fri 25

Graveyard radio the graveyard slot the graveyard shift radio graveyard hello I am Dai Coelacanth and I will be taking your calls on the psychic hotline take your wig off and relax there is no point getting in a spin six hours of all action reportage shouting fuzz hiss interspersed with snippets from the hit parade welcome home come on in and close the door.

AUGUST BLACK (Bilbao, Spain)•BETSEY BIGGSconductor (Boulder, CO)•JIMMY GARVER (Leeds, NY)•MAX GOLDFARB (Hudson, NY)•PETER COURTEMANCHE (Vancouver, Canada)•VIRGINIA MANTINIAN (Denver, CO)

The Conduction Series is a collaborative live radio broadcast produced by a group of sound and transmission artists across the Americas on Wave Farm’s WGXC 90.7-FM Radio for Open Ears in New York’s Upper Hudson Valley. The group comes together on the first Friday of every month at 4:10pm ET using the web platform Mezcal. Emphasizing LIVE interactivity and media archaeological methods, the series explores themes of migration, feedback, user participation, low-key and on-site interaction with mobile devices, and remote collaboration at scale.

https://conduction.wavefarm.org/

an open composition consisting of sound, noise, text, language, fields.

These tools considered as a field of sonic fragments capture a certain situation in time and space and their manner(s) in a medium’s dimension

As historical artefacts
As non-linear narratives
As personal memory
As processual sonic material
As sound marks corresponding with environmental data
As language affirming understanding without meaning.

With a lo-tolerance for beats and grids, and a hi-tolerance for ambience, noise, rhythm ([s]analysis and Other[ly | (sonic)] materialities. Output, pass thru, insert, chain reaction, impulse, back.

that there then, not now here past was developed as an ongoing art practice work in proc/gress by Antonia Alessia Virginia Beeskow, Aran Kleebaur and Chiara Marcassa for Implantieren Festival 2022/23 Beziehungsweisen having taken place in Frankfurt am Main. They met each other during their studies at Institute for Applied Theatre Studies, Giessen (DE) and worked in different constellations with sound, text and performance on similar projects. that there then, not now here past is their first project as a trio merging their individual backgrounds together.
More information you may find here: https://www.thattherethen.com

that there then, not now here past — Tape mixed by: Antonia Alessia Virginia Beeskow

1 - Anne Marie Deacy & Rachel Doolin - Oscillithic: Hidden In Quartz. Sounding Stones. (9:58) 2 - Diana Duta - Ballade XI b (2:05) 3 - Pageboi - =]= noise gate (4:28) 4 - Wendy Kirkup - rough cut botanical (8:01) 5 - Guillaume Loizillon - temps-ordinaires (3:19) 6 - Gabi Schaffner - Critter’s Home Study - (12:15) 7 - Juliette Chartier - Space Cemetery (5:56) 8 - Emma Vickers - An Uprooted Voice (1:17) 9 - Tam Lin - Bench Loop 1 (7:39) 10 -Trần Uy Đức - Asking for Gyrations (1:54)

1 - Anne Marie Deacy & Rachel Doolin - Oscillithic: Hidden In Quartz. Sounding Stones. Explorative interactions through the elemental remnants of the sí

The sí, in the Irish language, refers to megalithic mounds and the spirits believed to be connected to these ancient burial sites. White quartz stones, known as ‘Clocha Geala’ or ‘shining stones’ have featured prominently at many of these neolithic sites, alluding to its association with cosmic revelation, which has played a significant role in the material culture of our ancestors. Oscillithic is the neologism coined for this new collaboration, which explores the vibrational energies of lithic remnants, in an attempt to mine meaning and insight from the hidden vernacular of these megalithic sites. (Field recordings made by Anne Marie on Dowth Lands, Co. Meath, Sounding Quartz Remnants & Quartz Sound Bowls.)

Anne Marie Deacy is a sound artist, based in the west of Ireland. Field recording is the foundation of practice, which is embedded in listening as activism. She is interested in the creation of sonic works that explore the resonance of materiality, exploring vibration and sound as a series of memory marks. Through this work she is interested in sounding the past and exploring through our auditory perception a sonic dialogue, frequently using radio as a portal that opens up our way of listening and questions our sense of time, self and place.

Rachel Doolin is a visual artist, based in the South of Ireland. Doolin’s multidisciplinary practice merges art, experimentation and ecology to create work that is inextricably linked to material research, driven by a desire to test the parameters of materiality, media and the criticality of issue-based practice. Her work is thematically underpinned by a passion to explore the multifaceted dualities and dichotomies that surround materiality, habitation and the environment  
https://www.annemariedeacy.com/    https://www.racheldoolin.com/

2 - Diana Duta - Ballade XI b

3 - Pageboi - =]= noise gate

This piece called 'noise gate =]=' represents a time when I feel lost, trapped and self-destructive. It's very vulnerable and speaks to those who are hiding away from life's tribulations, and also to those who are looking to help. The 'broken', 'suffocated' sounds are reminiscent of that cloudy feeling when everything feels a bit distant yet all too close for comfort, and the things you want to reach out to feel overwhelming.

I am an artist currently living and working in Glasgow. Lately, I've been using field recordings to make soundscapes with added vocal distortion.

4 - Wendy Kirkup - rough cut botanical

‘rough cut botanical’ is a ‘Film for Radio’, composed of spoken word and expanded audio description creating subjective images through the imaginative spaces of the radio. Originally a 16mm film and now reimagined as a sound work, the voice in ‘rough cut botanical’ explores audio describing as a way of creating a dialogue with those things which appear to us visually.

Wendy Kirkup is an artist based in Glasgow who works in 16mm film, analogue photography and digital video. https://wendykirkup.com/

5 - Guillaume Loizillon - Ordinary Times

6 - Gabi Schaffner - Critter’s Home Study

A seed concerto, piano keys, a radio. Imagine yourself small.  A gathering of sample recordings, mostly from instruments… performers. The difference between the analogue and the digital, is it like a fuel driven rocket to a time jump? I am sometimes afraid to listen (for the most manifold time) to a piece just created, just compiled from the file berths. Anyhow, this is about small places I think, “hiding corners’ (‘Versteckecken’) and broadcasting different materials (wood, plastic, wool, meta¬¬¬l).  And families of critters lounging in lichen deckchairs, all grouped around a buzzing radio. A bucket of salt water fits the scenery. Particles of mice, and straws.
All (prepared) piano and kalimba: Elo Masing and birds. Seeds, more sounds and oilcan guitar: Gabi Schaffner.          schaffnerin.net      

7 - Juliette Chartier - Space Cemetery

In 1957, the dog Laïka was the first living creature to be placed in Earth orbit. This creation
was inspired by her story and those of other animals that had died in space (monkeys mice, spiders...). Without them, human space exploration would probably not have happened.

I am a documentary radio-maker and a sound artist. I live in Marseille (France) where I am part of the sound creation collective Copie Carbone. I enjoy various forms: documentary, radio practice, electroacoustic composition, sound installation… At the same time, I lead workshops around sound practices with children, adolescents and adults. I also perform as a dj under the name of Djsport2000.        https://juliettechartier.fr/

8 - Emma Vickers - An Uprooted Voice

An uprooted voice is a poetic exploration of hair materiality and landscape. Landscapes and organic ecosystems offer a rich synthesis for the sensorial experience. Poetic speculation of an alternative environment allows for the freedom of imagination, where limitations and factuality become a less hindering thought. When considering the natural fibre ‘hair’, the subject is often met with a generalised restricted vision within society, it’s an overlooked element of human physiology. ‘An Uprooted Voice’ introduces the concept of hair as a living material, a self-sustaining matter which has been disassociated from its’ usual life support – the body. It offers acoustic speculations of this organic material within a landscape, unveiling the ‘voice’ of hair.

I have always had a strong interest in Art and Design. My degree in BA (Hons) Makeup and Hair Design at Solent University has challenged my ways of thinking and expanded my creativity, more recently I have been interested in forming new perspectives with speculative design approaches that could be explored through a variety of mediums.  https://www.emmavickersdesign.com/        

9 - Tam Lin - Bench Loop 1

Bench Loop 1 is part of an ongoing search for paralysing loops, loops which, similar to drones, can hold the listener in perpetual stasis. The loop in this piece is an electronically processed field recording of a metal bench, and while it loops perpetually, the intricacies of the patch create subtle variations in timing and texture. .  http://www.tamlines.com         
                       
10 -Trần Uy Đức - Asking for Gyrations

Asking for Gyrations is a composition that seeks to blend structures with intuitivities. Holding onto sonic materiality in a playful manner, the track also offers a perspective on the uncertain times of today's world. It invites listeners to see music beyond the evitability of pivotality and into an indefinite ecology where preconceived notions of genre, culture, and voice must be redirected with compassion in the face of defamiliarization.

Trần Uy Đức is one of the youngest musicians who’s been rising in the Vietnamese scene, a testament to the youthful energy driving it forward. Their internationally acclaimed second album, Came, was released in December 2021. T   http://www.tranuyduc.com

On Creativity during the Postpartum Period is a follow-up to the previous episode which explores the creative process artists experience while being pregnant. How do women navigate their lives as artists after giving birth? Can the demands of motherhood be met while an artistic practice is maintained? Words, thoughts, and impressions from Asami Kiuchi, Darina Zurková, Dewi de Vree, Kate Donovan, Maia Koenig, Rosanna Lovell, and Tatiana Kolganova, to an all-too familiar soundscape that all parents will recognize at once… Curated and produced by Leonie Roessler for Studio LOOS, with funding from the Gemeente Den Haag.
 
Produced at https://www.loosdenhaag.com/

Leonie Roessler - Composer, performer and radio maker raised in Germany and the US, now based in The Hague, Netherlands.  Leonie captures her environment with field recordings, which she uses for radio pieces, sound installations, and instrumental compositions. She runs the radio branch of Studio LOOS in The Hague, has a monthly show called Tales in Sound on CAMP radio, and co-manages Iranian record label Noise à Noise. Her works have been released through Musica Dispersa (Spain/UK), and Noise á Noise (Iran), Biodiversitàs, Syrphe  and have been physically archived in the British Library.
 
http://www.leonieroessler.com
Facebook: Leonie Roessler
Instagram: ljroessler

This is a concept album about convergent evolution in sound. The Earth has been making sounds since it was formed, and in that time, all the sounds we have heard have become more and more unique. This album honours, recognises and celebrates the ways in which things have come to sound and how similar they can be whether above or below the water.

My name is R Beuzeville, I work under the name indri, as well as my own name. I am a studying ecologist who has been making sound projects for several years. I work predominantly with field recordings that I record myself all over Australia, both above and below the water. I am interested in the way that sound exists in the natural world and the differences in the way that we and other species utilise and experience the sonic world.

Music | R.Beuzeville (bandcamp.com)

1 - Mat Ward - This Misunderstanding Suggests Tenderness (7:17) 2 - Cameron Leaf - Traversal (13:09) 3 - Marco Dibeltulu - Una sola moltitudine (6:00) 4 - Cláudio de Pina - Neurotransmit (10:09) 5 - Emma Margetson - Cimbaal (7:04) 6 - Roberto D'Ugo Jr - Água Reversa Acqua Inversa (2:19) 7 - David Snow - The Mozart Effect (7:14) 8 - Mike Hovancsek - Level 1 (5:41)

1 - Mat Ward - This Misunderstanding Suggests Tenderness

Mat Ward is a musician and researcher whose practice encompasses performance, installation, film scoring, noise art, sonic portraiture, free improvisation and site-specific response. He collaborates extensively with artists across the world and is currently co-ordinating an international art music collective titled Then She Reaches For The Gun featuring more than 50 musicians from 20 countries. Ward's current research focus is the examination of  the acoustic structure of noise; pulling apart field recordings to investigate how the properties of noise have both disruptive and cohesive elements and their relationship to human emotion and communication.

Then She Reaches for the Gun was formed in 2021 to bring together some of Ward’s disparate collaborative projects through experimental sound collage. Ward invites people (not just musicians) to send him files which he arranges ‘as suggested by the work’ including field recordings, spoken word, noise and pet sounds as well as instrumental grabs. Both the aesthetic and the compositional methods extensively use what Frank Zappa called Xenocrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions that defy easy classification. A lot of it is also funny as fuck.       https://www.matward.net/         https://soundcloud.com/no-mates-ensemble

2 - Cameron Leaf - Traversal

Traversal is a sound piece created from recordings taken whilst walking in rural south west England. Navigating forests, moors, meadows & coastlines, the audio encompasses transit in all weathers — from the fog of Dartmoor to a sunny southern beach.

The rhythm of footsteps takes the foreground, providing a steady & comforting cadence. Alongside the sound of the human, the environment itself emerges: grass, stones, water, wind. Traversal offers a moment to enter a state of mindfulness, perhaps; supplies a brief escape into the wilderness; or, is simply an opportunity to experience the sounds of the landscape.

Cameron Leaf is a composer & sound designer based in the UK. An independent artist, he has produced a broad range of music under a multitude of aliases over the last decade. He set up Studio Leaf as a production unit for sound work — creating audio for speaker, space & screen.
http://www.studio-leaf.co

3 - Marco Dibeltulu - Una sola moltitudine

After an endless moment of unease, in the race for the long-desired stillness, one goes through many moods. Once peace has been attained, one feels enveloped in an unexplained melancholy, as if feeling nostalgia for the frantic moments of the race. As fear gradually dissolves and “invisible hands caress the soul”, now that it has left its trouble behind, everything is thought over with the help of deeper breaths: the goal has been reached and the limit of the multitude of the moods one has experienced has been marked. The piece contains Antonella Chessa’s poem of the same title.

Marco Dibeltulu (Alghero, 1971), studied at the Conservatory of Cagliari Composition, Choral Music and Electronic Music. His compositions have been selected in many competitions as 24th International Electronic Music Competition “Luigi Russolo” – Varese; CALL 2006 and 2013 – Federazione CEMAT, Rome; 6th International Computer Music Competition “Pierre Schaeffer” 2007 (1st Prize) – Pescara; 360 degrees of 60x60 – Vox Novus, New York City; ICMC 2012 – Ljubljana; NYCEMF 2014, 2015 - New York City Electroacoustic Music Festival.   http://www.marcodibeltulu.it

4 - Cláudio de Pina - Neurotransmits

Neurotransmits (anagram of ‘number stations’) is an electroacoustic composition that explores the eerie and mysterious world of number stations. Featuring sounds from ‘The Buzzer’, ‘The Pip’ (Russia), Lincolnshire Poacher (UK), among others from different countries (Sweden, Hungary, Poland and Cuba). The piece conjures the atmosphere of a spy listening in on clandestine transmissions in a safehouse. The listener to enters a world of covert operations and intrigue, where hidden codes and transmissions pulse through the airwaves, and is left to wonder what is the meaning of these messages, from were are they being transmitted, and to whom...

Cláudio de Pina is a sound artist, improviser, organist and composer. Titular organist of the historical organ at the Parish of Ajuda. Researcher in GIMC. Holds a DAS and a MA distinguished with the Dean’s Honour Roll. Currently a PhD candidate and a fellow. Studied in Gregorian Institute of Lisbon, Hot Jazz Club and Physics Engineering.    http://www.claudiodepina.com

5 - Emma Margetson - Cimbaal

This work is primarily derived from close microphone recordings of a suspended cymbal. The sonic qualities of the cymbal are explored, with the piece transforming and transporting the sounds of the cymbal to different cosmic worlds. Particularly important is how the resonating qualities of the work build and fade taking the listener on a journey to explore different spaces, pitches and timbres of the cymbal, whilst contrasts in motion and gestural activity – strikes, swooshes, gongs – explore the physicality of the instrument.

Dr Emma Margetson is an acousmatic composer and sound artist. She is a Lecturer in Sound Design and Research Fellow in Audiovisual Space: Recontextualising Sound-Image Media at the University of Greenwich. Her research interests include, sound diffusion and spatialisation practices; site specific works, sound walks and installation; audience development and engagement; and community music practice.  http://www.emmamargetson.co.uk

6 - Roberto D'Ugo Jr - Água Reversa Acqua Inversa

Liquid Augury. Processed soundscape: a discreet ornamental water fountain recorded on Avenida Paulista, in São Paulo. The technique working as an oracle. Echoes of Walter Benjamin: "we can only penetrate the mystery to the extent that we find it in the everyday, thanks to a dialectical optic that sees the everyday as impenetrable and the impenetrable as everyday".

Roberto D'Ugo is a Brazilian artist-researcher dedicated to radio art. He creates works that explore interfaces between magic, technique and art. Based on listening to everyday life, his aesthetic investigation dialogues with surrealism. The ritualistic repetition of sound residues is a characteristic of his work. 

7 - David Snow - The Mozart Effect

An imaginary field recording documenting the psychoacoustic properties of the uterine environment up to the moment of parturition.

The compositions of David Jason Snow have been performed in concert by the Ensemble Intercontemporain at the Centre Georges Pompidou in Paris, the Banda Municipal de Bilbao at the Euskalduna Palace in Bilbao, The New Juilliard Ensemble at the Museum of Modern Art in New York, and many other artists and ensembles internationally.  davidsnowmusic.org

8 - Mike Hovancsek - Level 1

This piece of music makes use of pure electronics, samples, koto, and a circuit-bent instrument called a "jabberbox". I am a musician who usually plays acoustic, multicultural music but this piece is part of an album of electronic works that I am recording. To hear more of my music please visit my BandCamp page: https://mikehovancsek.bandcamp.com/

Field recordings of Marseilles' Noailles neighbourhood provide a fragmented foundation to consider connections of self, community, and historical migration routes. A diary-like composition that leans into the artists experience of the diaspora and brings to attention chaos in a distant yet familiar environment. Elongated murmurs, fragments of sidewalk hustling and street performance are stitched together and overlaid with live prose. Spoken in English, acknowledging the varied degrees of diasporic experience and displacement; a polyphonic gesture towards fractured individuals and communities. Commissioned in 2022 for The Common Guild Roundtable conversation in response to Basel and Ruanne Abou-Rahme’s exhibition 'May amnesia never kiss us on the mouth’.

Hannan Jones is an interdisciplinary artist, musician, and programmer of Algerian and Welsh origin born in regional Australia on Binjerup Noongar Boodjar. Research-led, Hannan deep dives into concepts of hybridity, rhythms, and psycho-geography responding to cultural and social migration. At the intersection of sound, sculpture, installation, and moving image, Hannan attempts to find 'togetherness' and reflect ourselves in our surroundings.

http://www.hannanjones.com

1) Sara Lehad - D'élire domicile (5:19)
 
2) Sisters Akousmatika - Border_Radio Chapter 1: Phonic atolls (2:27)
 
1) Sara Lehad - D'élire domicile
 
D'élire domicile is a piece I made very spontaneously using a technique of layering and sampling different recorded or synthesized sound sources to create a confused yet distinct magma.  

Sara Lehad is a Paris based and Algiers born sound artist and researcher. She’s currently working on her PhD at l’Université Paris 8 and she studied electroacoustic music composition at le Conservatoire de Pantin. Her current research aims to decolonize her practice of music through a matrimonial interest in Amazigh-Kabyle women culture and through thematics such as listening, voice, border of speech, immemorial and intergenerational trauma. She has also a practice of improvisation through an electronic dispositive of no-input mixing board. She performed in les Instants Chavirés, le Non_Jazz, Doxa Esta and Cmptrmthmthcs.

https://soundcloud.com/sara-lhd-554471127
 
2) Sisters Akousmatika - Border_Radio Chapter 1: Phonic atolls

Border_Radio is a conceptual inquiry about ownership of the airwaves. Originally commissioned as a video and ‘radio play’ script for Donner forme a l’ether Espace Multimedia Gatner (France). The Border_Radio play is written in three acts: Phonic atolls ~  Spectrum Auction ~ Decolonising Wavelengths. Each act represents an unfolding conceptual space, exploring questions about sovereignty, ownership, transmission law and international treaties, history and potentialities.

Sisters Akousmatica (lutruwita/Tasmania, AUS) Is the collaborative, expanded radio project of Julia Drouhin and Phillipa (Pip) Stafford – exploring the radical possibilities of transmission since 2016. Sisters Akousmatica weave projects in, around, with and for radio. Their work is concerned with collective, feminist radio practices and auditory-spatial exploration.

radioqueens.art

"Who remembers all that? History throws its empty bottles out the window.“

Sans Soleil, Chris Marker, 1983
A song is playing, in the background. Hey —

Schock!

Still, alive.

Waste(d) land revisited.

This is an acousmatic cadavre, reassembling thoughts and samples that are rotting on a hard drive in a box, in the downloads folder of my laptop causing slow pace or being captured in the fields very soon. As if it was a prehistoric cave, creatures pass in and out. The traces of another time lie buried in the undefined terrain, but I will arrange and add yet another layer to this palimpsest of sounds and form a loop of sonic references and anecdotes, like a Stone/r/d henge in a sonic sphere. Roll out a carpet of sub frequencies! You may hear the echoes of the sirens, they speak with a German accent in their voice in dramatic tone… still, I feel the same.

With voices of Meta D-1, Gertrude Stein, Anna Oppermann, Fiona and the author and a quote by Lawrence English.

Antonia Alessia Virginia Beeskow, born in Düsseldorf, studied archaeology, Angewandte Theaterwissenschaft and Klang & Realität. As artist, sound designer and performer, Beeskow works in the independent scene, radio plays, podcasts, installations, experimental films and in the theater in different collaborations and writes about female* composers and sound artists for the grapefruits.online fanzine.

http://www.antoniaalessiavirginia.com

‘Ecce, sigh! Siren calls… still, I feel the same.‘ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

After Words is a radiophonic artwork, originally developed as a multi-channel sound installation for the exhibition Data Relations at Australian Centre for Contemporary Art.
 
As the artists explain, ‘data is never mined. It is always made. A computational theatre.’ Many datasets used to ‘train’ automated systems to make predictions and decisions are literally performed by actors, or researchers pretending to be actors. Others are the product of our own performances for and with machines, every time we ‘wake up’ Alexa or upload a video to YouTube.
 
After Words explores these dynamics across a series of speculative scenes. Each scene works with readymade audio, repurposed from machine learning datasets, woven through a script written with and against an ‘autoregressive language model’, and performed by voice actors. The result is a strange set of semi-fictional tales of computational scripting, instruction, production, and performance, staged in 8-channel audio. In this strangeness, After Words gestures at a near future in which language has been fully operationalised: where every word we speak has a computational effect and residue.
 
The voice artists invited to record original material for this work are all researchers in critical data studies.
 
MACHINE LISTENING (SEAN DOCKRAY, JAMES PARKER AND JOEL STERN)
 
Established in 2020 by artist-researchers Sean Dockray (b.1977), James Parker (b.1983) and Joel Stern (b. 1979), Machine Listening is a platform for collaborative research and experimentation, focused on the computation, capture and control of sound and speech. The collectives research and writing concentrates on accent bias, audio event detection, music information retrieval, and automated voice diagnostics, including how practices like these were mediated by the pandemic, which has been a constant backdrop. Machine Listening situate this material in relation to the entwined histories of speech recognition and computer music. Machine Listening have produced an online library and an interview series, staged lectures and performance programs, made films, and an ‘instrument’ for composing with audio and video via text. All of this material has been gathered online as an expanded ‘curriculum’.
 
Sean Dockray is an artist and writer whose work explores the politics of technology, with a particular emphasis on artificial intelligences and the algorithmic web. He is a founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of knowledge-sharing platforms, The Public School and AAAARG.ORG. Sean is currently Head of Sculpture & Spatial Practice - Senior Lecturer, School of Art & Design at the Australian National University, College of Arts and Social Sciences.
 
James Parker is the Director of a research program on Law, Sound and the International at the Institute for International Law and the Humanities (IILAH) at Melbourne Law School. His research focuses on the relations between law, sound and listening, with a particular emphasis on international criminal law, the law of war and privacy.
 
Joel Stern is a researcher, curator, and artist and currently holds the position of Vice Chancellor’s Postdoctoral Fellow in DSC|School-Media & Communication, RMIT. With a background in experimental music, Stern’s work focuses on practices of sound and listening and how these shape our contemporary worlds.Stern was Artistic Director of pioneering Australian sonic art organisation Liquid Architecture, 2013–2022.
 
https://machinelistening.exposed/curriculum/
 
Project Website with audio:
 
https://afterwords.netlify.app/

1 - farmer wadams - Eidolon Whelk (6:25) 2 - Alistair Zaldua and Lauren Redhead - by increments (5:32) 3 - Wil Pertz - Singularity (16:24) 4 - Vincent Eoppolo - Facades (3:08) 5 - Patric Simmerud - Fatburen (3:00) 6 - Karolis Lasys - Fermi Paradox (21:07) 7 - Juliana Capes - What noise is garden (2:52)

1 - farmer wadams - Eidolon Whelk

Dark ambient prime number based ruler vibrations, with samples from my daughter and the local river.  

I have worked in animation for the past 25 years - currently Creative Director at Wild Child Animation, Stirling. I started out in club visuals and live AV performances, as part of a collective called Pointless Creations, and have always wanted to go back and make music of my own. Struggling to find time to learn music software, I decided to use Resolve, video editing software with which I was already familiar. So earlier this year I made my first track ill in bed with covid, which reflects the semi-delirious state I was in at the time.

https://soundcloud.com/farmerwadams

2 - Alistair Zaldua and Lauren Redhead - by increments

SouthWestApril is a collection of four experimental sound poems that combine speech, improvisation and live electronics that can be heard as separate pieces or a continuous set. The texts were created using extended Oulipo techniques, while the e-violin interacts with live electronics that sample and process the improvised sound in real time. These pieces were recorded at the SWR Experimentalstudio in Freiburg, Germany, in April 2023; live electronics were performed in the studio by Maurice Oeser.

Alistair Zaldua is a composer, improviser and violinist based in Manchester. In addition to his work as a solo improviser, he performs in a duet for organ and live electronics with Lauren Redhead. Most recent projects involve duet improvisation with Alwynne Pritchard (Bergen), saxophonist Christoph Gallio (London/Aarau) and percussionist Pascal Pons (Freiburg).
http://www.alistair-zaldua.de

Lauren Redhead is a composer of experimental music whose work is published by Material Press (Berlin) and by Firehead Organ Works (UK). Her music is released on the pan y rosas discos and sfz music labels. She is also a performer of music for organ and electronics, often working in a duet with Alistair Zaldua. When not making music, Lauren also writes about the aesthetics and socio-semiotics of 20th and 21st Century musics.
https://laurenredhead.eu/
 
3 - Wil Pertz - Singularity Singularity 21 - FRWRD

Singularity are work of Sonic and Visual Art for Electric Upright Bass and computer. Each piece experiments with different types of improvisation, video manipulations and multiple camera arrangements. Works with video can be found https://www.youtube.com/playlist?list=PLix6srstj8SSqcLlpqW0XSe1dLswsgjWd

Wil Pertz teaches Electronic Music in Daejeon Korea. Currently he is experimenting with multi-channel works and reactive video between 40-100 channels in ambisonic and binaural configurations.        https://wilpertz.com/

4 - Vincent Eoppolo - Facades

Vincent Eoppolo (Ioppolo) is an American composer from Wilmington, Delaware. Initially trained as both a Classical and Jazz guitarist, Eoppolo began composing and recording electronic music in the early 1980’s shortly after the development of MIDI (Musical Instrument Digital Interface) and the introduction of affordable home computers and recording equipment. During the 1980-90’s Eoppolo’s fixed media compositions were regularly featured on university new music radio programs in the Philadelphia, Pennsylvania region. Additionally, Eoppolo’s works received recognition in music publications Keyboard Magazine and Computer Music Journal. In recent years, Eoppolo’s fixed media works have been presented at the New York City Electro-Acoustic Music Festival, Mise_En Place New Music Festival in Brooklyn, Utopie Sonore in Nantes, France and De Natura Sonorum in Rome, Italy. Eoppolo’s compositions have been released by Moscow based independent music label Meticulous Midgets and his works are regularly featured on new music radio and internet programs throughout Europe and North America.

Eoppolo’s compositions are a mix of various sound art traditions such as musique concrete, acousmatic music, electro-acoustic music and radio art. Eoppolo refers to his works as sonic cinema and he cites film directors such as Antonioni, Tarkovsky and Fellini as influences.

Eoppolo’s music is available on all major streaming platforms such as Spotify, ITunes, YouTube and Amazon as well as Soundcloud.

5 - Patric Simmerud - Fatburen

Fatburen was the name of a lake, located at the outskirts of somewhere else, which due to its rich wildlife attracted humans who fed upon what the water gave them. The humans settled down, a small village was founded. The good life attracted businessmen who started factories, which inevitable led to the death of the wildlife and ultimately the lake itself. The village grew to a city and the lake was first transformed into a railway station, then into 12 stores high buildings for people to live in. Today Fatburen is the name of a very small part of Stockholm.

Patric Simmerud (°1963) is a composer and sound artist based in Stockholm, Sweden. Classically trained and with wide influences, my work as a composer range from contemporary art music - including electroacoustic and radiophonic pieces, chamber music and music for full orchestra - to soundscapes and music for film. As a sound artist, I have explored various artistic disciplines such as installation, performance, videoart. My work has been internationally performed and included in various art exhibitions.  http://www.simmerud.com

6 - Karolis Lasys - Fermi Paradox

Fermi’s Paradox is a collage of found sound in the short-wave radio spectrum, recordings of number stations and a song which, along with reflections of the author, constructs a narrative of how radio, as a medium, highlights / mirrors the flaws of interpersonal communication, finding understanding, the somewhat inherent meaninglessness of it all and how we cannot stop trying. It was made in reference to Fermi's paradox and tries to expand it to apply not just to the question of extraterrestrial life, but also to the terrestrial goings on of people.

Karolis Lasys is a musician, architect and interdisciplinary artist, hailing from Lithuania and currently based in Helsinki, Finland. Through his work Karolis explores the intricacies of modernity - how technology, interconnectedness and globalisation effect the human condition both positively and, more often than not, strain it by putting us in new tighter mind-frames. His usual work mediums are spatial installations, audio-visual works and interactive bridges between virtual and physical space. He's also a resident in Palanga Street Radio, based in Vilnius, Lithuania and Gasoline Radio in Kiev, Ukraine and runs an alternative electronics label called BRKNCRCTS.       https://www.instagram.com/eugine_onegin/        

7 - Juliana Capes - What noise is garden

“GOWO MANGO" an album of song sketches by visual artist and describer Juliana Capes,  commissioned as expanded audio description by artist Laura Aldridge,  as part of an audio interpretation of her recent monograph THINGS THAT SOAK YOU.

Capes's descriptions of Aldridge's sculptures have morphed through conversation into sketches of songs, through exploration of Laura's working methods of expanded collage, shared enthusiasm about musical influences and love of mash up and the encouragement burgeoning friendship and collaboration.

http://www.julianacapes.co.uk

An improvised set compromising of spoken word, singing, bass guitar, synth as well as field recordings and prerecorded interviews. The piece is inspired by acts of surrender, offering, transition and devotion and the relevance of these in a modern context. It is my intention that the piece itself is an act of surrender given its improvised nature. The end result being an emotive, immersive and transitional experience for listeners. Clare Simpson is a somatic sound artist, poet and performer based in Glasgow. She has a broad range of experience writing, creating, performing and directing various soundscapes, gigs, live shows and spoken word pieces. She recently performed a 3.5 hour durational soundpiece ‘BANSHEE’ at Buzzcut 2023 and is currently releasing her first EP as her solo project ‘Speculum Bunny’. She has performed at The Arches, Hidden Door Festival, Usher Hall, Buzzcut and The Royal Panopticon. She is a trained sound healer with a passion for weaving this into her work to provoke, stir and inspire emotion to those listening.

“Lana negra: el río” / “Black wool: the river” is an experimental sound documentary made up of recordings (with different devices) on the banks of the Guadalquivir river as it passes through the city of Cordoba. These recordings have been made between 2017 and 2022 at different times of the day and at different seasons of the year. It follows a herd of sheep, which usually graze by the river, and some of their relationships with other inhabitants of this urban territory (humans, dogs, birds, insects, plants, cars, soils, water...).

Researcher and sound artist, she is a doctor in Human and Cultural Sciences and a professor in the sound art master's degree at the University of Barcelona. Her work is focused on human collaborative practices and interspecies listening and has been shown at the Museo Reina Sofía (Madrid), Universidad París 8, Festival Tsonami de Valparaíso, Festival Creatures (Seville), C3A (Córdoba), among other places.

susanajimenezcarmona.net  https://soundcloud.com/user-833026438

A soliloquy on the nature of seclusion and the volatility of existence; seen through the eyes of an abstract myth.

The work intertwines thoughts of death and identity with mythical beings and curious worlds found in Swedish stories and folklore. Featuring throughout the soundwork is an old reed organ that was once used by my great grandparents, dusty and weathered from years of neglect. The organ becomes a new entity by merging itself with the abstract myth risen from ancient times, from a place that lies deep beneath and deep within.

"She is death, the inevitable change, life's impermanence and the end of all things. She is wonderful, and terrifying."

Work commissioned by Miasma & Look Again (Terra Incognita) as part of the Wonderland Festival, Thursday 8 – Sunday 11 September 2022, Aberdeen. #wonderlandaberdeen

Sound broadcasted to earthly and unearthly critters via fruitful.fm/

Astrid Björklund is a Swedish visual artist and amateur sound weaver. Her work draws on the theories of the “Chthonic” (of relating to, or in, the underground), fiction, mythmaking, and thoughts surrounding the uncertainty, awe and ambiguity of life, with a pinch of existential dread. Noise, music and ambience for this work have been created using various synthesised, found, created and recorded sounds.

https://astridbjorklund.com

All sound is rhythm. Audio waveforms are a kind of pulsation, whether regular or irregular. Lavender Lauds takes this rhythmic reality of sound as a starting point, examining cyclicality at various levels and time scales. While in residence at Vienna’s MuseumsQuartier in Spring 2023, I took many photos, videos, and audio recordings in and around Vienna, then sonified these into several unique software oscillators, through which Lavender Lauds explores various time scales from short to long. 
 
Thanks to TONSPUR Kunstverein Wien, MuseumsQuartier, and Fulbright Austria for sponsoring this piece.

Kristina Warren [US] is a sound artist who creates performances, installations, and recorded media using a variety of analog, digital, received, and self-designed tools. Called "precise and unpredictable" (Marc Masters, Bandcamp), work by Warren has been presented at venues including A4 [SK], echoraum [AT], Experimental Sound Studio (US), iii [NL], LTK4 [DE], MENGI [IS], MuseumsQuartier Wien [AT], Musik Akademie Basel [CH], and Rhizome [US]. Recently Visiting Assistant Professor of Multimedia (Brown University, 2017-21), Warren holds a PhD in Composition & Computer Technologies (Uni. Virginia, 2017) and a BA in Music Composition (Duke University, 2011). kmwarren.org

Website = http://kmwarren.org/
Recent album release = https://kmwarren.bandcamp.com/album/new-suns
Instagram = @kmwarren.sound

1) torschlusspanik - mutilation (non-surgical) (3:25)
2) Mathias Guilbaud - Voies Urbaines: Rue Sainte-Catherine (6:58)
3) Camille Hummel - Outside (6:40)

1) torschlusspanik - mutilation (non-surgical)


Originated in 2013, Torschlusspanik is a middle-aged Tennessee gal's outlet for mostly unpleasant and nonrealistic music that has been summarized as "maximalist electro-acoustic" in the past. A wide scramble of sounds are crudely forced into sound collage and (vague) song format intended for weaponizing emotional overstimulation and mulling over lost opportunity as time is near expired.
 
2) Mathias Guilbaud - Voies Urbaines: Rue Sainte-Catherine 
Sainte-Catherine is a small street in Toulouse, France, close to my apartment. Attracted by its construction works, I decided to spend a few months recording and composing with the sounds of the street. Vibrant sounds, people working, engines, rhythms coiled inside barriers, so many textures depict the metamorphoses of our urban spaces. Tickling and shifting our listening, the sounds find a way to express themselves so that they can be heard, so that they unveil our cities and our relationships with them.

With a background in film studies, Mathias Guilbaud likes to work and question the way sound can awaken the senses and question our relationship with spaces. It is through this practice combining documentary, acousmatic and phonographic composition, that he creates sound pieces where living spaces and intimate stories intertwine. Cities represent a privileged listening ground where he questions our relationship to public spaces and urban planning. Mathias works for theatre companies, community radios and cinema.
https://soundcloud.com/user-550379346/tracks
 
3) Camille Hummel - Outside

They are alone on one side or the other of the bars. The radio waves allow them to hold back a little longer.

Camille Hummel is a young french sound artist, working on ecology and societal topics. She likes to use sounds as tiny pieces of paper, trying to mix up everything, words, voices, fieldrecording, and sound-design to express herself. Besides, she does documentaries and writes stories for TV and video games.
https://camillehummel.com/

What I call my sound matrimony is the sum of the inner and the outer elements that I hear and listen to when improvising with my machine and recording phonographies. It’s a magma of noises, concrete sounds, voices, languages, poetry, riddles, screams and, sometimes creepy stories. The composition came to me as the place where I could share the ghosts in me and the vivifiant present around me, going through a montage of phonographies and a deconstruction of the dualism in between which is a morphological sound and a representational one.

Most of the speech and human voices arise from wonderful women, some of whom are my grandmother Wardia and her friend Haljia, but also a group of women called “Medahates” whose singing voices can be heard invoking the rain with traditional prayers because of this horrible spring canicule. All these voices were recorded by myself in April 2023 in Mayache, a little Mediterranean village in the countryside of Tigzirt in the wilaya of Tizi-Ouzou in the north of this very special and plural country – both beautiful and tragic – that I was born in: Algeria. The composition was made in my studio at Pantin, France.

See here for translation and contextualization of the piece:

https://radiophrenia.scot/wp-content/uploads/2023/08/Sara-Lehad-TRANSLATION.pdf

Sara Lehad is a Paris based and Algiers born sound artist and researcher. She’s currently working on her PhD at l’Université Paris 8 and she studied electroacoustic music composition at le Conservatoire de Pantin. Her current research aims to decolonize her practice of music through a matrimonial interest in Amazigh-Kabyle women culture and through thematics such as listening, voice, border of speech, immemorial and intergenerational trauma. She has also a practice of improvisation through an electronic dispositive of no-input mixing board. She performed in les Instants Chavirés, le Non_Jazz, Doxa Esta and Cmptrmthmthcs.

https://soundcloud.com/sara-lhd-554471127

‘Immemorial Echoes’ is a co-commission between Radiophrenia and Kunstradio Radiokunst for Ö1, Austria.

Words + music* by Len Goetzee
*Except Greensleeves used in the intro and the final recorder piece which was based on a Robert Morton composition (1430-1479).

Through a research led practice I piece together an eclectic archive of queer kin; an onto-epistemological, entanglement with diseased trees, time travelling bunnies, pork pies, bubble gum and even mugs at b&m. I combine fact and fiction into dramatic fabulation to help unbuild an autobiography; taking it apart to its dereliction, a denouncement of the episteme I find myself in. Not ruin for ruinations sake, but for rediscovery and rebirthing+, to meet one/self in the rubble.

Len Goetzee is a queer artist living and working in Glasgow. Through a trans methodology of collapse and dispossession they excavate a past enmeshed with the non-human and the more than human. Binaries breakdown and temporalities become twisted; an anti-propulsive practise reversing into queer resistance and into old futures.

Recent performances; RSA Academy Late (2023); Dissenter Space (2023); Cabbage Arts@ French Street Studios (2022) Old Hairdressers (2022)

Education; MLITT Fine Art Practice, Glasgow School of Art (2022) Distinction.

Awards; RSA Friends Award (2023); Chair’s Medal, Glasgow School of Art (2022); DCA Prize (2021); RSA New Contemporaries (2021)

Instagram; @len_goetzee
GSA Postgrad Showcase 2022; https://gsapostgradshowcase.net/len-goetzee/

Words+ music* by Len Goetzee
*Except Greensleeves used in the intro and the final recorder piece which was based on a Robert Morton composition (1430-1479).

The guardians of the temple follow the journey of Claudine and Irma, former residents of the Center d’Accueil des Français d’Indochine de Sainte-Livrade. Irma arrived there as a child, in 1956, and Claudine was born there. They grew up there, were built in the particular conditions of this internment camp, each following their own path between family tradition and integration into Lot-et-Garonne land.

Irma, who did not go to college and never worked, married young, and never left the region. Claudine left to study nursing in Bordeaux, then returned to her family, providing voluntary care for the residents of the camp. They are fighting today, each in their own way, to preserve the memory of this place that shaped them. The documentary follows them in their daily activities, the animation of Buddhist pagodas, the preparation of traditional meals, while weaving the history of the camp through the thread of their memories.

An English translation and background notes can be found here:

https://faidosonore.net/sons/notes/The_guardians_of_the_temple_Benoit_Bories_Aurelien_Caillaux.pdf

Benoit Bories is a sound designer. He has produced sound creations for France Culture, Arte radio, RTBF, RTS, Deutschland Radio Kultur and ABC. His sound creation activity comes originally from the sound documentary. It has gradually transformed over time towards more hybrid productions combining forms borrowing from sound art, acousmatic composition and field recording while retaining this desire to document societal issues. His documentary filmmaker's gaze always pushes him to tell the story of the intimate in an attempt to make a universal resonate. Benoit Bories teaches documentary sound creation at Phonurgia Nova, ENSAV Toulouse, Faïdos Sonore and works with several schools of audiovisual creation.

Since 2016, he mainly develops sound creations for live performance, installations and hybrid live performances. He has collaborated with several festivals and cultural venues for his performances (Directors' Fortnight in Cannes, Couvent des Jacobins in Toulouse, Hearsay Audio festival in Ireland, Polyphonik in Greece) and regularly participates in artistic residencies abroad (Harvestworks in New York, RMIT and Bogong Center for Sound Culture in Melbourne, Spatial Sound Institute Budapest). Benoit Bories has won several international awards and mentions for his sound work.

Aurélien Caillaux is an urban planner by training. After several professional experiences in this field and a stint with Doctors of the World, he decided to explore the theme of the urban through another prism, and set up the association Les Voix de la Ville in Paris, which produces narrated sound walks by the inhabitants in the Goutte d'Or district, then in French Guiana, in the town of Saint-Laurent du Maroni. Diversifying his practice of sound, he moved to Toulouse in 2013, to continue the adventure within the Voix de Traverse collective. With the latter, he carries out several sound walks in Toulouse and in the region, sets up listening workshops and initiation to sound documentaries in schools, participates in transdisciplinary projects around the collection of memories or audiovisual productions, conducts radio projects. He has been working for several years with Benoit Bories on the production of acousmatic
documentary creations.

black earth [… sown with stars…] is a sonic psycho-geography of the bog-lands of East Co. Galway, Ireland. There is a very particular mood of watchfulness and deep time that emanates from this landscape, dotted with holy wells, early Christian monasteries and older pagan sites. Although only an hour’s drive to the sea, it sometimes has the feeling of being infinitely landlocked. This work uses the radio as an ephemeral auditory location, a localised containment unit, temporarily holding in place a sonic rendering of the unsettling, en-magicked character of the Irish midlands.

Francis Heery (b.1980) is a composer and sound artist. His music is inspired by science-fiction, occultism and animal aesthetics. He is an accomplished improvisor and specializes in long-form, site-specific performances in public spaces. His instrumental works have been performed by the RTE Symphony Orchestra, the Crash Ensemble, the Quiet Music Ensemble, the Talujon Percussion Ensemble and by soloists including Carin Levine, Pascal Galois, Izumi Kimura and James Aylward. He also produces ‘Fortean’ folk music under the name The Cube of Unknowing.

http://www.francisheery.com

At the debut of 2023, we conducted expeditions with our microphones in the Tariquía and Carrasco National Parks, located in Andean forests and mountain jungle (Yungas) in Bolivia. We found ourselves in the heart of the paradoxes of conservation, far from a romantic view. The Carrasco National Park is an ecological corridor where the last specimens of the Sehuencas frog are found, in danger of extinction by a construction of large hydroelectric plant while the Tariquía National Reserve is threatened by hydrocarbon extractivism. Communities try to resist the interventions of the companies.

This sound-poetic piece created by two hands, seeks an ecology of encounter to build new
relationships with others - humans, animal species, plants and the elements. At once a journey, a sensory and perceptive multispecies interpretation, this sound piece is part of a political reflection. We consider this contemplative soundscape as a therapeutic device, where we seek to hear what the landscape diffuses in us.

Our intention emerges from the muddy depths of a reality operated by predatory, extractivist,
neoliberal and colonial logics, where the coexistence between the human and the non-human
diverges between dense veils that keep us in a loop of disconnection and bewilderment.
Become spirals in the meantime. From the depth of darkness towards a radiant, vibrant dawn. From the great pulse of this planet to the infinite spiral of the cosmos, dancing in the organic and non-organic rhythmic of existence and enjoying the transformation of sound matter into a substance that ceases to be what it is, to be reborn in its infinite possibilities.
Recorded and composed by Léa Roger (Be) & Cristina Canedo (Bol)
Mixed by Léa Roger

Léa Roger is a Belgian sound artist, experimental harpist and electro-acoustic composer. She likes to play with the unpredictable aspects of sound through physical experiments that mix energy flow, psycho-acoustics and sound ecology, to bring the listener to an expanded state of consciousness. For the past few years, she has been exploring somatic practices that permeate her artistic work. This dialogue with the body and the inner space are becoming more and more present fields of research that lead her to experiment with alternative modes of attention to others - human and more than human.
https://soundcloud.com/lea_roger
https://www.radiola.be/artistes/lea-roger/

Cristina Canedo, born in Tarija - Bolivia, is an artistic producer, cultural manager, multinaturalist
ethnobiologist and researcher in bioacoustics and data sonification. Having studied biological
sciences, cultural management, anthropology and linguistics, she has made incursions into
bioacoustics, exploring sound phenomena and investigating biosemiotics. She explores the poetic interfaces between the fields of visible and non-visible; the relations between human and non-human. She is currently working on the sonification of biological parameters and acoustic signals to represent and unveil patterns of occurrences, multidimensional data and harmonic abstractions of the everyday-life in relation to sound ecology.


https://www.instagram.com/kikicbw/

The radio tower lies in the transitional space between soundwave and airwave, but it is a space far from the margins. The steel mast exerts power near and far, dominating the near electromagnetic field and landmarking the far horizon. Here we focus on the near, listening to these high-perched steel masts as conductive as well as disruptive objects, playing with and through the interference in the tower’s proximity to sound out the spire.

williwaw routinely explores the aesthetics of technological failure through the medium of heavily amplified ’ukulele.

http://www.donkeyscratch.com

Central London based unconscious collective / Public Domain ; Jane Burton, Doris Lake, Samantha Brook & Rachel Parks

1 - Kevin Poulton - high five 1237 (4:34) 2 - Rachel Ní Chuinn - Maximum Poetry (19:59) 3 - shan-uh-kees - Untitled (I am noel o) (5:12) 4 - Meta Golova - Evasive Space (8:43) 5 - Meryll Hardt - Drom vāta śunel ćirla (9:55) 6 - Johnny Dixon - Gunslung (1:28) 7 - Edward Ruchalski - Radio Voices 1 (7:35) 8 - Nienke Terpsma - 60 secs radio:Proposal for non-action (1:00)

1 - Kevin Poulton - high five 1237

'high five 1237' takes its name from the call sign repeated during the recording. The track consists of random shortwave radio transmissions from all over the World, some Russian, and various field recordings including a railway station transformer, a bat detector, a saucepan of boiling water and hydrophone recordings of the Grand Union Canal in London.

The recordings were played back in the nave of St John's Waterloo church which has a wonderful acoustic and recorded via an SR3D binaural microphone. All the movement in the recording was made by moving the speakers around the space and the microphone. The idea was to explore what could be achieved without panning the sound when editing.

The work was inspired by Walter Murch and his Worldizing recordings in the 1970s and Kontakte, the electronic music work by Karlheinz Stockhausen from 1959-60 where he recorded sound from multiple microphones positioned around a rotating loudspeaker.

'high five 1237' was entered for The Engine Room 2023 International Sound Art Competition & Exhibition and selected for the exhibition at Morley Gallery London held between 24th April to 18th May 2023

2 - Rachel Ní Chuinn - Maximum Poetry

The piece is made with a simple poetry generator I put together in MaxMSP. There is a total of 100 nouns, 100 words and 100 adjectives combining to create an endless stream of nonsense poetry that sometimes strikes a chord.  The spoken words are stretched until they make abstract transients with gestural, dynamic shifts in playback rate. A computer voice takes over and my voice becomes further abstracted into looped rhythms. The piece is about our relationship with technology and how we maintain a sense of meaning and fulfillment.

Rachel Ní Chuinn works with sound, movement, text and electronics to explore ideas of touch, perception and physicality. She has produced sound works for radio, live performance, installation and film. Her radio documentaries on music, sound and architecture have been shortlisted for the Prix Italia, the Prix Europa, the IMRO radio awards and the New York Festivals Radio Awards. Her sound work for Jane Deasy's Opening Night contributed to winning overall best design at the Dublin Fringe Festival 2022. She now lives in Glasgow and has started to perform live electronic sets locally.

3 - shan-uh-kees - Untitled (I am noel o)

“Untitled (I am noel o)” by shan-uh-kees is a sonic representation of Japanese-American sculptor Leo Amino’s works. As many of Amino’s works are angular and metallic in form, we pictured what radio frequencies these works would pick up and sonified the imaginings. We placed the sculptures (often that have never been together) in an imagined space and choreographed the movement of the pieces in sonic environment. Untitled (I am noel o) is also a dedication to O Mahony’s uncle Noel who introduced a young O Mahony to ham Radio in 1982 and who joined the radio waves during the pandemic.

shan-uh-kees is comprised of Dr. Dave O Mahony (Limerick, Ireland) and Dr. Ralph Lewis (Urbana, IL, USA). They make and perform radio art, live electronics, and video art in community, concert hall, and virtual spaces. In Summer 2022, the duo received a Westben Composer Performer Residency (Ontario, Canada) where they created “From Ireland to Ojai” with Maddi Baird and Alex Hawthorn, which has since been programmed in international conferences. Current projects include developing live/remote hybrid workshops to introduce live electronics and Eurorack to community members that use as much grant-funded and free-to-use software and hardware as possible.

4 - Meta Golova - Evasive Space    

This sound work, as a part of Lena's doctorate research about “Parque Minhocão” describes this new experience of urban occupation, sense of belonging and engagement in its controversial aspect. The contemporary context calls us to be culturally sensitive, to interact with local architecture. Place-making is needed to perpetuate existing cultural visual habits, and therefore, to create more unique and authentic spaces. There is no protection, no salvation from this everyday routine, from this complicity in everything.  Always and everywhere we communicate with a space and with all fears a place draws us into its play. Are we afraid to belong to the space in a different way?

Meta Golova (Lena Kilina & Carlos Issa) began in 2022 in Sao Paulo, with the purpose of bridging new music and art genres, the divide between sound, multilingual poetry and visual arts. The group became the resident avant-garde sound theater ensemble in Brazil, Russia, China. Meta Golova's poetry is multilingual (from Russian to Chinese, Portuguese, English, Spanish). It invokes a discourse of power figures, deities and commands being doubted and debated. Challenging the culture of submission to circumstance, this audio envelope brings the audience to think about tragic situation the all humanity is facing now with a hope and sense of will for the future transformation.  https://www.youtube.com/@metagolova/videos 
https://soundcloud.com/metagolova
https://www.instagram.com/metagolova/
https://vimeo.com/metagolova

5 - Meryll Hardt - Drom vāta śunel ćirla

A bestiary of cats, dogs, elephants and reptiles meets prepared piano, and whispering voices turning into tornadoes (probably because its author grew up with Twister and Jurassic Park). The title is blending two languages, Romany and Sanskrit. Between a resting circus and the gods from ancient India, spirits of a little-known journey are exhumed with great perseverance in the now immobile caravan.  A shapeshifter, beyond genders, animal, human, even meteorological raises with its voice gradually giving way to the pure energy of the synthesizer.

6 - Johnny Dixon - Gunslung

7 - Edward Ruchalski - Radio Voices (1)

The source material was recorded from a short-wave receiver via the Wide-band WebSDR site, University of Twente. The various beeps, static and voices, were processed by EQ, filters, and pitch shifting. This piece made from radio transmitted sounds is intended for radio broadcast.

Edward Ruchalski is a composer, sound artist and field recordist. His compositions have been performed at the Kennedy Center, Lincoln Center, Mass MoCA, Symphony Space on Broadway and elsewhere. In 2020, Ruchalski’s acousmatic work, “Refined Localities”, was selected for inclusion in the exhibition, Audiosphere, at the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain.Ruchalski has been an artist in residence at Wave Farm in Acra, N.Y. During the residency he created a concept for a radio show with co-host Stephen Bradley called Bells, Bugs, Whispers & Plinks(WGXC 90.7FM).

8 - Nienke Terpsma - 60 secs radio:Proposal for non-action

“Glaneuses et Vers de Terre” is a collection of research practices by choreographer Emilie Gallier, visual artist Nina Boas and artist/editor Nienke Terpsma on ways of being with landscape as we are absorbed within it rather than as a detached spectacle. These 60 sec. are a re-digestion of some materials gleaned for “Gleaners and the Worms, or Book Worms and the Worm Book”, a 60 min. performance in spring 2023. Part of it was a grafting of living soil. You hear bits of a conversation between Emilie and living soils gardener Cyril Gallier, a bird that can count to 11, streetsounds of Rotterdam, voice, Blippo Box and Qbird.