09 Mon

The development of planetary radio practices and systems also brought the insight that Earth is continually bathed in radio signals emanating from points across the universe, from ‘nearby’ within our solar system or from vast distances in space and time. Departing from Velimir Khlebnikov’s poetic observation in 1920 that “even starlight is a wireless signal”, the NRRF collective eavesdrops on the radiophony coming our way, and encounters fast radio bursts, long waves, and even the loneliest wave of all.

NRRF is an intermittent collaborative effort to make unlicensed neighborhood radio art. Earlier projects include a series of clandestine FM broadcasts in Chicago, Montréal and beyond with a rotating group of collaborators. Since 2012 NRRF features Jonny Farrow, Anna Friz, Stephen Germana, Jeff Kolar, and Peter Speer. It’s live radio expanded and improvised from various geographical locations, with the current group collaborating from Vermont, Florida, North Carolina, Chicago and Santa Cruz. The core group of performers play everything from traditional instruments to home built electronics, sample wildly, speculate broadly, and have been known to sing.

https://www.jonnyfarrow.net/

http://nicelittlestatic.com/

https://www.stephengermana.com/

https://jeffkolar.us/

https://peterspeer.bandcamp.com/

https://soundcloud.com/nrrf-radio

Wave Machine translates real-time sea wave data, streamed from a marine observation buoy, into a continually evolving electronic soundscape. 

A network of buoys dotted around the UK coast relay data to a freely accessible resource at channelcoast.org.

Using Pure Data, the measurements such as wave height, speed and wave direction are programmed to control the parameters of sound – pitch, timbre, duration and position within the stereo field. Sea temperature is marked by a single modulating tone, with degrees Celsius transformed into oscillations per second. The buoy’s location sets the initial pitch giving each buoy its own distinct sound signature.

Craig Gell is a composer and artist based in Folkestone. His recent work has been informed by the forces of nature and the natural environment.

Wave Machine(2020) has exhibited at Folkestone and Ramsgate sound festivals, using data from their local buoys. 

Craig also composes music and scores including the animated short films; Quarantine (2019) which aired on BBC4 and won Best Animated Short Film at London Short Film Festival, and Red Rover (2020) which was in part composed during a residency at the former home of Imogen Holst in Aldeburgh, care of the Britten-Pears Foundation and Wild Plum Arts.

http://www.craiggellmusic.com

The World Organ, a installation created by musician, composer and sound artist Giles Perring, is a system of tubes that listens to the world and relays what it hears as a live audio stream at  http://www.worldorgan.com. It’s part of a wider cross-media approach to the idea of landscape. The World Organ portrays its surroundings sonically. An acoustic phenomenon that the Organ is designed to create, weaves a musical layer into the sounds of the natural world. The World Organ is installed at the Sound of Jura Studio at Knockrome, on Jura, overlooking Lowlandmans Bay.

Giles Perring is a musician, record producer, sound sculptor and cross media artist. In 1983 he was a founder member of the sonic sculpture collective Echo City. His many collaborations include work with Fad Gadget, Albert Kuvesin & Yat Kha, Kevin Godley, Alan Wilkinson, John Cayley, Melanie Pappenheim and Ivor Kallin. His own solo projects, aside from a successful catalogue as a record producer and TV/Film composer, includes his series of performances with live telephony, ‘The Exchange’. It featured in Glasgow’s Sonica in 2013 and he streamed it worldwide in Sept 2019 for Charts Argyll & The Isles. He lives and works on the Isle of Jura where he maintains a working croft, a music studio and a creative space.

@soundofjura
@xamusiclabel

http://exchangeart.co.uk/wp/exchange/

https://www.youtube.com/watch?v=R-e-qjJQ0CY&feature=youtu.be

https://www.youtube.com/watch?v=oWEP7S5sxWE&feature=youtu.be

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://mobile-radio.net/


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


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


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

Live broadcast 9th April 2020 on Resonance Extra, Soundart Radio, WGXC, Wave Farm and π-node. Later on Radio ARA, JET FM &Radio Panik.
 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/

The World Organ, a installation created by musician, composer and sound artist Giles Perring, is a system of tubes that listens to the world and relays what it hears as a live audio stream at  http://www.worldorgan.com. It’s part of a wider cross-media approach to the idea of landscape. The World Organ portrays its surroundings sonically. An acoustic phenomenon that the Organ is designed to create, weaves a musical layer into the sounds of the natural world. The World Organ is installed at the Sound of Jura Studio at Knockrome, on Jura, overlooking Lowlandmans Bay.

Giles Perring is a musician, record producer, sound sculptor and cross media artist. In 1983 he was a founder member of the sonic sculpture collective Echo City. His many collaborations include work with Fad Gadget, Albert Kuvesin & Yat Kha, Kevin Godley, Alan Wilkinson, John Cayley, Melanie Pappenheim and Ivor Kallin. His own solo projects, aside from a successful catalogue as a record producer and TV/Film composer, includes his series of performances with live telephony, ‘The Exchange’. It featured in Glasgow’s Sonica in 2013 and he streamed it worldwide in Sept 2019 for Charts Argyll & The Isles. He lives and works on the Isle of Jura where he maintains a working croft, a music studio and a creative space.

@soundofjura
@xamusiclabel

http://exchangeart.co.uk/wp/exchange/

https://www.youtube.com/watch?v=R-e-qjJQ0CY&feature=youtu.be

https://www.youtube.com/watch?v=oWEP7S5sxWE&feature=youtu.be

This is the first in the series of field recordings / soundscape pieces from the field recordist and sound artist Toni Dimitrov, sketching a city. The sketches for this piece are recorded in Athens during his stay for the performance on Electric Nights festival in spring 2018. The sketches are depicting venues, markets, museums, parks and various other locations of the city.

Toni Dimitrov is a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher, communicologist and passionate mountain climber, but also sound designer, graphic designer, DJ, organizer, label owner, based in Skopje, Macedonia. He is doing various projects related to sound/art,radio, field recordings, he is curating the labels post global recordings andélan vital recordings, but also various sound/art events. His radio programs broadcasts on music radio Kanal 103 and are dedicated to contemporary electronic music, soundscape, field recordings but also discussing various socio/cultural/political topics. At the moment working on projects related to political analysis of media.

http://www.post-global.com

http://www.kanal103.com.mk

1. Hannah Kemp Welch – Amateur Radio

This work investigates the social possibilities of audio technologies, and their histories. Amateur radio is a technical hobby primarily undertaken by men of retirement age – it’s sometimes described as a dying hobby. It allows users to create vast new networks; some describe it as a lifeline for men who would otherwise be socially isolated.  

Cambridge has a significant legacy of developing radio technology and many retired employees of communications companies attend local amateur radio clubs. As such, the airwaves around Cambridge are buzzing with ‘contacts’ – this work captures these sounds and invites us to listen in.

Hannah Kemp-Welch has a socially engaged practice that is concerned with listening. Working with diverse constituencies to record conversations, stories and local histories,works emerge through the voices of participants, layered with environmental and imagined sounds. Hannah makes works for broadcast, installation and performance, using documentation such as zines to keep open possibilities for collective action and social change. Hannah has worked with communities across the UK, and shown works in arts spaces including Middlesbrough Institute of Modern Art, Nottingham Contemporary, Tate Modern, Barbican and Flat Time House.

sound-art-hannah.com

Twitter: @SoundArtHannah

2. Elliot Yair Hernandez – Electrical Commotion XT

At the present time we are involved in a world where the electricity is essential for the functioning of most of the things. Even in the way how our brain works which is based on chemical discharges that give rise to electric currents that allow the communication between brain cells. Hence, I can say that all of us are part of electricity and it is part of us. That’s why this electroacoustic piece wants to take the public to an abstract space where the experience of the daily and transformed sounds converge, creating a narrative where we are all part of an electrical shock.

Elliot Yair Hernández López  studied sound art with Manuel Rocha Iturbide, multichannel electroacoustic composition with Edmar Soria and electronic art with Hugo Solis. As a digital artist, he seeks to experiment with different objects and disciplines to create immersive, reflective and abstract pieces with the aim of creating sensations and emotions for the public through audiovisual elements.

3. Clarinda Tse & Craig Hunter – How many mushrooms

This piece live journals a mushroom foraging experience in September 2020 across the urban nature of Glasgow. The random encounters with mushrooms inspired us to discover abundance in environments around us, during unprecedented times of longing.
Underground fungal networks spread unseen across our planet, regulating our ecosystem, digesting and processing, antagonistic, symbiotic, parasitic. Neither plant nor animal, they are a mysterious bunch – dichotomised into mushroom/toadstool, tasty/poisonous, kicked or picked, when the truth is more complex. Layered with conversations, humming, footsteps and nature field recording, the piece unfolds a humorous and livening passing of time, exploring contamination as collaboration.

Sharing a home, Clarinda Tse and Craig Hunter are in a constant state of collaboration. Both interested in foraging, audio recordings have been anew-grown limb to process their experience and share with others. While physical hosting is not possible, sound work has been the space where they find new life.

Clarinda Tse is an artist, a listener, a movement and community practitioner. Her creative practice explores (in)humanity with a focus on perforation in soft-edged boundaries and their transitional qualities.  Craig Hunter is a journalist and radio enthusiast.

 clarindatse.com

4. Fabian Zuniga – Room tone 2

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.

5. Chelidon Frame – (For) A Morning Blues

A soundscape composition realized from field recordings gathered and processed during the hardest day of lockdown, when the city of Milan, Italy, was forced to pause and the overall sonic environment changed radically.

Chelidon Frame is an experimental electronic music project that mainly works with field recordings, radio interferences, guitars and processed sounds. His installations are experienced-based and suggest a dialogue between the location (both virtual and physical) and the sounds proposed, aiming to deliver a message in the simpler yet most effective way. The use of code, data analysis and data-driven sounds, allow information to be experienced anew. In his studio works and live sets different layers of sounds – guitars, synthesizers and custom-made instruments – piles up creating unexpected new soundscapes.

https://chelidonframe.site/
https://chelidonframe.bandcamp.com/

6.  David Moré -Solidarity Stove

On April 27th, 2020, I asked my cousin Neil in Dumfries to record himself describing the sounds he heard around him. Neil sent the recording to Tom, who then had twenty four hours to make a sound recording based on Neil’s description. The resulting sound composition was sent to Fionn,who had twenty four hours to recorded themselves describing what they heard, and so on…

Solidarity Stove was commissioned by the Stove Network in Dumfries as part of their Homegrown Micro-grant scheme. The participants were: Neil Sturrock, Fionn Duffy, Fritz Welch, Benjamin A Owen, and Jenny Salmean.

David Moré relocated from Richmond, Virginia to Glasgow in October2019. The following month, his work as an art handler took him elsewhere, and he didn’t return till the end of February 2020. He then found a job at a small restaurant, which didn’t last long, and has since been working unsociable hours stocking shelves at a large grocery store. 

My name is Stefan Neville & I work at Mapura Studios in Auckland, New Zealand. We are a creative space for people living with disability & diversity. 

 http://www.mapurastudios.org.nz/

During May this year our programs had to happen remotely online and I produced a series of “PANDEMIC ZOOM CLASS PODCASTS” from recordings of the sessions. They captured students & tutors adapting to the situation & connecting through conversation, artwork, ideas, poetry & music. Framed by technical difficulties, unintelligibility & bad connections becoming musical refrains, you will hear us wrestling with a scary time & keeping each other company.

Dauwtrip is a Belgian collective ofsiblings, organizing night life events. The name means a walk earlyin the morning with a focus on experience through the senses.They collaborated on new audio work, looking to create alternatedimensions in which to hover around. To help crack the dawn, Dauwtrippresent ‘CON2RS’.

Credits to Pepijn, Maud and Aaron Gyssels and Tijn Driessen.

http://dauwtrip.com

https://www.facebook.com/Dauwtrip-2156135337845933

http://www.tafeltafel.com

 

Field recordings from Puebla main streets – Mexico – September and October 2019
1 – « 5 de Mayo » Street – sound environment
2 – Knifeblade sharpener
3 – lucha libre outside event
4 – French fries with tabasco
5 – A few minutes with Clara – street artist
6 – Cholula – sunday morning
7 – Street- musicians
8 – Musician – No Tiene Fortuna
9 – Guitar player in a bus
10 – Various street vendors – « 5 de Mayo »
11 – Various street vendors – « 5 de Mayo »
12 – Barrel Organ – « 5 de Mayo »
13 – Blind man
14 – Mambo
15 – Flea Market
16 – « Save The Planet » – Friday Climate Demonstration
17- It’s raining in 5 de Mayo
+ Bonus :
18 – Puebla-Sound-Portrait

For more : https://mtwws-orvkns.tumblr.com/search

https://mtwws-orvkns.tumblr.com/search/puebla

Il est diplômé du Conservatoire National de Région de Lyon (CNR – classe de Denis
Dufour) et du Conservatoire National Supérieur de Musique de Lyon (CNSM – classe de
Philippe Manoury et Denis Lorrain), en composition instrumentale, électroacoustique et
informatique musicale. Il a également suivi le cursus de DEA musicologie du XXième
siècle à l’IRCAM (Institut de Recherche et de Coordination Acoustique/Musique – Paris. Il
est titulaire d’un Master II Musicologie Recherche – mémoire de Master sur les
représentations sonores urbaines.

https://mtwws-orvkns.tumblr.com

https://clochers42.wixsite.com/clochers42

The Decline Of Heavy Industry is an electroacoustic/documentary piece exploring the experiences of growing up inactive pit villages of Stirlingshire and surrounding areas. Combining interviews, archived recordings, field recordings and other materials, the piece examines the effects of colliery closures and strikes on these villages and towns, and how in turn this has affected the peoples’ relationship to their hometown.

James Iball is a composer, producer, sound artist and DJ based in Glasgow, working in a variety of mediums both electronic and acoustic/orchestral. With our recent locked-down state having been a perfect time for radio to flourish as a creative format, James’ recent projects have included a generative environment-based piece for radio broadcast,contributions to Nasim Luczaj’s series scoring Daniel Defoe’s 1722 novel ‘A Journal of the Plague Year’, and a genre-bending show on Subcity Radio.

Alex McCartney and Carrie Skinner – Inverse of The Other (Positive) (10 mins aprox)

A spectrogram is a visual translation of recorded audio into a spectrum of frequencies, as it varies with time. We are interested in how the spectrogram displays audio in a visual way and
with greater clarity than can be gained from solely aural perception. The output of a spectrogram is a graph of varying densities and colour: in this work we will use this as surface
or material for mark making. Negative mark making on a spectrogram engenders specific
decibel reduction at certain frequencies. Similar to physical mark making, such as with a
pencil, depth or pressure can also be expressed by decibel reduction on a spectrogram. The
work is an experiment in auditory absence: can we conjure a sense of something missing in
the audio and effect this on the listener?

This consists of two 10-minute works which are the inverse of the other. Like bookends, the first is broadcast on the first day of Radiophrenia and the second on the last day at the same time.
Lutenist Alex McCartney has a busy performing schedule which takes him to concert halls
across the world. ‘McCartney virtually shreds his accompaniments with fervent plucking and
percussive strumming.’ The New Yorker. Alex has released five solo recordings, the latest of
which Paladin was released in 2019: ‘McCartney navigates these complex works with ease.’
Limelight. Alex is a BBC Introducing artist and performs on BBC Radio 3, he is also life
member of The Royal Society of Musicians. Alex co-founded and runs the Veterum
Musica micro record label. Recent interests include audio-focused video-game development.

Carrie Skinner is a visual artist working with performance based in Glasgow. She is into
figuring out contemporary cultural relationships with time and its multiple concepts through
popular imagery and themes from Gothic and Science-Fiction genres. Recent projects
include; ‘let the music play on and on and on and on and on and on and on’, CCA, Glasgow,
2019; ‘on the waves of the air, there’s dancing out there’ Glasgow International Festival,
2018; ‘woah oh oh oh, on the radio -adio –adio’, Radiophrenia, Glasgow, 2017. She has been
getting to grips with an experimental performance practice that switches between the
languages and conventions of gallery and theatre, and getting overexcited by the
contradictions of presenting, documenting and archiving the ephemeral moment of
performance.

Sylvia Wynter’s Maskarade (1973), uses the concept of “Reverse Time” as way of interpreting “carnival-time” and the performance of the world turned upside down. Up becomes down and forward becomes backward; the procession moving in opposing time. 

Using an autobiographical approach, OHCE is a sonic procession. Field recordings and choreographic directions situate the listener within the liminal position between two places, Guyana and Scotland; using sound, memory, composition and movement to meet an echo backwards. 

Ashanti Harris is a multi-disciplinary visual artist and researcher working with dance, performance and movement, alongside sculpture, film, sound and installation. With a focus on re-contextualising historical narratives, Ashanti’s work explores the movement of people, ideas and things and the wider social implications of these movements. Her recent research subjects have included dance of the African and Caribbean diaspora in Scotland and Speculating the historical legacies of Guyanese women in Scotland in the 18th and 19th centuries.

As part of her creative practice, she is co-director for Project X – a creative education programme, platforming dance and performance from the African and Caribbean diaspora; and works collaboratively as part of the collective Glasgow Open Dance School (G.O.D.S) – facilitating experimental movement workshops and research groups.

Recent solo shows include: The Skeleton of a Name, Transmission Gallery, Glasgow (2019); Second Site, Civic Room, Glasgow (2019). Recent group shows include: Being Present, OGR, Torino (2020); In The Open, The Common Guild, Glasgow (2020); Alchemy Film Festival, Hawick (2020); Pre-Ramble, David Dale, Glasgow (2020); Walking Through the Shadows Eyes Open, SUBSOLO Laboratório de Arte, Sao Paolo, (2019); BLIP! as part of Annuale 2019, Broughton Place, Edinburgh, (2019); As of Yet, Many Studios, Glasgow (2019); Just Start Here, The Anatomy Rooms, Aberdeen (2019); Festival of the Not, Circa Projects, Newcastle (2019)

Ashanti Harris
ashantisharda@gmail.com 
http://www.ashantiharris.com
@ashantisharda

Project X
ashantiharris.projectx@gmail.com
http://www.projectxplatform.co.uk
@project_x_dance
fb: @projectxdance

https://vo-ezn.bandcamp.com/

1. Frazer Merrick – Hidden Sounds Of Coastal Arcades

Through a series of binaural recordings, interviews and musical composition, Merrick explores the infectious energy of Walton Pier in North Essex, England, and its hidden sounds; including those of the people, the place and even the electromagnetic fields produced by the machines. Composed of three movements, the piece is based upon the architecture of the place, beginning in the bustling arcade, then moving into the cacophonous fairground and finishing above the water at the end of the pier itself.

I use field recordings, circuit bending and synthesis to create experiences which explore the act of play. Using lo-fi technologies I transform a space or object, encouraging the audience to become a curious performer and embrace play through interactivity, improvisation and collaboration. My work materialises as playful interactive sculptures, transportive soundscapes and empowering educational projects. http://www.frazermerrick.com

 2.Fabian Zuniga – Taco

Soundscapes recorded with the mindset of showcasing a perspective of reality. 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.

3. Johann Diedrick – Twilight

Recorded at Times Square, April 4th 2020 around 7pm. It is impossible to not notice how much more quiet the world has become during this time of global pandemic. With the reduction of human activity outside, the ambient noise floor around us has decreased and our sonic environment is less punctuated by the sounds of human activity (commuting, playing in parks,parties and nightlife) that we often associate with a thriving society. Many have welcomed this transition as a moment to hear more closely to our shared soundscape, as noises once impossible to hear over the loudness are now able to reveal themselves. Others find this silence a grim indication that these times are now ones of stillness, inactivity, and death. For me, I wanted to make field recordings of this moment, described by some as The Sudden Quiet, as a record of how our sonic environment has radically changed during this outbreak,as a way to remember what it was like to live in this time of crisis.

Johann Diedrick is an artist, engineer, and musician that makes installations,performances, and sculptures for exploring the world through our ears. He surfaces vibratory histories of past interactions inscribed in material and embedded in space, peeling back sonic layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours,workshops, and open-source hardware/software. He is the founder of A Quiet Life, a sonic engineering and research studio that designs and builds audio-related software and hardware products for delightfully encountering our environment and each other. He is currently a 2020 Technology Artist-in-Residence at Pioneer Works and a recipient of a 2020 Brooklyn ArtsFund grant from the Brooklyn Arts Council. http://www.johanndiedrick.com/

4. Jan Van Den Dobbelsteen – In Media ResA-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 has exhibited,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. Jules Bryant – Endless

Soundscape created using the Volca Bass and 2 guitar effects pedals; the TC Electronic reverb Hall of Fame and the TC Electronic Flashback Delay. Very simple tones with minimal human input, only slight alterations to the Volca to create industrial and almost organic sounds at times. Recorded live in one take, with live effects manipulation and no post production effects.
It should probably be noted that this album was recorded during week 4 of the UK Corona virus lockdown in 2020 and this may have influenced the style and sounds being recorded.

Jules Bryant is a composer and sound artist who works with a wide range of instruments and sound sources. His work could be described as minimalist, using simple structures and effects to draw out and uncover interesting features within. His pieces make use of the quality of instrument sounds and as the composer he seeks to frame them appropriately for presentation to the audience.  http://www.julesbryant.co.uk

6. Julian Brown – Order II Between The Lines

Order II is a study of Space in political language using Sound to deconstruct Parliamentary intercourse. By stripping entire sessions in Parliament of their verbalisations and speech, we reveal the Liminal–Space that occupies and defines the boundaries between thought, word and action. In this movement, Prime Minister’s Questions held on the 25th March 2020 has the content of its speeches removed whilst retaining the gaps in between the rhetoric and discourse. Order II is placed almost exactly one year after Order I which covered Brexit. The difference between the two is stark and reflects national change through forms of silence.

Julian Brown is a Korean British Conceptual Sound Artist working with Sound, Data, and Listening. His work explores relationships in Meaning, Identity and Environment with a focus on Urban and Social Space. He employs an interdisciplinary framework combining Sensory, Data and Urban practice to interrogate how Listening-Processes mediate our understanding of the world and inform, modulate or corrupt maps of meaning within urban and social contexts. His work often addresses issues of Mental Health and Disabiliity working with practitioners from different fields. His work has been featured at The Tate Modern, Tate Britain, and The V&A.  http://www.julianbrown.co.uk

7. Gabriele Hasler – Stimmungslage Ortsbezogen

In autumn 2019 sound artist Gabriele Hasler moved from Hamburg into a small village near the river Elbe. Until the beginning of the long corona break in spring 2020, she often visited the pub named „Willi Schulz“, a women´s regulars table among others. In the ballroom, she found an old piano that had not been tuned for fifteen years, made recordings of it and produced a
soundscape of texts and out of tune sounds. The ambiguous German word „Stimmungslage“ stands for mood as well as for the state of a (de)tuned instrument. „ortsbezogen“ means local.

Gabriele Hasler has performed with several ensembles in Europe, South Asia and North Africa. Her vocal performance can be regarded as a process of exploring the limits of the human voice. She can be heard on 25 CD/LPs and runs a record label of her own called Foolish Music. She just released a new album called „Herden und andere Büschel“ (LAIKA Records).

These two binaural soundscapes are the first and second recordings in a series of site-specific investigations into the sonic properties of late capitalism. The first transposes the myth of Odysseus and the Sirens onto the River Lea in East London, with the listeners’ hands tied to the mast of a boat that’s rowed through the Olympic Park and into Westfield shopping centre. The second transposes the myth of Odysseus and Nausika onto processes of migration from the City to the Kent Coast. The accompanying texts (edited versions of longer essays) are read or projected live alongside the audio works.

 Mike Brooks is a sound artist and musician currently based in London. His work focuses on the politics of listening – in particular the sonic properties and processes of late capitalism- and has taken the form of sound walks, workshops, field recordings, readings and performances. He is a member of the artist group Common Study.

 https://commonstudy.co.uk/?post=mike-brooks

Marja Ahti – Coastal Inversion from ‘Vegetal Negatives’ (12:40)


Dorota Blaszczak – Trying To Hear A Tree Fall In The Forest

This piece is inspired by early electronic music, primarily the work of Tod Dockstader, and the retrofuturism of new towns built post WW2 (I lived in Cumbernauld as a teenager and my family still live there). 

Helena Celle is a former audio engineer and Scottish Album of the Year Award shortlisted audio producer, who currently produces an hour or more of original music broadcasts distributed every month via https://www.patreon.com/outletarchive

BxNT, a workshop group devoted to improvisation, grew out of an avant-garde music course run by Roger Thomas at the Bishopsgate Institute, 2013. The group subsequently met monthly in a recording studio above the Cockpit Theatre – a room where wires tangled between electronic sound equipment, bits of plastic and various other non-instruments. Fast forward five years and the ‘current situation’ precipitated the possibility of new explorations. Lockdown Symphony developed from live sound made at home whilst being broadcast to each other across Zoom, individually recorded and edited by Olie Griffin and then re-mixed for transmission over the airwaves.

 MANIFESTO

One of the many attractions of BxNT is the list of things it doesn’t need in order to function. It doesn’t need a fixed membership – no participant has a designated musical role and it doesn’t need trained musicians. It doesn’t need a rehearsal schedule. It doesn’t need to meet regularly and it doesn’t need fixed instrumentation – it is at least partly defined by the capabilities of whatever instruments are available (varying the instrumental resources at each session has become an established strategy for keeping the group’s music in a state of refreshment). Roger Thomas  

 BxNT (Bishopsgate Experimental NoiseTheatre) is Roger Thomas, Sumit Paul–Choudhury, Rachel Cattle, Olie Griffin, Kevin Hicks, Georgina Walker.

 http://bxnt.org.uk/

Three members of BellArtLabs have been recording river sounds at their respective locations: Tony Scott exploring Seaton Burn (Northumberland); Chris Mizsak at Denver Sluice on the River Great Ouse (Norfolk); and Tom Scott at the Thames Estuary (Essex). Four Rivers, encompasses notions of Deep Listening whereby the act of making becomes a ritual act of listening. When the recordings are processed, mixed and played, an auditory confluence occurs as the river becomes a vehicle of flow, containing traces of the past and present. The rivers sonic palette is flexible and flowing in rhythms,frequencies and intensities, which reflect the changing river flow.

BellArtLabs is an independent multidisciplinary art group whose aim is to foster collaboration between its artist members: Chris Mizsak, Tom Scott, Tony Scott and Colin Dewar. We create experimental, time-based art in moving image(digital video and analogue film), sound, text, installation and live performance. Concepts are developed through a process of individual and collaborative research. Thematically, our work explores the transient nature of time through landscapes and memory. Narrative stories are woven in to create artworks that are thought provoking and accessible.

http://bellartlabs.com/

https://www.facebook.com/bellartlabs/

Brékkek Kékkek Kékkek Kékkek! Kóax Kóax Kóax! Ualu Ualu Ualu! Quaouauh!

The long night of Finnegans Wake is back again. ‘As we there are’ is a musical narration of passages of chapter 2.2 in 4 voices, using instruments, objects, tape recorder and electroacoustic sounds to create a faithfully unfaithful re-narration of the story. In this chapter also known as “night studies”, the central text is constantly interrupted by sides and foot notes, making the reading a disorienting experience.For the 2020 edition of Radiophrenia Rainbowpeel 475.13 made a re-mix of a recent performance that took place at the Van Abbemuseum in Eindhoven on the birthday of James Joyce. Rainbowpeel 475.13 is a Dutch Belgian band devoted to reading and translating Finnegans Wake into music, consisting of Mariana Lanari and Sjoerd Leijten. Mariana Lanari is a performance artist currently doing a PhD at the University of Amsterdam. Her research is about reading infrastructures, focused on mapping, visualisation and mediation in libraries. Considering the library as heritage, memory and perhaps as a museum. Sjoerd Leijten is a sound artist, composer and radio maker with a keen interest in dissident sounds and politics. His work consists of performances, concerts, installations, releases, podcasts and radio work. His music for cinema and videogames has been rewarded several awards. He is co-initiator of the artist run venue toitoi Drome in Borgerhout and together with Jo Caimo he hosts the bi-weekly radio show trashkot on Radio Centraal 106.7 FM in Antwerp.
More information about Rainbowpeel 475.13 at:
rainbowpeel.webflow.io

Based on field-recordings from Scotland, Japan and Iran, this work is guided by “Auralization”, a practice to ‘hear’ memories in one’s mental space as opposed to visually imagining them. Listening back to the recordings, it seemed like every sound could assume multiple identities in the context of other sounds. This could lead to pausing the recordings to listen to the background noise of my apartment in Tehran and fusing them with the field recordings as well. Some sounds are synthesized to mimic field recordings, blurring the line between what is real and what is imagined/auralized.

Pantea Armanfar is an artist working with experimental documentary, analogue photography and field recording to explore new ways of telling stories. She studies themes of the environment, immigration and wetlands.
https://pantea.bandcamp.com/

Amanda Brannin – small sleep

Gregory Kramer – Melting Neapolitan

Nichola Scrutton – Post Industrial Landscape 2

Mathias Klenner & Sofia Balbontin – Cooling Tower Charleroi

1. Peter Eason Daniels – Cover Songs                                         

Yesterday by the Beatles has been credited as the most re-recorded and released song, by January 1986, 1,600 cover versions had been made. This is the sound of the actual cardboard cover of that single. Creating a document of the record itself.

Peter Eason Daniels is an Artist, Filmmaker and Musician. His practice concerns itself with ideas of preservation and permanence. Using photography, film and sound to create documents of temporal moments, actions and objects. http://www.petereasondaniels.com

2. Ilaria Boffa and P è n i nș o l a r, – 500 Hertz                                               

500 Hertz is a threshold quoted in ‘Dusk Chorus’ documentary below which an oil pipeline forces its sonic presence to the detriment of all the other natural voices set on that bandwidth.Respectful living-to-living & living-to-non living relationships refer to our ability to cohabit -scapes appreciating each and every subject/object, its identity and voice.

Ilaria Boffa is an Italian poet. She has published three poetry collections and she is one of theeight authors included in the North East American Association publication‘Writing in a Different Language’ Vol XL 2018.

http://www.samueleeditore.it/about-sounds-about-us-ilaria-boffa/    

https://soundcloud.com/ilaria_boffa

P è n i nș o l a r, a classically trained multinstrumentalist and improvisational alchemist, has been navigating the musical floodwaters of our times for over two decades, sidestepping the clotting cobwebs & evershifting paradigm of artistic representation & dissemination in the data saturated age. One of the few Takemitsu/Morty Feldman indeterminates of this generation, he delves deeper into the mysteries of sonic source, and listening to his music feels like peering into the most remote corners of the macrocosm as he continues a career-long exploration of artist collaborations & sounds inherent copolymerization. https://linkt.ree/peninsolar

3. TreesOnComa – Wolfeinstein

Tribute to the Apple II computers. The entire piece was created using an Apple IIc and an Imagewritter printer.

TreesOnComa was born in 2004. The original idea was to create music using old computers and machines;using“collage“ and the juxtaposition of elements as the main techniques, playing aswell with the absurd and oneiric, turning nightmares into sound. The music of TreesOnComa is created by Dimas Gestas in Bogotá, Colombia.

4. Marjorie Van Halteren – Another Part of the forest

Composed/performed by Marjorie Van Halteren (voice, synth,recordings) with Ilaria Boffa (words and voice). 

Marjorie Van Halteren isa three-time, Peabody Award winning producer. Her productions in the UnitedStates include over a dozen original radio plays for WNYC’s The Radio Stage,audio poetry with NY IPS, and her own play “Paul and Not Paul,” which won a NFCB Golden Reel award.  Her WDR Köln höerspiel “Roadtrip” was shown atthe Whitney in New York. She relocated to France in the 90’s and made pieces for BBC R3’s Between the Ears, and directed her own play, “Present Progressive” with Lorelie King for BBC R4. In recent years she has turned to live performance of poetry-stories, as well as composing and performing sound for dance. http://www.electroacousticalpoeticalsociety.com

5. Rob Marriner – Aliens in Rawtenshall                       

The piece is based on field recordings from noise complaints and condenses the story of aliens going about their nightly business in Rawtenstall, Lancashire while a resident is struggling to sleep, and wraps it up in a radio-friendly 4-minute long balmcake of anxiety.  Based around field recordings made mostly at a single location, it discusses how context and noise level influence the way we perceive sound and how our perception of sounds can affect our physiological state, particularly when the sounds in question are made by aliens and disrupting our sleep.

I am an acoustic consultant and occasional musician and sound artist. In my work, I frequently advise people on noise complaints. Investigating and measuring unusual noises is a great opportunity for recordings, ostensibly for technical analysis but also to provide creative material. https://soundcloud.com/robertmarriner/

6. Roberto D’ Ugo Jr. – Objective Chance                        

Near the subway station, the encounter with the uncanny.  Latent meanings swirl on the sidewalk. The search for what is below or beyond the manifest reality.Repressed energy that emerges in waves, textures. I dissolve in foam, for a moment. Voice: Anna Carl Lucchese.

7. Sally Garner – Consistently Cheap                             

This short radio work is an experimental piece inspired by the internal struggle caused by spending money when you do not have much to spend. I wanted to use found sounds that were easy to acquire, and free for me to mix and create. As this is my first endeavor into radio art, I was truly inspired by the sounds intermingling and just let myself have fun experimenting with the medium.

Sally C. Garner is a visual artist based in Atlanta, Georgia, USA. Her work is currently centered around using recycled VHS tapes as textile installations that defend the beauty of memory distortions, a topic that is often feared instead of admired. Sally is a MFA candidate at the Georgia State University,starting her first year in grad school amid the COVID-19 pandemic. She likes to keep to herself anyways, so school is going well.  http://www.sallycgarner.com

 

A radio feature exploring a variety of field recording practices conducted by composers/sound artists/academic researchers based in The Hague.

Featuring:
Barbara Ellison
Francisco Lopez
BMB con (Justin Bennett and Roelf Toxopeus)
        
Curated by Leonie Roessler

Leonie captures her environment through field recordings, which she uses for radiopieces, sound installations, and compositions for soloists and ensembles. She had recent residencies at New Media Society and Limited Access Festival (Iran), Forum Wallis (Switzerland), and The Story of Space Festival (India), and Berlin Circus Biennale (Germany), and Altes Finanzamt (Germany). She is a core artist at Studio LOOS in The Hague and runs the radio branch of LOOS, Radio LOOS. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library.

Listen again here: https://www.mixcloud.com/…/radio-loos-the-hague-field…/

The poetry of transmission
 
Definition: Intimate Space is the area around a human body, about an arm’s length, in which one is comfortable with loved ones and close friends

A story about distance, communication and intimacy.

Radio art today appears in numerous, hybrid forms: sound installations, mobile phone-performances, Mini-FM-transmitter-installations, satellite-concerts, internet radio-pieces, podcasts….

Radio pieces are projected into so many different environments: your home, garden, car, trains,… Many of them into mobile situations.

When I’m listening to podcasts on my iPod, transmitted by a minimal distance transmitter in my car, it doesn’t matter where I am, or when I’m listening. Radio creates a mapping between time and space, transforming an acoustical geometry into a spatial geometry.

In this extended transmission-space I use radio like an instrument:
A transmitter might be triggered by a guitar, or a telephone call, or a robot- voice from my netbook.
Intimate spaces and public realms are connected via mobile sound communication devices.

My home is where my communication tools are.

(Andrea Sodomka, 2009)
Sound engineer: Anton Reininger
Interview editing: Anna Kuncio
Voice: August Black
Accordion: Heidelinde Gratzl
Electric Guitar: Helmut Jasbar

with a sound-donation by Daniel Lercher

https://alien.mur.at/

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

“IRIDE PROJECT” Massimo Davi & Monica Miuccio is a performing duo and anexciting 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.
Iride Project’s works were performed in Ireland, Italy, Portugal, Finland,
Germany, Mexico, Macedonia, UK, Czech Republic, Spain and were regularly
featured on Ireland’s National Radio RTÉ Lyric FM in Bernard Clarke’s program
“Nova”.We are member of Association of Irish Composers, Irish Sound Science and
Technology Association, Spatial Music Collective and Irish Music Right

Organization.
https://irideproject.bandcamp.com/

Latitudes is a project in which Stijn Demeulenaere collects field recordings from all over the world, subsequently shaping them into soundscapes and live sets. For this Latitudes hybrid set, played live during Q-O2’s Mayday Radio Marathon, Stijn asked some of his friends, people he met while developing his own practice, to contribute a recording. He mixed these together with his own recordings, and further interlaced them with testimonies about the act of listening, collected from friends and colleagues. The set includes recordings from Peter Lenaerts, Jonáš Gruska, Willem Sannen, Thoranna Bjornsdottir, Martin Eccles, Rodolphe Alexis, George Vlad and Stéphane Pigeon.

Stijn Demeulenaere is a sound artist, field recordist and composer. He creates installations, soundscapes and performances, and works for dance and theatre. Stijn researches the relationship between identity, sound and listening; trying to unravel social structures, personal history and the unconscious imagination of people. In his field recordings he’s exploring the relationship between sound, space and listening. Stijn is attracted to sound because of its directness, its malleability, and its mystery. He was nominated for the LOOP Discovery Award, the European Sound Art Award, and won prizes at the Engine Room International Sound Art Award and the Musica soundscape prize.

1. Bedlam Suitcase – Nicosia

I will now present … the history of a hailstone that fell to earth in Cyprus in 2013. Mediterranean hailstones are (to me) unexpected; consequently they are colder and bigger and sting more than Irish ones. I always remember the flickering TV images of my youth of Irish peacekeeping troops trundling through the streets of Nicosia. In 2013 we were hosted by an Argentine chefthat came here to keep the peace. He served us wine and talked politics andsociety into the early hours. We crossed the checkpoint like any tourists,reverently. So this is the story of a hailstone, layered as an onion, and of a divided city. 

Written and read by Padraig Meehan. Music by Bedlam Suitcase, featuring Cathal Roach on sax.

Bedlam Suitcase are a group from Sligo, on Ireland’s north west coast. They initially formed from a monthly Arts/Cabaret event called The Steampunk Club, and staying true to the ethos of thos eperformances, mixes composed music with free improvisation and spoken word pieces.

The band comprises of Padraig Meehan, TomJamieson and Tara Baoth Mooney, and they have collaborated with other Sligo artists, and also with musicians remotely in the making of their debut album The Fourth Wall, released in February 2020.

 https://www.facebook.com/BedlamSuitcase/

 https://www.instagram.com/bedlamsuitcase/

 https://twitter.com/bedlamsuitcase

 2. Leonie Roessler – Lithuanian Summer Day       

My grandfather had Lithuanian nurse during the years before his death. Lena became part of our family and my son and I spent two summers with her largely self-sustaining family in the countryside. Lena always says, “It’s a hard life but it’s a good life.” I got water from the well every morning and night. You can hear the repeating pattern of this in the piece, and with it rhythmic patterns of chicken sounds, transforming into children playing, and then transforming further into a rhythmic block of the children swimming in a pond in the yard.

Leonie captures her environment through field recordings, which she uses for radio pieces, sound installations, and compositions for soloists and ensembles. She had recent residencies at New Media Society and Limited Access Festival (Iran), Forum Wallis (Switzerland), and The Story of Space Festival (India), and Berlin Circus Biennale (Germany), and Altes Finanzamt (Germany). She is a core artist at Studio LOOS in The Hague and runs the radio branch of LOOS, Radio LOOS. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran) and have been physically archived in the British Library

3. Ivor Kallin – Sangs of Bute, Eh? R09_102       

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.  Sofia Saldanha – Waking up

The time you are not awake, you are not asleep; you transition from dream to reality, reality to dream until you finally wake up.

Sofia Saldanha is an award winning audio producer. She started her radio adventure in Portugal at Rádio Universitária do Minho, has a masters degree in Radio and is a graduate of the Salt Institute for Documentary Studies. Sofia is part of In The Dark, anon-profit organization that presents audio documentaries from around the world to live audiences.

http://fernandopessoatour.com;

5. Nichola Scrutton – Post Industrial Broadcast 2

Post-Industrial Broadcast #2 is the second in a series of studio works (Post-Industrial Broadcasts) which evoke and explore fictional places – abstract landscapes in a state of transformation. This composition draws from various source sound materials including a range of field recordings, found sounds, breath and voice.

Nichola Scrutton is an award-winning composer and improviser, vocalist, performer, sound artist and facilitator who works across a range of mediums including visual. She has extensive experience as a collaborator in interdisciplinary and participatory contexts, and also works with Sonic Bothy inclusive music charity in the Ensemble and across various projects. Nichola was awarded a PhD from university of Glasgow for her portfolio Hearing Voices.

https://www.nicholascrutton.co.uk/
@NicholaScrutton
https://www.instagram.com/nic_scrutton/

6. RebeccaWilcox – Night Edge

A short poem, interfered with breath and an echoing shopping centre.

Rebecca Wilcox lives in Glasgow and works with writing, audio and performance, often using voice as a tool. She is interested in processes of apperception as they disturb our habits of attention.

It was a dark and stormy night, much like this one, when the little girls gathered on the living room carpet and tried to raise the dead. The radio zapped in and out warning of a deranged hook handed extraterrestrial on the loose. Out of abundance of precaution the girls called upon their guardian with the alligator purse, who declared them all dead and went out as quickly as she came. The face in the window laughed and just like that it was time for bed. Sarah K. Knudtson is a multidisciplinary artist. In her researched based practice she explores the idea of excess. She uses information culled from the internet to begin journeys in which societal and personal responsibility begin to collapse. She documents these trips through the language of the tourist, creating photographs, souvenirs and journals. She holds both a BFA (Studio Art) and MFA (Art and Technology) from the School of the Art Institute of Chicago. She currently lives in West Palm Beach, Florida with her partner Stephen Germana and their
cats Roland & Meep.

http://www.sarah-knudtson.com
http://www.sarahknudtson.bandcamp.com

Looking At the Land is about Earth decay, esoteric myths.

H A I R S A B Y S S
Collaborateurs are: Paul ”EYE” Harrison (Smell & Quim / Expose Your Eyes)
and Chandor Glöomy (Cromlech Shadow / Coma Kultur).

X E M P O R I U M
Emerging sounds from DHS,EYE,PEG, HAIRS ABYSS + other projects & a Fiend Recordings selection. Fiend was a (mostly) tape & CDR label which Paul Harrison ran with Candi Nook from the early/mid 1990s to the early/mid 2000s. This bandcamp was previously known as Eye Fiend. xemporium.bandcamp.com

COMA †‡† KULTUR ƩNĐ ϴF DΔYS
comakultur.bandcamp.com

“The Cloud-Chamber of Darkness Half-Hour” is a program that eerily presents recent works written for Harry Partch’s instruments by Harry Partch Instrumentarium Director and Curator Charles Corey, adapted viola specialist Luke Fitzpatrick, Kerrith Livengood,and Ralph Lewis. Lewis, serving as narrator, guides listeners through the macabre music and its treacherous night time scenes, beginning with Fitzpatrick’s TheTomb, Corey’s Come to Dust, Lewis’s Nightpartches, Livengood’s Frog Pond Translations, and more. While Lewis may be guiding the listeners, he himself appears to be lost, and may need help emerging from this darkness. (With special cackles from Michaela Wright and Cheryl Lewis).

Harry Partch was an american composer, music theorist, and instrument builder known for works such as U.S. Highball, Barstow, and his book Genesis of a Music. Information about his music, just intonation theories, and instruments, visit https://www.harrypartch.com/.Charles Corey, the Harry Partch Instrumentarium Director and Curator, oversees productions of Partch’s work in Seattle and elsewhere, with violinist and composer Luke Fitzpatrick on adapted viola. Composer Kerrith Livengood often combines groove, humor, lyricism and noise in her works, especially in her collaborations with poet Jennifer L. Knox. Ralph Lewis adores exploring transmission art and microtonality.

https://www.harrypartch.com/

http://www.charlescorey.com

http://www.lukefitzpatrick.net

http://kerrithlivengood.com/

http://www.ralphlewismusic.com 

“The Cloud-Chamber of Darkness Half-Hour” is a program that eerily presents recent works written for Harry Partch’s instruments by Harry Partch Instrumentarium Director and Curator Charles Corey, adapted viola specialist Luke Fitzpatrick, Kerrith Livengood,and Ralph Lewis. Lewis, serving as narrator, guides listeners through the macabre music and its treacherous night time scenes, beginning with Fitzpatrick’s TheTomb, Corey’s Come to Dust, Lewis’s Nightpartches, Livengood’s Frog Pond Translations, and more. While Lewis may be guiding the listeners, he himself appears to be lost, and may need help emerging from this darkness. (With special cackles from Michaela Wright and Cheryl Lewis).

Harry Partch was an american composer, music theorist, and instrument builder known for works such as U.S. Highball, Barstow, and his book Genesis of a Music. Information about his music, just intonation theories, and instruments, visit https://www.harrypartch.com/.Charles Corey, the Harry Partch Instrumentarium Director and Curator, oversees productions of Partch’s work in Seattle and elsewhere, with violinist and composer Luke Fitzpatrick on adapted viola. Composer Kerrith Livengood often combines groove, humor, lyricism and noise in her works, especially in her collaborations with poet Jennifer L. Knox. Ralph Lewis adores exploring transmission art and microtonality.

https://www.harrypartch.com/

http://www.charlescorey.com

http://www.lukefitzpatrick.net

http://kerrithlivengood.com/

http://www.ralphlewismusic.com