A series of concerts conceived for the radio and transmitted exclusively on the radio.
It was and remains necessary to see the radio not only as a medium but also as art. Radio art is discordant with radio and music in their traditional perceptions. Music in particular, in its classical diffusion, does not adapt efficiently to the radio medium, because it is not designed for this medium and does not take into consideration its specificity and its paradigm.
These radio concerts have been performed and recorded live at the Radio Picnic Studio in Brussels between March and June 2018.

Production : Radio Picnic – Zonoff

http://radio-picnic.zonoff.net/onde/?p=1316

A collage of radio waves, radiophonic sound works, experiments, and fragments of commercial, historical and obscure broadcasts from all over the world. Since the early days of the medium until now.

from 20 to 20000 hz is a series of multilayered mixes exploring an infinite variety of musical materials and aural records, beyond the limits of any genre. The project manifests since 2003 as commissioned radio broadcasts, podcasts, DJ sets and experiential listening sessions in clubs, festivals, galleries and living rooms. The series has been described as: “Disturbing universes which oscillate between every horizon of the sound matter. Immersions drifting through time and space. A multiplicity of causality and complex structures: chaos.”

Duration: 27 min. 46 sec.
Composed for RadiaLX 08: Radio Art Festival, 20-28 Sep 2008, Lisbon, PT.
Broadcasted by Rádio Zero as part of a continuous special program.

AUDIO QUOTES / PLAYLIST / SOURCES

the conet project: recordings of shortwave numbers stations ::: irdial discs, 1997
electric enigma: the vlf recordings of stephen p. mcgreevy ::: irdial discs, 1996
stephen p. mcgreevy ::: space weather sounds
scott arford ::: radio station ::: antifrost, 2005
cavalleria rusticana ::: lee de forest wireless radio broadcast, NYC, 13.01.1910
john cage – radio music (1956)
ryoji ikeda ::: radio orange ::: 1000 fragments ::: cci recordings, 1995
gintas k ::: tunning on ::: va – essays on radio ::: crónica electrónica, 2005
random industries ::: media corrosion ::: va – essays on radio ::: crónica electrónica, 2005
orson welles ::: the war of the worlds (radio broadcast 1938)
rafael alberti ::: radio sevilla (1936) ::: ruidos y susurros de las vanguardias : reconstrucción de obras pioneras del arte sonoro (1909-1945) ::: laboratorio de creaciones intermedia, 2004
alexei borisov + anton nikkila ::: ‘radiotekhnika solovya (transmission equipment of the nightingale) ::: typical human beings ::: n&b research digest, 2004
old time radio commercials collection
dimension x (american classic sci fi from the early 50’s)
the haunting hour : original old time radio horror (january 1, 1944)
adolf hitler preparing the youth (speech)
radio prague – the prague uprising, may 1945
quiz kids radio series (1940s)
the health and hapiness show (1949)
unknown artist ::: radio bulgaria ::: va – touch ringtones ::: touch records, 2001
william s. burroughs ::: love your enemies ::: dead city radio ::: island records, 1990
winston churchill ::: we shall fight on the beaches speech (1940)
‘american history through the eyes of radio’ collection
martin luther king jr. ::: i have a dream speech (1963)
karl schwedler aka charlie and his orchestra ::: makin whoopee (1940s)
yuri gagarin ::: voice of the first human being in space (12 april 1961)
neil armstrong – first steps on the moon (july 20, 1969)
bbc sound effects no. 19 – doctor who sound effects (1978)
alejo duque – emf at alexanderplatz, berlin (4th july 2008)
reporters without borders – beijing olympics pirate radio broadcast (2008)
mother jones radio magazine
radio new internationalist – bombs away ::: archive.org/ourmedia
sublime frequencies 002 – radio java (2003)
sublime frequencies 007 – radio morocco (2003)
sublime frequencies 008 – radio palestine: sounds of the eastern mediterranean (2004)
sublime frequencies 014 – radio india: the eternal dream of sound (2004)
sublime frequencies 020 – radio phnom penh (2005)
sublime frequencies 021 – radio sumatra: the indonesian FM experience (2005)
sublime frequencies 023 – radio pyongyang: commie funk and agit pop from the hermit kingdom (2005)
sublime frequencies 028 – radio thailand (2006)
sublime frequencies 029 – radio algeria (2006)
+ additional radio noise recordings from a personal archive made between 2005 and 2008

Pablo Sanz is an artist, composer, recordist and researcher currently based in the UK. His work is guided by interests in time, space, materiality and non-human otherness. Through a continuum of approaches, his practice explores the limits of human perception and attention, encouraging a sensory ecological awareness and a phenomenal experiential engagement with the world. Listening becomes a political act, intended to resist dominant tendencies in contemporary societies, cultivating alternative forms of being and thinking. His diverse body of works — site-determined and public projects, immersive multichannel installations and concerts, broadcasts, releases — have been experienced internationally in various contexts.

http://www.pablosanz.info
https://twitter.com/sharawadji
http://facebook.com/pablo.sanz.studio
https://pablosanz.bandcamp.com
A collage of radio waves, radiophonic sound works, experiments, and fragments of commercial, historical and obscure broadcasts from all over the world. Since the early days of the medium until now.

Since moving to London in 2017 I have found multiple musical objects on the street, including:
• a bag of cassettes containing surveillance recordings and Jamaican, Mediterranean & British pop music
• a box of classical, pop and story telling records
• a portable record player
For this 30 minute radio programme I have chopped, slowed down, looped and simply played back some of my favourite moments on these tapes and records, with the help of a sampler, a cheap FX pedal and other found objects.

Conal Blake is a Glaswegian musician currently based in London. He is 1/4 of ‘Domestic Exile’ and runs a radio show called ‘Feedback Moves’ on Threads Radio.

Non-Locations are a series of works intended to mirror or imitate “natural” environments, but are completelysynthetic – somewhat familiar, but abstracted, or “not as it should be”. We hear the small clicking of insects, rustling, air ambience, etc. Through immersion into the synthetic environment while also recalling our own past sound experiences, including those of idealized environments such as we may encounter in films, wealso create a new third territory in ourselves. These Non-Locations can serve as starting points for thinking about what we consider natural or artificial, desirable or not, or places to do nothing but listen.

Benjamin Nelson is an American artist and musician currently living in Vienna, Austria. His work tends to focus on reductionist/post-minimalist, site-specific and durational practices. Often invoking hypothetical objects or landscapes through slow moving or sometimes completely static sheets of sound, Nelson seeks to reveal the motion, detail, and textures that are present within sounds that may otherwise go unnoticed.

General Audit 3 is a compilation of The Office for Joint Administrative Intelligence’s monthly broadcasts for Sonic Assembly on Kuzu 92.9fm in Denton, Texas. As their appointed foreign correspondents the OJAI undertakes the radio project with the following core objectives: to bring site-specific and new experimental content from Belgium and Germany to Texas. To excavate stories and output of forgotten sonic activists. Most importantly to record, archive and broadcast sound collages from our urban habitat – sounds of transport, industry, architecture, administration, politics and law enforcement. OJAI collaborates with like-minded colleagues to share research, knowledge and the pedagogical power of music.
The Office for Joint Administrative Intelligence (OJAI) was founded in 2015 by Chris Dreier (DE) and Gary Farrelly (IRE/BE) and is headquartered in Berlin and Brussels. OJAI research focuses on power structures embedded in the built environment and the agency of the self in
history’s bigger narrative. OJAI takes the form of surveys, field trips, publications, performances, videos and a radio show. OJAI exhibitions, temporary offices and performances have taken place at Marres – Center for Contemporary Culture (Maastricht), Laura Mars Gallery (Berlin), Groelle pass:projects (Wuppertal), 500X Gallery (Dallas), ISELP Institute (Brussels), Damien & The Love Guru (Brussels) and AIR (Antwerp).

https://jointintelligence.org
https://www.mixcloud.com/JOINTINTELLIGENCE/

Memento Mori is a radio/sound play, created for my dissertation on death and art. The play depicts two characters struggling to find comfort in the world they are in and personal audio monologues, in which I struggle to find comfort in my own death. The play is inspired by the audio plays of Samuel Beckett. By restricting the only stimulus to sound an entire world can be created via the imagination of the listener, and with each listener being in their own personal space via the radio multiple interpretations of the same sound exist simultaneously without affecting the others.

I am an aspiring experimental performer and composer from Bangor, Northern Ireland. I am now based in York, after graduating in music from the University of York. My music various from experiments with graphic scores, minimalist works, field recordings, sound plays, and theatrical works. I have performed regularly with many great ensembles as a violist such as; The Ulster Youth Orchestra, University of York Symphony and Chamber Orchestras, Chimera, The Assembled, Ish and Squib Box. I have also performed in new works by composer Neil Luck. I have recently been commissioned to perform ‘Micro/Verse’ by Aaron Moorehouse.

https://soundcloud.com/jmci

1. Broken Glass Productions – Rumination
2. Lizz Brady – Cookie Policy
3. Chin Ting Chan – Three Episodes
4. Lucy Dearlove – Hear The Paternoster
5. Stephen Boyle – Tonight
6. Lisa Hall & Hannah Kemp Welch – Sound Map – 11 Javanese
7. Duu Din Ka – 17h40
8. Manja Ristic – Telo 3
9. Toni Dimitrov – Alone
10. Maria Teixeira de Barros – HAUNT-HUNT ME

1. Broken Glass Productions – Rumination

2. Lizz Brady – Cookie Policy

‘Cookie Policy’ was created during a period of depression. These noises create apprehension and mistrust. The sounds link to theories such as hyper-reality and obsession. Within this work I tease and manipulate the world around me, gaining access into my indecisive mind. Using found clips and popular figures I become manic as I work, clicking my tongue and playing the guitar. The sound is interactive and I invite the audience to take this trip alongside me.
http://www.lizzbrady.com

3. Chin Ting Chan – Three Episodes

I. Bird Songs II. The Destruction III. Glass Fantasy

Bird Songs creates an impression of being surrounded in an environment of distorted or twisted bird sounds. When listening, one should focus his/her attention on how the timbres of varies bird sounds are manipulated and presented. The Destruction is a narration of forest destruction. The piece uses sounds that have connections to the wood and forest, like tree, tree falling, stepping on branches, saw, fire among others. Glass Fantasy utilizes sounds of glasses and water. It focuses mainly on the timbres of the sources and how, in result, an interesting harmonic rhythm is created through the usages of stereophonic images.

Chin Ting CHAN has been a fellow and guest composer at festivals such as IRCAM’s ManiFeste, the ISCM World Music Days Festival, the UNESCO International Rostrum of Composers, and the Wellesley Composers Conference. He has worked with ensembles such as the City Chamber Orchestra of Hong Kong, Ensemble intercontemporain, ensemble mise-en, Ensemble Signal, eighth blackbird, and the Mivos Quartet. He is Assistant Professor of Music Composition at Ball State University. He holds a D.M.A. degree from the University of Missouri–Kansas City, as well as degrees from Bowling Green State University and San José State University.www.chintingchan.com

4. Lucy Dearlove – Hear The Paternoster
Celebrating the historic Paternoster lift in the Arts Tower in Sheffield. The voices featured responded to a call-out; just like those who ride the lift the group is self-selected. Somewhere between soundscape and oral history, the audio journey mirrors the time it takes for one Paternoster car to make a full rotation of the Arts Tower.Produced by Lucy Dearlove and Lucy Ryan Mixed by Lucy Dearlove

Lucy Dearlove is a freelance audio producer based in London. She makes Lecker, a podcast about food, has hosted events at HearSay Festival and was nominated for Best Podcast Producer at the 2018 Audio Production Awards. Lucy Ryan earned a distinction in her MA in Audio Production at Birmingham City University in 2018. Her work includes the audio documentary series The Lonely Death Of Janet Parker and the Birmingham Literature Festival podcast. She is based in Sheffield.
https://lucydearlove.com/ https://soundcloud.com/loonytoons-1

5. Stephen Boyle – Tonight

Composed of recycled audio and detritus processed in Pure Data. Duration and mix arrived at by chance operations. Thanks to Random.org.

Stephen Boyle is an improvising musician and a veteran broadcaster at WRCT, 88.3 FM, Pittsburgh, PA, USA—23 years mixing tape music, refuse, idiot panic/glee, and messages of hope. He currently has no website by may be reached at the following email address:
boyle.sc@gmail.com

6. Lisa Hall & Hannah Kemp Welch – Sound Map – 11 Javanese

A series of sonic postcards — snapshots of the top 14 most spoken languages of the world. Each 2 minute sound piece is created from speech, song and field recording samples, captured via online radio stations, news channels and live web cams. The audio was gathered at midday in the respective locations to ensure a chance selection process. Created in response to Cildo Meireles’s sonic vision of the Tower of Babel , we invite you to listen to the most widely spoken languages across the globe and to reconsider the world map by language and listening, rather than country and border.

Lisa is a London based sound artist exploring urban environments using audio interventions and performative actions. Interrupting behaviour and questioning design, these works aim to make space for something new. Hannah is a social practice sound artist, working collaboratively with communities, educators and artists, to listen to the world around. Using a range of strategies such as sound recording, audio interventions, broadcasts, performance and digital making, works explore communication and ask how do we listen? and who can be heard? Hannah and Lisa have worked together since 2012, on commissions for galleries including Tate Modern, Firstsite, and October Gallery.

http://www.lisa–hall.co.uk http://www.sound-art-hannah.com

7. Duu Din Ka – 17h40

A soundscape done during some travels around london, copenhagen and oxford with a strong focus on objects (soldering, water kettle, bolts)

I am a harpist, singer, and have been composing for a few years now, based in Paris. Since the end of my PhD on solar energy, last september, I decided to fully dedicate to music mainly through composition and improvisation with other musicians. My deep inclination for theater pushes me to sound pieces with a relatively strong narrative dimension (or at least as I conceive them).

http://duudinka.com/

8. Manja Ristic – Telo 3

Consists of processed field, hydrophone and contact mic recordings, AM radio frequencies, electricity, large telecommunication transmitter as well as large boat engine recordings; conceptually wrapped around an excerpt from Mozart’s piano concert no 1 in F major (II mov, Andante). Hydrophone recordings are taken at the island of Korčula in South Adriatic (sounds of shrimps, crabs and mosquito larvae). Dog solo by Bole Artur. Water fountain recorded at the historical site of Museum 25th May in Belgrade. The piece is transcending the idea of memory being embedded within the subtle body morphologies.

Multi-instrumentalist, improv performer and sound artist, curator and researcher. Founder of the Association of Multimedia Artists Auropolis (2004). Founding member of CENSE – Central European Network for Sonic Ecologies (2018).

https://manjaristic.bandcamp.com/

9. Toni Dimitrov – Alone

A sound story about being alone in the mountains.

Toni Dimitrov a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher and communicologist, poet and mountain climber, but also sound designer, graphic designer, dj, organizer, label owner, based in Skopje, Macedonia.

http://www.post-global.com

10. Maria Teixeira de Barros – HAUNT-HUNT ME

A girl talking to herself in the old streets of Glasgow. She almost doesn’t feel the cold of that February night, because her blood runs hot and intense with the adrenaline of being alone, mad and in love. She doesn’t know where she’s going to and has no control of the words that come out of her mouth. She believes that nobody is hearing, but feels the city absorbing her hallucinations, feelings and sensations, keeping her desires in the building’s walls, the pavement stones and inside the lamps’ yellow lights.

Maria is a Portuguese performer based in Glasgow. Her work is strange and poetic, exploring magic-realism through fantastic installations, sensorial movements and emotional scripts. Maria often approaches themes such as love, nature, memory, madness and saudade. Maria has written, directed and performed several plays, participated in many spoken word events and acted in two short-films.

Join The Bad Vibes Club for an exploration of gleaning as an artistic practice, and as a way of moving through our contemporary landscape of images and information. The artists Matthew de Kersaint Giraudeau and Sophie Mallett present a series of stories and audio essays highlighting different kinds of gleaning. They explore gleaning as a historical right to subsist on common land, as a creative practice of selection, as mimicry and stealing, and as an action performed by humans, animals and machines.

Commissioned by Chapter, G39 and Wales in Venice.

The Bad Vibes Club is an artistic research project by Matthew de Kersaint Giraudeau.

Matthew de Kersaint Giraudeau creates sculptures, drawings, performances
and films. His work addresses abject materials, negative affective states, and the ambiguities of language and objects.

Sophie Mallett is a London based artist. Her practice is concerned with forms of belonging and exclusion, and how these manifest through national borders, capital and migration. Through video and installation, she pursues a practice focused on sounds’ intersection with affect, politics and value, concentrating on the connections between history and place.

http://badvibesclub.co.uk/
http://dekersaint.co.uk/
https://sophiemallett.com/

Some acoustic studies in the nature of malfunctions. Field recordings of animals are mixed with sounds & noises of various technical devices and home recorded music, generating loose narrative strings and occasional slapstick monkeying around with mechanical philosophy: Not the other animals, as Descartes thought, but we ourselves might be the mindless creatures, trapped in an automated life, from which malfunctioning can offer quite a relief.

Mathis Zojer is an Austrian author broadcasting regularly on „Radio Orange“, the community radio of Vienna. His programme „Radio Irreparabel“ (in German an ambiguous play on words, combining the meaning of „unrepairable“ and „freaked out parable“) offers an idiosyncratic mixture of experimental literature, political satire and cacophonic soundscapes.

http://members.chello.at/mathis.zojer/irreparabel.html

SOUNDkitchen: The Travelling Ear

This is a binaural production and is best listened to through headphones.

Ilha Verde.1 – SOUNDkitchen: Iain Armstrong & Annie Mahtani
In April 2017 SOUNDkitchen visited ‘Ilha Verde’, the green island of São Miguel in the Portuguese archipelago of the Azores. From our base in Ponta Delgada we explored and recorded the island. These recordings document the calls of native wildlife, the interactions of wind and water on the natural and built environment and the sound of human activity. Ilha Verde.1 is a recording of a live performance at Sound+Environment, Middleton Hall,
University of Hull 02/07/17. The performance combined our field recordings with live electronics and live spatialisation in ambisonic format on the Hull Electroacoustic Resonance Orchestra 30 loudspeaker system.

SOUNDkitchen is dedicated to the promotion of composers and artists working in the field of sound. At our core is a collective of composers with backgrounds in electroacoustic and experimental music. From 2011-2015 SOUNDkitchen provided a regular platform for local and international artists to present their work, offering a programme of eclectic new electronic music and sound art. SOUNDkitchen members examine different approaches to listening and performance, depending on venue and context. They create SOUNDwalks, sound installations and live acousmatic music. Their work has featured regularly in their home city Birmingham, along with appearances nationally and internationally.

Co-directors: Annie Mahtani, Iain Armstrong, James Carpenter
https://soundkitchenuk.org/
https://soundkitchenuk.bandcamp.com/releases

Aeolian – Annie Mahtani
This work is composed from recordings made in College Valley, North Northumberland on a field recording expedition in May 2015. Situated on the northern edge of the Cheviot Hills, College Valley is a haven for wildlife and vegetation and the perfect location for wildlife sound recording. Aeolian celebrates the remoteness of the valley: still but never quiet. The burn rushes along the valley, penetrating the aural landscape with its monotony. The driving wind rarely eases, speeding through the desolate expanse. Small birds, a cuckoo, emptiness. Fences reveal their internal harmonies singing louder as the wind picks up.

Annie Mahtani is an electroacoustic composer, sound artist and performer working and living in Birmingham, UK. Her output encompasses electronic music composition from acousmatic music to free improvisation. As a collaborator, Annie has worked extensively with dance, theatre and on site-specific installations. Annie’s work often explores the inherent sonic nature and identity of environmental sound, amplifying sonic characteristics that are not normally audible to the naked ear. Her music explores abstract and recognizable sound worlds and all the spaces in between. Annie works extensively with multichannel audio both in fixed medium works and in live performance.

Annapurna Pastoral: One Hundred Springs – Iain Armstrong
Opening – Ascent – One Hundred Springs – Turning the Wheel of Dharma – Closing
Annapurna Pastoral: One Hundred Springs is a meditation on the Himalayan soundscapes of Annapurna, Nepal. The work follows a loose narrative of a pilgrimage to the sacred Hindu temples at Muktinath, a site also revered by Buddhists who call it Chumig Gyatsa or ‘One Hundred Springs’; named after the 108 streams of water that flow from the mountain side. The work captures the peaceful, pastoral nature of these remote locations while referencing the deep-rooted spiritualism that the Himalaya inspire.

Iain Armstrong is a composer and sound designer based in Birmingham, UK. He is particularly interested in exploring the creative potential of recordings of the sound environment and encouraging people to engage in the act of listening. His work is presented internationally and spans, experimental electronic music, composition and sound design for theatre, dance and film, site-specific soundwalks, multi-channel sound installation, phonography and live performance.
http://iainarmstrong.net/
https://iainarmstrong.bandcamp.com/

Featuring:

Alexis Weaver – Paranoia in the Bush (5:23)

Gerald Fiebig & Das Tote Kapital – Man muss die Strasse machen (22:26)

Phaune Radio Tiny Tunes – metamorphoses: big bang (6:00)

Alexis Weaver – Paranoia in the Bush

Paranoia is comprised of field recordings made at Bundanon, an artistic residence set deep in the bushland on Australia’s south coast. The work and its title reflects a common sensation for novice solo bushwalkers; that sometimes comforting, sometimes chilling sensation of believing that you’re not quite alone. Rather than portraying the sounds of the wild as they really are, the piece literally gets inside the listener’s head with sharp cuts between real and imagined sounds, a frenetic pace, and occasional moments of relative sanity and even beauty.

The phenomenon of in-head acoustic imaging creates a cavernous eco-system inside the listener’s head. In-head acoustic imaging is a phenomenon exclusively experienced with headphones. As such, it is recommended that good quality headphones are used to fully experience this work.

Alexis Weaver is an electroacoustic composer based in Sydney, Australia. While her principal interest lies in composing fixed-media acousmatic music, she has also composed soundtracks for animations, short stories, radio, dance and theatre, and exhibited audio-visual installations.

Alexis completed her undergraduate studies in Composition in 2017 with First Class Honours, and commenced a Master of Music at the Sydney Conservatorium of Music in 2018. She seeks to further her understanding of electroacoustic composing techniques to create deeply immersive connections between listeners and acousmatic music. Alexis is also co-founder of female composer collective lost+sound, who in 2018 launched a series of concerts celebrating established and emerging artists working in experimental music fields.

soundcloud.com/alexis-marie-weaver
https://alexismarieweaver.bandcamp.com
http://www.alexismarieweaver.com

Linda O’Keefe and James Sansom – Reflections on a Journey Through Asian Flatpack Cities 2

Gerald Fiebig & Das Tote Kapital – Man muss die Strasse machen

The sounds used in this piece narrate the process of its own making. Improvising duo Das Tote Kapital and sonic artist Fiebig arranged a two-day studio session for combining their diverse approaches to sound in a joint experiment. Fiebig recorded his train trip to the studio, while Johannes Engstler recorded the surroundings of his studio in an old farmhouse. The middle part of the piece, a recording of Engstler chopping firewood, became the basis for a trio improvisation by Engstler on drums, Markus Joppich on guitar, and Fiebig on objects. The title is from an overheard conversation on the train.

Gerald Fiebig, born 1973, is an audio artist and poet based in Augsburg, Germany. His sonic work focuses on radiophonic composition, electro-acoustic live improvisation, and installation and performance concepts for specific sites and contexts. His radio work has been broadcast in Germany, Austria, Switzerland, Portugal, the Czech Republic, Israel, Australia, and Scotland (on Radiophrenia). Das Tote Kapital, a German-based free improvisation duo, consists of Johannes Engstler (born 1979) on drums and double bass and Markus Joppich (born 1977) on guitar. Engstler also plays in the hardcore punk band Robotnik, while Joppich composes for solo guitar and ensemble.

http://www.geraldfiebig.net

Phaune Radio Tiny Tunes – metamorphoses: big bang

The current state of knowledge can be summarized thus: in the beginning there was nothing, which exploded. . Terry Pratchett

It is now believed that 13.8 billion years ago, the Big Bang was not a massive explosion and that the universe was not created in the crash of a moment, but actually in a movement of dilatation, of continuous expansion from denser and hotter times. No center and no real beginning, but an endless inflation, a perpetual metamorphosis that accelerates under the effect of energies and dark matters to shape, inter alia, our cosmos and this tiny pale blue dot on which we live, this “corner of pixel” in the great cosmic night. Inter alia… Flare-up of particles, fractal singularities, collisions of exotic energies and scents of multiverses,
Phaune radio remakes the world in 6 minutes for you in this last episode. On this stage, everything is possible. Tiny Tunes from the Wilder World, a series to relativise, in general. To
infinity and beyond!

Phaune Radio is an ever-expanding world of homemade sound creations. Around here, we tickle your imagination. Around here, things that cannot be possibly taken seriously can still give food for thought. Around here, that’s up to your ears. Every month, it’s also a podcast that is produced for you and the curious waves of more than a dozen radios. https://phauneradio.com

A voyage into a little heard sound archive of Doric speaking voices from 2006/7. This sound doc weaves together the archive material with contemporary reflections. The past and present intermingle through the medium of recorded conversation. The archive takes us into rural life in times gone by, farming, school days, home and working life, the contemporary conversations look back at the making of the archive and the power of oral history and folklore more generally, as well as reflecting on the dialect itself and the situation for Doric today.

List of contributors:
Helen Taylor – oral historian, recordist on the Formartine Oral History Project.
Carol Eddie – participant in the Formartine Oral History Project
Fiona-Jane Brown – historian and folklorist, co-ordinator of the Formartine Oral History Project, more info for F-J Brown here >>www.hiddenaberdeentours.co.uk
Alistair Bell – Sound Collections Curator, National Library of Scotland and Scotland’s Sounds Network co-ordinator.
Chris Wright – folklorist and ethnologist
Nicolas Le Bigre – folklorist and ethnologist
Jill Lendrum – producers’ mother.

Voices from the archives include:
Participants: John Barron, Jimmy Dick, Carol Eddie, Jim Kirkpatrick,Akki Manson, Douglas Paterson, Charlie Reid, Ethel Stranger, Jimmy Mackie, Evelyn Munro, Maureen Singer & interviewers: Fiona-Jane Brown, Roland Buchan,Val Fowlie, Ian Sandison,Helen Taylor, Vi Taylor, Helen Tawes, Judith Sleigh
Doric recitation: Kathleen Noble

Music:
Renditions of The Bonny Lass O’Fyvie &Barnyards of Delgaty
Played by Don MacKinnon (bass, pipes), Rosie Keast(fiddle) & Aaron Bruce (guitar& voice) Bruce MacKinnon (spoons)
Further music from the AROHA Christmas party recording from the Formartine Oral History Project.

Sound artist Zoë Irvine spent her childhood in North East Scotland, she was born in Aberdeenshire, her grandma (mother’s side) and father came from generations of Doric speakers.Other works by Zoë can be found here >>zoeirvine.net

The Formartine Oral History Project was a community project from 2006/7 in the Formartine area of Aberdeenshire, North East Scotland, funded by the Heritage Lottery Fund. The recordings were made by volunteer enthusiasts and are accessible to listen to at The Elphinestone Institute, Aberdeen University.

http://formartine.pbworks.com/w/page/13757285/FrontPage
https://www.abdn.ac.uk/elphinstone/

The term ‘Doric’ is thought to come from the Greek for ‘rural’ or ‘rustic’ and was a rural dialect of ancient Greek. More info on the origins of origins of Doric as a name can be found here >>https://bit.ly/2TZ0Ahq
If you’re not a Doric speaker yourself you can consult RGU’s Doric Dictionary here >>
https://bit.ly/2gk9pTT

Commissioned by Radiophrenia & National Library Scotland (Sounds of Scotland) with the support of Creative Scotland.

1. Hanna Silva & Tomomi Adachi – Pluto is a Planet!
2. Elina Bry – Fly me to the moon
3. Expose Your Eyes – Approach
4. Ale Hop – Migration Data
5. Aoi Swimming – I lost my baby teeth
6. Barry Burns – Grahame Dangerfield: Effects One to Nine
7. Andrew Reddy – Clockworks

1. Hanna Silva & Tomomi Adachi – Pluto is a Planet!

Tomomi Adachi, the famous sound poet from Pluto, and Hannah Silva, his friend on Earth, argue about whether or not Pluto is a Planet. They use the language of Pluto – infra-red light sensor space shirts and a variety of vocalisations and sound effects – to communicate. The shirts enable the duo to choreograph with their voices and compose with their bodies.
While making the work, Adachi was having difficulties sleeping. Pluto was invading his dreams. He would wake up every night, with heart palpitations, and feel that he was like Pluto – far from everything, alone, and cold.

Hannah is a British poet, playwright and performer known for her innovative explorations of form, voice and language. Total Man was shortlisted for the Ted Hughes Award and her work for radio won the Tinniswood Award. Her debut album “Talk in a bit” entered The Wire’s Top 50 albums of 2018. Tomomi is a Japanese performer, composer, sound poet and installation artist. He plays improvised music with voice, live electronics and self-made instruments. He has presented his works in venues which include Tate Modern, IRCAM/Centre Pompidou, ZKM, The National Museum of Art Osaka and Vooruit.

http://hannahsilva.co.uk/
http://www.adachitomomi.com/n/biography.html

2. Elina Bry – Fly me to the moon

You might have seen her using her heartbeat as a tempo. This time no beat but hazard breaking through these overheard words.

Elina Bry is a Glasgow based multidisciplinary and collaborator who considered herself as French/Finnish both equally. Communication is an essential part of her practice as each medium and language has its own strength. She sees language as a medium and by recognizing different self’s in her three languages, she makes the most of them. She is currently exploring the weakness of her body as a medium, considering the inner as a tool, and is finally coming out of the closet as a musician.

3. Expose Your Eyes – Approach

Paul Harrison – been playing around with noises since the mid-1980s since I started making my own experimental films & creating soundtracks – decided that the noises themselves created their own images so focussed more on just the sounds (without the films) from about 1988/89 onwards. .. I started the project EXPOSE YOUR EYES sometime in the early 1990s – mostly solo, but also working with lots of other people from time to time – see Soundcloud for list of people: https://soundcloud.com/xemporium

Loads of E.Y.E releases (tape, CDR, occasionally on CD or vinyl) on loads of different labels – and I also started my own label, Fiend Recordings, in the early/mid-1990s – to release my own sounds (mostly as E.YE., sometimes using my own name or occasionally a different ‘project’ name) & sounds by others that I liked. I was also collaborating with a lot of other people in the 90s – including the noise band Smell & Quim. When I met my partner Candi Nook (see the Susan Lawly compilation ‘Extreme Music From Women’) – she started to help me run Fiend and we were both in Smell & Quim during the mid to late 90s era. See the Bandcamp for some of the people I collaborated with (Nocturnal Emissions, Lasse Marhaug, Thirdorgan, Government Alpha etc.) and some of the other people who appeared on Fiend Recordings releases: https://xemporium.bandcamp.com/

Since I’ve started up again (in about 2013) I have been enjoying putting out LOADS of sounds using lots of different names – others include Warland Drain, Paradox Encounter Group, Chapman – and more recently David Harrison, Obstacle My Arms & Egone. I have also more recently started doing a collaborative project with Chandor Gloomy – called HAIR’S ABYSS.

4. Ale Hop – Migration Data

A work narratively built on the basis of testimonies of immigrants who crossed the European borders seeking asylum, cut from newspapers from the past two years. It is an extended version of a piece of Ale Hop’s new album Bodiless (Buh Records, 2018), a work that goes through electronic experimentation, noise, tracing a bridge towards electronic pop.

Peruvian experimental electronic female musician Ale Hop crafts complex pop arrangements with an experimental noise edge, utilizing electronic effects and computer software in order to mutate and reshape her guitar and voice. The Berlin-based artist earned a degree in Sound Studies from Berlin University of the Arts.

Lyrics
His journey took 557 days.
He walk away from his desert village.
“There were two of us,” he said.
“We followed a trail in the dark.”
“[He] told us: ‘Don’t speak […].’” So they didn’t.
“Even the smallest of lights could have caught [their] attention. We were risking prison.”
They arrived […] days later. 1

“[…] they would not leave these things behind.” 2

Moving…
they left and vanished.
“It’s not a place I would choose to live.” 3
“The sea went black,”
“[…] water crashing.”
“We will never reach the shore […]” 4
Tired.
Hiding.
“I am sorry my love.” 5

1 From Jimi Petros’s journey from Eritrea to Khartoum.
2 Naval coastguard officer in Tripoli harbor reffering to personal effects from migrators, i.e. photographs, passports, identity cards, mobile phones.
3 Ruth, migrated from Ghana to London.
4 Doaa, Syrian refugee, who crossed the Mediterranean in a fishing boat, she was in love with another refugee, called Bassem.
5 “I am sorry my love. Please forgive me.” Bassem last words to Doaa. He drowned before her eyes.

http://www.alehophop.com

5. Aoi Swimming – I lost my baby teeth

This song is a result of the “teeth” themed workshop with children from elementary school of Taiwan, during the artist in residence at Soulangh Artist Village in 2016. The reason why Aoi has chosen the “teeth” theme is that the Soulangh warehouse was used for storing sugar in a history and the sugar is associated with bad teeth. Aoi has taken ideas of children’s lyrics into the original song. Aoi sings a song in chinese, and the meaning of lyric is that children say goodbye to the lost teeth and want to put fruits, ice cream and beans into gum.

Aoi Swimming is an idiosyncratic singer-songwriter and performance artist playing toy keyboards. With a pinpoint power and a huge sense of humor she places socio-political critique in the minds of listeners. One of her track is showing as a part of sound installation of Mischa Kuball “res•o•nant” at Jewish Museum in Berlin. For London Design Festival in 2015, her track was selected for the “Listening room” at Vitsoe in Central London, curated by The WIRE. Recent Live Performance include; Mousonturm in Frankfurt, 182 Art Space in Tainan, Bürgerhaus Glockenbachwerkstatt in Munich, and TA LÄRM” Poelzig Areal in Chemnitz.

https://thewindwillcarrythetaste.tumblr.com/

6. Barry Burns – Grahame Dangerfield: Effects One to Nine

From the ebay listing: “Job lot of reel to reel tapes from the estate of the late Grahame Dangerfield. who was a wildlife specialist in the 1960s until his death. A very rare find hidden for 30 years behind a wall”.

7. Andrew Reddy – Clockworks

‘Clockworks’ is an experimental sound piece which draws on the orbits of the planets as inspiration and explores their relationship as a means to generate the rhythmic content of the piece. This is paired with a spoken word section inspired by reflections on time and perception.

Andrew Reddy is a composer, multi-instrumentalist and sound artist from Kildare, Ireland. He works to create immersive ambient soundscapes, emotive melodies and repugnant noise. Often fusing disparate sound sources such as wildlife recordings and sounds generated from data from his scientific research, his composition process is as much an exploration of sound as a phenomenon as it is an attempt to craft intriguing sonic aesthetics.

https://andrewreddy.bandcamp.com/

Europa was the main hotel in Oteshevo tourist complex, built around 90s at the end of the socialist era. It was one of the most luxurious hotels in former Yugoslavia. Sadly, the circumstances (crushing of the socialist system, corrupted privatization process…) led to closure of the entire complex and today it’s just a ghost place. A sound recordist and singer entered this haunted building with an intention of capturing the sound of the space. This is a sound picture of the atmosphere of that abandoned hotel, corresponding with the current atmosphere of the land with the same name.

Toni Dimitrov a multimedia artist, cultural explorer, radio activist working in the field of radio and media for 20 years, philosopher and communicologist, poet and 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 label post global and 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 topics. At the moment working on projects related to political analysis of media.

http://www.post-global.com / http://www.kanal103.com.mk

Through using found soundscapes of local environments, captured on a cassette tape recorder, physically cut and edited together to then be replayed as a whole, the audio becomes a sculptural object.

The sounds recorded will be experimental and universally visual such as the sound of water in the river, water in the swimming pool, church bells, choirs, ambient music, silence and so on.

This will be played live via a cassette tape player so the sound of the working equipment becomes part of the piece and the truth of medium is heard.

Chloe Charlton is a Glasgow based artist and curator. She is currently studying Sculpture and Environmental Art at Glasgow School of Art. Her work is primarily concerned with the power of the sonic realm on our human perceptions through live streaming and exploring the conjunctions between sound and other mediums.

An unstable narrative,investigates ideas around sound, silence, listening and public ritual. It centres on an examination of public one-minute silences where the protagonist feels cheated due to durational inconsistencies. His mental health deteriorates as he attempts to enter the silences and manipulate recordings from within, attracting the disapproval of an authoritarian and puritanical state. From this emerges a theory of the recording chain as a kind of sympathetic magic (Marcel Mauss in A General Theory of Magic). Additional voice by Clare Watson. Commissioned by Delta Pi productions and The Onassis Centre, Athens.

James Wyness is a composer, radio artist and collagist based in the Scottish Borders.
His compositional work, based on recorded sound and electronics, is characterised by an articulation of musical structure through the evolution of long-form dense textures. His radio work explores the conceptual and social dimensions of radio, in particular ideas around sound, silence and political constructions of voice and language, on how such constructions affect identity and how channels of communication are controlled and directed. His work has been performed, exhibited and commissioned internationally.

Incorporating the medium of dramatised radio shows, ‘Don’t Call Us, We’ll Call You’ explores the ongoing drive of humans to find meaningful connection with technology, and the feelings of unrequited love that often rewards our efforts. Language and communication are dismantled throughout, both in the work’s fragmented form and in the show’s central softly erotic story between someone and their kettle. The accompanying music represents the unsettling soundtrack often accompanying scare-mongering broadcasted documentaries. Despite the anthropomorphising of technology, the ever-shifting power dynamics of a techno-human relationship.

Artist Biography: Katharine Doyle is an artist, producer and software developer who lives and works in London. Her work explores the complex intersection of technological advancement with biology, sexuality and social structures. She reimagines their unsteady correlation through constructing absurd and surreal scenarios in sound, sculpture, film, and performance. Using her personal perspective as a queer-identifying individual to drive her research, Doyle embraces this twofold identity of technology in defining ‘the real’. Her approach aligns itself with the longstanding use of the queer experience in retelling historical narratives; the advocating of artificiality has consistently troubled the validity of science in declaring the conditions for an organism’s ‘natural’ status.

http://www.katharinedoyle.com

https://soundcloud.com/syddviscose“

We live in fragments. We live in translation. We put ourselves in boxes and borders. This hour-long radio piece explores the spaces between and around these concepts. It floats about in the air, “in der Luft herum.”

A large part of this programme was developed and recorded on location at the 2017 Hearsay Audio Festival in Kilfinane. Special thanks to harpist Naimh O’Brien, all the guests and voices that took part and everyone at Hearsay festival, in particular Diarmuid McIntyre.

Phil(ip Mark Christopher) Smith is an artist working with words, music, sound, and radio.

https://www.pmcsmith.com/
https://soundcloud.com/jazz-dis-junction
https://philsmith.bandcamp.com

Originally conceived as a work exploring the fragile abiotic relationship ‘observed’ at the narrow band of coexistence between land and sea. A series of ongoing thoughts, observations and audio walks through a period of varying weather conditions during which the concept evolved into the idea of a vertical soundscape subsequently resulting in a concept sound design installation for lighthouses, using the circular interior height as a audio support system output device. Tested in St Mary’s Lighthouse successfully – North Tyneside.
This idea has evolved from other works following similar sound themes -golf, birdsong, farmlands.

In a practice employing sound, spoken word, text and film. Tony’s work takes slender glimpses of the worlds in which we inhabit and presents us with a world in part fiction in part truth; made up of the composites of disembodied zones. Tony is currently based within striking distance of the Northumberland coast. A founder member of the bellartlabs art group, presenting time based works.His background is in art education, museums and gallery’s.

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

Featuring:

Viv Corringham – 2000 Silent Amas (8:07)
Robert Scott Thompson – Nullius in Verba (9:00)
Pan Daijing – Practice of Hygiene (4:52)

Viv Corringham – 2000 Silent Amas

This work comes from a visit I made to The Ama Museum in Taipei which made a deep impression on me. Amas were “comfort women”, a euphemism for women forced to work in Japanese wartime military brothels. The museum campaigns for the Japanese government to apologise and compensate the Amas, so far without success. In this sound work, recordings in the museum, in which I sound the building’s resonance and sing with the amas’ stories, get drowned out by the loud surrounding streets.

I am a British singer and sound artist based in New York, active since the late 1970s. My work includes concerts, soundwalks, radio works and multi-channel installations. I am interested in exploring people’s special relationship with familiar places and how that links to personal history and memory. I studied and worked with Pauline Oliveros for many years and I have a certificate to teach Deep Listening. I facilitate workshops in listening and sounding, most recently in Hong Kong, London, Bangalore, New York, Kolkata and Manila. My work has been presented in twenty five countries on five continents.

Robert Scott Thompson – Nullius in Verba

Nullius in Verba translates from the Latin as “on the word of no one.” This acousmatic composition incorporates field and studio recordings and their transformation and elaboration. Sound sources include vocal, percussion, flute and ‘cello sources together with mechanical and environmental sounds. The music is conceived as a kind of “song without words,” and in working on it, I was reminded of Mendelssohn: “What the music I love expresses to me, is not thought too indefinite to be put into words, but on the contrary, too definite.” Techniques used for the work include ambisonic spatialization and spectral transformation methods. Tools used include Kyma, Csound, Metasynth, Cecelia, Trajectory and Spat Revolution.

Robert Scott Thompson is a composer of instrumental and electroacoustic music and is Professor of Music Composition at Georgia State University in Atlanta. He is the recipient of several prizes and distinctions for his music including the First Prize in the 2003 Musica Nova Competition, the First Prize in the 2001 Pierre Schaeffer Competition, and awards in the Concorso Internazionale “Luigi Russolo”, Irino Prize Foundation Competition for Chamber Music, and Concours International de Musique Electroacoustique de Bourges – including the Commande Commission 2007. His work has been presented in festivals such as the Koriyama Bienalle, Helsinki Bienalle, Sound, Présences, Synthèse, Sonorities, ICMC, SEAMUS and the Cabrillo Music Festival, and broadcast on Radio France, BBC, NHK, ABC, WDR, and NPR. His music is published on numerous solo recordings and compilations by EMF Media, Neuma, Drimala, Capstone, Hypnos, Oasis/Mirage, Groove, Lens, Space for Music, Zero Music, Twelfth Root, Relaxed Machinery and Aucourant record labels, among others. Thompson’s work in the area of computer music is oriented toward high modernism in the tradition of the founders and pioneers of the field such as Pierre Schaeffer, Stockhausen, and Xenakis. His music is
also informed by the naturalistic soundscape and importantly notions of contemporary expressions in chamber and orchestral music. Thompson’s aesthetics attempts to blend and meld the real and imaginary into a musical context that invites deep listening and engagement in the listener. The music – the tonality, sonority, transformation of materials – is the primary focus rather than the outworking of a specific technique or technology. In recent years Thompson has become an adherent of the techniques of ambisonic spatialization and increasingly creates work that is based in this approach to both multi-channel and stereophonic presentation.

Pan Daijing – Practice of Hygiene

A newly commissioned work by Pan – A Prologue – will be broadcast on Thursday 23rd May at noon and 6pm.

PAN DAIJING is an artist and musician from Guiyang. Her raw approach as a composer and performer takes many forms; sound, choreography, installation and storytelling. Soul-baring utterances and sonic, aesthetic outbursts are the main tendons of her practice. Her poetic, uncanny work interweaves vehicles of power and vulnerability, and often oscillated along paradoxical conceptual states and spatial interactions.

Since the release of her acclaimed debut album, Lack, on Berlin based label PAN in 2017, she has been showcasing a few projects. These include Fist Piece, a complex choreography of film, sound and performance premiered in Kraftwerk, was also presented in Barbican Centre London and Hamburg Elbphilarmonie; In Service of A Song, a performative installation shown at Haus der Kulturen der Welt and exhibited at Galleria Isabella Bortolozzi, TissuesI, a live play and composition for two opera singers, eight actors and three connected spaces which was commissioned by Biennale of Moving Image 2018 Geneva and premiered at Pavilion Sicli.

http://www.pandaijing.com

A voyage into a little heard sound archive of Doric speaking voices from 2006/7. This sound doc weaves together the archive material with contemporary reflections. The past and present intermingle through the medium of recorded conversation. The archive takes us into rural life in times gone by, farming, school days, home and working life, the contemporary conversations look back at the making of the archive and the power of oral history and folklore more generally, as well as reflecting on the dialect itself and the situation for Doric today.

List of contributors:
Helen Taylor – oral historian, recordist on the Formartine Oral History Project.
Carol Eddie – participant in the Formartine Oral History Project
Fiona-Jane Brown – historian and folklorist, co-ordinator of the Formartine Oral History Project, more info for F-J Brown here >>www.hiddenaberdeentours.co.uk
Alistair Bell – Sound Collections Curator, National Library of Scotland and Scotland’s Sounds Network co-ordinator.
Chris Wright – folklorist and ethnologist
Nicolas Le Bigre – folklorist and ethnologist
Jill Lendrum – producers’ mother.

Voices from the archives include:
Participants: John Barron, Jimmy Dick, Carol Eddie, Jim Kirkpatrick,Akki Manson, Douglas Paterson, Charlie Reid, Ethel Stranger, Jimmy Mackie, Evelyn Munro, Maureen Singer & interviewers: Fiona-Jane Brown, Roland Buchan,Val Fowlie, Ian Sandison,Helen Taylor, Vi Taylor, Helen Tawes, Judith Sleigh
Doric recitation: Kathleen Noble

Music:
Renditions of The Bonny Lass O’Fyvie &Barnyards of Delgaty
Played by Don MacKinnon (bass, pipes), Rosie Keast(fiddle) & Aaron Bruce (guitar& voice) Bruce MacKinnon (spoons)
Further music from the AROHA Christmas party recording from the Formartine Oral History Project.

Sound artist Zoë Irvine spent her childhood in North East Scotland, she was born in Aberdeenshire, her grandma (mother’s side) and father came from generations of Doric speakers.Other works by Zoë can be found here >>zoeirvine.net

The Formartine Oral History Project was a community project from 2006/7 in the Formartine area of Aberdeenshire, North East Scotland, funded by the Heritage Lottery Fund. The recordings were made by volunteer enthusiasts and are accessible to listen to at The Elphinestone Institute, Aberdeen University.

http://formartine.pbworks.com/w/page/13757285/FrontPage
https://www.abdn.ac.uk/elphinstone/

The term ‘Doric’ is thought to come from the Greek for ‘rural’ or ‘rustic’ and was a rural dialect of ancient Greek. More info on the origins of origins of Doric as a name can be found here >>https://bit.ly/2TZ0Ahq
If you’re not a Doric speaker yourself you can consult RGU’s Doric Dictionary here >>
https://bit.ly/2gk9pTT

Commissioned by Radiophrenia & National Library Scotland (Sounds of Scotland) with the support of Creative Scotland.

sound-art all over including for radiophrenia & partners; b#side – international anti-war artists exhibition italy; carlisle arts festival; stockton contemporary; arts access australia. most recently have taken scissors to a few folks ties was commissioned by alma zevi venice as part of our solo exhibition there, 2018 c.e.
http://www.almazevi.com/exhibitions/venice/187/is-that-a-bruise-or-a-tattoo/

all music by Claudio Parodi (SACEM)

The inspiration for Right Error part 1comes from a story about Late Great Thelonious Monk. After a solo performance, Monk looked very upset. Asked why, his answer was: “I played only WRONG errors!”. This means that right errors are possible…
The right error was made by a Schoeps CMC6 MK4 microphone during a recording session. Listening to the recording, at the very beginning a noise appeared, though no sound was yet played. It was the very first time for me, and it was the very first time for the sound engineer.
The error was stretched, and the waveform was normalized to -0.2db. Back to Monk, by typing the first paragraph of the lyrics of ‘Round Midnight (probably the best known of his all-masterpieces compositions catalogue) in binary language, a second of silence was introduced in the waveform in correspondence of 0. Grouping sound and silence seconds 3+3+2 and putting the groups at the same start led to a non-linear sequence of sound and silence events. By typing the first paragraph of the lyrics of ‘Round Midnight in octal ASCII language, the sound and silence events groups were assigned to one of the eight loudspeakers.
Right Error part 1 is composed for an eight loudspeakers sound system. The stereo version is here presented.Silence isintegral part of the composition.

Claudio Parodi, November the 17th, 2012. Composed on October the 15th, 2012.

Recorded by Paolo Valenti atLoud Music Studio, Genova, Italiaon October the 22nd, 2012.

Claudio Parodi has a classical training as a pianist. Since some years, he plays self-built or self-modified electronics and, more recently, non-western reeds and selected percussions.

http://www.facebook.com/claudio.parodi.313

Joe coghill (Edinburgh) & MHZ35c (n/a) have been working together over the last 4 months on a collaborative venture (yet to be named). Very much in its infancy the collaboration has, so far, been focused on the orchestration of various site specific interventions. Working, or more aptly, meandering, through format and discipline – the collective makes use of sound installation, live performances, pirate radio transmissions and digital recordings as propellants for the composition of new music, improvised performance and deep topographic sound works. The collaborations ongoing work plays on the liminalities of contemporary music composition, sound design, technology and art, whatever that means now.

Submitted for Radiophrenia 19 is a 60minute composition compiled from layers of archival works generated by the collective. The archival materials are being influenced by a number of generative pure data patches. The patches are modulating and responding to the archival material as it plays. The patches also generate new listening material in accompaniment to the archival recordings.

Deep topographic listening. Lights off advised and headphones advised.

MHZ35c and Coghill are predominately interested in realising (semi)generative, chance based compositions with a distinctly hybridised and evental means of production. The groups compositions and installations are dotted across a broad spectrum of digital and analog space, where temporary evental sequences, cascade unfold, collapse and modulate in expectedly unexpected ways. Durations, interruptions and time drifts. A collapsing sense of space.

Analog and digital Process driven aleatoric composition. Techno-entropy and automation are components at the heart of the collectives focus and recent works. Temporary, physical and abstract, self playing “music machines” are constructed, activated and then left for a period of time to simultaneously compose, perform and record intricate and varied durational sound works (music?); making use a comprehensive retpotorire of generative processes both analog and digital.
————————————————————————

Video of install 1
Info in video description-

https://youtu.be/6n1gAkfGTfw

Joe coghill links:

https://soundcloud.com/joecoghill

https://joecoghill.bandcamp.com/

http://www.zurkonic.com/blog/2018/6/10/eomac-joe-coghill-retrace-the-body-rhythmic

1. Gregory Kramer -The Domestic Trade in Rhino Horn
2. Aume – Disintegration (Part I)
3. Craig Gell – Starling Broadcast
4. Darr Tah Lei – Sound as Volume: Steam
5. Raquel Stolf – News list

1. Gregory Kramer – The Domestic Trade in Rhino Horn

Taken from an album of compositions using shortwave radio recordings as source material. The recordings were made while stationed in the remote Bushveld of South Africa. The album is available as a free download at: https://gregorykramer.bandcamp.com/album/the-domestic-trade-in-rhino-horn

Gregory Kramer is a multidisciplinary artist working with sound and space. Taking inspiration from his archaeological curiosity of abandoned places and his interest in mythology, he searches for ghosts among the ruins and seeks to unearth evidence of forgotten histories through sound. He composes with field recordings, found materials, electronics, musical instruments and radio transmissions, sometimes extending his work into physical installations. He has album releases on Pharmafabrik, Monotype Series, Impulsive Habitat, SONM Archive and International Winners.

2. Aume – Disintegration (Part I)

CQ CQ refers to the shortwave radio abbreviation for “calling any station”. This theme came about from a disillusionment created by the overwhelming amount of information being transmitted. That any individual voice falls on deaf ears in the midst of a maelstrom. That one is never more isolated than when everyone is talking at the same time. CQ CQ is full of vocal transmissions, most of which are indecipherable. They are failed attempts at communication. They are transmissions that lead to the disintegration of human connection and understanding.

Immersive abstract sound and image collaboration between Scot Jenerik (Portland, OR, USA) and Aleph Omega (San Francisco, CA, USA) aume.bandcamp.com Scot Jenerik: Composer and multidisciplinary artist. Performed, lectured and distributed works extensively in the United States, Europe and Japan for over 30 years. Co-owner of Mobilization Records, has an MFA from the San Francisco Art Institute, founded 23five Incorporated and co-hosted the No Other Radio Network on KPFA. Aleph Omega: Composer, multi-instrumentalist and artist. Performed and toured extensively throughout the United States, and Europe as a member of Chrome, Helios Creed, F-Space and pioneering Deathrock band, Altar De Fey. Owner/operator Unicursal Studios.

https://aume.bandcamp.com/

3. Craig Gell – Starling Broadcast

Starling Broadcast is an electroacoustic work combining field recordings, of a starling roost beneath Folkestone Harbour’s swing bridge, with improvised digital manipulation and synthesis.

The source material, recorded over three subsequent dusk evenings in late November 2018, captures a wide range of vocalisations. This rich and textural bird song is explored through musique concrète and ecoacoustic techniques, including varispeed, delay, spatial effects, filtering and pitch tracking algorithms: converting certain audio frequencies into a synthesized accompaniment.

The piece was commissioned by Folkestone’s Profound Sound Festival 2019, and exhibited in a disused railway signal box, just yards from the roost site.

Craig Gell is a composer and musician based in Folkestone. He has composed music for award-winning short films and various art projects, including a site-specific installation exhibited during the Folkestone Triennial. His recent practice has focused on his local environment, looking at heritage sites, conservation issues and soundscape ecology: the study of acoustic relationships between nature and humans, as a means of documenting, or evoking, a sense of place and time.

http://www.craiggellmusic.com
http://www.soundcloud.com/craiggell
http://www.twitter.com/craiggellmusic

4. Darr Tah Lei – Sound as Volume: Steam

“Sound as Volume” is a piece of surrounding noise conceived as a sculptural shape. It is allusive to hypothetical sound emissions transmitted by telluric currents, as a geological phenomenon magnified. Treated conceptually as volume, the sound reproduces earth resonances with an etherwave Theremin and a distortion pedal.

Darr Tah Lei is a telluric artist who explores geological phenomena to be dismantled in
exhibition spaces, turned into pieces which reveal processes of fabrication derived from nature. Lei cerebrates over the eventual post-dual potentialities of natural physics, expecting
to glimpse non-dichotomic paradigms and questing for posthuman hypothesis of behaviour
possible to integrate into society. She uses the monochromatic contrast of raw elements, the profound density of black and the strong assertiveness of white, such as petroleum and ice, lava rock and the ocean foams. As a political approach, she revitalizes ‘chaos-magick’ in order to retrieve post-anarchist aims, often grounded in pre-pagan Nordic traditions. Lei participated in the collective project Forever Now which managed to update the belief contents of the golden record sent in the Voyager, with contemporary moving image/sound works, launched into space in a live transmission at MONA FOMA, Australia in 2015.

http://www.darrtahlei.com

5. Raquel Stolf -News list

A fragment of a collection of news headlines and subheadings from newspapers and magazines collected since 2011. These appropriated texts indicate relations between humans and other animals, involving sinuous relations between fiction and fact. I’m interested in the absurdity (and the humor) of the announcements, as well as making visible/audible the evident anthropocentrism of some of the news. This sound version of the work was presented for the first time in the exhibition Lost and Found: Imagining new worlds, curated by Raphael Fonseca at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore, in 2019.

Artist and professor in the Department of Visual Arts and in Post-Graduation Program of Visual Arts, Universidade do Estado de Santa Catarina, Brazil. Doctor (2011) and Master (2002) in Visual Arts at the Universidade Federal do Rio Grande do Sul. Recent exhibitions include: Lost and Found: Imagining new worlds (Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore, 2019), biblioteca: floresta (Museu de Arte de Ribeirão Preto, Brazil, 2018), IN-SONORA 10 ­ Muestra Internacional de Arte Sonoro e Interactivo (La Casa Encendida, Madri, Spain, 2018). She has been researching intersections among concepts of silence, writing processes and listening situations in the production of propositions which can be unfolded in installations, actions, interventions, videos, photos, texts and drawings.

http://raquelstolf.com
http://soundcloud.com/raquelstolf
http://soundcloud.com/ceudaboca
http://soundcloud.com/irrecuperavel-ou-ocioso
https://soundcloud.com/fundoderio
https://soundcloud.com/marparadoxo

This composition was made using a traditional DJ set-up – turntable, mixer & sampler. The only sound source used was feedback from the sampler, this was manipulated using the controls on the sampler, and also fed live onto the turntable and further manipulated using Serato Scratch Live. I first created ‘scenes’ or parts for a scene by performing short improvised pieces, these were then cropped down and arranged into a single composition.

I am a sound designer, composer and turntablist. As a composer, sound designer and music producer my work has been used for audiobooks, film, animation, audio tours and games, while as a turntablist I have performed throughout the UK and Europe. I perform with live improvisation groups and as part of the band Lund Quartet. I have studied Creative music technology where I specialised in sound for picture and experimental composition, always including and studying the turntable as part of each project I completed. Working across various disciplines enables me to create multiple layers of sonic textures.

http://www.jakewittlin.com

This is a selection of seven shows from radioart106 compiled for radiophrenia 2019. Produced and presented by Meira Asher, radioart106 broadcast details:
WGXC 90.7fm – 1st Saturday 11am ET (-5 UTC)
USMARADIO – 1st Tuesday 7pm CEST

Radioart106 is part of the Radia.fm network.

“There are strangers running in my veins”- a genealogical attempt.Atelier de Creation Radiophonique , France Culture, 2013

A radio essay by Floy Krouchi

“Strangers are running in my veins” questions the fragile frontier between autobiography and fiction, and creates a space where each voice re-composes a genealogy. Identity is in search of itself, lost and found again, deconstructed.
Unlimited inventions of the self follow one another and remember each other, in a world at the same time collapsing and renewed. A multitude of itineraries united, separated…

The piece explores the mirror images between personal and collective history between the universe, the individual and the cell.

With Jacqueline and Jacques Krouchi, Jean Pierre Krouchi, Mickette and Mohammed Krouchi, Georgette Zaffarano and their strangers, the Bocobza, Krouchi, La Rosa, Louzoun, Millet, Zaffarano families and before them, and before them…

With the voices of :
Maha Ben Abdeladhim, Myriam Ben Arie, Novella Bonelli Bassano, Alexandrine Kirmser, Nicolas Losson, Pascale Ourbih, Nicolo Terrasi, Fahima and Samia Zaidi, Selma Zghidi .

Texts by Maha Ben Abdeladhim, Nathalie Battus, Floy Krouchi and Jacqueline Krouchi

With the participation of Guillaume du Boisbaudry, Marc Silberstein and the voices of Jacques Derrida and AdonisPrepared piano: Françoise Sergent
Original music : Floy Krouchi

Special thanks to all participants ( contributors) and to Jean-Pierre Krouchi for the family archives.

Floy Krouchi is a sound artist and composer
http://www.floykrouchi.org/english

As light chinks through the clouds a fissure opens between dreaming and awakening, and a hypnopompic journey begins through the space between, a corporeal receiver grasping the receding night-time transmissions.

We are sound makers, improvisers and deep listeners. Our work is ‘psychosonographic’ expressing our experience of place, with field recordings, self-created instruments, found objects, voice and text. We begin by listening to our environment, observing, making recordings, writing, often making our own instruments and sound objects with found materials. Our compositions and performances are like living maps, anchored in what we find in a landscape but re-imagined into new territories, and attentive to the vibrational nature of materials and surroundings.

Blanc Sceol is a sound art project by Stephen Shiell and Hannah White

http://www.blancsceol.co.uk