Across the two-week broadcast period Radiophrenia will be presenting a series of specially commissioned Live-to-Air performances –
Tuesday 7th November
Sue Tompkins & Russell Haswell • The Modern Institute • Asparagus Piss Raindrop
Friday 10th November
Alexander Storey Gordon & Richy Carey
Sunday 12th November
Sarah Angliss & Stephen Hiscock • Anthony Autumn & Christopher MacInnes • Carrie Skinner
Wednesday 15th November
Felix Kubin • Cucina Povera • Angharad Williams
Thursday 16th November
Espen Sommer Eide • Resonance Radio Orchestra • Ben Knight & Tom White
Selected artists have been asked to respond to the unique circumstances of creating a work that is simultaneously a live performance and a radio broadcast, reflecting the fact that there will be an audience present in the theatre in addition to an unseen audience of listeners at home. Each of these events is free and open to the public.
Our Live-to-Air programme is supported by Creative Scotland, CCA Glasgow, Outset Scotland and The Jerwood Charitable Foundation.
All events are free but ticketed. Tickets available from CCA Box Office
Tuesday 7th November
From 7pm, CCA Theatre Space
Sue Tompkins & Russell Haswell
One Radio Piece
A real-time investigation into vocal legibility – a scripted vocal performance with concurrent synthesis and sound design.
Russell Haswell (b. 1970. Coventry) & Sue Tompkins (b. 1971. Leighton Buzzard) are both Artists, and have both exhibited and performed nationally and internationally. They recently collaborated on a track & video, for Russell’s forthcoming mini-LP, Respondent, for Diagonal Records. Sue is currently exhibiting new works at The Modern Institute, Glasgow.
The Modern Institute
Performance by The Modern Institute
Continuing with the legacy of The Modern Institute presenting culturally relevant lectures, the Modern institute will continue their culturally relevant lecture series with an accompanied audience q+a.
The Modern Institute is a Cultural Establishment based in Glasgow.
Performance by The Modern Institute was co-commissioned by Resonance Extra as part of Strands, supported by Jerwood Charitable Foundation
Asparagus Piss Raindrop
R&R Rat Race at The Witch Hazel School – Phase 3
The Scene: night, skeletal pieces of driftwood, small fragments of friendship washed up on the beach of late capitalist dystopia. A few small creatures are stirring in the phosphorescence and the jellyfish decay. Are they friendly? Are they of this world?
Announcing Phase 3 of R&R Rat Race at The Witch Hazel School, a radio play by Asparagus Piss Raindrop. Wherein:
– All characters are based on real people but their names have not been changed to protect the innocent.
– Accompanying sounds will be created using amplified contracts, canned migration and organic folé.
For this performance Asparagus Piss Raindrop are Neil Davidson, Lucy Duncombe, Liene Rozite, Julia Letitia Scott, Fritz Welch
Asparagus Piss Raindrop are a crypto conceptual science fiction anti climax band dedicated to pushing beyond all reasonable limits what live music performance can be. Asparagus Piss Raindrop is formed from a dreadful, ever-expanding pool of performer / composer / improvisers from the Glasgow (and beyond) experimental music scene. The group‘s work arises from the questions; How can we do things otherwise? What musical forms arise from and inform our daily experience? Performances typically draw on such things as recycled children’s games, group therapy, shapeshifting, declarations of ridiculous texts, geology, architectural intervention, gender theory, site specificity and slug reproduction. APR have been commissioned to produce work by Tectonics Glasgow, Glasgow International, Tectonics Iceland, Transmission Gallery Glasgow, Association CRIC in France and Supernormal Festival in Oxfordshire.
Friday 10th November
From 8pm, CCA Theatre Space
Alexander Storey Gordon & Richey Carey
Wondering Soul explores radio broadcasting materially through live performance, looking at alternative forms of how audio is broadcasted or made public as well investigating the fringes of radio, its liveness, glitches, and ghostly interferences. This exploration or experimentation forms the backdrop to an investigation of sonic phenomena on the edge of human perception which are often characterised in the human mind as supernatural, weird or the eerie. In particular we are focusing on the ghost and the algorithm as similar forms who’s histories might inform an understanding of each other, telling a wider story of broadcast technology and human intimacy.
Alexander Storey Gordon makes drawings, film, text, performative and event based works that articulate the tensions between our bodies, our environment, and others. Crucially, looking at the way these agitations both in the social body and the individual mind are mediated and played back to us through the structures of film and literature.
He graduated with a degree in Printmaking from Grays School of Art in 2010 and has since exhibited widely both within the UK and Internationally. recent exhibitions have included A Apoheny, Intermedia Gallery, CCA, Glasgow, (solo) 2017; Suppose there is A, ICA Singapore (group) 2017; A P A R I Ç Ã O, Phosphorus, Sao Paulo (solo) 2015; and Be Vigilant Dear Friends, Because You Never Know When Your Going To Have Your Eyes Gouged Out, Glasgow Project Rooms 2014 (solo).
Richy Carey is a sound artist and composer. Broadly speaking, his work looks about the way we listen to film, thinking about what the sound of an object or material is, not the sound it makes. He’s currently doing AHRC funded PhD research into the relationship between materiality, language and film sound at Glasgow University.
Recent works and collaborations include Sonorous Objects, with Lauren Gault and Mark Bleakley, Memo to Spring, for Sarah Rose (Scottish National Gallery of Modern Art, 2017), Special Works School, with Bambitchell (Gallery TPW, Toronto, 2017), Forms of Action for Asunción Motions Gordo (CCA Glasgow. 2017), “You’re saying exactly how I feel” with Tom Walker (TAP Gallery, 2016), There’s something happening somewhere, with Carrie Skinner (Tron Theatre, Glasgow, 2016) and INCONGRUOUS DIVA for Cara Tolmie and Will Holder (British Art Show, John Hansard Gallery, Southampton, 2016).
Sunday 12th November
From 7pm, CCA Theatre Space
Sarah Angliss and Stephen Hiscock
Theremin, carillon, ventriloquism, percussion and automata feature in this performance inspired by the electrical mysticism in GEO S Hazelhurst’s ‘The Invisible Telegraph of Tomorrow’. Writing in 1887, 14 years before a faint radio signal was first transmitted across the Atlantic, the author prophesized a time when messages would be transmitted around the globe by telepaths lined along the shores of each continent. This musical per-formance will include some reenactments of experiments in chapter 1, Hazelhurst’s trea-tise on thought transference.
Sarah Angliss is a composer, automatist and live performer whose music explores resonances between English folklore and early notions of sound and machines. Sarah’s particularly known for her skills on theremin and recorder and for the robotic instruments she designs and builds to work with her on stage. Sarah also composes for live film scores and theatre, most recently for Eugene O’Neill’s expressionist play ‘The Hairy Ape’ (at The Old Vic, London, and Park Avenue Armory, New York, directed by Richard Jones). She’s currently composing an electroacoustic chamber opera on the life and death of Charles Byrne (with librettist Ross Sutherland, for Aldeburgh Music and the Jerwood Charitable Trust) and creating sounds and music for a live stage version of The Twilight Zone at The Almeida Theatre, London. Her recent album Ealing Feeder was released in April 2017. “The most inventive album I’ve heard in a long while…a testament to Angliss’s imagination and sheer musicality”, Simon Reynolds, 4 Columns, New York. “A highly atmospheric and compelling listen…drawing on a dense skien of real pasts and imagined futures to talk lucidly and provocatively about the present”, Robert Barry, The Wire Magazine.
Stephen Hiscock is a composer, drummer and percussionist, working for film, advertisements, theatre and the concert hall. His works have been performed at the Melbourne Festival, Aardklop Festival (South Africa), Purcell Room, Royal Festival Hall, Glastonbury, Latitude and a national tour of Ghana. Most recently he’s been writing for the theatre. He was composer and live soloist in Complicite’s Lionboy which toured in 2015 to the UK, Hong Kong, South Korea, South Africa and played for two weeks on Broadway in New York. Also ‘X&Y’ – a two-hander with Marcus Du Sautoy and Victoria Gould – produced by the Science Museum and performed at all the major UK festivals. In 1992 he was a founder member of percussion group ensemblebash, performing world premieres of works by Steve Reich, Stewart Copeland, Nitin Sawhney, Django Bates, Eric Whitacre, Imogen Heap, Keith Tippett and Tan Dun. His percussion features extensively on Angliss’ debut album Ealing Feeder. He’s currently on European tour with Mark Eiztel.
Anthony Autumn & Christopher MacInnes
For their new live performance Anthony and Christopher will be generating a semi-improvised composition of vocality and soundscaping. Drawing on writings and field-recordings gathered over the past year, they will create an immersive and disorientating journey through an imagined sub-aquatic landscape.
Interior Ocean is a slow crawl through the jellied monoculture swamping the petrified machine-scape of global capitalism. Originating from a fascination in the unique biology of jellyfish and the strange relationship they have to globalisation, the performance will explore the complex entanglement between built and natural ecologies. Both collateral interference and agent of globalisation, the jellyfish becomes a parallel entity for the SSRI-infused emotional labourer, the symbiotic host of insomniac-twitching, 24 hour on-screen living.
Anthony Autumn is an artist whose varying practice centres on writing and collaboration. Previously a dedicated performance poet and editor-at-large of HOAX publication, Anthony currently programmes and runs art and creative writing workshops and contributes written and spoken work to publications, exhibitions and events.
Christopher MacInnes is an artist based in Glasgow. Working across computer-generated animation, installation, sculpture and computer programming, MacInnes draws on visual languages from consumer technology, the corporate web and science fiction.
Through the creation of immersive environments, both online and IRL, he explores the heavy infrastructure of information based cultures against the glossy hyper-texture of our luxury-tech devices with the aim of articulating the practice and nature of being human in a simultaneously industrial and intangible environment.
Recent shows and projects include SPORES OF LOVE, David Dale Gallery (Glasgow 2017), 4k made me sick (ArebyteLASER, London), (Retina Gothic, Intermedia, CCA (Glasgow 2016), Small Gate, Infinite Field, Generator Projects (Dundee 2015) and Boot Signal, Embassy Gallery (Edinburgh 2015).
Interior Ocean was co-commissioned by Resonance Extra as part of Strands, supported by Jerwood Charitable Foundation
woah oh oh oh, on the radio -adio -adio
This new visual performance for the radio woah oh oh oh, on the radio -adio -adio, is calling you up on the phone to get together, to go back, to get down and then round again. In the meantime somewhere, a magician attempts a seemingly impossible illusion of appearance and communication across cosmological dimensions.
With only a faltering understanding into the immense temporal dimensions and echoes of deep-time, woah oh oh oh, on the radio -adio -adio is fiddling around with an idea of separating and synchronising the rhythms of a fragmented and collective audience through a returning to a forgotten aspirational forever of a disco lyric.
You will need your hands and a phone.
Carrie Skinner lives and works between Glasgow and Berlin. She is into figuring out contemporary cultural relationships with time and its multiple concepts through popular imagery and themes from Gothic and Science-Fiction genres. Ghosts, telephones and disco music haunt her practice, playfully illustrating the academic discourses of spectralities and liveness while testing the limits of the transitory relationship between audience and performer. She reluctantly makes solo performances for expediency and economy, and seeks out scenarios that anticipate spectacle and demand virtuosity but probably expose her failure and amateurism. Recent performances include; Lutz Mommartz retrospective for Transit Arts, Glasgow, 2017;Nowhere for TAKE ME SOMEWHERE, Tron Theatre, Glasgow, UK 2016, Time Isn’t Holding Up Time Isn’t After Us, Old Hairdressers, Glasgow, 2016; Cherry Picker at Rhubaba, Edinburgh, 2016. Published work includes; ‘there’s something happening somewhere: a score for a rehearsal or a re-enactment’, The Burning Sand VI ed. Sarah Lowndes, Glasgow, 2016; ‘Mary This One’s For You: A Romantic Drama in Three Acts’, Gnommero: Multiplicity ed. Sarah Tripp and Richard Taylor, Glasgow, 2015.
wednesday 15th November
From 7pm, CCA Theatre Space
Entre les incidences / Ping Corridor
At Radiophrenia Festival 2017 Felix will present his live radio piece “Entre les incidences” and a feedback/sequencer based composition called “Ping Corridor.“
“Entre les incidences” (between the incidents) is based on Felix Kubin’s archive of “One Shot Recordings”, a collection of sounds which incidentally “occurred” to the artist over the last 10 years. With this personal sound library, Kubin returns to a playground where the origin and meaning of sounds are questioned and expectations undermined. Much like a foley artist who reproduces everyday sounds in the movies, like creating crackling fire effects by rubbing cellophane, Kubin plays a combinatorial game with real and fake names, with correct and false connections – all with the objective to free the sounds from their catalog designation.
“Ping Corridor“ was developped during an artist residency at Les Atelier Claus in Brussels. The piece consists of automatically created ping filter sequences combined with microphone feedback.
Felix Kubin is a Hamburg-based artist, whose various experiments and epithets comprise radio art, Hörspiel, composer of futurist electronic pop as well as chamber orchestra music, incendiary performer, record label owner, lecturer and curator. He has made artwork in all sorts of fields since the 1980s, recently “Falling Still” (2016 International Music Festival Hamburg, an orchestral work for boys’ choir, string ensemble, percussion and electronics), “Me & My Rhythm Box” (2017 dOCUMENTA 14, a live radio series about self-built instruments) and “Phantomspeisung” (2017 Bayerischer Rundfunk, a radio play about the “sound” and destruction of microphones).
‘I’ and ‘O’ as Compositional Basis
In ‘I’ and ‘O’ as Compositional Basis I look at the dual notion of musical empathy and musical tension as two tenets of improvised composition. The formal use of binary notation is inspired by a decorative oak roundel ‘Stirling Head number 20’ dating from 1539, found in the museum collection of Stirling Castle. Its border shows carved notation used by court harpists and is some of the earliest courtly notation to have survived from the Scottish renaissance. My aim is to follow the notation, incorporating musical traditions I am indebted to – collective, empathy-driven vocal vernacular, harmonies from classical and late modernism, and largely intuitive, found sound percussion. An innate desire, and the immediate possibility to transcend linguistic and epochal boundaries through sound have inspired this work.
Cucina Povera is the artist name for Maria Rossi, a Glaswegian-Finnish vocalist and composer currently researching and working on the artistic interface of the grid, early modern binary notation, discordance, language and empathy, and atmospheric, site-nonspecific soundscapes.
‘I’ and ‘O’ as Compositional Basis was co-commissioned by Resonance Extra as part of Strands, supported by Jerwood Charitable Foundation
Now watch this drive
Now watch this drive is a trip inside; maybe through a cavity in your tooth or through the tampon that sits within you, now. Appropriated film scores and spoken narratives journey malls, McDonalds and other establishments discovering the scatological landscape of the damned. Think melted nightclubs, think gunfire.
Angharad Williams is an artist and writer that was born in 1984 in Bangor, Wales. Angharad is currently based in central Europe.
Recent solo and group projects have taken place at 3137, Athens; Tate St. Ives, Cornwall; Cubitt, London; Futura, Prague (2017);Transmission Gallery, Glasgow; WallRiss, Fribourg; the Cave, Mallorca (2016). Performances have taken place at CAST, Helston; (2017) W139, Amsterdam, Centre d’Edition, Geneva (2016).
Angharad is a regular contributor to The Tube, BUS Editions and in conjunction to her own practice often collaborates with The Woodmill and friends. Forthcoming projects include Hergest: Nant at Cell Project Space in collaboration with Mathis Gasser, and a solo exhibition at Youth Club, London (both 2018).
Thursday 16th November
From 7pm, CCA Theatre Space
Espen Sommer Eide
Dead Language Poetry
Every tenth day a language disappears, and at that rate, within a few generations, half of the approximately 6000 languages in the world today will be extinct.
What we lose when a language dies is a complex topic which is interesting from both a cultural historical, linguistic and philosophical point of view. With a background in art, music and philosophy, Espen Sommer Eide has used numerous approaches to observe the phenomenon. He is interested in the complexity in the process behind destruction, evolution and creation of language.
In the performance Dead Language Poetry this subject is treated from an aesthetic perspective. Is it possible to find a unique signature of sound in different languages, and can such an aesthetic aspect be detached from the aspects of knowledge and identity? What is the sound of dead languages, and can it be revived? When Edison invented the phonograph, it was soon seen as a means, not primarily to play music, but to hear voices of dead persons. The voices recorded on the phonograph were experienced as sounds without bodies; as spirits in space. Through deconstructions of language Sommer Eide touches questions about the lines between living and dead languages, between meaning and sound, and between linguistic metaphorical structures and musically structured sound.
ESPEN SOMMER EIDE is a musician and artist based in Bergen, Norway.
Using sound as a tool, his work investigates themes ranging from linguistics to sensory biology, including the invention of new scientific and musical instruments for performative fieldwork. He has been a prominent representative of experimental electronic music from Norway, with main projects Alog and Phonophani, and a string of releases on the label Rune Grammofon.
His works has been exhibited and performed at Bergen Kunsthall, Bergen Assembly, Nikolaj Kunsthal, Manifesta Biennial, Henie Onstad kunstsenter, Stedelijk Museum, De Halle Haarlem, Sonic Acts, Mutek festival, GRM/Presences Électronique, Performa Festival, Museo Reina Sofia and more.
Resonance Radio Orchestra
Gaddafi in Hythe
For Radiophrenia 2017 the Resonance Radio Orchestra realise a new piece titled Gaddafi in Hythe. The line up comprises: Ed Baxter (electronics, text), Tam Dean Burn (voice), Peter Lanceley (guitar, voice), Milo Thesiger-Meacham (electronics, other instruments).
The Resonance Radio Orchestra is a floating pool of musicians, engineers, sound-effects creators, actors, writers, composers and broadcasters devoted to making live radio-art. It is based in central London as the in-house artistic wing of Resonance 104.4fm, under the direction of Ed Baxter.
Ben Knight & Tom White
Difficult To Listen
Following their 2016 Radiophrenia collaboration Caring Encounters, where a script based around interviews with care workers of all kinds was sung, layered & processed, Ben Knight & Tom White, present a new live hörspiel, Difficult To Listen. A social-science fiction narrative told in a series of minor narrative episodes; film and props, to reflect on the everyday listening events within and around a drop-in centre for refugees in Manchester. Centred around incidental field recordings made by a semi-fictional ethnographer, Difficult To Listen deals with the traces of sonic events interpreted and translated in an attempt to attune to the sounds and acts of listening that occur within the drop-in. It is an approach to performative knowing that resonates with Trinh T. Minh-ha’s notion of not speaking about, just speaking near by… in an attempt to get to grips with the drop-in’s thrown-togetherness – its many voices, improvised social spaces and all the clamours of life that affect how people relate across difference.
Difficult to Listen draws on Ben Knight’s research from his Audible Citizenship PhD project, and is made with thanks to the drop-in centres in Manchester where he works as a researcher/volunteer.
Ben Knight (Sheffield, 1983) is a human geographer & musician. He is working on his PhD at the University of Manchester on the politics of listening, asylum and citizenship. He is 1/3 of Human Heads, 1/3 of Katz Mulk and runs Psykick Dancehall Recordings with the artist Hannah Ellul.
Tom White is a London-based artist. His multidisciplinary practice spreads across sound, moving image, installation and live performance.
Past projects include commissions from South London Gallery, Arnolfini, LUX Moving image, MK Gallery & Spill Festival of Performance. He won the British Composer Award 2014 (Sonic Art) for Public Address, commissioned by South London Gallery. He curates Apologies in Advance; a platform for artist’s work in progress performances.