19 Thu

“I don’t wantto do anything but look, listen and smell! What else is there to do?” Areimagining of my 2016, The Svelte, this Leonard Nimoy reading of RayBradbury’sThe Veldt drives home one a maxim: Stop mechanizing the humancondition or you and/or yours will implode while your fucking world dissolves.But have you recently attempted to remove a crucial piece of joy from anyone’slife for more than an hour? Titles courtesy of cipher artist Lori Wike (excepttrack three which is subtitled: “Radiophrenia crew, I hope you find this funand not pandering.”)

 Order

Murder, if no ill-lit side cart sum.I must race, distill, lion-fired rum.

Murder, if no ill-lit sideman murmurs”rum.” Rum named, I still lion-fire drum.

Radiophrenia 2020 Promo Mailer DiscNeed AOL Discs To Send is V 7 wav not MP3 2finalz

Murder, if no ill-lit side manenamed: I still lion-fire drum

 Dave Madden’s (aka Tulpamancers, nonnon,dj_webern) earliest memories are Magical Mystery Tourand the guy who claimed tobe the Lizard King. Madden uses percussion, found objects, turntables andsynthesis to create new sonic environments based on foggy memories ofwarehouses, rituals, subterranean boogeymen, submarines and other heterotopia,melatonin dreams et al.; build it, and it really did happen. Madden’s currentdirection moves through Tudor’s rain forests with a backpack stocked with HughDavies’ contact mics, lost Stockhausen tape loops, Crank Sturgeon’s attitude,and three quarters of a Buchla that needs some repairs.

The Unsettling Knot is an inquiry into the looming question of “what’s next?” as society wades
through the evolving trajectory and intermingling of possibilities presented to us by the outbreak of covid-19. The work develops from an interpretation of the coronavirus RNA sequence as it is allowed to mutate through a combination of stochastic and chaotic processes. With each moment, The Unsettling Knot positions itself between an uncertain future and the myriad approaches undertaken by communities to find a way forward.

Steve Ashby is a musician, composer, and sound artist based in the United States. Ashby work

focuses on sound found in the natural and digital world to discover places of intersection which engage in the art of listening.
Vicki Hallett is a composer, musician, sound artist, music practitioner and educator based in
Australia. Her compositional process explores the space between hearing music as a cultural
experience and the aural vibration within the being.

“Shape” is a single shortwave frequency (7105.8 khz) recorded for two hours in September, from 9pm to 11pm EST. During this time, the frequency carried a densely harmonic and inharmonic spectra, its modulations and distortions affected by the ionosphere, electromagnetic emissions, solar radiation, and other ephemera. The recording was then edited with segments of the two hour recording being woven back into itself without fades; a construction in which duration can be heard as topos, the assemblage as an auscultation of the duration. When heard as transmission, this braid of harmonics, noise, and distortions form a dyad with the duration of transmission and its inherent radio phenomena.

Austin Larkin is a composer focusing on relations of sound, time, space, performance, and installation. His work involves the violin, tuned resonant materials, diffusion/diffraction. He has presented his work at festivals including Corridor, Umbral, and Yellowfish, and has performed throughout North America, South America, and Asia. He currently lives on the traditional lands of the Quinnipiac in what is now known as New Haven, CT.

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


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


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

Lloyd Dunn (Prague) http://www.nula.cc


Anna Friz(Vancouver) http://nicelittlestatic.com

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

Rodrigo Ríos Zunino (Valparaíso) http://www.kunstradio.at/BIOS/zuninobio.html

Special guest Nástio Mosquito

 Live broadcast 9th July 2020 on Resonance Extra,Soundart Radio, WGXC, Wave Farm, Radio Tsonami, π-node & Radio Corax. Lateron Radio ARA, JET FM, Radio Panik & Radio Orange.

Produced by Mobile Radio with support from π-node.

Mark Vernon – Undeformed Stratigraphic Sequences

Description:

A soundscape composed of recent tracks, forthcomingreleases, found tapes, unreleased material and field recordings made in outdoormarkets around the world including Bangkok, Colombo, Evora, Lisbon,Sant-Jean-de-Luz, Santiago, Valdivia and Vienna.

Biography:

Mark Vernon is a Glasgow based sound artist whosecurrent work is focused on concepts of audio archaeology, magnetic memory andnostalgia. At the core of his practice lies a fascination with acousmaticpresence, environmental sound, obsolete media and the reappropriation of foundsounds. A rich collection of domestic tape recordings; audio letters, dictatednotes, answer-phone messages and other lost voices often find their way intohis unorthodox soundworlds. These diverse elements are distilled into radiophoniccompositions for broadcast, multi-channel diffusion, fixed media and liveperformances.

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, exploring whatever 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 18th 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.

 

“Each impro starts more or less from a field recording from my rear window in a small courtyard in the northern area from Paris Montmartre. During the springtime 2020, two young girls from our neighborhood were regularly playing together. I begun to record them from our flat on the fourth floor. listening to nothing else than their small talks and a natural reverb. The girls were happy, their noisy children’s games was a bit of fresh air… One day a deranged man from the building next shouted at them, saying it was against the law and we should all be ‘locked down’. He called the police, who came, but did nothing. Since this incident the girls have been too scared to play in our courtyard, to our regret. From these recording sessions came 7 volumes of ‘Rear Window series’. 

https://axelgomo.bandcamp.com/

1. Christian Banasik –  Letzte Gebarde offener Munder

Poems written by Michael Wuestefeld (contemporary German writer) from his book “Stadtplan” (1990) provide the poetic and tonal basis of this piece. The texts, written between 1986 and 1987 in East Germany describe numerous subjective situations, feelings and thoughts from the view of a townsman. The poems have been recorded with a female and a male voice, which both speak and whisper. After the preparations I was able to work with some variations, loops and transformation of the texts. The timber of the different voices belongs to one of the planes which structure the piece. Furthermore, I developed a text analysis form for the written words consisting of seven groups of phonemes. These groups, combined with algorithmic models, control the form of the piece and every single sound object. Using an self-designed application in MAX, I was able to work with the different combinations of numbers which have been used for musical parameters such as material, duration, rhythm, stereophonic position and density. The semantic characteristic of the text objects depends on real-time calculations that, from time to time, create something like a new synthetic language or atomic word cells. With time-stretching methods I extended central words of the poems many times longer than their original length and formed new harmonic spectra and “singing” tonal characteristics.

2. Marjorie Van Halteren – Sinon à la Maison.

Spoken words, guitar, sewing machine by Philip Lenglet. Voice and composition, Marjorie Van Halteren.

http://www.electroacousticalpoeticalsociety.com

3. Iride Project – Disagio del Silenzio Imperfetto   

Sleeplessness and drowsiness grasp a man since his childhood. Only when he travels he feels alive and attentive. But growing old, his life seems a mere break between naps. When somebody associates his sleep with death, he sees the reason of his dozing. In his early days the death of his father and breaking of war had left him defenseless and ignored by others.
Sleep helps him find a way to elude shocking events. Finally, he gets in control and leave for the real destination of his existence. It is not too late. Text by Monica Miuccio adapted and interpreted by Bernard Clarke

Massimo Davi & Monica Miuccio is a performing duo and an exciting research into non-deterministic electro-acoustic music and sound-emphasis poetry. They explore the sound through conventional and unconventional instruments, piezoelectric transducers, field recordings, electronics, voice/spoken word and an analogue modular synthesizer.

https://irideproject.bandcamp.com/      

4. Ilario Boffa & Pete Swinton & The Oxford Ambient Collective –  Prehension

Inspired by ‘The Companion Species Manifesto’ by Donna J.Haraway, the piece is a reflection on the philosophical meaning of Prehension. Prehension is not only the act of grasping or seizing, but also identifies the interaction of a subject with an entity or an event (sustainability) which involves perception and not necessarily cognition.

https://soundcloud.com/ilaria_boffa

 https://peteswinton.bandcamp.com/

https://theoxfordambientcollective.bandcamp.com/

5. Tony Dimitrov –  Metal Kratovo

Sound experiments with rusty metal parts done as a series of recordings at the backyard of my grandparents old house.

http://www.post-global.com

http://www.kanal103.com.mk

6. Vincent Eoppolo –  Empty

From a collection of works are 2 track fixed media compositions realized in 2019-2020.  Theworks were created using various techniques and technologies such as analogue modular, FM and granular synthesis as well as field recordings and samples. All works were recorded in my studio Gallerie Sonore. The collection I am presenting for consideration in this years Radiophrenia are largely reflective works exploring spirituality and the search for self.

My works are a synthesis of various sound art traditions such as musique concrete, acousmatic music,electro-acoustic music and radio art.  My works have been presented at the New York City Electro-Acoustic Music Festival,the Bushwick Open Studio Festival in Brooklyn , Utopie Sonore in Nantes, Franc eand De Natura Sonorum in Rome, Italy. Many of my compositions have been featured on radio programs in Scotland, France, Italy, Canada, Ireland and theUSA.

https://soundcloud.com/societys-realization

7. Sweaetshops – An Introdoctrination to We Eagerly Await Your Complete Submission 2

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.

 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

 

 

 

https://drdooks.wordpress.com/

https://chrisdooks.bandcamp.com/

The work arises as a result of a concern that I had in my head, and that deepened after the Pandemic – The Nature of Human Insanity … Or not?

This concern was transferred to a call for Sound material. I decided to put together a call for soundmaterial through facebook and other pages (International). Within the material he asked for,everything included: Noise, melodies, recorded texts, etc. The idea was to put together with all thismaterial, a work with a shape and aesthetic that would go off in my mind, withthe material that I was listening to and processing of the shipments.

Participants:

Marcelo Lasta (Argentina )

Guillermo Bernal (Argentina)

Carlos Derisio (Argentina)

CarlosMastrangelo (Argentina)

AndrésSpiller (Argentina)

GiuseppeGammino (Italian)

Cecilia Gros (Argentina)

Alejandro Pinnejas (Uruguay)

Roch Lemerle (France)

Diego Macías Steiner (Argentina)

Mario Ledesma Sotto (Argentina)

Roberto Barboza (La Paz- Bolivia)

Miguel Rausch( Argentina) 

Carlos  Martins ( Argentina)

Richard Fox (EEUU)

Guna Moran (Assam India)

Jesús Bertoli (Argentina)

ClaudioBarros (Argentina)

GermánNavarro,  (Granada España)

Bracha Bdil (Jerusalem Israel)

Panayiotis Kokoras (Grecia)

LuisMihovilcevic (Argentina) Interpretes vocales: Ariadna Duarte Mell, Luis Mihovilcevic, NahuelCastelao.

Pérez VelázquezSergio Aarón (México)

Alejandro Martín Ruscio (Argentina)

SergeyYevsyunin  (Ukraine)

Daniel Arana (Argentina)

Horacio Tío Trío (Argentina)

 Sebastian Pafundo Born on 11/29/1976 in Buenos AiresArgentina, studies carried out at I.M.M.A “Municipal Institute of Music ofAvellaneda” and at the Manuel de Falla Superior Conservatory of Music”Higher Diploma in Contemporary Music Composition with newTechnologies”. Composer and Teacher. He has presented works for different formationsand styles using acoustic and electro acoustic media both in Argentina andabroad for different cycles, radio programs, Works shops, etc.  Experimental free jazz bassist (Horacio TíoTrío)

https://soundcloud.com/user-900783100

https://www.facebook.com/sebastianernesto.pafundo

 https://www.facebook.com/Humanos-Obra-colectiva-Internacional-104068394719174/

 https://www.facebook.com/sebastianpafundo/

 https://sebastianpafu.blogspot.com/

Soft Tissue – silver tubes (1:58)

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

John Wilde – Smile (6:35)

Createdin lockdown Smile brings a variety of people together on Zoom to share feelings and thoughts about birdsong, tourists, pandemics and gin. From Finland to Falkirk, Lochaber to Largs, not forgetting East Kilbride – that’s the wonder of Zoom! Created by John Wilde with much help from friends.

John Wilde is a writer, director, performer and sound artist who thinks that the lockdown would suit him just fine if it wasn’t for that pesky virus. John is a regular if infrequent contributor to Lights Out Listening Group and is currently enjoying working as part of Script to Stage Renfrewshire with scripts from new writers.John also contributes to Writers Block Radio Hour for broadcast.

 

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 Hania Piosik, vocalist and electronics enchantress 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:
D I D (Hania Piosik) – more than 10 years collaborating with artists of various music and art genres. Her main passion is searching for sound anomalies that influence the passing time (one of such is her latest experimental LP “Life is a ping pong delay” released by Gusstaff Records). During peculiar live acts, her main mission is to re-enact the sense of security in attendees (upcoming: END OF XIBALBA LP/ 2020). Problematic for some might be the fact, that this journey is supported by improvised vocal tales led in commonly unknown language… But what if strict definitions of words sometimes hold us back from understanding the core meaning and intention?

Web links:
https://diaria.bandcamp.com/    Hania Piosik
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.

Eothen Stearn – Shower Singing (excerpt)

https://radiophrenia.scot/portfolio/eothen-stearn/

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 sonic exploration of the writing of Fernando Pessoa, the work attempts to capture the absurd gravitas of thewriters day-to-day interactions with his community. Drawing upon the author’s fascination with boredom and non-linear structures, the work employs subtle, perpetual evolution in order to capture some of the same clarity (or perhapslack of clarity) inherent to Pessoa’s own work. Created upon a modular synthesiser, sections of ‘The Book of Disquiet’ were used as instructions bywhich to augment simple arrangements of filtered noise, with band-pass resonant filters drawing out new musical tonalities from the otherwise formless soundscape.

Daniel Alexander Hignell is a composer and performance artist working in the South-East of England. He holds a PhD in Musical Compositionfrom Sussex University, and has taught composition at several leading universities across the UK. He has released works on labels such as HallowGround and Nomad Exquisite. His work encapsulates electronic and avant-gardeclassical compositional approaches, building upon often complex contextual andconceptual foundations to construct rich, emotive soundscapes that draw from classical traditions, as well as drone, electronic and sound-art disciplines.

http://www.distantanimals.com

 NEW albums OUT NOW:

‘Everyday Violence’. Engram (DL).
https://engramrecordings.bandcamp.com/album/everyday-violence
’Strangers on a Bridge’. Obseqvivm (DL).
https://obseqvivmrecords.bandcamp.com/album/strangers-on-a-bridge

 

1.  Kerry Priest – Polyphonic Sound Poem

Kerry Priest is a published poet and experimental dramatist and sound artist whose work explores themes of nature, cosmology. She studied Linguistics at Edinburgh University and her writing works to push our understanding of language production and perception. 



2. Jori Koho – From Helsinki to Joutsa by bicycle

All sound material for thepiece was recorded on a bicycling trip from Helsinki to Joutsa at 26.8.2020.Piece was composed and mixed in Helsinki 28.8.2020.  From Helsinki to Joutsa is the first part of an ongoing project called “nounwanted noise” which mainly focuses on field recording and listening. Itis also a personal study for searching ecologically sustainable ways to makeart and to connect it with everyday life.  Piece was originally made for O worm supreme -exhibition which takes place atTUO TUO (28.8.2020 -27.8.2021) 

Koho has been active in Finnish experimental music scene from early 2000. Kohoswork ranges from electro-acoustic music to sound-installations, radio works andsound designing. In recent years he’s been working on Vuosi experimental musicand sound art collective. Currently, his main area of interests are listeningand field recording. 

http://vuosikasetit.blogspot.com 
https://vuosi.bandcamp.com 

3. Holbeck Still – Sound Laboratory – Atomic Landscapes: Sounds From The Control Room

Holbeck, Still is an audio artist based in Surrey,UK.  The Holbeck, Still style fuses thick analog electronic sound design with unique captures of traditional instrumental tones.  This is compounded by a fascination for exploring the limits of the stereo field, whilst incorporating elements of randomness and imperfection.  He utilises a range of techniques that include field recordings, vintage tape machines, sampling and cutting-edges ynthesis.  The resulting works are cinematic,complex soundscapes. 

https://www.instagram.com/holbeck.still

https://www.facebook.com/holbeck.still

https://twitter.com/HolbeckStill

4.  JanVan Den Dobbelsteen – In Media Res A-1

This work especially made for Radiophrenia. Result of a transformation from a sculpture about type, typography, language alchemy ,sound and pronunciation of groups of type-characters.

Jan Van Den Dobbelsteen is a Eindhoven The Netherlands based interdisciplinary artist who hasexhibited,curated programs and exhibitions,lectured and performed internationally. He is deeply involved with both acoustic and visual media.Publishing on his record and book label Cosmic Volume. http://www.iae.nl/users/jada

5. Francis Heery & Adam Flint – Godman Field

Voice and Words – Adam Flint
Sound design – Francis Heery

Between 1947 and 1969 the US Air Force compiled over 12,000 reports on UFO sightings in a top secret study called Project Blue Book. One of these documents describes the Mantell incident, a tragic account of a UFO sighting at Godman Air Base, Kentucky in 1948. Poet Adam Flint recombines the content of this declassified report to create the haunting poem Godman Field, with sound design by Francis Heery.

Francis Heery is a composer and sound artist living in Berlin. Adam Flint lives in Berlin. Previous poetry has been published by Critical Documents, Stand, and Shearsman, among others.

http://www.francisheery.com

6.   Tenere Lontano – Répondez

Tenere Lontano is the current duoformed by members from Real No Real and Unlocked Youth. Influenced by avantmusic and 1980’s cassette culture, this project is a celebration of theamateur.

Regardez is the result of numerous trial and error experiments where chance andrandomness, along with the selection process, play a leading role. Composedthrough a rearrangement of broken records, this piece plays with thespontaneous creation of loops derived from a skipping needle. The result waslater fused with various synthesizer sounds to create a warm radiophonic feel.

 Tenere Lontano are Pablo Mirón andJuan Vacas from RNR and Unlocked Youth. 

 https://realnoreal.org/ 

https://radiorelativa.eu/archive/?_sf_s=freak%20caravan

https://soundcloud.com/unlocked-youth/vacas-an-elphant-behind-the-bush

https://soundcloud.com/unlocked-youth/geograficamente-perto-w-aus

7.  India Boxall – Silts

Siltsis comprised of layers that have been recorded on a smartphone. The layersinclude a recording of a meditative vocal exercise sung in a public bathroom;an industrial drill on a building site; a windy walk to work; and other sonicsnippets of disjointed urban-ism.

The recordings have been drawn out, splintered, and modified to makethem echo, inducing a sonic interplay between an inner and outer selfnavigating through a stagnation or inertia that has been imposed by the builtenvironment. Silts seeks to frolic in the subconscious, threadingremedial and contemplative sounds together. 

I am a creative researcher and dogmother living in Glasgow.
I have a particular focus on spiritual ecology and eco-feminist practices asreparative modalities for states of stagnation and inertia. I like to situatemyself-as-creative-researcher within the axis of language and rhetoric, asking:how do things come to be, why, and for whom?

 @paperseeps (instagram)

indiaboxall.hotglue.me

bi~ offers a recreational space conceived as a ritiro.A retreat introduces the paradox of a time and space out of the ordinary but yet familiar, a homey feeling at the end of a journey. It is the invention of a shared moment dedicated to slowness, and the common creation of a space of enjoyment: generous and productive.

A portrait of bi~, edited by Diana Duta with Radna Rumping, Julien van Anholt, Angeliki Tzortzakaki, Enrico Floriddiaand Jérôme de Vienne (and voices of Irene Alecci, Lew Pey Sien, Mio Fujimaki, Benoît Vidal, Maël des Mesnards, Lea Devon Sorrentino, JördisHirsch).

bi- is a tentative nomadic residency, with no compulsory production, no theme, no company registration number, no grants, no participation fees, no educational workshops, no studio, no artistic research, no equipment, no insurance, no obligation of being free of all professionalactivities during the residency, no contract, no visibility.

bi- has an imperceptible budget, no exhibition venue, a blurry curatorial line, no pavilion, inefficient communication, no competition, few attendants, no opening, an archaic website, no glossy catalogue, no age limit, no nationality,no gender, low experience, rare visitors, no opening hours, no institutionalsupport, no ambition, no future – still unprecedented.

http://bi-residenci.es

 

Aki Onda – Nam June’s Spirit Was Speaking To Me – 01 Seoul (20:37)

https://radiophrenia.scot/portfolio/dj-%d8%a3%d9%85%d9%88%d8%a7%d8%ac-a-k-a-aki-onda/

Time is a sliding door –  but if so, what does it mean?

“Time is a Sliding Door” is a variation of Ralph Waldo Emerson’s saying that “Reality is a Sliding Door”. As if that wasn’t tricky enough, substituting ‘reality’ with the noun ‘time’ unravels a kaleidoscope of meanings and implications that turns the ground of our presumptuous existence into a wobbly pudding. If Time is a Sliding Door, and we push it aside, what happens beyond the threshold? The act of sliding means that the other side is only slowly revealed. As well as with a thud, thunder and roll. As radio is a medium which transgresses our notion of time and space, both naturally and effortlessly, how does it come into the picture? If the door opens onto a 5^th dimension, and/or still others, how could this be ‘enlistened’ into a radiophonic scape? To be honest, the author of these lines doesn’t actually know, and how could she?

As humans we continue to be tethered to time as a condition of our communication, our perception, our being. It just seemed fit to start with a speedy panorama of the “Swabian-Alemannic Fasnet”. Fasnet (or “Fastnacht”) is also called the “fifth season of the year”, and is recorded in central Europe at least since the 13th century. Its presentation of an inverted world, the parades of Jesters, Fools and Witches, the almost deafening onrush of drums, ‘Fools Cries’, trombones, trumpets and bells truly create a different time horizon.Other acoustic inhabitants of this composition are the cuckoo-clock and clocks in general, as this region of Germany is famous for its clock-makers since the 17th century. And after all, it is not just the shamans of the Northern Tunguska who believe that the cuckoo’s call presages the number of years one has left to live…

 Time is a Sliding Door sticks to the human dimension, playing with the acts of acceleration and deceleration, with the notion of journeying (we shall be travelling from the Black Forest to New Mexico and from there to Slovenia – at least), spellbound by folk tunes, with the whisperings of shortwaves captured in open and discreet places. Hidden stories keep on drifting through radio space, sites and signals keep travelling, and wherever they may go, eventually an alien molecule, touched by radio might spark off the impulse for that door to open up into the unforeseeable. Meanwhile, we’ll keep hanging around this auditory doorstep.

Credits:

Accordion: Olsen auf Aldebaran

Musical Saw: Mimosa Pale

Singers: Sanne Drouhin-Kok, Ulrike Stoehring and Lilli Moors, Fernando (guest appearing for “Adopta una planta”/Datscha Radio, Madrid).

Drums: Paddi (Patrick Guderitz), Toni Brokoli (Pascal Dinser aka Kalle Dinsko) & Junk (Thomas Jank)

Special thanks to: Global Forest e. V., Black Forest!

Gabi Schaffner works as a trans-disciplinary artist within the realms of radio art, composition and performance. Her artistic practice is determined by the methods of poetic ethnography in connection with fluxus-like mise-en-scènes, radio-making and sound art performances. Much of her work originates from journeys. Next to her radiophonic productions, Schaffner creates speculative musical genres and inserts them into music history in order to raise awareness for cultural, gender-related and/or geographical conditions.

Schaffner has been realising award-winning productions with Deutschlandfunk Kultur, radia.fm, Hessian Cultural Radio and ABC Australia. Since 2012 she maintains “Datscha Radio”, a nomadic transmission project that links the medium of radio to current ecological issues.

As a writer and translator, she has published numerous texts; most recently: “Revolten Diaries”, in: Radio Revolten, 2019. She holds a MA in literature and ethnography and a diploma in visual communication. Gabi Schaffner lives in Berlin.

Current work:
Fazzoletto per un eternità. Performance and vinyl edition, 2020
Rapid(s)Trains: Geolocated audio walk for Open Gorey, Wexford, Ireland. 2020-2021

https://schaffnerin.net

HOW TO is a concrete sound poem that is heading for an exaggerated climax. It asks questions in a very reduced manner and does not give answers within an abstract imagination of an acting human ina globally oriented scenery. How can one deal with something like this, how can one feel in a ‚condizione of façon de parler’?

About MME dUO
They are ping pong Eden, warm up total, turnablists, leaf theorists and factual DADA.

With partly invented instruments, voice and electronics, MME dUO is on fieldresearch into fragmented language and sound collage. Set pieces of spoken wordsbecome signals, atactic accents form repetitive rhythms. A continuous run indis and harmony with connections to ‘Musique concrete’. MME dUO are PatriciaKoellges and Tamara Lorenz.

mme-duo.de
soundcloud.com/makiphon

Patricia Koellges
http://www.makiphon.de

Tamara Lorenz
tamaralorenz.de
totalverlag.com

SHERDS is an experimental audiowork based on a six-week archaeological dig which took place at Malkin TowerFarm in Pendle, during the hot summer of 2018. Performed by an ensemble of musicians, archaeologists and vocalists,SHERDS brings together spoken word, improvisation, vibrating rocks, field recordings, live audio and new compositions to form a shifting soundscape.

The programme draws on the specialisms of each of the ensemble to collapse, unearth and reassemble the rhythms and processes of archaeological excavation, changing land use,topography and her story.

Written and Produced by Rebecca Lee and Nastassja Simensky

Performed by Alison Cooper, Bobby Cotterill, Caroline Trutz, Kelly Jayne Jones, Nastassja Simensky, Rebecca Lee, Sophie Cooper, Rebecca Atherton and Bernie Velvick. Spoken Word from Danielle Knights, Katy Soar, John Claydon, Catherine Reardon, Rick Peterson and Aidan Parker.  

Rebecca Lee is a musician and composer producing performances and projects with a focus on narrative form and ways that musical materiality can intervene with place.  She values collaboration and draws on historical and contemporary processes.

 Nastassja Simensky is an artist based in Nottingham and Essex. Nastassja works with particular geographie swhere complex issues around history and heritage, power and governance, ecology and the geopolitics of extraction – notably mining, agriculture and disposal –are crystallised.

http://www.rebeccalee.info/

http://www.nastassja-simensky.com 

Giles Perring – World Organ Intervention 4 featuring Kirsty Law (5:30)


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.


Mathias Klenner & Sofía Balbontín – Espacios Resonantes – 01 Inchindown Oil Tank (6:17)

Nathan Harris Arbor Day (3:57)

A soundscape that depicts the many aspects of an American Midwest small town. We hear marching bands, church choirs, and baseball audiences. The piece starts melancholically in the rain and ends in the rain.

https://soundcloud.com/nathanharris33

A person is jogging around a burial mound, near to a standing stone circle. They run, using their phone to navigate over tombs and rocks passing inscriptions and woodland. 
They spot a naked woman floating in the river. Her body is creating an interference….

Sentient, a new commissioned work that ruminates on someone being on the same patch of land 12,000 years apart. 

It’s narrative is circular and the score possesses a state of slippage; from neolithic quasi-time travel, to AI and other fluid immaterial states. 

Eo has written specific new drum rhythms for this commission and has produced sounds with her voice, limbs and musical apparatus.

The drums, percussion, choral chanting and broken narrative represent the past.
The synths, looped stems, field recordings and other instrumentation, present day.  

There is a spiritual dimension, which is a continuation of Eo’s research on musical lamentations and Gregorian Chants. 
Alongside this sober state, there is also a playfulness and strong emphasis on the power of an imagination.

Recorded by Eothen Stearn. Additional recording and mix by Chris White.

Eothen Stearn is an interdisciplinary artist living in Glasgow, playing in bands NIGHTSHIFT, 2PLY and DIFFICULT. 

http://www.eothenstearn.com

Sounds in this piece were taped in afew days of revisiting places bound together by the imagination and memory ofthe recording listener.

The sonic space of each place isconsidered as a filter through which anthropic sounds are reappropriable andshape new contours in landscapes.

leo magnien has been working with sounds for more than a decade. During night shifts in a radio station, he discovered the poetic nature ofacousmatic sound and transmission.
He has since developed a practice of listening that results in the use ofphonography as a basis of all his works.  His focus is on the subtle variations, the tenuous perceptions, and how topresent these to the listener.  He lives in a natural zone in northern france.

 

Fossilised Frequencies is a radio voyage into the hearts and hertz of people and land. Morphing, sculpting and warping sound to create an acoustic poem to a motherland. The content is a combination of field recordings, archival sounds and music all collected from Iraq.
Urban Feral is an Iraqi British sound artist based in Glasgow. Their work is heavily informed by Sufi theory of frequency as healing vibrations. The artist manipulates and sculpts sound as a medium into trance and mediative practice, as well as using the creative process as a diasporic exercise to reconnect with their Iraqi lineage.

Thanksforlooking.co.uk
https://internetpublicradio.live/residents/fossilised-frequencies

1. Sweaetshops  –  An introdoctrination to We Eagerly Await Your Complete Submission No 1

https://www.swextshops.io      

2. Lydia Davies  – Dog Hairs             

The voice recounts a series of interconnected vignettes of conversations, thoughts and
encounters. These segments are formed out of forgotten objects, bits of debris, receptacles and cavities, and draw on the embodied experiences of the narrator – a sideways glance, an object reached for at a stretch, the gravitational pull as they run down a slope. The pace of the voice drags and tightens against various percussive and instrumental rhythms, and occasionally snags on a phrase in the flow of speech. Drawing on research surrounding narrative theories of the self, ‘Dog hairs’ antagonises a subjective sense of self-continuity across time.

I am an artist based in Glasgow, working across writing, sound and moving image. My work
draws on temporal and embodied features of perceptual experience, often through durational
or linguistic devices which play with degrees of attentiveness. My practice draws on research
concerning the voice, how the self is constructed through interactions and relations with others, and ways in which vision is coded by dominant systems.

http://www.lydiadavies.co.uk

3. Adam Winnie – Toy Radio Dropped from 2^nd Story

These auditory sculptures are born out of experimentation, they are not considered music and are not structured as such. I’m interested in the creation sounds which have never been heard by the human ear but which possess power to captivate and hypnotize while gnawing at the skull. They best way to experience them is by limiting all other senses. In constructing these experiments in developing new auditory experiences I utilize both digital and analog recordings which are passed though many many filters, stretched, pitch shifted, cut and paste, resample, re-filtered beyond what the program is capable, re-stretched,re-pitched and so on and so forth. From these amalgamations, selections are chosen and developed further.

Adam Gabriel Winnie received a B.F.A. in painting from Savannah College of Art & Design in 2012 and is a current 1st yearM.F.A. candidate at the Georgia State University’s Ernest G. Welch School of Art and Design. Winnie is an artist whose oeuvre covers the gamut of art practices; from realist charcoal drawing and oil painting to performance, audio sculpture and beyond. Since 2003, Adam has been exhibiting in solo and group exhibitions across the United States, including; The Sylvia White Gallery in Ventura, California; The Samuel Dorsky Museum of Art in New Paltz, New York;The Vendue in Charleston, South Carolina and many others. His works are a part of the Permanent Art Collection at Mercedes-Benz Stadium in Atlanta, Judge Realty Corporate Collection, The Savannah College of Art & Design Permanent Collection and more. Adam Gabriel Winnie’s currently lives and works in Decatur, Georgia. Thump

http://www.adamgabrielwinnie.com

4. Steve Richards – Tone Testament  1 (Argonauts)                                  

Mixing together radio signals redolent of the French underground resistance, used in Cocteau’s film Orphée (1950),and some remarks concerning the use of coded language among a group of French alchemists of the 1920s, Tone Testament 1 (Argonauts), comes out of the idea of a phonetic qabalah–the use of a green language or ‘language of the birds’, especially as used in French Hermeticism. The work is developed out of the notion of the interchangeability of sound, word, reality,and language as the base and principle key of all hermetic activity.

5. Christian Banasik – Das Blinden Spiel                                    

6. Ooey – I Shop at the Hospital   

Ooey is Zachary 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. Please visit zacharyzenagiberson.bandcamp.com for more music.

7. We Are Publication – Placement does not explain, but cultivates a September Garden

A sound work composed from a new video work (re mixed for radio transmission) made by artist group We Are Publication(Jonathan Allen, Volker Eichelmann, Rachel Cattle,Jenna Collins (editor), John Hughes, Christian Newby, and Andrea Stokes) that forms part of London’s Camden Arts Centre,‘Public Knowledge’ 2020 programme.

http://www.wearepublication.com

8. Vincent Eoppolo –    Crisis of Faith

9. Sebastian Pafundo –  Immutable

Immutabl etries to recreate the states where it happens when undertaking an meditation contrary to what is believed this precession is very confusing until the relaxation is reached.  The sounds used are all indole, from processed sounds, voices, conventional instruments, etc.  The use of a tibetan bowl and a few pines, instruments used for relaxation and meditations, should be highlighted.

 

 

 

 

 

 

 No Conflick at the RAC is an audio triptych collage made only fromsounds collected in evenings at the Rubenstein Arts Center at Duke Universityin Durham NC. With no productions or rehearsals active the building is quiet.

Obviously it is not.

Using percussion mallets with both ambient and close micing,sounds vibrations and pulses emerge. Capturing audio, looping it and creatingform shows that the RAC is not quiet.

The idea is a sonic Rothkopainting, two subtle seams dividing sounds woven and throbbing. A meditation inart engulfing where emptiness is thought to be

ChristopherScully-Thurston is a sonic-dreamscape artist and soundtrack composer based inRaleigh, NC, USA.

His score for “After the Reign” won Best Performance Art laurelsfrom the prestigious Avalonia Festival. The sci-fi dance film “Seuls Ensemble(Alone Together)” was a big hit at American Dance Festival’s Movies by Movers .And “After the Reign – Confusion” was featured in Depict Film Festival 2019 inBristol, UK.

Christopher conceptualized and recorded Empty Sound’s Koan 1,acclaimed by Downbeat Magazine as one of the decade’s best modern avant gardejazz albums.

A woman looking for a deeper connection beyond sex (bellsringing and bombs going off), which becomes a hollow search and is repeatedlycoerced into sex.  A doctor’s visit sheds light on her anatomical blessingand curse. Eventually she is able to find love but still only as the object ofmale desire.

This sound piece is a linear edit of Deep Throat without the visuals and explicit sex scenes.  It is not to censor but to investigate the questionable storyline, the (false) autonomy of Linda Lovelace and the film’s background of rape in a ubiquitous pop culture relic.  

Erika Silverman was born inPhiladelphia but has been living in Glasgow for over the past ten years. Her background is in film and archives and has been working in various artvenues and researching for her own art practice.  Her practice focuses onpop culture and ephemera that aims to closely interrogate objects, images, andsounds for their politics of society and relations to gender with a littlehumour.  She is currently carrying out a PhD looking at algorithmic biasin online porn. 

Website: erikasilverman.co.uk  Instagram: @ereyeka

 

 

A conceptual radio art piece broadcasted live in Italy in 2017 through the frequencies of Radio Onda Rossa in Rome and in India in 2019 on Auroville digital radio, in Auroville, Tamil Nadu. Inspired by the so called ‘numbers stations’, i.e. short wave radio broadcasts that only broadcast numbers as coded languages: https://en.wikipedia.org/wiki/Numbers_station
I imagined to do a numbers station of my own and I thought that the language I wanted to use was the universal language of nature, as it is expressed by the golden ratio proportions, the so called Fibonacci number series. Therefore I broadcast the first 39 numbers of the Fibonacci series in many languages including Chinese, Hindu, Arabic and others.

http://www.evamacali.info/

The play explores the variable differences between acoustic and electronic sound, and between simulation and unconscious, through repetition and layering. It’s a music of fictional spaces and phantom figures – a world between real and imaginary causes. As sound material D’Hulster uses data sonifcation of his own photographs, recorded sounds and footage in which the listeners become groping characters in another sound world.



http://www.dirkdhulster.org/

The play explores the variable differences between acoustic and electronic sound, and between simulation and unconscious, through repetition and layering. It’s a music of fictional spaces and phantom figures – a world between real and imaginary causes. As sound material D’Hulster uses data sonifcation of his own photographs, recorded sounds and footage in which the listeners become groping characters in another sound world.



http://www.dirkdhulster.org/