May 26th

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26th May 2019
  • Benjamin Glas Hochstettler - Timezones

    26th May 2019  12:00 am - 12:30 am

    programme/artist information

    “Timezones (1/2 Hour)” is an ambient sound piece that utilizes and promotes acoustic beating as a means of telling time. As the piece progresses throughout, various harmonic nodes are reached, earmarking 1 minute, 5 minute, 10 minute and finally a 15 minute interval. The piece is also relativistically interactive, allowing listeners to move throughout their own space and compose their own perception. The main drone is made of various sawtooth waves, while an ascending (and eventually descending) single frequency cuts through the rest, while creating dissonant friction or harmonic time markers.

    Ben Glas (b. 1992) is an interdisciplinary artist and composer based in Portland, OR. Through ephemeral compositions Glas’ work questions preconceived notions between passive and active participation, collapses the difference between hearing and listening. In seeking to discover open ended forms of music and listening perspectives, Glas’ compositions focus on subjective perception, via the use of acoustics, psychoacoustics and space as tools for sonic composition.

    https://www.thankyouforyourunderstanding.com

     


  • Javier Aregger - Glasgow Central

    26th May 2019  12:30 am - 1:00 am

    programme/artist information

    Glasgow Central is an experimental soundscape incorporating field recordings as well as synthesized sounds and composition. Using audio recordings made at Glasgow Central Station as a departure point, this piece explores the concept of constant shifts in the emotional tinge of our surroundings. Switching back and forth between the inner space of the observer and outer cacophony of the environment, I seek to evoke how the projection of our inner states affect our perception of outside world. Do we simply project these states outwards, or do we share them in fleeting moments of connection with others?

    I’m a curator, sound artist and occasional photographer based in Lockerbie and Glasgow. I’m currently studying for a Masters Degree in Curatorial Practice (Contemporary Art) at the Glasgow School of Art. I recently co-curated “Three Times Removed”, a group exhibition that examined traditionally gendered activities and I’m currently working on two further projects at the Hunterian and Project Ability. I’m also exploring the links between sound / vision and perception in the context of contemporary art, in particular through the concept of synaesthesia, ideasthesia and aesthetic atmospheres.

    javieraregger.blogspot.com

     


  • Pablo Sanz - from 20 to 20000 hz 22: rhizome radio

    26th May 2019  1:00 am - 2:00 am

    programme/artist information

    This instalment in the series revolves around the figures of radio and transmission. An old receiver found in the street was used as a live source during the recording, injecting Madrid´s airwaves into the mix.

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

    Duration: 67 min
    Mixed and recorded live in June 2007.
    Originally broadcast in the now defunct ArteSonoro.org Radio.

    AUDIO QUOTES / PLAYLIST / SOURCES

    01 – coh ::: my angel (director´s cut) ::: love uncut ::: eskaton, 2000
    02 – robert fripp ::: radiophonic II ::: va – sometimes god hides: the young person´s guide to discipline ::: dgm, 1996
    03 – scanner ::: radio sprite ::: delivery ::: earache, 1997
    04 – radiohead ::: fitter happier ::: ok computer ::: emi, 1997
    05 – john cage ::: radio music (1956) ::: va – fluxus anthology ::: anthology rec, 1995
    06 – vultrapia ::: arecibo radio ::: autopianotationalismasoschism ep ::: autoplate, 2003
    07 – Ø ::: radio ::: metri ::: sähkö, 1994
    08 – andreas ammer / fm einheit ::: canto V ::: radio inferno ::: ubu.com, 2006
    09 – tim hecker ::: i´m transmitting tonight ::: radio amor ::: mille plateaux, 2003
    10 – yuri gagarin ::: voice of the first human being in space ::: va – lift (curated by b.conley & c.cox) ::: 2003
    11 – nurse with wound ::: june 12 ::: shipwreck radio vol.2 ::: icr, 2005
    12 – steve roden ::: transmissions (voices of objects and skies) ::: fresno metropolitan museum of art and science, 2005
    13 – mathew jonson ::: premonition ::: 7.19 fm david ep ::: wagon repair, 2005
    14 – haco/view masters ::: theremin radio 00 ::: va – intransitive twenty-three ::: intransitive, 2004
    15 – william basinski ::: shortwavemusic ::: A1. raster-noton. archiv 1 ::: 2004
    16 – pan sonic ::: radiokemia ::: vakio ::: blast first, 1995
    17 – ryoji ikeda ::: radiorange ::: 1000 fragments ::: cci, 1995
    18 – scott arford ::: am ::: radio station ::: antifrost, 2005
    19 – wolfgang mitterer ::: live at donaueschingen 2002 ::: radio fractal (beat music) ::: hatology, 2004
    20 – gregory whitehead ::: principia schizophonica ::: ubuweb, 2004
    21 – byetone ::: radio ::: feld ::: binemusic, 2003
    22 – el corsal desastre ::: recapitulaciones ::: radio ensueño ::: compañía de sueños ilimitada, 2004
    23 – combat astronomy ::: radio spiral ::: lunik ::: ad noiseam, 2001
    24 – ergo phizmiz ::: swan (variations on tchaikovsky’s swan lake)
    25 – john duncan ::: snake ride ::: send ::: touch, 1993
    26 – christof migone ::: solar plexus (1994) ::: sound voice perform ::: errant bodies, 2005
    27 – mattin ::: computer music / post-fordism ::: proletarian of noise ::: hibari, 2006
    28 – radio boy ::: television ::: the mechanics of destruction ::: themechanicsofdestruction.com, 2002
    29 – christof migone ::: je me te parle (1995) ::: sound voice perform ::: errant bodies, 2005
    30 – aux 88 ::: cybercity radio ::: is it man or machine? ::: direct beat, 1996
    31 – vromb ::: contamination II (radio et telévision) ::: jeux de terre ::: tesco, 1993
    32 – merzbow ::: radio 1511 ::: merzbox.cd23: 1986 – mortegage/batztotutai extra ::: extreme, 2000
    33 – stephen vitiello ::: a little buzz of something electric ::: ubu.com, 2004
    34 – scanner ::: turning the dial ::: warhol´s surfaces ::: intermedium rec, 2003
    35 – sleeparchive ::: sleep cycle 6 ::: radio transmission ep ::: 2006

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

    http://www.pablosanz.info
    https://twitter.com/sharawadji
    http://facebook.com/pablo.sanz.studio
    https://pablosanz.bandcamp.com

     


  • Embodied Radio Device - Absolute Value of Noise and Anna Friz

    26th May 2019  2:00 am - 7:00 am

    programme/artist information

    Absolute Value of Noise and Anna Friz team up to present a mixture of sounds based on artificial intelligence and human controlled synthesizer systems. The AI (provided by Absolute Value of Noise’s new outdoor installation work – Solar Radio) is trying to recreate the sounds of life in its immediate environment – imitating the sounds of insects, birds, frogs, magnetic phenomena, rain falling, and waves on the ocean. Anna Friz plays along with manipulated voice (the human synthesizer) and the evocative sounds of the Tetrax Organ. Loosely defined, the piece has five parts: rain, birds, magnetics, river delta, and the sun.

    Anna Friz and Absolute Value of Noise (Peter Courtemanche) are Canadian sound and radio artists. Anna Friz creates self-reflexive radio for broadcast, installation and performance. Her compositions reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and speculative fiction. Absolute Value of Noise creates radio and outdoor installations. He likes to work with “gadgetry” – custom turntables, lamp filaments, wire coils, high voltage ionizers, magnetic transceivers, and “little electronic brains” that observe and respond to local phenomena. His outdoor works are a comment on bio-diversity, extinction, and fragility.

    http://absolutevalueofnoise.ca/2019_embodied/
    http://nicelittlestatic.com/

     


  • Between Rail and Water - Steve Ashby

    26th May 2019  7:00 am - 8:30 am

    programme/artist information

    Between Rail and Water is a long form, spatialized, multi-channel sound work that creates a connection between two important cultural points of the city: railways, and the river. Eight speakers will be placed equidistant around the room, two along each wall, to create an immersive, continual sonic environment. Materials include field recordings collected from the Richmond Pump House as well as segments of the former Ashland Trolley Trail.

    Steve Ashby is a Richmond, VA based musician, composer, and sound artist. He has been a member of the Virginia Commonwealth University music faculty since 2005. Currently, Ashby is continuing research at the University of Limerick in the realm of music technology and multi disciplinary composition. Recent performances include the inclusion of works at New Music Gathering, the New York City Electroacoustic Music Festival, Third Practice, and Sound Arts Richmond.

     


  • Shorts T20

    26th May 2019  8:30 am - 9:00 am

    programme/artist information

    1. Cosima Cobley Carr – It’s a Short Walk from the Dinner Table to the Asylum
    2. Anna Wolfe Pauly – open
    3. Amanda Brannin – slow motion
    4. Liliana Borge – Everyday Stories

    1. Cosima Cobley Carr – It’s a Short Walk from the Dinner Table to the Asylum

    Made to accompany a moving-image work in 2018, this piece uses found audio and created sound to explore the act of creating boundaries between the acceptable and unacceptable in society. Focusing on diverse emotional experience, the work explores how one can isolate and de-humanise oneself through misspeaking

    I am an artist and musician based in London and Edinburgh with a background in Philosophy. I have previously shown work in exhibitions at venues including the Barbican Centre, the Fruitmarket Gallery, Edinburgh College of Art and Yinka Shonibare’s artist-led space, Guest Projects. I have also performed experimental sets as part of a collaborative music project, Optic Nerve, at Guest Projects and as a sound carrier for Damo Suzuki (Can). I am a founding member of collective Concrete Assembly, which produces interdisciplinary events and exhibitions.

    https://cosimacobleycarr.com/

    2. Anna Wolfe Pauly – open

    Anna Wolfe-Pauly, or ANNA, is a multidisciplinary artist from California. WARM ANNA is both experiences and exercises focused on expanding the listening register. With a super slo-mo sensibility, Anna leads workshops and gatherings internationally that focus on deep listening, time-based aural practices, and exploratory group sound. The core of the sonic program here is a series of exercises, Warm Ups, that display Anna’s attention to voice, to language, to listening. Unyolked from a discrete musical practice, this humble voice music is not demanding, but it commands time to unfold. Traces of phrases buckle and echo and stretch and yawn into and out of one another. The “Extreme Slow Song(s)” are experiences from a group Anna coordinated that would gather and then sing a song as slowly as possible. Their footsteps flex boards in space, and add to the expansive listening habitat.

    anna.wolfe-pauly.com

    softeconomy.org

    3. Amanda Brannin – slow motion

    A fever dream

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

    https://soundcloud.com/amandabrannin

    4. Liliana Borge – Everyday Stories

    I am studying bachelor at Tromsø Academy of Contemporary Art where I now work with sound
    recordings and editing sound in different mixing programs. My practice involves sound art and sound installation in a sculptural manner. It is a research in different ways of presenting sound and also to make interactive experiences. I was interested in the materialistic aspect around sound and worked a lot with speakers, soldering them and transforming them into a different environment using metal mesh. It also made an aspect of visualizing sound. The sound part consists of recording from around where I live in Tromsø and sounds discovered while waiting. I found that daily and often boring sounds such as walking in the snow, random city sounds, bird noise and the monotonic hum of a washing machine had a musical aspect and put together they told a story on their own. It varies between close to original sound and more
    surrealistic soundscapes.

     


  • Museleon - Little Crosses

    26th May 2019  9:00 am - 9:40 am

    programme/artist information

    Little Crosses is the culmination of about five years’ work. Since Armistice Day 2014, I have been creating commemoration pieces in response to the First World War. It is a sound picture collage consisting of field recordings, found sounds, poetry and music. I have always intended it to be listened to as one piece and feel that the medium of radio best serves this. What I can say it is a labour of love and a deeply personal response to the horrors of war.

    Museleon is a project which allows me to break away from some of the conventions that I have used elsewhere as an electronic musician. I have been experimenting more with sound and I use a range of field recordings, found sounds and hardware with minimal processing, as I’ve always been interested in how sound can morph into beautiful complex patterns. It’s the ‘small sounds’, anomalies, mistakes and the sounds ‘between’ that catch my ear. Many of my pieces are based on images and things I see, which act as graphic scores.

    https://museleon.wordpress.com/

     


  • DinahBird - Bruit de papier

    26th May 2019  9:40 am - 10:00 am

    programme/artist information

    One of the first things I learnt when I started making features for Radio France International’s English Service was the importance of a good script, a series of instructions for you and the studio manager that explain how you want the final programme to sound, when and what music should be played where, the recording of spoken links that inform the listener of what they are about to hear, or have just heard. Once you have made the programme the script generally ends up in the bin. I had often heard tell about my friend and legendary journalist, concert organiser, musicologist and radio producer Daniel Caux’s meticulous scripts, or conducteurs as they are called in French. Nothing was left to chance. Drawn up with a pencil and ruler on squared paper he pre-planned puffs on cigarettes, pauses to take breath, warned the studio manager that he might rustle his papers, and converted time into the pieces of feed tape that were spliced between tracks. Rereading a radio programme script is a bit like snooping into someone’s diary. It is not done. I wanted to give these scripts a new voice, to suspend the meaning of these words and instructions, and use them as an inspiration for another, all together different, radio programme. Using these unique conducteurs as a visual score and text, I gave them to a group of people who have no formal radio training including a sound artist, a poet and a musician, and asked them to choose an extract to read, or interpret, as they wish. 
My thanks to all who participated : Michel Risse, Hervé Binet, Alice Hui-Sheng Chang, Caroline Bouissou, Valérie Vivancos, Frédéric Dumond, Jean-Philippe Renoult, Eléonore de Lavandeyra Schöffer and to Jacqueline Caux for allowing me and encouraging me to reapproriate these conducteurs. (DinahBird, 2010). Bruits de Papiers was awarded a grant from the Fond d’aides à l’Ecriture Radiophonique and the RTBF, Belgian Public Radio.

    DinahBird is sound and radio artist based in Paris. She is currently on the hunt for antennas ..

    http://bird-renoult.net/

     


  • Stéphane Marin - Each of your mornings becomes my world

    26th May 2019  10:00 am - 11:00 am

    programme/artist information

    “Each of your mornings becomes my world” is a global mix of the 20’s North American PhoNographic Mornings’ contributions curated then mixed together by Stéphane Marin.

    Stéphane Marin presents a weekly (Sunday mornings) series of twenty short soundscapes recorded in the mornings at various locations throughout North America. Entitled « North American PhoNographic Mornings » this series forms part of a wider project, « Each Morning of the World », which invites sound artists, composers and recordists globally to share their own specific point of listening, either through a raw field recording or original composition.
    Soundscape artist, zealot of sonic art in public spaces, Stéphane Marin has been involved since 2003 in site specific adventures which seek out atypical spaces to be experimented and listened to.

    Following many collaborations performed in France, as far as international festivals like Singapore, Mexico, Suwon, Beirut, Poznan, Grätz, Valladolid, Manchester, in 2008 he created Espaces Sonores dedicated to contextual sound creations and art of listening.
    On the border between listening to the soundscape and in situ compositions, in the porosity proposed by a work who rubs the real, his artistic, ecological and spiritual paths approaching each day closer to silence.

    https://chaquematindumonde.bandcamp.com/
    https://www.facebook.com/groups/commeundimanchematin/
    https://www.espaces-sonores.com/

     


  • Rachel McBrinn - Orange and Teal live in the studio

    26th May 2019  11:00 am - 11:30 am

    programme/artist information

    Orange and Teal is a live performance that takes place within Superfield, a landscape of cinematic sound environments collected and dispersed across virtual space. Dialogue has been stripped away, leaving only the sound that renders the space in which the absent narrative takes place. The occasional looping conversation is left in place, forming a suggestion towards an all too familiar narrative. Chosen for their reference to time, characters talk about past and future events which have never and will never occur, they ask each other: ‘…are you gonna be there?’ ‘..have you ever been through this before?’

    Rachel McBrinn is an artist whose interests lie at the intersection of the body, space and technology. She has been the recipient of the RSA John Kinross Scholarship (2014), RSA Residencies for Scotland Award (2015-16), the Emerging Artist Bursary Award from the City of Edinburgh Council (2016-17) and was shortlisted for the LUX Scotland SUPERLUX Research and Development Award in 2016. She will graduate from the MFA programme at Glasgow School of Art in 2019.

     


  • Buffer Zone

    26th May 2019  11:30 am - 12:00 pm

    programme/artist information

    Featuring:

    Zoé Chalaux – Venacomadinati Prozi (1:39)
    Nicola Giannini – For Hannah (7:20)
    Jez riley French – shee(r)glan (6:01)
    Paul Michael Browne THIS IS VICTORIA (0:37)

    Kerrith Livengood – Clang Jingle Clang blog 235 (1:55)

    Zoé Chalaux – Venacomadinati Prozi

    On a ferry boat in Greece I recorded a five languages arrival announcement by a crew member. I learned the whole thing by heart (words, pronunciation, tonic accents, rhythm, mistakes…) and performed it again.

    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.

    Nicola Giannini – For Hannah

    For Hannah is a piece dedicated to the king cobra (Ophiophagus Hannah). I wrote it because the first time I heard its hiss I was surprised by how it sounded musical. Do cobras play electroacoustic music? I deepened my knowledge of it thanks to Professor A. Young. The piece is divided into four sections. Scales evokes their movements, while Sensing recalls how they perceive the world. Hissing points to the sounds they emit via their trachea, and Aposematism refers to when they feel threatened. Although my inspiration starts from biology
    studies, my work does not have scientific purposes.

    Nicola Giannini is a Sound Artist and an Electroacoustic Music Composer. He is interested in sounds that evoke physical materials and living organisms. His practice focuses on acousmatic multi-channel composition and live performance. His music has been performed in USA, Canada, UK, Sweden, Mexico and Italy. Nicola has a master degree in Electroacoustic Composition. From September 2018 Nicola is a PhD candidate at the Université de Montréal,
    under the supervision of the Professor and Composer Robert Normandeau. Nicola also joined the Groupe de Recherche en Immersion Spatiale (GRIS) as research assistant.

    http://www.nicolagiannini.com

    Jez riley French – shee(r)glan

    this piece was composed using recordings of ultrasonics, vlf signals, electomagnetics and contact microphones on ski lift structures in Glenshee, Scotland during the 2018 murmuration gathering of listeners

    Jez riley French

    focusing extensively with sound as both material and subject JrF’s work over the past four decades has involved installation, intuitive composition, scores, film and photography.
    Alongside performances and exhibitions Jez lectures and run workshops on field recording / located sound and has also developed a range of specialist microphones widely used across sound and art cultures. He also works as a curator of live events, of a record label, of sound installations and an arts zine ‘verdure engraved’.
    In recent years he has been working extensively on long form recordings of surfaces, spaces and situations and developing the concept of photographic scores and ‘scores for listening’

    jezrileyfrench.co.uk

    Paul Michael Browne – This Is Victoria

    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

    Kerrith Livengood – Clang Jingle Clang blog 235

    /23/11: ketchup sandwich: drum samples, dumbbell rolling on a wooden floor

    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/

     


  • Sally Ann McIntyre - notes toward a library of superlative trees. a transmission for Eucalyptus regnans

    26th May 2019  12:00 pm - 12:20 pm

    programme/artist information

    notes toward a library of superlative trees. a transmission for Eucalyptus regnans is a site-specific mini-FM radio programme which conducts radio art as a form of experimental fieldwork. It investigates notions of non-humanforest memory, the “endemic,” and the globalisation of species in postcolonial landscapes,through engagement with the audible sounds of the tallest flowering plant in the world, a tree native to Tasmania and Victoria, but now found worldwide.

    Orokonui eco-sanctuary in Ōtepoti/Dunedin, Aotearoa/New Zealand, is a biosecure reserve for rare endemic birds. It also contains “New Zealand’s tallest tree”, a specimen found within a small grove of Mountain Ash (Eucalyptus regnans), an introduced Australian eucalypt planted in the 1870s as part of a farmland boundary line. Unusually for a location attuned to the fragile specificity of its own island ecology, this introduced visitor, part of a long prior history of settler culture pragmatic land-use somewhat at odds with the narrative of conservation all around it, has been celebrated, rather than chopped down to provide space for Broad-leafed podocarp forest and other native woody ecosystem types. Currently, the grove of tall E. regnans in Orokonui sanctuary tower above the regenerating native vegetation, and have brought their own communities with them, becoming home to flocks of introduced rosellas, creating a strata of Australian life high above the New Zealand biota in the lower reaches where highly managed populations of endangered endemic birds find their home, creating an odd ecological palimpsest, an intriguing doubling.

    In developing this work, the sounds of New Zealand’s Tallest Tree and its surrounding ecological community, collected with open-air and contact microphones, have been flown across the Trans-Tasman border, to be put into conversation with endemic E. regnans from the old growth forests of the Tasmanian Styx State Forest. This dialogue was staged through the creation of a site-specific radio programme which involved the transmission of the collected sound recordings of the audible life processes of the New Zealand trees, as well as additional recordings of other tall Mountain Ash eucalypts in the Styx area,into the hollow belly of an enormous,400-year-old, Tasmanian E. regnans,a local landmark popularly known as The Chapel Tree. This transmission fieldwork translates one location into another, staging a comparative study of the sounds of the materiality of environment in two different places through the ‘sonic horns’ of two populations of the same species of tree, one located in a place where it is an introduced weed, one under threat in its endemic homeland. It stages a listening-in totwo off-grid natural sites, not through repeating the sonic narrativization of romantic myths of ‘wilderness,’ or representing the tall trees as individuals in their spectacular monumentality, but through a small-radius radiophonic recognition of the altered and intertwined nature of landscapes, its subjects appearing close-in through clouds of mosquitoes and flies, washes of detuned electromagnetic noise and the busy knocking and seething of the normally inaudible biotic sounds of insects chewing wood and other processes of movement, life and decay.

    In considering the life processes and communities of this species of tree in Aotearoa/NZ and lutruwita/Tasmaniain the globalised present, it hears two very different contemporary biospheres, each with very different sounds and silences, each with a very different cultural discourse around the subject of nature. This can be noted particularly the fact that, at approximately only 80 metres in height, the celebrated New Zealand E. regnans would not even make the grade in terms of the minimum height which is set out in the Forestry Tasmania protective register that exempts eucalypts above 85 metres in height from being logged. In Tasmania, the age of these trees predates colonial settlement, In New Zealand they mark the boundary between a reconstructed endemic forest, which is highly managed to provide habitat for extremely rare birds, and farmland. These E. regnans might remember a different story to their old-growth Australian cousins – their own role in being part of the changing of the landscape by settlement.

    Elements of this transmission work were developed in 2015 for an exhibition at Constance ARI and Mona Foma, in Hobart, Tasmania. This temporally linear radio piece, mixed from live multi-receiver transmission recordings, has been newly produced for Radiophrenia in 2019.

    sally ann mcintyre is an Australian-New Zealand artist, writer and broadcaster. her work has paid increasing attention to sites where ecological and cultural narratives (recorded/transmitted signals/empiricism/documentary) meet unheard, unremembered, untranscribed or untranslated aspects of the landscape (bad reception/pseudoscience silence/electromagnetism/noise). often working critically with the sonic representation of specific aspects of environments, the one-way collecting drives of the practice of field recording, conceived as a form of technologised ‘voluntary memory’ that in codifying the temporal nature of human hearing often de-historicises and deadens its subject, meet a contrasting, liminal ‘involuntary memory’ often gleaned from the practice of small scale radio transmission as a form of two-way, site-receptive ‘fieldwork’ and an associated focus on revealing the chaotic nature of the inaudible energy spectrum. Works have critically analysed the place of nature in New Zealand, Australian and other cultural narratives through re-collecting faint traces in environments, historical texts and natural history museums, and a focus on lateral uses of the archive and the research/interview techniques of ethnography, as well as the figure of the amateur or citizen scientist, to build alternate models for empirical observation.

    Commissioned by Radiophrenia with the support of Creative Scotland.

     


  • ECCO - Wet Courage

    26th May 2019  12:30 pm - 1:00 pm

    programme/artist information

    ECCO present a selection of songs from their research-based pop album ‘Wet Courage’. The album is  based on recordings and publications from 1960s studies on dolphin intelligence and interspecies communication. For Radiophrenia, ECCO enters the ocean in order to transcend the species barrier and understand an intelligence without hands. A selection of songs is accompanied by texts by Loren Eiseley, Joan McIntyre, John Lilly, Gregory Bateson, Charles Doria and Stacy Alaimo.

    Songs performed and texts read by the ECCO, or, Elina Bry, Caroline Hussey, Jack Wansbrough, Simon Weins and Feronia Wennborg. ‘Wet Courage’ was released by the Greater Lanarkshire Auricular Research Council in November 2018.

    glarc.bandcamp.com/album/wet-courage

     


  • Shorts 14

    26th May 2019  1:00 pm - 2:00 pm

    programme/artist information

    1. Anna Wolfe Pauly – then
    2. Jordan McDermott – EA1 Shadow
    3. Aaron Artrip -Man In The Machine – Exploration @ The Bakery 11_1_18
    4. Mark Vernon – Repeated Attempts
    5. Zachary Zena Giberson – Funereal in a Good Way – 04 Gina Dragg
    6. Brock Lueck – Lost Luggage
    7. Lily Sloane – Dream_Log_9-24-17
    8. James L Malone – Hoku
    9. Christian Olesen – Itinéraire d’un ciné-fils de… #2: Du Temps

    1. Anna Wolfe Pauly – then

    Anna Wolfe-Pauly, or ANNA, is a multidisciplinary artist from California. WARM ANNA is both experiences and exercises focused on expanding the listening register. With a super slo-mo sensibility, Anna leads workshops and gatherings internationally that focus on deep listening, time-based aural practices, and exploratory group sound. The core of the sonic program here is a series of exercises, Warm Ups, that display Anna’s attention to voice, to language, to listening. Unyolked from a discrete musical practice, this humble voice music is not demanding, but it commands time to unfold. Traces of phrases buckle and echo and stretch and yawn into and out of one another. The “Extreme Slow Song(s)” are experiences from a group Anna coordinated that would gather and then sing a song as slowly as possible. Their footsteps flex boards in space, and add to the expansive listening habitat.
    anna.wolfe-pauly.com

    2. Jordan McDermott – EA1 Shadow

    Early test recordings using personal FM radio transmitters to broadcast multiple stems and sound sources to a radio at similar frequencies. Sound sources included original productions, vinyl records, field recordings, electromagnetic fluctuations and lectures from YouTube. Devices used for broadcasting are a mobile phone, laptop, DJ mixer and portable microphone – each sending a different sound source to a similar FM frequency. Each piece is composed by me waving the antenna of the receiving radio and moving the devices to find sweet spots of the sound sources coming together. Student of Digital Music and Sound Art at Brighton University. Producer, DJ, Artist, currently exploring unconventional approaches to composition and club culture.

    https://soundcloud.com/rfwn

    3. Aaron Artrip -Man In The Machine – Exploration @ The Bakery 11_1_18

    Man in the Machine is an experimental performance using live electromagnetic signals, signal generators, a VCR, a tape recorder and a CRT television set. If music is organized sound, this performance of signal sniffing is an investigation of electricity as a raw sonic format and broadcasting the results into a primitive form of musical drone.

    Aaron Artrip is an American musician and artist focusing on the relationship between what we see and what we hear. He searches through discarded, often forgotten analog and digital hardware systems to find musical forms of rhythm, pitch, and pattern. Aaron’s work takes many forms including drawings, prints, sound recordings, installations and performances.
    http://www.aaronartrip.com

    4. Mark Vernon – Repeated Attempts

    meagreresource.com

    5. Zachary Zena Giberson – Funereal in a Good Way – 04 Gina Dragg

    Funereal in a Good Way is a 30-minute album of sound collages inspired by the brutal heat of a recent Texas summer, made worse by climate change. A dizzying, dense mix of off-kilter, wild instrumentation and alien field recordings, the music of Funereal is unpredictable, constantly melting into bizarre new forms. Think of this album as a brightly colored, sonic ice cream cone that melts the second you put your mouth to it. Zachary Zena Giberson is a prolific 28 year old sound artist living in Austin, Texas. He has created over 26 albums worth of unusual, abstract music that he has taken to calling “coincidental music,” or music made out of unrelated parts. In 2018 alone, he created 3 albums, and took part in two collaborations, one with Filmy Ghost, and one with horridus as Martian Hello.
    https://zacharyzenagiberson.bandcamp.com/

    6. Brock Lueck – Lost Luggage

    After 16 years, a ransom gets refunded.

    Brock Lueck (Badger Sounds) is an amateur audio producer from Edinburgh. His background in photography, combined with his 15+ year career in social work has led to a fascination with the extraordinary stories that we all have to tell. Trying to figure out engaging ways to tell those stories is an endless challenge for him, and minimises the amount of shouting he does at the television.
    https://soundcloud.com/brock-lueck

    7. Lily Sloane – Dream_Log_9-24-17

    As a part of a series of dreams I had in response to my struggle to cope with the chaos of the moment politically and the questions about my relationship to men that the #MeToo movement paved the way for, I created this piece using a dream in which family dynamics, infidelity, isolation, and creepy men on buses collide as I angrily leave home and then desperately try to find my way back. This piece originally aired on The White Whale Podcast.

    Lily Sloane is a San Francisco, California based freelance audio producer, composer, and psychotherapist. Her podcast, A Therapist Walks Into a Bar, ran for 3 years and set her careening on a path towards all realms of the audio sphere. She is currently the host of a weekly live advice show called Radical Advice on San Francisco community radio station BFF.fm while working on other experimental and conventional audio stories and music. http://www.lilymakessound.com

    8. James L Malone – Hoku

    This piece is an experiment in sonifying abstract geometric patterns.

    James L Malone is an improvising electronic sound artist. His practice is mainly focused on the live investigation of feedback, interference and extremes within analogue and digital electronics. He developed his approach to improvisation through regular attendance of Eddie Prévost’s London workshops. He is involved in regular collaborations: Onin (with Joe Wright), and Frost&Malone (with Reuben Kyriakides).
    jameslmalone.com

    9. Christian Olesen – Itiniraire 2 Du Temps

    This piece weaves together sound samples from films in which characters in emergency situations, or emotionally charged situations, struggle to communicate with each other via telephone or try to keep themselves informed by means of radio (in particular Lady in the Lake, 1946; Walkabout, 1971; Les maîtres du temps, 1982; Mauvais Sang, 1986). The piece is part of a series of critical, cinephile works I make for myself to leave a personal audio trace of my film viewings and the idiosyncratic associations between films resulting from these.

    Christian Gosvig Olesen is a Researcher at the University of Amsterdam’s Media Studies Department. Specialized in film and media historiography and digital heritage his current research focusses on unlocking digitized film and media collections at Eye Filmmuseum and the Netherlands Institute for Sound and Vision for media scholars. Previously, he has been invited by Eye Filmmuseum as the museum’s first Scholar-in-Residence in the academic year 2017-2018, where he researched early compilation films on film history. In his spare time he makes sound works consisting of film samples and personal field recordings on his Akai MPC1000.

     


  • JP Renoult - Tuning the World: New York to Telemark edition

    26th May 2019  2:00 pm - 2:30 pm

    programme/artist information

    Tuning the World is a series of active field recording transmissions that began over the Summer 2018 during a residency at Wave Farm (Acra NY), and continued in the mountainous Telemark region of Norway. My intention is to create an open air dialogue between soundscapes and drone music practices. For this I play a shruti box, an entirely organic drone generator usually used by Indians raga musicians. During these field recording sessions, I play the shruti box quite far from the microphones, mingling in my surroundings.

    It is no secret that Tuning the World alludes to R Murray Schafer’s essay “The Tuning of the World” and his concept of wilderness radio. In this edition you can hear swifts swooping around a cemetery in Norway, a motorcycle engine roaring at the bottom of a valley, distant traffic on an American road, the lapping of the waves on a mountain lake, and the timid wildlife of New York state combined with the natural resonances of the Wave Farm Study Centre… and of course the shruti box tuning and retuning to it’s immediate environment.
    This “New York to Telemark edition” of Tuning the World is dedicated to Pauline Oliveros.

    Wave Farm is close to where she used to live and there is one particularly resonant tree on a wooded part of the property that she played where I too chose to begin, and listen.

    environmental recordings : DinahBird

     


  • Shorts P16

    26th May 2019  2:30 pm - 3:00 pm

    programme/artist information

    1. Anna Wolfe Pauly – you
    2. Stephen Boyle – Tomorrow
    3. Victoria Sarangova – Archaeology of Progress Redruth
    4. Lorenzo Cimino – dongo copia

    1. Anna Wolfe Pauly – you

    Anna Wolfe-Pauly, or ANNA, is a multidisciplinary artist from California. WARM ANNA is both experiences and exercises focused on expanding the listening register. With a super slo-mo sensibility, Anna leads workshops and gatherings internationally that focus on deep listening,
    time-based aural practices, and exploratory group sound. The core of the sonic program here is a series of exercises, Warm Ups, that display Anna’s attention to voice, to language, to listening. Unyolked from a discrete musical practice, this humble voice music is not demanding, but it commands time to unfold. Traces of phrases buckle and echo and stretch and yawn into and out of one another. The “Extreme Slow Song(s)” are experiences from a group Anna coordinated that would gather and then sing a song as slowly as possible. Their footsteps flex boards in space, and add to the expansive listening habitat.

    anna.wolfe-pauly.com
    softeconomy.org

    2. Stephen Boyle – Tomorrow

    “Tomorrow” is a real-time improvisation with a custom built ring modulator and varispeed bi-directional tape playback.

    Born and raised in central New York State and currently residing in Pittsburgh, Pennsylvania, USA, Stephen Boyle is an improvising musician and a veteran broadcaster at WRCT, 88.3 FM, Pittsburgh, PA, USA—23 years mixing tape music, refuse, idiot panic/glee, and messages of hope. He currently has no website by may be reached at the following email addresses:

    boyle.sc@gmail.com experimental@wrct.org

    3. Victoria Sarangova – Archaeology of Progress Redruth

    Archaeology of progress-Redruth is an audio response to both concrete, elusive and tacit elements shaping the air of the Redruth area. Its landscape, people and folklore reverberate in the industrial dream of a rejuvenating alchemy that, through natural resources, addresses a utopian future.

    4. Lorenzo Cimino – dongo copia

    Lorenzo Cimino is an Italian trumpet player and composer. He has taught at the University of Pisa , Conservatory of Bologna, Istituto Boccherini Lucca.He made numerous recordings on behalf of Rai and won the audition for the first trumpet in the orchestra of the Fermo Festival. He has carried out an intense concert activity, founding and working for ten years the Ensemble Giacinto Scelsi, also performing numerous compositions in the first absolute performance, many composers have dedicated pieces to his trumpet On the occasion of the 100th anniversary of Dadaism he plays and writes the music of the Performance “WiTz”, the only Italian project awarded by the Dada 100 Foundation in Zurich

    Discography : Voluta Musicale , Fondazione Culturale Mandralisca 1992; Amore Pirata con Lester Bowie Ed Il Manifesto 1998; Mondo Volato ed Blue Freak 2018

     


  • Littoral Transmissions - Newhaven drift

    26th May 2019  3:00 pm - 4:00 pm

    programme/artist information

    Newhaven drift is a radio work charting an imagined coast line which is formed from a series of improvisations. The work includes site specific recordings made in and around Newhaven Fort ahead of a live performance at Fort Process 2018.

The work combines free improvisation and layers of recorded sound created using cassette tape loops and various forms of digital playback. Along with field recordings the work utilises modular synth, acoustic instrumentation and experiments with contact mics, hydrophones, found objects and micro-electronics.

    Littoral Transmissions is the radio project of Stephan Barrett and Adam Kinsey. The duo begun working together in 2017 having met through a shared interest in free improvisation.

    Littoral Transmissions have current radio projects being broadcast monthly on Resonance Extra and Threads Radio. Previous transmissions have included a year long monthly live improvised show on 199 Radio, a community radio station in North London. Prerecorded work has been broadcast as part of Radiophrenia 2017 and Expanded Radio 2018.

    Live work has included performances at Fort Process 2018, A.P.T Gallery, Chalton galley, New River Studios and DIY Space for London.

    https://www.facebook.com/littoraltransmissions
    https://extra.resonance.fm/series/lea-navigations
    https://soundcloud.com/littoraltransmissions

     


  • Edward Williams - Echo Organ

    26th May 2019  4:00 pm - 4:30 pm

    programme/artist information

    With this piece, I continue the dialogues with my late father dealing with music’s power over emotions. Through radio broadcast, this music aims to transport the listener to the “inner world of subdued thoughtfulness” my father believed accessible through certain musical experience. Recordings of us discussing these ideas are spliced with discussions with experimental musicians about space, catharsis, memory, and other themes. The swelling organ drones and recurring recordings of a harpsichord being tuned provide an eternally returning landscape. Grieving here becomes a means of communion with deceased loved ones who are, like music, only really present in memory.

    Ed Williams is a guitarist, harpsichordist and composer in the European experimental music scene. He has ABRSM Grade 8 Harpsichord and Classical Guitar, a First in Music from Edinburgh University, and studied electroacoustic composition at the CNRR in Marseille. He co-founded free improvisation ensembles TANDEM, Heard Of Bears, and the Grand 8 Ensemble. In his podcast Echo Chamber he discusses life, death and music with experimental artists from around the world. He tours regularly across Europe and North America, designs posters and CD covers for various projects, and translates texts for music publishing house Maison ONA.

    edwilliams.xyz

     


  • Ralph Lewis - With Apologies, Nessie

    26th May 2019  4:30 pm - 5:00 pm

    programme/artist information

    “With Apologies, Nessie” is an improvised conversation between what is probably the Loch Ness monster (as portrayed by a live broadcasting hydrophone (underwater microphone)) and speaker at the edge of a pond. Clearly, the speaker has been an irresponsible oaf and is dealing with the fall out of his thoughtlessness regarding their mutual plans. Will Nessie forgive him? Only tide will tell.

    Ralph Lewis is a composer whose works seek meeting points between sonorous music and arresting noise, alternative tunings and timbre, and the roles of performer and audience. Currently a doctoral candidate in music composition at University of Illinois, Lewis has had his music presented at Electronic Music Midwest, SEAMUS, MOXsonic, N_SEME, Boston Microtonal Society, SCI National Student Conference, Xenharmonic Praxis Summer Camp, New Music on the Point, and the Music for People and Thingamajigs Festival, and on radio broadcasts throughout the United States, Canada, and United Kingdom, including Wave Farm and Radiophrenia Glasgow.

     


  • Edwina Stevens & Carly Fischer - I Feel The Earth

    26th May 2019  5:00 pm - 5:30 pm

    programme/artist information

    I Feel the Earth Move Under My Feet is a documentary soundscape created in collaboration between Carly Fischer and Edwina Stevens. Carly Fischer is a sculptural and audio installation artist from Melbourne, Australia exploring hidden histories and mythologies of places, reconstructing alternate narratives through collected objects, sounds and stories.
    Edwina Stevens is an audiovisual artist from Dunedin, New Zealand/ Melbourne, Australia working in composition, installation and sound design. Her work investigates the ‘sound of place’ via experimentation, improvisation and performance, working with analogue signal frequencies/synthesis, found acoustic instruments, site specific acoustic elements and field recordings.

    Developed through a research residency at Melbourne’s Living Museum of the West, the soundscape began as a multichannel sonic-sculptural installation, which influenced its non-linear narrative. Reframed as a radiophonic composition it investigates 3 intersecting narratives of time, place and volatility specific to the site; its ancient volcanic landscape, its industrial history of women working in explosives factories and the material disintegration of its archived oral histories. Weaving fragments of the women’s interviews, readings of geological publications and newspapers, field recordings and synthesised sounds, the soundscape reconstructs an alternative sonic narrative that shifts between past and present.

    http://www.disrhythms.net
    http://www.carlyficher.com

     


  • Buffer Zone

    26th May 2019  5:30 pm - 6:00 pm

    programme/artist information

    Featuring:

    Paul Michael Browne – An Accumulation of Things (11:25)
    James Longcake – They’d Like To come and meet us (3:40)

    Kerrith Livengood – Clang Jingle Clang blog 88 (2:55)

    Paul Michael Browne – An Accumulation of Things

    Transcribing a recorded conversation between my dad, brother and I down to every pause, idiosyncrasy and inflection, I re-enacted each individual speech verbatim, before superimposing the 3 separate recordings to re-form the conversation.

    Play for a single voice on the subject of agoraphobia —
    Nearing the end of a reunion after some time apart, 3 members of the Malough family sit watching a poor quality, illegally streamed football match with impenetrable foreign commentary. When a phone call takes the father temporarily out of the room, the brothers’ awkward silence breaks down and they begin to speak with a greater honesty.

    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

    James Longcake – They’d Like To come and meet us

    ‘They’d Like To Come and Meet Us’ is a radio play inspired by Andrew Sach’s ‘The Revenge’ which does away with dialogue, using purely sonic signifiers to communicate the narrative. The story follows two aliens who happen across ‘The Golden Record’, a record sent into space containing a mixture of musics, greetings and soundscapes of earth. Finding this record, the aliens decide to go to earth to see what it is like for themselves. The piece combines different elements of sound design techniques including modular synthesis, recorded performance of sounds and field recording.

    Starting in music as a guitarist and pianist, I studied music at Sussex University and later Experimental Performance Practice with Anton Lukoszevieze. I am currently scoring and doing sound design for short films and working on two upcoming albums of music. My concert music is often conceptually based, most recently I have explored ideas such as the translation of music, from graphic score to notated score, in my piece ‘Synonymphony’ for Saxophone and Live Electronics available soon.

    https://www.facebook.com/jameslongcakemusic/

    Kerrith Livengood – Clang Jingle Clang blog 88

    11/27/10: my baby tapes the evening train: recorded sounds of freight train, wind, dinner bell.

    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/

     


  • Sally Ann McIntyre - notes toward a library of superlative trees. a transmission for Eucalyptus regnans

    26th May 2019  6:00 pm - 6:20 pm

    programme/artist information

    notes toward a library of superlative trees. a transmission for Eucalyptus regnans is a site-specific mini-FM radio programme which conducts radio art as a form of experimental fieldwork. It investigates notions of non-humanforest memory, the “endemic,” and the globalisation of species in postcolonial landscapes,through engagement with the audible sounds of the tallest flowering plant in the world, a tree native to Tasmania and Victoria, but now found worldwide.

    Orokonui eco-sanctuary in Ōtepoti/Dunedin, Aotearoa/New Zealand, is a biosecure reserve for rare endemic birds. It also contains “New Zealand’s tallest tree”, a specimen found within a small grove of Mountain Ash (Eucalyptus regnans), an introduced Australian eucalypt planted in the 1870s as part of a farmland boundary line. Unusually for a location attuned to the fragile specificity of its own island ecology, this introduced visitor, part of a long prior history of settler culture pragmatic land-use somewhat at odds with the narrative of conservation all around it, has been celebrated, rather than chopped down to provide space for Broad-leafed podocarp forest and other native woody ecosystem types. Currently, the grove of tall E. regnans in Orokonui sanctuary tower above the regenerating native vegetation, and have brought their own communities with them, becoming home to flocks of introduced rosellas, creating a strata of Australian life high above the New Zealand biota in the lower reaches where highly managed populations of endangered endemic birds find their home, creating an odd ecological palimpsest, an intriguing doubling.

    In developing this work, the sounds of New Zealand’s Tallest Tree and its surrounding ecological community, collected with open-air and contact microphones, have been flown across the Trans-Tasman border, to be put into conversation with endemic E. regnans from the old growth forests of the Tasmanian Styx State Forest. This dialogue was staged through the creation of a site-specific radio programme which involved the transmission of the collected sound recordings of the audible life processes of the New Zealand trees, as well as additional recordings of other tall Mountain Ash eucalypts in the Styx area,into the hollow belly of an enormous,400-year-old, Tasmanian E. regnans,a local landmark popularly known as The Chapel Tree. This transmission fieldwork translates one location into another, staging a comparative study of the sounds of the materiality of environment in two different places through the ‘sonic horns’ of two populations of the same species of tree, one located in a place where it is an introduced weed, one under threat in its endemic homeland. It stages a listening-in totwo off-grid natural sites, not through repeating the sonic narrativization of romantic myths of ‘wilderness,’ or representing the tall trees as individuals in their spectacular monumentality, but through a small-radius radiophonic recognition of the altered and intertwined nature of landscapes, its subjects appearing close-in through clouds of mosquitoes and flies, washes of detuned electromagnetic noise and the busy knocking and seething of the normally inaudible biotic sounds of insects chewing wood and other processes of movement, life and decay.

    In considering the life processes and communities of this species of tree in Aotearoa/NZ and lutruwita/Tasmaniain the globalised present, it hears two very different contemporary biospheres, each with very different sounds and silences, each with a very different cultural discourse around the subject of nature. This can be noted particularly the fact that, at approximately only 80 metres in height, the celebrated New Zealand E. regnans would not even make the grade in terms of the minimum height which is set out in the Forestry Tasmania protective register that exempts eucalypts above 85 metres in height from being logged. In Tasmania, the age of these trees predates colonial settlement, In New Zealand they mark the boundary between a reconstructed endemic forest, which is highly managed to provide habitat for extremely rare birds, and farmland. These E. regnans might remember a different story to their old-growth Australian cousins – their own role in being part of the changing of the landscape by settlement.

    Elements of this transmission work were developed in 2015 for an exhibition at Constance ARI and Mona Foma, in Hobart, Tasmania. This temporally linear radio piece, mixed from live multi-receiver transmission recordings, has been newly produced for Radiophrenia in 2019.

    sally ann mcintyre is an Australian-New Zealand artist, writer and broadcaster. her work has paid increasing attention to sites where ecological and cultural narratives (recorded/transmitted signals/empiricism/documentary) meet unheard, unremembered, untranscribed or untranslated aspects of the landscape (bad reception/pseudoscience silence/electromagnetism/noise). often working critically with the sonic representation of specific aspects of environments, the one-way collecting drives of the practice of field recording, conceived as a form of technologised ‘voluntary memory’ that in codifying the temporal nature of human hearing often de-historicises and deadens its subject, meet a contrasting, liminal ‘involuntary memory’ often gleaned from the practice of small scale radio transmission as a form of two-way, site-receptive ‘fieldwork’ and an associated focus on revealing the chaotic nature of the inaudible energy spectrum. Works have critically analysed the place of nature in New Zealand, Australian and other cultural narratives through re-collecting faint traces in environments, historical texts and natural history museums, and a focus on lateral uses of the archive and the research/interview techniques of ethnography, as well as the figure of the amateur or citizen scientist, to build alternate models for empirical observation.

    Commissioned by Radiophrenia with the support of Creative Scotland.

     


  • Daniel John Williams - [The Past Imperfect]_009_Science -

    26th May 2019  6:30 pm - 7:00 pm

    programme/artist information

    [The Past Imperfect] is a series of Audio collages that are an attempt to tell a story with sound but without any of the narrative tropes and sign posts of contemporary Radio drama. Influenced by Dadaist cutups, contemporary notions of Hauntology and the collage experiments of artists such as People like us and Jon Leidecker. [The Past Imperfect] repurposes Audio from our collective past and invites recontextualization on the part of the listener.

    As a musician and Sound Artist my work been featured on Resonance Extra shows Unexplained sounds and Phantom Circuit. The Internationally broadcast Framework Radio and Berlin based Cashmere radio. I am a regular contributor to the worldwide sound mapping project Cities and Memory and was shortlisted for the BBC project sounds of our shores. One off Collaborations include the Solstice dawn and Acoustic Cameras projects in which my work features alongside many notable names from the worlds of Field Recording and Broadcast Audio.

    http://tpc.home.blog
    https://soundcloud.com/thepastimperfect
    https://soundcloud.com/daniel-williams-412
    https://djwmusic1.bandcamp.com/

     


  • Live-to-Air: The Bureau of Lost Culture - The X-Ray Audio Project and Soviet Bone Music

    26th May 2019  7:00 pm - 9:30 pm

    programme/artist information

    Presentation on Soviet era X-ray records by The Bureau of Lost Culture plus demonstration and live lathe cutting of short performances by Quinie, Rebecca Wilcox, Toi-so. Broadcast live from the theatre at Glasgow’s Centre for Contemporary Arts.

    X-RAY AUDIO is a project by The Bureau of Lost Culture’s Stephen Coates and Paul Heartfield.
    It tells the story of the underground community of bootleggers and music lovers who defied the censor in cold war era Soviet Union to make their own records of forbidden Western Jazz, Rock ’n’ Roll and banned Russian music. It is now an online archive, a book, an award-winning documentary and an internationally touring exhibition with live events.

    https://www.x-rayaudio.com/

    THE BUREAU OF LOST CULTURE are dedicated to recollecting counter-cultural stories through film, installations and broadcasts. By evoking the spirit of the forgotten underground they ai to inspire with a sense of risk and provocation.

    STEPHEN COATES, is a composer, writer and music producer. He came across the subject of the X-Ray recordings when travelling to Russia to perform as The Real Tuesday Weld. A graduate of the Royal College of Art, he is particularly interested in the interaction between music and culture. He has been researching the story of the X-Ray culture in Russia as part of a series of projects on Soviet musical history.

    https://en.wikipedia.org/wiki/The_Real_Tuesday_Weld

    PAUL HEARTFIELD is one of London’s most experienced and respected portraitists. He has worked extensively in the music industry, photographing many international bands and musicians over the last decade. He is the regular portrait and archive photographer for the Houses of Commons and Lords in Westminster and has photographed most of the senior British politicians of the last few years.

    http://paulheartfield.com/

    Rebecca is making a spoken word piece that takes some of the physical aspects of the X-Ray records as a starting point; as with many tangible reproductions of sound, they are quite noisy. The idea of background noise – whether audible or not – and its capacity to be comforting, distracting, scene-making and so on, is the focus of this new piece. Two versions of the text will be set into conversation through a live layering, allowing the constraints of the technology to dictate the form.

    Rebecca Wilcox is an artist living in Glasgow. She works with writing, audio and video and sometimes with their manifestations as performance and installation.

    Quinie will perform The Wind and The Rain.

    Based on an amalgamation of ballads from the Singing Bone tradition, this version of the song brings together influence from ‘the Twa Sisters’ and other related versions, including “Binnorie”, “The Cruel Sister”, “The Wind and Rain”. S inging bone ballads feature a talismanic instrument, made from the bones of a drowned woman and invested with metaphysical power. The theme of this ballad is common in many northern European languages. There are 125 different variants known in Swedish alone.

    Quinie, aka Josie Vallely is based in Glasgow. She sings primarily in Scots, in a style primarily inspired by the traditions of Scottish Traveller singer Lizzie Higgins (1929-1993). Collaging together source material, Vallely amalgamates modal melodies, children’s rhyme, Scots poetry and snippets of more traditional tunes to create a bleak and extended blur of narratives routed in an imagined Scotland.

    Music on ribs : Музыка на рёбрах. Jazz on bones : Джаз на костях. Bootleggers, music lovers.Scratchy hissing recordings.Heartbreak Hotel like Elvis underwater.Obsession and courage.Recording and distribution of forbidden music.Lovingly imprinted, pressed, cut one by one.Ghostly images of bones.Melodies, voices on fragile film.Jazz.Rock & Roll.Russian émigré music.Prison songs. “Gypsy” folk tunes. The intersection of technology, culture and ingenuity. Fuck everything, let’s dance!

    Christina Dunwoodie is an international opera singer specialising in Italian repertoire. She has always been interested in innovation of performance and production. In the 90’s she founded the award winning company Opera on a Shoestring for which she was Artistic Director and Diva. The company’s success was based on the fabulous singers and musicians and collaboration with artists, dancers and choreographers. She began directing opera, exploring how visuals and multi media could contemporise productions in the UK and now with a group of European Artists. In collaboration with Tony Morris she has produced and performed new songs/duets with digital music as Toi-so.

    Tony Morris lives in Glasgow and for the last 66 years and 8 months has lived his life backwards. Three years ago, on a firm foundation of zero talent and zero musical experience, he embarked upon a completely preposterous performing career; something he pursues with gusto and masses of self-doubt. In collaboration with Christina Dunwoodie he has produced and performed new songs/duets with digital music as Toi-so; Tony is at his happiest providing the miserabilist component to the combo.

     


  • Shorts 12

    26th May 2019  9:30 pm - 10:30 pm

    programme/artist information

    1. Fergus Kelly – Vacant Possession
    2. Radio Noise Duo – Antenna Non Grata
    3. Archivosonoro – Don-Renato-Lata-1425
    4. Dominic McDonald – Clams: Acts I & 2
    5. Chin Ting Chan – Zone 23
    6. CROMLECH SHADOW – THIS CORPSE SHADOW DON’T BARK
    7. Elina Bry – Closet musician

    1. Fergus Kelly – Vacant Possession
    Woven from field recordings, radio recordings, answering machine messages and concert recordings made in the 1990s, and also includes some TV and music from the time. The field recordings were originally made for my CD album for Project Arts Centre, Invisible City (1999), as part of their ‘Off Site’ series of exhibitions during building renovations.

    Going back to these recordings twenty years later is a curious experience, a time machine to different times, where, in a digital surgery of grafting and transfusion, presences are reanimated, spirits invoked, vacated spaces haunted. It’s a sonic seance, a poltergeist’s pantomime, an entropy tango. I’m reminded of how Iain Sinclair pithily described the editing process for London Orbital (2002), his film with Chris Petit: “The choice was stark: become a digital mudlark, rummaging through exhausted footage for retrievable images. Fool’s gold, dropped down the toilet bowl of the culture.”

    This piece functions like a radio play or cinema for the ears, where hybrid scenes are stitched from various parts of my record of the decade, and different characters appear and disappear. Though the recordings were not part of any attempt to exhaustively document the decade, merely part of an ongoing continuum of recordings of things that interested me. Edits from solo and collaborative performances of mine colour the second half of the piece. Wading through the tapes, there were some things I’d completely forgotten (and glad) I’d recorded.

    Certain signature sounds are salient parts of the landscape for me, and work like ‘soundmarks’ or sonic landmarks. The particular texture of Dublin bus engines, and the call of the Moore Street traders that is pure music to me, no need to loop it or add to it, it’s music ‘in the field’ in the best sense, part of a continuum of village vendors calling out across time the world over. Their calls are almost gone now, sadly, in a changed landscape and regulatory framework where traders, since the beginning of this year are not allowed to pass licenses down through families, as they had done for decades. I fear it’s the beginning of a process that will see them eventually leached out in favour of larger developments.

    More information and sound sources here: https://www.roomtemperature.org/2019/02/new-sound-work-january-2019.html

    2. Radio Noise Duo – Antenna Non Grata

    Antenna Non Grata. The basis of the recording are the sounds caught during the search of the sdr radio network. It is an unbridled space full of various random sounds that are arranged in simple structures. We wanted to use this potential of randomness and indeterminacy of the message. We also wanted to expose radio noise and its aesthetic qualities. The radio space is terra incognito. Our recording is antenna non grata. Tomasz Misiak and Marcin Olejniczak from Poland looking for inspiration in electricity, radio noise and amplified everyday objects. Earlier the musicians were associated with groups like kalEka (Misiak) or Monopium (Olejniczak), but they also had some solo projects. Radio Noise Duo is a part of Radio Noise Orchestra- still continuing initiative focused on radio noise in various artistic activities.

    https://www.facebook.com/AntennaNonGrata

    3. Archivosonoro – Don-Renato-Lata-1425

    We are Archivosonoro (Soundarchive) from Chiapas, Mexico. The team are Gabriela Guadalupe Barrios García and Carlos Emilio Ruiz Llaven. Las latas de Don Renato (Don Renato’s Thin Cans), is about short stories (1 minute long) tell told only with sounds, no talk, no spoken word in any language. Don Renato (fictional character) is an old man who likes to collect sounds and keep in cans… so share with us your collection with many many cans.

    http://www.archivosonoro.org

    4. Dominic McDonald – Clams: Acts I & 2

    I wanted to write a piece of music in which drama and music depend on one another. The end result is what I will call an “Electronic Play”, in which the music and drama develop alongside one another. The sound-world acts not only to set the scene and mood of the piece, but also express subtleties of the text and underlying themes. The work takes as its basis the short story Clams, by Megan Boyle. Anne is played by Maia Tassalini-Collins and Nate by Seb Pettitt. The narrator is Shaun Wood. Megan Boyle: https://twitter.com/meganboyle

    Born in London, recently completed an MA in Composition at the University of Bristol. He was awarded the Studio Prize for his sound installation Four Colours (2017) and has had works performed by The Bristol Ensemble, Ensemble Gravé and CoMA. He is particularly interested in the relationship between acoustic music and electronics, and the way music can be inspired by and created with electronic elements, as well as building musical worlds around dramatic structures. https://dommcdonald.bandcamp.com/

    5. Chin Ting Chan – Zone 23

    Zone 23 is my sonic representation of a place at war. The piece begins with a resonant chord, which often comes back throughout in order to connect the different sections together. The piece features mostly sounds that pertain to the idea of modern war – for example, sounds of helicopter, gunfire, bombs among others. The middle section features the juxtapositions of animal and bullet sounds, with a person steadily stepping in the background. It can be interpreted as the person witnessing a war from a distant, as if he/she is not involved or affected.

    Based in the U.S., Chin Ting CHAN has been a fellow and guest composer at festivals such as IRCAM’s ManiFeste, the ISCM World Music Days Festival, the UNESCO International Rostrum of Composers, and the Wellesley Composers Conference. He has worked with ensembles such as the City Chamber Orchestra of Hong Kong, Ensemble intercontemporain, ensemble mise-en, Ensemble Signal, eighth blackbird, and the Mivos Quartet. He is Assistant Professor of Music Composition at Ball State University. http://www.chintingchan.com

    6. CROMLECH SHADOW – THIS CORPSE SHADOW DON’T BARK

    A collaboration between A Jarvis and Chandor Glöomy on concrete sounds manipulated by tape, abrupt juxtapositions and vocal loops to entrance.COMA †‡† KULTUR is a label name but could also describe the net-induced state we find ourselves in when spending too much time gazing at this screen. In the process of seeking out good music it’s easy to become consumed by the zombie death brain rays that are a by-product of this thing. Even supposedly pleasurable pursuits such as listening to music can turn our minds to mush as we first walk, then stumble before free-falling into the black hole. comakultur.bandcamp.com

    7. Elina Bry – Closet musician

    I am working on a new career, a career as a closet musician. Creating music for this uncanny space, this intimate and individual space. The time and space is for you. I’m coming out of the closet as a closet musician.

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

     


  • Dave Madden - Giant Sans

    26th May 2019  10:30 pm - 10:50 pm

    programme/artist information

    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
    https://www.facebook.com/Nowhere-Mountain-1468679976756538/
    https://www.facebook.com/nonnon-6167183886/

     


  • Miser - Vertices & Vortices I

    26th May 2019  10:50 pm - 11:30 pm

    programme/artist information

    Vertices & Vortices I by Miser is a contemplation of resonance, space, and texture, arranged from treated mixing board and ambient room recordings from a fraction of a 4-hour drone session in January of this year at Orange County Center For Contemporary Art Santa Ana California.

    Miser is the ritual occult electronics duo of John Hudnall and Drew Girard, existing as live performance and recorded output. Miser strives for exploration of sound forms as a journey to deeper understanding of our own humanity and our place in the cosmos.

    https://miser13.bandcamp.com/

     


  • Zoe Irvine - Index: A Radiophrenia Melodrama

    26th May 2019  11:30 pm - 12:00 am

    programme/artist information

    A poetry of titles. Listing, listening and indexing what has taken place over the last two weeks. This half hour piece marks the end of Radiophrenia’s formal broadcasts this year.

    Created in collaboration with Helen Clocherty & Rhona Taylor. Additional voice Petros Tsaftaridis.

    With thanks to Leonardo D’Andrea.
    An Eggbox Audio Production

     


  • Martin Eccles - Beàrnaraigh

    26th May 2019  11:59 pm - 27th May 2019  11:59 pm

    programme/artist information

    Beàrnaraigh is a durational, 24-hour work. From 20 days comes one 24-hour day of June, an Outer Hebridean island and walks of my complete clockwise island circumnavigation. Each minute is presented at its recorded time of (a) day; some are in appropriate succession from one minute to the next whilst others may be days away from their neighbour. Beàrnaraigh offers place, time, distance and movement – the chance to consider duration, “time of (a) day” and its relationship with distance and movement across place – distance walked in an hour, walking across hours or walking the entire circumnavigation.

    I am a walking sound artist based in Newcastle upon Tyne. My practice reflects my presence in and walking through natural environments. I use a range of methods (predominantly sound and text) to respond to the time, distance, place and space of the landscape. I am currently working part-time on a PhD in Fine Art at Newcastle University. I have previously produced radio works for framework radio and forResonance EXTRA.

    https://martinpeccles.com
    https://mpefairislereels.wordpress.com
    https://soundcloud.com/mpeccles