“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

https://soundcloud.com/darr-tah-lei

The sound of Color-Radio is correlated in its inspiration and creation to things like radio astronomy, SETI, science fiction, and the eerie, spectral nature of radio transmission and the electromagnetic spectrum. Visual pieces were “composed” as accompaniment with the hopes that they might amplify or illuminate the auditory experience, but are not strictly necessary (the opposite may also be true). The sounds and images aren’t meant to tell stories, or even distinctly convey anything at all, but rather to facilitate the creation of a liminal world that is interpreted and felt subjectively.
Tyler John Arnold creates experimental, sometimes noisy, audiovisual weirdness. He attempts to use common digital (and analog) tools to achieve uncommon outcomes. He is an earthling residing within the continental United States.

“Entre deux souffles” (2018) is part of a research on radiophonic forms devoid of human voice. Most sounds used here are related with, or variations of, white noise. A suite of movements tries to enhance the specifics of each in a non-narrative way, to question the idea of transmutation. Between natural movements, mechanical hiss and electronic frictions, the listener is invited to carve its own place in the matter of sound.

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

http://deferlements.audio

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

A radiophonic nightmare that re-casts the soundscape of Derry in Northern Ireland as the backdrop to incidents in the fictional town of Derry, Maine, USA – the setting for many of Stephen King’s horror novels. Passages from several different stories describing the town were read aloud by Derry residents and recorded as narration. The obvious disjunction between these descriptions of a fictional US town and the reality of the actual city is further confused by the readings being in Northern Irish accents. Furthermore, the ominous tone and language, although extracted from popular horror stories could without too great a stretch of the imagination be read as references to very real events in Derry’s past.

The soundtrack is made entirely from processed field recordings made on location in Derry during October 2013.

Includes extracts from the following Stephen King novels and short stories: It, Insomnia, Bag of Bones, Dreamcatcher and 11/22/63

For the last five years I have taken a sample from every video I watch on my laptop. As a tip of the hat to William Burroughs and Robert Anton Wilson I take the sample from the 23rd minute. Each sample is arranged and layered chronologically, constructing an aleatory narrative, a random DJ mix of dialogue, music and foley, a self portrait of viewing habits and memory. VHS rips merge with Blu Ray restorations, youtube binges mingle with abandoned box sets.

Barry Burns is not the bloke out of Mogwai, its a different, unsuccessful one. He is the co-manager of Radiophrenia and has used his immense power to give himself the highly coveted 5am slot.

https://akashicrecords1.bandcamp.com/album/from-the-cable-to-the-grave

Non-Locations are a series of works intended to mirror or imitate “natural” environments, but are completely synthetic – 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, we also 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.

1. Mark Vernon – Shadow Thoughts
2. Paul Ramage – Portrait de mes visage sur une ligne d’erre
3. Samuel Moncharmont – 99 rue Sebastien Gryphe
4. Martian Hello – Smoking in the Dark
5. Sebastian Pafundo – Fracciones De Una Realidad
6. Sonic Bothy – 8 Panes of Glass – Pitched and Brick Pane
7. Vincent Eoppolo – Winter Solstice – Introspection
8. Shona Handley – Fizz Wizz Super Loud

1. Mark Vernon – Shadow Thoughts

meagreresource.com

2. Paul Ramage – Portrait de mes visage sur une ligne d’erre

This piece would be a kind of cartography of dreamlike lucidity. This is the situation in which one feels dreaming, one sees oneself dreaming, and for which we become very permeable to the sensitive environment. During this phase of the paradoxical sleep, several realities are thus expressed, which intermingle, melt, intertwine … aggregate, disintegrate.
These perceptions are however fragile, ephemeral, hallucinatory. They work like lines of wander where stations, returns, swayings and loops obey real and imaginary prompts, decoded, opened in constellation and not fenced in system. [Fernand Deligny]

Paul Ramage is a violinist, an improviser and a composer. He obtained a D.E.M. in electroacoustic composition at the Paris Conservatory, in the classes of Denis Dufour.
He then obtained a Master in electroacoustic composition from INA_GRM. Composer of forty opus to this day in different fields of sound art. He won the prize Metamorphosis and the second prize Russolo. He is now sound art teacher and instructs sound creation at the conservatory. Today, he is a member of Alcôme (A company creating et broadcasting contemporary music) and thereby keeping alive creation in/on all its aspects.

https://paulramage.bandcamp.com

3. Samuel Moncharmont – 99 rue Sebastien Gryphe

This work has been created as a « sound postal-card » of my apartment. I tried to give an image of the everyday life in this place, within many sounds of the quotidian, and mounted in a way to count a minimal story by following a very simple narration.

I was born in France, nearby Lyon in 1981. Musician, sound producer, artist and musician. I’m creating sound installations, music creations for contemporary dance (with the company « Rooms » that I created with the dancer Arianna Rodeghiero in 2016), and radiophonic works (mostly documentaries). My musical background was clearly shaped by rock, punk-rock and noise music, and my long-term involvement with bands Bâton Rouge and Daïtro which took me touring on several continents. As an author I’m interested by counting stories about journeys, rituals and repetitions in the quotidian life.

http://www.samuelmoncharmont.com
http://wearerooms.com

4. Martian Hello – Smoking in the Dark

Inflammatory Haircut is a bizarre, evolving world of an album by Martian Hello. Mutated electronic soundscapes are populated with manic, hallucinatory instrumentals that constantly shift and play against the sturdier backdrops. Most sounds are analog before being digitally manipulated. Conceived as a literally endless album, Inflammatory Haircut will technically never be finished and will only ever grow and mutate at random intervals in the coming years. Inflammatory Haircut is a growing world populated by truly alien forms. Martian Hello are horridus oplopanax and Zachary Zena Giberson, and are in Oregon and Texas, respectfully. They collaborate over the internet and have fun making weird, impossible music together. Both horridus and Zachary make solo music, horridus’ devilsclub project can be found at https://soundcloud.com/devilsclub and Zachary’s lives at https://zacharyzenagiberson.bandcamp.com/. They haven’t met yet in real life, but it’d probably be very cool when they finally do.

5. Sebastian Pafundo – Fracciones De Una Realidad

Fractions of a reality. The work tries to recreate a dark place of the unconscious. For this, many archetypal, recognizable sounds are used, as well as processed sounds, musical instruments executed in different ways.

Born in Buenos Aires, my first steps for the music were in the rock since very young, then i studied in a music articular form and later in the municipal institute of musica de avellaneda, where i received from music teacher. study composition in a self-didactic form, then with Luis Mihovicevic (master and friend) enter the diplomatura superior in contemporary music (conservatorio manuel de falla) there I studied contemporary composition and with new technologies. Passionate experimental music execute the low in a trio of freE jazz, also I compose music for solotic instruments, camera, orchestra, etc.

6. Sonic Bothy – 8 Panes of Glass – Pitched and Brick Pane

Sonic Bothy Ensemble’s debut album, Fields, launches in February 2019, featuring pieces recorded after a year of creating new work and performances. Tracks explore improvisation and experimental music and instruments, constantly moving into new territory. Sonic Bothy is an inclusive new music ensemble, based in Glasgow, that explores, composes and performs experimental and contemporary music. The group is made up of musicians with additional support needs and experienced musicians who practice in Glasgow’s new music scene. Formed in May 2012, the ensemble was the first inclusive new music ensemble to play and be programmed at many of Scotland’s new music festivals, such as; GIOfest, Sound Festival and Counterflows.

http://www.sonicbothy.co.uk

7. Vincent Eoppolo – Winter Solstice – Introspection

A sonic self portrait.

2 track fixed media acousmatic music composition realized in 2018. Created using various techniques and technologies such as analogue modular, FM and granular synthesis as well as field recordings. Recorded in my studio Eclisse. My compositions are a synthesis of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. My works have been presented at the New York City Electro-Acoustic Music Festival, the Bushwick Open Studio Festival in Brooklyn and at Utopie Sonore in Torcé-en-Vallée, France. Several compositions have been featured on Bernard Clarke’s radio program Nova on RTE’s Lyric FM in Ireland, on the Radiophrenia program in Glasgow, Scotland. Phaune Radio from Montpellier, France as well as Radio Art International and Passport International on CHOQ Radio in Montreal, Canada. Additionally, my work has been included in Stephane Marin’s Espaces Sonores release “North American PhoNographic Mornings”.

https://soundcloud.com/societys-realization

8. Shona Handley – Fizz Wizz Super Loud

Fizz Wizz SUPER LOUD traverses the intersection between religion, therapy, business jargon and branding. The underscore of popping candy, tribal chants and tin cans create a hypnotic mood whilst vocal samples both reassure and unsettle. Do not trust anything you read, do you not trust anything you hear, do not trust yourself.

Shona Handley entered artistic stasis around 2010 having previously studied at Camberwell Art school and Edinburgh college on Art. Her previous practice encompassed performance, costume and textile design. Sound Art has provided a new creative outlet to process current themes of interest including tribalism and the cult of self care. She does not trust herself or anything she reads or hears.

Ö1 Kunstradio’s contribution to this focus is not a review of the achievements of the women’s movement, but a feminist and radically future-oriented perspective of the artist and composer Elisabeth Schimana. In her radio piece entitled “Gebären” (“Birthing”), alternatives to common gender roles and family models anchored in our society are presented – and areas that are taboo and too intimate to be publicly discussed and thought through are also entered. For example: sexual desire to give birth and breastfeed, men with wombs, breastfeeding of foreign babies and co-parenting, i.e. joint parenthood without couple relationship. Some of these alternatives undoubtedly scratch the capitalist and patriarchal foundations on which our world is based.

The texts are taken from the book “Maternidades subversivas” (“Subversive Maternities”), published by the Spanish feminist, author, artist, activist and mother María Llopis. On 28 March 2019, María Llopis was a guest at a festival curated and organized by Elisabeth Schimana and the Institute of Media Archaeology with a lecture performance. “The Art of Reproduction” opened on Thursday, March 7, 2019, with an exhibition, audiovisual installation, film screenings, concerts and performances, discussion and also a ballot box – because the festival took place at the “XX TÉCHNE 6.0 Election Office” in Sankt Pölten, and the “Art of Reproduction” was held within the framework of the “We have a choice” project.

“In the patriarchal system in which we live, control over the female and her childbearing body is a primal need. This system of control determines whether, when and how the next generations will be born to obtain the state. If a state needs soldiers, abortion is forbidden under penalty of death, or women of childbearing age are recruited via social networks, if no girls are needed their birth is prohibited, if the state needs children, there is a family bonus…. María Llopi’s book “Maternidades subversivas” (Subversive Motherhood, 2015) shakes things up. She formulates alternatives such as orgiastic birth, co-parenthood or co-breastfeeding based on interviews she conducted.“
(Elisabeth Schimana)

Intro: Rosario Hernández Catalán
Chapter 1 – Orgasmic birth: María Llopis, Núria M. Martin, Sarri Wilde
Chapter 2 – Social realities:: María Llopis, Alicia Murillo
Chapter 3 – Gender: María Llopis, Erik Huma, Del Lagrace Volcano
Chapter 4 – Co- Parenthood: María Llopis, Mad Kate
Chapter 5 – Co- Breastfeeding: María Llopis, Barbara Iserte
Chapter 6 – Gynaecology: Pabla Pérez, Klau Kinky
Chapter 7 – Matriarchal: María Llopis, Jesusa Ricoy Olariaga
Chapter 8 – Ecosex: Annie Sprinkle and Beth Stephens

Concept and music: Elisabeth Schimana
Voices: Rosie Waites, Riem Higazi, Andreas Maurer
Soundengineer: Martin Leitner
Production: Ö1 Kunstradio, 2019

All texts are taken from María Llopis book “Maternidades subversivas” in an unpublished English translation.

Commissioned by Kunstradio for Ö1 , Austria.

Th’luria is created from the voices of seven women artists talking about their working practice. Each woman becomes an impressionistic sound portrait formed from her own words, reflecting a central notion of themself as artist. During interviewing, each one expressed the difficulty of verbalising complex and personal thoughts, and Struggling with the ongoing problems of making themselves heard as women and artists through the surrounding ever-present cacophonies of inner and outer worlds. I am grateful for their honesty, as this work couldn’t have been made without it.

it’s all about

words that can’t rest
language as merely one part of
listening speech as performance
events crossing boundaries unnoticed
sounding trajectories
finding protean points in collision with context

it’s all about

Leona is an inter-disciplinary practitioner using spatiality, audio and field recordings as well as voice, spoken language and text. Her approach centres on Word/Sound as event/performance, and she actively seeks to highlight physicality, location and context, considering them as central to the inter-relationships between maker/word/world.

leonajones.co.uk
baroquecelloproject.com
soundcloud.com/wordssoundsspaces

2007, 2014: two radio studios getting prepared for restoration work, without any assurance that they would reopen. The first time, the dismantling operation had been broadcast live by a microphone left in a corner of the room. The second time, seven years and three hundred kilometers further, it is a recorder and a few hours of transformations that report this peculiar moment : when machines are removed and cables coiled, an unusual silence fills the room.

The first part of this piece is about the dismantling. The second one is a play with the resonances of the empty room on a free plan.

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

Inspired by the patterns of cosmic ray interactions in a cloud chamber, we imagine the myriad signals and attempts at communication that might enter a sphere and intersect, cluster, miss or fade away. Rays & Correlations will be a voice-focused improvised performance with layers of interactive soundscape. The listener is invited to find a thread to hold onto amid interweaving sparse and dense streams of words and evocations – and to decide whether the sound space is literal, as inside a kind of radome, or metaphorical – representing any individual consciousness trying to make sense of human connection.

Zoë Strachan is an award-winning writer who lives and works in Glasgow. Zoë and Nichola performed together most recently at the Hidden Door Festival in 2018.
@zoestrachan

Nichola Scrutton is a Glasgow-based composer, vocalist and sound artist, who works on a range of self-directed projects and interdisciplinary collaborations.
@NicholaScrutton
http://www.nicholascrutton.co.uk

Featuring:

Maria Fusco – Legend of the Necessary Dreamer 4: Legend of All Saints (5:15)
Catalina Barroso-Luque and Victoria Chen Wei – eeeeeeeeeeeeeeeeeeeeeeeeeee (excerpt) (5:40)
Phaune Radio – Tiny Tunes- Metamorphoses: Cicada (6:00)
Pheobe riley Law – score for a deer tunnel (3:25)

Maria Fusco – Legend of the Necessary Dreamer 4: Legend of All Saints

“a new classic of female philosophical writing” Chris Kraus

Legend of the Necessary Dreamer is an ambient novella, a multi-sensory essay, an excavation of the historic Palácio Pombal, a work of impatience and death. Maria Fusco reads the whole book, acting as an ear and a mouth, creating embodied entanglements, paying close attention. Legend of the Necessary Dreamer is published by Vanguard.

Maria Fusco is an award-winning Belfast born writer based in Glasgow, working across fiction, criticism and theory, her work is translated into ten languages. Her collection Give Up Art: Collected Critical Writings (LA/Vancouver: New Documents, 2017) has been described by James Elkins “after a book like this, most nonfiction seems curiously unaware of what writing can be.” Her latest work ECZEMA! celebrates the 70th anniversary of the NHS, commissioned by National Theatre Wales, it is published as a vinyl disc by Accidental Records. Master Rock is a repertoire for a mountain, commissioned by Artangel and BBC Radio 4, the experimental radio play has been experienced by more than 2.5 million listeners. She is a Professor at Northumbria University, previously Reader the University of Edinburgh and Director of Art Writing at Goldsmiths, University of London.

mariafusco.net

Catalina Barroso-Luque and Victoria Chen Wei – eeeeeeeeeeeeeeeeeeeeeeeeeee (excerpt)

a narrative voice piece, focusing on how the body, the mind, and technology become entangled within inter/intra-personal relationships. The piece is inspired by interviews with my brother regarding his use of GECI viruses to map neural networks, the parallels of working within a hermetic studio and laboratory, and the possibility of slipping into the voices in one’s head. The narration leads the audience through nine hallucinatory episodes within which the narrator slips in and out of consciousness, loosing the ability to distinguish inside from outside, body from space, and itself from the ‘you’ it is addressing, Through playing with the desire to become-with an other, the machine and space, the work addresses notions of personal agency.

Writing, direction and editing: Catalina Barroso-Luque (b. 1988, Mexico City) Catalina Barroso-Luque received her MFA from the Glasgow School of Art in 2016 and her BA (Hons) in Fine Art from Central St. Martins College of Art & Design in 2012. Her work has been included in various exhibitions and projects across the United States, Mexico, and the UK. Recent projects include A Loving Aneurysm Glasgow Woman’s Library (2017), eeeeeeeeeeeeeeee The Pipe Factory, Glasgow (2017), Fictional Matters CCA, Glasgow (2016) and Between 9pm and Home Chalton Gallery, London (2015). Catalina is the current the Glasgow Sculpture Studio’s Graduate Fellow and a Committee Member at Market Gallery.

Voice-over: Victoria Chen Wei. Victoria is a pioneer graduate of Singapore’s School of the Arts and recently graduated with the Principal’s Award for All-Round Excellence from the Royal Conservatoire of Scotland. She has trained and performed internationally, including Australia, China, France, Iceland, Singapore, UK and USA, and draws inspiration from both Eastern and Western forms. She is currently an Associate Artist with Bhumi Collective and won the ESAF Best Performing Artist award in 2017 for her solo piece Charlie. Victoria is committed towards increasing positive representation and visibility for BAMEs. She aims to create and direct multidisciplinary work that challenges stereotypes and shares unheard narratives.

http://www.catalinabarrosoluque
http://www.victoriachen.co.uk

A new work from Catalina commissioned by Radiophrenia will premiere at a live-to-air event on Wednesday 15th May:http://radiophrenia.scot/live-to-air-performances/

Phaune Radio – Tiny Tunes- Metamorphoses: Cicada

Nothing in the cry of cicadas suggests they are about to die. ― Matsuo Bashō

For the noisiest insect on the planet, each and every experience is a chance to shape a unique and singular voice. To this end, the cicada – still a nymph – is getting prepared between 10 months and 17 years underground, sipping tree sap, until its molecular clock gives the so-long awaited signal. Then comes the time of love and air life, a synchronized time for millions of congeners who play together on the effect of saturation to survive predators. Ultimate song that can last for a single day, it is for this that our cicada moults and moves heaven and earth, before finishing as pulsed natural resources, on the ground, from where it comes.

Passing through a forests of cymbals which look at you with familiar eyes. On this stage, everything is possible.

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

Pheobe riley Law – score for a deer tunnel

A recording of a realisation of an open score (text / image) that I created during a residency at the Agosto Foundation, Prague, Czech Republic. Stones gathered nearby are placed on one of the supply gates inside the deer tunnel of Prague Castle.

Pheobe riley Law

currently based in Newcastle and Hull, my work often explores the documentation and transformation of materials including sound, text, film and reformatted objects. I am interested in reframing and dismantling narrative, subverting perceived normalities alongside the construction of personal or social behaviours and the inherent patterns of experience.
recent work includes improvised and graphic / text score based performances at Ftarri (Tokyo) , BBC radio 3, Fort Process Festival and film at Paradise Air (Japan), Fuse Art Space, Cafe Oto & the Coachhouse (Brighton)

http://www.pheoberileylaw.yolasite.com/

A sound piece that explores the tensions often experienced through extensive use of social media, hand held devices and digital dissemination of information.

I used screen captures of my online journeys while researching this composition as moving images to create scores from. The sonic narrative of these works echo the jarring imagery that was produced as a result of my low concentration span and complicity within the distractions of the web. Inspiration for the sounds featured within the composition include: monitor refresh rates, loading and buffering rates, the speed at which information is sent and received, malfunctions, scrolling rates, 140 character limitations and push notifications. I reimagined these elements sonically to form the tonal palette of the piece.

This work was co-commissioned by Resonance Xtra and The Jerwood Foundation.

Alicia Matthews is a Glasgow based artist and musician. Alicia has a background in sculpture and performance having studied both at the Glasgow School of Art and the Royal College of Art and has recently completed a MSc in Sound Design at Glasgow University. Her confrontational works have been performed to audiences around the UK and internationally at galleries in Lublin (Poland), Guangzhou (China), New York and at the Venice Biennale. The erratic and often jarring output of her solo musical endeavour, SUE ZUKI, has been aptly dubbed “Rhythm and Gloom”. These experimental soundscapes and loose, scathing lyrical narratives were brought to the Tate Modern in 2017 where they were performed as part of the NTS Tate Late series. In 2018 Alicia scored, and performed in, Liquid Sky – a new piece of visual theatre exploring the interface between sonic art and aerial circus, within a laser light scenography. Alicia hosts a monthly show on London’s NTS Radio under her SUE ZUKI moniker where she curates an uncompromising mix of industrial, no wave, spoken word, techno and metal alongside samples from popular media. Other projects include bands LAPS (DFA Recs, MIC Recs) and Organs of Love (Optimo Music).

Commissioned by Radiophrenia with the support of Creative Scotland, The Jerwood Foundation and Resonance Xtra.

New Young Peers Scotland- Weather

New Young Peers Scotland are a group of young unaccompanied asylum seekers and refugees living in Glasgow.

With the support of their partners – Glasgow Clyde College, Ypeople, and Glasgow Social Work Department – this group has come together to create a peer-to-peer mentoring network, which supports other young people arriving alone in Glasgow, unable to speak the language.

The three pieces produced for Radiophrenia take inspiration from audio guides, aiming to give advice to newly arrived young people. These pieces also challenge the comfort and comprehension English speakers usually have, when listening to the radio in the UK – so, even if you don’t understand what’s being said, just focus on the sound of the voices.

During Weather you heard:
Mohamed –from Syria – speaking in Arabic;
Christine–from Democratic Republic of Congo – speaking in Kinyamulenge;
Mahad – from Somalia – speaking in Somali;
and Kokob – from Eritrea – whose language is Tigrinya, but who spoke in English.

The group facilitators were Lyn Ma, and Lorraine Ward. The producer was Siobhain Ma, who’s a sound artist and one half of Sister Collective.

All three pieces by ‘New Young Peers Scotland’ – as well as transcripts, and English translations – will be available at radiophrenia.scot

I’m to breathe out the smell of rivers,
of unsalted water.
I’m to leave a black feather on the chair,
sharpened…

Squall is a 20-minute collaborative text/sound work, depicting a series of charged, ritualistic encounters between two speakers, tracing their relationship through memory, visitation, reckoning and catharsis. The piece interweaves texts by poet Helen Tookey and writer/composer Martin Heslop, set to an electronic soundscape created by Martin. Squall draws on imagery of the elements and the natural world to create the sense of a broken fairytale, charting a sonic journey through tension and claustrophobia towards openness and release.

Helen Tookey is a poet based in Liverpool. Her debut collection Missel-Child (Carcanet, 2014) was shortlisted for the Seamus Heaney Prize; her second full-length collection City of Departures is forthcoming from Carcanet in July 2019. She collaborated with musician Sharron Kraus on a CD/pamphlet, If You Put Out Your Hand (Wounded Wolf Press, 2016). Squall is part of an ongoing project with sound artist/composer/writer Martin Heslop, experimenting with collaborative processes of creating text/sound works.

Martin Heslop is a writer, composer and sound artist based in Newcastle Upon Tyne. He collaborates across art forms, with poets, playwrights, film makers, visual artists, composers, actors and dramaturgs. He has written words and music for publication, for release on record and for performance.

1. Vika Mnozina-Hashimoto – rhythmic machines and voices
2. Jeff Kolar – Music for Phone Booths – Anywhere in the world
3. Eleanor Zurowski – Scoring Classic White Bread
4. Toni Dimitrov – Earth (Listening) – 32 Horses, Mavrovo Lake, Macedonia
5. Mateo Shefford – WORKSHOP
6. Sara Lana & Felix Blume – Radio Mondial
7. Edward Bruce – Splicer
8. Antje Vowinkel – Amourirederire

1. Vika Mnozina-Hashimoto – rhythmic machines and voices

A selection of field recordings on iphone, in Tokyo, all bound by rhythm and repetition:
factory for metal parts, underground lo-fi speaker directions, martial sports practice at police station, girls playing tennis at school, street market vendour cries, sweeping up soy beans after Setsubun ceremony at Buddhist temple.

Vika Množina-Hashimoto a pedestrian in art practice and everyday. a collector rather than a creator. Studied Sound Art at Middlesex, London. Lives in Tokyo.

2. Jeff Kolar – Music for Phone Booths – Anywhere in the world

Music for Phone Booths is a multi-channel audio installation and recorded album intended to defuse the hectic atmosphere of Chicago’s City Hall and County Building. For this site-responsive work, Kolar composed original music for playback inside five vintage abandoned phone booths located underground in the Chicago Pedway. The compositions feature an 1863 S.D. & H.W. Smith pump organ and electronics. The project investigates the style, function, and format of Background Music – music created to be passively listened to. Music for Phone Booths is intended to induce calm and serve as a comfort station for daily commuters.

Jeff Kolar is an independent sound artist, radio producer, and curator working in Chicago, United States. He is the Founder and Artistic Director of Radius, an experimental radio broadcast platform established in 2009. His work, described as “speaker-shredding” (Half Letter Press), “wonderfully strange” (John Corbett), and “characteristically curious” (Marc Weidenbaum), activates sound in unconventional, temporary, and ephemeral ways using appropriation and remix as a critical practice. His solo and collaborative projects, installations, and public performances often investigate the mundane sonic nuances of everyday electronic devices. He has performed and exhibited widely across the United States, and at international venues and festivals.

http://jeffkolar.us

3. Eleanor Zurowski – Scoring Classic White Bread

‘Scoring: Classic White Bread’ explores the various languages of ‘instruction’ and the ways they intersect and mimic one another. The piece takes food recipes, musical scores and textual language functions as compositional departure points, juxtaposing their performances to form a degrading soundscape. Deconstructing Martha Stewart’s recipe for ‘Classic White Bread’ and using it as the sample material and audio effect prompts, the process explores potential ways of approaching linear instructions through using improvisation, in order to rethink socio-cultural normativities, specifically in relation to those that Martha Stewart epitomises. View the 13 ‘scores’ that were used to construct the piece here.

Eleanor Zurowski is interested in all things consumable. With a keen focus on foodstuff, they use both its materialities and socio-cultural symbolisms as a departure point, attempting to interrogate relationships within and dynamics of performative rituals in both public and private spaces. Through interventions and performance they encourage alternative methods of ‘consuming’ that call for intimacies with our environments, a greater consciousness of our behaviours and potentials for disturbing normative interactions.

4. Toni Dimitrov – Earth (Listening) – 32 Horses, Mavrovo Lake, Macedonia

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

5. Mateo Shefford – WORKSHOP

6. Sara Lana & Felix Blume – Radio Mondial

On July 15, 2018, over the course of 90 minutes, a big part of the planet followed the FIFA’s World Cup final tournament. We recorded around 60 radio broadcasters from all over the world which all commented on the match each in their own way: in Ghana, Mali, Brazil, Argentina, Poland, Thailand, Bangladesh, Indonesia, Morocco, among others. Through the sound-based coverage of one of the planet’s biggest events the act of listening unites people and brings us together in a global sense, but also gives us the opportunity to identify our cultural differences. For example, during half-time, some radio broadcasters interrupt the match with advertisements, while others have prayer calls, personal dedications, the local hour announcement, or simple bombarding listeners with jingles and music. In global and mostly visual times, when we are connected through a small screen and the internet, listening to the radio seems like an old-fashioned practice, but for soccer lovers the commentator is still a relevant and an important character in their lives. This sound collage invites us to listen to a story of which we all know the end through a variety of languages, accents, rhythms and melodies within a background of crackling and saturation, very common sounds in radio broadcasts.

http://www.felixblume.com

7. Edward Bruce – SPLICER

By playing with the notions of attack and defence I have produced a sound work that combines elements of both usinga sequence of proclamations of two netball positions such as WA and GD (wing attack and goal defence) spliced together. The opposing positions can be heard as a new hybrid form or two opponents: a male and a female voice, engaging then preparing for the next round of combat or union.I imagine the ‘space’ in which the sound work takes place as some form of games court where the two opponents play a rules-based game such as fencing.

Edward Bruce is a Glasgow based multi-media artist. He has recently completed a Master’s in Fine Art Practice at the Glasgow School of Art. Previously he has a BA in Fine Art fromNorthumbria University where he won the Alcan Prize for Sculpture. After his degree, Edward lived and worked in London where he exhibited with the Glue Factory group. As part of European Capital of Culture 2008 he made Ringing Banners, an Arts Council funded installation and performance in Liverpool Cathedral. A member of Glasgow Print Studio he continues to develop solo and collaborative projects locally and internationally.

https://edwardbruce.net/

8. Antje Vowinkel – Amourirederire

For a child’s voice and harmonium.

Antje Vowinckel is a sound artist, radio artist and musician. She works for a variety of public radio stations and creates live performances and installations in public space. e.g. In places of Logic for text projections, organ and objects and Inside-out (Bucharest). Works have been presented on international festivals e.g. Issue-Project-Room, NYC, ZKM and others. Her focus is on the musicality of the spoken wordin works based on automatic speaking or dialect compositions. For her work she was awarded with the Karl-Sczuka-Förderpreis, Plopp-Award, Prix Europa, ZKM-Award „Ferrari recouté“, Ars Acoustic Award of RNE Madridandbalonbabel, CMMAS, Mexcio.

http://www.antjevowinckel.de

The web is a sketchbook that we are flipping through rather than a profound collection of concrete intensions. It is a cloud created equally by the clash of subculture aesthetics, consumer behaviour and globally but at the same time loosely linked content. The relevance of any text, speech or sound fragment depends on the world view of the receiver and the reason for trasmitting it becomes transmission itself. Therefor communication is not about making an individual answer your call, but making someone start questioning himself by receiving an income from a no mans land.

Sebastian Schönfeld alias Owl Yeah is a Munich-based sound- and video artist. He received his Diploma in Fine Arts at the Academy of Fine Arts Munich in 2019 under Prof. Karin Kneffel. Besides his general interest in phaenomena and aesthetics of the internet, he is focused on the perception of spatiality as a localization of actions or passages of threshold.: What defines audio-visual interfaces, or the boundary between virtual and material spaces? At which point does sound or imagery start to become a narrative or an illustration and how to potentially position oneself as a recipient in this context?

https://soundcloud.com/owlyeahofficial
https://vimeo.com/owlyeahofficial

For Radiophrenia Giuseppe Mistretta will present a live improvised electronic composition.

Giuseppe Mistretta is a multidisciplinary artist working with video, sound, writing and performance.

”The unreal world must be round all this—the phantom waves. […] Could one not get the waves to be heard all through? Or the farmyard noises? Some odd irrelevant noises.” (Virginia Woolf on June 23rd 1929, A Writer’s Diary p. 141)
The Waves is a radiophonic composition inspired by Virginia Woolf’s novel of the same name.

The piece is divided into 6 five-minute sections that each explore one theme or episode from the novel:
1.
Prologue
2.
Chorus I: Dawn
3.
Chorus II: The Garden
4.
Chorus III: Hampton Court
5.
The Roar of Time
6.
Epilogue

Katharina Schmidt is a musician and writer based in Berlin. She works with Cashmere Radio, Sonic Field, and SVS Radio, among others, and holds a master’s degree in Sound Studies from the Berlin University of the Arts.
For more info, you are welcome at http://www.katharina-schmidt.net

‘The Stubborn Organic Emblem of Social and Biological Survival’ tells the story of a King in Waiting (loosely based on HRH The Prince of Wales) who embarks on a sadomasochistic relationship with a sentient Aspidistra Plant. Think ‘Fifty shades of Grey’ crossed with ‘Day of the Triffids’.

Storyteller is a collaboration between writer & occasional filmmaker Bruce McClure and sound artist Bjørn Hatleskog. This recording is an edited version of a longer piece released on cassette on Adaadat in 2018.

http://www.adaadat.co.uk/storyteller/

Field recording on a narrow boat along Regent’s Canal next to Victoria Park, London.

British artist. Working with text, prose, sound and ordinary objects. Interested in human interaction and the internal dialogue, memory, mental health, and the slow rush of time.

https://soundcloud.com/paulmichaelbrowne/narrow-boat

The programme evokes the politics and poetics of sound in Mzuzu, Malawi. The microphone led by authors registers the true and fictional stories about the role of drums, speakers and other sound devices in the possession cults recently prohibited in Malawi (part one) and general elections planned for 21 May (part two).

Due to the participation of Malawian authors, the narration reflects local attitudes toward poetics of media. The aspect of the participation is inspired by experimental ethno-fictions of Jean Rouch, Safi Faye and Miyarrka Media.

The programme blends forms of radio play, documentary, site-specific sound collage and DJ mix. It is produced in cooperation between ethnomusicologist Piotr Cichocki Dang and journalists, musicians and producers from Mzuzu, Malawi: Peter Kaunda, Albert Manda, Emmanuel Mlonga Ngwira.

Referring to the experimental genre ethno-fiction, the programme evokes the politics and poetics of sound in a modern African city. The sound (including music) bonds there interconnected religious, economic, political and personal activities at streets and private spaces. Approximately 300 thousand Mzuzu is deeply saturated with electronically and mechanically generated sound. But these tones mix also with carnal rhythms and harmonies, that vary from everyday life thick conversations to prayers and beats of acoustic drums.

The microphone led by Malawian authors and the ethnographer registers the true and fictional stories about the role of drums, speakers and other technical devices in the life of the community and individuals. It traces religious rituals, discotheques, political rallies and intimate narrations of human subjects. The theme organising these narrations relates to the possession cults recently prohibited in Malawi (part one), general elections planned for 21 May (part two) and relations between them.

The montage gathers the fragments of interviews conducted by Cichocki, Kaunda and Ngwira with Mzuzu dwellers, recordings from streets, houses and public spaces, sound effects generated on the spot, local sound studios, scarps of political and commercial advertisements along with meta-narrations plotted by authors. The producers of the programme do not hide their actual presence in the mix, thus leaving a clear outline of the form of the document.

Cichocki and local producers perform the montage. The structure of the narration uses a combination of linear plot, collage, the repetitiveness along with other effects used in Malawian radio and TV programmes. Due to the participation of Malawian journalists and producers, the narration reflects the local attitudes toward the poetics of media. The methodology of the project is inspired by experimental ethno-fictions of Jean Rouch, Oumarou Ganda, Damouré Zika and other Nigerien actors, films of Safi Faye and Miyarrka Media (the cooperation between anthropologist Jennifer Deger and Yolngu group elders).

Gate Man contains recordings of several christian and vimbuza rituals.
Contains also fragments of discussions with Sarah Tembo Saulos (Voice of Livingstonia Radio) and Rev. Harden Chitseko Mbinga under permission given by both.

Piotr Cichocki, PhD is a researcher, lecturer, musician, producer and publisher. He holds a position of adjunct professor in the Institute of Ethnology, University of Warsaw. He studies the relation between technology, religion and music in Malawi and Tanzania. Among his recent and prepared publications are volumes on “Ethnographic Ear” and “Immateriality of Development”, a multimedia exposition “Cargo/(im)materiality”. His goal as a producer and musician is to mediate between geographical (i.e. European and African), technological (digital and analog) and methodological (improvised, composed, sampled and generated) modes of production. To achieve the goal he has established the record label 1000HZ.

Martin Kaphukusi – musician, choir leader, producer, filmmaker, actor, IT specialists from Mzuzu, Chiputula district. He runs the audiovisual outfit Wave Diamond Records along with association of Chiuputula young musicians, Wave Diamond Heritage. He played, directed in movie “Four roses” as well as composed soundtrack to.

Featuring:
Maria Fusco – Legend of the Necessary Dreamer 5: Death At Least (6:27)
Kate Carr – By Cowardice Or Courage (from the album ‘The Thing Itself And Not The Myth’) (5:14)
Kerrith Livengood Clang Jingle Clang blog 83 (0:57)

Fierbinteanu – Consumers (3:10)
Zoe Chalaux – Generatrice (3:13)Paul Michael Browne – Pocket Call From A Colleague (2:22)

Maria Fusco – Legend of the Necessary Dreamer 5: Death At Least

“a new classic of female philosophical writing” Chris Kraus

Legend of the Necessary Dreamer is an ambient novella, a multi-sensory essay, an excavation of the historic Palácio Pombal, a work of impatience and death. Maria Fusco reads the whole book, acting as an ear and a mouth, creating embodied entanglements, paying close attention. Legend of the Necessary Dreamer is published by Vanguard.

Maria Fusco is an award-winning Belfast born writer based in Glasgow, working across fiction, criticism and theory, her work is translated into ten languages. Her collection Give Up Art: Collected Critical Writings (LA/Vancouver: New Documents, 2017) has been described by James Elkins “after a book like this, most nonfiction seems curiously unaware of what writing can be.” Her latest work ECZEMA! celebrates the 70th anniversary of the NHS, commissioned by National Theatre Wales, it is published as a vinyl disc by Accidental Records. Master Rock is a repertoire for a mountain, commissioned by Artangel and BBC Radio 4, the experimental radio play has been experienced by more than 2.5 million listeners. She is a Professor at Northumbria University, previously Reader the University of Edinburgh and Director of Art Writing at Goldsmiths, University of London.

mariafusco.net

Kate Carr – By Cowardice Or Courage (from the album ‘The Thing Itself And Not The Myth’)

Kate Carr is a field recordist and sound artist. She has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico.

http://www.gleamingsilverribbon.com

A new live performance ‘Contact’ commissioned by Radiophrenia will premiere on Wednesday 15th May:http://radiophrenia.scot/live-to-air-performances/

Kerrith Livengood Clang Jingle Clang blog 83

11/22/10: numb extremities: sine waves at extreme edges of audible frequency range, deliberate clipping.

Clang Jingle Clang was a project for which I created a new piece of electroacoustic music every day for a year, and posted it online.

I am a composer and performer who, between September 2010 and September 2011 created, recorded, and posted a new piece of electroacoustic music online, every day, using concert instruments toys, tools, instruments, computers, friends and anything else I could get my hands on. https://www.clangjingleclang.com/ http://www.kerrithlivengood.com/

Fierbinteanu – Consumers

“Consumers” is a short ars-acustica experiment on individual passivity in the face of any socio-political or hedonistic impulse. ‘The surreal background and the burlesque music with its ironic, amusing lyrics create a flamboyantly wrapped social critique’ (Călin Boto, BIEFF 2018). The sequence is from “The Great Scheme Of Things” – an LP, a performance involving dance, visuals and theatrical elements, a concert and an experimental film made up of videos on the album. The authors, Fierbinteanu, are a multiple award winning Romanian art-pop duo, consisting of Gabriela (vocals) and Cristian (vocals, computer, bass).

http://www.fierbinteanu.com

Zoe Chalaux – Generatrice

Chaudière (“Boiler”), Déshumidificateur (“Dehumidifier”) and Génératrice (“Generator”) are three short pieces based on the same idea (+ Frigo – “Fridge” coming soon): In the first part you hear a kind of evolving drone which is a record of the buzz produced by some electrical installation that a I hear daily. I process this record with a band equalizer in order to highlight the harmonics of the drone and play with them. For the second part, I tried to sing those harmonics and through recording and edition I navigated through those sounds.

I joined the wonderful world of art three years ago when I entered ESAAA, Annecy Alpes
Experimental School of Art. Most of my work consists in videos, sound pieces and sound/text performances. I am often playing again a piece of reality that appeals to me – whether a sound, an accent, a cinema genre… Through the process of selecting and playing it with my own means, something new is created. In 2019, we created with colleagues a radio collective, Trente Minutes au Four. We’ve broadcasted three live programs through the web so far (links soon available). This collective is a way for us to experiment radio art and to share this experience with listeners.

Paul Michael Browne – Pocket Call From A Colleague

Ongoing voicemail project.

British artist. Working with text, prose, sound and ordinary objects. Interested in human interaction and the internal dialogue, memory, mental health, and the slow rush of time.

https://soundcloud.com/paulmichaelbrowne

A sound piece that explores the tensions often experienced through extensive use of social media, hand held devices and digital dissemination of information.

I used screen captures of my online journeys while researching this composition as moving images to create scores from. The sonic narrative of these works echo the jarring imagery that was produced as a result of my low concentration span and complicity within the distractions of the web. Inspiration for the sounds featured within the composition include: monitor refresh rates, loading and buffering rates, the speed at which information is sent and received, malfunctions, scrolling rates, 140 character limitations and push notifications. I reimagined these elements sonically to form the tonal palette of the piece.

This work was co-commissioned by Resonance Xtra and The Jerwood Foundation.

Alicia Matthews is a Glasgow based artist and musician. Alicia has a background in sculpture and performance having studied both at the Glasgow School of Art and the Royal College of Art and has recently completed a MSc in Sound Design at Glasgow University. Her confrontational works have been performed to audiences around the UK and internationally at galleries in Lublin (Poland), Guangzhou (China), New York and at the Venice Biennale. The erratic and often jarring output of her solo musical endeavour, SUE ZUKI, has been aptly dubbed “Rhythm and Gloom”. These experimental soundscapes and loose, scathing lyrical narratives were brought to the Tate Modern in 2017 where they were performed as part of the NTS Tate Late series. In 2018 Alicia scored, and performed in, Liquid Sky – a new piece of visual theatre exploring the interface between sonic art and aerial circus, within a laser light scenography. Alicia hosts a monthly show on London’s NTS Radio under her SUE ZUKI moniker where she curates an uncompromising mix of industrial, no wave, spoken word, techno and metal alongside samples from popular media. Other projects include bands LAPS (DFA Recs, MIC Recs) and Organs of Love (Optimo Music).

Commissioned by Radiophrenia with the support of Creative Scotland, The Jerwood Foundation and Resonance Xtra.

“Two Cities” is composed of spoken word, poetry, site-specific field recordings, & acousmatic sound. The work encompasses themes of ecology, personal position, isolation, community and the liquidity of modernity, in all it’s elusive forms. The reflection of two artists dwelling in two cities funneled into one place here & now for the listener. Ilaria Boffa, lives in Padova, Italia and Jeff Gburek in Poznan, Polska. They contemplate together and apart the waters rising and receding in the wake of civilizations that mark the tide levels of the planet. Audio, music and composition by Jeff Gburek.

Part 1. “The Shrinking Pond”

Begun in 2016, when the desiccation of the region had just about peaked and all local bodies of water seemed still to shrink from contact with the outside, the recordings from early Spring, the crisis of a dry Spring. The environment was documented on 3 different levels and these sound layers are revealed in the animated and multi-dimensional audio-texture: one strata is the literal binaural ambience, the noises of machines and animals heard within human range; the next, hydrophones in the river and pond, and then recordings of magnetic resonance fields (caused by electric cables, street lights, automobiles, cell-phones — all using a disembodied guitar pick-up to capture sounds that are not normally within the human auditory spectrum. These sounds were then re-composed into a series of free audio spirals. After having heard Ilaria Boffa’s work, “The Two Cities”, I decided to add another spoken word intervention of my own, recorded this November, contemplating the atmosphere of ecological indeterminacy and human fragility. Together with the following piece “Aqua Alta, the tables are turned, nature is swelling at the seams.We stretch the cable of trans-communication, make ghost-bridges between two cities far flung and yet conjoined by a common liquidity. Special thanks to Marco Lucchi for the fragment of his “November Song” that appears in the composition.

Part 2 “Acqua Alta”

Embedded in this track is the voice of Ilaria Boffa speaking on two occasions. The first are phrases commemorating the language of Zygmunt Bauman (the sociologist, born in Poznan) and the concept of Liquid Modernity while the second moment takes us on her journey to Venice amidst the floods in November where she recites a spoken poem called “The Two Cities” (text below) which, in her own words, “deals with a profound sense of absence and distance, the acceptance of a painful looming scenario that echoes from a remote past. Sinking, drowning becomes simultaneously a very private and universal condition, a reflection on the global eco-dynamics currently shared by living and non-living beings.”

The compositions feature texts and field recordings made by Ilaria Boffa in Venice recomposed, reconfigured and supplemented by Jeff Gburek in the studio and around Poznan, featuring slide guitar, piano, field recordings, radio captures, incidental voices (birds even). Thanks to Kołorking Muzyczny for piano and “the space to think” and Karolina Ossowska (backing vocals/voices on “Acqua Alta” and for inspiration in general).

Jeff Gburek is a multi-instrumentalist, sound designer & composer who uses prepared guitar, radios, magnetic field antennae, theremin, manipulation of organic objects, & special microphones to bridge formal music & environmental sound sources, bringing multiple dimensions of sound into consciousness. He has lived in San Francisco, Montreal, NYC, Berlin, Brussels, Lyon and now Poznan. Collaborators include Michael Vorfeld, Tetuzi Akiyama & Keith Rowe of AMM. He’s performed at Unidram Festival in Potsdam, Ad Libitem Festival in Warsaw, FRIV Festival in Poznan. He currently leads workshops offers private lessons on improvised music, acoustic ecology, field recording at Kołorking Muzyczyny, Poznan.

http://transparent-abelard.blogspot.com/
http://soundcloud.com/jeff-gburek
https://jeffgburekprojects.bandcamp.com/

Three performances broadcast live from the theatre at Glasgow’s Centre for Contemporary Arts:
Sally Golding – Light Therapy

Kate Carr – Contact

Catalina Barroso-Luque & Marta Soriano – Tongued Red

 Light Therapy

Sally Golding presents a live audiovisual performance using amplified lighting and light sensitive audio – exploring the function of light as both a therapeutic and triggering stimulus. Using repurposed electrical devices reaching minimal and maximal points of threshold, Golding uses performative gesture and voice to explore the narrative of perception and emotion. Discordant sonics, harsh lighting and PA shattering laboratory strobe lights alter the function of both the performance space and the radio listener’s zone, auditioning aural and visual states of light and darkness. A punk session of light collective therapy that will challenge your comfort zone.

Sally Golding is a British-Australian artist whose work considers participation and liveness in audiovisual art as a mechanism for shared experiences and dialogues within technological contexts. Golding’s audiovisual performances play upon the politics of listening and seeing – edgy and intense in nature, they unravel in the style of a ‘happening’ to incorporate aspects of the performance space to investigate the social potential of opto-sonics.

Golding has performed throughout the UK, North and Central America, Europe and Australasia including Tate Britain (UK), Serralves Museum (PT), Digital Culture Centre (MX), Centro de Arte Dos de Mayo – CAM2 (ES), Sound of Stockholm (SE), Australian Centre For the Moving Image (AU), KRAAK (BE), International Film Festival Rotterdam (NL), SONICA (SI), San Francisco Cinematheque (USA), and Contemporary Art Centre (LT). Golding’s participatory installations have been shown at the Institute of Modern Art (AU) and South London Gallery (UK). Golding is a recipient of the Oram Award 2017 (New BBC Radiophonic Workshop/PRS Foundation) for women innovating in sound and creative technologies. Golding is also the curator of the event and festival platform Unconscious Archives.
http://www.unconscious-archives.org/

Kate Carr presents Contact. This piece explores sonic transmissions and emissions, radio, morse code, sonar, satellite, blue tooth, and wireless. From our efforts to track and transmit into our solar system using radio, to blue tooth connections across the room, this work examines the ephemeral sonic tools we use and the traces these leave as we attempt to reach each other, and place ourselves in the world, and indeed the universe. It is an ode to the fragility, dynamism and determination encapsulated in the ways we attempt to connect.

Kate Carr is a field recordist and sound artist. She has been investigating the intersections between sound, place, and emotionality both as an artist and a curator since 2010. During this time she has ventured from tiny fishing villages in northern Iceland, explored the flooded banks of the Seine in a nuclear power plant town, recorded wildlife in South Africa, and in the wetlands of southern Mexico.

http://www.gleamingsilverribbon.com

This piece explores sonic transmissions and emissions, radio, morse code, sonar, satellite, blue tooth, and wireless..

Interweaving English and Spanish, this erotic monologue explores a linguistic colonisation charted on a sexual, psychological and corporeal terrain.Performed by Marta Soriano. Written & directed by Catalina Barroso-Luque.
Catalina Barroso-Luque is a Mexican, Glasgow based, artist interested in how text penetrates and colonises bodies – her own and those around her. Her practice spans across writing, curation, installation and voice performance. Catalina often works with practitioners in other fields, playing with how interactions infect and inflect each other. Recent projects include: Ñ (2019, MAP Glasgow); Cannibal O publication (PSS, London) and curated evening (2019, Intermedia CCA, Glasgow); soft . lipid. love solo exhibition (2018 Chalton Gallery, London). Catalina will be curating a screening on hatred and female sexuality at Pandeo ( June 2019, Mexico City) and developing new work based on research on infections and translations carried out between the Wellcome Centre for Anti-infective Diseases (Dundee) and cheLA
(September 2019, Buenos Aires).

Marta Soriano is a multidisciplinary artist based in Edinburgh. She has a Diploma in Physical Theatre Practice from Summerhall (Edinburgh) and has recently performed at the Glasgow Championships 2018 and Talbot Rice Gallery (Edinburgh). Marta has a background in Classical music as professional flutist performing at different Spanish orchestras/ensembles and combining this with a career in pedagogy. She also studied different music styles, focusing on in Latin Music, at the World Music department of CODARTS conservatory of music in Rotterdam. In that period she developed her singing and improvisational skills joining different music bands & circus projects. She has a wide training in dance and theatre though workshops and collaborations in different artistic projects.
http://www.catalinabarrosoluque.

1. Steph Morris – Duets2. Olivia Furey – Making a Ruckus in the Studio
3. Amanda Brannin – We met
4. Vincent Eoppolo – Nuit diaphane …à Pierre

Description:
1. Steph Morris – Duets

An audio reflection on Glaswegian life. Part field recording, part poetry, part soundscape, it explores isolation, relationships, community, and the wide-open gaps in society.

“Duets” was created by Steph Morris, a writer and performer from Glasgow. She experiments with poetry and song writing, theatre and film to communicate life as she experiences it. All of Steph’s work is drawn from autobiographical content, mixed with the stories of others whose experiences mirror her own.

2. Olivia Furey – Making a Ruckus in the Studio

This piece is an exploration of combining traditional instruments with instruments Olivia has built. The piece was recorded live along with a pre-recorded track of Olivia playing guitar. In the live performance Olivia is popping bubble wrap with a contact mic, hitting a sheet of metal with a kick drum pedal and rubbing a contact mic over a guitar Olivia invented with a variety of different types of strings e.g. dental floss, metal rods, guitar strings, bass strings.

Olivia Furey is currently a second year student of the MFA in Contemporary Art Practice at Edinburgh College of Art. Her most recent works have included performances that are heavily interactive with audience members that explore the feeling of safety when being and audience member in comparison to the feeling of safety as a performer. In these performances, Olivia takes on several different personas that touch on a variety of different issues relating to politics, society and contemporary culture. A recent introduction to the performances has been sound work that Olivia incorporates with instruments she has invented and found objects.

3. Amanda Brannin – We met

The world continues without us witnessing. Ice shifts, birds sing. We met. Very quickly.

I’m an artist from Texas that works with sound and space (spaces, spacing) in various contexts.

https://soundcloud.com/amandabrannin

4. Vincent Eoppolo – Nuit diaphane …à Pierre

An hommage to late Pierre Henry. 2 track fixed media acousmatic music composition realized in 2018. Created using various techniques and technologies such as analogue modular, FM and granular synthesis as well as field recordings. Recorded in my studio Eclisse.

My compositions are a synthesis of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art.

https://soundcloud.com/societys-realization

1. Aume – Transmission (Part II)
2. [BOX] – Krautrock Docu remix
3. Neil Verma – What’s It Going to Be, Numbers?/I Smell Like Fish Every Day
4. Skitter – White Magnetic Forest

1. Aume – Transmission (Part II)

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)

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.

aume.bandcamp.com

2. [BOX] – Krautrock Docu remix

This piece is formed of a randomised playing of 10min files, found on YouTube, of the BBC 4 documentary about the music produced in Germany from around 1968 to the late 70s. I have used these fragments to create a soundscape inspired by these so-called ‘Krautrock’ bands by manipulating the audio using various digital audio techniques. My aim was to turn the documentary film into another form of documentary. It is playfully done, an attempt to make a ‘krautrock’ track out of the documentary.

Neil McIntee aka [BOX] is an audio/visual artist and designer based in Dundee, Scotland. In 1985 he gained a BA(hons) in Fine art and in 1986 completed a Post Grad in Fine art. From then on he has been working as a painter sculptor draughtsman and printer. In 2003/04 he did an MFA using sound as a sculptural basis of his research. From 1994 he has performed and recorded in various situations such as a Movement of Moles, collaboration with Michael Forsyth plus others, but mostly as [BOX] which has been his solo project since 1996.

https://www.facebook.com/neilmcinteeartist/
https://box777.bandcamp.com
https://electonic.bandcamp.com/music

3. Neil Verma – What’s It Going to Be, Numbers?/I Smell Like Fish Every Day

A one-minute collage of stealth recordings from Borough Fish Market in London, March 2018.

4. Skitter – White Magnetic Forest

“white magnetic forest” includes collaged online field recordings from the Caatinga in north eastern Brazil (which covers 850,000 km², nearly 10% of Brazil’s territorial area).
The translated title comes from the indigenous Tupi word for the region (‘white forest’)
“where later there was the political domination of the so-called “colonels”, obliging to develop a culture of resistance, of the matuto, legitimately sertaneja, connoisseur of the caatinga”

Thanks to Christopher Mack in São Paulo for locating some of the source material.
Recorded and assembled by skitter [Liam Stefani] in Glasgow during 2018

This radio collage tackles the recently discovered and little understood chronic condition known as Misophonia. This condition is characterized by highly negative emotional responses to auditory triggers like chewing, breathing, sniffling, coughing, or slurping. Mixing a broad range of intrusive bodily sounds and discourses around it, this piece represents an attempt at reframing misophonic trigger sounds into something more musical or, at least, bearable. This piece is part of NAISA’s Deep Wireless 13 Compilation.

Carlo Patrão is a Portuguese radio artist based in New York City. His radio work has been commissioned and featured on several international radio stations and in audio festivals. He likes to write about sound studies, plant music and the poetics of balloon music and has shared his independent research at Harvard University and the Museum of Contemporary Art in Denver.

Seven years staring at the sun… trying to remember

http://mouthinfoot.net
https://soundcloud.com/mouthinfoot

Dave Madden’s (aka Tulpamancers, nonnon, dj_webern) earliest memories are Magical Mystery Tour, “Paint it Black” and the guy who claimed to be the Lizard King. He uses percussion, found objects and sounds, laptop, turntables and an obsessive bending of synthesizers into the way they are not supposed to react to perform and / or DJ all over the world, from Montreal to Chico, California, in universities, museums and coffee shops, preferring the types of crowds who enjoy John Cage back to back with Anti-Pop Consortium.

https://thenonnon.bandcamp.com/
https://tulpamancers.bandcamp.com/
https://soundcloud.com/nonnon