest e.V. in St. Georgen in the Black Forest. The German Phonomuseum around the corner, the place itself rich in trumpets, trombones. The generous budget provided by the Kunstverein facilitated the production of „Fazzoletto“ as a proper vinyl album, including three additional tracks.

Puccis “Handkerchief for an Eternity” shows an approach to New Music that includes the body and its fleeting expressions. Its subversive humour may be understood as a criticism of the still meagre representation of female and diverse musicians in music history. “Fazzoletto” forms a multimodal project by the artist, in which poetics, composition and performance merge seamlessly. Above all, however, it is a homage to the immediate living world and the vulnerability and impermanence of our existence.

The vinyl version is available to purchase from Gabi Schaffner from her website:
https://schaffnerin.net
Edition with printed cover, insert, 180 grams vinyl: 200 copies
Edition with hand-printed silkscreen cover, 180 grams vinyl: 100 numbered copies

R-22 is a new audio narrative collaboratively produced by flatmates Catalina Barroso-Luque and Feronia Wennborg for Wysing Broadcasts. The story follows Refrigerant Gas 22 as they make their way through the distinct environments in a fridge cooling system. R-22 is one and many, embodying both dark and jovial aspects of individual and collective existence. This domestic sci-fi tale was produced in quarantine using home recordings and samples of everything but the kitchen sink.

Headphones recommended for listening to this work.

https://wysingbroadcasts.art/discover/r-22

Catalina Barroso-Luque is a Mexican artist writer and arts programmer based in Glasgow. Catalina constructs narratives, often collaboratively, inhabited by surrogate bodies, voices and texts, which foil how she relates to others and herself. Her writing has been published by PSS, potentA Editores, MaMSIE and MAP. Forthcoming: Montez Press Writers Grants (July 2020); Deslices (Glasgow International 2021). Recent projects: Ñ₆₁₃ a poetic prose para.site (2020, Wellcome Centre for Anti-infective Diseases, Dundee); Penetrate: Translate, reading project focus on female body politics in translation programmed in association with MAP (2019, Glasgow); Overol Glory with Guillaume Brisson-Darveau (2019, cheLA, Buenos Aires); Tongued Red with Marta Soriano, Radiophrenia Live-to-Air 2019 (Glasgow, UK). http://catalinabarroso-luque.com/IG – @blcata

Feronia Wennborg is an artist and musician based in Glasgow. In her work, Feronia collects traces of intimacy and friendship through a process of recording and digital transformation. Feronia often works collaboratively, and is currently a committee member at the artist-run space Market Gallery. Recent exhibitions and performances include: soft tissue with Simon Weins, Celine Gallery (Glasgow, 2020); Slipping Through with Alica Tserkovnaja, CCA (Glasgow, 2019); When All Signs Point to Rome Diane, ALMARE/ArtVerona (Verona, 2019); Blomma with Jack O’Flynn, The Pipe Factory (Glasgow, 2018). Music releases: In New Constellations (AMPLIFY, 2020); soft tissue with Simon Weins (Penultimate Press, 2019); Wet Courage with ECCO (GLARC, 2018).http://www.feroniawennborg.com/IG – @ferwenn

Inheriting a collection of objects is very different from curating a collection for ourselves. The criteria for selection may not be fully known – the choices for inclusion, exclusion, similarity or difference may elude. Our perceptions of the relationships between the chosen objects may become distorted or coloured by our own associations, experience and understanding.
When we place one such collection alongside another, relationships can occur that have the possibility of creating a new alternative curated family, or a series of cross-referencing cousins. The placing and pairing of things has its own momentum – an internal logic that is partly calculated and partly accidental. Some years ago we inherited one half of a diverse percussion stick collection. We started by placing a set of mallets alongside another group of beaters, punctuating each with an unknown stick or head fragment. In this way we could understand how each object might work as a “hitter”, but we had to imagine what sort

of resonant object could then be struck. What did these incomplete instruments really sound like?
‘A gong chime through Dainava pines’ takes us to the beginning of this story and the first of six segments of the collection from different locations. “Box No. 1” is a functional set of homemade instruments that bears testimony to a besieged composer’s desire to continue creating music alone, amidst a time of terrible upheaval and conflict. The recreated sounds of these instruments take us from a solitary apartment in a Baltic town to the warm seas of Indonesia. ‘A gong chime through Dainava pines’ will be a 25-minute broadcast conversation that takes a leap of imagination, picking apart the fragments of this original collector’s story and poetically restoring the artefacts to a former life through a curated combination of tape archives, contemporary field recordings and environmental simulations.

Chris Biddlecombe has worked as an independent artist exhibiting mixed media installations and performances in the UK and internationally – creating over 100 site specific projects over the last 20+ years. His commissioned works are interactive social, historical and geographic responses to specific public sites and communities that have encouraged collaborations with architects, engineers, planners, museum curators, writers, performers, musicians and other creative makers.

David Trouton is a musician with a history of working in Theatre, Dance and other collaborative art-forms where music and sound are used to create, imply or enhance narratives. He is curious to explore the psychology of sound as it affects an audience’s response to a work – implying historical, geographic and emotional meanings that may or may not be there.
Together as No Noise Projects, Chris and David have worked together since 1999 creating audio / sculptural collaborations and theatre. Their sound works often use musical instruments, spoken word, found sounds, electronica and sampling, aligned to multi media installations. Their projects research historical and contemporary truths, listen to curious logic and lateral whispers, to then go on to create new interpretations, hidden stories and believable fictions.

Chris created a 30 minute live broadcast on Radiophrenia in 2017 as the Record Store collaboration with artist Janie Nicoll.

Chris and David created a 30 minute live broadcast on Radiophrenia in 2019 in the collaborative narrative ‘Underwater Conversations’.

Giles Perring – World Organ Intervention 3 featuring Ivor Kallin (8:30)


WORLD ORGAN ‘Interventions’

This is a series of songs and improvisations delivered by remote collaborators in conjunction with Giles Perring’s sound installation on Jura, the World Organ. The pieces are assembled in different ways that reflect the various listening experiences of the players, and the colours of the sound that the organ ‘hears’.

Alongside Giles Perring, on Jura, the performers are

Melanie Pappenheim, Kennington, London. ’Two Corbies’
Kirsty Law, Edinburgh, ‘My Heart Is Sair’ [Robert Burns arr. Law]
Susie Honeyman, Edinburgh, ‘Over the Sound’
Albert Kuvezin, Kyzyl, Tuva ‘Talking to Spirits’
Ivor Kallin, Clapton, London, ‘Trumpton Fire Brigade’
Rob Mills, Swanage, ‘The Ministry of Wind’

Giles and Ivor have played in various improvising bands together, notably Ya Basta and power trio The Scheidt. Rob Mills and Susie Honeyman are both long standing colleagues of Giles from their work together in the sonic sculpture group Echo City. Giles produced Albert Kuvezin & Yat Kha’s number one World Music album ‘Poets and Lighthouses’ on Jura in 2010. Giles first performed with Melanie Pappenheim in the vocal big band The Shout. They have since made a number of music and sound works for radio and theatre together. Giles works with Kirsty Law on recordings and cross-media projects having first collaborated together with Stornoway story teller Ian Stephen.

Revisiting a shared archive of recorded sounds, it, still is a patchwork of edited, processed and resampled material. Listening for small sounds and moments of intimacy, the work explores the potential of previously disregarded recordings to form new relationships.

soft tissue is a collaboration between Glasgow-based artists Feronia Wennborg and Simon Weins. Working with DIY electronics, domestic recordings and digital feedback, the duo plays within networks of lo-fi amplification, blurring the boundaries between initiated and environmental sounds. 

Recent projects include a self-titled tape release on London-based label Penultimate Press (2019), a commissioned audio-visual piece for West Den Haag, Leaks (2020), and a residency at CCA Creative Lab through AC Projects (2020).

A found sound audio collage

From the citadel jungle, the one who isnot human prepares the insurrection carried by an exalted Sprechgesang andsupported by the sound pigments of a deep bewitching electro. A dismemberedpoetic and sound epic that seeks to become one with the audience.

 Since we met in 2001, our joint workbears the dual hallmark of experimentation and performance. Our pieces bringtogether various media, associating elements from opposite ranges, with a tastefor connections between Sci-Fi and documentary forms, high-tech engineering andfantasy tales, heavyweight materials and fleeting sensations. Starting withinstallations and objects, our work soon included experimental actions and moreimmaterial artistic gestures. Videos, sound art, music, poetry, olfactiveresearch, virtual works bordering the digital arts have formed, over the pastyears, a cycle of works dealing with climate change, economic, political andgeo-strategic issues, urban development and food management. Later, in Alaskawe have developed land art projects dealing with time, archaeology, geology andclimate change. We are currently working on artificial intelligence togetherwith Guillaume Dumas from Institut Pasteur and artist Nicolas Montgermont. Wehave founded UV Éditions, a publishing house focused on essays that concernInformation Theory, Media Critic, Philosophy of the Technics, Anthropology ofthe Medias, queer Theory and Cultural Studies, Animalism and Cinema.

Our work was shown in leadinginstitutions and festivals : at Narcissioin Nice, France, 2020,  at Transpalette in Bourges, France, 2019, atBiennale Némo in Paris, 2019, at Terminal B, à Kirkenes in Norway, 2017, atCosmoscow in Moscow, 2017, at festival acce)s( in Pau, 2016, at Musée du Jeu dePaume in Paris, 2014, at Venise Biennal of architecture, 2014, at UltimaFestival in Oslo Opera, 2011, at Palais de Tokyo in Paris, 2011, at Qui ViveInternational Biennial in Moscou, 2010, at Dashanzi Art Festival in Beijing,China, 2004…

This sound collage is acombination of field recordings from Bucharest (private and public space,official events and daily routines), a digitalized magnetic tape from familyarchive and voices of poets and writers from Romanian literature. To my ears itsounds like Kafka’s busy phones from The Castle, Borges’s Aleph and ItaloCalvino’s Invisible Cities.

Maria Balabaș is aRomanian radio producer and musician. She created and moderated Dimineațacrossover – a daily show broadcasted by the Public Cultural Radio. Her radioworks have been nominated at Prix Europa, Prix Italia and Grand Prix Nova. Sheinitiated musical groups such as Avant’n’Gard and Soare Staniol, inspired bytechniques of improvised music, electronic and acoustic music. She createsinstallations generated by the artistic interest for the acoustic memoryspecific for field recordings. 

https://soundcloud.com/continentofsounds

1. Anette Gellein – Horizon   

From Cinema For Lonely Souls, a compilation of sound works , more minimal than my previous work. It is composed by a synth programmed in Max/Msp and the analog synth Moog Mother 32. The sound compositions is both based on very fixed parameters as well as analog improvisation.  anette.gellein.com 

2. Marjorie Van Halteren Something’s Out There  

Composed and performed by Marjorie Van Halteren (nature sounds), with Christian Vasseur, various string instruments, objects, voice.  http://www.electroacousticalpoeticalsociety.com

https://christianvasseur.weebly.com/

3. Ivor Kallin – Sangs of Bute, Eh?  R_09_0099       

From a collection of 51 improvised ‘songs’ on the piano, (which I can’t play). They were recorded in a cottage on Bute, which just happened to have a piano, and I’d brought my voice with me.

4. Gallery Six & Oblivia – A Nomad’s Cantabile

“A Nomad’s Cantabile” is a collaborative ambient work between Gallery Six and the duo Oblivia that combines rich ambient drone textures and spoken words. The track’s spoken words centers around isolation among the youth, the need for their voices to be heard amidst the context of modern social estrangement. As nostalgic souls, the artists use music and spoken words as means to express their desire to be acknowledged, to find connection, and to shelter their ‘worn out’ hearts.

Gallery Six is a sound artist, based in Hiroshima, Japan. He’s been focusing on combining artificial sounds and extraction sounds from nature. Oblivia is a Hanoi-based ambient duo of Tram-Anh Ho and Nhung Nguyen. Together they create ambient and soundscape works that highlight themes such as nostalgia, nature and inner world. .https://rustedtonerecordings.bandcamp.com/album/these-cyan-fantasies

5. Ooey – Boy on Display

Performance by Ooey is an hour long mix made up of selected pieces of solo work. These tracks, freshly decontextualized from their original, album based form, weave together to create an abstract journey rooted in audio collage. Performance features elements of minimalism, musique concrete, and abstract electronics and twists them into unrecognizable forms,turning into a veritable candy store for curious fans of uncompromising sound.Eluding easy genre descriptors, Performance instead calls into question the very notion of what is and isn’t music, and what constitutes a performance during our socially distant times. 

Ooey isZachary Zena Giberson, a 30 year old sound artist residing in Old Town, Maine.Zachary Zena Giberson runs Sour Orange Records, a small DIY label, and is a member of several bands such as Martian Hello, Lawless Carvings, and Wife Eyes.When not spending time making strange music, Zachary can be found wasting his time playing video games, spending his time constructively in his garden, or cooking a meal for his husband of 6 years. zacharyzenagiberson.bandcamp.com

6.  Optic Nerve – Appear to be Living

OpticNerve are Cosima Cobley Carr and Grant Campbell. 

https://optic-nerve.bandcamp.com/
https://soundcloud.com/opticnerveband
https://cosimacobleycarr.com/

7. Gareth John & Laura Tansley – Beyoncé

Gareth shared several pieces of music with Laura, who then wrote short poetic prose in response. The result is an experiment in co-working, call-and-response, and a thematic exploration of nostalgia.

8.  Sweaetshops – An Introdoctrination to We Eagerly Await Your Complete Submission 8

Have you got X? That certain “something”?Have you been biding “your time”? Do you just want to be “up there”? You know you do. You have always known. We have always known and in all ways known. Your dreams. Your deepest desires. Your moment. We are here to take you there on the next step.

We Eagerly Await Your Complete Submission is an ongoing multidisciplinary work about the parallels between the rhetoric of religious cults and reality TV.  Created from a mixture of audition tapes,self-help cassettes and show business jargon.

https://www.swextshops.io 

9. Marcelo Armani – Somethings Happened Around a Linear Movement

In this piece, I work around a minimalist piano line that remains throughout the composition. As this intention goes through time, fragments of the audio synthesis, the soundscape and some sounds extracted from Nasa’s audiobank appear around this linear movement, colliding or adding to it as a proposal to amplify the feeling of an environment multidimensional sound.Throughout the play, the human linear social state is broken by the communication between Apollo 13 and the Houston base as a metaphor for survival and our insignificance in the face of the space-time dimension of the Universe.

Marcelo Armani is a sound artist, electroacoustic composer and sound professional in the cinematographic and theater projects. As an artist and researcher,he relates to different listening situations. In contemporary artistic production, he moves through in intersection with Conceptual Art, Situationism, Expressionism, Ready Made, Electroacoustic processes and Concrete music. His production is centered on the composition of pieces and sound installations based on the capture of the soundscape and the composition by synthesis and digital / analog expressions using software, synthesizers and tape recorder. He has participated in exhibitions, residences, festivals and edited materials in Latin America, Europe and Mexico.   http://marceloarmani.weebly.com/

 

Founded in 1892 and known as the birthplace of astrophysics, the Yerkes Observatory in Williams Bay, Wisconsin ceased operations in 2018. That year, its obsolete technologies were captured by Coppice (Noé Cuéllar & Joseph Kramer), to draw parallels between its acoustic signatures and functions and those of Coppice’s glossary of study since 2009. Highlighting the intermediary influence of recording and reproduction technologies on perception and perspective – both in limiting and enhancing ways – open-ended questions of actuality and
fiction are posed for the listener, to stir the imagination of music, places, and time in flux.

Coppice was founded by Noé Cuéllar and Joseph Kramer in Chicago in 2009, as an inquiry into the capture and genera9on of music and its relationship to its physical sources. With sustained interest in sound’s capacity to cross domains, Coppice crafts pathways between music and technology in a cross-disciplinary language, resulitng in work that is an overarching documentation of music in-formation. Coppice’s custom instruments have been presented on stages and in performed installa9ons at numerous venues in the United States, and its recordings have been published by artist-run labels internationally.

coppice.futurevessel.com
 
Bibliography
Carpenter, E., & Mcluhan, M. (1960). Acoustic Space. In E. Carpenter & M. Mcluhan (eds.)
Explorations in communications: an anthology. Boston: Beacon Press, pp. 65-70.
Chion, M., & Steintrager, J. (2016). Sound: an acoulogical treatise. Durham: Duke University
Press.
Chion, M., & Murch, W. (1994). Audio-vision: sound on screen. New York: Columbia University
Press.
Durham Peters, J. (2016). Obsolescence in the digital era. Cosmologics Magazine.
cosmologicsmagazine.com/john-durham-peters-obsolescence-in-the-digital-era/ [Accessed 22 June 2020]
Fisher, M. (2014). Ghosts of my life: writings on depression, hauntology and lost futures.
Winchester: Zero Books.
Flusser, V. (1990). Television image and political space in the light of the Romanian Revolution.
Lecture recording. The media are with us!: the role of television in the Romanian Revolution.
Mücsarnok, Budapest. Delivered 7 April 1990.
Francis, M. (2018). Yerkes Observatory is closing its doors. Astronomy. astronomy.com/news/
2018/03/yerkes-observatory-is-closing-its-doors [Accessed 22 June 2020]
Irwin Thompson, W. (2004). ‘The cultural phenomenology of literature.’ In BW Powe (ed.) et al.
Light onwords/light onwards: living literacies : text of the November 14-16, 2002 conference at
York University, Living Literacy Commisee.
Knakkergaard, M. (2014). ‘The music that’s not there.’ In M Grimshaw (ed.) The Oxford
handbook of virtuality. New York: Oxford University Press, pp. 392-404.
Kramer, J. (2011). Artist statement.
Morton, T. (2016). ‘Appearance is war.’ In J Brouwer (ed.) et al. The war of appearances:
transparency, opacity, radiance. Roserdam: V2_Publishing, pp. 166-182.
Parikka, J. (2016). ‘The lab imaginary: speculative practi9ces in situ.’ In R Bishop (ed.) et al. (2017)
Across and beyond – a transmediale reader on post-digital practices, concepts, and institutions, pp. 78-91.
Sagan, C. (1994). Pale blue dot. New York: The Random House Publishing Group.
Schulze, H. (2016). Idiosyncrasy as a method. Seismograf. seismograf.org/fokus/fluid-sounds/idiosyncracy-as-method [Accessed 16 July 2020]
Zielinski, S. (2009). Deep )me of the media. Cambridge: MIT Press.
Sampled Recordings (by year)
Cuéllar, N., & Kramer, J. (2013). Droopy. Coppice. [Installation]. Chicago: Fern Room, Lincoln Park Conservatory.
Cuéllar, N., & Kramer, J. (2013). Sop. Coppice. Big wad excisions. [CD]. Louisville: Quakebasket
Records.
Cuéllar, N., & Kramer, J. (2014). Coincidence departure: quadrangle congruent with “III.
Phases” / opening of first “II. Pivot”. Coppice. Vinculum (coincidence): indexed conjectures of
coincidence imprints once happened. [CD]. Athens: Agxivatein.
Cuéllar, N., & Kramer, J. (2015). Discharge form. Coppice. Matches. [CD]. Chicago: Category of
manifestation.
Cuéllar, N., & Kramer, J. (2015). Subparallel episode. Coppice. Matches. [CD]. Chicago: Category of manifestation.
Cuéllar, N., & Kramer, J. (2017). Inscription. Coppice. Open on occluded conditions. [Digital file]. Moscow: Untitled folder.
Cuéllar, N., & Kramer, J. (2017). Intercalary. Coppice. Open on occluded condi)ons. [Digital file].
Moscow: Untitled folder.
Cuéllar, N., & Kramer, J. (2018). Solvent/emulsion. Coppice. Surreal air fortress. [LP]. Antwerp:
Entr’acte.
Cuéllar, N., & Kramer, J. (2018). Surveillance. Coppice. Surreal air fortress. [LP]. Antwerp:
Entr’acte.
Additional Sampled Recordings included in the Extended Version (by year)
Cuéllar, N., & Kramer, J. (2013). Circumpass. Coppice.
Cuéllar, N., & Kramer, J. (2018). Compass. Coppice.
Cuéllar, N., & Kramer, J. (2020). Conjunction of Gold Bar and Figment Object Specimen. Coppice.

Conversations is a collection of telephone recordings consisting of one single serial chain of phone calls from each of the 50 United States. The initial confused answerer is recorded and then used to playback in a new call to another randomized receiver. That person’s response is then taped and played back for another confused recipient,over and over, State to State… Back in 2016 I began the generative process of calling and recording residential telephone numbers in Minnesota, and 4 years later I’m halfway to completion with all 50 States.

 Stream a selection of Conversations here:

http://www.ubu.com/sound/locher.html

http://www.brandon-locher.com

A radio play / collage utilizing original soundscapesand music along with repurposed audio samples taken from 75-year-oldbroadcasts. The theme of these shows from the 1940s include lingering fears ofthe Yersinia pestis global pandemic occurring in this period.Similarities to 2020 are evident.  

https://northfield-lenox.com/ 

Broadcast as a tribute to Steve Kaspar who sadly passed away last month.

https://www.woxx.lu/culture-steve-kaspar-disparait/

The physicality and extreme sensuality of Nataša Grujović’s accordion meet the atmospherically dense, and mysterious soundfields of Steve Kaspar’s electroacoustic compositions. Their temperament and sharp sense of musicality will invite to a passionate dialogue in real time.

Steve Kaspar
Has participated and studied at the “Nouveau Theatre Musical” (Musikhochschule Köln) under the direction of Mauricio Kagel. Since 1996 he has favoured video, audio-visual installations and, above all sound compositions, performances which are somewhere between noise, raw art and subtle sound decor exploring the mysterious, enigmatic and contradictory domain of the fields of the “ineffable”.

Nataša Grujović
After the accordion and chambre music studies with prof. Hugo Noth at the „Hochschule für Musik Trossingen“ she further developed her approach to chamber music. Since then she is based in Luxembourg, specifically oriented in the experimental sound generation.

Radio Belgrade III Program
https://www.rts.rs/page/radio/sr/story/1466/radio-beograd-3/3057739/vek-harmonike–natasagrujovic-i-stiv-kaspar.html

Video extract of the performance
https://www.youtube.com/watch?v=JMrMsxpmx6s&t=3s
© Steve Kaspar & Nataša Grujović

Voice: Anna Lucchese

This ritualistic piece explores the soundsof “matraca” (instrument made of a wooden plank with an iron clapper on one ofits faces). Rattles and word fragments also compose the texture of this sensoryexploration about the desire to communicate with the ineffable. Hermetic lines:“In every human being there is a child who only wants to play, and the mostattractive game is Mystery”; “Do poets have any other religion? Would theystill be poets if they conformed to rites and dogmas?”; “I was looking, tryingto understand what…”; “We disguise ourselves as flowers that the beesappear”.

Roberto D’Ugo Junior
Radio maker, sound artist and researcher born in São Paulo, Brazil, in 1969.PhD student in Arts at the Institute of Arts of the State University of SãoPaulo “Júlio de Mesquita Filho” – UNESP. Researches the radio as an art form.Creates works of radio and sound art that explore the interface between techniqueand magic. Professor of radio disciplines at Faculdade Cásper Líbero – SãoPaulo. For several years, coordinated the programming of Cultura FM, 103.3 Mhz,educational radio station from Fundação Padre Anchieta, SP.

‘New/Modern Monologues’ uses an old drama textbook of monologues for female protagonists as a source for assembling a libretto of contrasting fragments.   These texts act as sparks, or suggestions for compositional structures, each having a certain amount of improvisational freedom within them. Texts by Alan Ayckbourn, Sophocles/Jean Anouilh, Jean Genet, Noel Coward and James Baldwin.  The second piece is based on Gertrude Stein’s ‘New’ translating it into both a vocal and percussive mantra. 

 Cristina Grifone, soprano; Kelcy Davenport, speaker; Sally Stenton, speaker; William Crosby, Guitar; Leo Oakley, violin; Joe Zeitlin,‘cello; Dominic Lash, contrabass, David Ryan, direction, editing.

The Opera Aperta is a collective formed by artist David Ryan in 2019.   It is initiating several new projects that explore the relation between genres, texts, and approaches to music, sound and image.   Opera Aperta has a dual meaning:it translates as ‘open work’, alluding to the famous book of that title by Umberto Eco; The other meaning is a sense of this openness in relation to opera as a genre, in its original sense of an intermedial relationship between text,image, voice and sound. Previous radio projects have been presented by Resonance FM and Radiophrenia, Glasgow.

https://operaapertaproject.com

‘New/Modern Monologues’ uses an old drama textbook of monologues for female protagonists as a source for assembling a libretto of contrasting fragments.   These texts act as sparks, or suggestions for compositional structures, each having a certain amount of improvisational freedom within them. Texts by Alan Ayckbourn, Sophocles/Jean Anouilh, Jean Genet, Noel Coward and James Baldwin.  The second piece is based on Gertrude Stein’s ‘New’ translating it into both a vocal and percussive mantra. 

 Cristina Grifone, soprano; Kelcy Davenport, speaker; Sally Stenton, speaker; William Crosby, Guitar; Leo Oakley, violin; Joe Zeitlin,‘cello; Dominic Lash, contrabass, David Ryan, direction, editing.

The Opera Aperta is a collective formed by artist David Ryan in 2019.   It is initiating several new projects that explore the relation between genres, texts, and approaches to music, sound and image.   Opera Aperta has a dual meaning:it translates as ‘open work’, alluding to the famous book of that title by Umberto Eco; The other meaning is a sense of this openness in relation to opera as a genre, in its original sense of an intermedial relationship between text,image, voice and sound. Previous radio projects have been presented by Resonance FM and Radiophrenia, Glasgow.

https://operaapertaproject.com