#52

SHOW 998 Compositing For Radio A Workshop From ( Diffusion FM)

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This is a montage created from the Radio as a Space and a Material community workshop with DiffusionFM held at 107 Redfern. For this event we invited the community to contemplate alternative radio space. We also invited the wonderful Hethre Contant to participate which inevitably included an appearance of The Weekly Dream Report. Also big thanks to Ryan Morris for sharing his other consciousness with us.

Here are the results of workshop participants enjoying performative experiments. During these “Jams” the usual suspects were utilised – extremely low-powered terrestrial radio wave technologies, other electromagnetic and time-based sensing tools, telephones, walkie-talkies, computers, deep sea cables, whatever paraphernalia came to hand and August Black’s telematic browser app Mezcal.

Most of the material was recorded using a very old H1 ZOOM with only one functioning microphone and mobile phones. The results are delightfully LoFi and in glorious mono!

https://august.black/

https://107.org.au/

#52

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

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

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

#52

Show 996: Three Rules of Discipline and Eight Points for Attention by Hali Palombo for Wave Farm

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“Interval Signals” are short pieces of musical phrasing, a sound effect or recorded speech that shortwave radio stations use to “introduce themselves” when broadcasting. The signals announce the start of a broadcast and create an identifiable touchstone for listeners old as well as those hearing the station for the very first time. Three Rules of Discipline and Eight Points for Attention (named for the title of China radio station’s Voice of the Strait’s highly recognizable interval signal) is a work that restructures interval signals from eight different countries into miniature compositions played on instruments and in styles that are significant departures from their original form.

Hali Palombo is a composer, visual artist, and filmmaker from Chicago, Illinois. Born in Northfield, Minnesota, she has had a natural curiosity about the Midwestern United States since a young age. Her work often weaves the absurd and mundane beauty of Illinois into her records, short films, drawings, and paintings. Palombo is an avid practitioner of “plunderphonics”: sampling existing musical/aural works and intertwining them into something brand new, whether its shortwave radio and CB radio samples, wax cylinder audio, or field recordings taken from Midwestern points of interest. She also draws great inspiration from endless adventures around the country—be they on Google maps or in her car—often photographing, filming, or drawing her findings.

#52

Show 995: Standard sono magique by Désorceler la Finance (Radio Panik)

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image by Ed Hall

Unbewitch Finance (2017) is a Brussels self-proclaimed lab composed of researchers, activists, artists, designers and various allies engaged to reclaim power over parts of our life in society that are owned by the economic and the financial system. Through rituals, speculative writings, radio documentaries, hybrid performances and exhibitions , the lab develops a pragmatical magic meant to unbewitch ourselves from the curse of TINA* and to think desirable futures.

*There Is No Alternative
‘Standard sono magique’ is a sound ritual recorded at Recyclart (BXL) during the release party for the Documentary podcast ‘Glossary of Finance and sorcery’ (Glossaire de la finance et de la sorcellerie) a five chapter radio creation available on radiola.be
image credit : Ed Hall

Désorceler la Finance est un laboratoire sauvage composé d’artistes, d’activistes, de chercheuse.eur.s déterminé.e.s à nous désenvoûter de la finance, à nous libérer de la paralysie qui nous saisit lorsqu’il faut penser son rôle dans la société, sur le logement, la santé, la production agricole ou l’écologie.

Entre rituels de désenvoûtement de la finance, cartomancie pour ré-ouvrir les horizons, exposition de curiosités économiques, marches et infiltrations, émissions radio et autres conférences pirates, le laboratoire avance au rythme de créations visuelles et sonores, de workshops, de performances et d’écritures expérimentales.
#52

Show 994: underneath the rubble my hand became a will (radioworm)

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A new radiopiece made by Palestinian soundartist Dirar Kalash in the Worm studio, february/march 2024
“underneath the rubble my hand became a will”
 a description:

This piece is made up entirely from sounds collected from Palestine, and is composed from different field recordings : protests, nature, markets, city streets, and from different locations across Palestine.
Those sounds were then heavily processed and composed, as an analogical approach to the political realities of Palestine, and the spatial and temporal transformation of both the land and the people –their movements, their lives, and their deaths.

Dirar Kalash (b. 1982) is a musician and sound artist whose work spans a wide range of musical and sonic practices within a variety of instrumental, compositional and improvisational contexts. Kalash also extends his practice into inter-disciplinary theoretical research. He has produced several solo and collaborative music albums and is active as an improvising musician.

#52

Show 993: Ís (glace) jörð (terre) eldi (feu) vindur (vent) by Barylin Tone (Jet fm).

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(Picture taken by Julien Bellanger, november 2023)

Featuring Auður Ava Ólafsdóttir, Doris Abéla & Annaïck Domergue.
With sounds and some music by eauchaude (https://eauchaude.bandcamp.com/album/live-recording-sland).
Ís (glace) jörð (terre) eldi (feu) vindur (vent) is an imaginary soundscape based on the fantasma of Iceland, mainly made with a baritone guitar, an oniric and telluric view of this particular country, inspired by impressions from litterature, music, sound, photography. This long time fantasma has reborn by meeting the great Auður Ava Ólafsdóttir few months ago.
The reading is a chapter from the book Dyralif (La Vérité sur la Lumière) by Auður Ava Ólafsdóttir read by herself (french translation by Eric Boury, reading by Annaïck Domergue)
O2 / Sofðu unga ástin mín is a song by eauchaude.

#52

Show 992: Resonating Sculptures by Reni Hofmüller, Radio Helsinki (Graz)

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(c) Martin Gross

Resonating Sculptures

by Reni Hofmüller

If you want to find the secrets of the universe, think in terms of energy, frequency and vibration. Nikola Tesla

Sounds of electromagnetic waves, overlapping frequencies of unfathomable spaces – magical, fleeting and touching, these are the electro-poetic worlds of sound that Reni Hofmüller opens up with the antennas of her Resonating Sculptures. Radiation emissions from the natural and human-made world, the cosmos and the technological environment transformed into sounds: hissing, crackling, hissing, whistling, vibrating, clanking and clicking, humming, buzzing, vibrating and booming, voices, tones and sounds from the radio.
Since 2012, the media artist, musician, composer, organiser and activist has been working with communication spaces that are created and characterised through the use of antennas and interpreted musically and improvisationally in live sets. The sculptures are mobile, small, heavy, expansive, they reference places and spaces for which they were designed, and they each have their own history of creation. These are reflected in the forms as well as the spectrum of what they receive. Eight Resonating Sculptures have been created over the past eleven years. In April 2024, a new series of antennas based on the water systems – rivers, drinking water canals and sewage – will open in Scala, Tabakalera, San Sebastian.
As early as the end of the 19th century, Nikola Tesla picked up signals from Jupiter during his first radio experiments and interpreted them using his imagination. The Resonating Sculptures appeal to this power of imagination in the same way as the blue of the deep when diving in the sea or the noise of the radio between the transmitters that suggest a potential, a maybe, a possibly. Hofmüller: “The world opens up for me from my world of sound.”

#52

Show 991: Verse & Chorus by Dominic J. Jaeckle & Nadia De Vries (Resonance FM)

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Jason Shulman, ‘Lenticular Marilyn,’ © 2017

by Dominic J. Jaeckle & Nadia de Vries

Verse & Chorus
Readers, in order of appearance

Nadia de Vries;
Cíntia Gil;
Diamanda La Berge Dramm;
Mark Lanegan;
Stanley Schtinter;
Becket Flannery;
Vilde Valerie Bjerke Torset;
Matthew Shaw;
& Duke Garwood.

An exquisite corpse of an “I” played out in a multiplicity of voices, Verse & Chorus is an experimental act of collaborative reworking that quilts and collages cuts from two manuscripts (Jaeckle and de Vries) into an imagined third object. In order of appearance, the piece assembles readings from Nadia de Vries, Cíntia Gil, Diamanda La Berge Dramm, Mark Lanegan, Stanley Schtinter, Becket Flannery, and Vilde Valerie Bjerke Torset, with an accompaniment of borrowed songs and original music from Matthew Shaw, Mark Lanegan, and Duke Garwood.

Jaeckle and de Vries writings are excerpted from two collections published by Dostoyevsky Wannabe; Jaeckle’s 36 Exposures and de Vries’ I Failed to Swoon, 2021. Verse & Chorus was first broadcast on Montez Press Radio (New York), 29.01.21, and was broadcast thereafter as an element of the online programme for the 2021 edition of Rewire Festival (The Hague, Netherlands), 06.05.21.

This twitter-verse feed takes philosophy personally, mixmasters it up with best friends and late-night movie simulations. While there are encounters by the galore, and biographical instants dropped like crumbs on a forest walk, the focus here is not on the story, but the lighting, the staging, the choreography of digression. Talk about talking. In these mirrors are reflections of a lost brother, an almost date, an almost self, on the times we used to have, the blood rites we shared until we couldn’t. […] Pensive, coiled, we are dropped in the midst of a drama that will need to bury a few Russian philosophers before life can begin again. And coursing through it all this essential belief: that the right painted apple, the right sentence, the right thought: would change the world. The revolution is in the waiting room.

Mike Hoolboom, on Jaeckle’s 36 Exposures

I Failed to Swoon fails to swoon; it relays; it blurts; like someone breaking bad news to you, but about themselves and with no bedside manner, who then moves to sit somewhere else while maintaining eye contact; De Vries is a poet of barbed brevity, brutal idiom, figgety desire and delicious deadpan, like fresh white spit on a patent leather shoe; what can you do but hold up your fist of horns and believe her entirely?

Jack Underwood, on de Vries’ I Failed to Swoon

With aphorism, deep pith, and humour, Nadia de Vries delivers her sly lines and contrarian point of view with great force, making an uncomfortable music. I Failed to Swoon keeps it real. It has menace.

Peter Gizzi, on de Vries’ I Failed to Swoon

Artwork Jason Shulman, ‘Lenticular Marilyn,’ © 2017

nadiadevries.com

dominicjaeckle.com

tenementpress.com

#52

Show 990: The Whole World Stopped for a Balloon, Kanal 103 (Skopje)

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“The Whole World Stopped…” is a collaborative compilation of field recordings, a patchwork of making music and narrating, underedited ad hoc experiment, and also a celebration of friendship, a soundscape where two friends meet—Joana and Stefan, both of them colleagues at Kanal 103.

Joana is a multi-instrumentalist, though her main focus is classical guitar. She does use both classical and electric guitar throughout the recording, as well as bontempi electro-acoustic keyboard and goblet drum. Three minutes into this experimental piece, you can hear Stefan’s voice, first telling about a street scene he witnessed downtown Skopje, then reading a poem from Elizabeth Bishop (“At the Fishhouses”) and a short story from Franz Kafka (“Before the Law”). Finally, in the conclusion, a fusion of washing machine centrifuge and a mandola played with a violin bow.

The work is an undisguised communication between music and storytelling, scarcely premeditated, if at all. Most of it is recorded at Partizan Print, a studio of independent artists in Skopje, and very good friends and collaborators with Kanal 103.

Created by Joana Risteska, classic guitar master and multi-instrumentalist, and Stefan Alijevikj, fiction writer and sound seeker. You can follow their radio shows on Kanal 103 Sunday and Tuesday evenings respectively.

#52

Show 989: Poetics of Imagination for Soundart Radio, Devon

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Researchers and artists from the Schumacher College Poetics of Imagination group at Dartington Hall, sing us into the forest to meet with ancestors, beasts, to move from individual identity to a collective, merged self. There we confront life, death and rebirth, through multi-ingual mixed modalities.

The Poetics of Imagination course explores orality, story and culture, examining how we have conjured stories from the earliest times to the present day.
The course is centred around oral telling but opens to a broader spectrum of the arts, examining the work of ancient to contemporary storytellers, writers and artists. Students explore the idea that when humans imagine, they tend to imagine in story. What is trying to be told right now?

Created by Cosima von Seefried, Mimi Brown, Annabelle Simmons, Grace Wilshaw Chanter, M, Will Wilson, Isa Schoier, Flo Barshall, Sophie Craven, Lee Morell, Dan Hamner.
Produced by Alice Armstrong and Lucinda Guy at Soundart Radio, South Devon, UK. With thanks to Emma Bush.